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.

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

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

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.

Overall, this book just feels like an afterthought – especially after the fantastic "Penguin: Pain and Prejudice" book, which took a Batman villain, fleshed him out and gave him a great story. This just seems like it's trying to fill the sexy female quota for the New 52, and does so in the laziest way possible. Winick can do so much better than this – hell, he IS doing so much better than this in "Batwing." And until the stories move up the chain from vapid to at least mildly interesting, that will be the only Winick book worth purchasing.

But hey, if this means we'll get another New Teen Titans OGN, I'll buy an issue of "Night Force Vol. 2" next year for sure!

Speaking of her origin, it is basically the same as her pre-'Flashpoint' origin, except that now the Joker dumped her into a vat of chemicals as well which is, undoubtedly, a much stupider origin. There was enough of a connection to the Joker to begin with, we don't need parallel origins to get the point across. So, no makeup for this Harley, that is just how she looks. Or looked. Or will look in a casket. Or whatever.

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.

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.

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

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.

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.

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.

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!

I really think that Liefeld just doesn't want the same things as I do, and therefore, his comics just aren't for me. He is a super nice guy who clearly does work that some people enjoy and, sadly, I'm just not one of those people. This bothers me the least for "Grifter," slightly more for "Deathstroke," and has the potential to be really bad for "The Savage Hawkman." Knowing how many great writers love Hawkman, it is baffling that Liefeld was put on that book. But that is a discussion for the future. I'm really trying to not come down too hard on Liefeld; that would be like a jazz pianist dismissing a dub step artist; it's comparing apples to oranges. I just happen to like the apples a whole lot more.

So, until next time Static, take care. Next time DC tries its hand at reviving you, let's hope it is given to someone who will shake things up, tell good stories, and honor the memory of your creator, Dwayne McDuffie, without being so beholden to the party line that boring stories are all that emerge. That isn't how McDuffie wrote, and it isn't how good comics are made.

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.

Now, I know JT Krul is an easy target, especially post-'Rise of Arsenal,' but there isn't much here to praise or shit on him for – this just exists. It's like the skin flap on my dog's ear – it serves no purpose, it doesn't harm her, but it isn't worth doing anything about. In the case of this book, it has already been rendered useless, it isn't good enough or bad enough to create waves, and doing something about it means buying it, something I don't plan on ever doing again. And the shame of that is that over the past few years Captain Atom was involved in some great stories – his role in the 'New Krypton' saga was inspired, and he was a great part of "Justice League: Generation Lost." Inevitably, Atom and his mohawk (oh, the mohawk) will find his way over to "Justice League International," and hopefully he begins to revert back to the character that once inspired Moore, instead of the one that steals from him hand over fist.

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

Ultimately, I just don't have too much to say about this book. It is certainly hurt by its Extreme Studios brethren “Glory” and “Prophet,” both of which have had major retooling and have been two of the most unique books coming out this year. This is a softer reboot, and therefore doesn't have the passionate take behind to bring it to a new place. This just feels like a meh Liefeld comic, and there are more than enough of those floating around right now.

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.

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.

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.

A missed opportunity in almost every way.

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.

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.

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.

So, as I've suggested before on "The Hour Cosmic," maybe Liefeld is the Wolf of the DCnU " when you need someone to come in and fix your book, you call him in. If by fix, you mean mercy kill. Maybe "The Savage Hawkman," "Deathstroke" and "Grifter" all are next on the euthanasia block, and so DC asked their best hit man to come in and kill them off, just like he did with "Hawk and Dove." So, farewell Hank and Dawn, and we'll inevitably see you in "Justice League International" soon enough.

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.

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

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?

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.

A bloated, expensive, disappointing comic

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.

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!

A disappointing Flash side-title.

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

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.

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

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

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.

And because I don't think they are, I am clearly not the target audience for this book. I still maintain my theory that Liefeld is brought onto dying books to put them out of their misery, and so don't be shocked if "Grifter," "The Savage Hawkman," and "Deathstroke" make way for the Third Wave sometime in the autumn.

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.

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.

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.

However, until the book is in a more stable place, I really can't endorse buying it monthly. Let's hope that mid-way through the arc things pick up a little " next issue, by its description seems like a step in the right direction " and this isn't one of the books cut loose after 6 issues.

A letdown after last month's turning point.

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.

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

Instead, he gets to draw a lot of sand, and we are left with a bratty, emo Aquaman, surrounded by douchebags laughing at him, and Mera having no real characteristics besides “worried wife.” At least there's a dog.

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.

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.

A fun concept trapped in an unremarkable package.

Not ready to headline a club just yet.

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.

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.

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.

But overall, it is a little too early to call this one a success or a failure; much like the other Justice League #1, this just doesn't provide enough to make a call either way.

The nice thing about this issue is that, now that the big bad has been defeated (until the last page, that is), the characters can move to the forefront and be the focus of the book, not some newly created villain to which no one has a real connection. However, with next month's adventure, there is no guarantee that this will newfound characterization will continue. This book has been floating on the fringe of my pull list since the start, but I will let it stay there a little longer, to see if the unique properties that can make it great do.

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.

A disappointing swing and a miss.

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.

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.

Just about every comics reader I know either has an affinity for Oliver Queen or Ann Nocenti, and so there was actually a little trash talking when I was able to snag this in the Multiversity Comics review draft this weekend. People were jealous that I got to review this book. How fucking wrong were they?

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.

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.

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?

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

Damian Wayne is a character that went from reviled to revered to reshelved – there is almost nothing essential happening with the character right now. I expect Grand Morrison's "Batman, Inc." to rectify that in two weeks, but this is really a spot where the DCnU dropped the ball. A well written story, even if not the focal point of a franchise, can steal the spotlight and enliven the fan base (look at Snyder's "Detective Comics" run). However, this title continues to be a second class Bat book, and with the lackluster stories Tomasi has been writing continuing for the time being, I can't see it getting an upgrade any time soon.

Ha's art shines; his script struggles

A problematic, if not thought provoking, teaser.

If my suggestion a cosmic battle in “G.I. Combat” didn't tip you off, this isn't my type of book. But I said the same thing about “I, Vampire,” which i now adore, and it is what I said about “Starman,” now my favorite comic of all time. This book has potential, but until I see anything worth a $4 look on the cover, I'll continue to pass on it.

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.

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.

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.

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.

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

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.

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

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.

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.

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.

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

An unnecessarily small stakes relaunch.

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

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 flawed book that traffics mostly in imitation and nostalgia.

A fairly successful ending to a confounding event.

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.

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.

Simply put: this book never really had a chance in the modern comics landscape. Despite decent reviews (our reviewer sort of liked the first issue, too), this book was pegged for cancellation before it got off the ground. Hopefully, Costa will find a place on another book at DC, because I think his handling of the team dynamic/the government bureaucracy angle was pretty good, and that could be applied to any number of other DCnU titles. And maybe next time, DC will put some of its money and creative juices behind a book like "Blackhawks," to ensure that smaller books won't meet the same fate in the future.

I wanted to like this book a lot more than I did " and I hope that I can look back on issue #1 a few months down the line and see the beginning of a lot of great things. I hope Hickman continues to pull on the threads found here, and I hope what unravels is something more interesting than what I'm seeing so far.

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

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

But this is merely C-class work at best. If next month's issue is as padded with fluff as this month's is, it will be my last reading the book.

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.

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.

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.

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

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 is yet another bizarre move by DC, a company that seems content to use nostalgia to get you in the door of your comic shop, but then wants you to instantly forget all the positive associations you have with their characters once you pay your $2.99 and open up the first issue.

This should be the standard for this series – high profile creative teams telling new, different stories using classic characters. This should be the longer, more established version of the new "National Comics" line – characters that need a story to recapture the attention of the masses, by writers and artists who are up to the task. Sadly, the Kid Flash story solicited in issue #12 seems like more of a case where DC wanted to finish up a story but didn't want to do a one-shot, so they stuck it here instead. Regardless, DC got this one right, and hopefully this is the first in a series of good decisions to put this anthology series on the right track.

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 “

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 visually fun and rewarding setting marred by incoherent plotting.

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.

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.

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.

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

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.

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

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.

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.

Oh yeah, there's some sort of league of super villains. Forgot to mention that.

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.

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.

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.

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

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.

"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.

A nice walk down memory lane with some outstanding art.

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

This issue is not the best of the series, but it is keeping the series on point, and allowing interesting stories to be told outside of the cowl in Gotham City. It also has 5 strong female characters at its core, and it never feels like a book that is pandering or attempting to tackle female issues a male writer isn't suited to cover. This is simply a good team book, where the team happens to be female. Neither Saiz nor Foreman draws gratuitous skin, but both allow the characters to be sexy without being sexpots. That is more than most female-centric/male-written comics can say, and they should be applauded for it.

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.

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

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

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.

We comics fans are an impatient lot, and I can completely see why people want to see this book go away and make room for another book they desire (whether that be a Booster Gold series, or the rumored "Robins"), but I think the seeds are planted here for something interesting to happen. Then again, maybe instead of teasing the WildC.A.T.S. by having Grifter and Voodoo books that sell poorly, just put out a WildC.A.T.S. book. The beauty of the DCnU is that it gave readers a theoretical meritocracy: buy what is good, and we will reward you by keeping the good and getting rid of the not-so-good. And, sadly for "Voodoo," the readers have spoken.

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

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.

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.

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.

We know so much about them now!

The Ravagers still is a bit of a mystery to me, and Red Hood and the Outlaws has been a major let down month in and month out, but each issue of Teen Titans or Superboy lulls me into a sense of comfort with the direction Lobdell is taking these heroes.

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.

A slower, less visually stimulating issue than #6.

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

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

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 somewhat jumbled book with some transcendent moments.

A solid, if familiar, tale.

A strong debut that fumbles in a few key places.

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

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.

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.

But it is a good first step to righting this ship. It is interesting to observe how DC is dealing with its books that aren't working. 6 were outright cancelled, some are getting totally new creative teams (hi, Rob Liefeld), some are having pieces switched around (Travel Foreman and Jesus Saiz getting new, possibly ill-fitting assignments), and some are simply doubling down with the original plan, with some tweaks. "The Fury of Firstorm" is taking the fourth approach, giving Van Sciver more of the burden of the book. Whether that is a good thing or not is up for debate, but it is nice to see DC giving Van Sciver the chance to really get this book right. It isn't there yet, but all hope is not lost.

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

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

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

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.

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.

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.

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

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

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 fun issue for a book struggling to find its role.

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

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

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.

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.

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

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.

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

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.

Because if this is what it feels like to have creators perfectly matched to their titles, shouldn't DC have thought longer and harder about who to put on all the New 52?

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

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.

It is either a total dismissal of world history or a glaring oversight that this title remains intact. Either way, this is unacceptable and is a real misstep on the path to picking up new readers. To be fair, so is the unusual story told within this issue. I have high hopes for this creative team on this book, but this first issue is a bit of a mess.

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.

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

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

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.

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.

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.

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.

"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.

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.

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

A bitter pill, presented wonderfully.

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

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 beautiful, well crafted, but ultimately hollow, side story

A solid debut in the 'High Republic' line.

A good start of what should be a great series.

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

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.

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.

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

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.

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.

Overall, this was a minor series for DC, but one that hit all the right notes, had some really great art, and sets the stage for how to do a miniseries properly.

And it stars Vibe. How weird is that?

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.

Hopefully, internally, there is an end date in mind, and DeFalco and Woods can bring this to its conclusion, because the team has been working quite well together, especially considering the problems with the book when original writer Fabian Nicieza was on it. I went into this expecting something bland, and am happy to report I was proven wrong.

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 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.

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.

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

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

A really strong issue of a surprisingly nuanced miniseries.

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

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.

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

A solid start to a series from exciting new creators.

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

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.

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

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

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

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.

A fun way to spend an evening reading comics.

"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.

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.

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

A strong start to the new Vigilante story.

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

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 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.

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.

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.

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.

So, next month if there are no more than 20 pages of content, I'm done with Action Comics in monthly form, and that is a shame because I seriously enjoy the story that Morrison is telling. However, I feel it is equally important to tell good stories and be fair to the consumer and, until I see that happening, I'm not going to actively support this book. If this is a onetime aberration, I can look past that, but I fear this is going to be the new status quo for $3.99 books and I just don't have the patience for that.

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

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

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

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

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.

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.

A strong debut issue for an unexpected title.

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

A fun, if slight, Solo detour.

A fitting conclusion to a surprisingly good crossover.

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

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.

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 strong start to 'The Deluge' arc.

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!

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 solid book that will be sorely missed come January.

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.

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.

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.

An incredibly fun journey, month in and month out.

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.

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.

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

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

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

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

The strongest issue of "Shazam" since its debut.

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.

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

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.

A strong opening issue that delivers more than promised.

A final note on the cost – at $4.99 for 38 pages of story, the cost per page is actually the lowest of any book DC is currently publishing.

A truly enjoyable trip through some less than enjoyable struggles.

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.

A stellar, hopeful, exciting shot across the bow.

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

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

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.

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.

A book that is finding its way into greatness.

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.

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

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

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.

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 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.

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.

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

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?

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

Brian: I'm genuinely excited for Cooke and Conner to be working together, and this issue was good enough for me to give it a try.

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.

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.

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.

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.

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.

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 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.

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.

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 from two underrated creators.

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.

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 crossover leaves both books in more interesting places than they were a few months ago, and with renewed senses of purpose. "I, Vampire" has been the better book thus far, and so its issues within 'Rise of the Vampires' worked better, but "JLD" has kept a steady, if unspectacular, course since the beginning to, and its first arc wrapped up in a relatively satisfying way. I will still be buying both books next month, and I encourage you to as well.

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

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.

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.

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.

A perfect place to pick up Dick's story.

More fun than a trip to the circus.

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.

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?

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.

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.

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.

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.

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.

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.

Chiang and Azzarello are building a world here that no one could have foreseen, and more importantly, isn't being seen elsewhere. Wonder Woman is finally put in a world where her character makes sense, and is given a chance to thrive.

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.

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.

I don't love paying $3.99 for a book, but when there is 28 pages of actual illustrated story content, with a quality creative team at the helm, it is a bit easier to swallow. I am hopefully optimistic that All-Star Western can have a run as impressive as Jonah Hex, both in terms of quantity and quality. I hope that leaning on the Bat-connections don't grow tiresome, and I hope that the backups continue to be a place to tell slightly left-of-center stories.

Is this a great comic? No. It is a pretty average one (with maybe the worst Bat-item pun of all time: the Ro-Bat, a robot camera shaped like a bat). Daniel doesn't rewrite the Batman bible here. However, with the ultra-creepy new villain, the great ending, and the sheer possibilities of where this story could go, I have to say that I was impressed by this issue. Let's hope that Daniel has more tricks up his sleeve, because it would be a shame to let an idea this good go to waste.

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?

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.

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

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

A mixed bag, but a generally enjoyable special issue.

This is probably the best Hellboy Winter Special yet.

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

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

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

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

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

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.

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

Even if it wasn't, I'm still pretty impressed by this book. It isn't exactly the type of book I find myself wanting to read, but the execution is pretty hard to argue with.

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.

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.