A good main story is encumbered by overly sentimental or utterly fluffy bonus material. There is a good comic in here, but the extras drag it down, instead of elevate the issue to truly being a celebration of the character's history.

"Star Wars: Mace Windu" is off to an inspired start, but the real successes of this series won't be known until the depth of the story reveals itself.

A strong start and a weak ending lead to a mixed bag that always looks great, but sometimes lacks the punch the early pages suggested.

A truly unique work, "Titans Beast World Waller Rising" #1 is not an essential piece of 'Beast World,' but should be integral to the future of the DC Universe as a whole.

A really compelling and strange in a good way modern JSA story.

A disappointing Flash side-title.

Two modern masters of comics making a really fun, exciting comic.

All told, this is, perhaps, the best #1 DC has put out in some time and looks to be the best “Birds of Prey” book since its first volume and, perhaps, even the best since Gail Simone left that volume in September of 2007. It may sound hyperbolic to heap such praise on the book after just a single issue and, yes, it could all go sideways next month, but this book has been bad since that first volume. The New 52 version wiped out any charm the series had, and the Rebirth era never clicked. But beyond that, those books felt like perfunctory stabs at giving a DC legacy team a title. This book feels like a Black Canary story that is worthy of the name. That makes all the difference.

When it's not recap, it's a lot fun.

Regardless of the reason, Waid and Lupacchino are delivering a book that feels relevant to today and also revelatory about the characters in it, which is not typically something you get from a series set in the past. Whether its Donna Troy's naivet, Garth's reluctance to let loose, or Robin's struggles with leadership, this book is giving a really insightful peek into the past of the Titans, whenever that is.

A truly great debut issue, and a promise for what this series can be.

An unnecessary historical artifact that doesn't do the lead character, nor the overall story, any favors.

A decent debut that needs to commit to being a comic instead of a tie-in product.

Overall, this is the ‘We are Legends' story that I think has the strongest legs, and this second issue really makes the case for Xanthe to be a key part of the DC Universe for years to come. The pairing with Constantine and Cassandra is inspired, and shows that the character is already a versatile and unique character in the DC Universe.

A strong debut issue for an unexpected title.

There's a lot of good here, but some of it gets lost in the sheer amount of ideas in the book. And, it gets knocked down a whole point for keeping the "Doomsday Clock shenanigans going.

A strong debut that fumbles in a few key places.

"Radio Spaceman: Mission to Numa 4 #2 takes everything the first issue does well, heightens it, and throws in more chaos. While it won't leave readers unsatisfied, it will leave them wanting more. Hopefully we'll see Radio Spaceman again in the near future.

A solid, expansive and, most importantly, fun new Mignola book.

"Falconspeare" is another fun and surprising chapter of the Meinhardt and Knox saga from Warwick Johnson-Cadwell.

Comics should leave you wanting more, but maybe not this much more.

Regardless of what the future holds, "Action Comics" #1036 is a bold start to this long-simmering status quo.

There's a lot here, but not a lot of great stuff.

There's a lot of fun here, but as long as it is bogged down in the Avengers and the look of American heroes, it remains a less than thrilling read.

A strong opening issue that delivers more than promised.

Not ready to headline a club just yet.

A strong issue of a really exciting series, only slightly hamstrung by its art.

A bold and fun debut issue. If only this was an ongoing...

A solid, if familiar, tale.

This book works really well as a companion piece to "Infinite Frontier" and a nice primer on where the DC Universe is, and is heading.

A strong kick off (well, after the #0 issue from March) to what promises to be an exciting miniseries.

A good start of what should be a great series.

A really strong issue of a surprisingly nuanced miniseries.

A well crafted story that rings hollow in just about every way. Oh, but there's a fun Fred Hembeck page!

A haunting, violent, and over the top portrait of modern society.

Aside from the incongruity of the art, "Green Lantern" #2 does just about everything you'd want to push the series into surprising places.

Despite some lackluster art, "The Flash" #769 continues to establish this new status quo as one of the most fun books of 'Infinite Frontier.'

"Locust" #1 is an enjoyable, though slight, trek through a predictable setting.

A stunning debut issue that points to great things in the future.

The one lingering question that is left is this: the title is a Soundgarden reference, right?

In ways that it never could if it was 20 pages of the Joker being evil, "The Joker" #1 gives context to Gotham's most deadly and, yes, twisted criminal.

A stellar, hopeful, exciting shot across the bow.

A solid debut in the 'High Republic' line.

A visual feast that overcomes convention by sheer force of artistic triumph.

A visually fun, if ever so slight, space action book.

A visually fun and rewarding setting marred by incoherent plotting.

Interesting groundwork was laid for the rest of the event, but there was simply too much fluff to really get invested in the story thus far.

A disappointing issue from a storytelling place, and a disturbing one visually.

An exciting and nerve wracking debut issue.

A solid, nostalgic trip to the Diniverse Gotham, which leaves lots of doors open for future stories.

The strongest issue of "Shazam" since its debut.

A fine finale to one of the best miniseries of the past year.

A fairly successful ending to a confounding event.

A wonderful conclusion to a magnificent series.

A stellar re-introduction of these two characters, and a fun look at what the future may hold.

A breezy journey through DC's futures, but with little to really take away after closing the issue.

This is probably the best Hellboy Winter Special yet.

A solid debut with a stunning backup, that promises a lot for the future.

John Stewart bewares his power while Huckleberry Hound is...also there.

A missed opportunity in almost every way.

A strong start to a series that looks to help re-establish Vertigo as a line of substance and depth.

A remarkable start to this new series and, hopefully, a sign of what is to come from Vertigo over the next few months.

A truly fun slice of holiday cheer.

A flawed book that traffics mostly in imitation and nostalgia.

A measured, though not entirely memorable, opening of the "Children of the Gods" arc.

While there is more than enough going on in terms of world building, the core plotline doesn't have enough to it.

A marked improvement over the first issue. It finds a way to remain connected to the rest of the Hellboy Universe without being beholden to it.

A stunning debut that rewards re-reading.

A mixed bag, but a generally enjoyable special issue.

My favorite 'Young Animal' book, and one of the best comics out there, period.

Even though Wizord can promise no curse, wars, or loves, this book can promise a thoroughly enjoyable experience.

This team delivers.

Though not as strong as the first issue, this anthology gives some incredible bang for its buck.

There isn't too much more to say here; I've talked before about finding new things to say about Lobster stories, but after reading this, it became very clear to me that this is my problem, and not a fault in the storytelling. These stories scratch a very particular itch: pulp heroes who punch and kick supernatural things. This issue delivers a great version of that.

A truly bombastic, enthralling trip through the Multiverse.

A great introduction to Choi; a flawed introduction to the Atom.

A long building, and truly satisfying, first issue.

While flawed in parts, this is a good start to the revived series.

A fun issue, but needs its own identity, badly.

A problematic, if not thought provoking, teaser.

A strong start to 'The Deluge' arc.

Unless something seriously changes in the next few issues, Reggie has pranked himself back into obscurity. The "Reggie" part of the title will remain, but I don't see "me" coming back anytime soon.

A letdown from what could have been a lot of fun.

Ultimately, this book was a bit of a tease: it gave the illusion of new stories, but were really just the equivalent of a Saturday Night Live fake commercial: no matter how hard you laugh at the sketch, or how much you love these stories, you still can't buy the product tomorrow.

The art leaves a lot to be desired, but the story is pure fun.

If you weren't on board with this event before this issue, I don't know if anything will really tip the scales in its favor for you. But if you've been a fan of Lemire's work on the character, and if you dug the first issue, you'll really enjoy this issue. This is a nicely paced event (a lot hs happened in two issues), and seems poised to really do some fun stuff in the back half.

While not as moving or beautiful as last month's, "Reborn" #2 was an enjoyable step in what looks to be " in this writer's opinion " the best thing with Millar's name on it in a long time.

Surprising in all the best ways.

A bitter pill, presented wonderfully.

This could be the start of something interesting, but more than likely is just the latest attempt to monetize a nostalgia market.

A beautiful, hollow, inconsistent and inaccurate look at a life cut short.

This issue is a backdoor pilot for "Super Son," the new Tomasi/Jorge Jimenez series dropping in February, and in just one issue, the case is made that these characters not only deserve, but with thrive, in their own series.

While the $7.99 price point is a bit much, you get a ton of really fun Wonder Woman content in this anniversary special, and I hope that DC does this with more of their characters in the future.

A strong start to the new Vigilante story.

A stunning work by a master storyteller.

The biggest problem with the book is that it is still starring King's Batman, who is as close to a robot as he has ever been portrayed. His Bruce is a sharp detective but a flat character, showing no thought process at all, and taking a character that, even at his best, can be borderline unsympathetic, and turning him into a full fledged prick. Throughout this issue, he barks orders, withholds information, and generally is insufferable, and not in a fun way.

The book works for all the reasons it should; this isn't a revolutionary comic that will change your life. It's a fun throwback to a gloriously dated film that manages to be more than just a tossed off licensing deal.

A strong start to the series that is both reverent to its past and blazing towards an unknown future.

A fun romp through space with the best pets in comics.

A stunning debut.

More fun than a trip to the circus.

Look, I want to love this book. I really do. But until the story can read in a way that is more inviting to a casual, or even ignorant, fan, it will never transcend its time period and nostalgic nods of approval.

People (like me) have been clamoring for these characters to have a bigger part of the DCU for years. But at this point, if they are going to be so sloppily written and overly rendered, I'm happy to just read my old comics instead.

A truly enjoyable trip through some less than enjoyable struggles.

A strong start to one of the most anticipated comics of the season.

There's nothing really wrong with this issue, but not enough happens to satisfy.

Another great series from the Super-house.

A fun way to spend an evening reading comics.

A perfect place to pick up Dick's story.

Overall, the book looks like a fun place to spend some time, and hopefully, future issues will rely less on the character's backstory, and instead, tell new ones.

A really fun issue that, while a little decompressed for my tastes, promises a really fun story going forward.

A fun, if slight, Solo detour.

Ha's art shines; his script struggles

This is the most an "Aquaman" issue has made me care about the characters inside in over a decade, and is a great start to the new series

A solid introduction to what hopes to be a really fun series.

A solid, if overdone, introduction to the new Superman status quo.

The final arc (presumably) introduces some really interesting interplay between the Doctors Fate; hopefully both show up in "Blue Beetle," where Kent has been teased.

A truly satisfying ending, without being a neat wrap up.

The Rosetta Stone of modern DC Comics is not so much a comic as it is a glyph, through which we can understand our own fandom, and then view the future through that lens. I'm hopeful that I'm not seeing things clearly, but I fear that I am.

A strong start to a series that, hopefully, can shake a little bit of the 'boiler plate scifi' plot and deliver something special.

A strong start that only scratches the surface of what "Future Quest" can be.

This might read much better as part of the eventual trade paperback, but right now, this issue was less than what we've come to expect from "B.P.R.D."

A nice start to, what is currently, the only Supergirl book on the stands.

A fun read that marks the third great Captain Marvel book from DC in the last few years " where's our ongoing?

A solid introduction to the magical world that Dorkin, Dyer, and Thompson create.

A book that is playing off nostalgia and curiosity and satisfies neither.

A transitional issue in a transitional arc " hopefully the second act of stories has more action.

A beautiful, well crafted, but ultimately hollow, side story

A strong debut from two underrated creators.

The issue also moves the mini forward in ways that feel a tad bit rushed, but that's the nature of a 4 issue miniseries that is trying to both build a character and tell a story. Hopefully, "Faith" gets another mini (or an ongoing!) soon, and we can see more from this corner of the Valiant Universe " one that any comics fan would be smart to investigate.

And while Doll might turn out to be America's sweetheart, that's not the book I'm being sold. At a time when DC's Superman books have been anything but traditional, Marvel had a chance to do their own version of Superman. Instead, they've chosen to focus on a character most reminiscent of Fenix from “B.P.R.D.: Hell on Earth,” but strip her of her powers and urgency. Doll is a damsel in distress, and Hyperion is her knight in shining armor. And while that might turn in a good story, it doesn't seem to be delivering a great one.

A slower, but just as powerful, issue of the series.

A book that consistently impresses, while creeping us out.

But overall, this is a really nice example of editorial requirements being met with creative work. Ferreyra and Seeley are giving their all on this book and, even if it still isn't quite my “Suicide Squad,” it is far better than what we've gotten for most of the New 52.

A solid entry point for new fans, and a rewarding read for old ones.

The sad reality is that this series is going to be judged far more harshly than if it was a new creator owned series, because we have so much more skin in the game. But that's not a surprise to Marvel, Soule, and Checchetto – they know the stakes, and yet they failed to live up to them.

A remarkable series that just keeps turning the screw on the reader.

A fun concept trapped in an unremarkable package.

This story goes full on supernatural and, with spirits and diamonds both being smuggled in via glass, and the Lobster and his crew respond exactly as you'd expect – with bullets flying and punches thrown. Again, there is nothing that breaks the bold here, but the mold is enjoyable enough that you can read the issue, enjoy the hell out of it, put it down, and not worry too much about it. While that may not be what I want from all of my comics, I'm happy to get that from this one.

A really engaging second issue, with an all time great cover by Alex Ross.

A great debut issue that plants lots of interesting seeds for future issues to reap.

A strong opening salvo for the "Robin War" crossover.

Another solid chapter that leaves the reader begging for more.

A stunning achievement, even if the title is unbelievably unruly.

The Marvel Universe has always portrayed itself – for better or worse – as being ‘our' world, plus superheroes. And King and Walta have, I feel, rather accurately shown how ‘we' might react to having a family of androids move in the neighborhood. There probably wouldn't be a protest, there probably wouldn't be an “ANDROIDS GO HOME” sign on their front lawn. There would be a lot of Facebook selfies with the Visions, and neighborhood chatter, and a sense of unease that would creep into the neighborhood. This book is one of the more accurate representations of what it must be like to live in the 616 – and I'm damn glad I don't.

A letdown after last month's turning point.

A book that is starting to find its footing, and has potential to be truly interesting.

That one piece of dialogue is so perfectly encapsulating of the problems found herein – this is DC answering a question (“What can we do with the classic Teen Titans?”) with the most obtuse answer possible – “We can create a character that somehow has knowledge of their past, filter it through the New 52, remove a character that is continuity-problematic, throw in a bunch of cannon fodder, and make it a year-long story.” The answer should have been simple – tell a good story. But that is certainly not the answer we got.

There are a million balls to keep in the air for a book like this, and Rucka and Checcetto keep most of them up without incident.

A strong debut that presents some interesting challenges for the months ahead.

A disappointing swing and a miss.

A solid book that will be sorely missed come January.

Both the most and least interesting thing about Hellboy is his destiny – it is the sword of Damocles that hangs over the entire Mignolaverse. On one hand, we are all waiting for that story to be told; on the other, that story being told will bring an end to all of this. So, while I cannot wait to see how that, eventually, wraps up, I am very glad to have Mignola telling such amazing tales of Red while he can, before we all find out just how incorruptible his destiny really is.

The issue ends on a cliffhanger, and because of the tone of the book, it feels more dramatic than it probably, in reality, is. But again, the book's tone is so specific and unique, that maybe we really are in for a dramatic event next issue. This book, with one foot in the Bat-verse, one foot in the 'Dark' line, and with its ass clearly in the classic 'bwahaha' Bronze Age DC, is a real under-appreciated treat right now.

A skillfully constructed horror book, that looks nothing at all like a horror book.

This issue teases a bunch of new mysteries and developments – seriously, what's with the ghosts? – and doesn't really give us anything all that concrete to hang our hats on, but we know that this is the ‘beginning of the end' for “Hell on Earth,” and that this time next year, we'll be wrapping up John Arcudi's time on the book. This issue seems to be laying out the pieces for the last year of this incarnation of “B.P.R.D.,” and while it is a book that is a bit stretched thin, it is still a hell of a ride.

An incredibly fun journey, month in and month out.

And perhaps that is another reason why this will be the most read mini of the batch; because we all have our emotional attachments to the music videos of our childhood, whether or not they coincide with Gillen's childhood or not. This is the first volume of the series that isn't about a specific type of music, but rather a delivery system for that music. So, while some #millennials might still be too young to grasp the import that videos at one point had, they can still appreciate what videos were, and are, capable of doing.

The book picks up right where the first miniseries left off, but is also accessible to new readers.

The last bit of the book ventures into some spoiler-y territory, so I'm going to avoid that for now, but it is the only part of the issue that really affects the story going forward, and only does so incrementally, just reinforcing ideas that have been suggested elsewhere. One of the aspects of the book that I really enjoy is the decision that was made to make Rayner as close to a pure hero as possible. This book is all about shades of grey, but he is firmly still in the white (lantern) hat. Having him as the foil for the sometimes villainous actions of his counterparts works very, very well.

Perhaps a few too many swerves, but overall, this issue rights the ship from last month's #10, which was the weakest thus far.

A strong debut for this fun Oni miniseries

Regardless, once you find your way into the story, it is a fun, odd, and funny book. I would like to see more about King and his family/past, but I can't imagine the book won't go there soon. Until it does, I just hope to get a lasagna joke next month.

A strong entry into the most appealing "Justice League" event in years.

A strong issue, full of development, but also a great teaser for what is to come.

A solid debut, and one that makes me want to drop $40 on an action figure

When the preview was released, the DC3 compared it to the Jonathan Hickman “Avengers” run, and this truly feels like a Justice League world. However, it skipped directly from the fun recruitment issue to the ‘Illuminati playing chess with human lives' of “New Avengers” without a real chance to let the novelty of the status quo get any play. However, next month's lineup seems more lighthearted and heroic than this, admittedly, quite dark start to the book. Here's to hoping that Parker and artist Paul Pelletier can find a tone that suits the team as well as Parker and Foreman did for this arc, but with a little more sunshine.

A continually strong and exciting book.

The aforementioned serial killer sequence is the most violent in the book, and violence is something that Jordan is known for, specifically because of his ‘Luther Strode' books. But Jordan, as shown in his work on “Green Lantern: New Guardians” isn't just limited to big violence. This book fits in nicely among Jordan's bibliography, as it feels like the most refined pitch from his creator owned work, but it still has a real edge and excitement to it.

I would also be remiss if I didn't mention that, despite all the fine work done before and after him, Tonci Zonjic has really solidified himself as the LoJo artist, and whenever a mini or a one-shot comes out without him on it, it somehow feels incomplete. I know that is not fair to Nixey, and I'm glad to see him joining the Mignolaverse, but I can't help it " Zonjic just gets this character in a way that no one else does.

Still a strong title, but it is losing a little of its breezy feel. I know this is the path for a book becoming 'bigger,' but I'm still going to pout a little about it. But just a little.

A book that is still finding its footing, but is showing signs of real promise.

A valiant attempt at giving longtime fans something they want, but it could use a serious dose of the unexpected. Here's hoping that comes later in the miniseries.

Overall, the first issue did everything it was supposed to do " it gave a reason for these characters to interact, it established a world that felt applicable to both franchises, and it gave a story that is interesting and worth continuing. More than anything else, this book left me wanting more Green Lantern presence, which is a good thing in the long run " there was plenty of Lantern mythos, without spoiling too much actual interaction. Hopefully, in future installments, Hernandez can loosen up his style a little, because there is literally no limit to where this book can go " it's already reached the final frontier.

A strong return to form for "Gotham by Midnight" " next issue, when all the establishing is done, I am excited to see Fawkes and Ferreyra really shine.

A bloated, expensive, disappointing comic

This book is inviting you in as a superhero title, but reveals its horrors quickly. The character lets you believe that he is a humanoid hero, but reveals that he can be anything he wants to be. By having their book be so clearly defined by fear and sadness, the creators are putting out a challenging read for fans to take a chance on. I beg that you do, as you'll find few superhero books with as many layers or rewards than this one.

An intriguing start to a series that, hopefully, can back up its artistic ambition with some more developed characters going forward.

A solid start, but I hope that Clark comes back to his Smallville roots a little and drops the Metropolis potty mouth.

Nor should he be – this isn't “Kyle Rayner” #1, it is “The Omega Men” #1, and the book does a nice job establishing who they are, and fits Rayner into the picture as well. This isn't an instantly gratifying book; it is a slow burn that rewards re-readings and delving deep. If fans can find it, I think they'll be intrigued – here's hoping that it gets the fair treatment and long run that the preview and first issue suggest.

This book picks up, more or less, directly after “

It is because of issues like this that "B.P.R.D." remains one of the finest books in all of comics. The nuance all the creators show in their handling of the death of (what could be described as) a minor character shows just how dedicated Dark Horse and co. are to presenting this book as something without precedent in the world of comics.

A solid start to a series from exciting new creators.

The last act of this issue is a doozy, and I'm not going to say anything here about it, other than it raises far more questions than it answers, and it sets the course for the rest of the miniseries in a stunning fashion. Barbiere and Peterson set up relatively standard tropes, and then drive trucks directly through them, allowing a far more interesting, sad, and worthwhile story to drive pass between the walls of expectation.

A nice walk down memory lane with some outstanding art.

Overall, this is the definition of a comic that would've been celebrated as a free digital supplement " a little backstory on the cities involved, a nice looking Superman story, and a way to get a reader who has stayed off the internet for the better part of a year up to speed on the event. As a five dollar comic, it feels a bit light, both in terms of page count and in terms of impact. And there's the rub: the content is ok, but the price is insulting " and if that isn't the story of too many Big 2 comics in 2015, I'm not really sure what is.

The last few pages are where the rest of the arc starts to shape up, and while it makes for exciting comic booking, I fear that much of the heart from the issue will be lost if the relationships are more traditional. However, I have no doubt that Waid and Haspiel will inject each character with the humanity needed to elevate future issues to this one's level.

Overall, there's nothing egregiously bad about the book – it just feels like a lost opportunity and, sadly, one that so many licensed comics make. I am not advocating for having the first issue be a totally fresh start, but there's no reason to expect the audience to be an encyclopedic fan to pick up the series.

Regardless of how it winds up concluding, I must applaud the book's sheer audacity: in this issue, Alfred loses a hand, Batman makes a deal with the devil(s), and the Joker seems somehow even more driven and terrifying than he has in the past. How's that for a penultimate chapter of an arc?

Ultimately, this issue feels like the penultimate installment of not just an arc, but of a major run or series. If rumors are true, Lemire is done after next issue, and there is more than a little bit of the end of James Robinson's "Justice League of America" run present here, with Lemire cramming in a ton of ideas to cover what he might have wanted to do with twice as many issues. The issue flies by, because each panel is packed with a ton of information, a slew of characters, and a lot of action.

A much stronger installment than the first issue, but still lots of room for improvement.

The book is building to something " I just hope we get that something sooner than later.

A book that is finding its way into greatness.

This makes most other Werewolf comics look like Teen Wolf, Too.

Tim Seeley has been on a real kick lately, between "Sundowners," "Revival," and his co-writing gigs on the Bat-books " and that kick continues here.

After reading this first issue, I had the same reaction that I did when I first read "Manhattan Projects" or "East of West" " how hasn't this already existed? It feels so complete of an idea, so well tuned a concept, so expertly put together, that it feels as if it must have somehow already been put together. Maybe Hickman has a torii, like they do in Los Alamos, to bring back comics from other dimensions. That would explain a lot.

I admire the creative team's desire to do something different, but this is merely a different sheen on top of the same stale story.

The short answer is: fine. The longer answer is: fine, but that doesn't mean I felt it was all that effective as an introduction.

This issue also continues Enos's ascent as one of the stronger voices in the Bureau; he seemingly has no issue stepping up to Johann, or even to the intimidating Howards. He seems to be someone who can rally the troops behind him, while still maintaining a somewhat antagonistic relationship with just about everyone. He's a very interesting character, and one I'm glad is getting more attention.

Either way, it'll be ok – the only way to really lose this battle is to stand right in the middle.

But, again, this is a story about stories. No one in this issue is exactly telling the truth, and the creators are no exception. You are being told to buy a book for a secret origin of a super spy, told from the perspective of a superhero. Instead, you are getting a meditation on truth, storytelling, and deception. And while you might not be getting what you are promised, you're getting more than you've paid for.

A somewhat jumbled book with some transcendent moments.

"Justice League" was supposed to be the flagship book of the New 52, and it never quite lived up to that role, but lately it has felt like something close to that.

There is still a healthy sense of mystery to this world, but there is nothing confusing or unclear about what we see happening " sure, we don't know why there are (seemingly) demons and the supernatural present, but no one else does either. Everyone in the book seems to approach the world with a certain sense of skepticism or defeatism; there is no certainty anywhere here (except that Mr. Cogan's tab hasn't been paid in a very long time). After reading the issue a few times, all I'm certain of is that I want to read more.

A truly fun experience.

There is a good Ash comic out there in the ether somewhere; sadly, it isn't here.

A solid entry into what, hopefully, isn't a forgotten series.

Worthy of the name 'Bradbury,' and that is high praise, indeed.

The highlight, without question, is the art by Lupacchino, one of DC's rising stars. Her clean line and adaptable style works as the book shifts settings quickly, and at each turn Luppachino is doing something interesting with the page.

And so, even if it wasn't written for me, I will still claim this as my own, and do so gladly.

Dynamite and Vertigo have an inspired pairing here, and I wonder if we'll see Django cross over with other fictional heroes in the future. I'd love a Djano/Jonah Hex book, for instance, and DC wouldn't even have to go out of house for that. Ultimately, this is a very fun, very well made book that rewards the reader with a truly well-crafted tale.

As fine as the book looks visually, it still holds little intrinsic value because the story is so dull and pointless that it makes reading said words seem like a chore.

The other hope is that we get an opportunity to know the modern day characters in ways that aren't just retreading their past lives. The last page reveal, which shows how wrong Jericho has been about his own detective work into his own past, was the most interesting character beat of the issue. Sure, they are reliving their lives to an extent, but I know more about what their lives today look like, I'll care more about their past.

The last few pages reinforce two things about the new direction of the book: Tony is out of control, and Pepper knows it. The final page had a reveal that is truly bizarre, but exciting, and should get most of the readers to come back again for the next issue. This isn't as radical of a change as a female Thor, or Falcon being Captain America, but it is the only one of those developments that seems like it could have permanent damage to the character's legacy, and that makes it exciting.

This isn't a book you pick up if your primary goal isn't to laugh, and if you don't want a good laugh, what's your deal?

This issue also begins to draw in more of the DCU as a whole " we see Midnighter again, but we also get Apollo, and the first mention of Stormwatch. There's also a discussion of Checkmate, and even a reference to the events of "Batman Eternal." This is a pretty great example of DC's recent run of creating singular books that still manage to make sense in the grand scheme of their line.

An unnecessarily small stakes relaunch.

The strongest issue of "Sinestro" yet, and a fine addition to the "Godhead" storyline.

A strong issue, which would've been a little stronger with one artist working on the "main" story

Not so much a mess as an easy to ignore, uninterested and thematically unimportant waste of $2.99.

An unlikely triumph for Rucka; a coming out party for Fejzula.

A story that works on just about every level you could hope one to work on.

Overall, the issue relieved some of the fears I had going in that losing Mike McKone would kill the vibe of the book " Green and Lemire fit together nicely and craft a story that I am excited to pick up again in 28 days.

"Punks" is like no other comic on the stands, and whether that fact sounds appealing or repulsive will determine how you feel about it. The book is not illustrated in a traditional way " Chamberlain makes the book like he was making a 'zine " photocopies, X-acto knives, scotch tape, more photocopies. Because of that aesthetic, the book reads quite differently than any other comic you'll pick up this week.

A nice bow on "Doomed," and a really fulfilling issue of character growth.

A strong chapter, but visually a bit stuck in the 1990s.

And that is part of the disappointment here – I am not a huge Lobo fan, but the parts of the issue that harken back to that time in comics are the times that got me smiling and really enjoying the book. Instead of doing a book that feels retro, instead, there is a book that feels like nothing at all. It isn't quite modern, it isn't quite retro, it isn't quite good, and it isn't quite bad. This is the definition of mediocrity in 2014, and it becomes instantly forgettable. Aside from the first few pages, I had completely forgotten this issue just minutes after I read it. To review it, I had to re-read it four times just to make sure I had everything committed to memory. This is barely anything at all, and everyone involved, from the creators to the characters to the fans of the original series, deserves more.

Overall though (and despite a really unusual printing error in the backmatter), this is a solid introduction to the crossover, and acts as a fitting start to the New Gods' time in the New 52.

Pires's script has a lot of fun moments as well, and he isn't afraid to throw some absolutely laugh out loud moments in there, whether it is a take down of fancy coffee (sorry, David Harper!) or some well-landed fat jokes. The pair manage to make a plot " pre-fab pop stars " that might seem to be unbearably cynical feel breezy and enjoyable, without losing its edge.

Everything about this book leads me to believe that this is going to be a huge series. Get in on the ground floor now.

A fitting conclusion to a surprisingly good crossover.

But, sadly, the story is so cliched and dull that the art takes a backseat to the yawns from trying to get through these 20 pages. I am a huge Perez fan, and would love to see him do more work than he has in the past few years, but not if this is what it will look like.

Overall, this doesn't feel as indebted to Kirby, visually, as I expected, and in a way, that is a relief. I love Kirby, but I am glad to see everyone here following their own muse, instead of trying to replicate a style that few can master.

This could be the start of another great arc, but needs Wood to let Smallwood do more of the heavy lifting to achieve a better read.

A supremely interesting story that zigs when you expect a zag, but never feels like it is doing it for any reason other than to further the plot.

I am still not 100% convinced that this isn't going to be an instance of a brilliant concept executed in a less than brilliant way, but I am hopeful enough to keep reading.

A fun issue for a book struggling to find its role.

This book, under Tom Taylor, has remained better than I ever thought it would, post-James Robinson. But this issue is a mess " hopefully, the weekly rights the ship.

Engaging and mysterious, without feeling like they're biting off more than they can chew.

This issue isn't quite up to snuff with the rest of the series thus far " it's just too on the nose with the Lovecraftian stuff, and not connected to the main story " but it is a bizarre, fun diversion. Francavilla's art continues to be impressive, if overly bathed in orange, and the dream sequences, in particular, were beautifully handled.

Overall, this issue continues Johns's attempt to take this book back to something that feels even remotely like a classic Superman story, and together with JR JR is crafting a story that feels classic and new all at once, and like a catchy song, makes you want to experience it again and again.

Marvel has been doing such fine work over the past few years " if this is what their books will look like in 2061, I'm pretty sure I won't be buying them.

Parker, only a few issues in, knows these characters inside and out, and has crafted a story that feels fresh and classic, surprising and pleasingly expected, and does so almost effortlessly. This creative team can write this book for the rest of time, as far as I'm concerned.

This is the definition of a book that doesn't need to exist, but that I'm glad does. This was an extremely fun read, with an underused creator with a healthy pedigree able to have fun in this sandbox for a little while.

The story isn't quite as instantly engaging as the first few issues, but now that the principles have been established and there's some emotional skin in the game, an issue like this sets a nice tone and gives the reader a chance to invest ever further in the characters, as well as deal with the question that, I feel, will take up a good chunk of the arc " what if these two are totally wrong for each other?

This issue wraps up the first arc, and in doing so sets a tone for the rest of the series. Slott has injected a little levity into a character that can sometimes feel a little stiff, and Allred's style, with its winks and nods to the Marvel comics of his youth, continues to bring a levity to the property. This book, operating as it is on the fringes of the Marvel U, can go anywhere and do anything it wants " and boy do I want it to do just that.

A slower, less visually stimulating issue than #6.

This issue is great in spots, and can be a bit frustrating elsewhere, but that is sort of the deal with a sprawling story from many creators.

"Secret Avengers" is a book that is firing on all cylinders right now, and seems to have an incredibly strong grip on what it is trying to do. The book is trying to blend espionage and humor, with some sci-fi tossed in for good measure. For the most part, it is succeeding at that. Kot's script here is full of a lot of action/spy movie cliches, but used in a knowing way; Kot isn't trying to play something off like it is an original idea, but rather playing with the form and creating something fun and fresh with familiar ingredients.

This is the definition of a book DC felt it "must" have, but had no real idea for what it should be, and so it has floundered from writer to writer (with always fairly competent art) and ended up here, in a miasma of poorly handled time travel, cloning and teen angst. Is it September yet?

The characters are fun enough to anchor a nice, long series, but the question will be: will the fans show up? If they do, this team, along with Carpenter's guiding hand, should be able to produce some really, really fun stuff.

There isn't too much to say that hasn't been said hundreds of times about this book, but it is so refreshing and nice to see it back. As a parent, this is one of the first comics I've given to my daughter that I felt she really connected with (she called Brainiac 5 cute), and that alone brings me a ton of joy. If I had my druthers, this wouldn't just be a mini, but we should be thankful we have it back at all.

As masterfully as Robinson's script is, and as well as Leonard Kirk manages to shuck indelible expressions from people sitting in a court room, the real stars of the issue are the guest artists who provide flashbacks and diversions, who run from the great to the fucking incredible: Mike Allred, Jim Starlin, Chris Samnee, Phil Jiminez, Dean Haspiel, and more, all take their shots, and all perfectly evoke the time period that they are covering. It is hard to not simply focus on personal favorites, but Haspiel and Allred, in particular do such exceptional work that they overshadow Kirk, which is something very difficult to do, because Kirk is absolutely killing it on this book.

This is the third issue (counting the Annual) of this creative team's run on the book, and while it isn't instantly grabbing, there are some really interesting ideas present. Booth's art, usually something that is undoubtedly rooted in the 90s, feels slightly more contemporary here, and complements the book's kinetic energy decently. Personally, Booth's style doesn't do too much for me, but this is the best it has looked in the New 52, and hints at some potential growth in his work.

Overall, for $7.99, you get five distinct eras represented, plus a few excellent pin-ups, and a real appreciation for just how diverse and fun a property the Turtles have been for their first 30 years. I can't wait to see where they are 30 years from now.

This issue has an unenviable task of being open to new readers and satisfying to old ones, but that isn't an excuse " most comics have that same challenge. Instead, this just falls short in just about every way; there is hope for the mini, but it needs to pick up the action and, especially, get Williams doing better work.

This issue really shows the potential for the book " zany adventures, smartly written and brilliantly drawn, inhabiting infinite worlds. This is one of the more exciting books to be released this month and, perhaps, this year.

Again, there is nothing really wrong with the art or the dialogue, but to earn a buy, especially at $3.99, it needs to do significantly more than this; namely, anything.

Eaglesham, who also drew Sinestro's "Villains Month" entry last year, really has a handle on the character and the world he inhabits. The constructs, always the way to test a Lantern artist, are refined and with purpose when created by Sinestro, and less well put together and thought out by the lesser Sinestro Corps members. The issue doesn't quite have the bombast, artistically, of the debut, but that isn't Eagleshame's fault " his work is as well done as is expected from his reputation.

This issue, to a degree, lays out the mission statement of the series without being clunky about it, and gives plenty of reason to continue on with the series.

This is the book in the Bat-line that most appeals to me a a reader, and I'm glad there is a book like this in the line right now.

Ultimately, no matter how you shake it, this will go down as one of the worst Titans runs of all time; wrongheaded from the start, tone-deaf in execution, and shackled to a long-dismissed artistic aesthetic. Good riddance!

This is clearly Robinson's love letter to classic Marvel and this issue, in particular, feels like a book out of time. Using Jim as the main narrator allows a different voice to slip in, and lets his overwhelmingly positive outlook really color the book. There isn't a hint of cynicism in this issue, and coupled with a crazed Eternal, a WW2 flashback, and Pugh's art, these 20 pages represent the most I've smiled reading a comic this week.

I really hoped that "Aquaman and the Others" would take the need for monthly updates from the Atlantean council away, but that clearly isn't the case. This is a solid comic, on the precipice of being a great comic.

However, the book has established a hook in the initial appearances of Wally West " both times as a tragically deceased teenager. The last sequence almost has a Primer vibe, with Barry going back in time again and again to save Wally. Handled properly, this is a fun place to take Barry " and hopefully Booth's rendering of his running improve enough to make the book satisfying visually, as well as plot-wise.

Seriously " this issue was off to a great start, helped along by Doug Mahnke's inimitable art, and then everything goes 1998 digital, and the wheels fall off this issue. That, mixed with the unnecessary exposition that opens the book, really drags down the fun atmosphere the Metal Men bring to the issue. While this issue stumbles, this seems like a pretty great back door pilot to a new Metal Men series at DC " it'll probably last 8 issues, but I'll dig it.

This is a minor criticism, ultimately, because Frank Barbiere's, at times thin, dialogue and plotting allows Cypress to really go to town, and the the balance of the sparse script and rich art makes a comic that isn't too dense or too empty, but rather, a fun, exciting book that is hard to put down.

Overall, this book is a fun update on the classic character, and is showing a lot of potential for future installments.

This issue feels like the start of the creators really finding the sweet spot of their talents " is it next month yet?

Reeder's work here continues to be absolutely astounding, with 1986 New York looking every bit as grimy and superficial as it was, and 2013 seeming like how an outsider/person looking back without real knowledge would "fix" the past. But it is in her character work that she really shines here " the innocent abutting the cynical is always good fodder for art, but Reeder and Montclare refuse to let cynicism win, and that infectious spirit makes this book an even greater joy to read.

This series has so much potential " between the setting, ripe for excellent stories, and the top notch creative team, this should be a homerun. But it isn't " at least not just yet.

They are shaking the team to its core, and in doing so, seem to be starting a pretty unique, while undoubtedly classic, run on this title.

Overall, this issue wraps the mini up nicely, and ramps up the excitement for the upcoming "Fox Hunt" mini.

Robinson's script is tight and full of purpose. Sure, the exposition around a few plot points can be a little much, but it would be for Tomas, too. He needs to be caught up to speed, as we do, and so this is the reality of his life: many, many words delivered very, very quickly. As this first arc moves onto its back half, there are very few books I look forward to as much as "The Saviors."

Levitz's script gets all the broad strokes right, but he doesn't handle the nuance the way Pak does, and so this book just seems like a less refined/clever/well done sequel to a really special issue.

The arc this issue kicks off deals with characters called Godkillers going after local deities, and seems like a good fit for the book which can, at times, feel a bit rudderless. There's a fun to be had in a book that is freewheelin' and roaming the furthest reaches of the universe, but putting a little giddy-up in its step isn't a bad thing, either.

This issue, in particular, showcases the action, and sets up the big finale between Ming's forces and the Flash Gordon/Mandrake/Phantom gang. There is a lot to like here, from Laming's Golden Age inspirations to Parker's ever-logical plotting, to seeing characters from the childhood of every generation since the Great Depression ride again. News that Parker will be continuing to write Flash's adventures is wonderful " but don't miss this mini, which has done a great job re-establishing these characters.

Of course, none of that would matter if the story wasn't entertaining, and it most certainly is. Bowers, Kowalchuk and Sims create a story that is almost deceptively simple on the surface – man fights mascots – but has a rich tapestry running underneath that main story. Regret, pathological addiction, family dynamics, the nature of fandom and loss all feed into what is, essentially, a redemption story. If there is a major criticism to have, it is that the story feels a little rushed in the back end, and could have used another 20-30 pages to tell its story to its completion. The solicitations read “Volume 1,” so there is hope for more of this tale, so perhaps that critique will sting less a few years from now, when volumes 2 and 3 complete Chuck's story.

I know we sound like a broken record around these parts, but bless Greg Pak's heart " his Superman comics are so good! This issue, like every other "Action" issue he's done thus far, has felt like a classic Superman story in the all the right ways, and yet has been accessible and fresh in the ways that DC envisioned the New 52 to be.

A great value for $2.99, and you get two ok comics.

There is a certain feel and tone that Dynamite books have, and while I can't say I'm a huge fan of it, I am intrigued that, no matter the creative team or book, the tone is consistent. That tone is more in place for a story like this than, say, it is for "Uncanny." That tone " something in the coloring, perhaps? " harkens back to a time long past. Whatever the unnamed element is, it makes this book feel less than modern " that isn't an insult, but rather an observation " and that tone helps transport the reader into a time and place they are not familiar with. For "Turok: Dinosaur Hunter," that helps set the book up for a successful debut.

I'm not a connoisseur of Rocha's work; he's never overly impressed me or caused a groan. But here, he manages to do some really expressive work that recalls the 1970s setting without feeling like a cliche " sure, he puts almost everyone in sideburns, but there are worse things than that.

The issue starts off with a great mystery, and while it isn't resolved at the end of the issue, it makes a lot more sense. A nice start to a new arc from all involved.

This issue feels very slight " half poor re-tread of Smasher's origin, and half poor re-tread of the Builders arc. Caselli does some nice work but, ultimately, this is further proof that "Avengers World" is a book that is very, very much in need of a point, and fast.

While most of the X-books barely resemble the comics I fell in love with in the late '80s, "Amazing X-Men" feels like a classic X-tale in all the best ways.

David: Agreed on the grade, agreed on most everything. The good thing about these questions is they make us want to find answers, and those are the good kind. I'm all in on "Reign of the Black Flame", and I just hope our favorite characters survive the trip.

Together, these two are created something really and truly worthy of the character they are working on. Bravo, gents.

In many ways, the characters in this book are good people, but they go about things in pretty terrible ways. Because of that, there is a level of moral ambiguity which breeds tension in the book that is rare for a comic. You're rooting for these sexed up kids, but you understand why they probably should fail.

In fact, this book is all about perception versus reality. Tomas seems like an idiot. The sheriff seems like a good enough guy. Frank seems like a guy who's got brains enough to stay out of trouble. When those things don't happen, it isn't a total shock, but it is surprising enough that it keeps the readers on their toes and engaged in each page turn. And, honestly, what more do you want from a comic?

And so with ten issues, "Justice League of America's Vibe" goes out to pasture. Sure, it is a ridiculous character to build a series around. Sure, it is even more absurd as he was just reintroduced to the New 52 directly before it started. Sure, the creative team changing early on wasn't a great sign.

Everything about this issue brought me back to the days of "Infinite Crisis," which are some of my favorite 21st century DC times. The heroes were working together (even though, they sort of aren't), there was a real heart at the core of the issue, and familiar characters and ideas were handled in new and interesting ways. I honestly can't believe how much I enjoyed this issue, and that is a testament to what Soule is doing at DC.

If you enjoyed Robinson's run, it's not too far off. If you didn't, you might still want to stay away.

This issue lays threads for a number of big events for Marvel going forward, and overall, is probably the best ending to a Marvel event in quite some time. At least five years, if not closer to ten. Hickman came as close to sticking the landing here as I think he possibly could, and created a memorable event that will, hopefully, lead to similarly effective Marvel events in the future.

In this issue, Van Lente reveals about 10 different twists, all of which work, although it leaves the book feeling a little heavier than it probably should. There is a lot of good here, and with a little pruning, this title could become great.

Brett Booth is excellent at what he does; what he does just doesn't fit the same tonal area as what Lee does. This, visually, no longer is set apart from the usual New 52 scrum, and suffers greatly.

Overall, this issue feels more like a Justice League comic than almost any issue of "Justice League" or "Justice League of America" that Johns has written for the New 52. The "team" is coming together, and it is an exciting thing to see.

This was an average "Infinity" tie-in issue of "Avengers" " you've got some decent action, some nice character development stuff, but nothing really out of the ordinary.

While it would be a little disingenuous to say that this book hasn't slipped at all since Matt Fraction stopped scripting, the difference has been far less than many worried it would be. The Allred brothers have this locked down, though, and the book is still one of the most fun being published.

This issue is a big ol' bucket of water being dumped on the 'Lights Out' campfire.

This mini seems to be a launch pad for these characters to have solo adventures, which is an interesting idea, especially considering Dynamite's relaunch of the Gold Key characters coming next year. This issue doesn't quite have the bombast of the first, but it is still a solid comic with a lot to enjoy within.

This feels like a Hickman book in the broad strokes, but nothing about the book itself either has Hickman's brilliant ideas, nor Costa's gift for crafting compelling dialogue.

This is a lot of fun, and while $7.99 is a lot, nearly 70 pages of content makes the price tag worth it.

This event is firing on all cylinders, and while the scope can be intimidating, once you're inside the event, it really works.

There is just no way to say how fun and great this is each month without getting super-repetitive. Baltazar's designs capture the characters perfectly, and he and Franco manage to put them in situations that work both for the Itty Bitty nature, but also seem shockingly true to the B.P.R.D. roots.

The biggest problem with this book is that it is only a miniseries. Parker and Laming really killed this first issue, and Dynamite, in general, has been bringing in a lot of really great talent as of late. Hopefully, the success of this book will lead to more stories with these characters, hopefully from this creative team. I really did not expect to find this book as one of, if not the, best #1 of the year thus far, but I'm hard pressed to find a debut issue I enjoyed this much in the past 12 months. This perfectly paced, fun without being silly, apocalyptic without being dreary, re-imagining deserves your eyes and your dollars.

And for us grownups (or man-children, as the case may be), this book is incredibly fun. There are jokes that a non-Mignola fan would easily overlook, but the story doesn't feel too inside joke-y, either. This is a comic by Hellboy fans, for Hellboy fans and their kids. And the world is a better place for it.

It's a rock solid issue with unclear motivations, but it is still a high quality issue of B.P.R.D.

Characters are getting developed at a rate faster than they did in the 20 issues preceding these, the integration of Shazam, the Atom and Element Woman have been handled very well, and the action feels worthy of a big summer blockbuster event. This is not the smartest event ever constructed, nor the most perfectly put together, but this is exactly what the Justice League books needed, and this points to DC having a solid idea of where those books are headed post "Forever Evil," which is more than can be said for most of the books they're publishing.

This is the Lobster Johnson comic I always wanted, combining beautiful, expressive art with a pulpy, driving story filled with monkeys and wu assassins. This is just a fantastic comic.

This is about as good as this book could be, given the various agendas, quotas, and the general lack of JL-ness that DC seems to like in its Justice League books nowadays.

This is the first book with "Trinity War" on the cover that has felt completely detached from the main storyline, and for that reason, this should be skipped.

Spencer, in the past somehwat of a mess when doing Marvel books, has proved himself more than up to the challenge at hand here, and is crafting a story that works on just about every level.

As a series, "Constantine" has been stuck in that weird middle ground created by the New 52 " the series tries to be darker than the usual fair, but can't do anything too "Hellblazer"-y. This is the first issue that really worked for me, and maybe that is because I'm a huge fan of Shazam (I have to get used to typing that as a character name instead of Captain Marvel), or maybe because the story feels like exactly what DC is aiming for " a place to tell magical stories that involve crazy shit within the New 52.

With all due respect to Ivan Reis and Doug Mahnke, I think Janin's issue, thus far, has been the most visually interesting and well drawn of the bunch. His Hawkman, in particular, is a revelation, when that series is inevitably relaunched in 5 years, hopefully Janin gets the call.

This was a propulsive, powerful issue that underlines everything we like about Lobster Johnson. It was a damn fine read.

Mignola, Arcudi, Campbell and the rest crushed this arc, and I am just so impressed by this. Wasteland is and was amazing.

For the second straight issue, "Green Lantern Corps" was a really fun comic. Jensen and Venditti are telling a Stewart story that is different than anything he's really been featured in before, drawing on the various aspects of his history in subtle and rewarding ways.

This isn't a terrible comic, it's just a bit of a mess.

It is odd that this, the flagship Lantern title, is the one with the least sense of purpose of any of the titles, post-new creative teams.

I think Max did a fantastic job. His art has the ability to make even the most insane events seem realistic, and there is this air of danger and fear that runs through every panel of this issue. Lots of great character moments, but dread is never too far away.

While not exactly the Citizen Kane of comics, Geoff Johns has created a fun title here that, more than anything else, resembles his early work on "Teen Titans" " a group of inexperienced heroes, tied together through circumstance, getting in over their head.

So, the one dude's name is Shaw, the setting is Chicago, and time travel is a part of it. I understand this issue more now, but am angry that it took reading the solicit to do so.

And while it may be fun to look at these characters, there still should be more there. JMS plants lots of seeds here that, so far, appear to be playing out exactly as you'd expect them to. However, there is room for growth all over, and hopefully this first issue's goal was simply to set the tone and pace for the series, and then #2 really kicks the story into high gear. If not, this will be a slight but enjoyable work that doesn't hold a candle to what either creator can really do.

Hopefully, the lasting legacy of this book is that something different can work in the New 52. If you had told most readers back in September 2011 that "I, Vampire" would outlast "Justice League International," they'd have laughed at you. But it did. It outlasted a lot of books that could have, and, frankly, should have, worked better than a relatively self-contained vampire story. And even though Fialkov got an arc to wrap it up, it still stings a bit that the final 7 issues didn't get to be, instead, the final 27 or 37, or 47 issues, and to let all the rushed ideas instead play out naturally. Even if the finished product came out less than stellar, all parties must feel pretty good about where things wrapped up. Yet "Catwoman" lives on.

Overall, this issue is a reminder that the New 52 is a bizarre hodgepodge of old ideas, new ideas, decisions made to appeal to new readers, diversity attempts, good work and bad work. For every slow moving “Shazam” piece, there is a sloppy bit of storytelling wedged next to a necklace from a 20-year old comic on a female version of a traditionally male character and a classic villain being reintroduced. “Justice League” is supposed to be the flagship book of DC's line, and with its inconsistency, it certainly earns the title. Here's to hoping Trinity War can set the book straight.

Loved it loved it loved it. Super badass. Really fun read. Does a great job with the characters and art.

The first two issues of "Sex" give you a good understanding of the world in which the story takes place, and lay the groundwork for things to come. Casey and Kowalski both exhibit enough here to get excited about that it is easy to forgive the relative lightness of the first two issues.

I think this is a case of something hitting right in that sweet spot of "comic I wanted but didn't know I wanted." I relished every panel of this issue.

The silver lining here is that Zavimbe walked away from this experience alive and motivated to do good in the world; if I know comics at all, he'll be back eventually. Let's just hope that while he's gone Gray and Palmiotti can write some stories that will do honor to the book bearing his name.

It's a rock solid start that beautifully sets up this arc and beyond. Having read issue #2 already as well, we can assure you readers " this is just the tip of the iceberg.

Overall, when you take the two fantastic covers by Jae Lee and Eduardo Risso (who has to have been trying for Mark Hamill, right?), and the overall quality of the stories within, this is a damn fine anthology, and gives hope to the fact that Vertigo may still have something to offer in the post-Karen Berger timeframe.

Overall, the series remains intriguing (especially with the surprise cameo early on that will lead to interesting things down the road), well put together, and inspired. Hopefully, once the schedule settles in, Remender can really let loose and tell the epic story he is starting to build here.

However, the book is solid enough that I'll finish out this arc, and possibly even start a second one, to see if the steam picks up a little. And if you had told me that even six months ago, I'd never believe you.

The rest of the issue doesn't fare that well. What is so frustrating about this comic is that all the elements for a really great Justice League book are here – quality characters, a compelling story, and room for growth. However, Johns and Finch spend so much time making sure that everyone under the sun knows exactly who each character is, that no one has the chance to do anything interesting enough to make you care who each character is. After a relatively solid debut issue, this brings the series back a step. Let's hope next month something happens, and the book is given a chance to excel – because as it stands, it's a less interesting read than “Vibe.” Really.

If the “Flashpoint” comparison winds up being true, in that this book makes some major (and long lasting) changes in the 616, then shame on everyone involved. Marvel is on such an incredible roll right now with their Marvel NOW! initiative (one that this author preemptively mocked on more than one occasion) that it doesn't need another shakeup right now. In fact, half of the NOW! pitch was the end of shakeups (a claim that has been hilariously ignored)! So, to promise more shakeups, from the architect of a bygone era, in the guise of an egregiously delayed book, is a slap in the face of Marvel NOW! For once, I am hopeful that the “everything will change!” tag is bullshit, as opposed to every other event, when promised changes falling short are a disappointment.

If the job of this book was to whet appetites for next month's #1, it succeeded. However, if part of the mission statement is producing a comic worth your four bucks, then the book is far less successful.

And it stars Vibe. How weird is that?

And it is precisely the enthusiasm that makes this book work. While, to be fair, the much-discussed location of Pittsburgh was never utilized, the book feels like its carving out a little corner of the 616 for Alpha to play in, which is precisely what the character needed. There are a lot of supporting Spidey characters; for this character to succeed, Marvel needed to take him out of the shadow of the Spider, and place him somewhere he could take root. They did that and, with any luck, this is the start of Alpha's integration into the Marvel Universe as more than just a Spidey wannabe.

Overall, this is a really disappointing issue, and it costs nearly eight dollars, which is highway robbery. Now, granted, it does have Valentine's Day cards in the back, and one of them made me literally laugh out loud. Many of them have a character on it, along with a punny greeting, like "You put a hex on me," next to a picture of, you guessed it, Jonah Hex. The best, hands down, is the card that has a heart that reads "The New 52," and then at the bottom of the card, "You've been rebooted as my valentine." That is a rare bit of self-awareness and humor on DC's part. If only the rest of the issue was as carefree as that final card.

Of course, this is a flawed argument as well, as creators need time to work on their books and gain traction, and it is only through the flops of the past two creative teams that this one was allowed to take the book in such a radically different place. So, in a weird way, thanks JT Krul and Ann Nocenti for not knowing how to write Oliver Queen. Your mistakes paved the path for this book, and for that, we are all thankful.

The two audiences aren't mutually exclusive, but I can't help but see certain people picking up this book and thinking "what the hell did I just read?" I'm not one of those people, but I can see their perspective. Hickman has spoken about a "three year plan" for this and "New Avengers" " let's hope that Marvel doesn't hit the panic button and pull him off before he can achieve that plan.

In the interest of full disclosure, I picked this book for review because so many of this week's titles seemed, frankly, boring to me. In my despair, I found this book which, from the striking cover image, had me curious. The book manages to be a comic about music, a rare thing, and an even rarer thing to get right, and it, again, succeeds. The characterization, art, and coloring work together to give you a visual image of what the audio might sound like, and that is no simple task. “Emily and the Strangers” joins the lineage of books like “Phonogram” and “LP,” where a visual medium has been able to bring across an aural one. That is a rare feat.

The fact that DC hasn't, seemingly, interfered too much in this title is a pleasant shock. The book is selling decently, but is in no means a homerun sales wise, but DC must know that it has a winning team on "Wonder Woman," since it is one of the very few books without a creative shakeup through its first twenty issues. For the love of gods, DC, keep your hands off of this book.

Look, we all get why Marvel wants an “Uncanny X-Force” book on the shelves. I think we also understand why diversifying the team and giving the book a different look and feel from Remender's run was of the utmost importance. But because of the extremely high bar set, even a solid, well thought out, book with absolutely no mentions of a “Saskatchewan sweetie,” would struggle to be considered a win. But instead, this book feels full of middle school logic – dirty jokes, curse words, randomly assembled team, provocative sex scenarios, drugs, and swords. And this old man ain't buying it.

Overall, “Threshold” presents two distinct stories, neither of which are abhorrently bad or astonishingly good. Going in, I expected to love the backup and trudge through the main story. While I didn't entirely fall for the main story, it was by far the more engaging and exciting of the two stories. Understandably, DC initially led with the Larfleeze content, but I don't see that being what carries this book. Sadly, despite the solid work, this seems to be destined to a short run as well. This doesn't have the crossover appeal of an “I, Vampire” (20 issues), or the nostalgia of a “Justice League International” (12 issues and an annual), so this seems to be a 16 and done series at best, which is a real shame. Hopefully, Giffen can draw readers in and do some special work, but with the current DC landscape, it seems that there is only a limited time before this series is hunted like one of its fugitive characters.

All told, this is exactly what a Thor book should be: epic, bold, and not relatable. We don't know what it is like to be a god, and any Thor book should take the reader outside of their lives and put them someplace totally different. We shouldn't be able to see ourselves too much in Thor, and that is part of what makes Aaron's take so refreshing. There isn't the slightest hint of empathy required to understand and enjoy this book. In fact, Thor is sort of a son of a bitch here, and that is a good thing. We can see him play nice in “Avengers” and “Uncanny Avengers,” but here is the god of thunder – he is meant to be an over the top warrior, who won't let anything stop him from getting his way. All hail Thor.

In a landscape that is full of books that take themselves incredibly seriously, it's nice to see a book being content to be silly.

The fact that this book has transformed from “worst named book of the New 52″ to the most enjoyable team book, by a long shot, that they are putting out says a lot about how Janin and Lemire have taken the book from the, surprisingly unsuited, hands of Peter Milligan, and turned it into something special. Fawkes seems like an addition that will pay dividends in the future, and with the cast having various loose allies in other books, the possibilities seem like they will keep coming and impressing as the months go on.

When comparing Mignola's art to just about anyone who works on "B.P.R.D.," it is easy to forget that the two started out as a unified property. The intricate linework of James Harren or the stunning retro atmospheres of Tonci Zonjic seem miles away from the world Mignola is building. That said, no one else could ever draw this book with any speck of credibility; this is Mignola's creative essence, distilled down to its purest form for our enjoyment. So, stop reading this, and go read (or re-read) one of the saddest, most unique, and finest books to come out in a long time.

Instead, Johns and Reis deliver a dark, stormy story about heroes struggling to deal with each other, with major threats, and with sustaining an enjoyable comic. While there is a place for a story like this, “Justice League” doesn't feel like that place.

I know it seems silly to be speculating about what the book will look like a year from now, but the book is engrossing enough to merit such questions. Because, dammit, this is a lot of fun, and I hope it's here for the long haul.

But Hickman has taken that in stride, and given some very compelling in story reasons for a bigger team, and deftly manages to tie in, somewhat, the core team from the film as the core team here. We also get a glimpse at Tony's big board of names, and some easy to spot names such as Brian Braddock (Captain Britain), Bonita Juarez (Firebird), Marc Spector (Moon Knight) and Jennifer Walters (She-Hulk) are listed as potential future members of the team, and fit into what Hickman has said in various interviews, which is that the team will expand and change over time. This, in terms of scope, feels almost too big. This, unfortunately, continues the trend of Marvel making all non-Mutants Avengers, and no longer having unaffiliated heroes. But that is not Hickman's problem; he has to create a functional team and an exciting book with the characters at his disposal. And for the most part, he does that quite well.

Instead, double dipping is already the name of the game. “FF,” due to Allred, was always going to be a slam dunk for me, with “Fantastic Four” in the maybe pile; two issues in, this book feels like it isn't even a thing yet and, in many ways, it isn't. Because of Fraction's track record, I presume many people will give him at least 3-4 issues to get his bearings, and that is fair. However, it rarely seems wise to defeat your own mission statement 60 pages into a two-book run. Hopefully, the family being in space will provide Fraction and Bagley with the infinite palette to do a truly interesting comic – but so far, this is less Marvel NOW!, and more Marvel Wait and See.

In interviews with Symons, he has said that Stephenson envisioned this as the start of a shared universe of real life people dealing with being granted super powers in a more realistic setting. If anyone call pull that off, it is Stephenson, and a series of loosely connected minis could be a fun way to put it together. Despite the art issues, this series has a lot of potential, and could potentially build to something really special and unprecedented at Image.

And at some point, they stopped caring. I advise you to reach that moment of clarity before the next issue is released.

This is a book that requires a deeper look, and it isn't the sort of thing that our review can even really help with. It isn't as if there are dense plot points to untangle; this is just a knotty book. It takes time to unravel, but is worth the time and effort to do so. The more I read it (I believe I'm at 4 or 5 reads now), the more I appreciate it, and I'm glad that I read it a few times before we began discussing it.

If only the name of the book wasn't so dumb.

Ultimately, this is a book that doesn't work on any level – I'm not interested to read more of these adventures, I didn't particularly enjoy the adventures I did read, the proposed “Freedom Fighters” series still seems like a bad idea, I didn't love the art, and I didn't love the story. And while there are good characters still on the shelf, doing a Phantom Lady book – cousin to Ted Knight or not – seems like a silly exercise in confounding your fan base.

That was a rocking, action packed issue with a lot of big moments. Can't ask for much more from a B.P.R.D. comic really.

David: I'll go with an 8.5. I guess we can think of it as the second fifth of a movie. If I were watching a movie and the second fifth was great and I didn't know where it was going completely still, I think I would still really dig it. But I'd have to demerit it a bit. I think minus 1.5 is fair enough.

Personally, it is an apt set of symbology for my relationship to this book. You see, I find soccer mind numbingly boring to watch, play or even think about, and this book falls right along those lines as well. In soccer, there is a lot of holding, passes that result in nothing, turnovers, and periods of seeming inactivity. Sound familiar? This issue is one giant holding pattern, story wise, while introducing you to characters new and old that don't really make sense, teasing things, only to dismiss them, and to do so in the blandest way possible. This comic is in the World Cup of Dull, with pretty good odds at taking the whole enchilada.

In a bit of news that I'm suspecting isn't really sad to anyone, we are going to suspend our “5 Thoughts” columns on these books because, frankly, they are getting harder and harder to find interesting things to talk about. We will be back with a “Dollar Bill” review, as well as an eventual review of the “Curse of the Crimson Corsair” which may need to be done 4 Color News and Brews style (that is, drinking while doing it), and eventually a series-wide wrap up. Try not to miss us too much!

This issue is also the first step to connecting this book to any book besides “Earth 2″ that DC is currently publishing. We get a glimpse at Supergirl and Robin, the New Earth versions of our heroes, and we see their relationship to the heroes of this world taking shape, with Helena looking for a connection and Karen looking for avoidance. Whether this book moves towards the DCnU center remains to be seen, but as long as it continues to be stuffed full of ideas, differing directions, great art, and fun stories, it will remain essential reading.

This, of course, all plays into the recently leaked rumor about a Guillermo del Toro directed movie featuring a lot of these characters. If that is true, which seems highly suspect, then don't be surprised to see the Dark books get ever more cozy, with Phantom Stranger and the Demon joining the team as well, all amping up for del Toro's movie. Regardless if that manages to be true or not, the book is becoming something special under Janin and Lemire, and is well worth checking out.

Overall, this book is fun to look at, fun to read, and overall, a real boon to DC's digital line. I hope that these are collected eventually in print, so I can easily share them with my daughter in a few years. But for 99 cents, you can't afford not to go for it right now. Viva Nguyen!

But at this point, this book is in a very stagnant place, without much going for it outside of this crossover. The solicit reads that a “Red Lantern will die,” and the book delivers on that, but if you expect it to be one that you'll miss, well, you may be a little disappointed.

Overall, the book pairs nicely the, if not post-apocalyptic than pretty damn close, world with the beauty and joy that Graham finds in these creatures and landscapes. While at times I felt lost, there was nothing a little deeper reading couldn't fix, and my reading experience was all the better for it. While I wish I had read the initial Oni chapter, I still feel I got a lot out of this comic, and I'm looking forward to the next installment " hopefully not five years away.

Regardless of why, it is good to see Lightning back, as he has been a much more fully formed character in the past 15 years or so, taking a big role in “

However, the issue does come off as a bit slight, especially after teasing Orion in #12, along with the incredible Silver Age tale in #0. The first chapter of any new arc needs to lay groundwork, but it also needs to entice the reader, and this issue does more of the former than the latter. If anything, the book has been so strong (even during its controversial moments) that a slight misstep is noticed more than it is for a lesser book. But perhaps part of that is the fan base anticipating the arrival of Orion, dying to get their New Gods on. Since Orion graces the cover of #15, it won't be long, folks. It won't be long.

Overall, this book's pitch (mutants and Avengers on a team together, setting an example), plus creative team, plus first arc's layout all work for me. I was not, at all, expecting to dig this book as much as I did. I am very pleasantly surprised by this, and will be picking the book up regularly.

If Layman came in and salted the Earth after Daniel's run, no one would blame him, but it wouldn't be the smartest way to start his DC career. Instead, Layman isn't showing all of his cards, and the simple, yet effective, story told in this issue gives him time to work out his beats with Fabok, to get in the mind of the character, and to, essentially, start building his Bat-world. The Bat-books are pretty well stocked with writing talent right now, from the aforementioned Hurwitz to Scott Snyder and Grant Morrison, and Layman doesn't seem to mind that he's playing in the same sandbox as those guys. He appears content to leave Morrison to the grand epics and Synder to being the cornerstone of the Bat-world. Layman's happy to be writing the world's greatest detective, and why shouldn't he be?

What folks should be buying the book for, however, is the artwork by Guillem March. His work almost reflects that of Greg Capullo on "Batman," fluctuating between very detailed horror-ish images and more loose, animation-inspired characters. The balance is what makes the book really work, as the heart of the titular character is on display while around him is the heinous organization.

We know so much about them now!

More than anything else, my overriding thought while reading this book was: “Wow, I guess really no one cares about “Men of War,” huh?”

This has been a series that has gotten better with each issue (I, personally, didn't love the first couple of installments), and has built to an ultimately satisfying conclusion. Robinson and his cadre of talented artists have created the ultimate Shade story and, hopefully, set the stage for more forays into his world in the future.

And that is a shame, because this issue seems to present Morrison an opportunity to really turn it on for his last 4 issues of “Action,” and together with a stronger backup, this would have been, hands down, the best issue of the run so far. As it stands, it is still the best issue of the back-end of the year and, hopefully, is a sign of thing to come from Morrison's last arc.

Editorial cleanliness is sort of the reason for this annual, as the story is a self-contained one without too much impact on greater DCU, despite many claims to the contrary. Sure, little things were hinted at: Brother Eye as a future Batman villain, the Global Guardians, a potential shout out to Vibe (a "dimensional specialist from Detroit" who can sense "vibrational anomalies"), but this isn't exactly the year 2 of the DCnU cipher the book was sold as.

This book still has potential – it has some of the best comic characters ever on a team together, with a competent writer and a series of talented artists. There is no reason that this book can't be what DC wants it to be: the destination where new readers can go for exciting stories featuring iconic characters. But so far, this has to be among the most disappointing books of the New 52.

This issue had so much to enjoy: old and new characters playing together, lots of forward progress with a fair dose of looking back, and some truly creepy shit. My only fear is that Mignola and co. are biting off a lot here; let's hope they don't choke on it.

David: Yeah, I'll give it a 7 too. Great art, nice kindling for future story beats. We'll see where it goes, but like the rest of these series, it has a lot of interesting potential.

Brian: And I can almost guarantee another poop dollar next week, when the great Adam Hughes tries to make sense of another JMS script. We'll be back for next week's debacle, and we hope you will be too!

In addition, as she says in this issue, “Time travel is not a Carol Danvers problem.” By throwing a character who isn't exactly well suited for time travel 70 years into the past, there is far more drama and intrigue than if it was the story of someone who feels comfortable being careful not to “step on any butterflies.” One of the charming aspects of the Avengers has always been the wide scope of membership, and so while there may be time travel protocols on the books, most Avengers would never need to know them, something Carol learns the hard way here. Without a way back to the modern era, this book appears to be set in the past for the time being which, again, continues to distinguish itself from most of the other books on the shelves.

His "Green Lantern" run sagged a bit before the relaunch, but we are seeing some truly great work from this creative team (fill ins or not), and the book is managing to both expand the mythos of the shared universe, while focusing the characterization and making each character more three dimensional and interesting than they've been in a long time.

Well, that's a depressing place to end this review.

Or maybe the numbering will pick up in a few months with #13? Or maybe the group will continue to exist in the background, or as backups to the main “Justice League” team, which will have more of a rotating cast? Who knows; no matter the outcome, the feeling is the same – what a waste of potential for this book.

But beyond those two nice pieces of business, this comic suffers under the weight of reputation. If I pitched Marvel on this book, they would never have approved it. I think both DC and Marvel are trying harder to keep their old timers happier, and that leads to books like this one, where logic and characterization take a backseat to nostalgia. And, as much as Marvel is telling readers that now (or NOW!) is what they should be focused on, publishing stories like this firmly place their emphasis on then.

I suppose my biggest problem with this book is that with this creative team, with this property, with this format, it doesn't add up to what it should be. There is a nice cliffhanger ending, should DC decide to bring the character back for a second issue and, as I said before, I wouldn't be too shocked to see Eternity show up in the pages of “Justice League Dark” eventually, but when you get one of the most creative writers in all of comics tackling a weird, fun character like Kid Eternity, with a top notch artist, to launch a new book, expectations must be high. Even though I love the Quantum Leap aspects of the book, it just doesn't do too much for me. I would give it another shot, but honestly, if we can't get Joan of Arc to help with our French homework, is it even worth it?

In the end, I am hopeful, about both this book and the fate of the characters within. I want to believe that The Will's crew won't hunt the happy family, but help them. I doubt this will happen, but having some hope for this poor couple and their already war-affected child isn't the worst thing in the world. And I think this book has done such a fine job of world building thus far, that as the series expands, it will be one of the richer books on the market. But I stand by my statement that this would work far better in trade than it does in single issues. But, if we're being truthful, doesn't almost everything?

And so, yeah, this issue isn't going to win any awards, nor is "The Court of Owls" storyline exactly the next 'Year One,' but it is still a fine arc that firmly established the Snyder/Capullo team as the bar to reach for when writing Batman in the New 52. However, with John Layman and Jason Fabok taking over "Detective Comics" and Gregg Hurwitz writing "Batman: The Dark Knight" (not to mention "Batman Inc" by Grant Morrison and Chris Burnham), the Bat books seem to be in a pretty healthy place for the next year or so. Let's just hope that the next arc doesn't sputter out at the end like this one did; as fine as their work has been Snyder and Capullo can do better.

My only complaint here is that, for a guy who has sported a mohawk more than once in his life, I want some punk rock! I'm sure that is coming down the pike, but I can't wait for some misguided fashion choices and reductive thought from teenage punk Jesus. But all in all, this book hits all the right notes, and sets up a world of possibilities for the remaining five issues. Count me in.

There was talk of also doing a monthly podcast discussing these with myself, David, and David's 4 Color News and Brews partner, Brandon Burpee. Be on the lookout for that once we get some time to throw it together. And we'll see you next with for our double shot of Darwyn Cooke, “Minutemen” #2!

Overall, I want to give this book another shot, because it has the potential to be a compelling story by a fresh creative team. That is what comics are supposed to be; I just hope that in their future issues, the team can put a focus on the reader, and what the reader needs to get out of each issue, instead of treating this like a novel with pictures.

So, I will ask it again – why does this exist? An under-exposed, over-talented, licensed comic is a weird, weird thing. And while I've seen a lot of great and a lot of terrible this year from DC, I haven't seen anything like this yet. Bravo, DC – you still manage to surprise me.

Brian: David Harper, king of the tease! See you guys next week when “Ozymandias” drops.

And therein lies the problem with this, and about half of the New 52 books, they want it both ways. They want to pull on the nostalgia strings without explaining every single tiny detail in case a new reader is lurking around the corner. This just doesn't work. Pick a horse, damn it, and see it through to the end. Until that happens, "Blue Beetle" and its ilk will just be mediocre takes on potentially great characters. And I will not be buying them.