What we get in She-Hulk Annual #1 is a fun, fast fight story built on an admirably twisty premise. It entertains without disappointing, and the art is a powerful workhorse that hauls the story into believable realism. She-Hulk or Bullseye fans aren't going to find the sort of revelations here that make a comic a must-read, though.

Aero and her pal Wave don't make much of a splash in this first spotlight issue. This #1 might scratch the itch of readers who are already intrigued, but it just doesn't do enough to hook the uncommitted. I believe this title will read better when collected into an arc-sized trade. Despite its extra length, this first issue falls short of presenting a complete picture of its protagonists.

A wide range of artistic and storytelling talent come together in this introductory issue to paint a thrilling portrait of the sky-high stakes facing the Agents of Atlas. The plot by itself is enough to captivate, and there are hints that it'll be backed with solid character work in issues to come. This is a rollercoaster that's worth climbing aboard.

That first Jonathan issue also delivered plenty of humour, but it offered significant character development for Laura and permanently (and heartwarmingly!) upgraded her relationship with Gabby. While #31 revisits the theme of family, it does so in a slightly shallower, lip-service fashion. Here comedy is the ultimate target, and though the creators score a bullseye, only the most rabid fans would contend that this was a particularly hard shot to make. This adventure is tons of fun, but it could have had more heart.

Laura tables most of the last issue's humour to do a darker, more Wolverine-y one-shot. This villain hunt includes some excellent twists and it also does low-key character exploration for Laura and especially her not-really-a-pal-yet Amber. The final page raises a weird question about storytelling tone, but everything prior to that is rock-solid jaw-clenched baddie-stabbing Wolverine goodness.

Though the plot is by-the-numbers so far, that doesn't reallymatter when the main goal is to make the reader say, "ooh, lookit what happens to …" a half-dozen happy times. That goal is capably achieved (though some stronger visuals could have made the results even more memorable). Tom Taylor and company have another two issues to spice up the story and make it just as rewarding as all the "lookit this crazy awesome future" revelations in #33; I have every confidence in their ability to do so.

Amazing Fantasy #1 is an interesting -- but also frustrating -- start. It completes the job of shuffling a trio of "greatest hits" superheroes into a world of high fantasy, but the hows, whys, and "what's next"s remain unanswered. Sound writing makes the introduction tolerable, and beautifully diverse art provides the cherry on top that makes this issue worth reading.

This issue badly wants to be a "hop on board, things are getting great" point for once-bitten twice-shy Spider-fans. Though the new story arc has promise, I'm not sure that the campy, under-cooked cheese of this Scorpio yarn is the most tempting entrée for readers who feel burned out on Dan Slott's Spider-Man. The next issue might bring us into "OMG you gotta read this" territory … but we're not there yet.

Some of the best Spider-Man comics ever invite the reader to shout, "Peter Parker, you idiot!" more than once. ASM #3 joins their hallowed ranks. Its slow pace does flirt with frustration, but considerable creative effort ensures that this issue is neither a detour nor a disappointment. It has a subtle gut-punch of its own, and the pinnacle it's building toward shows every sign of greatness.

The creators wrap up Boomerang's limelight story with some real heart here. It's a sentimental conclusion that works surprisingly well. Wheels are turning ominously in the wider world of Spider-Man, though. This was an enjoyable Spidey-free interlude, but it's time to get Peter back in the mask.

Amazing Spider-Man #11 kicks off an arc that promises to be all about the Jameson. Plenty of attention to both deep continuity and recent developments gives his characterization a lot of nuances here. This is a very engaging first chapter thanks to strong art and a fast, intriguing plot, too. As ever, ASM delivers thorough satisfaction and a mighty hook compelling you to read on.

Amazing Spider-Man #19 shows Spidey right in the thick of Kraven's scheme. It also employs a remarkably broad scope of other players - antagonists, allies, and abductees - to illustrate the situation from every angle. It delivers an impressive load of action and revelation, and yet it makes it clear there are even bigger mysteries yet to be unravelled.

Amazing Spider-Man #25 delivers a whole lot of nicely-drawn pages in exchange for your eight bucks. Some of them are even devoted to a tightly-scripted MJ story. There's still stuff worth reading in this title - but not worth paying for at the ruinous rate Marvel is pumping it out. Our recommendation: Follow ASM via more cost-effective means than shelling out for too-big, too-frequent floppy issues one at a time.

This issue pushes Mary Jane temporarily off-stage but gives her a terrific sendoff by carefully exploring what she means to Peter right now. The Spider-Man antics are a touch generic, but if that's a result of concentrating the book's considerable storytelling powers on the relationship content, the trade-off is definitely worth it.

ASM #39 adds a satisfying treat, in the form of a contentious Spidey/Jonah podcast, to a story arc that needs the boost. Some of this volume's finest stories have involved tying Jonah around the protagonist's neck in an endearing-infuriating way: endearing to us readers, infuriating to Spider-Man, and always funny. It's been done before, but it's done well again here, with a sharp script and hard-working visuals. This issue magics up compelling content out of sheer storytelling craft.

In Amazing Spider-Man #46, Spidey and us readers get a full, clear look at the Sin-Eater's new MO. It's violent and traumatic, yet it also seems effective. This is one of those plots where the hero draws back and says, "wait, should I be stopping this?" Of course, "this" is "gunning people down with a magic shotgun," so yeah, Spidey'll no doubt find the motivation he needs. For now, though, this unsettlingly compelling look at the Sin-Eater gives the arc some impressive depth.

It is -- mostly -- business as usual as ASM kicks off the "Chameleon Conspiracy" arc. Beautifully illustrated villains vamp and gloat, smugly foreshadowing the awfulness they're about to bring down on the heroes. Those heroes (also beautifully illustrated) react with appropriate shock and surprise, but they seem (Peter Parker in particular) a little too passive. We can only hope Teresa bucks the family trend of playing the spectator; she's off to a promising start at the beginning of the issue.

In Amazing Spider-Man #70, this volume's whole story shapes toward a villain-centric conclusion that seems likely to tie a neat bow on Nick Spencer's run. The action-oriented art is at odds with its focus on "big picture" plotting, but an excellent dose of ensemble characterization (giving the villains plenty of love) ensures that this stage-setting issue is still a satisfying read.

While Renew Your Vows #16 is decently entertaining, it doesn't deploy the sort of amazingly sympathetic "fall in love" hooks this title used to deliver regularly. It shows retrospectively how much effort the original creative team invested in this series. Renew Your Vows can coast for a bit longer on the considerable goodwill racked up in its first year, but this story arc needs to drill deeper if it's going to hold readers' attention.

America's weird, wild ride as the star of her own solo bends towards its conclusion. While some concepts worth exploring have filtered down into this final arc, the odds of cementing them into a memorable legacy seem slim. This chapter in America's story is unlikely to be the most beloved, but we can still hope it's not the last.

The second issue of America Chavez completes her re-introduction, tying her new/old family situation onto her existing backstory with skill. And the mystery antagonist targeting her and her family pushes the story toward an intriguing confrontation. A nicely paced script and gorgeous art ensure reader satisfaction. It doesn't quite have that spark that turns an issue or a series into a must-read -- but it keeps the fire stoked and makes sparks in the future seem increasingly likely.

In America Chavez #4, a dedicated creative team completes the process of streamlining and rationalizing the character's origin. It's not a job I wanted to see done, but I assert that it's done well. Even with my big-picture objections, I found the beat-by-beat storytelling outstanding. With passionate words and exciting art, the creators keep a lock on my interest as they prepare for a blockbuster finale.

The Asgardians of the Galaxy debut in a splashy, fast, action-packed A-Team adventure. The plot and art are great high-octane stuff, but the characters are, so far, a bit flat. There's more than enough potential here to satisfy and to justify signing on for the full story arc. This team and its mission are both fascinating; I hope their story gets even more engaging in future chapters.

Facing a potent villain with an ally they should really be questioning harder, the Astonishing X-Men are still in the hottest of hot water. Another rock-solid artistic performance and a fine-tuned script make this latest episode a hugely enjoyable one. Charles Soule has a clear destination in mind for this story, but the journey ahead of us still promises a lot of exciting twists.

Thanks to the smooth meshing of plot points laid down since issue one, Astonishing X-Men #11 delivers a pretty satisfying read even though its big twist is eminently call-able. There's plenty of peril and uncertainty left for the final issue. I have a terrible suspicion, though, that all the questions will be answered a little too neatly and this arc's overall impact - on its characters, on the Marvel universe's status quo, and on readers' memories - will be minimal.

What the latest arc of Astonishing X-Men gives us is a wonderfully snarky, dysfunctional team of outcast mutants. They might not save the world, but they're gonna crack some good jokes as they trip over each other. While issue #14 completes the roster and strengthens the comedic tone, the visuals and the opposition remain a little too generic to make this a must-read. It doesn't belong on the top of your pull list, but it'll be a fun treat if you circle back later and pick it up cheap.

Atlantis Attacks #1 kicks off by bringing the reader thoroughly up to speed with Amadeus Cho and the beef that puts his Agents of Atlas into conflict with Namor. The result is a nice, clear introduction for new readers -- but well-read Agents fans risk getting a little bored. They're also unlikely to be pleased with the ongoing shortage of attention paid to the Agents. A solid conflict, a strong central theme, and some appealing, organically-crafted art all work to keep this initial issue clear of true disappointment, though.

A small but satisfying revelation and a hint of hilarity are enough (just barely) to keep the "No Surrender" train chugging along. Pepe Larraz's top-tier art cries out for a more memorable story to tell, but so far the script refuses to rise to greatness. This is a decent arc so far - but is "decent" enough for a story demanding so much of its readers' time and money?

Some pervasive flaws in plot, pacing, and characterization are saved from causing too much disappointment by Ed McGuinness drawing his dang hands off in Avengers #1. This initial issue casts its net too wide and doesn't let the heroes do enough heroing, but pretty visuals and gobs of potential mean that this cause is a long way from lost.

Even more than in their debut, Jason Aaron's Avengers are marking time in #2. While I'd still put my money on this developing into a satisfying epic once the arc is complete, it's just not compelling in single issues. Holding back on this title and gobbling it down in trade-sized chunks might be the best way to approach it.

If you're looking for literary merit or scrupulous storytelling craft or insightful characterization, Avengers #5 is likely to disappoint. If you address the comic on its own terms and let its sound and fury carry you over the top into absurd popcorn movie spectacle, it's a thoroughly entertaining ride. You won't feel like putting it on a pedestal once it's over, but while you're turning the pages, it is a lot of fun.

Avengers #12 slows the wheels of the plot down to introduce twice as many Agents of Wakanda as we were expecting. While it does feel like a digression, it's a very fun one, and the ever-expanding cast helps emphasize again just how big this volume of the Avengers is.

This volume of the Avengers hasn't won me over as a die-hard fan. But I've liked virtually all of the "hero spotlight" issues it's delivered, and this one is no exception. Jennifer Walters was in desperate need of the attention. Thoughtful words and powerful art deliver a nicely-balanced portrait of a hero struggling to find her balance. It's a decent tie-in to War of the Realms, but its top priority is exploring the evolution of the She-Hulk. And it does that job with superlative skill.

Avengers #22 pits the team against the Hellcharger in an exorcism story that takes itself just the right amount of seriously. It's a fun ride, the stakes feel credible, and the visuals are wonderfully polished. Expanding a single-Avenger story to involve other heroes across multiple issues looks like a bet that will pay off big.

Things go wrong with a fearsome quickness when Cap takes the Avengers to space. While the flash-forward structure may irk some readers, those that play along are going to have a blast. The challenges are vast, the visuals are gorgeous, and key characters get some brief but endearing focus. "Starbrand Reborn" kicks off with a tone that's big, bold, and just a bit tongue-in-cheek.

Is this fight yarn put together with commendable storytelling skill? Yes. Is it a rewarding diversion when you play along with the "Moon Knight Kills The Marvel Universe" premise? Yes. Is it ground-breaking or emotionally moving or status-quo-shattering? Absolutely not. Not every comic needs to be those things -- but not every well-crafted comic needs to get called perfect, either.

This story arc is playing out exactly as its opening suggested: Very big on the action, not so hot on the deep ponder-ables. Once again, Jason Aaron's Avengers presents itself as a popcorn comic, perfect for the reader looking for thrills who's also willing to set aside questions of logic and continuity. With high-octane art from Javier Garrón helping out, this comic undeniably reaches its intended destination -- though readers who want more than sound and fury out of their Avengers may be a bit disappointed.

This issue's high-stakes fighting, wide-spread team, and breakneck pace all serve to balance the story on the knife-edge of absurdity. Javier Garrón saves the day and nudges things firmly onto the side of awesomeness with his spectacular art. Thanks to the visuals, this finale is a satisfying rollercoaster ride -- and it closes with strong hints about the next story to come.

Avengers Of The Wastelands kicks off with a solid blend of set-up, action, and characterization. The Wastelands' "native" heroes are ready to lead, and their story is told with all the skill required to make it engaging. This promises to be an eventful ride, and I don't think I'll regret climbing aboard at the start.

The comics industry, like the rest of the world, is in a period of tremendous turmoil. But this time also brings opportunities, and one that I think publishers and readers should consider is admitting that not all comics need to be sold the same way, at the same price point. Avengers of the Wastelands #5 is not a bad comic. But it is also not a premium comic that justifies its $4 price. Our industry is changing. Can't one change be carving out new niches that better fit this sort of smaller-stakes storytelling?

Far from being a cash-in sequel, Avengers: No Road Home kicks off with a virtuoso case of premise refinement. The key problems of No Surrender - too-big cast, too-slow pace, too-blah villains - have been corrected with surgical precision. This story roars out of the gate with passionate characters, a clear (and dreadful) antagonist, and simply gorgeous storytelling in words and art. Time will have to tell how the story ends, but it absolutely could not be off to a better start.

The second installment of No Road Home lands with a lot of complications, not all of them positive. Narratives get muddled in the first act, but the plot hammers itself back into shape with some powerful developments further on. The challenge Nyx presents grows dreadfully clear, and the story still crackles with "and then what happened?" excitement.

In its third issue, No Road Home takes shape as a quirky assemblage of jigsaw pieces that don't quite fit into the Marvel universe's other stories. They are individually fascinating, but the "save the world" narrative they're attached isn't living up to their potential so far. This is a very fun read. It isn't a particularly compelling one, though, and the high cost of its weekly schedule is going to make it easy for a lot of readers to pass over.

Telling Nyx's story in her own words gives the creators of No Road Home #4 an excuse to go as big as possible with their storytelling. It's a successful and fascinating gambit, and it recaptures the huge scale this title had at its outset. Pulling the focus so far away from the Avengers is risky, though. This series has collected its heroes, established its conflict, and now explained its antagonists. The next step must be "the heroes accomplish something meaningful," or No Road Home is in serious trouble.

No Road Home #5 shows off an insightful understanding of exactly what the story needs: Triumphant action for the Avengers, shocking twists for the plot, and surprises galore for the readers. This is a delightful payoff for sticking with the series so far and a powerful argument in favour of staying tuned for future developments.

No Road Home #6 devotes itself almost entirely to the event's surprise guest star, Conan the Barbarian. While it unfolds into a good Conan yarn in itself, the links to the larger event are surprisingly thorough and impressively clever. If you're already following the event, this is going to do a great job of turning you into an enthusiastic supporter of Conan's imminent arrival in the main Marvel universe.

No Road Home #7 ratchets the plot-gears forward with an artistic and narrative performance that flirts with disappointment. A complex, satisfying star turn by Monica Rambeau is the shining beacon that steers this issue safely onto solid "good comics" ground.

Avengers: No Road Home #8 stumbles as it tries to align the stories of Hercules and the Hulk too closely. The combination isn't successful, but the individual parts - particularly Hercules' - still deliver great storytelling. Strong, distinctive art helps to hedge the script's weaknesses, and No Road Home rolls on in its accustomed groove: far from faultless, but equally far from average.

No Road Home #9 manages to satisfy and succeed because it makes its cast highly compelling (and makes them visually gorgeous). The plot is made of flimsier stuff, falling, like the settings, into the realm of forgettability. While the shortcomings are significant, the sterling character work makes the issue well worth reading.

In the finale of No Road Home, the heroes' triumphant victory takes shape as an ode to the limitless possibilities of storytelling in the Mighty Marvel Manner. This issue, like the series as a whole, features exquisite visuals and occasionally questionable plotting. Not every development will hit big, but the ones that do - and this issue's climactic fight certainly does! - can be unforgettable home runs.

Marvel's renewed experimentation with the anthology format is, on balance, a good thing. I think there's space on the Marvel shelf to accommodate the wide range of creative voices you can fit into collections of short strips. While not every strip can be a winner, Bizarre Adventures #1 establishes a good precedent. If Marvel can continue batting 750 with anthologies, it can and should do more of them.

Saladin Ahmed and Christian Ward have, since the first pages of #1, imbued Black Bolt with intensity, focus, and passion that do their protagonist proud. My expectations going into #11 were crazy high, and yet it delivered satisfying payoffs in a practically miraculous way. Most impressive of all, it ratchets up expectations even higher for the final issue. I will be there with bells on to see how everything plays out - and I hope you'll come along, too.

When the Black Cat goes on a date, Felicia's yen for mischief and the Thieves' Guild meddling with her mentor ensure that the story can't wind up boring. Continued excellence in writing teams up with an outstanding serving of guest art to dance a complex storytelling jig. Previous issues proved that this take on Felicia was compelling; #6 shows that this volume has space for some intriguing improvisation while it continues to develop its bigger plot.

This issue launches the Black Cat into a nearly-self-contained side-heist complete with Logan team-up. With some seriously impressive guest art and more of the title's iconic, endearing protagonist voice, it's a treat for those of us who have already fallen in love with the series. But this is also a fine hop-on point if you want to find out what the Black Cat's all about.

Felicia Hardy's latest scheme matches her up against Tony Stark and his company. Watching the Black Cat run rings around Iron Man and his supporting cast is a delight. C.B. Villa delivers beautiful art to support the usual endearing charm of Jed MacKay's script. This has become one of Marvel's most reliable and enjoyable titles. Like its star, it knows exactly what it wants to do and it always does it well.

The Black Cat vs. Iron Man mini-arc ends the way it must, with a breathless knockdown armour-fight. Visually, it's fantastic; verbally, it's adroit. Taken together, #11 & #12 are equally great as part of Felicia's larger story and as a standalone heist/chase/fight caper. If it has a fault, it's that very best fault for a comic to have: It's over too soon.

Black Cat #1 brings Felicia Hardy back with a mighty symbiotic dragon-roar, tying strongly to the King in Black event yet retaining a remarkable degree of independence. It's still the same lovably amoral heist crew from the last volume; now they're just setting their sights a little higher -- on cosmic death-god. How hard could it be?

Black Cat #3 pulls off a formidable trick: It maintains the over-the-top cosmic struggle established in previous issues while turning most of its attention to a far more internal conflict. Felicia faces (and, of course, masters) ultimate temptation on her way through the King in Black event. It looks terrific, it sounds brilliant, and it maintains a breakneck action-movie pace -- all while taking an impressively deep look at what makes the Black Cat tick.

Black Cat trades the madness of King in Black for a more personal style of crazy, taking a full issue to explore the Queen Cat: her motivation, the actions she takes against Felicia, and the results. Solid guest art and the usual whip-smart writing deftly guide this new-old character into a stable orbit -- and should leave fans of the series thoroughly satisfied by a refreshing outside take on the story so far.

Whether she's facing the literal end of the world or a more personal, metaphorical apocalypse, I trust the Black Cat to face the music with courage, wit, and audacity. That's exactly what her creators set her up to do in this issue. Though the art rubbed me very much the wrong way, it still harmonized with the excellent script to deliver an enthralling story and keep me fully committed to following Felicia Hardy.

For a final issue, Black Cat #10 is surprisingly open-ended, but that's reasonable given the fact the creators will get one last hurrah in the upcoming GS Black Cat. What this issue delivers is another exquisitely rendered portrait of Felicia Hardy, fully demonstrating the storytelling skills that have made this run great. This comic also shows who the key players will be in the big finish -- although a few twists and surprises would hardly be out of place.

Ta-Nehisi Coates and Daniel Acuña deliver an unexpected but entirely welcome game-changer with this new volume. It's a sci-fi action story that is the very definition of "out there," and yet it still has the core of fascinating ambiguity that's become Mr. Coates's trademark. Black Panther #1 is a whole lot of awesome things: A highly entertaining popcorn comic, a perfect provoker of deep thoughts, a remarkably good follow-up to the Black Panther film, and an excellent jump-on point for new readers. It is as close to perfect as any #1 can get.

The Black Panther is starting his return to Earth. There's plenty of development that needs to be done before we leave the sci-fi realm, though. M'Baku makes it violently clear that T'Challa isn't ready to mount a throne, not in outer space or Wakanda. He has more enemies to conquer within and without. Cool, moody art and sharp language promise that the story of those final conquests will be exciting.

The bottom line is, I think it's pretty clear this volume of the Black Panther is paced too slowly. But #22 demonstrates that the fault is not all-consuming. These creators can still bring together sharp language, bright ideas, and beautiful art to concoct a fully-satisfying chapter. Still waters run deep -- and strong.

The first issue of Black Panther and the Agents of Wakanda doesn't skimp on action, but it takes its time to thoroughly establish its premise. It's a good move for a #1, but it doesn't leave much room to make the tone of the title clear. Strong art and a promising (but overlarge) cast are enough to string us along to #2, where we'll hopefully get a better grasp of what this series is all about.

Black Panther Vs. Deadpool #1 kicks off with a tremendous burst of creative energy. A perfect balance between serious and silly suits the book's co-stars and should do a fine job of satisfying both veteran readers and movie fans. The creators understand that this title is the essence of non-essential reading, but they do not use that as an excuse to employ less than top-notch storytelling skills.

Black Widow #1 launches Natasha Romanoff - eventually - into a solo adventure on the streets of Madripoor. The script has an unsure grasp on Natasha's character. The course laid out for the plot has promise, but this first taste is not particularly compelling on its own. Tour de force art hauls this issue up out of the ordinary. This volume has a long way to go before it becomes a must-read for Widow fans, though.

Cable's new story arc starts with a bang as Zac Thompson & Lonnie Nadler sculpt Cable and his daughter Hope into real three-dimensional characters. The overwhelming presence of the shape-shifting fear-monster stalking them ensures that this is more of a spine-chiller than a heartwarmer, though. The script gives Germán Peralta free reign to imagine a creeptastic beastie, and Mr. Peralta is very, very imaginative. Bundle up tight and leave a light on as you read this superbly spooky bedtime story.

Cable #156 delivers a surprising full-issue flashback and throws the main story into a bit of a holding pattern. It's initially disconcerting, but the points that are made by the end of the issue are both insightful and scary. Top-notch visuals throughout help sell a tricky script. If the start is shaky, the end is notably powerful, and the larger story is evolving in fascinating ways.

Grandmaster Roy Thomas throws us back twice over to share a Silver-Age-style adventure set in the Timely Comics days. While written with great skill and drawn with even greater passion, this comic's adherence to undeniably dated storytelling standards shrinks the pool of readers who will really enjoy it. It's a tasty treat, but one crafted expressly for those with a retro palette.

The arc leading to the big shiny #700 starts off plenty enjoyable. There's still a lot of heavy lifting to do if it's going to get truly epic, though. This issue is primarily a post-apocalyptic Secret-Empire-echoing setup so that Good Ole Cap can do his thing in the next two issues. Fortunately, Mark Waid and Chris Samnee have already proved capable of portraying Good Ole Cap flawlessly, and this launch pad of an issue has them primed for blastoff.

The backup story closes with the proud assertion that "Captain America is one of a kind," and that's a line I'd happily hoist a glass to. While I'm underwhelmed by a few bits of #700 and the strategic layout of the "Out Of Time" arc as a whole, I wouldn't dream of saying its heart is in the wrong place. The Waid/Samnee look at Cap closes with the same insightful, resiliently positive view of its protagonist it's had since day one. This issue might not be a critical turning point in Cap's story, but it is a joyous demonstration and celebration of why we love him.

Captain America #7 takes a few small steps forward into an ominous plot. This issue concentrates on how and why Steve justifies his own steps, and the script does good work approaching classic Cap problems from novel angles. A rich artistic presentation adds considerable value and makes this feel like a promising start to a story worth following.

In Captain America #9, interest and quality correlate strongly with how close the story sticks to Steve Rogers. Inside his head and in the prison around him, things are fascinating. The same cannot be said for the more distant scenes, which use the new character Dryad to thoroughly upstage the Daughters of Liberty. The result is still a nicely above-average read, but the whiff of missed opportunities is pungent.

A consistent issue-wide theme concentrates and elevates Captain America #10. The big plot developments are just beginning, but this start is made entirely satisfying by its sharp, focused writing and its refined art. This title has dragged at points in the past, but #10 is a skillful assertion that Captain America's next stop is must-read territory.

Captain America #14 shows Steve and his female teammates getting down to business. That business is clobbering paramilitary kidnappers, and business is booming. Although this issue has an excellent self-contained fight scene, a lot of the other trappings are more questionable. Steve's narration takes a rare and unwelcome turn into smugness, and some visual glitches hold the art short of its full potential.

Captain America #15 takes full advantage of Steve Rogers' nomadic status quo to experiment with different tones, different art, and different kinds of stories. Some of the forays fall flat, but on balance, the issue has a lively sense of improvisation. And the introduction of a fresh antagonist promises to bolster the next few issues with some strong conflict.

Captain America Annual #1 tells a satisfying chase story along the way to the next Infinity Stone event. It paints a compelling, well-rounded portrait of Overtime, who emerges as the leading "Infinity Person" thanks to his new desire to seek out the other stone-holders. The gritty, detailed art could use a touch more motion, but overall this is a lean, speedy spy caper as well as an interesting serving of event groundwork.

Carol is due to pop up in Infinity Countdown in a few weeks lugging the Reality Stone. When it's time to explain the stone's origins, I think she's likely to sigh and rub the bridge of her nose and say something like, "There was a whole … Mirror Universe … Thing." And that is about all you need to know about this story arc; only the most die-hard Carol fans (and those of us who love the way Michele Bandini draws her) will want to slog through the plot-hole-y details.

"Always get up. If you always get up, then it's never over." Boil the essence of Carol Danvers down to 12 words? Nobody's ever done it better than that. With art and colours that live up to the script's passionate insight, Captain Marvel #1 is a long-overdue treat for the Carol Corps. But this isn't just a reward for long-time fans. It's a welcoming demonstration - hopefully, the first of many - of just how great Carol comics can be.

Captain Marvel #2 feels like a demonstration of the status quo the creators want to set for this volume: brisk, exciting, tough, compassionate, and funny in a charmingly subtle way. It's put together with formidable skill both visually and narratively. If future issues hold to this level of quality, this whole series is headed into must-read territory.

In its third issue, Captain Marvel slows the plot down to make sure every reader understands both Carol's awesomeness and the scope of the challenge she faces. It's beautifully drawn and strongly written. It proves that this creative team can make Carol's story compelling without constant plot twists. And once that point is proved, the issue closes with an extra-crazy twist just to make sure it's in no danger of losing our attention.

Captain Marvel #4 energizes the ongoing story by focusing on conflict. Both the writing and the art leap boldly into combat. The headliner fight between Carol and Rogue is unmissable on its own, but the attention paid to Mahkizmo and the Rebellion is rewarding, too. Although one of its strongest accomplishments is ratcheting up anticipation for the climax in #5, this issue is formidable and fully satisfying by itself.

In Captain Marvel #6, the creators rely on a somewhat threadbare premise to put the cherry on top of their tie-in sundae. The art is lean on detail but vivacious, and the script is scrupulously witty. If it relies on a "safe" plot twist, it also shows that such storytelling tools get used (and risk getting over-used) because they make it easy to build a thoroughly satisfying story. And that's certainly the result in this case.

Captain Marvel #9 is a crucial issue for the current arc and the title as a whole. The biggest of big pictures are coming into sharp focus for the first time. This is where we really start to learn what this volume of Captain Marvel is all about, and we can't wait to find out more!

Captain Marvel #10 glories in a comprehensive explanation of the story so far before moving on to Carol's appropriate reaction: Punching the ever-loving out of what she's now certain is the right antagonist. The plot jigsaws together perfectly, and the portrait of Carol painted in words and art is impressively moving. The sky-high stakes couldn't be clearer, and we're utterly invested in finding out how this fight ends.

Captain Marvel #11 serves as a satisfying win by itself, but it's even better as an inclusive summation of everything this volume has done. Strong character work, passionate visuals, and outstanding long-term plotting suggest even more wonders await Carol Danvers in stories to come.

Captain Marvel #12 introduces Carol's non-stop bus-ride to evil-town by throwing Thor beneath the wheels. It's a mighty fight, portrayed with laudable storytelling skills. This first issue only offers the barest hints as to why Carol is breaking bad -- but the gameboard is already being set up to cushion the blows she's inflicting.

Captain Marvel #13 crosses Tony Stark off Carol's hit list while also explaining just enough of what's going on. Carol's in a dreadfully tight spot, but she's also working a counter-scheme against her antagonist. With enough structure to rationalize the story and plenty of stellar creative work in the art and words, this issue assures the reader that leaning in and enjoying this arc's ride is going to be a blast.

In Captain Marvel #17, the challenge of concocting an entertaining, all-ages game night leads to a life-and-death escape room struggle. A solid cape-conflict is significantly enhanced by great art, some top-shelf comedic character work, and Kamala Khan's well-rendered presence. If anything can foster crossover between the Captain Marvel and Magnificent Ms. Marvel audiences, it's this comic's perfect blend of the two series' sensibilities.

Captain Marvel #18 pivots nicely to show the protagonist from a perspective that melds new and old character traits. It doesn't skimp on the action, fully living up to the "cosmic war" scope of the Empyre event. It looks great and it reads smooth, painting a clear portrait of Carol before slamming a fresh challenge down on her. This will be a blast for regular readers -- and I don't think a curious newcomer drawn in by Empyre will be disappointed, either.

Carol and her new half-sister each get an equal portion of narrative attention in this fast, funny, finely-illustrated comic. The arc still has its share of unanswered questions, big and small, but this issue is an example of a "middle act" done exceedingly well.

Captain Marvel #20 takes it a little easy on the plot front, pushing the story forward with simple development of what's come before. Thanks to outstanding art and charming dialogue, this issue is in no danger of disappointing. It continues to spin gold out of the title's connection to the Empyre event -- essentially a best-case scenario for a tie-in.

Captain Marvel #22 launches Carol Danvers into a new arc, revisiting the grim future of her recent "The End" one-shot. Contemporary Carol struggles to understand this new world, and the creators do a stellar job of making her struggle compelling. With strong art and fine characterization, this issue kicks off another formidable long-form story in this most impressive volume.

Carol spends this issue trapped in a familiar narrative prison -- held captive while her antagonists monologue at her. But sharp writing and attractive art do a good job of making Captain Marvel's ordeal palatable to the reader; this is a fully-satisfying continuation of the ongoing arc.

Captain Marvel #28 is a fun comic with an ample supply of wacky antics to jolly Carol (and readers) over her breakup. But it's not exactly a "breather" episode, a one-off, or a quick fix. There will be Consequences to Carol's choices here, and the insightful creative work dives deep into the pain she's feeling. It's written with an exquisite blend of humour and heartache, and it doesn't hurt that the art is magnificent.

Captain Marvel #29 moves the arc forward with equal servings of witty conversation and high-octane action. The story is solid, and the skill used to relate it, in words and art, is virtually flawless. This is not a comic built to stand by itself; a lot depends on the upcoming landing. But everything between the covers serves to build on prior engagement and encourage readers to lean in even closer; this creative team is all-in on the idea of making the journey at least as enjoyable as the destination.

Captain Marvel #32 launches its protagonist into another desperate struggle with a ticking clock. This initial chapter goes heavy on the action, and it does not disappoint. But the creators have an intriguing "whodunnit" queued up right behind all the fighting, and thanks to superlative skill throughout the creative team, this comic has an excellent chance of sinking its hooks deep into readers.

A fresh take on Marvel's creepiest family and a healthy dose of hero recruitment combine into a comic that's both hilarious and heartrending. This issue covers a lot of ground, offers up a lot of memorable moments, and hangs onto the powerful "storytelling for the ages" tone this title has had since Secret Empire. If you have the slightest interest in these characters - particularly Viv and Vision - you just can't miss this new chapter of their story. If you're just here for cool teen heroes doing cool heroic stuff, Champions #16 has you covered too.

Hold your heads up high, Champions fans! Jim Zub and Sean Izaakse perform an impressive soft reset that makes this team even easier to love and nullifies a lot of the "oh, it could be great, but" complaints earned by previous issues. Champions #19 concentrates very productively on character relationships, and if future issues deliver as strongly on plot development, this title is poised for greatness.

While the pace remains slightly jerky, the Zub/Izaakse edition of the Champions is still a formidable thrill ride and a refreshing improvement on the team's earlier doldrums. This continuation pays dividends on the groundwork in #19 and sets the stage for an impressive climax in #21. We're already loving the build-up, and we wouldn't dream of missing the payoff next month.

The Champions (Miles in particular) live up to their title when challenged with a school shooting issue. This is a frank look at an ugly problem. It does not trivialize or over-dramatize. It does not prescribe facile or fantastic remedies. It reminds us of the wounds to which we're all susceptible and it inspires us to take action on our own. It is powerful and it is good. It is a potent reminder that in the wake of tragedy, stories about heroes only grow more important.

The Champions' arrival in Weirdworld gives us a lot of changes to adapt to. It's a swing-for-the-fences story premise. Though necessary stage-setting eats up most of this issue, the future looks bright. This first chapter shepherds us safely through some extreme character changes, and the question of what happens next is tremendously compelling.

This volume of Champions demonstrates its dedication to powerful, long-term plotting in its third issue. It may not be an "OMG you have to start reading this" triumph on its own, but it patiently builds upon its solid foundation and rewards committed readers with glimpses of a magnificent structure taking shape. I doubt this arc will disappoint once it's completed, and it may become truly extraordinary.

This issue of the Champions moves the whole volume toward a climax. It looks good and the seismic upheavals in the plot make dreadful sense. The scope is so wide and the developments are so rapid-fire, though, that there's little room to give anyone much of a distinctive voice. For a team as amply stocked with unique personalities as the Champions, that's a bit of a shame.

Dynamic art and a solid, thoughtful script help sell this initial issue of the Champions. It's a big team and there are a lot of different opinions on their new status as law-breakers; Champions #1 takes the time to explore the possibilities while also throwing in quite a bit of action.

What might be the most important thing about Champions #4 is that this team is once again portrayed as a collection of heroes worth rooting for. They (like their comic) are not perfect, but it is wholesome and heartwarming to watch them strive to be better. I wouldn't put Champions at the top of the quality heap -- but I would count no minute wasted that was spent reading this title.

Champions #6 pits a still-fragile team of heroes against a merciless corporation that's determined to defeat them online. This issue has to devote lots of time and space to introducing the players and setting the stakes. But it does kick off with a great action scene, and the seamless way the creators segue from combat to conversation holds a lot of promise for future installments. As the pace accelerates, this arc is likely to turn into a real thrill-ride.

Champions #9 delivers a long-needed and well-earned win for Kamala Khan and the whole team, finally settling the "Outlawed" arc in a wholly satisfying manner. It looks terrific and the characters sound great; plus, there's the prospect of a knockout fight looming in the next issue. This title has been dealt dirty by the vagaries of world events, but the latest issue is a big payoff for fans who have stuck with it.

Children of the Atom #3 doesn't lay bare the core mysteries of the title, and that's sure to frustrate some readers. Sharp dialogue and strong art keep its character-based storytelling compelling. Most importantly, it continues its three-for-three streak of adding rich background to another of its stars. Open yourself up to caring about these kids and their unique situation, and you won't mind at all if this series takes the long way around to explaining it.

Conan returns to Marvel with a savage splash of blood and a straightforward tale of sword versus sorcery. This introduction demonstrates ample and admirable skill. If Conan is going to become relevant and challenging, though, this story needs a little more complexity in future installments.

Conan #6 delivers another excellent, self-contained episode in Conan's life. It's drawn and written with formidable skill and it delivers plenty of straightforward power. But it also sharpens this series' simmering tension. Conan's development into the king who's destined to stand against the Crimson Witch is inevitable, but this series still hesitates to shine a spotlight on that development.

Serpent War #1 is an atmospheric introduction to an all-star roster of Robert E. Howard heroes -- and Moon Knight. It sketches its characters in bold, pulpy strokes and delivers some passionate visuals, but the broad scope and slow pace mean that this issue doesn't develop its plot much beyond a basic premise statement.

Contagion #1 unleashes a nasty, scary, but slightly generic horror infection on the Marvel universe. Powerful art and a fast, breezy pace fall into the plus column; on the minus side are shortages of compelling characterization and material to make the premise distinctive. Greatness remains a possibility, but this series will have to grow a lot to get there.

Amazing Spider-Man: Curse of the Man-Thing #1 continues in the style established in the previous issue. While it features more actual Man-Thing content, and that's much appreciated, the driving purpose is still to give the author a crack at writing as many high-profile Marvel characters as possible. He does it well, and the artists support him capably, but the obvious contrivance of the plot makes it hard to engage with.

A healthy crop of gritty storylines is bolstered by a beezer of a twist ending in Daredevil #606. He's headed after Wilson Fisk with Inhuman help, he's doing an admirable job filling in for the NYPD - if he can just survive a left-field guest star, Daredevil will be on top of the world. Solid visuals by Phil Noto enhance Charles Soule's clever, busy script and easily justify sliding this arc onto your pull list.

If you haven't picked up a Daredevil comic in years - or ever - you can read #610 and enjoy it for what it is: A brilliant and self-contained caper story. It is thrilling and gorgeous and spell-binding. I don't know if subsequent issues can possibly live up to the standard this one sets. Regardless of what comes next, Daredevil #610 carves its own niche as a must-read.

If this is familiar ground for Daredevil, this particular stand on it is iconic. Daredevil has faced challenges like this before. The telling of his story has seldom been conducted any better than it is here, though. Fine characterization, hard-boiled words, fascinating mystery plot, gorgeous art - this arc continues to deliver only the very best for our beloved Hornhead.

Daredevil #7 delivers a particularly formidable example of Chip Zdarsky's insanely great scripting. Matt Murdock, Wilson Fisk, and detective North all shine as conflicted, deeply real people. The art takes a few tumbles but remains fully committed to supporting the script's focus on realism. This issue succeeds wildly at making its protagonists compelling as people rather than super-people.

Daredevil #9 advances the endless debate about Matt Murdock and the choices he makes by adding some new (old-new and new-new) choices to the discussion. It looks good and it's amply stocked with intriguing ideas; this volume's reputation for thoughtful insight is further enhanced by this latest serving.

Daredevil #14 assembles a busy slate of conversations. Despite the action-light talk-heavy schedule, terrific creative skill ensures that it all looks and sounds intriguing. This issue breaks the Daredevil story down into parallel stories about characters good, evil, and in between -- and every one of them comes across as worthy of the reader's attention.

The latest issue of Daredevil does what this volume does best: Push forward a complex story about Hell's Kitchen and its most tormented resident. Even with minimal action and a heavy focus on Matt's thoughts, this still feels like an ensemble story about the whole neighbourhood. It's brought to life with vibrant, realistic art and compelling twists in the ongoing plots; #17 is a fitting meal for fans whose palates have grown accustomed to high-quality storytelling.

Daredevil #21 marks a mighty turning point in Matt Murdock's life. It's the inevitable conclusion of almost everything this volume has done with the character. But it's not a finale; this issue bangs the gong to celebrate the return of Daredevil (with supremely talented storytelling) while also charting out a dark new path ahead of him.

Daredevil makes the most of his last pre-trial days in Daredevil #23. He has a legal team to assemble and villains to intimidate. This is not a beginning or an ending; it is a middle chapter. But thanks to absolute brilliance from every member of the creative team, it is possibly a perfect middle chapter.

Daredevil #24 accomplishes the goal of taking us to Daredevil's trial. A strong, smart script and solid art make the final hours of Matt's pre-trial life compelling. Although it rises to a dramatic peak in the final scene, the rest of the comic is filled with the rock-solid groundwork that's become characteristic for this volume.

Daredevil #27 drives a steamroller over any objections to a crossover event, effortlessly using the opportunities presented by "King in Black" to make meaningful progress in developing its own plot and characters. This remains a must-read for followers of the title, and anybody who stumbles into Daredevil through the event will be treated to a dose of comics storytelling at the highest possible level of talent.

A creative team at the top of its game and a set of compelling ongoing plotlines work alchemical magic in Daredevil #30. Elektra takes the lion's share of attention (deservedly so), but every panel, every line of dialogue contributes to this rich narrative tapestry. It's this volume's signature strength demonstrated yet again: The whole is greater than the sum of the parts -- but all of the parts are pretty damn great by themselves.

This is an admirably serious serious look at a silly idea -- the consequences and the reality of de-fictionalizing Mike Murdock. Does Mike have a role to play in future issues of the Daredevil ongoing? Personally, I doubt it; this book feels like an improvisational sideshow that spins a little gold out of the available straw. (Mr. Zdarsky says otherwise on Twitter, though, and he's certainly the authority on the subject.) I wasn't particularly looking forward to revisiting Mike, but this annual's thoughtful take on him was a pleasant and thoroughly enjoyable surprise.

Dark Ages #1 is a strongly-illustrated tale about how the Marvel universe -- or at least one version of it -- ends in apocalyptic chaos. It does an impressive job of establishing a new status quo and lays the groundwork for interesting stories to come. But its matter-of-fact, past-tense tone robs this apocalypse of its full measure of drama. This series may well progress into greatness as it continues, but even if it does, this initial chapter is destined to go down as an awfully dry prologue.

Dark Agnes #1 delivers strong plot and character development at a brisk, pulp-y pace. If you're in the market for a swashbuckling tale with a female lead, this will fit the bill nicely. But it doesn't press beyond satisfying. It doesn't make a compelling argument for why such a story -- or this story in particular -- is worth reading. And that's surely a missed opportunity.

Darkhold: Iron Man #1 is an excellent one-shot that productively combines romance and horror. The creators wring every available drop of feeling and terror out of the straightforward premise, and it all builds up to that best sort of disappointment at the end: Readers are likely to be desperately interested in finding out what happens next.

The first issue of Old Man Logan's return to the Wasteland leaves some key questions unanswered, but it's certainly not short of violent fun. Gorgeous fights, twisted foes, satisfying allies - there is plenty here to challenge Logan and delight readers. It is a good start, and all signs point to things getting even better as the arc goes on.

Deadpool's new volume opens up with a grounded take on Wade Wilson: A little lonely, a little angry, focused more on observational humour than the absurdist variety. But this first arc -- slogging through an extremely Chris-Bachalo-y monster invasion on Staten Island -- already seems to be a bit of a drag. This series has promise, but I think it'll take several more issues to realize it fully.

Deadpool #3 follows through on the turn started with last issue's Cap scene: It's concentrating on character rather than plot. That plays to the writer's strengths, though it does also slow things down. The start of an intense Deadpool-Kraven fight does similar things for the artist, making the best of his dynamic blocking style. Although the destination remains unclear, the ride is plenty enjoyable so far.

The best Deadpool runs strike a balance between comedic Deadpool and tragic Deadpool. With this issue's moving peek into the jester's heart, this volume stakes a strong claim on another great balancing act. There's still plenty of comedy and the monster-fighting art doesn't disappoint-- but Deadpool #5's strongest suit is its empathic portrayal of its protagonist.

Deadpool #8 lands Wade in an ideal position, at least narratively speaking. Desperate risk, desperate action, desperate plans, desperate humour to mask the danger -- this is territory in which Deadpool thrives. Thanks to high-octane art and writing that's equal parts snarky and heartfelt, "thrive" is exactly what he's doing.

Death's Head #1 reserves the lion's share of its attention for Hulkling and Wiccan, particularly the latter hero. It's an effective strategy that doesn't short the star as much as you might think. Death's Head always works best as a foil for more straightforward heroes, and this issue lays the groundwork for a doozy of a team-up. It's also got a gloriously distinctive visual style that's worth a look all by itself.

Defenders #1 is a comic that feels both fast and slow. The Masked Raider brings an ultra-high-stakes problem to Dr. Strange, and the magician speedily pulls together a team to address it. This issue accomplishes a great deal, and it looks gorgeous doing it. But it's also loaded with a lot of exposition; fortunately, it all goes down smoothly.

"The Marvel Universe Kills Deadpool" kicks off with a bleak look at Deadpool in a rock-bottom mood. In dialling down the tone for the rest of the arc to the blackest of black humour, Deadpool #297 is a success. Unfortunately, this mood-setting issue suffers from a shortage of plot development, and it simply cannot satisfy on its own. We need to have faith that this grim mood will pay off in the future, because the arc's main plot is just barely getting started.

Doctor Doom #1 blasts off with a roaring start, challenging readers and protagonist alike with a mountain of fresh troubles for Doom, Latveria, and the world. The exquisitely-detailed art makes the characters, action, and especially the settings incredibly real. The script builds toward a remarkably subtle portrait of Doom. With continued insight and complexity, it could well become the definitive portrayal of Marvel's most iconic villain. This is one to watch for sure.

Doom's road to Latveria detours through rural Texas, giving him a lot of time to trade barbs and jokes with Kang. It's funny, enjoyable stuff, but the creators anchor it with enough effort to keep it from lightening up and blowing away. The script has a few jewels of characterization and plot development, and the art is consistently gorgeous. This is a bit of a quiet issue, but it's richly rewarding for readers who have been drawn into Doom's ongoing story.

Doom's march to retake Latveria begins with some interesting spotlight thrown on his supporting cast. We learn about each of them, and the attention reflected on Doom explores our favourite mad science dictator, too. Safeguarded by continued artistic excellence (particularly a few extra-memorable splash panels), Doctor Doom's solo story continues to fascinate.

In this issue, Doctor Doom's plan for saving the world and redeeming himself goes awry thanks to self-sabotage. It's quintessentially in-character for the villain-turned-antihero. A cerebral script is handily supported by powerful art, allowing the book to dive deep into Doom's psyche while also telling an exciting super-science adventure story.

Here he is again, face to face with Dormammu. Sigh. The plot railroads him into the confrontation with logic and a pretty enjoyable journey, but what a familiar destination! There will doubtless be some novel trickery in the victory to come, and the presence of Galactus will hopefully be decisive. But it is gonna be Strange v. Dormammu for the Nth time, and all the bells and whistles in the world won't erase the fact that even the protagonist is tired of winning that fight.

Gail Simone's take on Neena "Domino" Thurman is entertaining as all get out if just a tiny bit generic. That problem should disappear as the story grows, and the very slight weaknesses in the script are more than compensated for by David Baldeón's incredibly expressive and polished art. This is a just great comic in general, and if you feel that Marvel could stand to learn a few things from DC, you should find it particularly satisfying.

Domino's first annual is a fun, fast anthology that captures all of the character's wit. It expands on important relationships and proposes some new ones, too. Words and art are all crafted with the highest skill. This isn't just a reward for faithful Domino readers; it's a very engaging invitation for newbies to come aboard.

Dr. Strange #6 brings the good doctor's latest adventure to a wholly-satisfying close. At its core, it's a basic "hero vanquishes villain" story, but both of the parties involved enjoy an admirable level of insight thanks to solid scripting. Tie it up with some splendid art and you have a fulfilling climax for a strong (if not all-time great) Doctor Strange adventure.

Empyre: Fantastic Four #0 is a pleasant surprise. It dials down the historical event exposition much lower than its Avengers counterpart, concentrating instead on a fast, fun family adventure. This gives it considerable crossover appeal. Even if you're planning on giving Empyre a pass, FF #0 is worth picking up if you're a fan of the World's Greatest Comics Family.

Empyre: Avengers #0 sets the stage for the big-budget conflict to come, while also doing some solid storytelling of its own. If you need a primer on the Cotati, this issue will get you up to speed with admirable efficiency. Here's hoping the upcoming Fantastic Four #0 delivers an equal measure of intrigue and appeal -- more groundwork of this calibre will make Empyre an event worth following.

Empyre #1 kicks off with some solid storytelling work lavished on plot developments that rest on a foundation of profound stupidity. There's exciting action, but it's a hard comic to read if you don't like seeing smart characters do stupid things. There's still room for inventive, exciting developments in this event -- but cleverness is in short supply in this first issue.

Empyre #2 wraps up the introduction to the event and buries the last hints of hero-vs-hero conflict. As far as I'm concerned, that's entirely a good thing. With the battle lines drawn along more rational and less contrived lines, readers are free to stop and smell the death blossoms (i.e. quality storytelling), as it were.

Combining real heart and insight into the Fantastic Four with some necessary event wrap-up business works out well in Fallout. It looks great, the family sounds right, and the book is a lot of fun to read. Top it off with a bombshell of a surprise ending (one that demands a follow-up!) and this turns into a must-read.

The Avenger's Empyre epilogue concentrates more on Emperor Hulkling and his court than the titular team. This actually works out well, tying a solid bow on the event while leaving a few promising plot threads loose for continuation. Great character art helps make the reading experience a satisfying one.

Eternals Forever is a basic introduction to this particular corner of Marvel, shamelessly laid out in an MCU-synergizing, newbie-friendly way. The stilted writing and simplistic story put a hard cap on the overall quality of the book, but it has its charms. It does summon up a bit of the mythic weirdness with which Jack Kirby launched the Eternals, particularly in its visuals. This won't be a must-read for everyone, but it may tickle some fancies among the more retro-oriented audience.

Saladin Ahmed and Javier Rodríguez assemble the first three members of a new Exiles squad, present them with a dangerous antagonist, and raise a lot of fascinating questions in this breathless revival. The characters and the challenges facing them receive just enough spotlight to leave us clamouring for more. The Exiles concept is one that runs on imagination, and these creators are feeding their new series plenty of high-octane fuel. This is gonna be a hot one.

In six months' time, we'll look back on this issue as either the misstep where a great series nearly left the rails or the jump-the-shark moment that led to a quick (and rightful) cancellation. I have faith in the creators' talents. I see the potential of the premise. I like the plot so far. I'm pulling hard for the first option. Considering Exiles #2 on its own, though, I can't deny the disappointment delivered by its cardboard characterization.

Exiles #9 tells an ambitious story with a breathless, potentially-overwhelming flood of new sights and new ideas. The storytelling road is rather bumpy, but the imaginative treasures on display make it well worth your time to negotiate the tricky terrain. Not the easiest of reads, but definitely a rewarding one.

Exiles #11 succeeds by sticking to a clearly-defined scope of action and detailing it out with swift, confident storytelling. It carves out insightful roles for all of its characters and immediately pays off the short-term story by rolling it up into the bigger picture. This title is headed for a crescendo, and if the next issue is handled as skillfully as this one, it will be a must-read.

Bucky takes the lead in this fast-paced espionage thriller, but the Falcon is far from sidelined. With clear, dynamic art conveying the action and a smooth script that effortlessly establishes a compelling dynamic between the leads, this series has all the storytelling horsepower a reader could want. The plot is at the very least serviceable, and further development might easily elevate this into must-read territory.

Falcon launches into his second story arc with a spookier, more serious tone and a more modern pace. There's a tiny twinge of disappointment in saying goodbye to the over-stuffed scripts of previous issues. We've got cool vampires and interesting supporting cast developments to look forward to - but I worry that this title's unique, idiosyncratic voice might be slipping away.

Fantastic Four #3 caps off the family reunion story with all of the wit and heart that was missing from previous issues. It's a thoroughly satisfying conclusion and a powerful, past-due demonstration of what this creative team can do with the title. This volume needed to take a big leap forward; #3 makes an impressive vault and nails the landing, too.

In Fantastic Four #4, it's the new status quo, the new story leads, and the character relationships that impress rather than the immediate conflict with a very silly band of imposters. Previous issues reunited the Fantastic Four; this is where the even more interesting process of re-carving their place in the Marvel Universe begins.

Doctor Doom, Galactus, and the Fantastic Four all explode across Latveria, shaping an FF story that is timeless in all the right ways. The plot is epic, the art is formidable, the Herald of Doom is a fascinating novelty, and the characterization is quite simply flawless. This is Classic Fantastic Four with a capital C.F.F.

The Fantastic Four try to have a quiet day on Yancy Street, but the War of the Realms drops Frost Giants in their laps. The brisk script and gorgeous art make the fight satisfying and also turn it into a vehicle for further character exploration, particularly of Franklin and Val. I believe the creators do better with the latter than the former, even if their intentions were the opposite. It's an ambitious story that doesn't achieve all its goals, but it'll definitely warm the heart of a reader who likes her FF familial and friendly first.

But the foibles of this comic are truly incidental when compared to its enormous and enormously successful mission: It reminds us that the Fantastic Four are explorers, ever focused on the far horizon. Its visuals and words capture the joy and the grandeur and the purity of that obsession. And like the best optimistic comics, it invites us to share that passion and leaves our own world a little bit bigger and brighter.

Fantastic Four #18 does a good job unpacking the title's latest revelations while also keeping the action rolling breathlessly. Though the previous issue made a big tweak to the team's origin, now it's constructively tied into the ongoing arc. The art team aligns distinctive styles into a consistent story, and all of them keep up admirably with the script's busy pace.

In the end, the high point of this arc was Reed's message at the end of #22, urging his kids to go forth and be fantastic. This finale is a fitting and fulfilling payoff to that message, and Val and Franklin are indeed fantastic in action. This volume of the Fantastic Four has its weaknesses, but this issue proves that the kids aren't among their number.

Fantastic Four #33 brings Dr. Doom right to the altar, which is where the inevitable wedding shenanigans begin. It looks terrific, it's nicely paced, and the dialogue is warm and natural. While the plot makes plenty of sense, it comes together with a feeling of more novel roads not taken, more inventive characterization not employed. This is a very well-crafted comic, but sadly not a daring one.

This Wedding Special delivers a few non-essential but thoroughly enjoyable peeks at the preparations for the big day. It has tremendous heart, but also a surprisingly edgy portrayal of Alicia. That keeps it from being all fluff and ensures it provokes thought. It's separated from all-time greatness only by a (slight) lack of memorable art.

Fantastic Four: 4 Yancy Street #1 delivers a fun, heartwarming story centred on the Marvel universe's greatest rock-covered cream-puff, Ben Grimm. A sound script is ill-served by a team of great artists who don't quite gel together and some questionable colouring choices.

It's OK for a comics property to orient itself toward nostalgia for a while. And this miniseries shows that you can still make creative hay out of a thoroughly safe story by, say, turning it into a platform for an exceptional art performance. Fantastic Four: Antithesis is not revolutionary or a must-read -- but it is more than capable of tickling a Fantastic Four fan's fancy.

Fantastic Four: Life Story #1 changes up the origin of Marvel's first super-team just enough to breathe fresh life into a 60-year-old story. The art is beautiful and the script poses fascinating questions -- some already answered, some still mysterious. Character work is lagging a little, but the rest of the storytelling is strong enough to make me hope that that's merely an effect of kicking this series off from Reed's point of view.

When I contrast the two issues we've got so far, I can only hope for a better balance in the future. #1 was all friendly, all neighbourhood. #2 is all Spider-Man, and it suffers a little for that. This is a strong, above-average Spider-Man story. But it offers up far less of the distinctive, home-cooked feel that made the last issue special.

In FNSM #13, a decent script ties a bow on the volume's long-running Under York thread with a nice guest-star turn by the Fantastic Four. It's a good story, but not strong enough to withstand the confusion sewn by a rushed, disjointed game of artist roulette. This comic lacks the visual horsepower it needs to satisfy.

Future Foundation #5 takes a stab at injecting some last-minute tension into its story. It works better as a celebration of the characters involved, and while not every character gets equal attention, those in the spotlight are treated very well by the words and art.

Gamma Flight #3 keeps the series' action quotient sky-high, and the visuals remain a powerful callback to the best of the Immortal Hulk. But the creative team performs a remarkable bit of alchemy here, melding the monster-smashing action with great character development and psychological details that sparkle with realism. This series is a worthy coda to one of the greatest Marvel titles of the past decade, filling in some of the nooks and crannies left in Al Ewing's Immortal Hulk while also hammering out a great action-mystery yarn.

This title is settling in for a long haul, and the tidbits that have already been revealed make me hope it gets plenty of issues. It's burning hot despite its measured pace. Ed Brisson, Aaron Kuder and their collaborators have big plans for the Ghost Riders, and I can hardly wait to see them more fully revealed.

Ghost-Spider #2 is an excellent slice of Gwen Stacy's life, just as enjoyable for the reader as it is for the protagonist. The inevitable supervillain disaster is looming just off-stage, but its arrival will be made that much better after we've been through this charming and beautifully-rendered day in the sunshine.

Ghost-Spider #3 starts to hammer on Gwen's brief moment of dimension-hopping happiness. Despite the issue's heavy focus on her main antagonists, the first blows come from further afield. Another serving of outstanding art and more excellent characterization for Gwen backstop the slow-moving villain plots and keep the reading experience rewarding.

Ghost-Spider #4 is probably the title's best issue so far, despite its unfortunate tendency to blur together with previous installments. This one looks great, promotes sympathy and intrigue, and finally (I hope) sets the stage for the direct Ghost-Spider/Jackal confrontation that is perhaps a little overdue.

Ghost-Spider #8 takes a few steps forward on the Sue and Johnny plot, and it continues to deliver a compelling, finely-crafted portrayal of its star. But the ever-slow pace is slowed even further by a lengthy digression to chat about the "Outlawed" event. I think issues like this do enough -- just -- to hang onto existing Gwen fans, but I doubt they're going to bring in many new ones.

Milligan, Allred, and Allred stick the X-Statix right back where they should be: At the top of the superhero satire game. Awful characters in absurd and deadly situations, deliciously distinctive art, and a sneaky serving of empathy come together to assure us this team is just as terribly brilliant as ever. It will be six months or more before we get another chapter in their story; Giant-Size X-Statix #1 tells us it'll be worth the wait.

If, however, you're not just in it for the Warlock, this issue should do an admirable job of pumping you up for Infinity Countdown. It manages to polish off the Guardians' current series in flashy, satisfying style while also whetting your appetite for the event to come. Marvel's cosmic arena is looking wilder and more exciting than ever, and though it will continue under other titles, the Guardians' story is still well worth following.

This issue is mainly about adjusting the Guardians roster and clarifying the battle lines for the conflict to come. Guardians #4 delivers a satisfying dose of battle itself, complete with consequences, but this is not a climactic turning point. Strong action art and fast, polished characterization provide a fulfilling sense of motion even if the plot is taking its sweet time to develop.

Guardians of the Galaxy #5 puts Hela in the driver's seat of the plot. That's bad news for the galaxy and all its guardians, dark and original-flavour. While this issue isn't much for characterization, it wrings dramatic, transformative developments out of the plot. It's satisfying in itself, and it promises plenty of desperate excitement to come. Good news for the villains is bad news for the heroes, but excellent news for the readers.

Guardians of the Galaxy #7 launches a big, cinematic arc by introducing a big, cinematic threat, and the Guardians' first swing at it does NOT go well. The highlights are the fast, dramatic plotting and some truly epic arc. Character is taking the backseat and letting Story drive for now, but the destination looks promising enough to justify that imbalance.

Similar to many of this volume's past issues, Guardians #10 is long on strategic plot development and offers just a frustratingly brief dollop of character interaction. Some polished, top-shelf art works hard to make the action grand and the characters sympathetic. But even the strongest visuals couldn't fix the core problem that carries on through this issue's script: It's a story about things happening to Guardians characters rather than a story about the Guardians as a team.

Guardians of the Galaxy #12 lives up to the full potential of the epic confrontation it portrays. It's an all-out mental and visual assault. But though the volume is cranked to maximum, there's no risk of overload or feedback here; the talented creative team is in full control at all times. It's a dramatic fight that will put your heart and particularly your head through the wringer. It delivers you, panting and excited, at the dawn of a new era for the Guardians. Bring it on!

Without spoiling any of the issue's surprises, what I can talk about (with enthusiasm!) is the tremendous velocity this title has developed. Even with momentary character digressions, the Guardians are now on a rocket ride to cosmic superheroing. This is loud, fast, exciting action, perfectly balanced and delivered with superlative skill. The destination isn't clear yet, but the journey is already well worth taking.

Guardians of the Galaxy #18 brings down the curtain with a satisfyingly dramatic win. But it turns out, this volume hit "peak mystic weirdness" back in the previous arc, and this one is much more straightforward. While the mundanity of this finale might disappoint a few strange-headed readers (like me), most will be entirely happy with this end. It still maintains the volume's impeccably high standards of verbal and visual craftsmanship, and it ties its main plot up neatly while throwing out a few solid sequel hooks.

Gunhawks #1 delivers something more complex than a "white hats vs. black hats" fight. It uses a fateful day of gunplay to ask fascinating questions about moral growth and it lets the sheriff work out his own bittersweet answer. It's subtle and thoughtful and highly rewarding.

Gwen Stacy #2 continues to paint an endearing and well-rounded portrait of the pre-Peter-Parker part of its protagonist's life. Gwen is hard at work sleuthing on her dad's situation. While this issue doesn't reward her efforts with a lot of decisive plot development, there's still plenty to enjoy, particularly some meaningful encounters with the Osborns.

This wild first issue has such a method to its madness that I'm almost certain the questions will all be answered as the series unfolds. Even if they aren't, these creators are doing such a good job with Gwenpool - so authentic, so transgressive, so fun - that I already know I won't regret climbing aboard this ride. And you won't regret it, either.

Gwenpool Strikes Back #2 is peak Deadpool rip-off-itude … but that is definitely not all that's going on. The confident creative team dives whole hog into the "LOL memes" style that Gwen, famously, doesn't care for. It's done so well, though, that we can enjoy the spectacle for what it is. It takes only a smidgen of faith to read on, certain that future twists will revisit the more complex Gwenpool we know and love and provide ironic context for this issue's absurdities.

Gwenpool Strikes Back #3 loads fresh outrages into Gwen's quest to make herself popular. The protagonist (and the creators) again wobble on a tightrope between being crass and charming. I think most Gwenpool fans, like me, are rooting for her to fall firmly onto the "charming" side, but the balancing act is an engrossing adventure all by itself.

With this issue, Gwenpool Strikes Back approaches the platonic ideal of meta-fiction. It shines an honest light on the storytelling tropes and tools it employs while also making sure their product is a deeply engaging story in itself. It looks gorgeous, it's thoughtful and compassionate, and most importantly, it's absurdly funny.

The final page of Gwenpool Strikes Back tips its hat to the title's biggest inspiration, letting her walk away through a Looney-Tunes-style end-card. It's been an absurd ride, and while there wasn't a giant plot twist explaining its absurdity, the final serving of character work for Gwen is wholly satisfying. Gwen's adventures will continue… and this series succeeded in assuring its star of that.

This is a satisfying enough issue if you're already invested in the title and the current story arc. That arc is still on track, and it may well end up being great. Once we're looking at it in hindsight, though, I doubt that #14 is going to stand out as a high point.

Cautious optimism is the rule of the day when Blade finds himself in an Avengers-free version of the Marvel universe. He wastes no time sinking his teeth into the mystery of the missing heroes, and the Squadron Supreme can handle the usual cavalcade of over-the-top villainy. The verbal and visual storytelling is strong, and the possibility that this event can steer the Avengers back into communion with the rest of Marvel is too good to resist. This is a story worth following -- cautiously.

If anybody told the creative team behind Heroes Reborn: Night-Gwen #1 that they were making a "fire and forget" one-shot, they threw that sentiment right out the window. With detailed, high-flying art and nuanced character writing, they've produced a fully-rounded protagonist. Watching this Gwen Stacy deal with a straightforward threat from her past merely whets the appetite and suggests there should be more.

As characters, these younger, more naive versions of Kamala, Miles, and Sam serve mainly as mirrors that reflect the cheapness and imperfection of the Squadron Supreme's heroic veneer. They do that job well. And their creators invest them with just enough empathy and realism to make the reader care. They may not have the legs to support further "Young Squadron" adventures, but they do a solid job of making this alternate universe feel just as cold and foreboding as it should.

Though I think it spends a little too long in high school, overall I had a blast with Shutterbug. This is a very enjoyable one-shot that uses the alternate universe premise of Heroes Reborn to do great what-if work on Peter Parker. With strong, simple art and insightful words, it capably illustrates the heroic streak in the character that will always shine through, spider-bite or no spider-bite.

Heroes Reborn: American Knights is most successful when taken as a face-value parody of Batman, with the gritty art and the cinematic dialogue consciously conjuring a Marvelized version of the Nolan trilogy. It scores a few points for Heroes Reborn world-building as well, greatly expanding on Mephisto's sinister role. But a search for substantive thought about the meaning of Heroes Reborn will come up almost empty here. The morality of this AU remains barely investigated, and the opportunity to tie the characters' moral struggles to the real world passes untaken.

The Hunt for Wolverine presents terrific visuals throughout and some genuinely touching moments in the A story. The B story, though, charts out a roadmap for a vast crossover event that's already looking bloated and unsatisfying. By itself, this issue is a decent read and a very pretty one, but the continuation of the story across four different miniseries looks promising for only the most indulgent and well-heeled Wolverine superfans.

Although the sheer volume of recap material slows this comic down, it's an admirably complete snapshot of the diverse points the Hunt for Wolverine has already hit. It sets the stage for the full-on Return by adding a promising antagonist to the mix, and it's a generally fun read. We give it a strong "Buy It" recommendation - especially if you skipped the miniserieses and need to catch up.

While this issue doesn't make any cutting-edge Wolverine revelations, it does an excellent job of opening up new mysteries in its retrospective look at Logan's New Avengers days. Formidable art and a dense script that focuses on the "Why are these heroes hunting Wolverine?" question foremost in readers' minds turns this into a winner. Our recommendation for Adamantium Agenda #1: Buy it.

Adamantium Agenda sputters across the finish line running on fumes. It manages to generate some interest in the final pages, but unfortunately, it's unflattering "who thought this belonged in the Hunt for Wolverine?" interest. This issue's destiny is to become a curious footnote on Laura Kinney's wiki page; as the conclusion to an independent story about a team of heroes looking for Wolverine, it's a bust. Our recommendation for Adamantium Agenda #4 lands firmly on skip it.

A winning story, rock-solid characterization, and naturalistic visuals make Claws of a Killer #1 a real delight. While it's not a perfect comic, it's a very strong one both on its own and as part of the bigger Hunt for Wolverine plot. Our recommendation: Buy It for sure.

Claws of a Killer shambles onward like the zombies it features: slow, cold, and ugly. Though there's a reasonable argument to be made that that feeling is intentional, this series shows how dangerous it is to chase an unpleasant tone without offering readers something compelling to offset it. Our recommendation comes down firmly on: Skip It.

With a breezy "whoosh" of decompression, Claws of a Killer whispers to a close with more gritty but generic zombie fighting. This series suffered from a fundamental mismatch between creative talent and intent. Mariko Tamaki and Butch Guice are great creators. There's nothing wrong with "three violent anti-heroes chop up zombies" as a premise for a miniseries. That premise and these creators combine like oil and water, though. It goes down in our logbook as one strong issue followed by three extremely skippable ones.

While the creators of Mystery In Madripoor resisted the temptation to turn this all-female book into a T&A delivery vehicle, the dull plot, bland characterization, and poor art they deliver instead are questionably-valuable alternatives. This series might hit some interesting points in the future, but that's not the way we're betting after this introduction. Our recommendation for Mystery In Madripoor #1: An emphatic 'Skip It.'

Jim Zub and Thony Silas deliver another puff pastry of superficial female X-action. A slight uptick in the visuals can't elevate this into a rewarding or meaningful read; the main accomplishment here is filling another box on the editors' 16-issue Hunt for Wolverine roadmap. Our recommendation for this title is stuck firmly on 'Skip It.'

The balance of the visuals remain hopelessly sketchy, and they fall right in line with the "oh, is this still going on?" feeling given off by the final developments of the main plot. Mystery in Madripoor isn't going high on anybody's must-read list, but the final issue distinguishes itself. Psylocke fans will need to check out the hot new status quo, earning this final issue a provisional Buy It recommendation from us.

In terms of progressing the Hunt, this issue does nothing beyond roping a supporting cast to Daredevil. The moody tone makes this issue worth a peek if you love hardboiled detective stories, but it couldn't possibly be considered "essential." And you can shave about three points off our rating if you're a die-hard Cypher fan and you don't care to see him turned into a punchline for the Nth time. Our recommendation for Weapon Lost #1: Skip It.

Issue #4 of the Immortal Hulk begins setting up the pieces for a bigger story. The slower pace and heavier cargo of exposition might disappoint after the fast, self-contained stories of earlier issues. The enthralling plot and its many tempting questions more than make up for a slow start, and the tale is supported throughout with impeccable art. The first three issues of Immortal Hulk demanded our attention; now that they have it, the creators are dragging us much deeper into the Hulk's scary new world.

Immortal Hulk #11 delivers important, incremental revelations as it approaches the core of this title's new mythology. The One Below All, the Green Door, the Hulk, and Bruce Banner - their final relationships are still to be revealed. This issue is a slight drop down from #11 in terms of characterization, art, and plot development. #12 is a slow chapter in a story that remains an absolute must-read. Though it is not the title's best, it's still a Hell of a ride.

Incredible Hulk #14 is that rare comic that satisfies completely as both a part of a larger story and a story in itself. Tormented art (in the best possible sense), powerful characterization, and meaningful plot development: This one has it all. It's another tour de force of superhero horror and an unmissable installment in a title that rates mighty high on unmissability.

With sales figures, awards nominations, and nigh-universal acclaim verifying their storytelling talent, the creators of the Immortal Hulk forge confidently ahead with a delightful dose of long-form storytelling. #18 fascinates even though the big fights and twists are largely restricted to foreshadowing. The creators believe their story is compelling enough to keep readers riveted even in its quieter moments. They're absolutely right.

The Immortal Hulk continues its impossible streak of chaining together brilliant issues one after the other. #19 is a terrible, triumphant dance that tramples the line between heroes and monsters. It delivers meaning and spectacle aplenty, but it teases the reader ever onward with the promise of even more to come.

We're 20 issues deep and the creators are confidently showing us there's no end to the complexities and mysteries we'll encounter when we follow the Immortal Hulk. It's a book of duality and tension, and this beautiful installment twists the knives even further with its deft balance of real-world and allegorical troubles.

Immortal Hulk #22 demonstrates a key point in the title's runaway success: It's not just about brain-mangling horror and dualistic theology. It's a story about people, like all good stories, and this issue's peek at the personalities in all the different factions is deeply engaging.

Immortal Hulk #23 serves up a beast of a Round One in this climactic fight issue. It pushes the envelope even more than usual, tap-dancing on the line between moving horror and Grand Guignol gore. Though a few steps go over the edge, the overall dance remains engrossing and, as ever, gorgeously illustrated. We couldn't possibly look away.

Immortal Hulk #24 shows yet again that the creative team behind Marvel's best ongoing has the talent and inventive audacity to drag us screaming into new horror territory. It is a terrifying and unmissable ride. But make it the last comic you read today; you're going to need some recovery time after this one.

Immortal Hulk #25 is, simultaneously, a critical step in the Hulk's ongoing story and a unique digression into an incredibly alien world. The creators' efforts toward both goals are wildly successful. The alien viewpoint is challenging, but it offers rewards of its own as well as dramatic revelations regarding the Hulk.

With these creators' impeccable track record, I have little doubt that Immortal Hulk #26 is the start of another wild and unmissable story. Considered strictly on its own, though, this is a slower issue. It offers plenty of food for thought, but few of the signature spectacles that past issues have burned into my brain. This is surely another important chapter, but it's all about setup rather than payoff.

Immortal Hulk #27 is a natural evolution of the story launched in the previous issue. It maintains and extends the intellectual aspect of the Hulk/Roxxon conflict while also dialling up the smash in a big way. There's even space for a few intriguing refinements in the Banner/Hulk relationship. Whether it goes quiet or loud or makes an effective compromise between the two, as it does here, Immortal Hulk is always worth checking out.

By focusing on a rank-and-file Roxxon guard as well as supervillain CEO Dario Ager, Immortal Hulk #28 shines an illuminating light on two different kinds of anti-Hulk sentiment. Formidable guest art and ambitious character work ensure that this "breather" episode is as unmissable as the rest of the series -- and the surprise villain reveal at the end adds some ongoing plot development to these otherwise-isolated stories.

Immortal Hulk #29 blasts us quickly toward a monster fight of truly titanic proportions. While this issue is all about setup, there's ample attention paid to both the conflict between Shadow Base and Roxxon and the characters at the heart of it. Solid art (on the characters more than the monsters) and compelling writing demonstrate once again that this series can easily hold our attention in between the big battles.

Immortal Hulk #30 delivers exactly what this title does best: Visceral action combined with big ideas. Whether you want to see the Hulk and his friends tear apart monsters or you're looking for a thoughtful exploration of the perils of 21st-century media, this comic will satisfy. And when you're in the mood for both smashing and pondering, picking up this title's latest issue is still the best move you could make at the comics shop.

Immortal Hulk #31 delivers another masterfully-balanced chapter that offers equal delights to readers who want slugfests and readers who want to put supporting characters under a microscope. Xemnu's uncanny powers serve as a nice bridge between the two, messing with memories and swaying the outcome of the big fight. It's not a standalone story -- it cries out for more Xemnu details -- but it is an enthralling one.

Immortal Hulk #32 tears off the veil and clarifies how Xemnu is screwing with the world. It looks exquisite, it induces a terrifying, intentional sense of alienation, and it includes some all-time great character work. All this and a long-awaited link to Hulk-history; this number should rightly go down as a full demonstration of just how much potential this title still has to explore.

Judged solely on the merits of its script, Immortal Hulk #33 might miss the brass ring. It would still, like every issue of this title, be extremely strong -- just less than perfect. It's a good thing for the readers that Al Ewing's solid words are combined with two superb servings of art by Paul Bennett, Nick Pitarra, and their skillful collaborators. The striking visuals give the speedy plot the (little) boost it needs to land dead center in the quality bullseye.

The Immortal Hulk #34 is the definitive character sketch of the Leader. The creators use finely-crafted words and naturalistic art to reshape one of the Hulk's goofier villains, turning him into a dark reflection of the hero and setting him up as a menacing éminence grise in the contemporary story. This issue may be slightly short on action, but it has a powerful, transformative effect on the narrative so far.

Immortal Hulk #36 tables most of the title's intellectual profundity, devoting itself instead to body horror and thrilling action. The pace is pretty fast, but the quality of the horror and action -- thanks mainly to the expert art talents of Joe Bennett -- is absolutely top of the line.

Immortal Hulk #37 swings the spotlight back to the Leader, and watching the current storyline deform around his well-laid plans (and insider knowledge) is horrifically fascinating. Bodyguarded by its usual artistic excellence and a finely-wrought script, this issue is more than just a great read. It's a delivery system for a fresh load of fascinating new hints about the title's wider mythology -- and thus an indispensable treat for fans of the series.

Immortal Hulk #38 brings the Leader to the precipice of triumph, but it becomes deeply satisfying by also presenting the seeds of his destruction. The many personalities of the Hulk oppose him, but here, it's even more important that the Hulk has friends to help him out. With powerful art supporting its complex script, this issue is a breathless thrill-ride that delivers a tremendous amount of plot development on the way to the story's climax.

Immortal Hulk #39 is another dark chapter in the Leader's assault on the Hulk. The latest developments are terrifying and the visuals break yet more new ground when it comes to body horror. This climactic episode just serves as another proof of the fact that this series is one of the best horror comics being published by Marvel -- or by anyone.

Immortal Hulk #42 is a wordy comic, packed with momentous conversations. Strong writing keeps us interested in everything that's said, and a large team of guest artists adds visual novelty to the multiple stories that are being told. Although this issue is short on superheroic action, it doesn't come close to disappointing. The title's characters face a lot of challenges here, and good creative work ensures that we're deeply committed to seeing how they deal with them.

Immortal Hulk #44 spools out a few more story threads, defining the scope of the arc without bringing the story to the boiling point (even though it does, technically, kill the Hulk). The words and art are more than strong enough to string me along through a slow set-up process; I have every confidence that the results will be fantastic.

It's up to guest star Jen Walters to take the last gasp of air before the Immortal Hulk makes its terminal dive. It's a bracing gulp that refreshes the reader by supplying a welcome bit of distance. Take one last look at this Hulk, from the outside, and ask yourself if he is a monster or a man or something else entirely. And then follow along regardless of your conclusion, because this title is racing inexorably toward a GOAT finish.

Immortal Hulk: Threshing Floor is an interesting and rewarding side-story. Its creators are mindful of the main book's tone but unafraid to explore their own spin on Devil Hulk and Bruce Banner. If you like the Immortal Hulk -- particularly the early, episodic issues -- you'll love this throwback tale that could easily be added to the first trade paperback.

Immortal Hulk: Flatline delivers a new perspective on Bruce Banner and Devil Hulk. It's a refreshing change and a formidable performance by all-in-one creator Declan Shalvey. But most importantly, its characterization is perfectly harmonized with the main series. This is a fresh point of view, but it is clearly looking at the same characters we see in the Immortal Hulk.

Amadeus Cho's cruise-control Sakaar road trip comes to an end with slight confusion and a promise of real character development to come. It's been an aggressively non-memorable journey, and while there weren't any "grab the pitchforks" sins committed, I can't imagine this being anywhere near as well-regarded as the original Planet Hulk in ten (or five, or one) years' time.

Iron Fist: Heart of the Dragon is an uncomplicated action comic, aimed squarely at an audience that wants to see Danny Rand knock zombie heads off and isn't interested in subtlety. The words and art both feature extremely retro storytelling techniques, though, which will be enough to turn off a lot of readers and limit the book's appeal.

The latest volume of Iron Man kicks off with a lean, retro, back-to-basics approach from both Tony and the writer. They're skating close to aimlessness, but the problem is noted within the story and narratively corrected with a thrilling final act. Combine the promising initial plot points with some superb visuals, and you've got a comic that's already approaching must-read territory.

In their second issue, the creators of this volume of Iron Man make it clear that they're hunting bigger game than a one-two-three plot. The selection of scenes may seem arbitrary -- until you step back and examine the huge themes that are building up. The thematic comparison between Iron Man and Korvac is already looking promising enough; the fact that the individual scenes are delightful makes this issue a rewarding read by itself.

Iron Man #7 slows down for a moment to give its characters (and readers) a chance to breathe. This is no bad thing, thanks to thoughtful writing and still-gorgeous art. There's plenty of new information to chew on here. This isn't a "hop on" episode or a "prove why this title is great" issue, but it should be eminently satisfying to readers who have already put their faith in this talented creative team.

Iron Man #9 puts the spotlight firmly on the villain, turning a would-be recruiting session with the Human Torch into a deep dive into Korvac's past. It reveals a complicated history using clear language and outstanding art, but it remains so faithful to the character that it just winds up extending the problem Korvac's always had: For a supergenius bent on universal conquest, he's awfully dull and dumb.

Iron Man 2020 #1 starts with a bang, or several bangs, as it introduces most of the key players in its Robot Rebellion. The action is fast and gorgeously-illustrated, while the philosophical A.I. concerns are finally focused into a clear good-evil conflict. Though the robots are the favourites so far, the creators spread moral and ethical problems across the whole cast. While some of the combatants are more right than others, everybody's at least a little bit wrong. This event will find resolution in evolution: These characters all have to grow. And if they do, this may become a very impressive story indeed.

Iron Man 2020 #2 flies an interesting mix of flags. The corny comedy banner is flying high, but so too are the flags of a thrilling "heist" plot and moving character development. Package it all with another serving of excellent art and you have a messy but vibrant story that's well worth following -- whether or not you find it funny to have H.E.R.B.I.E. cuss like a gangster.

In Ironheart #2, an onslaught of challenges keeps Riri hopping. This issue does an excellent job of telling her story clearly (and beautifully!) while also using it as a tool to explore her character. There are still plenty of uncertainties (and a few of them might be unintentional), but #2 assures us that learning more is going to be a blast.

Ironheart #6 delivers a one-shot team-up that is broadly satisfying for all sorts of readers and particularly welcoming to Champions fans. If you're still fishing for reasons to follow Ironheart, this serving's insightful character work, fun action, and sharp art give you plenty to love. And if you're already a fan, this issue will reinforce your dedication wonderfully.

Kang The Conqueror #1 is a puzzle box of a comic that balances great intricacy in its words and art with ample servings of plot and character development. It can be read casually and it will not disappoint. All of the good creative work poured into the captions and the panels deserves closer attention, though. This is a comic built to savour. And if future issues continue to show this level of care with the complexities of Kang, this may be the start of something great.

At the start of the issue, I was hoping for a good "Lockjaw saves his family" adventure. At the end, I'm hoping for a good "Lockjaw saves D-Man" story, and I'm fairly confident that we'll get that. And probably some awesome Lockjaw family action, too. While a faster pace would be welcome, Carlos Villa's gorgeous art and Daniel Kibblesmith's funny script ensure that these first slow steps are highly enjoyable.

Love Romances #1 is a satisfying anthology on the theme of "love and loss." While it does not disappoint, it also does not have the storytelling horsepower to launch itself off the shelf into your hands. The editorial essay at the end claims that romance comics aren't dead in the 21st century. This anthology, by itself, isn't enough to jolt them back to life.

M.O.D.O.K.: Head Games gets off to a compelling, action-heavy start. Spectacular artwork puts a real punch in the fight scenes, while adept writing balances out the combat with a nuanced portrayal of the villainous lead. M.O.D.O.K. is an inherently ridiculous character, but these creators handle him with heart as well as humour. The result is a thoroughly endearing portrait that cries out for continuation.

In Maestro #1, expert creators throw the end of the world at the Hulk. This is very much a stage-setting exercise; his actual turn to villainy is yet to come. Although the particular shape this armageddon takes is a little tired, a brisk script and gorgeous art do plenty to make the ride enjoyable. The prospect of reading on isn't at all daunting; we can't wait to see what sort of trouble the Hulk will stir up.

The Magnificent Ms. Marvel begins with a frantic explosion of challenges for both Kamala and the reader. There's a ton of action, and open-ended mysteries abound. The words and art give the beloved hero and her world the passionate attention they deserve, but the wholehearted push toward long-form storytelling leaves #1 without enough plot development to judge the arc accurately yet. Greatness in the future seems highly likely, though!

With its third issue, the Magnificent Ms. Marvel blasts off, both literally and metaphorically. The "space aliens need a champion" premise is given a memorable twist thanks to a carefully-crafted parental perspective. The art delivers a bumper crop of wild alien vistas and exciting action, while the thoughtful script encourages you to look for deeper meaning. The creators have thoroughly demonstrated their mastery of the Ms. Marvel fundamentals; this is where they kick it into overdrive and make her story their own. The result is an incredibly readable adventure that will have you howling for more.

Kamala's Big Space Adventure develops along predictable lines, but the presence of her parents and her own whip-smart narration provide the distinctiveness this part of the plot lacks. The art has an easier time of it, once again carving out a unique setting and sharing plenty of exciting action. The script accomplishes a tricky goal. It builds anticipation for a finale that seems poised to both fulfill and defy expectations.

This issue starts re-embiggening Kamala's supporting cast with some anticipated returns and some surprising ones. The moving initial scene verifies that this title's grip on the Khan family remains rock-solid, and the more typically heroic fare at the back has plenty of promise. It's all beautifully illustrated, and this issue fully upholds the Ms. Marvel tradition of cranking out reliably enjoyable stories with a thoughtful edge.

Magnificent Ms. Marvel #8 wraps up its road trip story quickly. It leaves some terrifying new villains on the loose in New Jersey. Bad news for the arc (and the Garden State!), but very good news for the title. This story has done another excellent job of expanding the scope of Ms. Marvel's world. The challenges facing Kamala are growing, and this issue's script tackles that growth head-on, both literally and metaphorically.

Magnificent Ms. Marvel #10 goes heavy on the action without neglecting the supporting cast. Things are desperate all around -- at the hospital, in the battle between Ms. Marvel and Mr. Hyde, and in the surprising development that springs up to challenge Kamala further. This issue does an excellent job of keeping the cost of heroing front and center in both Kamala's mind and the reader's.

Ms. Marvel #13 is a fine one-off story that uses the last moment before the "Outlawed" crossover to make an interesting addition to Kamala's supporting cast. What's on full display is the creative attention lavished on that cast. This issue is a potent reminder that Kamala has never been the only lovable part of the Ms. Marvel experience; she's surrounded by equally-admirable secondary characters. The new teen wizard-hero Amulet will be in rarified company if he can stick around.

In the big-picture view, Magnificent Ms. Marvel #14 is a pretty small step. It's just the necessary story of Kamala fighting her way out of the coma that triggered the Outlawed event. But thanks to good art and tremendously insightful writing, this character study is the furthest thing in the world from disappointing.

On balance, though, this is still a fun issue to read. The deep ideas and strong characterization in the script shine through any artistic foibles. Kamala's story is still an incredibly engaging one, even though things are looking dark for the character at the moment.

Magnificent Ms. Marvel #16 marks a return to high-quality form, evolving Kamala's struggles with the Outlawed status quo and checking in strongly with her supporting cast. Action is not lacking thanks to another thrilling team-up with Amulet, and this series retains its strong command of endearing and compelling teen hero adventures.

Kamala finally gets C.R.A.D.L.E. off her back by impressing Dum Dum Duggan (and readers) with her deep commitment to fair play and empathy. Also by clobbering a body horror monster in an exciting fight scene; this is still a Marvel comic, of course! This feels like a fully satisfying (if not comprehensive) finale to the Kamala's Law arc -- and just a great read all around.

Magnificent Ms. Marvel #18 draws a curtain, for now, over Kamala Khan's Jersey City adventures. It leaves Kamala, her family, her friends, and her school in well-earned happy places. All have been damaged and tested in this volume -- and all have grown and matured in impressive ways. Kamala's solo adventures are over for now. But the creators have left the pieces perfectly positioned for a new team to restart the game in the future.

Foggy Nelson waits at Matt's bedside while a potentially-important struggle plays out inside the hero's mind. The setup is solid, but the execution seems to be lacking so far. Without enough depth, particularly in the script, this comic falls into a Catch-22: It's not eventful enough to captivate a casual reader and not meaningful enough to satisfy a dedicated Daredevil fan.

Marvel Rising kicks off (for a second time) with an enjoyable demonstration of storytelling prowess in both words and art. Although it's aimed at younger readers, thanks to the creators' hard work, this issue delivers plenty of fun for all ages. It's a solid read by itself, but it also performs that highest duty of all good #1s: It builds anticipation for future issues. This is going to be a series worth following.

In Marvel Team-Up #2, the creators go for broke mining out the full possibilities of a Spider-Man/Ms. Marvel body swap. The results are pure, heartwarming, delightful gold. It's a particular treat for Kamala fans, but Spidey fans won't be disappointed with the thoughtful, intimate look Kamala's perspective brings to him.

The new arc of Marvel Team-Up employs Kamala as a lens, focusing attention on Carol's labyrinthine heritage. It's a visually-appealing story and the characters sound right, but the task ahead is daunting. What are the odds that a story that opens with a "Paul Blart" gag is going to finish with a satisfying exploration of Carol's complicated Kree backstory? I would love for subsequent issues to serve me up some crow … but I don't think they will.

Marvel Two-In-One got its epic AU world-building out of the way in its first arc and its Annual. Ben and Johnny are still stuck in a different reality, but for this issue, it's merely the backdrop for a knockout character drama. A weighty script is undercut by rushed art that detracts from the climax rather than enhancing it, and this comic lands short of its full potential.

Reed and Ben's reunion road trip ties up some loose ends and unleashes some bittersweet feelings before revisiting this title's unique Reed-Doom relationship. It's a pity this feels so much like a farewell. There are realms of potential here that the Slott/Pichelli FF will probably never get around to exploring. Two-in-One hasn't always been flawless, but on balance it has been … yes, we have to say it: Fantastic.

Marvel Zombies: Resurrection #1 proves that there's always something new under the sun, particularly when you entrust your zombie yarn to top-flight creators. It's a slow-burning, nerve-wracking story that successfully taps the cosmic horror feel of the first Alien movie before exploding into disastrous, deadly carnage. There is lots of terror still to come … and this grandiose introduction promises intellectual as well as visceral scares in the future.

Marvels Epilogue is rightly named and eminently worthy, a fitting capstone to an all-time great series. It might not quite be a satisfying standalone story, but in its proper context, it is magnificent. It's beautiful and confident and resoundingly positive - exactly what the final chapter in a story that celebrates Marvel's boundless potential should be.

The Captain Marvel issue of Snapshots is a solid standalone story about Carol Danvers and Kamala Khan inspiring a teen girl. Kamala steals the spotlight, though. This comic has strong art and sound characterization, but it doesn't inspire readers to seek out more Captain Marvel stories. It DOES promote further exploration of Ms. Marvel -- and if it gets people to dive into her 2014 series, it will have done some good beyond simply entertaining on its own.

The Marvels Snapshot series is off to a great start with this insightful look at the Sub-Mariner and the psychological damage that war leaves behind. Thanks to Jerry Ordway's scrupulous retro art and Alan Brennert's adroit use of Betty Dean as the viewpoint character, this comic's weighty thoughts on PTSD are conveyed with a look and a voice that are both engaging and distinctive.

Miles Morales: Spider-Man #4 delivers the sort of quirky, "marches to a different drummer" one-off that's all too rare in modern Marvel comics. It's not a Very Special Issue, a chapter in an Epic Saga, or a tormented character study. It's a flavourful, scene-setting romp that breathes more life than ever before into Miles's school and its students. This is the sort of texture and charm that are vital to building a long-running series. Here's hoping that's exactly what this volume turns into!

In Miles Morales: Spider-Man #9, The Davis brothers capably step into the lead while rescuing Miles. The script does more than the art to fully pay off the potential of the scenario. The plot develops at a fine pace and this title remains solidly entertaining, but this is not my favourite issue of the series to look at.

Miles Morales #14 pushes Miles forward into fresh challenges with a notably strong rendition of this title's signature storytelling style. The frantic hopping between Spider-heroics and mundane Morales matters is perfectly paced to frazzle the protagonist without irritating the reader. A brilliantly-organized collaboration between three strong artists melds diverse visuals into a unified whole. This issue makes the best possible use of the volume's fast pace to weave an enthralling Spider-story out of plot points new and old.

On its own, Miles Morales: Spider-Man #18 stands shy of the border of "great." But it evolves the current story arc in an entirely positive way and makes future greatness possible -- perhaps likely. A fast pace, solid art, and smart words ensure that readers who have committed to the arc or the title won't be disappointed with this latest installment.

Before Miles Morales's life gets Complicated again, we get this gorgeous, sunny moment to appreciate the finer things in his life, like his friendship with Kamala Khan. Brooklyn, Spider-Man, and Ms. Marvel have weathered the crossover storms, tested but unbroken. It's pure pleasure to see two teen heroes enjoy their time together. Thanks to tremendous expertise in visual and verbal storytelling, it's just as natural and engaging as it could be.

After a shaky start, the Fantastic Three have found their feet. Giving them a little breathing room before they tackle full-on world-saving is a great idea, and the way their chemistry starts to pop in this issue has livened up the whole story arc. Lunella + Ben Grimm + Johnny Storm always had potential, and now, at last, we're seeing it realized. I'm eager to see where they go next.

MG&DD #38 kicks off a dream-adventure in the best possible fashion. It's a blast for readers of all ages - both youngsters and parents will find plenty to enjoy. Even after an exceptionally long run for a modern Marvel book, this title continues to deliver perfectly-pitched delight.

Morbius #1 is a worthy callback to the decade that spawned the Living Vampire. It delivers angst and horror and bloodshed, leavened with some smart philosophy. Whether you want to learn about the fears that drive Morbius or just see him slash some dudes up, this comic delivers. And I think its parts are balanced enough that most readers will find themselves enjoying both sides of the coin.

Morbius: Bond of Blood is the first word on Morbius, rather than the last. An outstanding starting point for newcomers to the character, it puts a full spotlight on the melodramatic self-deprecation that defines Morbius. Although the language grows clunky -- not every character should be as verbose as the protagonist -- it works with simple, strong art to illuminate all the important aspects of its star.

The third part of Rogue & Gambit's Mojoverse adventure takes a serious step up in quality, thanks in no small part to shuffling Mojo out of the story almost entirely. A crucial exploration of Rogue's character is nicely backed by good Gambit action, a tempting Spiral mystery, and wall-to-wall visual excellence.

As Gabe says, "This is Jersey City. We get weird chemical explosions and dinosaurs, like, every other week." Satisfying as this particular explosion-and-dinosaur fest is, it brings this arc to a close by giving Kamala just the gentlest of forward nudges in terms of character development. Previous issues laid the groundwork for a more ambitious leap, so closing with a bunny hop feels a tiny bit anticlimactic. My quibbles are minor, though, and it's definitely a pleasure to have Kamala back.

Kamala Khan has always been easy to fall in love with. If the past 47 issues have done the trick and turned youinto an adoring follower, this latest piece of her story is positively unmissable. Ms. Marvel #29 is a beautiful journey into the briar patch of love, and every step is going to be rewarding for Kamala fans. Some might be painful, but you will be delighted to have made the trip.

Ms. Marvel #33 demonstrates that the "Kamala + Bruno vs. crazy challenges" formula is still a winner. There are a few tiny flaws, but it's a remarkably strong performance for a second chapter. It draws us in deeper by amplifying the manic intensity of the previous issue without turning loose any secrets. This rabbit hole just gets deeper, and the creators make the fall itself so fun that we wouldn't dream of opting out.

Though a one-shot medieval flashback is a complete left-field surprise for Ms. Marvel, it's hardly an unwelcome one. Tremendous storytelling talent and a consistent theme count for a great deal. This little essay on romance - in both the "high adventure" and "lovey-dovey" senses - is unexpected but undeniably delightful.

Ms. Marvel #37 tells a heartwarming story that concentrates on the most potentially-overlook-able members of Kamala's supporting cast. This is more of a Jersey City curtain call than a story with its own narrative momentum. That renders it somewhat inconsequential, though it is certainly still enjoyable. It's a nice bit of dessert for those of us who love this title's take on JC, and it presumably clears the decks for a more Kamala-centric finale in the next issue.

Non-Stop Spider-Man is, as promised, action-packed. But contrary to expectations, it's not a fast read -- and it's all the better for it. The sheer density of information hurled at the reader demands thoughtful attention. There's a compelling mystery lurking just beneath the high-octane combat panels, and the creators strike an excellent balance between immediate action and a slowly-unfolding big-picture plot.

The first issue of Old Man Hawkeye doesn't quite fight its way out of the shadow of Millar & McNiven's original Old Man Logan. Unless the storytelling tightens up significantly, the prudent course is going to be re-reading OML rather than following the pre-remix. The compelling post-apocalyptic visuals earn this series a second look, though, and lightning may yet strike twice.

Don't pick up Old Man Logan #34 looking for a love story. The straightforward art might fool you into dismissing this as a goodies-vs-baddy comic, and a shallow read along those lines will come off underwhelming. There are much more sinister nuggets buried in Ed Brisson's script. Though unearthing them takes a little too much effort, the questions they raise about Mariko are definitely worth asking.

The bad signage matches the overall level of creativity on display here, i.e., not a lot. This speedy little hardboiled vignette hasn't committed any real sins, but it is running on rails toward an achingly predictable end. If you're looking for a simple tough-guy popcorn comic, this will fit the bill - barely.

Ed Brisson's slow-burn script drags its heels a little in establishing a connection between Old Man Logan's check-up and Glob Herman's Big Date. Though concentrating on some younger mutants is a refreshing change, it's hard to predict whether these two storylines are going to link up in a satisfying manner - and frustrating that they're insulated from each other so far. Ibraim Roberson's art delivers some much more concrete value and turns this issue into a feast for the eyes. I really hope the next installment lives up to the gorgeous visuals presented here!

The Old Man Logan Annual presents a pair of stories that are formidable on their own. They have a higher calling than just providing entertainment, though. They show that it's high time to take OML out of the 616 and back to the Wasteland. We could definitely use an Old Man Punisher book, too. This Annual presents plenty of hooks to develop both of these characters in the Wasteland; these geezers could just use a little more artistic firepower if they make the leap to ongoing stories.

Although its initial scenes are packed with promise and novelty, Old Man Quill #1 takes a turn in its final act and unexpectedly points the story in an all-too-familiar direction. It's bolstered by strong visuals and it will doubtless get back to cosmic dystopia content eventually, but the short-term prospects sparked by the detour are dim.

Chip Zdarsky's final Spider-Man story sticks its landing in the close neighbourhood of perfection. Comedy, tragedy, and a bedrock dedication to never giving up: This is a full encapsulation of Spidey's core values. It's passionate and powerful. It's the highest of high notes to end on, and it's a must-read for all Spidey fans, not just followers of this particular series.

I'm tremendously impressed by the way that all the creative aspects of the book - the writing, the art, and the colours - become more intense and more passionate when portraying the super-weird opening and closing scenes. The globe-trotting middle is standard-issue event content, but the start and finish are special. They're creepy (good creepy) and memorable and fascinating. In a word, they feel uncanny - and what feeling could be more appropriate for the momentous revival of one of the original X-Men?

Power Pack #1 gets off to a slightly slow start thanks to being very thorough in introducing (or re-introducing) the team to its readers. Make peace with that, though, and you'll also find it thoroughly entertaining. Witty writing and gorgeous art serve to make this a delightful first act.

Before launching into the next stage of his war on Hydra, Frank needs to get back to New York. This issue shows how he goes about that, but this minor-grade tropical mayhem risks fading from the reader's memory as soon as the next arc gets properly underway.

Saladin Ahmed and Eric Nguyen deliver a speedy but intimate portrait of Quicksilver before throwing some fascinating roadblocks in his path. While this miniseries doesn't start off in a position of all-time greatness, that definitely could be where it's headed. The introduction is well above average and packed with enough promise (both visually and narratively) to get readers clamouring for more.

Whether you come into Reptil #1 as a total newcomer or an established fan, this book's hard-working creative team ensures that you come off the last page with a greater appreciation for the character and, most likely, a burning desire to find out what happens next. It's a bit of a slow start, but the time taken to lay track at the beginning pays off when the action scene turns this comic into an express train.

Reptil #2 treats Humberto Lopez and his cousins to a theropod-sized chunk of plot development, taking them to Dinosaur World and embroiling them in plenty of well-drawn action. The script takes a clear-cut approach to both plot development and cultural expression, letting the characters broadcast the author's ideas directly. Though the method is a little rough, the ideas are definitely worth checking out. And the expository style will probably be A-OK with the younger audience this book is aiming for.

The return of Alex Wilder brings lots of fascinating character conflict and tons of action. This issue also brings a new artist into the fold, and the shift in visual style is a lot less welcome than the change in storytelling tone. With all due respect to David Lafuente, his cartoonier take on the Runaways just emphasizes how truly magical Kris Anka's work has been. This series remains eminently readable, but this issue and the next one are likely to go down in history as "the Alex issues with the wonky art."

This is a quiet day for the Runaways in terms of battles fought or changes to the status quo. But the characters are, as always, evolving in fascinating ways. It's beautiful to see and compelling to read. And, like the best "slow" issues, it promises dramatic upheavals in the immediate future.

Runaways #25 is a roaring success, briskly throwing monkey wrenches into the family's status quo without losing a step when it comes to complex characterization. It's the team we love facing brand-new challenges, and it's written and illustrated, as usual, with notable and endearing skill.

In the finely-crafted Runaways #26, the family absorbs enough information about Doc Justice and his ongoing war against the Pride to sign themselves up. The changes are so swift that they're overlooking all the red flags along the way. Thanks to the creators' hard work, those flags are glaringly obvious to us, building breathless anticipation for dramatic and possibly tragic twists coming up soon.

The Runaways' transformation into the J-Team falls into the background as this moving issue focuses empathically on the exclusion of Gert. The opening is brightly humorous and the visuals are a fine flashback to Kris Anka's past Runaways work. But Gert's frustration is infectious -- exactly as intended! -- and it casts a long shadow over the shiny happy heroics.

I believe Runaways #28 is a little short on plot. Things progress from where #27 left them, but just by a few baby steps. It's a great deal of fun and it looks fantastic as ever, but this issue may run the risk of blurring together with those around it once the arc is complete.

Runaways #29 delivers the title's usual dose of excellent, reader-spoiling storytelling and tops it with some welcome plot progress. Doc Justice makes the leap from "seems wrong" to "definitely is wrong." The creators still have several hidden cards on that score, with this issue revealing just enough to spark excitement, dread, and endless speculation among fans.

Runaways #31 draws a curtain over the title's current arc, but before it does so (complete with some tempting foreshadowing), it goes all-out in its brutal depiction of the deadly conflict between the team and the manipulative Doc Justice. This'll put you through the wringer, emotionally speaking, but you'll like where you end up.

Runaways smashes back onto the shelves with #33, a delightful little adventure that completely lives up to the title's reputation for greatness. Every character moves forward, the art is delicious, and a great big-picture threat gives the last act a real punch. As usual, this isn't a great place to pick up the story in media res, but for faithful followers of the title, this issue is a happy, long-overdue treat.

By orchestrating three big reveals in quick succession, Rainbow Rowell and the rest of the creative team take Runaways #35 from good to great. It's intensely personal, it's transformative, and it pays off reader commitment in the best possible way. This certainly isn't the place to start reading Runaways, but as the capstone of an arc and the latest chapter in the volume, it's a big reward for following these characters.

Shuri #1 is a character study rather than a fight-fest or a twisty thrill-ride. Though understandable, the absence of dramatic action is still sorely felt. This issue's personalized world-building sets up plenty of promising dominoes for the future, but Shuri's story is just barely getting started.

Silk comes swinging back to protagonist duty in this talented, carefully-crafted debut. Her status quo is efficiently established and a promising mystery is teed up for immediate exploration. Most importantly of all, the great skill lavished on portraying the protagonist succeeds at making her instantly endearing -- and thereby building interest in how she tackles that mystery.

Spider-Geddon #2 suffers slightly from an over-abundance of tie-in advertising. This issue is more than just a traffic control centre, though; the creators do plenty of quality storytelling as they march the Inheritors forward and ratchet up the challenges facing the Spiders. I appreciate the continued focus on Otto Octavius; big events are at their best when one character is fixed firmly in the middle of the story.

Spider-Gwen #7 sees its protagonist seesawing again between hero and ordinary person. This is a somewhat "quiet" issue, lacking a blockbuster triumph or a shocking revelation. But it builds up Gwen's story in a way fans will find thoroughly satisfying. The words and art are entertaining, and more importantly, they're revealing and completely believable.

Peter Porker is the Spectacular Spider-Ham, and also a bit of a jerk. That's why his fellow heroes of Larval Earth are aghast when he ganks the job of saving it from a multiversal threat, but the creators easily get us rooting for the swine. They bring Spider-Ham, and his whole world, to life with clean, endearing art and a smart all-ages script. Spider-Ham #1 is a rewarding read in itself and a strong inducement to follow the whole series.

Robbie Thompson and Chris Bachalo deliver a Deadpool-heavy issue. It uses both humour and pathos to paint a deeper picture of Wade. While the creators have successfully hoisted this title back up to the respectable heights of its Kelly/McGuinness days, this is very much a Chris Bachalo show. This story (both the longer arc and this issue) should be quite satisfying - so long as you've made peace with the steady stream of creepy crawly tentacle-y monsters Spidey and Deadpool run into.

Chameleon's schemes roll slowly onward and hoover up guest-star Silk as they evolve. Deadpool serves solely as a medium-aware joke-delivery system. There are some good laughs to be had, but plot, humour, and visuals all land well below "must read" levels. I would not advise racing out to grab a copy just because Mr. Thompson has found an excuse to feature Silk; like a lot of Spider-Man/Deadpool issues, this one is better poached out of the bargain bin.

Spider-Man Noir #2 offers up a minimal serving of substance that arrives with bags of style. The script has some sharp back-and-forth banter to offer even if it doesn't have a lot of answers, and the words are thrown well into the background by the marvellously shady art. This series may get bigger and better in future issues, and the journey so far is very easy on the eyes.

Spider's Shadow kicks off the story of Peter Parker embracing his symbiote suit with great talent but without great novelty. These are skilled creators, and their skill is in full evidence on the pages. They may well take this story in a surprising direction -- but they haven't done so yet. What we've seen so far is enjoyable and even satisfying, but it's also terribly safe and (I hesitate to end on such a loaded word, but I must) predictable.

Spider-Woman #1 wastes no time heaving its star and its readers into exciting, mysterious new adventures. The art is consistently gorgeous. The script is packed with immediately satisfying action, compelling questions for the future, and a strong protagonist voice. It's the Jessica Drew we know and love, but these creators are quickly and constructively making their own mark on the character. This is a great start: Tons of fun by itself, but also a persuasive hook for upcoming developments.

What I think we've got in Spider-Woman #2 is rock-solid development of a clever plot. The storytelling isn't quite powerful enough to silence some doubting whispers. There's still a chance -- a small one -- that this will wind up being talented sophistry in service of a story better forgotten. But compelling characterization and good art make the reading experience entertaining in itself and easily carry us through one chapter and on to the next.

Spider-Woman #4 repeatedly surprises Jess as her mother piles up hard-to-swallow life-story twists. And then Octavia attacks, necessitating an awesome-looking dinosaur fight. This issue answers some questions and raises more (maybe a few too many), though it's just one chapter in a larger narrative. It's a satisfying one and it looks gorgeous; this is definitely a treat for committed fans.

Spider-Woman #11 launches Jessica Drew into a new string of adventures. The plot begins with straightforward crime-fighting backed by straightforward soap opera. Past performance indicates these creators will have no problems throwing complicated knots into the story threads as they spool out, and their superb treatment of this simple first chapter is adroit enough to delight new readers as well as established fans.

There are plenty of reasons to check out Star #1. Maybe your curiosity was piqued by her role in Captain Marvel. Maybe you're interested in tracking the rise of the new Infinity Stones. Maybe you want to see Kelly Thompson play with an all-star roster of guest stars. Whatever your reason for picking up the book, Ms. Thompson and artist Javier Pina do their utmost to make sure you won't be putting it down disappointed.

Star #2 delivers powerfully on the heart-to-heart between novice reality-warper Star and the veteran Scarlet Witch. The art does better with the characters than the mostly-symbolic action they're engaged in, but that suits an introspective episode like this. We learn plenty about Star -- and an excellent twist unveils some serious antagonism she'll soon be facing.

Star #3 abruptly ditches the "mystic cave" angle from the previous issue and lays out the protagonist's real-world challenges with admirable efficiency. Great character work in both words and art combine with some intriguing plot twists to keep a tight grip on the reader's interest. This issue sets the stage for an excellent climax, clarifying the players and the stakes without prematurely answering all the questions.

Star #4 brings its protagonist into conflict and then collaboration with Captain Marvel. A satisfying amount of backstory is revealed, but questions (and a doozy of a fight) remain for the finale. This chapter upholds the series' reputation for consistent excellence, and it should have no trouble delighting readers of the previous issues. Marvel's plans for the Infinity Stones remain mysterious, but it looks more and more likely that the Star series will go down as one of the first great highlights of the saga.

Star #5 crafts a satisfying (if unsurprising) end to Ripley Ryan's story. It leaves the door wide open for future tales of the Infinity Stones and their unlikely new wielders. At present, this issue and this series might fly beneath the radar of people who aren't Captain Marvel or Kelly Thompson fans. But I suspect that when the next Infinity Whatsis takes shape, Star will stand out as one of the best bits of groundwork laid for it.

But if I'm up to date, Marvel's not doing any other "teens in hero school" series now. Except for Strange Academy. And they don't need more as long as SA's creative team keeps up this remarkable performance. Dense content, delicious characterization, delightful art, dangerous magic -- Strange Academy delivers just about everything you could want in a Marvel school comic. And a magic school story in general. It's still early days, but two powerful issues back-to-back make this title look like a can't-miss.

Strange Academy #3 extends the love-at-first-sight romance with its endearing magic students, pitting them against the perils and wonders of New Orleans. Glorious art and snappy dialogue put a real shine on a completely believable teen story. Skottie Young and Humberto Ramos, with their collaborators, are filling the "hero school" niche with vibrant, must-read energy.

The Strange Academy students handle book-shelving (which involves more demon-fighting than at your average school) and high-stakes cross-dimension tag. And bubbling antagonism swells up to confront them soon. This is a compelling mid-arc issue that clicks the story through some sensible developments while also giving some of the cast members chances to shine.

Strange Academy #7 wrings heavy emotions out of Emily's survival. Clear language expresses her feelings in a natural way, but the real stars of this issue are the fantastic visuals that bring her and her pain to life. This comic is plenty of fun to read, but it's even better to look at. The gorgeous art elevates the story and plays a large role in making it compelling.

Strange Academy #10 takes the student body to Asgard. Plenty of fun shenanigans ensue, but they're background texture for the dramatic and romantic developments entangling the core characters. This issue relies on reader engagement to make its characterization compelling, but past issues have done plenty to encourage that engagement. Come into this comic with an established interest in these kids, and you'll be delighted with where it takes you.

Strikeforce #1 is clever, complicated, and challenging. It's also a rip-roaring "heroes taking care of business" yarn. But it quickly establishes some deadly tension between its straightforward heroics and its new villains with their more "existential horror" focus. This introduction promises things are gonna get Weird in the best possible way.

Strikeforce closes out its run with an extended arena brawl that's enhanced with solid art, thoughtful (and funny!) writing, and some epilogue scenes that deliver a decent sense of closure. There's one last modest twist before the story is done. The creators have done a fair job of tying up their story, and readers who signed on at the beginning should be satisfied with this conclusion.

Superior Octopus #1 is a comic that serves two masters. It's a pump-up issue that promotes both the imminent Spider-Geddon event and the idea of an ongoing Otto Octavius story. The former is going to happen no matter what. The latter idea needs some reader support. This issue is a fine example of what that Otto comic would be like and a strong argument in favour of launching it. Let Marvel know: Otto deserves another star turn!

Teaming up Otto Octavius with the West Coast Avengers is the very definition of "just crazy enough to work." And work it does; the combination of Otto's irrepressible smugness, Gwenpool's "meta-existential awareness", and a horde of Frost Giants that need pummelling produces delightful magic. Otto might loathe magic, but readers are going to love the spells his creators are weaving here.

Symbiote Spider-Man's foray into the King In Black event arrives as an archetypal example of the consciously retro work these creators have put into their previous SSM series. Technically skilled and unabashed about its throwback nature, this comic is a litmus test for reader taste. If you prefer 15-year-old Marvel comics to the publisher's contemporary offerings, this may be a delight. If you think the company's evolved in positive ways since then, though, you're probably better off skipping this one.

Tarot #1 scores a lot more points on art and plot than on characterization. This twisty occult mystery would be a good issue-to-issue read for those who like lots of leeway to do their own character interpretation. That's a perfectly valid way to approach comics, and such readers should pop a bonus point onto my rating. Those who prefer a more contemporary, author-directed style of characterization can probably wait and check out Tarot when it arrives in trade paperback or Marvel Unlimited form.

This Taskmaster miniseries kicks off with a bang, swamping the protagonist with challenges that are exactly ridiculous enough to suit his skills and temperament. Conveyed with witty writing and muscular art, this story delivers multiple delights to any reader who's ready to see exactly what it takes to shake Tony Masters' unshakeable self-confidence.

Taskmaster #4 delivers a simple infiltrate-and-fight mission that successfully produces a Tasky-Okoye throw-down. The story is told with more-than-competent skill, but it's so straightforward that the reader's attention will likely wander into murkier waters, like Taskmaster's chauvinism.

Thanos #1 sets a stage proportional to its star: big, cosmic, and oh-so-menacing. These initial scenes unfold on a smaller scale, but they show every sign of growing into the setting as they evolve and entangle. The visuals are already gloriously cinematic, ensuring this epic story is not mistaken for anything less than the grand, dark space opera that it is.

After reading Black Order #1, my stock of knowledge about these villains is just a tiny bit bigger. The book portrays their heinous status quo with serviceable storytelling skill. It doesn't help me answer the bigger question: Why should anybody care about the Black Order? So far, this book will satisfy existing Order fans - if there are any out there - but it doesn't do nearly enough to create new ones.

In the Death of Doctor Strange #1, Doctor Strange does indeed die. We get just a glimpse of what happens next and scant hints about whodunnit; in this issue, the creators concentrate on making the loss meaningful by portraying the man in detail. You don't need to be a big Dr. Strange fan to enjoy this comic. As long as you appreciate strong comics storytelling, this book will persuade you to care about losing him.

In Captain Marvel: The End, Carol Danvers finds a good death when circumstances conspire to let her save a post-apocalyptic Earth -- as well as friends she thought were lost. It's beautifully illustrated and smartly-written. Although it doesn't make itself a must-read, it does deliver more of the quality character work that's made the current run of Captain Marvel so delightful.

Miles Morales: The End may not quite qualify as "essential reading." But it's a self-contained story with a simple message, and its creators deliver it powerfully. As long as you come in with even a little curiosity as to how Miles Morales is holding up decades after the end of the world, you won't be disappointed.

In Captain Marvel: The End, Carol Danvers finds a good death when circumstances conspire to let her save a post-apocalyptic Earth -- as well as friends she thought were lost. It's beautifully illustrated and smartly-written. Although it doesn't make itself a must-read, it does deliver more of the quality character work that's made the current run of Captain Marvel so delightful.

Legend of Shang-Chi is a good fight comic. It's a strong premise executed with skill; this will make a fine portfolio piece for all of the creators. But it is neither a good introduction to Shang-Chi nor a particularly memorable adventure for him. Die-hard completionists will have to read it, and they won't be disappointed, but more casual fans can safely give this issue a pass.

The Life of Captain Marvel opens by yanking Carol Danvers out of the air and presenting her with formidable family challenges. We'll be getting back to the "pew pew" sooner rather than later, but first, Margaret Stohl takes a necessary and highly successful breather to rediscover some of Carol's core truths. Ably supported with top-tier art and demonstrating a level of insight that's been sorely lacking in Captain Marvel's solo comics for too long, this script lays the groundwork for something truly special.

Its safe, slow plot keeps this issue from being as great as its presentation suggests it should be. The Life of Captain Marvel #2 takes very pretty steps with poise and grace. They are small steps and there aren't a lot of them, though. This is clearly one chapter in a larger story, but it feels like an early frontrunner for this title's "least memorable issue" award.

A few transient storytelling flaws aren't enough to bring down this excellent turning point in the Life of Captain Marvel. Events come to a head in both keenly-anticipated and wholly-surprising ways. If your interest in the Danvers family saga was starting to flag, this issue is a perfect prescription for changing the game and recapturing your interest.

The Life of Captain Marvel #4 surrenders a lot of potential to tell a thoroughly familiar alien heritage story. That story, for all its simplicity, is told with satisfying skill. I contend that the previous issues set the stage for something greater, though. Much more could/should have been done to reconcile the nuanced family drama with the very basic space operatics introduced here.

The Life of Captain Marvel goes out with a whimper, tying off its new plot threads with the weakest, most convenient knots imaginable. It is a profoundly unsatisfying finale, offering up mainly the hope that future creators will pick the knots apart and treat these ideas with the passion and creativity they deserve.

The Marvels #1 kicks off a wide-ranging story that's not afraid (heck, forget "not afraid", it's positively proud) to dig into the most obscure corners of Marvel history. This issue's disparate scenes flourish thanks to strong art and confidence-inspiring writing that shows off all of Kurt Busiek's trademark strengths. Although the shape of the puzzle is obscure right now, the individual pieces are already intriguing.

Mighty Valkyries #1 launches its two protagonists in different directions, and each of their stories holds its own with a distinctive visual and verbal style. Thematic similarities are already hinting that all of this material belongs to one bigger story -- but even before the threads come together, everything in this initial issue is enjoyable on a page-by-page basis. Whether considered as one chapter in a vast saga or as a fresh introduction to enthralling characters, this is a terrific comic.

Inviting Kraven into an escape room game produces a nice full-cast adventure - eventually. New artist Derek Charm lands not with a bang but a smooth upward curve, taking the Unbeatable Squirrel Girl we know and love and enhancing it in welcome ways without changing its core style. Though the road to the main plot meanders a little, the entire journey is funny and the cliffhanger is full of promise.

The death of Squirrel Girl delivers dramatic mysteries along with a bigger-than-usual serving of humour. This issue tells a fascinating story with all of the title's usual skill, then adds significant extra quality by taking full advantage of the unique opportunities presented by the subject matter. It's a real treat for devoted readers - not only of this title but of Marvel comics as a whole.

This is not, by any means, a bad comic. There's a lot of heartfelt humour and the story is endearingly goofy. The guest and supporting stars play excellent roles. It's the portrayal of Squirrel Girl herself - artistically and also narratively - that pulls Unbeatable Squirrel Girl #41 down short of its full potential.

Unbeatable Squirrel Girl #42 is a profoundly satisfying one-shot that shows Kang the Conquerer learning what other Marvel villains already know: You don't mess with Doreen Green. A whip-smart script, an outstanding artistic shuffle, and gobs of fearless humour make this a perfect celebration of Squirrel Girl's 50th solo issue.

Unbeatable Squirrel Girl #43 delivers a wordy introduction to the War of the Realms, says a heartfelt goodbye to Loki, and then boots Doreen into Asgardian/Canadian trouble right up to her squirrel ears. It's funny and it's fascinating, and it's an already-great start to what looks like a great tie-in.

The Union #1 is a talented but distant introduction to a new superhero team. Outstanding art sets the new heroes up as fascinating characters, but the script -- although well-written -- seems perversely determined to avoid fleshing them out. With casualties already mounting, it's unlikely that the Union will stick around long enough to endear itself to readers.

Unstoppable Wasp #1 (Mark II) capably picks up right where the last volume left off. G.I.R.L. is brilliant, the villainous challenges are fascinating, and the art is gorgeous. The last volume was a powerful tool for making readers fall in love with this charming, hyperkinetic Wasp. The new series starts off fully equipped to get that job done all over again.

Unstoppable Wasp #4 bulldozes away the critique that Nadia (and her friends) are too perfect, and it pushes its protagonist into a very scary place. It reveals the dark shadows cast by Nadia's optimistic energy and dives into them deeply. The ambitious character work is not without its flaws, and it's unrelieved by action or plot development, but this is a grim must-read for Nadia fans.

Unstoppable Wasp #7 puts Nadia back into a position of sweetness and light, and it delivers all the charm her fans could want. It expands her social circle even further, though the full impact of the new connections remains to be seen. Plot development is not a priority, but this issue has both art and words to perfectly portray Nadia's enthusiasm and make it as infectious as possible.

Thor #3 offers up a surprise marriage, a seven-way god-fight, schemes galore, brilliant humour, earnest heartstring-pulling, and just a touch of murder! (Gotta keep Thori happy.) This arc is sliding comfortably into place as another "read it, love it, treasure it, enshrine it with the all-time greats" Thor story. This particular issue falls just a tiny step short of total perfection, but the creators have given us every sign that they'll be hitting that mark - repeatedly - before the story is through.

In Thor #9, the Odinson cedes starring honours to Roz Solomon, freshly-minted Agent of Wakanda. Roz flourishes in the spotlight. While the character work is impressive and the superspy action is thoroughly satisfying, the biggest accomplishment might be expanding the scope of the War of the Realms even further and reminding us that Thor is not the only hero fighting it.

Thor #16 is a warm, satisfying sendoff to Thor's vast supporting cast, offering a few peeks at the man himself in the course of surveying his friends and family. The art is vibrant and varied and the script is eager to supply exquisite insights - particularly when it comes to giving Odin closure.

Thor #18 is a fast and fiercely funny introduction that sells the reader on the idea an irreverent Throg-led whodunnit. The words balance perfectly between the serious and the silly, and the art works similar magic, particularly on Throg himself. He's a talking frog, but he earnestly believes in his own heroism. The creators honour the character's sincerity without ignoring his inherent absurdity. The results are both hilarious and heartwarming, and they promise lots more fun when the title gets back to the Thunder Frog (though it may take a while).

While its virtual reality premise doesn't sparkle in its own right, this issue resonates thanks to the twisty developments it delivers to the plot and the characters (one in particular). Tony Stark gets upstaged an awful lot for a protagonist with his name in the title. As long as the upstaging is this compelling, though, I'll happily come back for more.

Turning Tony Stark over to fresh creators for his big War of the Realms tie-in looks like an entirely good idea so far. Gail Simone and Paolo Villanelli both employ an additive approach, demonstrating a mastery of the title's existing strengths before unleashing their own distinctive spins. This arc looks primed to live up to what's come before - and pushing the title's quality bar to new heights is a distinct possibility for the following issues.

Tony Stark: Iron Man #14 sings another song of Tony's hubris, concentrating again on the noisy superheroics required to slam another technological Pandora's box before the bad guys can pilfer it. The superheroics get a fine visual treatment and they're scripted well. The overall tune is getting repetitive, though, and I don't think mine is the only finger inching toward the "skip" button.

In Tony Stark: Iron Man #15, the title's AI concerns grow some philosophical teeth before segueing smoothly to a shocking and promising new antagonist. The script is razor-sharp, but the art succeeds a little too well at nasty-ing up this title's usually-clean looks. It's hardly a mortal sin, though. On balance, this latest issue provides exactly the shot of compelling conflict that this title needed.

John Walker's miniseries gets off to a boisterous, gritty start. It's the usual Priest smattering of chronologically-separated scenes. The plot is opaque for now, but the story is engaging and the characters compel interest if not admiration. Combined with confident, dynamic art, the sharp script succeeds in both entertaining and provoking thought.

Maybe it's when Gwen starts joking about how incredibly old Batroc is: "One time I saw your first issue on Antiques Roadshow." Or maybe you're the snooty cultured sort and you click into "I love this" mode as soon as Batroc starts singing "I regret nothing" on page one. Long before it's over, this issue will jolly you out of your cancellation blues and remind you why you love this title. Yes, Gwenpool is ending. But it's not overyet, and by the last page of #24, it shows every sign of going out on top.

Uncanny X-Men #3 covers a lot of plot-ground, but it does so at the expense of vivid characterization. While it's pretty and it's eventful, it lacks the engaging, sympathetic connection with the mutants that was so evident in previous issues. The result is a connective episode, a comic you power through in hopes of greater moments down the road.

Uncanny X-Men #11 is the first big chapter in another big X-Men saga. While its storytelling is respectably above average and it delivers a fair share of dark surprises, its great length compromises the effectiveness of its "keep reading" hook. That hook is buried in the middle, and the risk of it losing its hold on you by the end is all too great.

Uncanny X-Men #16 shows mutants questioning everything as the world around them grows ever more hostile. They weigh their options with insight and wisdom, which makes for enjoyable reading. The brakes on the plot fail at the end, though, burying the characters in a landslide of twists and screeching inadvertently into melodrama. This remains a decent story, but the latest revelations don't do much in its ongoing struggle to justify itself.