Brian Bannen Comic Reviews

For Grant Morrison, Action Comics #0 is a much more streamlined story. It follows a cohesive thread throughout, and Morrison doesn't shift focus or scenes as jarringly as he has in the past. Still, the intense moments are not given enough time to settle in order to convey the emotion, particularly when Superman comes to the aid of the abused child. In the end, we have a comic that is more a "how the leopard got his spots" tale than a vital moment in Superman's history.

The end results, however, lack the excitement generated by the initial issues where Kal was jumping around the city, wearing a white T-shirt with a red "S" printed on the front. Superman is back to his old self, somewhat, but he still feels like a distant character rather than the down-to-earth farm-boy he's always been.

I'm a big fan of Superman and a fan of Morrison's work on Action Comics, and if he really did kill Clark, the story possibilities seem endless. No longer will the writer be weighed down by a need to give Clark a 9-to-5 that only seems to interfere with his saving the planet over and over. If it's not to be so, however, I still believe in Grant Morrison, and his abilities to make a man fly.

When I'm reading a Grant Morrison comic, I know that at some point in time, the small nuggets of the story will come back to play a greater role. This issue of Action Comics is like that. When I finish a comic like this, I'm left in awe of its writer and his skills, and I can only offer a feeble encapsulation of its impact. But if you needed a reminder that Grant Morrison is one of our generation's greatest comic writers, look no further than Action Comics.

With Mike Johnson at the helm, Action Comics is in good hands. The writing is much improved from previous issues, and the humanity that Johnson brings to Superman makes the character interesting. While the issue is light on the action, it definitely builds up its tension so that when Clark is free from the Pirate's clutches - and we know that he will be - he won't hesitate to use all that power to bring his opponent down. Plus, given what we see on the final page, Lois Lane has a party to play in this story, and who better to defend Clark than the one person who understands him best.

I liked what I read, but I can't see caring that much about Doop, even if he is a pretty unique character.

If Alpha: Big Time is going to make Andy Maguire into a hero, it needs to do so quickly. Maguire is not a likable character, and this introductory issues doesn't go far enough in making him into more than "not Peter Parker." My one hope is in the artistic team. Fialkov has proven his ability to write a strong story, and Plato has what it takes to make Alpha look good. Now, they need to get beyond the character shell and show readers that despite his initial run in Amazing Spider-Man, the character still has a lot to offer.

"Spider-Verse" may be one of the most entertaining Spider-Man stories I've ever read. Dan Slott has given individuality to a series of characters who are basic copies of each other, and he's done so by putting them on an heroic journey that redefines what makes Spider-Man one of the world's most beloved heroes.

The return to a simpler story is refreshing, but the narrative focus needs some sharpening to create a more fluid story.

While Jeff Lemire writes a pretty stellar back-story, it doesn't have a major impact on the canon, so readers would be safe in skipping this annual. But, if you like depth to your mythos and awesome-yet-disturbing art, this is your comic. Most annuals are not worth the money, but I think Animal Man is. It's got a lot offer current fans of not only Animal Man, but Swamp Thing too. As a step towards the eventual crossover, this is a nice bridge for those two series.

My problems don't end with me dismissing Animal Man; it's still a great book, and one of the biggest surprises of the new 52. But whereas the series has such a strong start, this latest issue feels mediocre in comparison.

Once Johns got the introductory stories out of the way, I feel like the issues have really found their feet. Johns' writing is stronger now, and after developing the characters, he's free to create his own mythos. If his work on Flash and Green Lantern are any indication, he's setting up Aquaman to have its own event somewhere in the future, and if his past work can be used as a precursor, we're in for an epic story.

But Jeff Parker knows how to build an effective plot, and he ends the comic at the perfect moment. There's a lot that still needs to occur to give Aquaman a neat finale (if that's Parker's intended goal), but beyond the story, there's the emotional connection that has yet to be tapped and I don't think one issue is going to give the characters the necessary and poignant conclusion they need. That being said, Parker shows that he knows how to construct a solid story, despite a few missteps, so hopefully issue #40 will achieve a satisfactory conclusion given all the set up that occurs here.

Avengers #42 is great as a build up to a finale. While it doesn't kick the story forward a lot, it plants a solid foundation for a fitting end, both with the threads it dangles and the characters it develops. With only two issues left, and an interlocking story with New Avengers, there's still a lot of ground to cover. Still, Hickman is providing the path towards the end. And while the future doesn't look so bright for the intergalactic heroes of this issue, we can rest assured that they'll be given a proper send off by a talented team or writers and artists.

The choice to have Mark Waid and Greg Rucka work together on Avenging Spider-Man was a brilliant one. Both men are adept writers in their own series, as well as in this one. Waid, whose Daredevil series is one of the best on the market, has written what I think are some of the best Spider-Man comics ever, and Rucka's work in Punisher is not to be missed. Despite the heavy tone of the conflict, and the Punisher's penchant for killing people, Waid and Rucka keep the story light. In a crossover that I would think all fans are looking forward to, the first part sets the groundwork for a series that is fun and exciting.

Avenging Spider-Man continues to be a fun read. The series continues to find writers that keep the tone light, and the banter and humor high. Non-canonical books are freeing in that they don't have to adhere to the minutiae found in a continuous series. For those looking to get a break from the continuity-heavy Amazing Spider-Man, this is your book.

Because most of the comic is spent on May and Peter talking about the repercussion of Ben's death (rather than showing how their lives have changed), the story doesn't hit all the emotional notes it's going for. Still, it's a nice reminder to readers that without Ben Parker, we wouldn't have had 50 years of web-swinging fun.

Regardless of this, the comic is still a good read, and Yost raises some interesting questions about how long Ock can keep pretending he's Peter Parker before someone figures out his true identity. The story is tight and impressive, regardless of its main character. Still, fans of Spider-Man will feel the fresh sting associated with loss when they see another man trying " and failing " to fill the big shoes left behind in his death.

I loved everything about this comic, and really the only reason that it's not a perfect book is because it doesn't give us enough Spider-Man/Chameleon interaction, which was the centerpiece of the arc. But despite this minor, minor flaw, Avenging Spider-Man delivers on all of its fronts, whetting my appetite for another Yost/Checchetto book. If this book is any indication of how well they work together, I'm sure we'll see them teaming up again in the future.

Making a villain into a hero is difficult, and I commend Rick Spears for how well he makes it work. Plus with an artistic team like German Peralta and Rain Beredo, you can be sure that their work will bring the words to life. I was pleasantly surprised by AXIS: Carnage and only hope the rest of the series is as entertaining.

Meant to be a solid conclusion, Batman/Superman #5 fails to deliver. Its bland emotional core is too heavy handed to have a lasting impact, and for a comic starring two of DC's heaviest hitters, the story fails to capitalize on the trademark. Instead, we're given a comic starring Batman and Superman, but one that isn't worthy of their presence.

I love what Greg Pak has introduced in Batman/Superman #16. I'm on board with everything he's selling, and I can't wait to see how the duo will figure out this mystery. The story doesn't just rely on a new problem to introduce a new arc. He explores the individuality of each character, and with the solid imagery provided by Ardian Syaf, Batman/Superman #16 succeeds in being a must read for this week.

Maybe Bruce's gambit will pay off, and maybe the next issue of Batman/Superman will be a better read. I'm hopeful, anyway, because the talent on this book has proven that it has the goods to deliver solid work, both in story and art. The first issue of the arc made Clark's situation so dire that I expected the same level of intensity in this one, but instead we're treated to an issue that acts more like filler. Hopefully, the next issue will get the series back on track.

Some people scoff at comics as funny coloring books geared for kids. Clearly, those people have never read an issue of Batman and Robin. Peter Tomasi doesn't shy away from violence, and he reminds readers that the world in which his story takes place is full of brutality and savagery. And it needs a hero who can save it.

One-shot issues can be hit or miss, oftentimes feeling like dumping grounds for unused ideas or place holders in between arcs, but Peter Tomasi and co. really create a comic that while not crucial to the entire series, is still able to give readers everything essential about its characters and their connections to each other. Batman and Robin #17 is a fun comic which still runs in the same veins as its precursors, but it proves that the creative team can still produce quality work, even when the stakes aren't high.

The comic has an occasional hiccup in its transitions, but this is minor compared to everything it offers. By moving away from the grittiness found in other Bat-books, Batman and Robin has given itself a uniqueness that makes it both enjoyable and compelling. And by giving the comic a temporal focus in the father/son relationship and Damian's attempts to deal with his new self, Tomasi has found a strong balance between action and story, and one that is brought to life through Pat Gleason's art.

If this first issue is any indicator, we're all in for a treat.

If you're looking for the perfect mixture of narrative, dialogue and art, Batman Incorporated is your book. Morrison keeps the tone light for the majority of the issue, then slams the final few pages with palpable intensity. Of the books that benefitted since the New 52 reboot, Batman Incorporated is one of them. It's an eclectic mix of characters and canon written by one of comics' greats, and illustrated with impressive skill.

Despite my issues with the art, Batman Eternal #39 tells a great story. Fawkes weaves his plots with skill and style, and the comic delivers a great reveal while also building its overarching mystery. Plus, we know now that Gotham hasn't reached its darkest point yet. Reading this issue, it's easy to make many parallels to "Knightfall," the famous arc that saw Batman broken by Bane. Clearly, something as sinister is in store for the Dark Knight, and I can't wait to find out.

Taut, gripping, and fantastic, Batman Eternal #50 sees a Batman on edge, a city in ruins, and a mastermind revealed.

Weekly comics are usually a gamble because not every writer can keep the story interesting or on track, and not every artist can keep up with the demands of the schedule. Batman Eternal is a discourse in how to do it correctly. This is one more piece of the greater puzzle, but easily one of the best in the series' entire run, and with one issue left, Batman Eternal looks like it still has a few tricks left up its sleeve.

Clearly, Greg Hurwitz has a lot of story to share. The book is packed with dialogue, scenery, and action. But none of it sticks the landing. The story Hurwitz wants to tell doesn't have the space it needs to breathe, and what happens is that the comic fills up very quickly, becoming its own worse enemy and failing to leave a lasting impression, or an urgent desire to see how the story will conclude.

Luke Fox is a pretty solid lead, and he definitely gets help being as brutal as Batman. Save for a few hiccups, the issue puts readers on Luke's side, and as many other members of the Bat-Family already know, personal vendettas lead to dogged heroism. Like his colleagues, Luke has had to learn this the hard way, but hopefully the experience will help mold him into a better character, and one who can solidly carry the title.

That's the real shame of Comedian " even with a character as flawed and immoral as Edward Blake, Brian Azzarello couldn't find anything to do with him except play off of his negativity rather than trying to explore and expand on what was established by others. And so maybe Blake's apathy has rubbed off because I can't find a reason to be drawn back for the final issue.

I've enjoyed how Azzarello has kept this series out of the of Watchmen world, meaning that we haven't seen a strong connection between what's occurring in this comic and its source material, other than the fact that one of the main characters of the series stars in it. I'm not a fan of the side of Rorschach that wants to date, and I hope Azzarello has more to offer in the finale than to show that Walter lost complete faith in humanity when a girl whom he asked on a date was killed (a fact which I'm assuming due to the implications on the final page). But until now, I've enjoyed getting my Rorschach fix. I really hope that the last issue will surprise readers, rather than giving them an ending they'd expect, and one that they'd easily predict.

Before Watchmen: Rorschach started strong, but then fizzled in the end. Partially it's the directionless story, but Rorschach was already so defined in Watchmen that Azzarello really had nothing to add to the character. I like the idea of a story of Rorschach's early years, but this story lacks any lucid purpose. Ultimately, we're left with a comic that looks good, but is hollow at its core.

The Big Con Job #1 succeeds on many levels. It's a great introduction to a great group of characters, and the plan proposed at the end of the issue is both unique and exciting. I can't imagine a bunch of has been actors pulling off the gambit they're planning, but given Palmiotti and Brady's superb ability to inject humor and heart in conjunction with Dominike Stanton's visuals, I think we're in for a great show.

I hope Marvel goes against the grain in the future and provides more original and intriguing stories using Disney properties. The pieces are there, waiting to be utilized. They just need someone to take a chance.

The comic has a good finale, and one that definitely will bring me back to find out what happened, but the art needs some sharpening if the story is going to rely so heavily on action. Plus, I'd like to think that Bucky isn't as easily fooled as he is in this issue. The man basically figured out Nick Fury's secret in Original Sin when no other characters had any idea, so we know he's not easily duped. Plus, I have an easier time accepting a Bucky Barnes in love than a Bucky Barnes in the dark.

The changes Zola makes to Ian, the child whom Steve intends to save from Dimension Z, make for an interesting dynamic in future issues, but this kind of darkness is difficult to engage with. If the story could focus less on breadth and more on depth, I'd be more inclined to keep reading because I want to see Steve succeed " but not at the price of his soul, or what he's come to stand for in a world of ever increasing violence, sadness and terror.

But minus these critiques, Captain Marvel #13 is a fine read, and the shifting point of the arc. Now that Carol knows her villain, she also knows what she has to do. Given what DeConnick has shown already, I'm sure that Carol will emerge heroic and victorious, and I'm excited to see it happen.

In the end, Selina comes off as much more than a cat burglar, and her innocuous beginnings definitely pave the way for the person she will become. And for a comic that's not related, canonically, to what's occurring in the series, Catwoman #25 stands pretty solidly on its own two feet.

So while the comic has a very cool fight waiting on deck, it doesn't provide enough of a solid foundation to warrant another read. Plus, I don't see how Gray can address all the buildup of this issue in only one more issue. The story will have to be truncated to provide some sort of coherent narrative, and even so its pacing may suffer. I'd hate to be even further let down by an equally listless second issue, particularly when it could fail to live up to its promise.

The only thing consistent about this issue are the colors provided by Lovern Kindzierski and Hi-Fi, but this doesn't excuse every other poor design of this comic. Luckily, Convergence is over so we can all put this comic behind us and move on to hopefully better issues to come.

Hama does what he can under a time crunch, and the story definitely echoes that, but the results were never in doubt and thus the conclusion lacks any lasting punch.

While the main Convergence title has failed to make a lasting mark, the tie-ins at least have provided some solid character development, unique art, and couplings of artists and writers who have delivered, in a short span, some great stories. Convergence: Green Lantern Corps #2 is another example of this, and while Hal gets the most attention, it's nice to be reminded of the other Green Lanterns, particularly everyone's favorite warrior. He may not have been chosen first, but he proves once again that his is one of the best.

I'll admit that the new Steel status quo has a lot of potential, and that Steel saves the issue from being a complete waste, but I don't have faith in the changes lasting beyond Convergence.

Call me a Kelley Jones convert after this issue. I'd love to see Jones on Swamp Thing, or really any other book for that matter. Maybe my taste has matured, or maybe I just have a better respect for talent than I did at a younger age. The one benefit of Convergence has been the diverse and eclectic grouping of writers and artists who have taken the reins on the many tie-ins that go along with an event series. Convergence: Swamp Thing is one of the true winners in this gambit. It's an intimate tale in a sprawling epic, one that shows a clear love of a character, and one that draws its readers through both solid storytelling and engaging art.

It's a shame that Convergence: Swamp Thing is only two issues long because Len Wein and Kelley Jones have a fantastic concept on their hands, and one that could easily work well if expanded. This is just a taste of what could be, but it's an excellent taste, and if Convergence brings us nothing else, at least this story came out of it.

If Convergence: Adventures of Superman #1 is meant to be Kara's swan song, it's a worthy story. Marv Wolfman highlights Kara's heroism in a way that seems a way to make up for killing her off years ago, and by the end of the issue, he proves her importance to the DCU. The comic closes out with a solid cliffhanger that should bring readers back for more, especially if Kara is the true star.

What I'm more interested in, however, is how Quinn fits in. The title of the comic comes directly from her profession, and Edmondson said he was inspired by ballet when writing this so she must play a vital role. And that is the true mystery of Dancer, but one which probably won't reveal itself until the violent end.

In wrapping up the current conflict, Mark Waid seamlessly introduces the next. While this arc was a highly emotional one for Matt, the next arc looks just as promising. This is another great issue by a talented writer, and another great addition to a what has been a continuously impressive series.

Daredevil #16 is like two different books combined into one. The first half is action heavy and the second half is emotionally heavy but both work well in the context of the story. Waid's sympathy for Matt is palpable, and really well executed through Hank Pym. Additionally, Waid's dialogue for the last few pages is realistic and charged, and truly excellent work by a talented writer. There's a reason Daredevil is being hailed by reviewers. It's an example of strong writing, good art, and a fresh take on a character who was mired in dark storytelling for years.

Waid has built this arc up so much that even though we know Matt isn't crazy, he's nowhere near being out of the woods. The conflicts he has to deal with once getting back to New York City seem overwhelming, particularly the mess he's still in with Froggy. But Issue #20 shows once more that Daredevil is really one of the best comic books on the market, and Mark Waid one of the best comic book writers. It's easy to see why this series was given an Eisner Award.

Daredevil #27 is a perfect comic. It closes the door on an arc that has been building since the first issue, and it does so smoothly. While Foggy's situation has yet to be resolved, the overriding darkness in Matt's life has been lifted and by the final page, you know that Daredevil is setting off into a brighter future. What's more celebratory, though, is Mark Waid and Chris Samnee who have, in this reviewer, created a Daredevil fan for life. This is the kind of series people will talk about for years to come, and I feel blessed to have experienced it.

Brian Buccellato and Francis Manapul definitely show that they are a fantastic team. While Detective Comics is overwhelming with the dreariness of its story, it's also a well written comic that aids its story with even better visuals. At one point in the comic, Bullock says, "Something big is about to happen. I can feel it." When you read Detective Comics, you get the same feeling. Something large is at play, and while Scott Snyder has the other half of the Batman world covered, it's nice to know that a reader can pick up any Batman comic and be truly satisfied by the level of storytelling and art.

Scott Lobdell's Doomed is Spider-Man fan fiction at its core. Reiser, like Peter Parker, is a loveable loser with a "life is great" attitude which makes him instantly likeable. And while the comic is a retread of many other origin stories, it has a cleverness and humor that occasionally spark.

Just as Geoff Johns worked on making the Justice League come together in his first arc, James Robinson is attempting to recreate the Justice Society of America. I'm interested to see some of the other Earth 2 characters, but the newness of the world is starting to wane. I want so badly to be interested, but the stagnant nature of this arc is killing its initial flow. I hope Robinson can turn it around with Issue #6 " plus, I want to see the new Red Tornado. That alone may be worth the price of admission.

Robinson is aptly building his world, and clearly he's enjoying the clean slate he was handed to introduce the wonders. So far, the villains Robinson has introduced are less than stellar, and Wotan is another paltry bad guy. But the heroes of the story are carrying it, and Earth 2 is least interesting because of them.

Earth 2 has really amped up its game, and this issue is a good indicator of where Robinson plans to go with his story. Personally, I'm hooked. I love what I saw this issue, and I can't wait to see what happens in the next. Regardless of its narrative hiccup, the issue paints a broad picture of what's to come, and for the heroes of Earth 2, the future is anything but bright.

Earth 2 is getting better with every issue, and James Robinson's groundwork has paved the way for a solid third arc which Tom Taylor has made fun and exciting. And with Nicola Scott's visuals, the comic has become a treat to read each month.

There's a reason Alan Moore is continuously praised as one of comics' best writers. As if to punctuate that fact, Fashion Beast is another great entry into a long list of great Moore works. The story has deeper roots than we're seeing, and where we've only dipped out toes into this world, it is already palpable and enticing. I have a hard time finding any flaws with this book, and without any reservation, I recommend this is a comic you should be reading.

I think that my assessment of FBP is really tainted by how much guidance Oliver has to provide in order for readers to understand his concept. The density of the book is both intriguing and frustrating as I feel a lot of the narration -- especially the conversation between Cicero and Sen -- is structured in a way that it leads the reader through the story.

Rule #1 of Fight Club is that you don't talk about Fight Club. But after reading Fight Club 2, it's clear that we should be talking about Fight Club. "Tyler Lives," and I couldn't be happier by the prospect of more bedlam.

Where DC teased the introduction of the Reverse Flash into the new 52, he has minimal impact on the story and his appearance is more of a lead into the next issue. What we get, however, is a well constructed story about true heroism, and how not everyone has the ability " with or without powers " to fill those shoes. The art occasionally derails the tale, but due to the strength of the character, Flash #19 rebounds nicely, even if not completely sticking the landing.

In the wake of series like The Walking Dead, the comic market has become saturated with zombie books (and not all of them good), so it's exciting to get one from the Undead Godfather himself, even if it sticks with a certain level of familiarity. Empire of the Dead is proof of the old axiom, "If it ain't broke, don't fix it" " but there's nothing wrong with a new paint job and a set of fresh tires, especially if Romero's new and engaging concepts are creative enough to draw readers back for a second helping of the stuff he's serving.

Longtime fans of Ghost may be pleased with having their character back, but for new readers this isn't a great introduction. The comic succeeds in setting up a mythos and a focus, but even Ghost's display of ability is still shunted in favor of Barnes' character development. But the title of the comic is Ghost, not Barnes. Ultimately, new readers will know less about the character than when they started.

Ghosted is a comic with a lot up its sleeve. Joshua Williamson moves through several different genres so the comic never fully settles on one constant, which is good, because this adds a level of originality to the story. After two issues, my interested is piqued. There's enough story to keep readers interested, so I hope Williamson can move his characters beyond the establishing stage and start letting their individuality come through. He's got an interesting premise. Now he has to show readers what he plans to do with it.

Some say that nothing good ever happens after midnight; but Fawkes and Templesmith show that doesn't mean it can't be a hell of a lot of fun.

Green Lantern is always on my pull list, and for a multitude of reason. The growing conflict feels more sinister than any of the other stories told since Johns took over, even more so than Blackest Night.

The pacing of the issue is near perfect with not a single panel wasted. If Johns and company can keep the storytelling this intriguing, I think the series will only get better and better leading to the cryptic "Third Army." In other words, I'm excited to see what Johns will do next.

I understand the need for an issue like this, one that slows down the story and focuses itself for the future, but where the series had been gaining momentum, here it takes a step back and loses some of that energy. I get that readers need an occasional refresher, but these kinds of reminders can be executed on a single page. But Green Lantern #12 is an issue focused solely on exposition, and after a year of the new DCU, I think readers can be trusted to flow the threads of a story, regardless of how detailed it is.

I'm curious to see how Johns wraps up the whole First Lantern story in the next issue. One more comic doesn't seem like enough space for all the story that needs to be told, especially considering how stalled this past arc has felt. But I have faith that Geoff Johns can pull it off and deliver a finale that will satisfy those of us who have been following Green Latnern since its return in 2004.

What really hurts this comic is how one dimensional its villain is. To be fair, Vendetti is trying to create a rich character history in the span of twenty-two pages so he's limited by space, but the end result is not effective and Relic is nowhere near as engaging as some of the other Green Lantern villains like Sinestro, Nekron, or even Atrocitus. So while Relic is meant to be a harbinger of bad things to come, the previous pages make his appearance more of a whisper than a bang, and his entrance into the Green Lantern pantheon weak and dismissive.

If Black Hand did more than suffer like an amnesiac, the comic would be better because when the story gets going, things start getting interesting. Green Latnern: Black Hand is much more than an origin story, and Soule, in this sense, delivers a decent, if uneven one-shot that does its main villain justice.

The mark of a good writer is one who, even when nothing "happens," can still keep readers engaged. Robert Venditti is that person. Green Lantern has a lot of promise in its upcoming story line, and all the pieces involved seem to be leading up to an important conclusion, one that will probably have serious repercussions on the Green Lantern universe. And because Venditti isn't afraid to destroy his characters' lives, we'll definitely have an opportunity to see what they're made of.

Regardless, Green Lantern #35 is a slow burn. It begins with violence and ends with desperation. Bringing in the New Gods is a stroke of genius as it opens up the grandness of the story, finally having a similar feel as Johns' "Rebirth," "Sinestro Corps War," or "Blackest Night." If the series lives up to its promise, Venditti will earn his spot alongside Johns, and show people that as a Green Lantern successor, he is more than worthy.

I like the "Godhead" arc so far, plus I have no idea how the Lanterns will defeat Highfather, who now has the life equation in his hands. This issue is just a bit underwhelming considering what we've read so far. Venditti isn't totally at fault, though, because he is splitting the story duties between three other series. Hopefully, the end result will be a series as epic as teased in the earlier issues.

Despite my critiques, I actually like the pacing of the beginning of the issue. The transition between the opening and the rest of the comic, though, is jarring, but I'm sure Venditti has a plan. The Guardians' request of Hal Jordan is odd given the gravity of the prologue, and I can't help but wonder if they're as conniving and calculating as the previous Guardians (despite the comic's insistence that they're different). The answers will be coming soon, but with "Convergence" bearing down on the DCU, I'd think this story has to wrap itself up rather quickly. And given the urgency placed on the conflict, I wonder if we're going to end up frustrated rather than satisfied.

As frustrating a conclusion as it is, I'm happy with where Billy Tan left Green Lantern. There's still a lot more story to tell, and Hal's escape shows that he doesn't need a ring to battle evil. Although his new mode of power probably has its own set of problems. Plus, if he thinks the Corps is going to let him get away with beating up one of its greatest members, he's in for a rude awakening. There are bound to be repercussions from his most recent actions, and while we have to wait a while to see what they are, I have no doubt we'll be both surprised and pleased. Robert Venditti has proven both his love of the character and his ability to write solid Green Lantern stories, so while the Hal may be without a ring, the series looks like it has a bright future ahead of it.

Clearly, Tomasi was charged with wrapping up all the loose ends, and he does so fantastically, closing the door on a much-hyped, poorly presented "Third Army" story. His story is every bit as epic as it needs to be, and the annual more than an expensive and forgettable tale.

I feel like I'm assured a good story when I pick up an issue of Green Lantern Corps. The consistency in the tone is what sells the book, and the visuals make it great to look at. I look forward to see the ripple effects of John's choice, and the ways in which Tomasi uses it in the story. The tone " of brotherhood, valor, and honor " has been unwavering since this series started, and while Hal Jordan gets his own book, Green Lantern Corps has been great at using the "other lanterns" in ways that show their importance as well.

I was wondering when Tomasi would come back to the elephant in the room that was John's killing of his fellow lantern. To see that finally addressed is exciting, as is the extra time given to Guy Gardner, particularly since Kyle Rayner now has his own series, New Guardians. Recently, Green Lantern scribe Geoff Johns teased a new story called "The Third War." This may be the beginning of it, and if things are going the ways they're hinted at, I see major changes in the Green Lantern universe. Now is a great time to jump on board.

Green Lantern Corps brings back some of the old excitement found in Geoff Johns' heyday as the Green Lantern scribe. Van Jensen has left the heroes in a worse position than he found them, and what lies ahead for the Corps is more uncertainty. But the writers are clearly unafraid to push their characters to the brink all while changing the status quo.

After finishing New Guardians Annual, the only thing I could think of was calling DC and asking for a refund. This comic is definitely not worth the price of admission, and doesn't do any good for the series that it's meant to introduce. If this is meant to get readers excited for Threshold, it does not do its job.

New Guardians has moments of greatness, but not enough to make the comic a superb read. It's cathartic in that it offers readers exactly what they want to see, but this is also part of its failing. A comic should excite and frustrate its readers, keeping them off guard. Giving the reader exactly what he wants fails to give the comic any major resonance, even if the outcome is satisfying.

New Guardians is not a great comic, and unfortunately Bedard is leaving the series without ever really making a major impact. I don't hold Bedard completely accountable, though, because he was clearly wrangled into writing a series that tied in with Johns' plans for Green Lantern. One would hope, however, that the final issue of a creative team would have more sticking power. Hopefully, the series, freed from its constraints, will pick up in the future and provide readers with some interesting stories of Kyle's role as a

Kyle Rayner is wielding the most powerful of most powerful weapons in the universe. Through Blackest Night, Geoff Johns built up the White Ring as all-encompassing ring " the one that can channel all of the emotional spectrum. So why is its wearer relegated to such a supplicant position? I get that Kyle is still learning how to wield the ring, but his trials in learning to harness the power of the White Ring should at least be entertaining, and nowhere near as banal.

New Guardians #38 is a decent beginning of an end. Jordan seems like he's trying to give the comic a proper send off and bring the book back to its emotional core, but he has a lot of emotional ground to cover while still trying to provide a solid story with great action. The result is a mixed bag, a comic that succeeds in some places and not in others. There's promise in this final arc, and hopefully Jordan can deliver a satisfying conclusion.

Justin Jordan's farewell issue is full of everything you'd expect from a farewell issue, but none of it is really unforgettable save for Antonio's art. Jordan definitely leaves the future open for his hero, but it's a future you'd anticipate or assume. The solicits for The Omega Men tell us that Kyle is murdered post-"Convergence" so how the end of this series ties in with that one is the biggest mystery yet to be revealed.

For a comic packed with a plethora of characters, Guardians of the Galaxy goes far in establishing its heroes, developing their originality, and highlighting each person's role in the story. The transitions in the action sequences are fluid and seamless, and the climax offers a reason to come back next month to see the fate of the team. Count me impressed and on board with Guardians of the Galaxy, a comic that provides readers with a new doorway into the Marvel Universe, and a picture of a world full of intrigue and excitement.

Guardians Team-Up #3 is a great book about Ronan the Accuser, but not for the Guardians of the Galaxy. Granted, the comic is part of a larger tale so that connective tissue needs to be present, but even Humphries seems more concerned with writing a cool story about Ronan rather than being part of another major crossover event.

Happy! is definitely a unique book, but considering how short of a series it is (four issues), this issue feels wasted, as we're no closer to discovering why Happy has appeared to Nick. I like the idea behind the series, and I'm guessing that Nick will eventually become the hero Happy thinks he is, but this issue is a step backwards rather than a move towards what could be an exciting conclusion.

Harley Quinn #3 relies too heavily on stale, overused comedic tropes (like cop/donut jokes, for example), and save for the art, falls flat on its face. Harley is a great character, but does she really need her own series? I'm reminded of Venom when I read Harley Quinn. Marvel already tried the antihero route, and the result was a stagnation of an exciting and original character. Sadly, I see Joker's girlfriend as destined for a similar ending unless Conner and Palmiotti can get away from creating the situations for Harley's character to shine and instead let her stumble into the madness without their help.

You only want to sit back and enjoy because Harley Quinn #12 wants you to have fun. It wants you to take a break from the seriousness of other comics. And it succeeds. It's a wild ride, but one worth your time.

Even though Kick-Ass and an old villain appear, Millar succeeds in making Hit-Girl to true focus of the issue.

In two issues, Millar has shown that he can take a secondary character and make her as appealing as the lead hero. Hit-Girl has all the action found in a Kick-Ass comic, but with more heart. Mindy Macready is a character for whom readers root, and as Dave learns the painful truths of being a side-kick, readers experience the role of the assistant up-close. All hell has yet to break loose, but given the narrow focus of the series, readers are in for a more engrossing take on the realistic superhero story.

Mark Millar has crafted a violent and interesting universe, but where he set out to make this series solely about Hit-Girl, the rest of his plot lines are bleeding in together. I like seeing Red Mist and Kick-Ass, and I like Marcus Williams as an altruistic foil for Mindy. But I guess I don't care enough to see them play major roles in a series that's meant to be about Mindy dealing with retiring her Hit-Girl persona. The comic is still entertaining, but Mindy alone is more fun than any other person in this universe.

Millar has definitely carved out his niche, but he knows how to move around in it, be creative, and avoid being repetitive and stale. Whereas some of Millar's newer works have been hollow and clichd Hit-Girl has showcased everything Millar does well, using well-known character, but without having them become dull or worn out. Having raised the stakes once again, Millar has set the bar very high for himself to either meet, or hopefully, to exceed.

Inhuman #12 proves that the leaders of New Attilan are not to be messed with. Black Bolt and Medusa easily steal the show, but why wouldn't they? They're two of Marvel's most unique characters. Charles Soule shows that they're like forces of nature, and Ryan Stegman communicates this though his visuals. While the comic has a few lapses in pacing, the overall result is a strong finale that leaves matters uncertain enough to lure readers back for more. What Infinity gave us was a world of possibility, and now that the Terrigen Mists has been unleashed on the earth, Soule and company have shown that they no problems coming up with new threats for these heroes to face.

I loved this issue. Whereas people have had mixed reactions about the new 52, I think readers will find that Injustice retains a classic sentimentality of the old DC. Tom Taylor is an underrated writer, mostly due to the forum of his skills, but readers will find a lot to like about Injustice, both in its story and its art.

While the story fell flat with its villain, it serves its purpose in thickening its mystery while leading towards the upcoming "Trinity War." Johns' planning is starting to come full circle and the interconnectedness between all Justice League books is a real payoff for constant readers. I like the mysteries this story raises and I'm excited to see how they play out in "Trinity War." Despite the inconsistencies in the art, Justice League #20 is a pretty solid read.

It's this type of attention to detail " both in the story and the art " that makes Justice League #37 such a fun read. I can't help but think of Mark Waid's Justice League run of the early 2000's, a series that combined intense action with solid character development, impressive art, and great action. For me, Johns' Justice League has been hit and miss, but this arc has been well worth the read. We're no closer to finding out the truth behind the Amazo Virus, but I could care less. A comic this good is not one I want to see end soon.

Justice League #39 brings the "Amazo Virus" arc to a close, but not neatly. Geoff Johns has so many threads to tie up that the comic is too heavily packed. The solution to the stopping Patient Zero is delivered without much finesse and so the book seems more concerned with setting up future storylines than in giving this one a solid finale.

We might care more about the characters' origins if we cared more about the characters. So far, Giffen and DeMatteis have not made the Justice League a likable bunch of people, so why should we feel for their situation? It's uneven plotting and characterization that really sink the issue. I like the concept; I think it's more clever than "clones from the past," but if we're stay on with the series we need a focal point around which to attach, and so for, this has failed to materialize.

Justice League 3000 is a series of inconsistencies. When it takes a step forward, it takes one back as well leaving it feeling stagnant rather than fresh. I'll admit that I'm interested to see what else the series has in store, especially given all of the loose threads it leaves in its wake, but the writers have to get a grip on their storytelling tactics, especially with how much they have yet to cover. If the final page is any indication of the direction of the series, Justice League 3000 has a lot of story to tell. I only hope its future outings are better than this.

The real issue with Justice League Dark is that it tries to do too much. The end result is a comic that never hits the mark in either its storytelling or its art. DeMatteis uses a simple theme about love to build his tale, but because of the density of the story, the story doesn't get the desired emotion. Fans of the series might enjoy the book more than the casual reader, but I think even constant readers will think this is a bit excessive.

I passed on Justice League Dark last month. I'm glad I didn't this month.

Regardless, the comic is solid. It hits the humorous beats just right, offsets itself from the other Justice League books, and it delivers a nice climax that will draw readers in next month. Additionally, Johns has really worked hard on developing the individual personalities of the team members so that each one feels, at this point, fully formed, even though we don't have all the intricacies of their backstories. Still, Justice League America is entertaining, and worth the price of admission.

A good story balances all its pieces well, and Kick-Ass 3 is such a book. What Millar proves is that his doesn't need to be glitz and glamor all the time. He's a solid writer with a gift for plotting and dialogue, and one need look no further than Kick-Ass 3 to see this.

Be warned: Locke & Key: Alpha #2, the final issue in Joe Hill and Gabriel Rodriguez's seminal Locke & Key series, wants to tug at your heartstrings and bring you to tears. And it does again, and again, and again. But the tears and time are worth it.

What's most impressive about this comic is how in line it is with its predecessors. Hill has kept the story engaging and Rodriguez has made it look great. This is a team I hope will reunite to continue making comics together because their work is consistently good, and the push towards the series finale, while a bit sentimental, is still interesting enough to keep me reading. Plus, I still have no idea what will happen, and I'm excited -- and scared -- to see where the story goes.

I was skeptical about Bendis bringing back Peter Parker, especially after having grown so fond of Miles Morales. I'm still not sold on Peter's return, but the experience of reading Miles Morales: The Ultimate Spider-Man continues to be a fun one, even in issues where the writing is building the plot. Save for his occasionally excessive dialogue, Bendis is still crafting solid issues with well-developed characters and exciting stories.

I'm intrigued by the mystery surrounding Mind the Gap. McCann's annotations at the end of the comic also make a second read through a must, especially if readers want to try to figure out the mystery of Elle's injury. But beyond that, McCann has written a great character-driven story where each player is fleshed out enough to feel real " and Rodin Esquenjo's art makes looking at the comic that much sweeter.

This issue has rejuvenated my interest in a series that felt mired in its own puzzle for the past two issues. If nothing else, this will show readers that the talent on Mind the Gap has got some skills.

Critiques aside, this issue of Mind The Gap restored my faith in the series. I was toying with dropping it because I can only hang on for so long before giving up the overpowering weight of the mysteries (see Lost), but the cliffhanger has pulled me right back in, and I'm looking forward to seeing how the events of this issue play out next month.

Mind the Gap is a solid read. It's the book you pick up every month knowing it'll be good, and lately it's been rewarding its followers with awesome reveals and new secrets to keep people intrigued. And even with a new art team, the comic never loses clarity in its visuals (and if anything, this is a better looking issue than the previous ones). I can't help but throw in a Lost comparison because this has the same vibe, but where Lost felt directionless at times, Mind the Gap isn't. And with strong story telling and crisp art, I don't think you can go wrong in following this series.

When a comic revolves around a mystery, as a reader you want it to continuously revisit that mystery, unravel it a bit more, and makes it solution a bit clearer. With Mind the Gap, however, I don't care if the mystery is ever solved. On all fronts -- from the plot to the visuals -- Mind the Gap is a page turner, and even when it doesn't get too much into its mythos, it still gives readers a reason to pick it up each month. Sometimes the end is not the most interesting aspect; it's the journey that makes the ride worth it.

Mind the Gap has really evolved since its beginnings. The comic has become more and more science fiction than supernatural, and this latest issue is proof of that. McCann clearly has an end goal in mind and given that the comic will close its first act with issue fifteen, I'm glad to know that McCann isn't wandering aimlessly with his story. Given the way the issue closes, I think readers are going to be in for a major cliffhanger that will no doubt deliver some more shocking twists which have become the bedrock of a series that is always impressive.

For a first issue, Miniature Jesus has all the necessary elements to draw readers back for a second helping. This is not a feel-good story, and the tone of the comic spells doom for Chomsky's future, but the hopefulness is somewhat present, and I'm sure Chomsky will eventually meet the miniature Jesus (who is literally a miniature Jesus), and I'm curious to see the conversation the two will have. Add this book to your list of weekly pulls " you won't be disappointed.

What works best about the comic is how it rewards its readers. This series requires a serious investment, so a quick read doesn't do the comic justice as small details are often missed for bigger picture items. But an issue like this one shows that every detail is important, further proves how impressive Nick Spencer is as a writer, and goes to show how good a series like Morning Glories is.

Nowhere Men has promise; it just needs to do more than hint at it.

Oddly Normal is equal parts "careful what you wish for" and the adolescent need to belong, but rendered with palpable woe. The final page offers a glimpse of what is to come in Oddly's life and I'm sure she'll come to terms with her person, but the trip with be long and arduous - it usually is for everyone. And this is where Oddly Normal best succeeds. We've all felt out of place, and wondered what about our purpose in this world. Looking back on it, through Oddly's experience, is a reminder that we can and have survived. I can only hope the same for Frampton's character.

For all its simplicity (and perhaps because of it), Rachel Rising is one of the best books on the market. Terry Moore's style, coupled with his strong story telling, makes the comic a continuously engaging read. I know that each page will be a visual treat, and the strength and originality of the story only make the comic all the more interesting. Whereas some other books would not be able to keep up the mystery this long, Rachel Rising succeeds because not only does it have a strong story, but it also has strong visuals as well. The mixture of both is what makes the comic a pleasure to come back to each month.

So while we're no closer to understanding any of the major mysteries of Rachel Rising, we're at least entertained for one more issue, both in the storytelling and in the art.

Reality Check has promise. The creator meeting his creation is always an interesting angle, and given the type of person Dark Hour is and the type of person Willard Penn wants to be, I see a lot of potential in this story. Hopefully, now that he's laid out the background and exposition, Glen Brunswick will focus on telling the story rather than trying to prove to us that his lead character deserves a break. Because while he know that Willard Penn is a loser, we still don't care enough to see him succeed.

I'd say that of The New 52, Red Hood and the Outlaws is one the weakest of the bunch. Count me out for any more adventures involving this crew because after this outing, I don't want to spend the money on something this bad.

James Tyinon IV leaves Red Hood and the Outlaws neatly packaged for Will Pfeifer, even if the end result is a bit rushed. The strength of the comic is in the teamwork of its characters, and Tynion clearly understands this. But he's trying to do a lot of house cleaning and therefore his final entry isn't as solid as it could be, especially given his work on other titles.

Despite its connection to "Rise of the Third Army," Red Lanterns lacks the kind of characters towards which readers could feel a connection. The Red Lanterns are always angry, so they don't move much beyond flat characteristics; their only purpose seems to be finding enraged aliens and indoctrinating them into the Red Lantern Corps (when the Red Lanterns are first shown, they're just hanging out at a blood lake). But once this purpose loses its novelty, the story fails to keep the reader engaged, and of all the "Third Army" tie-ins so far, Red Lanterns is easily the weakest of the bunch.

Red One has a lot of promise, but promise isn't enough to keep readers coming back for more given the number of other promising titles hitting shelves each month. I only hope that Dorison does more with the character and either moves closer towards the controversial topics of the issue, or moves far away from them and instead focuses on telling the story of a talented Russian spy who has no fear of death, a penchant for brutality, and an earnestness that makes her instantly likable.

Robin Rises: Alpha serves as a punctuation mark on Damian's death and return. Tomasi paves the way for the future of the characters, opening a lot of new doors on stories by the addition of some major changes in the characters. Personally, I'm excited to see Damian back. Batman and Robin went through a very dark period while Bruce struggled with Damian's death. Hopefully, this means we'll see a return to the dynamic duo - albeit with some super additions.

Rocket Raccoon #7 is really an issue that sets up the rest of the arc, but it focuses on the relationship between Rocket and Groot, and because of that it carries an emotional weight that gives an urgency to the story. Readers can safely assume Rocket will find a way to save Groot, but the journey itself will be what most defines the arc and given the way Skottie Young conveys the deep love between these two friends, the ride will be anything but ordinary.

For a final issue, Scalped hits all the right notes, leaving readers with a satisfactory finale to an acclaimed series.

The issue is really a slow burn. We're no closer to understanding what's going on, and the introduction of new characters makes settling in to the established story difficult. This isn't a complaint on Jonathan Hickman's writing; in fact, it's one of his best assets. He's established the world for us, and now we're being moved through it, even if we're given no further explanation. It's evident, however, that Hickman has a plan, and given what we've seen so far, it's probably going to be pretty spectacular.

The final panel is a great cliff hanger, and I'm definitely interested to see how the story plays out. At this point, tapping into the Sci-fi genre means you're going to weave in and out of other stories, settings and characters. Seven Percent does this, but it also leaves an original impression at its conclusion. The story is intriguing and the art is engaging. I'm interested to see what happens when the other seven percent of the brain is accessed. Hopefully, other people will be as well.

Sex seems like the kind of story you could read anywhere, except that this one involves a more provocative subject matter, yet to what effect I'm not sure. I don't see this as groundbreaking or daring; instead, I see it was using sex as a tool to pull in readers. I haven't found anything that separates Casey's story of a retired superhero from other stories with similar premises, save for its scandalous title. And as for what I see, that is currently its main selling point.

Still, the book is fun to read and definitely offers another side to the world of superheroes, so while the book may not shed new light on its characters, it at least offers the readers a welcome opportunity to laugh a lot.

The final page was definitely a fun shock (particularly the return of a fan-favorite Spider-character), and Costa hints at a cool inversion of the "Sinister Six," but the purpose of the storyline is still too vague. I like how Costa plays with a universe of Spider-Men, but he hasn't done enough to establish his intent, and this is more frustrating given how solidly he writes the characters. Hopefully, #2 will smooth out these wrinkles and make the story as interesting as it could and should be.

I was surprised at how much I enjoyed G.I. Zombie, but also disappointed that the grandness of the story is never really captured. To be fair, Gray and Palmittoi are penning a single issue, so they're operating with different rules. A story this good, though, needs either the space to stretch its legs, or an editor who will keep its scope from expanding outside of its confines.

I would call myself a Starfire fan after this issue. With the new way Conner and Palmiotti have approached the character, I'd be more willing to give her a shot as her story is more about her adapting to Earth, rather than her being a physical specimen to ogle. I like that DC is giving more leads to female characters, and given the success of Harley Quinn, Amanda Conner and Jimmy Palmiotti seem just the people give the character the resurgence she needs and deserves.

The true test of any first issue is if you'd be willing to come back for more. I would, and I think you will to. Stray #1 has a ton of intriguing elements, a slick and likeable main character, and a mystery that I'm sure will be revealed slowly and painfully. So while Stray unashamedly reads like Nightwing at times, it uses an amalgam of the character to develop its own mystery, and one that is, if not original, at least intriguing.

Wolfman clearly wants to have some connectivity to the Legion of Superheroes, hence the story's future focus, as well as its three freed heroes, but the addition of all the extra stuff clutters the comic, and what happens is that Superboy becomes one more terrible issue for a series that has failed to find its footing, or solidify itself as a must read of the new 52.

Supercrooks hinges on the idea that these people, who have failed at every other heist, can pull of another one without a problem. It's a hard pill to swallow, and given that's its poorly constructed and introduced, it's even more difficult to get behind.

Green and Johnson add nothing new to the origin story, so there is no secret twist to Krypton's end. But by shifting the narrative to Zor-El, Kara's abandonment gains weight and makes her sadness palpable. Maybe it's the softie in me, but I was genuinely moved when I closed the book, and when a writer affects his readers that way, he deserves the credit for his ability.

Supergirl is a book I look forward to reading every month. Strongly written and beautifully depicted, this is a comic that redefines Supergirl for a new generation. I'm sold on the new Kara Zor-El, and I'm sold on Mike Johnson and Mike Green. And I look forward to seeing what they have in store for Supergirl.

Wile Superman has a slew of creative issues " like how to write a story for a God on earth " Supergirl has avoided those. She's shown to be vulnerable and human, two traits which Green and Johnson exploit with aplomb. But the series has devolved into mediocrity and when you have your heroine battling toothy monsters at the ocean bed, you can't expect readers to stick around much longer.

While writers seem to be trying more and more to bring a human element into their stories, it's nice to see two people pound on each other over the course of 22 pages. The end of Kara's fight with Diana isn't necessarily surprising, but it definitely shows that both women are forces with which to be reckoned. And if you're like me, and your interest in Supergirl was starting to wane, Issue #17 will rekindle the fires.

Understandably, the comic needs to tie in with what's occurring in the rest of the DCU, but what it sacrifices in doing so is the opportunity to relay a defining moment in Kara's life, and to provide readers with more than a cursory glance inside the emotional scarring she's incurred. It's because of this that Supergirl suffers.

This was a difficult read for a variety of reasons, but mostly it never settles on a narrative center. I get that Lobdell, Nelson and Jordan have a lot of story to tell, but they don't need to pack it all into one issue. This only hurts their intent, and as much as they leave the reader with a cliff hanger, I don't think many people will be interested to find out the end result if they have to wade through this kind of convolution again.

For an introduction to a new creative team, the annual isn't a good harbinger of what's to come. There's some quirky character moments here, and ones that could make for engaging stories, but they're buried under dense plotting, excessive dialogue, and poor visuals. The first year of the New 52 was not kind to Superman. Unfortunately, it looks like the second year is no better.

That said, I enjoyed this comic more than the previous Superman issues. Jurgens has the history with the character needed to help sell his persona, and through working with Giffen, Jurgens has helped produce an engaging story that showcases the many different facets of Kal-El, Clark Kent and Superman. By being aware of Clark's life outside of being a superhero, Giffen and Jurgens have added another layer to this story, one that makes for interesting conflicts, and one which makes me, as a reader, excited to see how the story is finished. I was a bit disappointed after he first arc, but now I'm more confident.

As a fan, I still believe that Superman isn't beyond saving. But he needs better stories to make him a more interesting character. It's evident that Jurgens cares about Superman. Above all else, he's a nice guy. But nice only goes so far, and actions speak a lot louder than words.

From the cover, one would guess that this is a book about Lex Luthor, but it isn't. It isn't a book about anyone, and this is part of the problem. A showdown between Luthor and Superman is always interesting, but Superman #15 fails to capitalize on this established history, and what's left is a comic that meanders from moment to moment without every truly moving the story forward.

I think of Scott Lobdell as a big idea man. He likes epics and he likes to have the space to tell a lot of story. But this density works against him, and Superman #25 is a casualty. At least the "Krypton Returns" story line is over, so hopefully Superman can get back to being a savior of Metropolis and not a guy battling chronal distortions or alternate realities.

I've enjoyed Charles Soule's run on the comic, even though I feel a bit cheated as "Doomed" took up seven issues of the series' run. I know Soule was a creative player of "Doomed", but he crafted a series where two of DC's heaviest hitters had to share the space and do more than be super. Clearly, Soule succeeded. The final page of the comic is one we've seen before - where the heroes are looking out at the sunset while holding hands - but the promise of a new beginning is bittersweet. Luckily, Soule left an indelible mark and hopefully Peter Tomasi and Doug Mahnke can continue to make the series great when they take over next month.

Superman/Wonder Woman is being written and illustrated by proven commodities. Tomasi is an excellent writer and Mahnke a great artist. But after two issues, they haven't found their groove yet. This isn't a reason to dismiss this comic, but they have an uphill battle if they want to keep the readership that Charles Soule built. I have faith, though; I only hope that people have the patience to let the team get its footing.

The changes in character may be part of a long term goal for Peter J. Tomasi, but the series has yet to find its footing. The final page climax has potential, especially given the direness of the situation, but the action that precedes it fails to give a new villain's entrance the shock it aims for. Instead I'm left questioning the decisions made by the editorial staff. Superman/Wonder Woman has so much promise. DC needs to keep it simple if they want the series to succeed.

There's potential here, though, particularly in the last page, but Tomasi needs to settle his focus if readers are going to stay invested.

Supurbia is a well-written comic with a clever premise and interesting characters, and I hope others find it as intriguing.

In its return, Supurbia is an impressive, strongly crafted read. Grace Randolph is a great storyteller, and Russell Dauterman an outstanding artist. The book has all the necessary elements to be more than worth the buy, and if readers wondered if Randolph could pull off making Supurbia an ongoing series, their doubts will be assuaged by the end of the comic.

Despite the quick changes, Supurbia is still an intriguing read. Because Randolph created the characters, she has free reign to do with them as she pleases, and this tangible confidence is present in the way in which she builds her conflicts. Basically, it's clear that Randolph knows what she's doing, and where she wants to go with her story. And given the nuggets Randolph has given readers, it looks like the characters are in for a serious rude awakening, and life in the superhero suburbs will never be the same.

Supurbia has been a consistently great read, taking the concept of a superhero soap opera and turning it into an engaging ongoing series filled with interesting characters, exciting conflicts, and strong characterization. Even with its frantic pacing, Supurbia is a well-executed series with a unique take on the superhero genre, and easily a consistently good buy.

I was a bit disappointed, as well, with Scarecrow's bit part in the tale. He's presentedas a bumbling villain who tries to sneak away at the end of the comic, all the whilemuttering to himself about how quiet he should be... with a guy who has super hearingstanding ten feet away. Plus, the final page, meant to be the hook for next month,is dropped without much fluidity and therefor the climax comes off a bit stilted. It'sdecisions like these which keep the comic from finding the same tone as Snyder's story,and ultimately hold it back from being great. Still, Soule establishes a connection between Superman and Swamp Thing, therefore keeping in line with DC's goal of having all of its characters more interrelated in the updated, streamlined New 52.

I didn't expect this comic to be as good as it is, but Talon is engaging for both its story and art. Snyder and Tynion are successfully building a mythos that will drive the first arc, and keep readers interested in the series, and with impressive art by Juan Ryp, I can't find any major flaws with the issue. Clearly, the "Court of Owls" was only the beginning of something larger, and as it slowly distances itself from its source material, Talon only gets better with each issue.

I was unsure of how long Snyder and Tynion could keep Talon going before it started to lose its allure, but given the mystery revealed in this issue, it's clear that they both have a lot of story to tell. The expanding cast of characters only adds to the depth of the tale, and the sordid history of certain characters is sure to be explored in later issues, particularly the mysterious Sebastian Clark. With Tynion and Snyder at the helm, I don't think Talon can go wrong.

I think this would have worked better if each group was given its own one shot. The story is too big to be confined, and given the space they have to work in, both Williams and Clevinger are limited in their writing. The conclusion of the second story in particular is too quick to have any emotional impact. And no true resolution occurs in either half of the book. Seeing as how End of the Earth has a global impact, the impetus behind this issue made sense. Its execution is where it suffers.

The close of the comic - where Madame Satan returns from the capitol city of Hell - is what makes The Chilling Adventures of Sabrina a comic to read. When Aguirre-Sacasa puts his own stamp on the comic, the story is supernatural and creepy and worth reading. When it strays back into the high school drama motif, it's nothing we haven't read before. Hopefully, the comic will keep moving in the horror direction because when it crosses the line, The Chilling Adventures of Sabrina lives up to its new name and genre.

The Humans appears like a standard biker story at its face value, but it's much more. Keller's creativity is matched by Neely's smooth character designs and Collantes' color vitality. The comic takes its chances and succeeds in its undertaking, so if you're like me and you think monkeys make everything better, take a look at The Humans this week.

Because of this mixture of story and art, the comic offer many reasons for readers to come back every month and this makes The Legend of Luthor Strode one of the most original books on the market.

The strength of this issue is enough to keep me on board. The previous issue was one of the best and while I didn't think Hickman could top it, he definitely does. Manhattan Projects is more planned that I originally thought, and I was taken by surprise with the direction of the story. I look forward to seeing what else Hickman has up his sleeve, especially if we can see more issues like this one.

After a rocky start, Future's End has really found solid footing. The stories have been increasingly more impressive with last issue being one of the best. The carry over, however, isn't here and issue #41 doesn't maintain the same sense of urgency. There's still a lot of story to tell with seven issues left, so we can forgive this misstep, but I hope Future's End gets back on the impressive track it had going. With Convergence looming, this may be our best chance to understand what DC has in store for the future of its heroes.

I think what I love most about The Secret Service is how unlike a typical Millar comic it is. His work is normally equated with the over-the-top action found in a Michael Bay movie " all flash and no substance. But this series is more than one dimensional heroes and villains, and graphic violence for the sake of graphic violence. I want Gary to succeed. He's a loser, but he's a victim of his surroundings. Jack is an enigmatic and engaging lead. There's a depth to his character that will eventually be revealed, and his subdued confidence makes him an intense hero. So far, the first two issues of this series have been great, and I hope the rest will be as good, if not better.

The Secret Service is set up to be translated directly into film, and this extremely noticeable in this final issue. Millar created an interesting hero in Gary, but the comic's originality is squashed in favor of an explosive ending that concerns itself more with action than story. This issue doesn't destroy the whole series, but it's definitely deflating.

For those who are interested in The Shadow, I recommend you skip Alec Baldwin's movie of the same name. In this comic, instead, The Shadow is powerful, scary and full of crazy new powers of which most people are probably unaware. And under Garth Ennis' crafty pen, he is intimidating and interesting, both in and out of costume. I look forward to reading about the evil lurking in the hearts of men, especially if this version of the Shadow is on the case.

Ennis is building his story so that its climactic moments will probably be spectacular. He's taken an established character and added some new traits that make him a more menacing figure. Couple that with mysticism, science fiction and violence, and you have a comic that is well suited to appeal to many comic book readers.

The Star Wars #6 doesn't read as cleanly as any of the previous books in the series, but I think we can forgive J.W. Rinzler this lapse. I don't see this as a new direction for the series, or one readers should expect to see again. At least I hope it isn't. But Rinzler's stock is good, based on what he's delivered so far, so I'm sure we'll see a return to form next month.

The Strange Talent of Luther Strode is a great mixture of well-developed characters, great visuals, and an engaging story. If you passed on this, I urge you to check it out. This comic is one more example of the strength of risk-taking by independent and fringe publishers.

With two issues to go, I can't wait to see the resolution of this series.

I have a hard time believing things will get better for Rick and his crew. When Kirkman built up to Issue #50, he had us thinking things were going great. Then everything went to hell, and Rick ended up losing those closest to him. The push up to Issue #100 has the same feel. I don't trust things will end well, and why would they? Kirkman has consistently written a bleak tale about humanity's attempt to survive after the world has ended. And as revealed by Rick early on in the series, the humans are the Walking Dead. As much as I fear what's going to happen, I can't turn away from this series. With consistently good plots and art, The Walking Dead should be a book on everyone's pull list.

But this is also why The Walking Dead is such a good read. Kirkman isn't afraid to hurt his characters, emotionally or physically, and I think the characters should fear their creator more than these roving bandits.

The snail's pace of the current arc is only limiting the intensity of the action. It's hard to care for characters when the story doesn't make their plight urgent, and despite the general badassery of Negan, he's only proven that his greatest asset is his ability to swear. Still, what Kirkman proves is that even a "bad" Walking Dead issue is an engaging read in both its content and its visuals.

As always, The Walking Dead has promise. The follow through, however, remains to be seen. With Image publishing the comic in bi-weekly installments starting with "All Out War," clearly they want to keep readers engaged and they feel that Kirkman's story will do that. As long as he can avoid an exorbitant amount of dialogue, and follow through on his premise, I think "All Out War" will deliver, and hopefully when the dust settles, Rick and his crew will be victorious, and able to spend their time fighting the undead and not each other.

There's not much depth to David Loren, and we're not given enough of his surrounding cast to make them more than archetypes of a surrounding cast. So while the idea of Think Tank is interesting, its characters hold it back from being truly original. clich.

Thumbprint has promise, and I'm definitely intrigued to see how it will turn out. The story hinges on a pretty good mystery, and while its main character doesn't evoke reader sympathy, I'm curious to see how she deals with her past, as well as her future. If Thumbprint is meant to be a microcosm of veterans returning from war, it definitely captures the difficult transition many soldiers have in adapting to normalcy. Hopefully it has a much more fulfilling ending for its character.

By the end of the issue, Miles Morales is no longer constrained, and he's now part of a bigger world. I like the inclusion of May, Gwen and MJ into Miles' life (and after having spent so much time with Peter Parker's family, selfishly I don't want to see them go), but given their heartache, I doubt they would encourage someone to take on the Spider-Man mantle. Regardless, Bendis now has all his pieces in order and the doors that can be opened for the storytelling have multiplied by several hundred. I just wish it wasn't in such an overt fashion.

Exposition is a necessary part of any story, but when it takes over the entire comic, pacing and flow are secondary thoughts. This doesn't make Ultimate Spider-Man a bad comic, but knowing the abilities of its writer, this is a noticeable departure from his usual forte.

Regardless of the action, Bendis brings a human element to his story, making the final few pages heavy with emotion. The bookends of the comic are Miles' life with his parents, and Bendis brings that conflict full circle. He hasn't experienced loss like Peter Parker did, but those days may be numbered, and while the arc is about Venom, the story is clearly about Miles and his family.

I'm a fan of thrillers so I like the behind the scenes player moving his chess pieces into place. Mr. Morez is a mysterious but powerful villain, and Humphries knows how to convey the Ultimates as a team rather than a group of individual players. The art, however, hinders the story. It was difficult for me to be fully engaged by a book whose visuals diverted my attention. But I like grand, sweeping stories, so I'll stick with The Ultimates to see "Divided We Fall" through. After that, however, who knows?

The Ultimates has everything it needs to be an exciting comic, but somewhere in the transfer from inception to product, the wheels fell off and the comic becomes nothing more than a mediocre entry. As a fan of the Ultimate universe, I'm interested to see the results of all the possible story developments, but if I weren't already familiar with the Ultimate U, I would pass on this comic. Nothing in these 22 pages says I'm missing out.

I've been consistently impressed with this series as each issue has offered up a solid story. After laying the ground work for the first few issues, the series feels like it's really picking up steam and building to a pretty epic climax. The image on the final page of the comic has me very excited to see where the series goes from here. Ultimate Comics X-Men is an ambitious series that rewards long time readers and new fans alike. And with one of the best authors in comics currently, I don't see this series failing to entertain any time soon.

It's a story we've all seen before: the liberated have to make a choice to to use their freedom for good, or to punish those who imprisoned them. But when the characters are filled with such humanity, it makes watching their struggle difficult. The final page of the issue is a harbinger of bad things, and I can't wait to see what Nick Spencer is going to do.

The final moment is meant to be the usual shocking Bendis conclusion, but it falls flat because the story lacks the usual conviction. The story is very perfunctory, like Bendis is running through a checklist of things that should occur as the Ultimate universe is ending, and this results in a comic that feels hollow. Unfortunately for Bendis and Bagley, we know what they're capable of, so seeing a comic book with their names on it, and one that lacks their usual quality of writing and art, is both frustrating and sad. And it raises the question that maybe the Ultimate Universe should have been destroyed years ago when more people - including its creators - cared.

If you take away anything from this review, let it be that Uncanny Avengers: Ultron Forever should be your next purchase. It's a comic book for comic fans, and what more could we ask for?

Remender enjoys playing with time and space in Uncanny X-Force, and Issue #28 is another example of this. The current arc isn't as epic as his "Dark Angel Saga," but readers can see "Days of Preemptive Future" taking shape. Because Remender is so comfortable taking X-Force into different timelines and alternate universes, the impact isn't as impressive as some of his other work. But Remender's characterization, and his penchant for exciting climaxes, makes Uncanny X-Force an interesting comic, even if its motif feels repetitive.

For fans of N0S4A2, Wraith is a satisfying Easter egg hunt. For new readers, however, Wraith is an unsettling introduction to a world of horror, and hopefully, this steers people in the direction of Hills' novel. But Wraith is good enough to stand on its own merit, and as a horror story, it carries enough creepiness to make people uncomfortable as we come into the holiday season.

This minor criticism aside, the issue is fantastic. The final line delivered by Lucy is a horrifying for how it leaves Charlie completely on his own, and this is in addition to the quest Snyder has outlined a for his character. Every issue of this series has been better than the last, and the depth Wytches #4 displays is more evidence of Scott Snyder's abilities as a one of comics' premier writers.

X has potential to be an interesting read, if it focuses more on its main character. The surrounding cast leaves a lot to be desired, and the dialogue is a bit too clever -- like action movie dialogue - and these minor ticks add up as major distractions. But there's potential in X, and I can't write the book off completely. Hopefully, Duane Swierczynski can capitalize on the promise of the book, and deliver better outings in the future.