Chase Magnett's Comic Reviews

Tweet

Just like the previous issues, the finale is gorgeous. Risso's art and layouts are very engaging. The action is brutal and reflects a nihilistic outlook on the world. The brutality of man, the horror of violence, the inability to change one's own nature: these are all rich themes, worth exploring, and potentially evident inBrother Lono. Yet the story does not engage any of them on a meaningful level. And that's just too bad.

From the basic idea to the crisp visual notes, whatever you imagine based on that cover is bound to be better than what is inside. Boss is a real talent with great promise, one to be watched as he refines some of the skills and influences on display here. Yet the script squanders what he and the other visual collaborators bring to the table. There is no pushing back against the rigid grids and dense dialogue of the comic as it continues, and it collapses under its own weight. No matter how good 4 Kids Walk Into A Bank may sound, it's better to wait for the next thing.

Whatever nuance this narrative lacks, it makes up with skillful horror storytelling.

For readers excited about Secret Wars and the epic superhero tales promised, A-Force #1 is a mixed bag. The tone and story are consistent with big crossovers, but share some of their failings as well. Consistent presentation of those ideas is where the issue really has troubles though. If Molina and Cheung's work improves, then A-Force may be one of the most fondly remembered series of this entire event.

It's a promising climax that pushes this miniseries forward into its final couple of issues (and hopefully an ongoing series).

It's a whole lot of filler for a good bit of killer at the end.

The final moments of this miniseries exude anti-climax. All of the hallmarks of a big moment are there, but what actually occurs on the page has little to do with the events that came before.

Character inconsistencies (Skeets doing the exact opposite of what he just advised between pages) and ample clichs (a villain explaining their plan in excruciating detail) make for a tedious issue of filler that leaves us looking for to Action Comics #1000 as a light at the end of this tunnel.

It's another disappointing chapter before the big shake up.

Action Comics #999 is an excellent end point as the torch is passed to a new team next month.

*This grade is based on the quality of craftsmanship in this issue. I would not recommend it to anyone who has not read Prometheus: Fire and Stone, but do not want to judge the creators for what was most likely outside of their control.

Stokoe is a cartoonist who both adores genre and studies his craft. This is what makes him the perfect artist to tackle an adaptation like Aliens: Dead Orbit. The chills and style of films are captured through Stokoe's own eyes. The gap between the thing and the thing itself is closed because Aliens: Dead Orbit #1 is not an imitation, it is its own work of art " and a thrilling piece of comics storytelling.

The final panel makes for an almost perfect ending to this issue. Reynolds uses a silhouette to once again display the terrifying xenomorph anatomy, but to also emphasize the sharp terrain surrounding it. Broken rocks lie across the earth like broken glass jutting upwards. Everything about the panel indicates a sense of imminent danger and the colors of a setting sun reveal that the story will only grow darker. This issue serves only as an introduction to the story that Roberson and Reynolds are interested in telling. Yet it presents the imagery and ideas of that story in a manner that has left me entirely convinced I want more. There's no doubt in mind that this comic exists for a good reason.

All-New, All-Different Avengers is anything but what the title describes. It's bland, unimaginative, and poorly assembled. The best thing to be said about it is that it is a perfectly readable Avengers comics, but we already have five decades worth of those.

Excluding the potent combination of favorite characters, All-New, All-Different Avengers is a superhero comic that looks and tastes like the paste you were told not to eat in preschool. Consuming it won't hurt you, but it certainly isn't going to do you any good either.

What gives Prez so much to play with on a small scale though is Lemire's script. He is exploring the consequences of surrendering three gifted, but traumatized children away. Lemire separates the story in two parts, showing what led to a split in the present and what brings the two heroes back together after 20 years. The result is something that reads like a breakup story, even if the romantic element was never there. Clint and Kate's codependence and partnership dissolves in a shockingly human manner that may strike close to home for some. As a result All-New Hawkeye is a comic that, much like its predecessors, sophisticatedly presents the problems we go home to after the day job is over (even if that day job is being a superhero).

All-New Inhumans #1 is visually engaging in most panels though and finally gives readers a reason to care about this new team hitting the scene at Marvel Comics.

The course of All-New Inhumans #5 isn't to provide so much of value that missteps like these contorted faces can be easily overlooked, but that they call into question why to read the comic in the first place. The appearance of Spider-Man and plot points on weaponization provide footholds to an ongoing plot with some merit and visual charm, but none of it distinguishes All-New Inhumans in any marked way. The most interesting concept in the entire comic, the Skyspears, is a lesser version of something currently being published at Image Comics. If there is really a call for Inhumans stories, then fans could expect worse than this, but that's assuming there was ever a call to begin with.

Despite some flaws in the art, All-New Wolverine #1 is a good start that delivers a clear direction for the character and shows just how much can be done with her in only a couple dozen pages. Whatever comes next should be a very fun adventure.

The characterization of these young heroes is excellent still and it's enjoyable to watch them interact under Bendis' words and Asrar's images. However, the clunky introduction of a new character and fractured stories detract from that experience. All-New X-Men #32 is an uneven collection of beginnings ranging from the exciting to the confusing.

The best part of All-New X-Men #1 is the solicit, once you open the comic itself the promise is quickly unraveled to leave only disappointment.

All-New X-Men is a hastily assembled comic book on every level. Characters are sketches of teenagers and a single issue only manages to focus on a single, shrug worthy conflict between two of its characters, while the rest are banished to the background in one note appearances (e.g. Bobby is gay! Hank is smart!). The artwork passes the test of sufficiency, but provides no literal or metaphorical depth for readers to invest themselves in. It's certainly a comic, but there's not much more worth saying than that.

Plenty can be said about the thematic hooks and character pieces set up in All-Star Batman #1, but it is a comic that is at its best and most interested in its genre. Even the exploration of secret histories, redemption, and mentoring all are core themes to the genre itself. This is a comic filled with great costumes, thunderous fights and chases, and plenty of bigger-than-life concepts. It is a comic that even at its darkest revelation is still fun (at least in the lead story). It is a comic that looks every bit as cool as you want a Batman book to look. In that regard, it has the potential to be the best Batman comic any of these creators have ever worked on as it possesses a clear understanding of both the character and the world he operates in. It is far too early to make that sort of declaration, but it is exactly the right time to check out All-Star Batman.

Amazing Spider-Man #7 is a fun double feature. Both the A and the B-story should delight plenty of fans (although the B-story may horrify even more). This is a Spider-Man story at its least serious in direct juxtaposition to what seems to be the very dark tone of Spider-Verse. For now theres plenty of space for quips, smackdowns, and team ups though and Gage knows how to write a fun-loving webslinger with the best of them.

Amazing Spider-Man #9 is a slow start to a still promising event. Slott has shown before that he has a great grasp of how to make overstuffed superhero stories function, and Coipel and Camuncoli are more than ready to put their best work on display. Assuming the series only gains momentum from here, there is a lot to look forward to in Spider-Verse.

Amazing Spider-Man #14 is a comic that fits well within the parameters and expectations of its storytelling influences. It reads much like an issue of Amazing Spider-Man from decades ago with an excellent grasp on tone and pacing. However, it is dated in some regards and lacks the panache of many artists who told those stories. Those aspects prevent the best elements of this issue from setting a standard for serialized, corporate superhero comics.

Amazing Spider-Man #795 is a fine, but totally forgettable issue that doesn't build much anticipation for what comes next.

Slott and his collaborators have done a lot with this supporting cast over the years, and Amazing Spider-Man #796 reminds us that it has been for the best.

Amazing Spider-Man #797 is a thrilling first chapter that sets the stage for Slott's big finale wonderfully.

It functions as both a response to expectations for a Spider-Man comic and a reminder of why so many readers love this franchise in the first place. There's a promise at its core too: Dan Slott will go down as one of the greats.

This is how you craft a penultimate issue.

There is so much to unpack throughout the 80 pages of Amazing Spider-Man #800. Guest stars, tragic twists, epic battles, and a greatest hits collection of artists fill these pages.

Every page is in service to a concept of humanity's basic ability for good, one that it captures in a truly amazing fashion.

It's in the last moments of the issue that promises are made about the relationships, villains, and themes that will populate what is still to come. There's no reason to believe that Amazing Spider-Man won't achieve them all given some time.

Renew Your Vows #1 is an uneven issue from all creators involved. Slott capably embraces the fun and strangeness of this period in Marvel Comics history, but his pacing leaves something to be desired. Kubert and Dell, on the other hand, are at the top of their game as long as they are portraying characters in masks. The story's arrangement as a prologue leaves a lot of interesting ideas to be explored and time to iron out the flaws. It's an issue filled with potential, but it's fulfillment is far from certain.

The new chapter of American Gods remains a solid adaptation, but never transcends its roots when transferred into its new medium.

The end result is an issue that is competent, but doesn't feature a plot well suited to the medium it's working in though.

American Vampire is back and as good as ever. Snyder and Albuquerque have a clear grasp of what worked in the original series and have continued to build on those elements. Any pacing problems are an effect of creating an introduction to a series with such a large history, which should leave the reader with nothing but a sense of optimism about where this comic is going. The characters should be a bit more pessimistic though"

Second Cycle #2is a masterclass of tension and horror. It uses each scene to make the reader feel more trepidation, until it unleashes the monster that has been hidden the entire issue, then starts the process all over again.American Vampireis typically used as an example of how the horror genre can be effectively utilized in comics. Issues like this are the reason why.

There should be no doubts amongst readers concerning Snyder and Albuquerque's ability to craft an effective horror story with a human core. If there were,Second Cycle #3should dispel them. This is a great link in a great opening story toAmerican Vampire: Second Cycle, whetting appetites and building suspense at the same time.

American Vampire: Second Cycle #4 is an excellent conclusion to the first story arc of the new series. It presents the best aspects of the series in its well defined characters, striking visual sense of action and horror, and grand sense of mythos. It manages to bring all of these elements together to create a climax that is a satisfying pay off to the tension and stakes built over the first few issues. Furthermore, it serves as a thesis statement for American Vampire: Second Cycle as a series – presenting what it is about and showing that the creative team is fully capable of delivering on the series' promise. American Vampire has returned and, based on this story, its second act should be even better than the first.

It is a story told, but not told well.

No matter what you come looking for in Analog, there's guaranteed to be a better option somewhere else on the comics store shelves.

After two issues there's even less in this new series to be intrigued by than it seemed at first glance. It may be time to let this idea fade away instead of making copies.

This issue fails to be either a great single story or intriguing part of the ongoing narrative. Instead, it's just a reminder that there is potential within these pages, but also that it's bound to be wasted.

The present as presented by Kim Jacinto and Israel Silva is something mediocre though. Jacinto applies a heavily detailed linework inspired by artists of the 90s in order to create something that feels far less realistic than what she is aspiring towards. There's nothing confusing about the action or drama shown in the present, but it alludes any sense of the organic or natural. If it were not for Hans' work in this issue, it could be tossed away. Yet the rich colors and beautiful love story shown in the past makes the present feel like a narrative worth paying attention to.

Ant-Man #1 is that perfect debut that manages to both introduce the character to unfamiliar readers and tell a compelling story in the course of a single issue. It is a caper that transforms a comedy into an emotionally invested drama and a seemingly straightforward superhero story in New York City into something much more exciting and original. It starts by giving readers what they want, and then delivers something far better. Spencer and Rosanas have created a great start here made all the more exciting by how much the series has yet to grow.

As an introduction to who these characters are, the issue is serviceable, but it provides nothing beyond that.

Theres a long history of anniversary issues in the world of superhero comics. Archer and Armstrong #25 shows the full potential in creators celebrating the series that fans love to read every month.

Archie #2 continues to deliver on all of the best elements of the first issue. It's accessible, fun, and an absolute visual delight. While the series is not delivering anything new, that's never its intent. It plays it safe and executes each page of high school tomfoolery and melodrama with grace, producing a comic that is enjoyable for all ages.

This is a real treat of a first issue, one that encourages readers to just enjoy themselves for as long as it lasts.

If you're still wondering whether the editors at Dark Horse and Archie Comics lost their minds teaming up for this series, stop. This is an idea that only seems crazy until you read the results. Archie Versus Predator #1 is a comic that only captures what makes these franchises great, b

Arkham Manor #1 is an exciting start to a series that is packed with potential. Duggan and Crystal have created a scenario that gets at the very heart of this 75 year old character, touching upon ideas that are rarely recognized in Batman comics. Just as important, here they show the skills to tell that story in a way that is visually striking and always engaging. This could be the beginning of a beautiful series.

Astro City # 9 serves to continue this newest volumes first long-form arc nicely. Busiek draws out all four of the central character's conflicts setting the scene for a dramatic finale. Whether it will make a statement about the issues that continue to lie under the comic's surface is yet to be seen.

It's difficult to fault Busiek for tackling a complicated and important issue in the pages ofAstro City. He has successfully handled a wide variety of thematic material in the comic before. But his attempt to discuss feminism here falls flat, adding nothing new to the conversation. The story is meant to feel positive and it does, but resembles an "after school special" type of message. With very few compelling visuals for Anderson to sink his teeth into, this issue is remarkably ordinary.

Astro City #11 is a return to form for the series. It evokes empathy for normal people by setting them side-by-side with superheroes. When the comparison is made, it's hard to tell the difference between those with and without superpowers.

Astro City #13 is an achievement to be celebrated. It not only tells a story worth reading, re-reading, and then reading once more, but it does so by taking full advantage of its chosen medium. Busiek and Anderson have always told stories about the small pleasures of life and what it means to be human, and they have told them very well. But here they take a message about the value of human relationships, not matter their form or brevity and tell it in a way that ensures readers will concentrate on that message. Art is all about relating, whether it be an emotion, an idea, or a very specific message. Astro City #13 relates an idea and uses every tool at its disposal to do so. It's a testament not only to the value of human contact, but of comics.

Astro City #14works because it's a story focused on its characters. Its themes concerning greed, disability, or even something as specific as the 2008 financial crisis may function, yet the comic only truly succeeds by providing readers empathy for Ellie, her friends, and even her enemies.

This is difficult material from start to finish, and the entire creative team handles it admirably.

Astro City #52 is a tremendous conclusion both to Michael Tenicek's story and this volume of the series. It reminds us that superhero comics are not fantasy but a representation of the greatness that lies within us.

Axis #1 is nothing special. It is not offensive, but also lacks any notable features. Kubert's art still provides plenty of spectacle for readers to enjoy with lots of characters engaged in a broad battle. The drama that is supposed to be in those panels is non-existent though. The Marvel universe may be briefly changed by some fallout of this issue, but Remender and Kubert never craft a reason for readers to invest in or care about this story. It reads like another event comic that does nothing to distinguish itself from all of those that have come before.

However, this issue carries the multiple problems of its predecessor and, refusing to alter its course, reads like a continuation of an already unimpressive comic. Change may never be permanent in superhero comics, but that doesnt mean it cannot occur within individual stories. Change is the lifeblood of drama and the quicker Axis focuses on altering the status quo, no matter how temporary it may be, the better the series will be.

Despite all of the cynicism and skepticism from readers about events, "The Red Supremacy" was not destined to be a bad comic. The fault for that lies with the storytelling.

Axis #6 isnt disappointing because it is such a singular disaster; there are plenty of other great comics to read. It isnt disappointing because it represents the death of superhero or event comics; that kind of fatalistic assertion is ridiculous. Its disappointing simply because even given the incredible talent and resources at Marvel Comics, no one even bothered to try. Comics deserve more than this mediocre effort.

For those invested in Hickmans Avengers epic, this will be a significant issue bound to shock and awe readers as much as the heroes witnessing these events. Despite some flaws on the periphery, Avengers #40 is the story of two characters and the conclusion of that story is executed perfectly. It is tragic and raw and signals the beginning of the end for Earths Mightiest Heroes.

This might just be a matter of luck with the two best Avengers books both being written by Al Ewing. Excluding Avengers Standoff #1 though, the entire set hits a much more consistent set of highs. Even with the generally lackluster and safe comic All-New, All-Different Avengers, there's something to be said for reliable entertainment. There appears to be greater attention and effort being paid to the Avengers right now. Well, it's that or Ewing just makes this group look good.

Avengers Undercover and Avengers Arena have both been surprising highlights in Marvel's lineup - consistently good comics. Yet the conclusion to this story doesn't live up to what came before it. There are engaging characters and ideas present, but not enough space for most of them to do anything memorable. The series may have been forced to conclude earlier than planned, but that doesn't make this rushed finale any more satisfying.

It's the sort of offering you might imagine giving to someone for a free first comic if they had never read a superhero story before.

It's worth reading as saying anything more would be to spoil the experience and this issue is an experience, even as it attempts to return to normal.

Following the massive revelation of #6, this issue does a good job or reestablishing a status quo. Every moment reminds readers who the protagonists are and what roles they play.

While even greater things await on the horizon, but for now this issue provides a much needed breather.

The addition of several canine companions and their own absurd rules makes this a perfectly tolerable licensed comic book.

Issue one ends abruptly, almost as if it were cut off mid-sentence. The story appears to be written as a whole that was only broken into installments after being completed. However, this first chapter provides plenty to invest readers and drive the narrative forward. Baltimore: Cult of the Red King #1 doesn't rush to the action, but takes time to carefully describe its cast, as well as their world and mission. It is a tonal overture that promises a horrifying story to come.

Baltimore: Cult of the Red King #3 shows just how far the series has come in five years, and will leave readers stunned with its final sequence. The stakes are higher than ever, and Mignola and Golden have not lost track of the thematic core of the story. It is a comic about reflections and dualities: humanity and inhumanity, life and death, heat and cold. Even without this enormous cliffhanger, the issue gives readers every reason they might need to return for more.

Batgirl #35 illustrates that comics function as a collaborative medium and have to be judged as such. Tarr and Wicks provide outstanding work, but the flaws in the script still ruin the experience. It's impossible to recommend this issue on the strength of the art alone when the dialogue, gender presentation, and plotting are this troubled. It's an unfortunate disappointment, but one that needs to be acknowledged. As much as I wanted to see this concept succeed, I cannot honestly say that it does. The problems inBatgirl #35 are too big to not discuss.

Batgirl #36 reveals a learning curve, one that shows the promise of this title and creative team. The incredible strength of Stewarts layouts, Tarrs art, and Wicks colors are consistent and make for one of the most visually engaging comics released this month. Although there are still issues with the plotting and scripting of the series, they see marked improvements in this issue. Theres a lot of potential to be found in this series and evidence that is being more fully realized as it continues.

I want Batgirl to be great. I want this series to continue being a "go to" recommendation for superhero comics. All of the wanting in the world doesn't stop Batgirl #1 from being what it is though, and what it is is an uninspired and dull superhero comic that fails to recognize the most interesting elements of its own existence.

Batman #28 is still an enjoyable issue. It features a nicely told action sequence, introduces the boisterous Bluebird, and should stoke plenty of interest in Batman Eternal. Now let's get back to "Zero Year", already.

Batman #29is a pleasant surprise. It takes a story that has been done dozens, if not hundreds, of times before by some of the most talented creators in comic history and finds a way to make it new. Snyder and Capullo have captured a new perspective on Batman's origin by juxtaposing it with a larger disaster, and it works very well. Capullo also captures a new visual sense with the help of FCO Plascencia on colors. "Zero Year" was announced almost one year ago, and the biggest question from fans was, "do we need another Batman origin story?" After readingBatman #29the answer is, clearly, "yes."

Batman #30is not a perfect issue. The exposition and opening cipher slow the reading experience and don't work on multiple levels. But the parts of the issue that do work, work very well. From the beautiful establishing panels of Gotham to the Riddler's mad master plan to the tower-tumbling action sequence,Batman #30offers excellent moments that create clear stakes for "Savage City". Despite its unevenness, it's a great introduction to the final part of "Zero Year".

At its heart, Batman #31 is an adventure story. It features death traps, vicious wildlife, a power mad dictator, and feats of derring do. It is bright, fun, and absolutely thrilling. This is Batman at his absolute best.

This is how you prepare a great conclusion.

Scott Snyder, Greg Capullo, and the rest of their team have crafted a tale that not only distills what makes the character of Batman so beloved, but one that makes him feel brave and new after 75 years. Stunning.

Batman #34 serves as a great return to the current timeline. It not only presents a well told, self-contained story, but mayintroduce Batmanreaders to three great comics talents as well. Whenever the regular Batman team decides it is time to move on, editors would be wise to consider the fine work here when seeking a new creative team.

Batman #35 is a great package. From the first page of the feature to the last page of the backup it manages to be consistently engaging and is always well told. Theres no doubt that Batman would sell well no matter what creative talent was attached, but Im skeptical that it would garner this high of sales and this much acclaim without creators like Capullo, Snyder, Miki, Plascencia, Tynion, and Jones. Month after month, they bring their absolute best to these pages, making Batman one of the best superhero comics on the stands.

But they still have more stories to tell. In that regard, Batman #40 serves as both a conclusion and a launching point for a brand new tale. Whatever comes next, theres every reason in the world to be excited.

While Batman #43 is still laying down tracks for the rising action bound to follow, the promises made between and during the exposition are incredibly exciting. Mr. Bloom's reveal is the clear, standout moment of the issue, but there is a lot to love here. Capullo and Plascencia are still effortlessly delivering each action and emotion-oriented beat. Snyder continues to bring Batman to wilder places with enough death traps and introspection to satisfy all sorts of fans. It's the promise offered by both the talent of this team and the best moments of this issue, that ensures Batman's place as one of the best superhero comics coming out today.

Batman #46 is a middle chapter, which is something many superhero comics struggle with. The task of moving 3-4 plots along, setting up future revelations and events, and continue to build tension and action is difficult to manage in a single comic that should be fun to read on its own as well. Yet Capullo and Snyder pull it off with aplomb. They understand how their story ought to function, which allows them to focus on the individual strengths of each scene. Action and romance alike are beautifully presented here, making the wait between each issue absolutely worth it.

The finished product does not communicate any of that potential though. Batman & Robin Eternal #1 is a finely tuned piece of marketing. There is at least one respectable name (i.e. Scott Snyder) attached under the title of "plotter", one fan favorite character returning, some art that makes for a fine advertisement (but fails to work sequentially), and loads of hype that sound fantastic on paper. This has all of the elements needed for DC Comics to sell it, but none of what is required to actually function as an enjoyable or even readable comic. The approach to a weekly comic here is comparable to that of factory farming, the gross production of a McRib. Get the meat from bone to table as quickly and cheaply as possible, and spend money to make it look good on the menu.

There's real heart to Thomas as a character, but this mini-series provides no room for readers to find it, which is a real shame.

There's no real tension or drama to a story that insists on explaining itself, and that's what leaves this entire arc best left forgotten.

Batman Beyond #3 is functional. It delivers plot and action so for a basic understanding, but it never really matters. Rather than a tale written in the present about the future, it reads like a relic of the past. Overscripted and serviceably presented, Batman Beyond is part of a workmanlike tradition in comics that has no place in the future.

Batman/Superman #18 is an imperfect continuation upon an interesting concept. Pak is placing both of his leading characters under tremendous pressure, and detailing their emotional responses excellently. Lazy plotting and characterization like Batman's in this issue detract from the impact of that situation. Syaf's artwork tells the story well, but has begun to appear rushed under a monthly schedule with several inkers. This is an issue that would have been well served by one or two more weeks to iron out the wrinkles.

Betty and Veronica #1 is a comic about young women that has absolutely no idea how they act, speak, think, or look. The titular characters are idealized versions of a girl next door bombshell designed for older men. They are defined by the gaze and ideas of someone outside of their world, and who appears to have no interest in understanding their experiences. At best it is a terrible misunderstanding of the subject matter. At worst it is an insult to anyone who might have found a rare form of kinship in a comic supposedly about young women.

Birthright #8 may read like a middle chapter, but it still has plenty to offer. In its combination of five distinct plotlines, there are both excellent visual and character-based elements. The final page also lands on another thrilling cliffhanger. It's a fun twist on fantasy that continues to provide plenty of content in every 20 page package.

Its clear that Bitch Planet seeks to invert the exploitation genre in order to tell a story steeped in feminist ideals, but it falters in its first issue. Although its clear that women are being exploited by a patriarchal society, the women in this issue are never given an opportunity to define themselves outside of their victimhood. Furthermore, issues of race and body image have to be carefully considered as well. Intentional or not, this issue perpetuates stereotypes of race and weight through its imagery of the prison population. There is promise to be found in this premise, but the execution is lacking here. Bitch Planet #1 doesnt achieve its goal of being something fresh and bold, but only serves to reinforce the problems currently facing women in comics and society as a whole.

Black Canary #1 is a jumble of elements that fail to make a significant impression based on the story, but it moves so fast and looks so good that the failings in the script can easily be overlooked. None of the flaws present are fundamental to what comes next. Given some revision and a bit more thought, it's a series that could easily match the gorgeous layouts, artwork, and colors on display with a streamlined story of equal merit. As Black Canary continues, it could afford to take some advice from one of the greatest performers to ever hit the stage: "A little less conversation, a little more action, please."

This is some of the best, wild and weird storytelling you'll find at Image Comics right now.

Characters themselves, along with color work, continue to light up these pages and make each step forward worthwhile, especially as the series prepares itself for a leap.

Black Cloud has certainly been an interesting series and one that will likely be worth revisiting, for readers and creators alike.

Mysteries and minor dramas among the primary cast continue to captivate, but take up too little of this issue for it not to feel distracted and wandering in its approach to the narrative.

Much like Pizarri and Tieri, readers who decided to pick up this issue will be inclined to get through it quickly. There are no rewards to be found here and the more quickly it is set aside, the better.

This is a textbook example of how not to tell a superhero story at almost any level. When you throw hamfisted social commentary on top, it becomes an undeniable disaster. Keep it.

Black Magick #1 is a top-notch debut from Image, the most inventive publisher in comics today. It delivers on character, premise, artwork, and ideas, a comic that can satisfy any reader looking for a great crime or horror story. Wherever the mysteries of this debut lead Detective Rowan Black, it's bound to be a satisfying read.

Whether that is enough is difficult to say. This is a debut issue with charm and style, but it also falters in its telling. Stelfreeze's envisionment of the world of Wakanda is captivating, while what is happening within the country's borders often leaves much to be desired. The stories of the Dora Milaje provide interest, while Black Panther's narrative and self border upon being tedious. The elements of a powerful story are present, yet the Silver Age influence without top-notch Silver Age style may put those elements to waste.

Black Panther stays on top as one of Marvel's best series, delivering plenty of action and suspense in an issue worth reading twice.

It's a great climax before the final issue of this arc.

All of the essential elements of a superhero comic are in place and executed well enough, but this has proven to be a superhero comic capable of far more than monthly updates.

This Black Panther Annual collects three stories from three of the most significant writers to ever address the character, and each reads perfectly as being a piece of their substantial runs.

Even larger thematic issues loom. Coates and Acua are addressing slavery, a slavery perpetrated by T'Challa's own people, that will require a deft touch and raise far more difficult questions than those in the plot itself.

Each element of this series is building a new monument and legacy to an already celebrated character, and it's clear this new series is something special.

Although Black Science #9 is a somewhat uneven issue that jumps between a variety of threads working to move each forward just a little, it still manages to be an exciting new chapter in the series. Remender and Scalera continue to bring their best work to each page of this comic, providing a deeply human cast of characters set in a thrilling adventure. Taken individually, each segment of this issue can be read as a showcase for what makes Black Science a great comic.

Although Black Science #9 is a somewhat uneven issue that jumps between a variety of threads working to move each forward just a little, it still manages to be an exciting new chapter in the series. Remender and Scalera continue to bring their best work to each page of this comic, providing a deeply human cast of characters set in a thrilling adventure. Taken individually, each segment of this issue can be read as a showcase for what makes Black Science a great comic.

With the end for Black Science in sight, the series still has plenty of tricks up its sleeve, even in a quiet issue like this one.

It will be interesting to see how this story is finally resolved, but that doesn't make the beginning of the end any more satisfactory.

Bloodshot Reborn #1 isn't a typical spin-off series. It's a story that thoughtfully follows up on what has come before. Lemire and Suayan are clearly invested in this story, addressing trauma and responsibility in a meaningful way. It's the perfect combination of compelling and challenging for a fresh take on this bloody character.

This brief run on Bloodstrike is unlike anything in comics, and we're lucky to have this retroactive history.

With such a great range of storytelling styles, Bodies #1 is an excellent showcase for artists. Spurrier has written a comic that has very little room to set up four interesting stories. So the artists involved are tasked with carrying the story forward and hook readers on this high concept. The assembled artistic team does so admirably and no one contribution is greater than that of Lee Loughridge. He is capable of discerning the unique needs of the story and art in each plot, enhancing the work and drawing forth the most important elements. In doing this he not only proves his importance to this one endeavor, but the incredible value colorists can add to every comics page.

Fall of Bloodshot #1 is a bold pitch for future Bloodshot series, but it's something that should have only been shown to Valiant editors. A great deal of effort is put into thinking of interesting new spins on the assassin, but there's not nearly enough space to show any of them. This is a well drawn bird's eye view of a potentially great comics.

Issues of health insurance and freelancing feel separate from everything else in the story, tacked on to remind readers that reality isn't great either, as if that was a truly necessary reminder.

Theres a lot to like in the debut of Bucky Barnes: The Winter Soldier. Every collaborator involved is bringing their best work to the comic and it shows. Together, they are telling a story that is unlike anything else on the stands.

C.O.W.L. #4 represents what this series is all about. Much of the first three issues was used to set up characters and conflicts. The drama thus far has been a slow burn, but here it begins to ignite (sometimes literally). Higgins and Reis have carefully laid the groundwork to tell a complicated and nuanced story, and reader's patience is going to be rewarded starting here. There are plenty of good superhero comics being published today, but very few great comics about the systems we create and operate within. That is what makes C.O.W.L. a unique comic and one worth reading.

With Reis excellent eye for juxtaposition capably framing the characters and ideas behind C.O.W.L., there's a lot to be excited about moving forward. Although it may still lack some of the depth and realism of The Wire, it is beginning to capably address the same complex themes as that episodic masterpiece. It will certainly not be an easy task, but Higgins, Siegel, and Reis seem up to it.

The most disappointing element of C.O.W.L. #10 comes in the letters column, with the announcement that the series will not continue past #11. Yet this issue feels like the set up to a proper conclusion. It arranges all of its characters into significant positions, and then leaves them teetering on a precipice, ready to define themselves and readers' perceptions of this comic.

Captain America #25 is very similar to last weeks Thor: God of Thunder #25 in that it works so hard to set up the next big thing that it fails to be its own thing. Remender is so interested in pitching All-New Captain America #1 that he fails to effectively conclude the story hes written so far. Both of these issues mark the end of highly successful and much lauded runs, but fail to live up to the standards they established for themselves.

It tactfully addresses the greatest anxieties of the United States today and blends them into the zeitgeist of Marvel Comics.

If there's one bit of hope to be found in Captain America: Steve Rogers #1, it's this: Even though the last page has set so many people at one another's throats, the comic should also stand a chance of bringing them together. This comic presents a reading experience so lacking in any notable form of quality that anyone who bothers to pick it up ought to be able to put it down and say "That was fucking garbage." Whatever your specific reason for stating it, it's a clear conclusion. There's no need to fight about why this comic is garbage when we can all just acknowledge this tire fire together and move on.

Casanova is back and its so damn good.

This comic is not strange for the sake of being strange, it provides a world that could only be imagined in comics and readers should be prepared for quite the trip.

It's difficult to know where it's going or whether there's a pay off, but the ride is worth taking for its own pleasures.

With only a few issues left, Cave Carson is still promising great things ahead.

Cave Carson Has An Interstellar Eye is one far out comic that never loses touch with reality.

As the end approaches, the big picture keeps getting bigger for this series.

Despite that misstep, Chew #45 is another great installment in the series. It provides all of the twists and heartbreak of a great tragedy, without losing the wacky, comedic tone that defines the series. Layman and Guillory walk a tightrope to craft what is the best written funny book currently on the stands.

Chew #50 is a lot of things. It's funny, action-packed, surprising, and a joy to read. But above all else, it's just really bad ass.

Civil War II #3 puts 5 pages of story in a 24 page comic, which leaves this "turning point" feeling just as weightless and inconsequential as you might expect. It's fine to look at, presenting the standard "superhero style" of the day with plenty of character dramatically posing. However, start to ponder on what you're actually looking at and you'll find it's a lot of refined filler covering a singular plot point. Try not to think about how much it cost after that realization.

Matias Bergara brings it all together with a perfect balance of the fantastical and ugly, a sensibility revealed in a cursing, fighting Pentacorn that will likely have readers begging for more.

This is by no means a bad comic. It's bound to appeal to fans of Conan, Red Sonja, and the genre which they're most comfortable in. It's written and drawn with admiration for the concepts, but fails to deliver anything beyond that admiration. The result is an entertaining diversion, but nothing memorable.

John Constantine is back and in good form. Doyle, Tynion, and Rossmo capture the essence of Alan Moore's creation and spin him into a perfectly suitable corner of the DC Universe. Constantine: The Hellblazer is mean, funny, and beautiful to behold. It's just too bad that so much of the story is over-told when it is already being shown so well.

Some pleasant surprises have emerged from "Convergence" in its first two weeks, but this is not one of them. The elevator pitch behind this story is a slam dunk that's rendered completely inert by excessive exposition and uneven art. It's readable, but not much more.

Ultimately, Rucka and Hamner deliver one of Convergence's best stories, focusing on character over spectacle.Rucka restates his affection for both characters and allows them neat, peaceful, resolutions. The conclusion feels true to both characters, while also reflecting a nostalgic urge to provide a happy ending.

Copperhead #1 opens a window to a desolate planet that is rich with history and ideas. There is a lot occurring in the background and details of this comic. It's a story I only expect to grow and improve as it delves further into the world created by Faerber and Godlewski.

That connection is an uncomfortable one, and it's intended to be. Brubaker and Phillips have never pulled any punches in Criminal. Their heroic figures are always destined for a tragic end, and the ugliest characters they present tend to enjoy success. The irony and cruelty contained in Criminal isn't just a play at classic EC crime comics though, it's a funhouse mirror reflection of humanity. Criminal Special Edition isn't a story that we are supposed to be able to view as pure fiction; that's Zangarr's tale. The world of Teeg Lawless is the same one we're trapped in, one filled with criminals and comics fans just like us.

This comic is a bludgeon, but never in the way it seems to think of itself.

Curb Stomp #3 is a penultimate issue that leaves no doubt that this series is ending. It lands angry, hard, and fast. Ferrier and Neogi aren't interested in providing relief or escape. They're sprinting to the finish line, and when this comic ends, there is no doubt that it will end. The violence and unrefined nerve of the series may not appeal to anyone, but it's pure in a way that most comics will never be.

Body horror runs rampant and a general lack of caring about even the most horrific circumstances provides the entire affair with some great (but not good) laughs.

Damage #1 is a damn cool comic. It's the kind of book you want to cut out pages from and post to your door in middle school. That's not a slight either. This slam-bang beat-'em-up formula is played to perfection and is everything Metal advertised itself to be. It's all about wild-looking characters tearing about cities and foes. That concept works in these pages because it has artists capable of pulling it off. Damage is all about impact and it plants its big moments like a punch. It's a reminder of how this sort of comic is supposed to be done.

There's only so much space for fun given the start of this issue though. The actions of the Purple Man loom over every panel like Stilt-Man's shadow. When the story comes full circle, Waid and Samnee do not back away from the tone struck in the opening of the issue. Instead, they use the same tools that serve the first five pages so well in order to craft a second sequence that is every bit as chilling. Whatever comes next, it ought to fill readers with equal levels of excitement and apprehension. If there's a lesson to be found in Daredevil #8, it's that any villain can be very bad (in a good way) given the right circumstances.

Its easy to be cynical about superhero comics, and that cynicism is often not wrongly felt. Yet in the case of Waid and Samnees Daredevil, nothing could be further from the truth. In every page and story beat, it is clear that this comic is being written with a completely genuine interest in the characters and the ideas they express. This is a story about dealing with pain and building a better future, and it is told with complete honesty. Its a big, bold metaphor for something many of us can relate to on a deeply personal level. Although its fun, its also incredibly human. Waid, Samnee, and Wilson are giving their all to this story and Daredevil #9 is an example of superhero comics at their absolute best.

Daredevil continues to surprise and astound with each issue. All of the madness introduced in #16 would overwhelm lesser talents, but Samnee and Waid juggle these plots almost with ease. Each significant moment lands, and the impact of some are enough to take your breath away. This is the setup for what looks to be a finale every bit as good as the series preceding it.

Waid, Samnee, Wilson, and all of their other collaborators have created a truly legendary version of Daredevil, and Daredevil #18 is an excellent capstone to their accomplishment. It manages to walk the fine line between spectacle and catharsis, providing a fine ending to this last adventure and, more importantly, addressing the thematic core of the series. In these final pages, Daredevil lands exactly on the point of why it has mattered so much for so many comic readers, and why it's likely to continue doing so for a long time.

Daredevil #1 is a great start to a new series, and would have been even better if all of the story had been included.

The singular flaw underlying almost every other flaw in The Dark Knight III #1 is that it is dishonest. The Dark Knight III #1 is a comic constructed to safely imitate greater works. It bears the names of Andy Kubert and Brian Azzarello, but never takes advantage of their substantial strengths, trying to twist them to be something they are not. The result is perhaps the most negligible comic featuring Frank Miller's name to date.

Following the fireworks of the first issue, Days of Hate has gone further and further down its philosophical rabbit hole. This is a good thing for the series though as it shines in dialogue.

As quiet and unhurried as this section of story is, it's simply astounding how it raises the stakes and builds tension for what comes next.

Calling DC Rebirth a superhero story is dismissive of superhero stories, and that's a category with a very low bar for entry. It's an advertisement that you're supposed to buy for $2.99 so you can get excited for a lot of other comics that will also cost $2.99.

If you can only read one of these Hanna-Barbera comics, make it this one.

This is all indicative of why I really love Deadly Class. You can pick out a single sequence and spend an entire review digging in to how it works (or very rarely doesn't). The panel composition, Lee Loughridge's colors, draftsmanship, narration; all of it is consistently complex and effective. It's a comic book I could discuss every month and always find new things to explore. Remender and Craig have invented a story that is interesting simply by the virtue of how it is being told (although the story itself is also fascinating). It's a comic that constantly challenges and reinvents itself, an exemplar of creator-owned comics.

Deadly Class #8 is a tour de force, a terribly beautiful meditation upon pain and depression. Through this outlandish narrative, Remender, Craig, and Loughridge have constructed a story that is emotionally true. It acknowledges what it means to be in pain, what it is like to hide its origins, and the difficulty of seeking and obtaining help. It is does not aim to provide easy answers or solace, but it is a true story. It is authentic in the way that matters most, in reflecting what it is like to be human. In telling that truth, it provides some small opportunity for relief and understanding by showing its scars.

Unlike the awful climax that occurs in the comic store, its unnecessary and unfair to delve into the final pages of the second half of Deadly Class #10. Remender and Craig have been building to this confrontation since the first issue of the series and leave a perfect cliffhanger for readers. Deadly Class #10 is the mounting storm, tearing into both the daylight and darkness of Marcus life, building to this climax. Whatever comes next, only two things are certain: it will be messy and it will be must-read comics.

Remender has never let his characters off easily and he isn't interested in happy endings. What he, Craig, and Loughridge are interested in in Deadly Class is something less cathartic, but more significant. It's a tale that no matter how big and crazy it gets is always grounded by humanity. That's why Deadly Class #13 hurts so good.

Deadly Class continues to be one of the best comics hitting store shelves month-after-month. Remender and Craig are delivering a world populated with fully realized characters commenting on social troubles through incredibly exciting sequences filled with action, drugs, and mayhem. No series is better at combining the ludicrous with the deeply human than Deadly Class.

Deadly Class #28 is an example of how a creative team can keep a dozen plates spinning. Some will slow and begun to wobble, but others will whirl at such a thrilling speed as to distract readers. There is no consistent theme or purpose to this issue as a single piece, but as one chapter it includes enough good to outweigh the bad. Craig's layouts and Jordan Boyd's colors on the beach are enough to justify the price of entry. What comes next as these plates begin to collide will be far more interesting, but for now it is beautiful enough to know the story has led us to a brief respite with characters we care about this much.

As almost every major character in the series so far meets, plans shatter and copious quantities of blood spill. It's a crackling start to what's bound to be another status quo-shattering story for Deadly Class.

In the chaotic, character-filled battles of Deadly Class, each new issue has a consistent method of offering just enough to keep readers going.

Wes Craig seems to possess an infinite number of ideas on how to depict violence in comics. Each new issues surprises ,and #34 does so in multiple ways.

This arc's conclusion is a powerful reminder as to why fans first fell in love with this messy series.

The final issue of this mini-series reads more like epilogue than finale. It wraps up the story (to some degree), but fails to deliver anything close to catharsis or impact.

Some Marvel fans are likely to be saddened by the choices made, but that's not the result of "shocking" choices, nor this hollow vehicle of a story.

After months of advertisements and promotions all screaming that Wolverine will die, I'm surprised to say this, but I'm excited to read The Death of Wolverine. Soule and McNiven share a grasp of the character and understand what it will take to make this story work on its own merits. Wolverine is going to die. We knew that already. This comic may give us a reason to care.

The Death of Wolverine #2 maintains the strengths of the first issue, but begins to squander that momentum on tangents and cameos. It feels like the events of this issue could probably be skipped without any major effect on the overall story. However, McNivens art alone makes this issue worth picking up.

The Death of Wolverine is one of the better event series to be released in the past few years. It may not succeed in its intended purpose, but it is enjoyable and (relatively) succinct. Its a cut above most event series, managing to be entertaining without ever becoming aggravating.

This is a comic that yearns to be political, but possesses no clear comprehension of what its politics might be. The best reason to keep following her story is that it is simply fun to watch.

The second issue of Death or Glory loses a lot of speed from its debut.

When things are moving, Death or Glory is a great comic to look at, but there's not much there when any level of scrutiny is provided.

Characters insist on explaining exactly what they are experiencing and why it matters, as if the pages are not doing that same work and then some. It's a downer set beside some of Rossmo's most enthralling layouts and designs to date.

Deathlok #1 is a generally competent comic book. Edmondson includes a lot of information in a twenty-page script and it all combines into a tight plot. Perkins action is often exciting. Theres not a hook to any of these characters yet and the sequences sometimes fail to relate important information. The result is a mixed bag, one that could develop into a great series, but is hard to recommend based on this issue alone.

The Defenders #10 is ultimately more a survey than a narrative, but these broad strokes offer a great retrospective on a Marvel writer who will be missed.

Descender #1 is a stunning debut. Lemire and Nguyen are holding up a mirror to post-9/11 politics and encouraging us to consider our world not only through the lens of science fiction, but through the eyes of a child. It is a beautiful introduction that promises a thoughtful exploration of how we respond to tragedy and adversity without ever losing sight of the hope and wonder of existence.

Descender #5 is a beautiful comic, that's art makes the pain of the story seem all the more potent. While Lemire struggles some in creating a compelling political system, the core story of the series is compelling as ever. The characters are well-realized, and their pain is easily shared with the reader, for better or worse.

Descender #27 more than rises to the occasion of establishing the facts needed to understand whatever awaits Tim-21 and his companions next.

Descender completes its origin story this month in a tale that provides plenty of answers, but not much else.

There is an incredible sense of momentum surrounding this series, and Descender #29 manages to carry that between all of its many divided plots and characters.

Even as this issue pushes the plot forward, it never loses track of the many ways its character are alone even as they're surrounded by one another.

No matter what happens, this has set up an interesting finale for next month.

While this showdown helps to clarify what has made Duggan's long run with Deadpool transformative, it's ultimately stalling for time between more substantial issues.

This one hurts, and it shows how far Deadpool has come as a character in the past few years.

It's standard action, give or take a comedic impalement.

This is the best possible version of a Deadpool comic.

It delivers on all fronts, while still building momentum for what comes next. Based on the final page, things will only get crazier from here on out.

This is Deadpool in its absolute best form, offering a story worth remembering in addition to some very exciting panels.

Despicable Deadpool #300 offers a poignant, bittersweet conclusion, one that captures the tone of this run perfectly.

There is nothing being done in Detective Comics that has not been done before or better, but it is delivering an entertaining combination of elements. The mix of characters, regular delivery of exciting moments, and inclusion of sympathetic villains provides plenty to chew on. This isn't a comic that soars, but it does fulfill its promise as a Batman-team-up comic.

What purpose does this comic serve? Even if that question is answered in #5, it's probably not worth finding out.

If you like violent comic books, then you will likely enjoy this one. There's a story about conspiracies and secret agents, but it all functions as window dressing for the series to reach its title.

Divinity #1 pushes the scope of Valiant ever further, striking into the territory of surrealistic science fiction. It is a beautifully designed introduction and one that plays to all of Kindts strengths as a writer. While it may be unclear where Abram Adams journey may lead, it is certain that it will be an experience worth reading.

Everything about this issue is sad, but that's not a theme or idea, just this series' state of being.

There was a spark of a great idea here, but it was never expanded or shortened to a story that could accomplish its goals.

And so Doctor Strange #10 is an effective entertainment. The monsters are scary and the action is enjoyable enough. It lacks in impact in spite of the many consequences explained at its conclusion. Everything is terrible, but it rests on the foundation of a story that never gives you very many reasons to care. Reading this comic might be a fine way to spend a little time, but it will flicker out of your skull as quickly as it entered.

Readers are forcefully told to go out and read other comics while attempting to enjoy what is in front of them, and diminishes every positive quality about this one issue as a result.

The considerably reduced scope of this farewell issue gives the central characters from the past year a much needed chance to breathe.

The Jazz Pandas arrive at the end of their season and manage to find happy, if not highly dramatic, resolutions to their personal conflicts

There are so many great ideas spinning that it hits a level similar to Morrison's classic run. However, the ending sputters in a truly dissatisfying way as it attempts to simultaneously end and deliver a to be continued for an event that already occurred.

Drax #6 is a comic that does a lot of work to bury its strengths. The pencil work of Hepburn and Hanna, reminiscent of James Harren's fast and mean qualities, is something to value. Yet every chase and action beat is buried in text and designs feel either rushed or are focused on characters that do not appeal to their style. There's some enjoyable violence to be found in Drax, but the series will make you dig for it.

E is for Extinction is not just one of best Battleworld miniseries so far, but one of the best X-Men comics published in years. Morrison may be the source for many of these ideas, but Burnham, Culver, and Villalobos are demonstrating a true mastery of the material. If we're lucky, this won't be the last time we see them all playing with the oddest superheroes in Marvel's stable.

East of West #13 shows off its chops as a Western in its desert chases and fight sequences. Even the more psychedelic elements read like a peyote inspired trip in the Mojave Desert. As the science of the Endless Nation emerges on the final page, the great potential of the series is brought into focus as so many genre elements are blended together to create an ominous spectacle of great potential. For whatever stakes were lacking in this issue, the war that is now beginning has been clearly grounded, setting a course for the series to pursue to even greater highs.

Even in those quiet moments at the end of East of West #16, it is clear the story has changed. Year One was an introduction to a wide, new world. It carefully constructed history, politics, and religion into a cathedral-like structure. Year Two has set that structure on fire. War has arrived. The action, the impact, and the drama of East of West have all been elevated as the world approaches its end. Hickman and Dragotta have revitalized the series in this introduction to Year Two. They are starting to blow this world up and it appears that as things get worse, East of West will only get better.

I want a series featuring Gwen Stacy, The Spectacular Spider-Woman written by Jason Latour and illustrated by Robbi Rodriguez. I really, really want it. Marvel Comics has captured lightning in a bottle with this issue. It's sleek, smart, and so damn cool. I simply don't have enough superlatives for what Latour and Rodriguez have created here. So I'll leave it at this: buy Edge of Spider-Verse #2. And after you too fall in love, make sure to write in and let Marvel know that you want an ongoing Gwen Stacy, The Spectacular Spider-Woman series.

Theres no compelling story for this Spider-Mech to be involved in though. An overabundance of exposition, a lack of clear setting, and various extraneous elements all worked to push me between bewilderment and weariness. There are things to like in Edge of Spider-Verse #3, but theyre lost in the confusion of this comic.

Despite its lack of a traditional plot, Edge of Spider-Verse #5 succeeds. It leans on its ideas and their visual presentation, giving readers images that they can chew on. For readers and critics preoccupied with story, this may be disconcerting, but I found it to be an appealing stretch of a mainstream superhero comic. There are a lot of appealing factors within a comic besides plot.

Albuquerque focuses his work primarily on the foreground, resulting in a dreamlike atmosphere. It's purposeful and works well with the ever shifting landscape of the comic. The colors swirl loosely around the panels, opening events up instead of confining them. Ei8ht presents a world in which change and discovery are the only constants, and it's the presentation of that world in which the series is at its best.

It's not a perfect first issue, but it certainly offers plenty of hooks to keep you going.

There is charm to this series, but it's often left muddled upon the page.

This is how you introduce a new superhero team; long live the Exiles.

There's still far more to love than dislike in this issue, but if the pace doesn't increase soon then minor flaws may grow to be major ones.

Many of the best moments in Exiles #3 come in quick, quiet panel gags occurring within a fraction of a page. These moments are a welcome reprieve from the larger narrative.

The ideas and artwork are great, but suffer from unfortunately excessive writing.

There is so much potential in Exiles, but it continues to stop itself from achieving greatness.

Exit Stage Left feels essential at this moment. It is a story nominally about the past, but truly about the present -- the best sort of historical narrative. Russell is pushing himself in a new direction, leaving playfulness behind for a more rigorous narrative, and he is perfectly matched with Feehan and Morales. Wherever this series leads cannot be good, but the comic itself seems bound for greatness. Prepare to laugh even while you know tears can't be far behind.

There's still plenty of wit and charm to be found, but this issue feels like a misstep.

Discussion of game theory and how that paradigm shifts alters individual world views is fascinating and a worthwhile reminder of what this series is capable of. Yet the interest in drawing parallels between bunkers, bombs, and homophobia ultimately loses out to hate speech and tired tropes.

Unlike The Flintstones, this series seems to be running out of ideas and momentum well before it is complete. It's probably for the best that it will only be six issues.

Wordplay remains a highlight of the series along with a few visual gags, but there's not as much beneath the surface as the narrative suggests. The result is an enjoyable enough comic with an original premise, simply one not worth lingering on.

Ramos and inker Victor Olazaba add some much needed energy to the issue. Ramos' designs and style lend themselves naturally to this team of varied body shapes and costumes. Each member stands out with a unique silhouette. Action sequences speed across the page with bodies that truly feel as though they are in motion. Exaggeration almost gets the better of Ramos, but is reined in by Olazaba's smooth inks. As a result Extraordinary X-Men is a comic with plenty of style attempting to cover a disappointing lack of substance.

Looking beyond the final scene of Extraordinary X-Men #7 when considering quality is fruitless though because that scene distills everything you need to know. It's a slapdash construction of something that ought to be dramatic, but is actually baffling. Not only does it rely on reader's already having formed a connection to the material, but that these same readers be okay not knowing what came before or concern with its quality. This is a comic built with no ability to evoke a reaction beyond the jaw dropping display of its own blunt manipulations.

Somehow Extraordinary X-Men #13 has transformed the story of a superpowered, adoptive family hopping across dimensions and fighting apocalyptic futures into something entirely stale. There's not a new idea or fresh visual to be found in these pages. While some moments are well-rendered, it's a lacquer that cannot cover the rotted interior for more than a moment. While this issue may be technically well assembled, it is a hollow rendering of something comics readers enjoyed decades ago.

Fables #138 reminds readers that Willingham is just as capable of crafting short 22-page comics as he is at building eight issue epics. Although continuity confuses the beginning and ending of the issue, the story at its center is wonderfully told. It infuses a classic fairytale narrative with new ideas, and then twists its resolution like a dagger. Those fourteen pages alone make this comic worth the price of admission.

Fables #139is a perfectly typical issue ofFables. It capably introduces new characters, blends humor and fun into most pages, and never forgets to assert dramatic stakes worthy of the reader's attention. Although this individual issue is nothing special, it is still a well crafted comic that services the opening ofFablessecond to last story arc.

Fables #140 features a few highlights in a generally lackluster issue. Its purpose in foreshadowing the natural conclusion of the series is well served, but the story itself does little to add to the overall richness of its fictional universe. With little characterization or stakes, this is issue is at best a necessary stepping stone to the epic conclusion which begins next month.

Much like the television series Game of Thrones, Fables takes time to set the scene and re-establish its characters before beginning a major story. Furthermore, the creators have made this process this engaging for audiences. Not much new is revealed, but the act of becoming reacquainted with the world and characters of Fables still feels exciting. Now that "Happily Ever After", the last Fables story ever, has begun, the creative team will be challenged to increase the stakes and keep track of these many characters. Based on the excellent work done in Fables #141, there's no reason to doubt that Willingham and Buckingham are up to the challenge.

Despite the slow pacing and enormous amount of groundwork being established, Fables #142 still manages to succeed. It takes advantage of 141 previous issues to help create tension and build its stakes. Willingham and Buckingham have always created real consequences in a medium often associated with a lack of change. In doing so, they have guaranteed that the promises of this issue, both in terms of scope and impact, will be believed by readers. There may be no resolution here, but the increasing drama still provides plenty of action.

Babe doesn't want you to turn the last page. I still wish I hadn't.

The truth is that I'm afraid about whatever comes next in Fables. The series has always held consequences for its characters, but only now does it feel as it Willingham and Buckingham are actively punishing them. Fables #144 doesn't read like a modern fable, it reads like a horror story.

The stakes of the story are still high, but it needs to retain what little momentum it has left and build from that in order to keep this story interesting. There are still five issues left in Fables and no reason to wait until issue 150 to move the story forward.

"Farewell" stands as a testament to the mighty legacy of Fables. It is every bit as large as the series that preceded it, and packs all of the feeling and skill that led Fables to so much success. It is not always a perfect goodbye, but such a thing may not even be possible for so great an undertaking. "Farewell" is perfect where it counts though. The final battle, the final panel, and the final line are all exactly what is needed. They are reminders of why Fables is so beloved, and are bound to linger fondly on the minds of its readers. In its final moments, Fables #150 summons the ethos of "Happily Ever After" as well as all of the fairy tales that inspired its creation.

Falcon #5 stumbles across the finish line as a disappointment that doesn't provide many reasons to keep reading.

At the start of its second arc, nothing in Falcon improves, and what little charm there was is lost to some exceedingly disappointing decisions.

There is a whole lot to like about Farmhand #1, and it's apparent the series is just getting started.

Even both Stewart's contributions are occasionally buried under the inclusion of pills and flower petals that cover the page. It's a "cute" idea that adds nothing of value to the pages nor any depth to the story in this first issue. That lack of value is endemic of Fight Club 2's entire debut. It is a work without substance or meaning, beautifully realized before being quickly and mercifully forgotten.

It's unclear who this comic is for as it lacks the artistic power of the original and undermines any nostalgic fondness that might still exist.

Flavor #1 is everything that a first issue ought to be. It does not simply offer readers a thesis statement and sense of story to come. It delivers its style, setting, and characters intact from the very beginning.

Flavor is one of the most imaginative and enthralling new Image comics in years, one that seems capable of delivering a great dish with every issue.

Delight, drama, tension, and mystery are all evoked with seeming ease throughout this thrill of an issue, a third installment that again declares Flavor to be one of the best new series of 2018.

It's impressive that an event comic is being published on a regular schedule from the same writer-artist team. It would be even more impressive if that comic were good.

Forever Evil #6 is a comic that may not know what it is supposed to be. Given the context of creator interviews and marketing, it ought to be read seriously and its events should be shrouded with importance. Yet in actually reading it, an air of camp is revealed. The silliness of concepts like the Murder Machine and Johnny Quick's loss of a limb directly conflict with the dark tone of the art and story. This cognitive dissonance doesn't make for a confusing read, but an enjoyable one. If not for Finch's poor output, it might have been an accidentally good comic.

Forever Evil #7is a bad comic. The visual narrative is overwrought when it isn't entirely incoherent, and the story it is attempting to tell is nonsensical at best. If this is what DC Comics is publishing to get readers excited about comics, it's no surprise that so few people read comics.

Frankenstein Underground #1 has introduced another element to Mignola's every expanding pantheon of horror and adventure comics. It fits in perfectly alongside the likes of Hellboy, B.P.R.D., Baltimore, Sledgehammer '44, and all of the others, but never feels like an unnecessary mirror to any of its sister titles. Instead, Frankenstein Underground plays on similar concepts and themes, but sets itself up to explore them in a manner that feels entirely new. Mignola and Stenbeck are prepared to delve into the existential quandaries of existence and the horrors of a universe that is so massive as to dwarf even Frankenstein's enormous form. Frankenstein Underground is a series worth looking out for in 2015.

Frankenstein Underground, unsurprisingly, is another fine addition to the Mignola-verse. It walks the seemingly impossible line between character-focused introspection and bombastic monster fights that all of these series do so well. It's visual storytelling and imagination are unlimited. Frankenstein holds a special place at Dark Horse comics and, while Frankenstein Underground gives him a proper conclusion, we can all still hope to see more someday.

There's not a lot there beyond the non-stop chase of the story, but that might just be enough.

Whether or not you're familiar with The Herculoids, this comic is bound to read as a very odd experience. It simultaneously attempts to embrace the nostalgic fun of childhood adventure cartoons and a very dark story filled with death and petulant gods.

It's a disappointing installment in a line capable of much better.

This is a comic that has yet to encounter a military cliche it doesn't like.

It's a fine return, if not a thrilling one.

Ghost Racers #1 is another fun spin-off from Secret Wars, providing a unique genre and style amidst the very diverse collection of Battleworld comics. Gedeon is a great fit for the fast-paced action inherent to these characters, and Smith continues to make Reyes a sympathetic, relatable character. The first issue is flawed, but that doesn't stop it from being an entertaining introduction.

It's comfortable and fun for the right crowd, but doesn't have much more to offer than the reignition of very specific memories.

Giant Days #6 is an incredible amount of fun. It is a joy to tag along with these characters on their misadventures. And despite the generally low stakes, the issue never feels slight. Instead, it captures the whimsy and aimless propulsion of college-life, making you want to run ahead even if it's unclear why. There are good friends and good times to be had, and that's more than enough.

Giant Size Little Marvel AvX #3 is exactly what it needs to be, a whole lot of fun. Not all of the gags land, but there are enough of them that the issue can rack up consistent chuckles and smiles. Its lighthearted nature is just the sort of palette cleanser superhero fans need against all of the Strum und Drang of events.

This issue does an outstanding job of connecting character to every element of the story making the work of the issue much more compelling.

It's a comic about disconnect between mankind and machine that winds up being every bit as cold as the latter.

There is so much to this issue, but at the end so very little to say. Perhaps the most that can be said is that it tells its story clearly, for better or worse.

God Hates Astronauts won't change how you look at comics or view the world around you. It will make you laugh though. It will make you laugh a lot. You may need a change of pants. I don't know, but it's probably a good idea to get an extra pair out before reading it just in case. Pants wetting aside, God Hates Astronauts is one of the hilarious and most fun comics on the stands. If you're just looking to have a good time, then you've found the right book.

Godzilla in Hell #1 delivers on exactly what is promised in the title. It's big, dynamic, violent, and oddly soulful. Stokoe is a consummate cartoonist of spectacle, paying exacting attention to every panel and consistently delivering big moments. This comic is a delight to read and read again.

There is something really, truly, genuinely exciting about Gotham Academy and I cannot wait to read more.

That doesn't make Gotham by Midnight a bad comic. It's well written and well drawn, a fine addition to DC Comics publishing line. There's nothing truly exciting about this debut though. Both Templesmith and Fawkes have done far more interesting work before; this is not representative of them pushing themselves to achieve anything beyond a decent comic book. Gotham by Midnight is an exciting, moody read by two great creators and there's nothing wrong with that.

Gotham By Midnight #8 is clearly executed and easy to understand, but never manages to engage. From its broadest ideas to its most specific details, the issue rarely passes the bar of being passable. It is a quick horror story, with only a single stand out moment, that will be forgotten in less time than it takes to read.

This issue gets the job done and has notable moments, but too much space is consumed by the work of plot for it to reach the bar set by prior issues in the series.

Grayson #6 is another excellent installment in a series that continues to exceed expectations. Seeley, King, Janin, and Cox place no limitations upon themselves, and have discovered a wide swath of stories worth telling as a result. Its impossible to know where Dick Grayson is going next or what the experience may be like, but its bound to be good comics.

This is more prologue or advertisement than exciting, superhero storytelling, and it's a disappointing start to a series capable of accomplishing much more.

There's nothing about this issue to be admired; it couldn't even be bothered to put all of its words in the right order.

It's a tedious reading experience that relates the information of the story, but little else.

The flaws of Guardians 3000 #1 are not integral to Abnett and Sandovals story. They are fixable issues that cover up the fast-paced, superhero romp they are trying to tell. That story holds a lot of promise and is one I look forward to reading.

Comics arent a balancing of various aspects like composition, color, story, and words; theyre a fusion of all these things. No matter how effective one aspect of a comic may be, it still must work in combination with everything else in order to construct a finished piece. The art in Guardians of the Galaxy #18 is big superhero action at its best, but the complete lack of drama and storytelling left me cold. Grade: C-

This tie-in still doesnt manage to feel particularly important or necessary. Theres no real emotion behind these pages, but they are fun to read. Guardians of the Galaxy #19 is entertaining and thats a step up. It is not a story that will stick with you or that you will be inclined to return to, but it may make you stop to appreciate a few pages and put a smile on your face. Thats not bad.

Whether or not this is your first exposure to superhero comics, it's one that cannot be recommended. People who loved the Guardians of the Galaxy movie won't find any of the quick wit, fast action, or oddities they may have loved about the movie here. People who love comics won't find anything they haven't seen hundreds of times before. The only thing Guardians of the Galaxy #7 might be useful for is as a case study for the concept of "corporate superhero comics". It's a thing produced because it must be produced, meeting a set of standards and expectations not concerned with anything close to art or storytelling. It is digestible, but that also means it belongs in your bowels.

That's the ultimate goal for Gwenpool Special #1, a comic with a cash grab in its title: to be perfectly fine. It succeeds at that. The Hawkeye story did plenty for me as a fan of Duggan's mini-series, while the Ms. Marvel story is wince-inducing, but overall it averages out to complete fine-ness. This is a comic worth flipping through for Marvel fans, but it won't leave any sort of impression after one or two glasses of eggnog.

These detractions are hardly enough to ruin Harrow County#1. It is a very promising introduction, and something that reads differently from all of Dark Horse's other excellent horror offerings. Crook and Bunn are sowing seeds for a very dark tale, one that will easily be enjoyed on a cold October night after it's completed.

Kate's adventures in Los Angeles have been a thrilling interlude. They've managed to both maintain the overall tone of the comic, while telling a story that is entirely its own. It gave Fraction an opportunity to explore detective noir (in addition to his work on Satellite Sam) and Wu a chance to show off her design skills. This story has been outrageously fun and surprisingly potent, but it has come to a close. Now it's time for Hawkeye to do the same.

My emotional response to Hawkeye #21 was intense. From the anxiety at the start to the excitement of the battle and finally the dread and pain of the end" It all feels real, and that's because it is. Aja, Fraction, and Hollingsworth are all musicians. They are making perfect use of the comics form to create emotion. No matter how loose or organic the experience may be, their choices are exacting and precise. They are masters of their art and the result is enthralling, pulling you in and refusing to let go until the final page is turned.

As a return to DC Comics, Hawkman Found shows what Lemire brings to the table and why fans ought to be excited. He understands superheroes and works well even within the constraints of an odd event comic like this one. Above all of that his collaboration with Hitch and Nowlan reveals a writer who provides the best possible script for his artist so that they can make it soar. With any luck, some or all of these creators may finally be the ones to solve a problem like Hawkman.

Everything about this issue of Hellblazer is as inauthentically British as possible.

This chapter of "The Good Old Days" features a lot of characters, but very few who have any impact on the events of the issue.

Hellboy and the BPRD #1 is the first act of an excellent horror film. It establishes its characters and conflicts without relying on cheap tricks. Instead the actions in this comic are allowed to breathe and the characters are provided with depth and weight. There is tension within Maleev and Stewart's artwork, but it is subtle and bides its time waiting to build as the story advances. It should be expected that a team like Mignola, Arcudi, Maleev, and Stewart would create an excellent comic and that is just what they do.

Hellboy and the B.P.R.D. 1953 is a perfect comic to pick up as part of Halloweek, whether you're a longtime fan of Hellboy or just looking for an introduction. Not only is it accessible, but it manages to deliver three succinct tales in very little space. It reveals the breadth of Mignola, Stenbeck, and Stewart's talent as storytellers and flexibility within the realm of horror. Whether you're looking for monstrous action, existential dread, or just an old fashioned campfire tale, this issue delivers on all fronts.

What places this one-shot over the top though is its choice to provide no easy answers, embodying an ongoing battle from which the B.P.R.D. cannot save us.

It is always a joy to see a new art from Mignola, and Hellboy in Hell #7 proves that rule once again. From the evocative, soft dreams at the start of this issue to the big battle at the end, every page of this issue is a treat. Hellboy's development as a character is mirrored by Mignola and Stewart's as artists, all of them showing their souls here.

Dan Abnett's script also reflects work with fine elements, but speed bumps that could and should have been smoothed over given more time. There are a number of jerking transitions between scenes, with a failure to effectively introduce two named characters and notable setting. Dialogue often hops between topics, hitting the required points but not cohering to anything resembling the rhythm of conversation or banter. Abnett does land some excellent puns and very charming lines though. Hercules' respect and forthrightness with two young men is particularly excellent. Moments like this reveal the promise of Hercules as a series, one that would be quite stirring if only its creators could more consistently reach it.

Overall, Hillbilly #1 marks a continuing evolution of a talented cartoonist. Changes to style and media present an intriguing read, but one that is shackled to a story and themes that have grown stale.

It is absurd, grindhouse violence and embraces that status. Just be aware that it has nothing more to offer.

Hit-Girl #2 is cruel, hateful, and completely irredeemable.

What started as a joyful embrace of violence against Latin America has not moved beyond that obsession at all, only found new elements to make it appear even more ugly.

There's no emotion or humanity in any of these characters and the maudlin moments just expose this bizarre cartoon for what it is.

Jeff Lemire isn't able to bring any notable twists to the core premise, even if he does dial back on the racist and joyfully cruel elements of Millar's writing.

Buried in all of this is the ingot of a good idea. Much of the script reads like grindhouse cinema, spitting on subtlety and happily accepting the obvious explosion or laugh. Frank J. Barbiere is a writer capable of understanding the appeal of that concept, standing up a massive cast of monsters for big action and tongue-in-cheek melodramatics. There are at least two moments here that are capable of evoking an emotional reaction, the sort where you grin with the comic rather than glaring at it. Barbiere's script doesn't contain enough laughs or craziness to make Schoonover's art endurable, much less entertaining though. It's a tough read where the glimmers of interest and potential only make the final result all the more disappointing.

Huck is centered on a very charming, potentially powerful idea. It's an idea that surfaces in Albuquerque's designs and storytelling, showing flashes of what could have been. Ultimately though, Millar's script isn't capable of bringing the ideas he has into a coherent story that will inspire or awe. Huck #1 is the sort of comic that may give you cause to think, but your thoughts will linger on how much better it should have been.

As a concept, Hungry Ghosts retains power, some of which may be fulfilled in future, less crowded installments. Yet as an individual issue of a comic, it is difficult to recommend. Ponticelli and Del Rey are faultless, but the stories they are telling lack life. There's very little frightening about these ghost stories beyond a few horrifying images. These are the sorts of tales you quickly skip past at summer camp, primarily because the storyteller doesn't know how to shape them. There's plenty of talent within these pages, but very little of it is being displayed well.

Like much of the series, it reads like an afterthought with more potential than can be found in the final production.

I Hate Fairyland #1 doesn't always crank its volume to 11, but when it does, it is a laugh riot. For all of the promise held in this simple premise, it's only through Skottie Young's brain that it truly comes to life. His imagination, attention to detail, and refined ear for crude humor combine to make something a humor comic that's still funny even upon a third and fourth reading. Watching childhood dreams brutally slaughtered has never been more enjoyable.

Just like a bad episode of The Twilight Zone though, there remains the promise that next week there will be new oddities and shocks, perhaps even ones that will haunt you for more than a few minutes.

It's clear that this series has bigger ideas, but on the level of an individual issue that present a story that work in neither the micro nor the macro, which is particularly disappointing in this installment.

Immortal Hulk is a Marvel horror comic. There are two important elements in that description, Marvel and horror, as one does not function without the other in this issue.

With a twist straight out of the best EC horror comics and some incredible framing by Bennett, it will leave readers on the edge of their seats with eyes half outside of their skulls. Those final few pages are well worth the wait.

This is an achievement of editing, plotting, and style, one that shows just how much gamma radiation is left to be wrung from this decades old monster. Keep it coming.

Incredible Hulk #713 is a very deflating conclusion that doesn't stand up against the original story it commemorates.

The Incredible Hulk has reestablished its footing and is prepared to do some real damage. Wherever "World War Hulk II" goes, it looks to be one wild ride.

This is a meat and potatoes Hulk comic. Some big punches are thrown and the power scale is increased, while the real struggle is wrought in a big metaphor for internal battles.

While Amadeus' demands as the Hulk might seem extravagant, the scope and outcome of his meltdown read like an excuse to reassemble the status quo for a new series.

Infinity Countdown #1 is not a revelation, except that it reminds us as readers how enjoyable these sorts of series can be when well told. Creators and readers alike ought to look at it as a standard and not an exception for the future.

Whether it's a small moment or the biggest explosions caused by spaceships (or driveable Galactus vehicles), this miniseries is delivering on all fronts.

With such relentless pacing and a clear eye for comedy and action alike, this is delivering everything fans might want from an event title.

Whichever you direction you look, this miniseries continues to deliver every sort of fun one could hope for from a superhero event with laughs and shouts aplenty.

There's a perfect combination of humor and action, as the story continues to center around the Guardians of the Galaxy with just enough additional pages to move other characters into place.

When it's over, Infinity Countdown Prime feels more like homework than entertainment, and that's never a good thing, especially for a superhero comic.

Even for readers engaged with all of "Infinity Countdown", it's difficult to find a reason for reading this one-shot.

All of the pieces are in place by the end of this issue, and offer hope that Darkhawk will finally discover a foothold in the Marvel universe in the story to come.

This issue contains some interesting moments, but does very little outside of the ordinary. It capably moves through plot points and positions characters, but effects little emotion or drama. The storytellers are certainly competent, but theres nothing here that sets the comic apart from any of the other ensemble superhero books being published today. Inhuman #4 wont offend any readers, but its not likely to excite many either.

Ultimately, Inhumans Special #1 achieves exactly what it sets out to do: Give a chance to let new creators prove their salt with Marvel's biggest franchises. Beyond a stellar understanding of Spider-Man, Loveness proves that he can juggle multiple threads and voices without losing the reader. Lee, meanwhile, poises himself for inclusion in discussions that may include names like Frank Quitely, Chris Burnham, and Ramon Villalobos. It's a shame that Lee can't join Loveness for the story's final act in All-New Captain America Special #1, but at least the two could make this chapter anything but an Inhuman Error.

Injection #1 is a bizarre first issue with lots of plots points and exposition, but very little understanding. The story itself is not a mystery, but the manner the creators tell it in is mysterious. That experience could be off putting, but at least Ellis appears to be writing with the strengths of his collaborators in mind. Shalvey and Bellaire are more than capable of carrying these mysteries and introverted characters. Together, they elevate the script and transform what easily could have been an odd debut into something puzzling, but pleasing. Add in the beautiful draftsmanship and coloring, andInjection #1evolves from an intellectual puzzler into must-read comics.

Injection is one of the most beautiful comics being published by Image today. The story is impeccably told, which makes its obfuscation of character and plot easier to accept on a month-by-month basis. It's still unclear where this is heading or if it will reward reader's patience, but watching the journey unfold is its own prize for now.

In one panel, Dib announces, "This just keeps getting dumber." He got that much right.

Invincible #144 is far from flawless, just as Invincible was. Narration drags at times and there is stilted dialogue. It speaks to the strength of the series' art and the emotional bonds of its characters that even when these are acutely noticeable, they're easily ignored. Like many favorite superhero comics, it's strength lies in its resiliency and boldness, forming an imperfect metaphor between Invincible and its protagonist.

There's a lot left for the final issue, but everything is in place for a grand finale.

Bendis' plotting has legacy in mind. Every big twist and reveal can be linked to work he has touched across his tenure. While most of it is focused on recent storylines, specifically those with Doctor Doom and Riri Williams, there are plenty of touches addressing events and miniseries throughout his tenure.

There's no real tension in the battle as the stakes or flow of combat are never entirely clear. Sacrifices don't mean much from people already living in hell. To top it all off, this is a martial arts comic in which the action is hardly coherent outside of captions naming specific moves. It's a bad look.

Ivar, Timewalker #1 is another very enjoyable debut from Valiant Entertainment. Van Lente and Henrys first series for the publisher, Archer & Armstrong, continues to be one of the funniest and most endearing there. Ivar, Timewalker contains the same blend of charm and wit that could easily launch it to similar heights.

There is simply a lot to like about this comic that serves as both an introduction and continuation of one of Marvel's best. What a pleasant surprise.

Bendis continues to wrap up his Marvel series on high notes.

It's a great single issue and everything readers could hope for from Bendis' departure.

As a new reader of the Martian Chronicles, I was impressed by this debuts ability to both integrate me into the world Burroughs created and begin a new story. Its a refreshing change of pace, a long running adventure story that still manages to be inviting. Marz and Malsuni are clearly having fun telling new tales set upon Mars and its easy to join in the action with them.

As a start this issue blurs the line between familiarity and rehash, leaving readers to hope that it has more to say as the story continues.

There's plenty of potential, but it's impossible to know whether any of it will be exercised based on what has occurred thus far.

Jughead #1 isn't just another great Archie book; it's a great humor comic with no additional modifiers needed. Zdarsky and Henderson understand what makes this character function as the star of a series. Jughead isn't just another part of the Riverdale gang, he's larger than life launching into high school like Dangerfield busting into Bushwood Country Club. His exploits and daydreams alike feel like the stuff of legend, even if they're really just one helluva gas.

It's not clear who this comic is for, but the only thing there is to root for by the final page is an end to it all.

This issue will get you from point A to point B, but also leave you asking what the point of it all was.

Millar compared Jupiters Legacy to Watchmen when it was first released, and even then it was a plainly silly line of hype. Jupiters Legacy is nothing like Watchmen, and thats a good thing. Rather than trying to be something its not, Jupiters Legacy embraces what it is. It is a big love letter to the superhero genre, one that sincerely loves the big battles, clear distinctions, and grand statements of men and women in tights. This is the kind of story that Millar and Quitely are both perfectly suited to tell. Now that they are embracing the central premise of their story in the form of a young boy with an incredible streak of altruism, they are able to deliver a truly incredible comic, one that is hard not to love.

Justice League #36 isnt a return to form for the series, its the creation of a much better format. Its a story that embraces the genre to which it belongs and discovers a natural sense of pacing with that change. Even though its told with an aesthetic that I generally find displeasing, it is difficult to fault Fabok. He composes the action and figures very well in order to tell a fun superhero story. This is exactly what most people would expect from a comic about the Justice League and proves to be surprisingly refreshing.

This is not a greatest hits collection like so many recent Justice League narratives. Justice League #1 is a comic that evangelizes about the greatness of the superhero genre and has faith in its own images and words. That's what makes this a thrilling debut, one defined by imagination and confidence. It very well could be the start of a new era for the Justice League and DC Comics.

While the shift from Cheung to Jiminez may be jarring in a collection, it's difficult to notice here given the density of story and each new page. Justice League continues to be a delight.

This iteration of Justice League is going big with every issue, and it is making an impact.

There is a careful balancing act occurring within these pages as the pure amount of story pushes the staples out of the issue, but it will be an impressive display if it all coheres by the final page.

It all works together about as well as anyone could expect, and the individual pieces promise an even greater story now that the place setting has been accomplished. It's a good reason to start here, and a better reason to see what happens next week.

The second installment of this miniseries lives up to the promise of its setup.

This miniseries is shaping up to be one of the best DC Comics events in many years.

"No Justice" will go down as one of the best events of the Rebirth era, but the final issue is the weakest installment of the series.

Kaijumax #4 veers between the sublime and troublesome, but it spends much more time with the former. In spite of the themes being explored, Cannon capably delivers laughs along with insight without ever cheapening characters or their experiences. It's a truly odd fusion, but one that's well suited to the imagination on display here. Kaijumax is one of the most interesting premises being explored today, and the execution of its style, themes, and tone is fascinating.

Kaptara #1 is an inconsistent beginning, one plagued by an uncompelling protagonist, but still filled with promise. If Zdarskys script in this debut proves to be 90% setup for the future, then theres a lot of hope to held out for Kaptara. Keith, in his best moments, could still become the centerpiece of a fascinating story. More impressive still is McLeods contribution. Both the imagination and subtlety expressed throughout the issue are the most engaging reason to return. Kaptaras debut is a mixed lot, and its difficult to tell whether it will be worth sticking around until Zdarsky and McLeod return.

Karnak #1 is instantly engaging and reads briskly before reaching an ending that is neither cliffhanger nor stopping point. It's a jerking halt to the issue that reveals Karnak to be a story that is designed without issue breaks in mind, much like Ellis' other ongoing work on Trees and Injection. There is more than enough good to be found in this first installment though, that it's easy to forgive Karnak #1 for failing to cohere as an issue. Ellis and Zaffino deliver an interesting hook for this reinvention, one that is equal parts character study and brutal action comic with plenty of style throughout.

Even with the break in art at its end, Karnak #2 is a strong showing. The hyper-violence on display is stunning in its execution and presented in the most favorable conditions possible. As Ellis and his collaborators question the purpose and intention of violent methods, allowing those methods to be shown without the modification of words or a sense of humor makes them land. Karnak #2 is a comic book that lives and dies by the strengths of its visual storytelling and style, and here it hits home.

As a vehicle for mayhem, Kick-Ass #1 is more than capable of delivering. That is not how this series is presented, however, and there's a distinct lack of self-awareness regarding its love for carnage.

It's destructive streak through impoverished America continues, using black bodies and real problems for easy thrills and entertainment.

No matter how clean or brutal the linework may be, it's actively servicing something degrading and not worthy of attention. Keep it.

Romita Jr. delivers a solid car chase, but that's a difficult compliment to offer given the sadistic and purposeless bent of the rest of this issue.

If being boring wasn't enough, the issue also reminds us that the new series central antagonist is a man named Hoops whose sole character attribute is liking basketball; that's insulting.

This comic is hateful, cruel, and irredeemable. Keep it.

As a standalone issue, this is one of the series best to date.

This is one issue that has to be read to be appreciated and fans of the series certainly won't be disappointed by how it plays out.

Kill Or Be Killed #20 is something less than the story and ideas that built to it.

Yet what really sets Koshchei the Deathless apart is the positioning of Hellboy as reader, groaning and kidding on behalf of the audience. Somehow the horror is made a bit more palatable through his eyes and the story all the more enjoyable for it.

The final scene of the issue is horror comics at its best, frightening because of a much greater fear than the monsters that populate this world.

Several sequences in this issue are reminiscent in design and minimalism to Mignola's work on Hellboy, evoking the very best this comic has to offer.

While this issue doesn't hit the highs of previous installments, it's still a fine addition and one that will leave you hoping to see Koshchei (and his goat) at least one more time down the road for a proper resolution.

Lake of Fire #1 is the best debut issue to be published by Image Comics in 2016. It establishes its characters, world, and, most importantly, themes in a clear manner. Fairbairn and Smith are sure of what they want to say and make it clear in this introduction. There is a long road ahead for the crusaders of this comic and their allies. The questions asked here will not be answered for some time, much less the question of who will remain and what will be left of them. One thing is for certain: Lake of Fire is a devotion to the conflict between ideals and reality distilled in artwork that will chill you to the bone.