The best thing I can say about this issue is that its got me to at least finish out the storyline instead of walking off the title early, but I still doubt very much Im going to continue reading this title once the initial arc is over.

As a run-up to the next big event, honestly, its not off to a great start. Hopefully, Loeb will find a way to pull it out in the next three issues.

Interestingly, as each month ticks by I find myself getting more excited about Avengers Vs. X-Men. I think the idea and possibly the book itself has a lot of merit. But my excitement is growing in spite of this prequel miniseries, not because of it. If all I was basing it on was this, I may pass on AVX entirely.

Rob Liefeld cut his teeth on these characters years ago, and having him back is a real coup" or it would be if his artwork had improved in the past 25 years. But even now, these pages are full of terrible anatomy, unrealistic poses, and the same two faces cut and pasted on one character after another. The book looks awful, and as much as I want to know what will happen with these characters, I'm pretty much ready to content myself with Wikipedia updates until someone else takes over the art chores.

The Doomsday plot is pretty much a retread of the Steel issue, except without the character insight and depth. Only Philip Tan and Pete Pantazis' very strong artwork prevents this from completely falling apart, and adds a point to the issue's overall score. I'm not terribly surprised that this title is getting its plug pulled in a few issues, but considering how great it was at one point, I am rather saddened to see the cancellation so completely justified.

There's very little here for fans of the characters to hang their hopes on, and although DC keeps saying there are plans in the works for the family, it's time se saw some real evidence of that. This issue isn't enough. Cliff Richards' art is okay " his Blaze is very good, and the fight scenes work well. But this issue remains rather lacking.

I picked this book up because Im a fan of several of the characters involved and hoped it would be a little oasis of fun in the midst of a sort of bleak event, and theres at least an attempt at that here. Overall, though, the book simply falls flat.

The big plus is the fact that we've only got two art teams this issue, instead of four, and unlike previous issues the changes in style isn't dramatic enough to be distracting. Trouble is, the art isn't especially great either, even with Tom Grummett handling layouts for the first half of the book. On the plus side, at least Howard is sporting his classic look again instead of the hideous redesign from a few years ago, which he was sporting in issue one. I was hoping this series would give us the lighter side of Fear Itself, but with one issue to go, it's been nothing but a convoluted mess.

The entire first series was about them growing and learning to be heroes, this "lost battle" doesn't give us anything we don't already have. Even the incredible Alan Davis doesn't seem up to speed this issue. He turns out a good cover, but his interiors look somewhat weak and unformed in places, a problem that's only exacerbated by the muted color palette chosen by Javier Rodriguez. I suppose he's trying to evoke a bleak future, but this doesn't at all seem to fit with the eye-popping colors of the miniseries. People who got this book because they're enjoying The Children's Crusade, myself included, would be better served to skip it.

This book may work for some people, but Ill probably pass on continuing with it. A valiant effort, though.

This isnt a terrible issue, but its not a great one either. I would have hoped for better for the new Legions first annual.

Carlos Pacheco and Cam Smith do perfectly good artwork " Pacheco is an artist I'm pretty much always anxious to see at work. Their depiction of the Dreaming Celestial and the clever metamorphosis his head undergoes looks nice, and the book feels more like a part of the Marvel Universe than a lot of X-Men comics have in the past. But at this point, if I'm going to keep one X-Men book on my pull list, it's not going to be this one.

Theres not really anything wrong with this issue, theres just not enough to really get me excited.

The comic is funny, and works up to a well-constructed ending, but it's the sort of thing that'll feel very dated in a few years. Enjoy it while you can.

If I didn't know just when Brightest Day was going to end, it would be harder to stick it out. As it is, I'm willing to wait with the expectations that at least the biggest such questions will get resolved in the next few issues. Points to Krul, though, for writing Etrigan as a rhyming demon. I hate when writers cop out and don't rhyme, it's just not Etrigan without a snappy verse. On the art side, I really like Diogenes Neves' artwork. The forest scenes are beautiful, and Etrigan looks more menacing than he has in many a day. Fingers crossed that once Brightest Day ends and a permanent direction for this book is chosen, it'll be a strong one.

The Galahad stuff is interesting " in fact, he's become a much more interesting character since we found out the truth about him " but that doesn't automatically make the book work. Diogenes Neves gives us a really good book from a visual standpoint. I like his Ollie, and his work on the Swamp Things and other guest stars is strong as well. This book, simply, could be better.

I did enjoy the book, but considering how long its been since we saw a title under the Elseworlds imprint, I was just hoping for more.

This series has been okay, but I am glad they went with three issues instead of six (as it seems it was intended). One more month until the conclusion seems like itll be just right waiting another four would be too much.

The book is pretty good, and people particularly interested in how the Vertigo characters are going to be drawn back into the DC Universe will especially find it interesting. With the knowledge that Swamp Thing is getting his own book in September and Constantine will be joining Justice League Dark, it seems this is where that groundwork will be laid.

We've got a good story here, though, that's working well to bring Constantine and Swamp Thing "home."

The inclusion of Deadman and Madame Xanadu makes it feel like the book is intended to serve as a prologue to Justice League Dark as well, which I personally find more interesting, but I sympathize with those more interested in the Swamp Thing connection. The artwork, like the writing, is serviceable but not as sharp as one hopes it would be. I'm kind of disappointed in how all this wrapped up, but I take heart in the knowledge that, chances are, the relaunch books won't rely on any direct knowledge of this storyline in any case.

I love a good inter-family crossover once in a while, but Im happy that this creative team has stayed intact and now gets to get back to doing their own thing. This is the best the Supergirl title has been since it relaunched in 2005.

So far so good for the new creative team.

Chang's artwork is sharp, and I really like how good he is at differentiating the ages between the characters. Mahmud Asrar gives us a good cover, just enough to make me wish he was the one taking over the art for this book. This book has really been top-notch for some time. We can only hope that the team taking the book over will keep it up.

Having Bernard Chang on the art helps quite a bit " he does a fine job with all of our young heroes " but it's not enough to make this book any more than average. It's really a shame to see a story that started to well fall down on the last lap.

I did like the interaction with Starman " he and Supergirl play off each other well, but that was over way too quickly. And I always like to see Chriscross's artwork. But in the end, this story just fell flat.

Its an okay issue, but if youre getting it expecting something that connects to the main title, you may want to look around elsewhere.

Im still looking forward to the finale, though. This has been a strong series, and its going to be missed.

Ryan Benjamin's art is growing on me. I like his version of the League, and his world is solidifying, creating a nice balance between the animated style of the cartoon and the more realistic style of the DC Universe. There is good in this comic, to be sure, but it feels like a lot of filler to get us to the main event next month.

While still not as good as last years miniseries, this issue is a step up from last month.

The book stands on its own, and that's probably for the best. Eduardo Pansica is this month's artist, and I like his style for this book. It's not as cartoony as some of the other artists who've worked on the title, and in fact, has something of a "late 90s" feel to it" y'know, after the shoulder pads and trenchcoats had run their course and before artists felt a need to make every panel look like a photograph. When they were just trying to draw comics that told the story. Remember that? Anyway, I dig it. The issue as a whole is okay.

It works as a story, and the main villain is particularly weird, but I can't really give the book full marks. Much of the strangeness seems like it's there purely for the sake of being weird, and not necessarily for any story purpose. That makes it a little harder to recommend, and even though it does lead to a particularly memorable finale, it still has the mark of a fill-in issue, one last 20 pager turned out to fill in a publishing slot before things start all over again next month. It's not a bad book, but it's not one that people will keep talking about.

Im really a fan of Mahmud Asrar, and this issue will make it clear why. Hes got a very strong storytelling style, he does dynamic action scenes, and he puts some good emotion on his faces. Some of the inking is a little heavy here, but not so much as to really hurt the book. This doesnt appear to be required reading to follow the event storyline, but if youre looking forward to the new adventures of the Atom in Adventure Comics, this is probably a good book to start with.

Still, with this series serving as season eight, this issue feels very much like a deleted scene from the DVD set. Its interesting, it adds a little bit, but is it really essential? No.

Im not dropping this book, but thats more out of loyalty to the writers and characters than anything else. Im hoping the next four issues will redeem this title and prove to me that its not the carbon copy it feels like at this point. I want to be wrong. Time will tell.

True, it's very difficult to come up with something totally original in this day and age, but when it feels quite this obvious, that's a problem to me. Still, I had fun with this ride, and I look forward to joining Herc and Amadeus on the next stage on their adventures.

Howard Porter is doing very good work with this book. Most of the characters are pretty much spot-on with their current DC Universe counterparts, and those few which have undergone a slight redesign for the game look good in his art style. I'm enjoying this book, but I really hope the "prequel era" is only a temporary one.

The good thing about this book is that there really is some great content here. Unfortunately, except for the Concrete story, the big-name stuff isnt what works for me. Its the lesser-known creators and more experimental characters that make these 80 pages worth the price.

Overall, this story is just okay. Its not bad, but it doesnt blow me away either. If not for the truly incredible work Jonathan Hickman is doing on the main title right now, Id probably rank it a bit higher, but it doesnt quite live up to that series, and suffers just a tad by comparison.

In the end, thats probably what makes this book weaker than anything else not that its bad, because its not, but because it feels inconsequential. And that, in the end, may be even worse.

Interestingly, for a crossover that began as a Thor/Captain America pitch, the best stuff here comes from Iron Man, who makes a choice that one would hope he'd never have to make. And unlike his mustache-twirling villainy during Civil War, here he actually behaves rationally and in-character. Stuart Immonen's artwork is as masterful as ever " perhaps even more masterful than ever, with the addition of stellar colors from Laura Martin. The book looks great and it reads okay. It just needs a bit of a boost in the right direction.

Perhaps this issue will look better in the scope of the entire series. Perhaps by the end some of the elements included here (such as the aforementioned FF revelation) will factor into the end of this crossover in a significant way, which would make this issue feel more justified. As it is, though, I cant help but think that a lot of this issue was padding that could have been tightened up.

This is such a strong book that its a shame to see the huge gap in between issues hurting it so badly.

I liked this issue, but I didnt love it. Im looking forward to the next two issues to see where it all goes.

The book " and honestly, Flashpoint as a whole " does lose a couple of points for using real-world politicos. We've seen it in several titles, but it's more prevalent in this one that most of the others. It's a technique I've never really liked, as it serves to date the book terribly a few years down the line. But that's no doubt a commandment from on high, not necessarily a choice of the creative team here. They play with the toys they're given, and they do a decent job.

A military action piece like this one demands something with a bit more energy, and Hal doesn't get all he needs. I do give Adam Schlagman credit for not going the easy route, the one we see in so many Elseworlds books, where the character ends up in essentially the same place he is in the regular DCU. That's a boring route, and this story goes elsewhere. I just wish I didn't know the destination before the journey is over.

Like approximately 50 percent of all Futurama stories, we kick off this issue with the crew being given a package to deliver to a distant planet. What they think is a shipment of food, though, turns out to be a highly volatile substance ordered by a group of cannibal robots attempting to cast off the shackles of an evil corporation controlling their destiny. Truly, only in Futurama can one type such a sentence. Anyway, Fry, Bender and Leela set out to free the robots and both destruction and hilarity ensue. The problem with this issue is that it actually gets a little too broad for the humor to be effective. With a set-up like this, Eric Rogers is set to mock any number of war or disaster movies, but instead of focusing on any specific targets, he gives us a kind of generic sci-fi story. There are good puns and gags, but nothing to make this story stand out, especially in contrast to other, better Futurama tales. --Blake M. Petit

Considering that there's one more chapter to go and the heroes will win if even one of them passes the test, the conclusion here is pretty foregone. I like Andres Guinaldo's artwork " he does a good Catwoman, and the sheer destruction that we get is pretty effective. The issue is all right, but ultimately feels kind of superfluous.

The best compliment I can give this issue is that it makes me genuinely curious about what Ive missed. The reason I stepped away from this title was that, although I enjoyed the done-in-one tales, the overall story didnt quite seem to go anywhere. Now it most obviously has gone somewhere, and that somewhere is pretty interesting, so I feel an urge to go back and fill in the blanks.

The script is good, a nice beginning for a new horror series, and fans of the regular Zenescope properties will probably enjoy this as well.

The bit where their Triad-merge backfires and gets them jumbled up with Firestorm is clever, and it makes sense, but other than that there's not really a lot to mark them as a necessary part of the story. That lowers the rating for me. Granted, we're combining one of comics' best-known and one of its least-known properties, so it would make sense for the League to take a leadership role. Instead, though, it often seems to both the readers and, most likely, the JLA, that the 99 are just getting in the way.

Im still sorry to see this series end, but if the final issue is really indicative of how the writers felt at the end, I think its probably time to close up shop. Ill miss this book, but at least they knew when to walk away.

The idea here is sound, and the setup isn't bad, but I think we needed more character stuff to make this book really sing. It helps that you've got Pete Woods and Brad Anderson on the book, though " a very solid art team that does nice work on some unique characters that don't look like anybody else in the superhero genre. The end of this issue is a real shocker, and even though its a whole new world, I really hope things aren't quite as bleak as they'd seem. It would be too quick to shake the team up that much. Still, I'm looking forward to seeing where this goes.

This was a good issue, and its definitely worth reading for a longtime fan of the character. I just hope that, as the series moves forward, Shooter takes a few more chances with Magnus again.

Ian Flynn does redeem himself by throwing Mega Man's evil twin into the mix and compounding the action, but even then, there's a bit of a shortcut to get us to the final fight. It's a pretty good conclusion to the opening story arc, but it had the potential to be better. Still, I'm looking forward to seeing what comes up next.

Its not a bad first issue, but the second issue will be crucial for me to determine if I want to stick with it.

Casey Heying's artwork is pretty good, but I'm not sure how well-suited it is to sequential storytelling. He's got good designs and nice imagery for the characters, but everything looks somewhat like a still photograph rather than a lively, energetic adventure story. Then again, I don't know if that's so much Heying's fault as it is the color team. I'm gonna have to go try to dig up the first four issues (counting #0) of this series to try to give it a re-read. Until then, I'm not sure how I feel about it.

Rachel Rising #1 comes across as a well-drawn, but otherwise very standard horror comic. Having read Moore's work for over a decade, I have every confidence that once we get to know Rachel and the other characters, he'll build a universe that's rich, engaging, and original. I just wish we'd gotten more of a sense of that right out of the gate.

The other complaint about the issue, honestly, is a standard one for books of this type the price. I know the economic realities of the comic book industry today, but $3.95 is too much to expect kids to pay. Id hate to think this book will only find its way into the hands of collectors indulging in nostalgia, because it deserves better. Hopefully, somehow, it will find a way.

Leonard Kirk has some assists from Patrick Oliffe, and both men are well versed at crafting stirring comics about young superheroines. (Granted, Sam isn't technically a superhero, but this book shares more than enough with that genre for the great superhero artists to do good work here.) I like the book and the character. I just hope that Mike Carey kicks things up a notch in the second half of the miniseries, because he's certainly capable of doing so.

As a lighthearted story for kids to read, it works all right. As a successful parody of a popular franchise, it leaves something to be desired.

While I didn't expect to see McCoy tooling around in Bumblebee or Snake-Eyes helping to bust ghosts, I was hoping for at least a little more connectivity between the different worlds of this crossover than we've been given thus far. For that reason, mostly, while I've liked the stuff we've gotten from Infestation, I haven't liked it as much as I hoped I would.

The threat introduced here is easily big enough to anchor a crossover event (which I don't think will be the case, as DC reportedly is eschewing those for at least the next few years), and the hints about Cornell's own Demon Knights titles and the Martian Manhunter's history with the Justice League are both intriguing. Miguel Sepulveda's artwork is really nice too " I love his monsters, and the fight at the end is very well done. This title will at least get a story arc from me before I decide if I'm staying with it.

On books like Captain Britain and MI 13, he's made a strong case for doing weird better than anyone. But this book is straying a little too weird, and the next issue needs to snap things back into focus.

This first issue is okay, but its definitely got the potential to elevate as the opening story arc continues.

Still, for all the good, there's something missing here. There's a spark, a fire that you need to feel the Teen Titans as a team that we don't have yet. The previous incarnation came in with that spark, having previously been teamed up in Young Justice, but with this back-to-basics approach, I can forgive a lack of camaraderie in this first issue. Still, it'll be incumbent upon Lobdell to establish that fairly quickly or the fans may start to drift.

Its a good first issue, but it doesnt really feel new. Hopefully that wont put off too many people.

This issue is set-up, and that's okay. But if the book goes longer than six issues without forward momentum, there's a risk of losing readers. Fortunately, this opening issue is strong enough for me to follow the next few issues and see where it goes.

The issue opens with an Infestation update, presumably for fans of the TransFormers who arent reading the greater crossover. Good call, but it should work the other way too. People picking this book up just because of the crossover could really use a primer on the IDW version of the TransFormers universe.

The artwork on both stories is strong, although the first one is a little sharper, and the cover by Magic Eye Studios is wonderful. This is a title thats very much on the verge of being very good. The creators know what they want to do, and theyve got a lot of the right tools in place to do it. They just need the freedom to push it a bit farther to give us a story that will explore the boundaries of the Ducktales world instead of just sort of puttering around.

It's a good issue on its own. When used this way, to demonstrate the differences between one world and another, it becomes even better. Christopher Jones delivers on the artwork, giving us a good, clean line, telling the story well, and pulling off strong visuals for characters and landscapes we haven't seen much " or even at all " on the TV show. I'm eagerly awaiting the return of this series to Cartoon Network, it's been wonderful, but in the meantime having this comic is a good taste of what's to come.

As a longtime fan of this series, I really got into this issue. I am concerned, though, that potential new fans may feel it too weighty.

What's more this is a brutal issue, one of the most violent stories we've seen in this title in some time. Daniel Leister is putting out some of his best work here, nailing the action and gore. Horror fans should really eat up stuff like this " it's got all of the tropes of a great horror movie, while blending in the drama and character development of an ongoing superhero comic in the mix. It's a good balance that makes for a good comic.

What really hurts this book is the artwork. I was actually very impressed with the first few pages, where we see a pastiche of the old 40s style (right down to yellowed pages and dotted colors). Kyle Strahm rocks this section, but as soon as we hit the contemporary sequences, the art starts to fall apart. Its really grimy, really dirty, and not in a good way. Theres a certain ugliness to the artwork that doesnt serve the characters. Pooch barely even looks like himself here (and hes a character with a pretty distinctive visual). Faces are off, scenes dont break down right its just weak. The artwork is improved by a couple of nice covers by Jenny Frison and Morning Glories artist Rodin Esquejo, who does a sort of mini cover-crossover with that title. Its a fun way to kick off the book, but the interiors dont live up.

This is a step in the right direction for this title. Lets hope it keeps going that way.

Daniel Leister is doing good work here, with a few interesting monster designs towards the end of the issue. I like seeing Samhain again, but it's a little hard to accept how quickly Cassie is ready to let him back in considering what happened the last time he was in this title. All told, though, this is a good issue, and I'm looking forward to the next installment of the story.

I liked this issue, though, and its a solid end to the story arc.

Its not the best of the Flashpoint books by far, but the ending is intriguing, and I look forward to seeing just where theyre taking this concept.

This is a nice issue, filling in a lot of blanks about this weird new universe.

The story is solid, the artwork by Gene Ha is good, but not great. There are interesting effects in the book, mostly in the "x-ray vision," and it's nice to see an in-panel homage to the classic Action Comics #1 cover, but in the end the book looks a little too rough for Superman" even a Superman that really isn't. I liked it, overall.

Very strong issue, and probably the most important miniseries yet when it comes to understanding the world of Flashpoint.

Dan Abnett and Andy Lanning are two of the most reliably entertaining writers working in comics, and this miniseries is no different. But sometimes the artwork just isnt up to the same standard as their stories.

The scenes of destruction are probably the high point (which I realize even as I type is a very unusual thing to say). Not a bad book, but considering how it flows into last week's issue, it doesn't really feel like a satisfying ending to the miniseries.

This book hasnt let me down yet, and I really dont think it will.

This really is the most interesting comic book Archie has ever published. I dont say that as a criticism of any of the comics of the past, but instead, as a celebration of their willingness to do something new.

And I didnt even mention the subplots with Chuck and Dilton. The fact that Kupperberg has so much going on all at once is shocking in and of itself. The fact that its not hard to distinguish whats happened in one world or the other from month to month is impressive as well.

This is a solid anniversary issue that does just what you need it to do it ties off some loose ends, gives you a taste of what is to come, and provides plenty of Superman for those who have been missing him.

Theres a simple way to say it: I dont remember the last time Ive read a book that so perfectly captures who Superman is.

Still, there are things that still need to be clarified. Knowing that someone is responsible for Supermans current state of mind doesnt make it more fun to read about, and as we are going into the second half of this storyline, hopefully Roberson will be able to steer it to a satisfying resolution.

This is good stuff. It isnt common man Superman, but its Superman reminding himself what it means to be a superhero, which is just as legitimate a path to take, and actually, much more in keeping with the spirit of this storyline. I didnt see this path coming, but I welcome it now that its here.

It's clear that someone " either Straczynski or, more likely, Chris Roberson " really does understand the character of Superman, and what he means, and what he should mean. But it doesn't feel like the story that's brought us to this point justifies the decision that we know will be temporary anyway. There are three different art teams employed to finish this issue, and to their credit, they're all pretty good. Their styles are similar enough that you don't feel a jarring difference as you go fromm one to the other, and the book has a uniform look. But while much of the issue rings true, the things surrounding it just don't. I'm really hoping that when George Perez takes over this title in September, we feel a writer who knows what Superman means and understands how to tell his stories.

Even after ten issues of wandering, the sudden crash Superman experienced last month felt like it had inadequate buildup, and the same goes for the heights he achieves here. Had the second half of this issue been applied to a better story, it could have been a suitable farewell to this Superman the way Alan Moore's "Whatever Happened to the Man of Tomorrow?" was the perfect way to say goodbye to the pre-Crisis version. As it is, this is really little more than a footnote that, by the last Wednesday of this month, will likely be forgotten.

This is an okay issue, but actually not as good as the last few issues of the young Legion have been. Levitz is doing exceptional work on the core title, and Ive got my fingers crossed that next month, this series will return to that level.

Good book, but the artwork on the main feature drags the score down.

In the final installment of the Atoms co-feature (with the story apparently slated to be completed in a second Atom Special in March) Ray Palmer and his uncle Dave find themselves trapped in their diminutive size, forced to battle some tiny killing machines. Fortunately, this gives them time for a much-needed heart-to-heart. Jeff Lemire works in some good character stuff here, neatly paving the way for the conclusion of the story.

Levitzs work on the main Legion Title (and earlier Legion stories in this title) has been really great. If he can bring the excitement of that book to these characters, combined with Jimenezs artwork, this will be a first-class comic book.

The story is told well, but some pages (such as the opening full-page panel) look weird, with Cosmic King's head floating at an odd angle and Comet Queen being out of proportion with the rest of the cast. (Unless she's really flying at comet-speed through what appears to be a rather tiny room.) If nothing else, I sincerely hope that this isn't farewell to these characters " merely 'till we meet again.

Its not a bad beginning to this storyline. Knowing what we do about the direction, it feels like a decent launch. It will need to grow quickly, though.

And I'm particularly happy that Frank Cho, who does the art this issue, tackles the big art problem I had before. In issue one, "Slim" Summers was as bulky and blocky as any barrel-chested superhero. Cho actually draws him as a slim man, someone who's skinny but still muscular, living up to a nickname that far too many artists seem to forget. The biggest problem with this issue (and the miniseries as a whole so far) is that the main villain is still rather unimpressive. Kilgore, the newest member of the Hellfire Club, is another stereotypical member of the "Evil Children" club, without either anything to distinguish him or anything to make us take him seriously as a threat the way we do the great X-Men villains. That needs to be addressed in the next three issues for this to really work.

The book has good ideas, but the way were getting there still feels forced to me.

Putting Alan Davis on this issue makes me really wish he'd drawn the entire miniseries. Having a different artist on each book has resulted in tremendously uneven artwork, which I imagine will be even more jarring when someone reads the collected edition. This issue, though, looks great. Davis is an old master of the comic book form, and the confrontation between Cyclops and Wolverine really proves he deserves the title. Best issue to date, and I'm actually looking forward to the finale now.

Overall, I wasnt terribly impressed with Schism, but despite that, Im left wanting to see what happens next for these characters. So on that level, at least, the miniseries did its job.

The artwork is great and the story is pretty good. Combined, you get a comic book thats worth a look.

While this book is still fun, it's more serious than it was in the first issue, and that makes for a richer story. I like where this is going.

This issues second feature puts the spotlight on the original Seven Soldiers of Victory. An old foe challenges them to a battle, and the soldiers split up to take on his minions. Here we see that Len Wein has taken the old formula heroes split up, get together at the end and given us a quick story told in snapshots. Whats really impressive here is J.H. Williams IIIs art. Each of the snapshots of the Soldiers in solo or dual action has its own different look and feel, as if each panel was created by a different artist altogether. There seems to be a deliberate attempt here to invoke what Grant Morrison did with his revamped version of the soldiers, and it works pretty well.

Good issue, and if you can handle the continuity question, its a lot of fun.

The first story is still pretty good, but the backup is a knockout.

Its a good book, but I still feel its not quite where it could be, here at the halfway point.

It doesn't hurt at all that Mark Buckingham handles the art here. Between this and the current Fairytale Life miniseries, he's really proving himself one of the finest Doctor Who artists in the business, particularly with the Matt Smith incarnation. He handles the three characters from the TV show really well, giving us characters that look like the actors, but doesn't lose the energy and life of a comic book page the way a lot of these comics based on TV shows tend to do. The book is just fun.

Good issue, but the artwork hurts it.

Fans of Guy and John will really enjoy this book. Im just keeping my fingers crossed that itll be more than just the two of them once the title gets going.

While the story struggles a little, Fernando Pasarins artwork helps. He throws down some great action scenes, images of the Lanterns being completely overwhelmed by their adversaries, struggling to stay alive. Visually, the book is firing well. Story-wise, Tomasi needs to tighten things up a bit in the next story arc.

Overall, its a fun issue. If youre pumping yourself up for the movie, its not bad at all.

Overall, its a good issue, but not anything groundbreaking.

Despite a rather awkward change in title (Guardians of the Globe really rolls off the tongue much better), this first issue definitely satisfied. If youre a fan of Invincible, this is definitely a comic book worth checking out.

There's just not enough time for this much introduction in a miniseries. It'd be fine in an ongoing, but seeing the finish line makes it feel like we're wasting time. Chris Giarrusso comes in at the end with another gag strip featuring the "other" Guardians of the Globe as they battle the menace of" Global Warming! It's a pun-filled page, rife with the sort of groan-inducing humor that only Giarrusso can pull off so beautifully. It's still some of my favorite stuff in this comic.

Marc Guggenheim has whipped up an impressive slate of dangers for our heroes to face, and with one exception, I like where they're going. (I'll never understand people who complain when the slightest bad thing happens to a character " how do you demonstrate a hero without having him overcome adversity? It's only when they act out of character that there's a problem.) I also like bringing in other DCU heroes to the fold. While I don't know that Blue Devil would necessarily be a good fit for the team, he fits well into the larger scope of "Supertown." The new Scott Kolins is really strong too. He's got a style that comes in somewhere between old-school superheroes and high fantasy. The latter would seem like an odd fit, but it's not. It works.

This issue works well as a tribute to the history of these characters. Hopefully, its a good new beginning for the title as well.

The book looks good, with wonderful action scenes showing Michael using his T-spheres and other scientific doodads in ways that we haven't seen from him in the past. Not only is this Mr. Terrific the third-smartest man in the world, but he seems to be a tad more imaginative than he used to be as well. Good start for a character that is long overdue at getting his shot at a solo series.

After a rough first story arc, this book seems to be getting stronger. Thats definitely a relief, because I love the character and I want to see him as one of the stars of the DC Universe, where he belongs.

To be honest, Im enjoying this book much more than I expected to. As a sort of side-team, as an Avengers spinoff, this rather eclectic mix of character works quite well, and I can see reading them on a regular basis.

Daniel Acuna is one of those creators that's really hit or miss for me, but his work on this issue is okay. The date scene looks nice, warm, and welcoming, the action I full of energy. His Thing doesn't look great, it trends a bit too much towards the old "lumpy oatmeal" took for my taste, but other than that, it's a good issue all-around.

Good issue. Im really glad that Tim Drake continues to be one of the most compelling characters in Gotham City.

The ending of the story is even a little ambiguous, ending the series with a question mark. It just doesn't feel like Tim. Even after his father's death, Tim has always been the most hopeful of Bruce Wayne's sons, Bringing his solo adventures to an end on a point of cynicism just feels wrong. It's a shame to see Marcus To leave the book as well " he's a great artist with a very effective, classic style, and he's made Tim his own. So we'll say farewell to Tim, but at least we'll get to see him in the pages of Teen Titans.

I really enjoyed the return of Resurrection Man. DnA have plenty of room to play with the character and allow him to grow, and in the environment of the New 52, I think he may just have a chance this time.

There's just enough of a supernatural bent to the book to recommend it to fans of that genre, while it has enough of the conspiracy thriller to make it entertaining for those fans as well. This is the sort of title that really has very wide cross-genre appeal, and I hope that it finds the fans it deserves as part of the huge push for the New 52.

This is a good book, but it feels like its just barely being held back and prevented from becoming a great one. Theres room to grow her, and the story is growing in the right direction. If Dagnino can change it up a little, it could push this book into the realm of being a must-read.

I feel good about the end of this issue, like were definitely pointed towards the endgame and the conclusion of the series. But overall, that makes this middle section feel sort of superfluous, like were circling until the finale begins.

Aaron Johnston has a tough task, exploring the rather detailed science that's yet to come, but he certainly seems up to the task. In this first issue he hits all the major points that will be necessary for the reveal later to make sense. Pop Mhan's art really works well with the Pequininos. He matches the description in the book fairly well, giving them a look that's very much unearthly, while still looking familiar enough for their nickname to make sense. If you've enjoyed the Ender's Game comics so far, you'll enjoy this one too.

The scene where Ender and Jane have their major difference of opinion simply doesn't work here. The scene, told in the novel from Jane's perspective, takes place almost entirely in her computer world in the space of microseconds, in which virtually everything changes. Here, we see the scene from Ender's perspective, where a simple on-off switch has completely inexplicable results. We lose all the impact here, we don't understand what's happened to Jane, and that information is absolutely vital for the rest of this book, not to mention the final two novels in the series. Hopefully, Johnston has a way to bring that stuff back before the miniseries reaches its conclusion, but for the moment, it feels terribly lacking.

This is some of Scott McDaniel's best work. He doesn't usually impress me when he takes on a high-powered character, but his street-level style works on Static somehow. Perhaps it's his down-to Earth attitude, perhaps it's just the wonderful color work of Guy Major, but the book looks good. This book is such fun, I can't help but smile just because it's back.

Viril's sister has a clone and " WHAT? The writers drop this in pretty much out of nowhere, as if it's just a normal part of the family's status quo. Admittedly, I didn't read every issue of the character's old series, so I'm assuming this isn't something brand new, but if you're new to the character this is one major curve ball to throw at the readers, something that absolutely has to be dealt with in some fashion. Beyond that, the rest of the book isn't bad " Virgil comes across as a pretty typical teen, except for the superpowers and highly developed sense of civic responsibility, and I like the way McDaniel draws the character. Hopefully that speed bump will be taken care of before the book goes too much farther.

I'm definitely happy to see the Wildstorm threads have been woven throughout the DCU and not just contained to those three titles that were originally a part of that line. R.B. Silva's work is good here, even if the newly-birthed hairless Superboy looks a bit unnatural. That's not unexpected or out of the ordinary for the character at this point, though. I'm definitely willing to see where this goes.

Solid issue, and I like the direction this book is taking.

Im so glad to have Superboy back on a regular basis. This book is really working well.

This book has really impressed me ever since its launch. Im glad Superboy has a home again, and even more happy that its such a good one.

The "advanced meta-science" department, to be honest, does sound a little bit like what Jonathan Hickman is doing with the Future Foundation over in FF, but it's not like Hickman invented the idea of recruiting super-geniuses either. I'm just keeping my fingers crossed that Lemire does something different with the concept, and I also hope that the Atom finds a home in this title. Lemire was doing great work with the character in his Adventure Comics serial, and it'd be nice to see him with a permanent home somewhere in the DCU.

The pages tend to lose their flow and there's no real coherency to the future versions of Red Robin or his crew. Storytelling has to come first, and when it doesn't, even a good script can't rescue the artwork. I get what the creative team was trying to do this month, but it just didn't work. Hopefully we'll get more traditional next month.

My one real complaint is Clark's "article," which runs through the issue as a commentary on Superman's activity. It's" it's just terribly written. It's "failing journalism 101" writing. No award-winning journalist could " or should " get away with a front-page article so rife with speculation and obvious bias. Yes, I know they do, all the damn time, but that doesn't make it right. Anyway, Jesus Merino has run with Superman before, but this time he's running finishes over George Perez layouts, and that's a formula for awesome. This title hasn't looked anywhere near this good in a very long time. It's a real shame that we already know Perez is going to leave after six issues, but I'm going to enjoy the hell out of this team as long as they're here.

Im not nearly hyperbolic enough to call this the best Superman run in years, not after only two issues, but those two issues have presented to us a very solid foundation that makes me believe that Superman, in the world of the New 52, is in very good hands.

Sami Basri, coming right off a wonderful run on Power Girl, steps up and does a very good job on this issue. It doesn't hurt that he's already proven he can draw beautiful women, but he's also good with scenery, with telling a story through the looks on a character's face, and with crafting clever monsters. I don't know if I'll stay with this book for the long haul, but I liked this first issue enough to come back for issue two.

I'll just admit it. There's some cheesecake in this book, but it isn't all cheesecake, and considering the outcry we've seen over Starfire and Catwoman, this book is turning out to look pretty tame on that respect. Maybe that, plus the very solid story Marz is giving us, will help it find an audience in the New 52.

Getting past some weak pages of artwork, the story really kicks into high gear this month, and its turning out to be an entertaining one.

Hester is doing very well with what Straczynski left behind, but I must say, I'm looking forward to seeing what he can do on his own. He's proven already he can write Diana " let's see how he does when he plots her as well. --Blake M. Petit

This is a charged, energetic look at a classic character, and I'm very happy that Wagner will be allowed to complete his epic.

Hopefully the conclusion of this miniseries, and Wagners tenure with Zorro, will pick up a bit.

What happens in this issue is the sort of thing that will have major ramifications for our heroes, but feels like a very natural and even important progression. It's also the sort of thing you just couldn't do in most DC Universe books " the time-travel nature of this story opens things up for that quite a bit. Very strong ending to this issue as well, with everything set up to conclude the story in the next two issues and pave the way for the future (and, of course, Flashpoint).

I liked this book, and I like having Jurgens piloting this characters title to its conclusion. I just hope next month sends Booster out with a bang.

There artwork is fine " in fact, this is some of Leonardi's better work with these kinds of high-power characters as opposed to the street-level guys, reminding me of his days way back on Spider-Man 2099. It's just a shame that Jurgens and Rapmund couldn't cross the finish line alone, and I think it'll make this story a bit more disjointed when read in collected form. Still, it's a good issue, and it's entirely possible that the end gave us our first real glimpse (and I do mean glimpse) of the New DC Universe, which makes it interesting in and of itself.

Besides just giving us a scenario that is deliciously Who-vian, Sturges is masterful at creating authentic dialogue between the Doctor and Amy. The swift repartee and back-and-forth between the two of them is just a perfect recreation of the chemistry from the TV show. Yates does a very faithful reproduction of the two actors and a very good job of placing them into a medieval setting, and we get a lovely Mark Buckingham cover to top everything off. The book is a lot of fun, and a really nice supplement for fans of the Doctor.

The only flaw I can find in Shearer is that the fantasy stuff is a little more polished than it should be " it's very suitable for the sci-fi end of the comic, but the medieval village should be a bit grimier, a bit dirtier. Still, it's a fun tale that fans of the Doctor will lap up happily.

characters that don't at all resemble the actors they're supposed to represent and a lot of stuff, awkward panels. Matt Smith's Doctor is one of the most energetic ever, but these panels feel very static, like still photos rather than moments in an adventure. After having such a strong script, the artwork here at the end pulls the score for the book " and the miniseries " down considerably.

I liked this book, although there needs to be an effort to show just how it lines up with the main series.

Felipe Massafera's artwork isn't bad, although I find I like the look of the issue better when it's in outer space (or at least dealing with the alien characters) than I do on Earth amongst the humans. His Abin Sur and Sinestro look great, Cyborg and Hal Jordan aren't quite as sharp. There are good moments here, but not great ones, although the tie-in to the Flashpoint: Hal Jordan miniseries is appreciated.

Rocha and Massafera deliver on the artwork " the cover is a knockout, and the interior pages aren't far off from that quality. This is one book that really looks great. It was a good chapter in the overall Flashpoint saga. I just hope it wasn't a vital one.

This isnt one of the high-profile Flashpoint spinoffs, but I think its my favorite one to date.

Im really liking this story I just wish the art was more solid.

Once you get past the fantastic Cliff Chiang cover, the art doesn't quite live up to the story. Still, I think this may be one of the best Flashpoint spin-offs, especially in regards to pure character work.

Still, its a strong book, and definitely one of the better Flashpoint tie-ins.

Lois does take a bit of a back seat to the Resistance and their revelations here, but hey, they're the co-stars of the book. That's acceptable. And people curious about how the Wildstorm characters are going to factor into the new DC Universe will probably find some very interesting elements here. I also like Gianluca Gugliotta's artwork very much " very dynamic, very energetic, very action-packed, even if Jekyll's transformation to Ms. Hyde is kind of Hulk-esque. All in all, this title has been very satisfactory.

The artwork is good " clean, strong colors, and a fine battle sequence that was fun to read through. The only complaint " although it is a big one " is that in the end, Lois really kind of got the short end of the stick.

This is a good story, but if you come in expecting a travelogue of the Flashpoint Universe, you may be disappointed.

The transformations of each of these characters is intriguing, and leaves you asking questions about just how they got to this state. And that's pretty much what you're supposed to want to know. This doesn't answer the question of just how this quest will factor into the final confrontation of the Thirteens, of course, but that's a question for next issue. Eduardo Francisco does good work, but not great work. Some of the pages and panels are a bit too dark, too heavily inked to be really clear, a frequent problem when I see some artists ink their own line work. But he tells the story clearly, and the new versions of classic characters are all immediately recognizable. It works, and it tells us a lot about the different heroes of the DCU in the world of Flashpoint.

It's not a brilliant way to do it, it but it's at least clever enough to explain why one should want to read this story. Eduardo Francisco's artwork isn't bad, although a little slight in places, and while I'm not Brett Booth's biggest fan, I do think that he put out a really good cover for this finale. Overall, I liked this series, and I think it helped make the world of Flashpoint seem a little more real.

The story here has been great, and the art isnt too bad. This is easily my favorite X-title of the moment.

Will Conrad's artwork is nice and effective, but the cover is just awful. Colossus (who doesn't even appear in this issue) looks like a lumpy potato, and I didn't even realize that the flaming skull was supposed to be Ghost Rider until I opened the book and saw her there. I don't know what happened here, but this is one time the interior artwork far outstrips the cover.

Its a good issue and a fine end to Gishlers run.

The first issue of this direction for the title is fantastic. Cornell and Woods are off to a great start.

Traditionally, making the villain the star of a comic book presents the writer with a whole different set of obstacles. Paul Cornell is really taking those potential troubles and blowing right past them, giving us a comic book thats engaging, entertaining, and very cool.

Still, at least its a good story, which accompanies a great story up front, making this a very good issue overall.

The story includes the long-awaited DC universe debut of Smallvilles Chloe Sullivan, who has a history with Jimmy that fuels the plot. Jimmy, Chloes ex, finds himself in a position to prove himself to her. The result is a really entertaining story, with one of the best approaches to Jimmy Olsen Ive ever read. This is a character that deserves the spotlight of a story. He may not be the sort who can support his own series anymore, but this is the kind of stuff back-up features are made for. R.B. Silvas Jimmy is a bit older than hes been drawn in the past, maybe mid-20s instead of teens or college-age, which is perfectly all right. Its about time he moved forward a little. Its a wonderful complement to the Lex story, and together, these stories make Action Comics one of the best values you can get for your $3.99.

This is a fine combination of stories and perhaps the best single issue of Action Comics in years.

Another fine issue of one of DCs best titles.

Were in the home stretch now, with just two issues left in this story arc before the reigns of the title are given back to Superman. Im really happy that Cornell and Woods are sticking around, though. Their Lex Luthor saga has been masterful and I cant wait to see what they do with our star.

Excellent issue, and Im really looking forward to the end of this storyline.

This issue is great, and Im tremendously excited for the conclusion of this storyline.

Honestly, if this book wasnt following perhaps the greatest Lex Luthor story ever told, it wouldnt feel like such a letdown. But were following that great story with what so far is just another Doomsday story. Cornell is a fine writer and I have no doubt that hes got some great Superman stories in him. So far, though, this isnt it.

If nothing else, its great to see these four characters in action together, something that hasnt happened in a long time and may not happen again for another very long time (since weve heard nothing about Steels place in the new DC Universe). Ill enjoy it while it lasts.

I know that, come September, this will all be largely irrelevant, but I wish the original Action Comics was being given a more intense swan song.

I feel like there should be some sort of ceremony here, some sort of eulogy for Action Comics, but I really dont know how to do one. Its not really the end, after all, just the end of the current age. And Supermans seen ages end before, more than anybody else. Ill just cross my fingers that when we get Action Comics #1 in a couple of weeks, Grant Morrison shows us how, once again, Superman deserves to fly.

Im not big on the Hawkman stuff, but the rest of this issue is really good, and Im anxiously awaiting the big reveal.

Hawkman aside, this issue really does the job. Its set up the future of the storyline and gets you into the different stories of (almost) all of the main characters.

This issue is a nice boost to one of this titles weaker storylines, but I hope we get back to Firestorm and a bit more from Deadman soon.

Strong issue with a pair of good tension points to leap into the next story.

In summary: great story, uneven art, recommended, but not as highly as it would be otherwise.

The artwork here is very good some of Gleasons best in this series, in fact. I really like his design for the Green Lantern Jonn, and while his geriatric Flash looks sort of odd, he makes up for it with a pretty gruesome double-page spread that works in the context of Jonns hallucination. I do wish, though, that there was more communication between the interiors and cover artists of this series. I know that the covers are usually finished long before the rest of the book, but it bothers me a little that David Finch depicted Batman and Wonder Woman in costumes that dont appear in this issue at all, and that his design for the Green Lantern Jonn isnt even close to what we get inside. Am I nit-picking? Probably, but it just kinda bugs me.

Its no surprise that my enjoyment of each individual issue of this title seems dependant on how much I like the stories featured therein. This issue is one of the better ones.

Theres an interesting cliffhanger ending, and I get the feeling (with just four issues left) were seeing our heroes being drawn together for the grand finale. As such, its working well.

With only three issues left, its hard to see how theyre going to wrap everything up the Star City Forest, Deathstorms army, the missing Aquaman and Hawks, the end of Deadman's quest, and the assorted returnees who have yet to accomplish their missions. But if anybody can end it well, this is the team to do it. Heading into the final stretch, Im feeling great about this story.

Gary Frank and Nathan Eyring nail a really great cover, topping off this package. Going into the final two issues, Brightest Day is really satisfying.

Its terribly difficult to talk more about this issue without getting into spoiler territory, so Ill leave you with this. I thought it was a very solid penultimate issue, I feel like the threads weve been following are converging very well, and I anxiously await the finale in two weeks.

Overall, this is a fine ending to a very good series. Well done, Johns and Tomasi.

This first issue doesn't quite have the humor that the previous series had, but it's a truly solid, exciting superhero story with fine artwork and a great hero. Welcome back to monthly comics, Herc " hope you get to stick around for a long time.

The way the character is painted here is really kind of obnoxious" not menacing, just sort of loony and playing with his fancy toys and trying to make himself seem crazier than he really is. He's Joker-lite. Granted, I haven't been kept up-to-date with the ol' Goblin family, and I have no idea who's currently wearing the costume. It's entirely possible this is consistent with his current characterization across the Marvel Universe. Still doesn't mean I like it. It's not a big problem, but it is a problem. Fortunately, the charm of Herc more than makes up for his adversary's lack thereof.

If you can read this book without wanting to grease yourself up and march around screaming "THIS! IS! BROOKLYN!" and kicking your enemies down comically long shafts, you're doing it wrong. The combination of Greg Pak, Fred Van Lente, and Hercules has been a winning one for a very long time.

Sadly, if anything turns readers off this issue, its going to be the artwork. Mike Grell would seem to be the perfect match for this title, but the pages arent at all up to his usual standard. The faces are weak, the poses are strange, and only engaging thing about this issues villain comes through some impressive color work. For a legend like Grell, you expect far more than we get in this issue. Its a shame that this issue isnt sharper, because otherwise it does precisely what you would want it to do.

Im really enjoying this series, in many ways even more than the parent title Irredeemable, but that one nagging question is plaguing me now.

The end of this issue is one of the better cliffhangers this title has seen, and it also brings it right into conflict with the parent title. I don't think Waid is planning a full-blown "crossover," at least not as we traditionally think of it, but it seems clear that the over-reaching story he's telling is weaving through the two comics more tightly than ever before, and that can only be a good thing for fans of them both.

The first crossover between these two titles is going well so far. Im looking forward to seeing how all the pieces come together.

Interestingly, while I think Irredeemable had a better ending, I think Incorruptible is the book Ill miss more. The Plutonians story is well and truly over, but I could easily imagine Waid or somebody else coming back and telling more stories of Max Damage. Even in this new world, theres still more story to tell. Then again, maybe leaving the reader wanting more is the way to go.

Very strong issue to set us up for next months #75.

This is the sort of story that very much argues for the power of creator-owned. Ottley's work is as good as always " intense and full of pretty violent action. Great stuff here.

What starts off as a typical supervillain tussle takes a truly shocking turn on the last page, again setting this book apart from those others. It also serves as a reminder of the kind of freedom you get with these creator-owned comics. If anybody tried to do something like this in the Marvel or DC Universe, it would take a year's worth of committee meetings to decide if they were going to do it, and then spawn five spin-off miniseries and a banner headline for every book that showed the aftermath of the event for the next year. With Invincible, things are nice and self-contained. This issue works out well.

This isn't the way most superhero comics are written, but this isn't most superhero comics. Very strong issue with interesting portents for the future.

On the plus side, we end things with a cliffhanger that could easily give us plenty of action next issue, although Im a tad worried that Invincible is just going to try talking his way out of this one, too.

Although Robert Kirkman stamped a bit 1st Issue in a Bold New Direction on the cover (he did something similar with issue #51, as I recall), the direction isnt quite as bold as one might think. But that doesnt mean the issue isnt strong and the story doesnt work. I hope Mark isnt sidelined for too long, but as long as he is, its nice to know weve got an interesting story to keep us company.

I never would have thought I would enjoy this series as much as I have, and Im really glad that Kupperberg and Breyfogle are continuing to knock it out of the park.

In addition to the two Archie stories, this issue also begins the new Jinx feature. The former Lil Jinx character that ran in the pages of Archies various titles for many years has been retooled into a teenager, and here we see the first glimpse of the older version of Jinx and her friends. This isnt bad, but it isnt phenomenal either. The stories work fine as one-off gags, but most of them dont feel any different than the one-off gags that we got when she was a younger character. Yes, the artwork is more sophisticated and the technology references are more up-to-date, but the jokes are pretty much the same. On the other hand, this is listed as a sneak preview, so once the full feature debuts next issue, hopefully well see a bit more development from Jinx and her friends.

One last word about the extra features this issue while most of the time I ignore the extras, as theyre usually focused on teen stars and starlets I dont have any particular interest in, this month it just got to me. Giving up so much of the issue to talk about the coolest president started to grate on me after a while. Personal politics aside, I feel like theres something disrespectful about discussing the President of the United States in the same sort of fawning blurbs and factoids as you do Justin Bieber and the cast of Glee. It oversimplifies a person and a topic that are far too important to treat in such a cavalier manner. This really did feel like too much. If I didnt love the stories in this magazine so much, that would have been enough to make me pass on buying it altogether. As it is, try to ignore the features and just read the stories that you paid your admission for.

Another great issue of this magazine, and this month you get even more for your money.

I love the comics in this magazine. Its the rest of it thats kind of letting me down.

The book also gives us two pin-ups, a creepy entry from Mike Mignola and a sexy cheesecake shot from Jim Silke, one of the best to work in the style since Stevens himself. The Rocketeer is too great a character to be left sitting on the shelf any longe. Im very happy that IDW has dusted him off and is doing him proud.

Why is this only a four-issue miniseries, IDW? I could read this comic forever.

We also get a couple of nice pin-ups here: Stephanie Buscema and Joe Chiodo, with covers by Alex Ross and the late Dave Stevens himself. All together its another great package, and again one questions why this is just a miniseries and not an ongoing.

I did so love this miniseries, and I do so want to see it become an ongoing, but its a good thing this was the last issue instead of the first.

I feel like a new reader would feel very left out, though, with oblique references to previous runs on the title and to last year's Brightest Day storyline abounding. Even I'm a little lost, and I read all of Brightest Day. But there's definitely potential here, especially as this book seems to be a brother title to Jeff Lemire's sublime Animal Man. Yanick Paquette is doing some very nice work here. This is a different look for Superman (and Batman and Aquaman in their cameos), but the big, bold look works for them. His depiction of Swamp Thing himself is just fantastic. I liked this book, but I'm not in love with it. I'll need an arc to make up my mind.

The book looks fantastic. After issue one, I was still on the fence about this book, but issue two is doing its job. I'm definitely in for the rest of this story arc, and if it satisfies me as much as this issue does, I'll keep reading beyond.

A huge part of that has to go to Scott Snyder, who has made me interested in the bizarre world of the Green and how it relates to the Red and the Rot. A lot of it has to go to DC, who has admittedly jumpstarted my interest by making Swamp Thing a part of the DC Universe again, which automatically gives the events of this book grander consequences than before. And a little even has to go to Jeff Lemire and Animal Man, because readers of the two books know that we're seeing different perspectives on a single tale. Either book could be read independently of the other, but reading them both is helping me feel like I'm looking at a larger tapestry. It's entertaining, engaging, scary, and a hell of a lot of fun. So thanks, everyone, for finally making me a Swamp Thing fan.

This issue ends with the sort of cliffhanger that has people salivating for the next issue. Snyder and Rudy have truly made Swamp Thing one of the gems of the New 52.

This is a good start, but I cant help feel it would be a better middle.

The script, though, is really good. Guy Gardner fans can eat this up.

Much as Ive loved this book, that one thing is really eating at me. Can you tell?

Very good issue, and the quality of this crossover ticks upwards a hair.

Fine penultimate chapter, and I cant wait for the grand finale.

But for those of us waiting for the aftermath of the war, it really feels like were treading water here, waiting for the wave that should have hit by now.

Tomasi is really taking advantage of the outer space setting of this title in the last few issues, giving us stories that wouldn't work on Earth or, for that matter, on most other planets. Seems like the Green Lanterns are going to finish off their current run with some solid one-off stories that build on what we've had before without setting up stuff they won't have time to finish. That's the right way to do this.

I like the book and I like the new flavor for Hex. I'm just curious about two things " will the back-up stories, beginning next issue, justify a higher-than usual cover price, and if the book will be cheeky enough to call itself "Western" if Hex does, indeed, put down roots in the east coast city of Gotham?

I'm going to assume the Trench are the creations of Geoff Johns and Ivan Reis, and give them credit for whipping up a legion of underwater monsters that are ugly, creepy, and feel like a legitimate enough threat to help them prove this comic's "Aquaman-really-is-awesome" thesis. They're freaky-looking things, like the Creature from the Black Lagoon mixed in with a piranha, and watching Aquaman and Mera face off against them is plenty of proof that this character can be cool when you give him to the right creators. Awesome issue, and I'm happy to say that Aquaman continues to be one of the breakout stars of the New 52.

Its a really good issue, though, and if youre a fan of Avengers Academy (and you should be) its worth reading.

It's not the greatest Batman story ever told, but that's okay. It's not the "last" Batman story, either, even if it's the last issue. But it's a good place to look back at the sons of Bruce Wayne, smile at the family, and take a leap of faith into the future.

Im getting past the art here because I really enjoy the story, but I do wish this comic looked better.

Batman not being a character that needs too much introduction even to the layman, the important thing here is that the book establishes Damian and shows the nature of their relationship. It works very well I that regard, clearly explaining who Damian is and how he and Bruce get along (not that well). New readers may be a bit confused about why there's a Russian Batman, but beyond that there isn't too much of a learning curve. Patrick Gleason brings some of his best work to this issue " clean, bold, exciting pages with plenty of action. Batman fans should be perfectly satisfied with this one.

Good issue. Its fun to see the Robins in conflict with each other, and sets up plenty for the future.

A very strong issue and a nice way to start the new status quo for the Batman family.

Im really enjoying this title, and this experiment in the Batman universe. Lets see where it goes.

Its hard to say for sure, but I get the impression from reading this issue that weve been introduced here to one of the key characters for the upcoming battle with Leviathan. It doesnt go down how youd expect, though, and thats a good thing.

Fine first issue, and Im very happy that Jaime Reyes has a home again. The only thing I dont get why did they move him from Albuquerque to El Paso? Was it just to make it easier for the reviewers to spell?

The book serves a strong wrap-up to Season Eight, but the last few pages also give us a clear feeling for Season Nine, which Whedon promises will have a more back-to-basics approach. Less of the big, world-altering stuff in Season Eight, more character stuff, and more of Buffy doing what she does best, which is whale on vampires. Who doesnt want to see that? Ive enjoyed Season Eight, and really look forward to Season Nine.

This is a very strong first issue, and it actually bums me out a bit that this is only a one story-arc sort of thing. I really hope that DC Universe Presents winds up in the old Showcase vein of being sort of a try-out book. This is a Deadman I want to read more often.

I dont know if this book will bring the Challengers back in a big way, but its not a bad introduction. The real question is where they will find the room to grow.

If youve never read a Dial H story before, fear not. Theres nothing in here that beholds you to the history of the series. It can very easily be looked at as a self-contained comic, full of bizarre ideas and weird magic, the sort of thing thats a lot of fun to read about. The comparison to early Vertigo is deliberate. This book reminds me of Grant Morrison Animal Man and Doom Patrol more than anything else, and I mean that in a complimentary way. If you enjoyed those comics back in the day, give this one a try now.

This is turning out to be a great, bizarre little story that works very well.

In this one, Donald and the boys get their hands on an underwater camera" good for a little scuba diving, perhaps? But Donald has higher sights " getting the first-ever photo of the Loch Less monster. All three stories in this issue are really funny, and all three have fine artwork as well. While there's nothing here that I would call a crowning achievement, it's about as close as you can get without holding a ceremony.

The story is pretty standard for the time, with Donald and the boys getting caught up in a search for pirate treasure, and hitting some pretty funny moments along the way. It's of particular interest that the book includes work from Disney (and later Woody Woodpecker) animator Jack Hannah, who did some early work with Carl Barks back in the day. It's a fun issue, but the strangeness of the first story makes the reading just a tad awkward.

The "duck versus nature" theme continues here, as he finds himself going to war with some crows who have nested near his home, causing calamity for him and leading him to cause even more calamity in the attempt to drive them out. Two funny stories make for a good issue of this venerable magazine.

But Eric Shanower and Skottie Young bring the charm that made their first three volumes hits to this next story, giving the underground world some excellent visuals, and making the scenes of the characters walking on air (which honestly never made sense to me, even in the magical setting) look comprehensible. The characters grow and develop through Young's fine visual "acting," making Zeb and Jim the horse fit in well with the established world, and bringing the proper sense of arrogance to Eureka to make her stand out amongst the rest of the Ozian creations. Very good art, wonderful script, making this a fine interpretation of the story.

This issue is a really strong return for the Dynamo 5 team, the introduction of Notorious works well, and by the end Im anxious for issue two.

Really, really nice way to kick off this story.

This is a story with no heroes and more than its share of villains " sad, powerful, and a solid lead-in to the finale of Flashpoint. Vicente Cifuentes definitely holds his own on the art, delivering a very strong battle sequence between Arthur and Diana, making for a book that's visually engaging as well as moving to read. This book, along with the Wonder Woman title, is really where the circumstances of the world are given shape, and it's made for a very strong story all around.

Story-wise, this is one of the better Flashpoint spin-offs. The artwork keeps it from being a knockout.

Gates manages to close a circle here, giving Bart much-needed contact with Barry and a chance to make things right between them before it's all over. The artwork by Oliver Nome is solid, probably the best artwork this series has had yet. Scott Kolins' pages, however, are too thickly inked, too heavy, and in stark contrast to the rest of the pages. Still, it's a worthwhile finale, not just for this miniseries, but for the Flash Family of the 80s, 90s, and 00s.

Like I said, this probably isnt a terribly important issue, but its a hell of a lot of fun.We don't yet know which (if any) new Flashpoint characters will make the transition to the new DC Universe, but I rather hope the Canterbury Cricket finds a home somewhere.

Im still waiting for an ongoing series from IDW. Weve had two solid miniseries and this is the third holiday special in a row (following Christmas and Valentines Day). But when, on when, will we get some busting on a monthly basis?

The end of the book is really solid and sets up a small change to the status quo of Ray Palmer, which probably would have played out a bit more had the series continued. Jeff Lemire did some fine work with the character, though, and I certainly hope he gets to play with him again sometime soon.

Very solid issue, a nice part of Brightest Day, and a fun read.

Doug Mahnke is still on the book as well, and he's still doing good work, although for the first time I'm noticing that his Earthbound scenes aren't quite as good as those in outer space. The ordinary humans, the talking heads stuff doesn't look quite as good as the scenes of action, in outer space, or with assorted aliens. Not bad, just not as good. It's a very nice launching point for this book, highly entertaining, and a relief for fans who didn't think there was anything wrong with this franchise to begin with.

Although this title shifted gears with the New 52, it really hasnt skipped a beat. It could easily have continued on from the previous series without any substantial changes to these first four issues. But thats fine if its not broke, dont fix it.

Strong issue overall, and a nice set-up for the next storyline.

There's a lot of good material here, the sort of thing that I want to see explored and examined in greater detail. Tyler Kirkham's artwork isn't bad " his Michael Turner influence is clear, particularly in the faces of the female characters .But he tells the story well and easily handles the different alien body types. I'm not a fan of Kyle's shaggy hair, but I've never exactly been in fashion, so what do I know? Good stuff.

This is a really weird comic, but its one I enjoyed greatly. I look forward to seeing where this story takes us.

Halfway through, this is shaping up to be a great early Cassie story. Heres hoping the new beginning and the new publisher will help this book find the much bigger audience it truly deserves.

This prequel miniseries is really selling Hack/Slash. Any new readers who try this out will be drawn straight to the series when it makes its triumphant return.

With this issue, Cassie Hacks year one tale comes to a fine conclusion. Supposedly theres a special in the works for later this year before the title returns to regular monthly status in early 2011. There was never any doubt that Id be along for the ride. I just hope this miniseries helped pick up a few new readers who werent exposed to this sort of bloody good fun the first time around.

Like most stories that focus on Vlad, this one is pretty sad, while still managing to give the character (and readers) reason to hope. Thats not a bad place to be.

Regular artist Luca Rossi does his fine work one last time, and Tony Akins and Teddy Kristiansen both jump in for well-done tales of the House in other realms. Inaki Miranda's chapter, though, just shines. The characters are incredibly expressive and emotional, and the scenery is fantastic. Miranda is definitely a creator who should get a regular gig, and soon. I'm not happy this title is ending, but I'm glad to see Matthew Sturges bring it to an ending that feels natural, like it ended in its own time, which is a luxury far too many comics don't get. In the end, the eight volumes of this series will stand up as a worthy part of the Vertigo library.

The jury is still out on Infestation 2 as a whole, but this is easily the best installment of that storyline thus far.

Peter Krause and Diego Barreto give us good art, with styles that compliment each other well and don't betray where one artist finished and the next takes over. The book is full of truly disturbing moments, powerful characters, and deep philosophical questions. This is the thinking man's superhero comic.

I'm sorry to hear that Peter Krause is leaving this series, as his involvement was one of the things that spurred me to pick it up in the first place, but I hope Diego Barreto is planning to stay on as full-time artist. The two of them complement each other well, and the book has maintained a successful, consistent feel with them trading pages. Let's hope it stays that way.

Peter Krause, apparently approaching the end of his run on this book, is going out strong, with a haunting final page that will stay with you long after you finish reading the book. This is a powerful, emotionally-wrenching comic book that delivers almost every time.

Artistically, Aaron Lopresti does very good work here. He draws good, clean, well-told superhero stories, with some awesome beasts at the end. My only complaint, visually, is Booster's new costume. It's based on the old look, but it feels a little too busy at the top, and the lack of boots makes him look bland at the bottom. Would that it were balanced out a bit more. Still a very good title, though.

Jack Herbert does most of the artwork here, although Alex Ross does contribute a bit to the interior pages (as well as the cover, of course). Both artists, fortunately, do a fine job of using Kirby's designs in a more modern context, creating some nice looking artwork to help the story along just a hair. This zero issue has real potential, which is pretty much all you can expect for a buck. I'll give the series a try.

Between this book and the tales of the classic Legion over in Adventure Comics, one can only assume that Levitz is having as much fun writing these stories as fans of the Legion are having reading them.

The Legion is one of my favorite properties in comics. Im really glad that, with this title, its on its way to becoming one of DCs best books again.

Its been a really strong story, though, and Im anxious to see where it goes next.

Fans of the Legion as it existed last month, fear not. Youve got just what you want. If you werent reading Legion of Super-Heroes in August well, I hope you can find something to enjoy as well.

Cinar and Faucher once again give us strong artwork, particularly their Brainiac 5, with a great reveal later in the issue. If Levitz pulls back just a tad on the number of plotlines he has ongoing at once, this book will be a lot better.

Its a shame this book came out so close to the end of the year, because I could easily see it worthy of being on many best of 2011 lists if wed had a few more issues to sink our teeth into. But hey, theres always next year.

Its interesting that, rather than starting a longer storyline, this issue adapts a single Holmes short story. Im assuming that the other three will do that as well. It will help set this series apart from the rest of the Muppet comics that weve been treated to from Boom! Youve got to admire them for constantly trying new and different things with these comics.

Amanda Conner does her usual gorgeous cover. David Lopez's interiors aren't exactly the same, but his facial features and acting are evocative enough of Conner's style that it doesn't feel like the cover and interiors are worlds apart. All in all, I really liked this book. I hope it finds its hands into the sort of readers that would probably like it the most.

Im really enjoying this title a lot. While I think all of the CrossGen titles have long-term potential, if I had to pick just one to see move on from its initial miniseries, this is the one Id go with.

At any rate, its a good comic. Dick Grayson fans have nothing to worry about.

If you're a Peanuts fan, if you're thinking of reading this comic either by yourself or with your kids, grab this zero issue. It'll help you make up your mind, if nothing else, and I think you'll be pleasantly surprised.

This book is way better than I would have expected it to be. Its funny, its cute, and its just morbid enough to be entertaining. Even if youre not into the game, this is a book that will give you a good chuckle.

Im going to give Winick a story arc to decide if I want to stay on this book, but one issue in has me on the fence. It all depends on how the last-page revelation plays out.

It will be some time before such a determination can be made, but if the book continues in the direction Winick and Basri have been taking it straight up well look back on issue 21 as the moment this title grew the metaphorical beard.

This issue will dig right into the classic debate of who's the real man and who's the disguise, Clark Kent or Superman, and applying that same question to Power Girl is a new, but very legitimate, direction in which to steer the character. Sami Basri has done a fabulous Power Girl for many issues now, and this issue proves that Superman is no problem either. He's strong, he's bold, and he even has a picture-perfect spit curl. Plus" dinosaurs. How can you fail to have fun with that kind of chemistry?

Sami Basri has given us another book of clean, energetic artwork, including dinosaurs with machine gun hands and one dressed as a lumberjack, which together give you just about anything you could want in a dinosaur. The only black mark to this issue is a rather stilted opening page. Winick tries to give us a recap in a funny way, but even given the conceit that Superman and Power Girl are having trouble hearing one another, the dialogue is just way too stilted and clunky to really work for the characters. One bad page versus 19 great ones, though? That's a pretty good ratio.

The action scenes are nicely done, and he's good at getting the emotion in the character's faces. It's a good issue, though. Out of all the books that aren't coming back after the relaunch in September, I think this is the one I'm going to miss the most.

This was a good issue and a great series. Im definitely going to miss picking up Power Girl when the New 52 hit my pull folder next month.

Image Comicss 20 anniversary is coming with a lot of gifts there have been over a half-dozen new titles launched so far this year (more if you count miniseries), and many of them have been really entertaining comics that immediately demand a spot in my reading rotation. This is another fine addition to that roster.

There were, however, some interesting twists and revelations, some of which would never have been possible in the series' original off-Earth setting, so it's nice to see that Mark Waid is making use of Marvel's decision to bring the CrossGen titles back down to Earth. Mirco Pierfederici has a different style than original series artist Butch Guice (who gives us the cover), something a bit more like a painting. It works, it tells the story, but it does give the story a different feel. Of course, that may well have been the intention. It was a good book, though, and I really hope Marvel brings it back again.

Its a strong first issue that has me curious to see where the title will go next.

The book feels like its on something of a slow burn right now, which is to be expected. Were only on issue two, so theres nothing wrong with being handed more and more questions without having been given any real answers yet. Hopefully, though, this wont be a book that makes us wait too long to figure out whats going on, or at the very least, will give us a feel of progress being made. For a title like this one, if the reader doesnt feel forward motion, its the kiss of death.

In addition to those two stories, told in full color, there are also several black and white pages of short comic strips, a credits page that looks like it spilled over from a Mad marginal, and two game pages one spot the differences page and one where youve got to locate the two identical covers in a crowded comic book shop. Its rare for any publisher to offer an artist such free reign to do whatever they want in the pages of a comic book, but even rarer for the creator to do such a diverse array of things in the pages of a single comic book. Aragons is one of those guys who knows his strengths and plays to them flawlessly. If youre a fan of his work in any of those many, many places hes done it before, youll love this comic book.

The premise here is really very clever, and something that's totally unique to this particular incarnation of this particular property. The trick will be to find ways to tweak the classic stories and not just re-tell them. The subtle changes in the characters made this first issue work, and work well, and I'm hoping it keeps up. Stephen Molnar succeeds on the art side of things as well, creating characters that look like the actors but still work as comic book figures. It's a unique way to kick off the series.

I liked the story a lot, though, and anyone reading the current JLA story will probably enjoy this step to the side to see whats going on with some of the absent characters.

The book wraps up with some pin-up pages (including a fantastic Icon page by Jamal Igle any room for him to draw a new Icon series in the DC revamp, guys?) and text pieces by Milestone co-founders Michael Davis and Derek T. Dingle, suitably bringing all of the Milestone founders together one last time. McDuffie was an amazing writer who truly wasnt appreciated for the talent he was, and this one-shot is a suitable tribute. But an even better tribute would be for the Milestone characters to live on. Ill be watching carefully as the new DC Universe is announced, and I really hope to see these characters represented.

Howard's designs are really fun, especially Super Dinosaur himself. The cool stuff is actually pretty subtle, too " I was halfway through the book before I realized that Super Dinosaur was using his stubby Tyrannosaurus arms to operate the controls for his robot arms. This book really is fun, and it's the sort of thing Image isn't doing anywhere else. That alone makes it worth giving a try.

The situation with Dexter's father is a sad one, and it gives the characters a real tangible goal with real stakes beyond those of the crazy monsters and supervillains they have to fight. Perhaps even more important, though, is the way the Dexter/SD relationship is painted. Although SD is the big gun and the title character, he's most definitely the sidekick in this scenario. Dexter is our star, Dexter is our hero, and that places this book firmly in the camp of such good company as Marvel's Sentinel series or Mike Kunkel's Herobear and the Kid. It's a child's wish fulfillment fantasy with some real intelligence to it, and that's exactly the way to play a book like this to make it work.

This is a real, true all-ages comic something that a parent (most likely a father, lets be honest) can read and give to his kid to enjoy together. And thats what all-ages should be.

The book also utilizes the multiple artists well, using each for a different time period (which is the best way to do it to begin with), but also using artists whose styles complement each other rather than clash. There's still one issue left, which I'm looking forward to. I just wish Lemire had been given more time to play with this character and really make his mark.

And another farewell to another strong book that could have lasted longer.

Despite a slightly lacking lead story, many of the short back-ups in this title are just fantastic, and make the book easy to recommend.

Strong artwork from Chriscross also helps this book out a lot. His designs for the "other" Superman and Batman are really cool " kind of medieval while still feeling in-character, given the last page reveal. And the interaction between Batman and Detective Chimp, always funny, is improved nicely by Cross' work on the Chimp's face. Best issue of this title in quite some time.

After two sub-par chapters of Reign of Doomsday, its nice to have an installment that rises to the level of the great Steel one-shot that kicked it off. Lets hope the quality continues as the story moves into Superboy.

It's so hard not to compare this book to Spider-Girl" the same creative team, the hero-of-the-future motif" even Armorgeddon feels like a villain Tom DeFalco and Ron Frenz may have put on the shelf after that series ended and dusted off for this one. In fact, it feels like a Spider-Girl story in many ways, most of them good. Fortunately, it also feels like a Superman story. The character here comes across as a man struggling to prove his continued relevance, even to himself, which makes a good angle to take with Superman in the world of Batman Beyond.

After the sort of meandering Realm of Kings crossover, its nice to see the Marvel Cosmic line come back to something much more focused. To the best of my knowledge, there hasnt been any announcement yet as to what the ongoing status of the two parent books will be after this event ends, but I hope we still have both Nova and the Guardians around in some form. This title really shows that they can carry their line very well.

This book is going to be a sleeper, Im sure of it. Its a very strong opening to what I hope will prove to be a strong storyline. Gischler really feels like the right person to tell this story, and Im looking forward to watching him blend the horror aspects of this story with a superhero world.

I'm a fan of Yildiray Cinar in general, but there's something a little off about these pages. Actually, I think the problem may be in the coloring. Several of the pages look too light, like the blacks are washed out. I noticed it in the first issue as well, but I thought it was a printing error. Now I'm wondering if Steve Buccellato is experimenting with the colors. It's a valid idea, but I don't think it's quite working. But just about everything else, fortunately, is.

This is hard sci-fi for the fan of such things. Hickman is doing something as different from other time travel stories as it is from his more mainstream work, and the conclusion is something I cant wait to read more of.

I'm noticing an awful lot of white space in this book " from the covers to the title page to many, many of the actual story pages, there's way more empty white than I'm used to seeing in a comic book. Looking back, it seems that issue one was that way as well, and I find myself wondering just what that's all about. Is it simply a design choice, or is it something that has story resonance? I'm curious, I'm engaged, and I'm looking forward to issue three.

The fact that I can't wrap my brain around it is making it more difficult to enjoy the book. Maybe it's just me, maybe everybody else is having no trouble playing along here, but I'm just not getting it. Nick Pitarra and Rachelle Rosenberg are having more success with this book " it's very good visually and looks unlike any other science fiction property I've ever encountered. Hopefully, the finale of this miniseries will help bring things into focus, because issue three just lost me.

If youre a fan of the novel wondering if the comic is worth reading, Im saying yet. If youve never read the novel but you want to see vampires made scary again, draining the romantic notions that have become so painfully prevalent in the last 20 years or so, this book is the cure youre been searching for. And if you like your horror with just a dash of scientific reality here Im thinking of fans of Images Witch Doctor, this is the book for you, too.

To do a CYOA comic book with real meat to it something with multiple endings and stories that loop around and back on themselves would probably require a volume the size of a Showcase paperback and take an awful lot of time and effort to produce. Until someone is brave enough to chance that, a giant-sized issue like this one is a lot of fun to read.

I dont know that this book will be a must-read for people following the Batman storyline. It does feel very much off to the side, very tangential to whats going on with Dick Grayson and company. But if youre a fan of Booster Gold, time travel stories, and Dan Jurgens, this is a fine start to the miniseries.

This book really works as a bridge, tying together dozens of time travel characters and adventures stretching back from Armageddon 2001 and laying ground for Flashpoint. And taken from that perspective, its just what you want.

What's really great about this issue, though, is that new characters never really seem to leave this cast. Once someone shows up, they can pop in at any time, and I really hope that this is just the beginning of more adventures with the Marvels in the future.

The Blue Beetle scenes may be best stuff in the book, though, as he finds himself arguing with his own backpack over the precise location of the lemons they need, all of which leads to one of the funniest jokes in the book at the end. The book also gives us an activity page, one of the many little tidbits that makes this truly the best comic you could be getting for your own tiny titan. It's just pure fun.

This book is always silly, but this issue goes a little further into the sort of absurdist humor that makes the title so much fun. At the same time, they work in small in-jokes and gags that will probably play more to the parents than the kids, which makes it the sort of book they can all read together. The artwork is as funny and expressive as ever, and something about the joy and simplicity of the cover is even better than usual. I love this book, and it makes me deliriously happy that it won't be impacted by the relaunch. If it ain't broke, don't fix it.

This book is always a great all-ages read " lots of fun for the kids with sharp enough humor to keep the adults entertained as well. But this issue takes it a step further, with a few jokes that are clearly just for the parents, making it all the better.

From a story standpoint, fortunately, its much better. This is a really strong follow-up to an excellent storyline.

If you look at the beginning of the book to the end, though, you definitely see a shift. I'm not really sure what that means, except that the editor assigned their pages in the proper order. It's a nice little plateau to leave the Green Lantern titles on before everything starts over in a couple of weeks.

Neil Edwards' artwork is solid, with some really nice full-page spreads full of power and energy. Our heroes, particularly Fandral and Vostagg, share the same expressions a bit too much. Their faces are differentiated nicely (look at the shapes of their noses, for instance), but they have the same smile at lot of the time. The package is good, though, and entertaining.

Im really happy to have this series back. It was a favorite of mine back in the day and Ive missed these characters. Lets just hope this first issue brings in some new readers to boot.

Despite that, Im enjoying this book much more than I thought I would. Currently, its the top comic in the X-Men corner of the Marvel Universe.

And one last comment this, kiddies, is why its important to know proper grammar and punctuation. If you dont, youll never understand the clever apostrophe placement in the title of this book. Its not a mistake, gang.

I really, really liked this first issue. Welcome to the DC Universe, Xombi. Hope you stick around for a while.

This book is weird, crazy, and really fun.

Two issues in, Im liking this book, but Im not in love yet. Im definitely leaning towards adding this to the pull list, but it may take another issue to sell me on it entirely.

In case you couldnt tell, Im digging this book. Its another wonderfully original book from Vertigo.

The next stage in the saga of the Fantastic Four well and truly begins here, and while the death of the Human Torch will be a tough act to follow, its hard to imagine any creative team that could do it better. Call the book whatever you want, its still fantastic.

Great issue of what is probably Marvels best ongoing series.

Steve Epting walks a nice line between wild sci-fi and dark superhero artwork himself, making him the logical choice for the title. It's an intriguing idea, and there's plenty of room here to explore all corners of the Marvel multiverse. I'm really glad to see Hickman getting the chance to reach out and take chances with his stories.

Again, we get a great issue of a great comic. In fact, its Marvels best title, and one of the best titles in comics. And yes, I know I say that about FF an awful lot. I promise to stop saying it as soon as it stops being true.

Visually, I like the idea that the Future Foundation uniforms are adaptable, although I'm not entirely sure why that is. Regardless of why, the variants Reed and Spidey wear this issue are cool, and it's still terribly weird to see the likes of Dr. Doom, Diablo, and the High Evolutionary sporting the same colors as our heroes. I'm loving this title even more now that we've finished our two-issue sidetrack into Inhumans territory and back to the characters that brought me to the title in the first place.

I'm missing Sue and Ben in this story arc, but the story is proceeding just fine without them. Steve Epting's art once again works very well with the story, particularly the alternate universe Reeds. Even though they've all got the same face, Epting uses more than just the costuming to differentiate between them. They wear different expressions and different emotions " they look like different men. Great book.

The writing, as has always been the case with this title, is sublime. The art deserves much, much better.

This, along with Fantastic Four, may be the best-written book in Marvels stable right now. Until the art problem is fixed, though, it cant be one of the best titles overall.

The issue, and the series to date, is quite enjoyable.

The action is really strong here, the stakes are high, and Aaron Lopresti's artwork is top-notch. Perhaps best of all, by the end of the issue we've really got a feel that this is a group that's come together as a cohesive team instead of just characters brought together by convenience or mutual danger. That's really important here. It makes the stakes higher, and it gives me greater hope that once Brightest Day is over, DC may just find a way to keep this group together permanently.

Strong issue, Im still not buying that the Beetle is dead, but the story is turning out great.

Bennett shows off some impressive comedic chops here, using a few sight gags and static panels to nail some of the jokes Winick has set up. This issue really feels like a wonderful blend of the 80s-era JLI and the modern superhero style. In other words, it's really damn good.

It doesnt really hurt my enjoyment of this issue, though. This was a really good chapter, and Im looking forward to the grand finale.

This book soared on every level. Great characters, real heart, fine action, and just a bit of the humor that these characters are so perfect for. So Im gonna say this simply, DC give us the new Justice League International series soon, and if you can, keep Winick and Lopresti on-board. Theyve earned the book, and theyve earned our respect.

Honestly, out of all the things happening with the relaunch, the state of Superman was one of the things I was most nervous about. But Grant Morrison demonstrates again how much he knows this character and how right he is to tell his story. This issue rocked.

I am loving the new Action Comics. I dearly hope this creative team has no intention of going anywhere anytime soon.

The book looks great, it feels right, and I had fun reading it. Thats as complete a recommendation as I can give a comic book.

I do have two minor complaints about the issue. First off, the cliffhanger ends with the information that the story will continue in issue #7, and that next issue will be an interlude. As far as I can tell, Grant Morrison is still writing that issue, so Im rather confused as to the reason for the interlude. However, that may become clear when the next issue is released, and its technically not a fault with this issue anyway. The other little problem I have is Steels armor. It looks okay, and again, Brad Walkers rendition of it is fantastic, but it looks rather similar to Cyborgs design. Yay to the DCU for embracing diversity and all that, but do you really want your first two minority superheroes (again, chronologically speaking) to have such similar visuals? On the other hand, this is clearly Steels prototype armor, and Im keeping my fingers crossed that the completed version will sport a look all his own.

This has been an interesting little diversion. Im going to be happy next month to get back to the main story, though.

For all the good in this storyline, and in this issue specifically, Im not going to let a few bad pages ruin it for me. But those bad pages leap out at you and pull the overall score down, and thats a real shame, to fumble the ball right before the endzone.

Fantastic issue and a very nice way to kick off the books next storyline.

Ive loved every page of this series, and I cant wait for next issues conclusion. And knowing that therell be an issue five coming up afterwards just makes it all the sweeter.

This is Boom!s best Disney title, and thats coming from a healthy stable of great comics.

This issue brings the titles second story arc to a brilliant conclusion. Please, Boom!, keep em coming.

This is one of the best creative teams working in comics, consistently putting out one of the best humor comics, the best comics for young readers, and the best old-fashioned superhero adventure any fan could want to read.

Once again, I love this book, and I love how the B-plot seems to have flowed into what will likely be the A-plot for the next issue or two. Its an unexpected path for Darkwing to take, but it should be really, really interesting.

Once again, weve got a fine issue that continues to advance this series nicely.

James Silvani continues to be one of the greatest artists ever to chronicle the Disney ducks in comic books, although a bit of unfortunate page placement spoiled the surprise about Launchpad's campaign manager. There's a great set-up that would have been hysterical if the reader had to turn to the next page. Instead, though, it's a facing page, and the glimpse of the character there was enough to spoil the joke. Sad, and I imagine it's not Silvani's fault. But still, if that's the worst thing you can say about a comic book, that's still pretty darn good.

As satisfying as the end of this story is, the last few pages are really exciting. Sadly, Boom! Studios's time with the Disney license is almost up, but they're going out with a Darkwing Duck/DuckTales crossover, and the finale of this book lays the groundwork for that nicely, not only bringing in the DuckTales heroes, but also the return of one of the greatest Disney villains of all time. In bittersweet excitement, I await the finale of this great comic book.

As a first issue, its almost entirely set-up, but thats really to be expected of these event stories. It has me curious about what brought the DCU to this point and even more curious about what changes (if any) will bleed over to the restored DCU. At this point, thats what the story needed to do.

As last issue did, this one ends with a doozy of a cliffhanger, although even in this universe, I find it hard to believe that it means exactly what it appears. Still, if nothing else it really helps to accentuate the fact that the rules have been thrown out entirely in this universe, and with a new DC Universe coming around the corner, that seems more important than ever.

This story really has gotten better with each issue, and with next issues finale prepping us for the big relaunch in September, this seems like the rare crossover that delivers on the promise to change everything.

If youre looking for a book that breaks down each and every nitpick and tweak to the DCU, you wont get it here. This wont explain why Superman isnt wearing red trunks or Wonder Woman cant make up her mind about the pants. But it is a very satisfying way to explain that the whole universe is going to be a bit different now, and its heartfelt at the same time. It is, in fact, a very good way to begin something new.

One of the best issues of this title since Brightest Day began.

Very strong Brightest Day chapter that gives us a break in the main action before we ramp up towards War of the Green Lanterns.

This storyline has done a great job of building up those new characters, exploring a little more about how they work. Doug Mahnke, who's been doing great work on this book for close to two years now, is doing some of his best work now. The spread where Hector Hammond, using the Orange Lantern power, begins digging into the minds of the heroes is really chilling, and revealing at the same time. It's odd, just how much the desires of Saint Walker, Larfleeze, and Atrocitus seem to resemble each other" and Indigo-I's desire just raises more questions. Fine ending to The New Guardians, and I'm pumped now for War of the Green Lanterns.

Johns has done a fine job of bringing the Lanterns to a breaking point. Im terribly excited to see where he takes them next.

That doesn't mean it isn't exciting, though " it most certainly is, and Doug Mahnke's artwork makes it even better. This is a great way to kick off the storyline.

The storyline is working for me, in short, and by a large margin.

A great chapter of a really good storyline. I look forward to next months conclusion in this title.

It would take someone whos never read comics before to think the way things end this issue are permanent, Ill admit that. You cant look at stories in an ongoing superhero universe as ending, just finding a plateau upon which to rest. As plateaus go, this is a really good one. I really cant wait for September, to see where this story is going to go next.

This book has been just fantastic for a very long time now. Its nice to see it getting the recognition it deserves.

Tyler Kirkham's artwork isn't bad " his linework is fine and the action scenes work out well. Some of the inks by Batt have a tendency to weigh down certain images, though. There are interesting visual cues worked in as well, in particular the fact that Hal Jordan wears the yellow Sinestro Corps ring on his left hand instead of the right, where he wears his Green Ring. Whether this is a plot point or just a character one, I find it particularly intriguing. This story has been going well, and I look forward to the next installment.

Tyler Kirkman's artwork isn't bad at all, and the scenes where John has to combine his current Indigo power with that of another Lantern at the end makes for a chilling visual. Excellent issue, shocking ending.

Joe Prado, Daniel HDR and Kolins himself all do solid work. The odd man out here is Freddie Williams II, whose chapter shifts drastically from the traditional look of the other chapters to more of a painted feel. To be fair, this is some of the best work Williams has done in quite some time (as people who remember his somewhat underwhelming run on Flash will attest), but the look stands in terribly stark contrast to the rest of the book. I rather wish either the whole book had been done in this style, or none of it. It's nice to see this title end with the Corps as a whole. It's fitting, it's as it should be, and it leaves things in a good place to begin again in September.

So the New Orleans boy in me loves that about this comic book. The fan of solid mysteries enjoys the story, and the lover of great artwork is highly impressed on that front. Kody Chamberlain is better known in comic circles for his artwork than his writing, but hes definitely on his way to proving he can do it all.

Whether this is a successful mystery story remains to be seen, but am I enjoying reading it? Hell yes.

Having read four great issues already, I wasn't surprised at how well he pulled it off, but that doesn't mean I can't be impressed. Chamberlain is already working on a new project, and Sweets isn't the sort of thing that would naturally invite a sequel, but I really hope he finds a way to return to this world someday. Not enough comic creators can paint such a perfect picture of my hometown and still tell a hell of a story in the process.