This series has a lot of potential. Based on fan-favorite characters, and featuring new guest stars every month, with writer extraordinare Mark Waid at the helm, you'd think this would be the perfect first issue to set things off. Unfortunately, it seems that there are teething problems to get rid of first. Whilst Coulson shines through in this issue, the other SHIELD characters fall to the wayside. The same is true of the artwork " Coulson looks great, but everyone else seems rushed and unfinished. I have high hopes for this series, but this is a bit of a rocky start. Hopefully the addition of everyone's favorite teen superhero, Ms. Marvel, in issue 2 will get things going in the right direction.

This second issue still seems to have some of the problems that the first issue does. The artwork has improved due to the addition of Humberto Ramos, but even that isn't enough to make this anywhere near the title it should be. With the creative team it has, and the concept behind it, this title should be doing a lot better than this. Thankfully it's not all doom and gloom, but the unfulfilled potential sours the experience more than it should.

The death of Secret Six in the wake of Flashpoint left a void in my pull list and my comic reading life, as well as many other readers, I'm sure. Now, the series is back with a vengeance, and everything old is new again. Everything we loved about that series is here, with some new twists and plenty of good reasons to check out the next issue too. It's a shame that the artwork detracts from the action, because Simone's script is strong and the choice of characters almost guarantees fireworks. So here's a secret " Secret Six was awesome, and this version looks set to follow in its footsteps, if it can sort out the few niggles it currently has.

Secret Six is off to a rocky start, which is really disappointing. With lacklustre artwork and massive delays killing all momentum between issues, it feels like the series has been set up to fail, and considering the eclectic cast is amusing and full of potential, I'm hoping that it manages to overcome these teething problems and come back with a vengeance (and a regular shipping schedule) once Convergence has concluded.

Batman's trip into the future could have been worse. It also could have been better. As it is, it kind of just sits middle of the table and doesn't do anything to set itself above or below the rest, except with its artwork. The storyline rubs me the wrong way because there seems to be no consistency with the other Bat-titles, and the fact that I kind of lost interest halfway through the issue because it was fairly clear what would happen by the end. I'm guessing that this issue is probably not important in the grand scheme of Scott Snyder's Bat-Epic, but that doesn't excuse it from being just a little bit halfhearted.

Inhumanity is another blanket event, but only a few characters have been deemed worthy of getting their own one-shot instead of having the story forced into their ongoing series. Superior Spider-Man is one of these, and whilst it's a story that does ring of 'this will be forgotten very soon', it's a nice tale that once again shows off Christos Gage's intense character work as he puts Doc Ock/Spidey through his paces, and manages to construct a story that doesn't have to end in fisticuffs to resolve the issue. Add in Stephanie Hans' gorgeous artwork, and if you've got a spare few dollars/pounds lying around, then you could definitely do worse than picking up this issue.

This is easily the most successful of the Smallville Specials so far, tying into the main storyline and revisiting a fan favourite character in the next steps of her ongoing journey. Tess' time out of the spotlight is remedied nicely here as she takes centre stage and comes along leaps and bounds in her own personal storyline. Tess Mercer will never be the same again, but she's certainly getting there.

It's a damn shame that this issue wasn't more enjoyable, since I'd really been looking forward to it. The artwork is dark and uninviting, the characters never really define themselves as anything but ineffectual, and the sole adult is a whiny mess. Given that the rest of Season 11 has been excellent, I'm willing to give Bryan Q. Miller and the rest of the team a break, but let's hope this issue becomes a distant memory sooner rather than later.

After five specials, you'd think everyone would know this anyway, but just in case, let's reiterate what the purpose of the Smallville Season 11 Specials is " it's to focus on other characters that aren't prevalent in the main storyline, and tell a story that may impact the main story later on down the line.

Despite my negativities, if you're already reading Teen Titans, this issue is worth picking up. It's a little hard to justify the higher price point, but it's an essential part of the new storyline that continues the themes Pfiefer has been using, such as social media and the public's opinion of the Titans, as well furthering some plot points in the series whilst bringing back a fan favourite character in Superboy. The art and dialogue don't quite work as well as you'd hope, but it's a bump on the road that I'm willing to overlook, especially given the cliffhanger ending to the annual that has me wishing yet again that Convergence wasn't derailing everything for two months.

Will Continue To Read? Yes.Will Continue To Review? Yes.

Granted, I'm not a teenager anymore (and isn't that a depressing sentence), so I could be reading it all wrong. But I feel that Teen Titans is for once a book about teenagers, for teenagers. It explores the effect that a team like the Titans would have on teenagers in a big city, and how the team themselves would feel about how normal people react to their presence. The villains are ones to watch, and the artwork is as always beautiful thanks to a reliable penciller in Kenneth Rocafort who never fails to impress. Teen Titans is making good progress, and if it stays this tightly plotted and story-oriented, I see good things in its future. Of course, I could just be enjoying a cohesive story after 34 issues, 3 annuals, and a crossover or two from the past series that made absolutely no sense, but y'know, that's just me.

Teen Titans isn't the best book on the stands. At least, it's not yet. But what it is, is on the road to recovery after being dragged through the mud. It's now good comics, superhero fun that you can read with a smile on your face, and it makes me happy to look forward to reviewing it now instead of dreading it. With all the groundwork laid for a series that should do well, here's hoping it gets the chance to, and hasn't had its entire readership scared away.

The first arc of Teen Titans comes to a surprising end in this issue, and whilst the title still has a few teething problems to work out, such as the balance between the team's characters, it is a marked improvement on everything that went before, and seems to be learning from the few mistakes it has made in the previous three issues. The artwork is of course excellent thanks to Kenneth Rocafort, and the story and dialogue are coming along nicely under Will Pfiefer. Teen Titans is fast becoming a book that should be on everyone's pull list, but it isn't quite there yet.

Teen Titans' second arc begins quite well, furthering plotlines from the previous arc as well as setting up some new bits and pieces to follow through on. Pfiefer's balance between the team members is definitely improving, with everyone getting their turn this issue, and the dialogue remains great as ever. Scott Hepburn's artwork is a little different to Kenneth Rocafort's, but despite a few sharp faces, it serves the story well, and the antagonists for this arc look set to be well in line with the story Pfiefer is trying to tell. The series hasn't hit a bad foot yet, and it doesn't look like this arc will stop that winning streak either.

'Solid' is the word of the day for this issue. The storyline progresses in some fun directions, and new Power Girl Tanya Spears is already making an impression on the team. The artwork is easy on the eye and works well with the team bar a few pointy edges, and the cliffhanger is difficult to puzzle out, making next issue a new mystery to solve. Teen Titans isn't essential reading quite yet, but it is proving to be a reliable read month in and month out.

After 35 issues, we're finally here. The climactic battle between the X-Men and the Hellfire Club comes to a head, and pretty much every plotline over the past 2 years either concludes or morphs into something new and exciting. The end of an era is always a sad time, and it usually leads to relaunches, creative team shifts, and all manner of other disconcerting developments. It's a sigh of relief to be able to say that Wolverine and the X-Men's Hellfire Saga ends with a bang, and there's no sign of Jason Aaron or his artistic collaborators going anywhere anytime soon. There's still plenty of story to play with, and Aaron's not letting his foot off the pedal at all.

This issue of Wolverine and the Atom, I mean, Battle of the X-Men, erm, is a bit of a mixed bag. For everything Aaron does right, something else goes wrong, and it's never clear if it's the crossover's fault or Aaron's. Wolverine and the X-Men is a schizophrenic title at the best of times, and this is unfortunately one of the issues that falls squarely on its downward swing. Hopefully next issue will bring us back up again, but considering the crossover continues there too, the hope is small.

Battle of the Atom is nearing its close, and whilst it has been a welcome distraction overall, it does mean that we lose out on two months worth of the usual excellent Wolverine and the X-Men storylines. Once again, it seems that this title is destined to yo-yo up and down quality-wise, and we can definitely say that it's due to Battle of the Atom's influence that we're back on a downturn. We're back to normal next issue however, so hopefully we'll be back up to excellent soon enough.

Whilst it doesn't do anything particularly wrong, this issue doesn't really do much right either. In fact, it doesn't do much of anything, which is probably even worse. It's basically a non-issue, giving us a brief glimpse into Relic's head but not enough information to give him much of a personality beyond 'sad', and it gives us little to no hints as to how Lights Out is going to evolve from his crusade against the Lantern Corps. It's not a bad issue, but it had the potential to be much more.

Despite my misgivings from before, Lights Out is off to a strong start with perhaps the best of Venditti's scripts since his run on the title began, and with strong artwork from the rest of the creative team too. Hopefully the next three weeks will bring equally impressive instalments from Green Lantern Corps, Red Lanterns, and Green Lantern: New Guardians before we return to Green Lantern for the conclusion in the annual.

As before Lights Out, Green Lantern is still an entertaining read. We're back to the normal spacefaring adventures, but the after-effects of Relic's attack can be felt on every page. Every Lantern is dealing with it in a different way, and Hal's resolution for the Corps' ongoing mission brings up some very interesting character moments between himself and the other involved Lanterns. Tan's art remains solid, and this is still a book you should look forward to reading each month.

Things have been hectic for the Green Lantern Corps for a long time, but with all of the events behind it, it seems like there may finally be some stabilization in the status quo. The majority of this issue is solid superhero fun, but there are glimmers of the spark that makes Green Lantern special, so hopefully Robert Venditti is able to mine for those glimmers and bring this title back to where it's supposed to be.

It's taken a little while, but the accelerator has been firmly pressed again for Green Lantern as Venditti sends the Green Lantern Corps spiralling into yet another war, and Eaglesham makes sure every page is a visual treasure. This is possibly the best issue of Green Lantern since #20, and sets up a lot of potential moving forward.

This issue is the latest in a long line of decent issues that have good ideas but fail to capitalize on them. The main storyline is abandoned in favour of Red Lantern Supergirl, which is then dumped onto the Red Lanterns and promptly forgotten about once again. If this hadn't been a flipbook issue, I'd probably have been less harsh than I am being, but it's like showing us two sides of the coin and one of them is distinctly shinier " and it's not Green Lantern, unfortunately.

Green Lantern is currently in a fall from grace. It's nowhere near as good as it used to be, and doesn't seem to show any sign of getting better, which is a damn shame. There are good ideas being put into play with this storyline, but Venditti seems to be dropping the ball where it counts. His character work is excellent, but the overall story isn't strong enough to hang these smaller moments on, and the artwork is following suit, with a poor framework that no amount of inking or coloring can save. Let's hope things get better, or god forbid, I might actually have to drop a title I've been buying solidly since I started collecting single issues.

With Green Lantern: New Guardians continuing to be a solid read every month that is telling its own stories and not worrying about this whole war mess, and the glimpse of greatness that Red Lanterns seems to have reached after the flip-book issue a few months back that showed me what I'd been missing with that title, as well as the recent addition of Sinestro's titular solo series (which had a great first issue) to the line-up, it's clear that there are still plenty of other places I can get my Lantern fix, and while Green Lantern seems like a bad boyfriend who can't commit to anything, I think I'll try my luck elsewhere " I encourage you to do the same.

I had given Constantine one more arc to win me over properly, because the first arc wasn't anywhere near what I'd like it to have been quality-wise. This second arc has been much closer to the mark, with this issue being the best that the series has been since it launched. If this is what we can expect going forward, Constantine is well on its way to being a book I look forward to every month, rather than just one that goes on the pile because it's not quite bad enough to drop.

Once again Constantine impresses beyond what I'd thought possible. If it keeps this level up, I'll eventually have to stop expecting it to fail and get ready for a book that has a firm identity that justifies its existence over Hellblazer's demise, and seems to have a writer and art team that can back it all up. Next month's issue can't come soon enough, even if it's just to see if I can prove myself right.

Constantine was on its way up before Blight struck the title, and one might think that a crossover event once it had finally gained some momentum would be a bad move, but the quality here is just as solid as it was before. Blight may be a slow burning storyline, but the dialogue is enjoyable, the motivations of the characters are varied, and the stakes couldn't be higher.

Even with that complaint, this is another solid issue of both Forever Evil: Blight, and Constantine itself. The artwork by fill-in artist Beni Lobell is very reminiscent of Mikel Janin over on Justice League Dark, so there's artistic consistency between the titles, and the story, even if it is a bit filler oriented, is a fun read. Keep it up, guys. You're almost to the halfway point, and then it's the sprint to the home stretch.

Constantine still manages to retain its individual identity as a series with this, part x of the Blight crossover (I've lost count, give me a break), and turns out yet another story that gets right to the heart of the title character and gives us some superb artwork to look at in the meantime too. I was planning on dropping Constantine not long before this crossover started, but if it manages to stay this good once we come out of the other side, it won't be going anywhere.

Constantine is still managing to surprise me. Whilst it is still a very different book to Hellblazer (and that's a good thing, honestly), it has managed to define itself as a book that isn't afraid to get inside Constantine's head, somewhere we're not usually privy to. Fawkes' inner monologue for Constantine is engaging, and he has taken Nick Necro and fleshed him out as a foil for John that will likely return again and again to become his New 52-iverse arch nemesis. The artwork remains stunning, and the story balances its crossover duties with still being a great series at the same time, something I'm still shocked to be saying repeatedly. Come back next month for the aftermath of this eighteen issue crossover, and see where John goes next.

It's almost as if Blight never happened, as Constantine is back to business as usual in this issue. There are circles within circles, and whilst this issue does feel like the beginning of something much bigger, it's still enjoyable in its own right, with jaw-dropping artwork during the mystical sequences, and an intriguing cliffhanger that will likely shed some light (literally, if you've read the issue) on what's actually going on.

Constantine has spent a lot of time trying to distance itself from Hellblazer, but it just goes to show that if it tries to take just a little of what makes Hellblazer so special and makes it its own, then we can get issues like this, that are so close to the mark on the story front that it's hard to be critical. The artwork lets this issue down slightly due to the tonal discrepancy between the subject matter and the visuals, but once again this series shows that it has come along leaps and bounds from where it began.

This issue is sad. Constantine had come along a very long way, and was beginning to show us just what the series could truly be if it embraced its darker heritage and got on with magic the way it should be gotten on with. Instead, this issue is a setback that undoes most of the good work that has occurred in the title. The plot is a mess, with no point to the major conflict, and the villain is a complete missed opportunity. The cliffhanger is cryptic, but not in the engaging sense that happened at the end of #13, cryptic in the sense of 'why should we care?'. The artwork remains superb however, and hopefully this title just hit a bit of a speed bump and will be back on track as soon as possible.

This issue of Constantine can be summed up as a very deep sigh. Squandered potential and ill-suited artwork mean that this issue is perhaps one of the worst of the series, and it had been doing so well in the last few months in capturing the feel of a good supernatural book, close to its origins as Hellblazer. Let's sweep this one under the rug and hope for better next time.

The fact that we're taking a break mid-storyline now for a Futures End flashforward probably gives this issue even more of a sour aftertaste. Not only do we have to wait two months to find out what the hell is going on, but the Futures End one-shot isn't related to this storyline, or any other that we've been reading so far either. It seems that Constantine's book is out to annoy me at this point, and that's doing nothing to assuage my ideas of dropping the title. This book gets to the end of the storyline, and then we'll see if it deserves to stick around for a while longer or not. Hopefully, it can do something impressive between now and then, but with its track record, I'm not holding my breath.

This series has got one more arc to impress me. I've been saying that for a very long time, because it seems like it manages to pull out a good issue every now and then in order to keep me interested. However, this is the next disappointing issue in what is becoming quite a long line, so maybe Earth 2 can reinvigorate this series and put it back on track.

So that's it. Constantine has finally managed to break me. After bouncing between exceptionally good and exceptionally bad for 19 issues, it's finally gotten to breaking point and driven me to drop the title. It often has many good ideas and then executes them poorly, and seeing all this wasted potential is enough to drive me away from the book. Combined with multiple artists who don't seem to be able to capture the atmosphere that a title such as this should have, Constantine is a book that I don't look forward to reading or reviewing any further. Luckily, Gail Simone and Ken Lashley are launching a brand new Secret Six title next month which can easily fill the hole in my review list that Constantine is leaving.

The cards are on the table and the Reverse Flash's origin is revealed in time for Reverse to come to a conclusion next month. Even if the artwork isn't as good as it could have been, the story is as always tightly plotted and well thought out, creating a supervillain origin that makes sense, whilst humanizing Daniel's character so that, even if we don't agree with his extreme methods, his reasons for murdering people make at least a little sense.

This may be the last issue that Manapul and Buccellato are creating together, but the duo will be reunited on Detective Comics next Spring, so all is not lost. For now, Flash ends on a high, despite a bit of a deflated conclusion to the Reverse Flash conflict. The artwork carries the issue through, and the character work is as always top notch stuff. It's fair to say that I'll be following this pair to Detective and beyond, wherever they'll be working their magic next.

Zero Year has had a mixed effect, and for the most part, this issue is inoffensive if unnecessary. It doesn't do anything particularly wrong, but it doesn't do anything special enough to really warrant its inclusion in either the Zero Year narrative or the ongoing Flash story either. Plus, the whole story isn't even resolved, making the entire issue a bit of an exercise in futility.

Flash's epic storylines might be all over, but there's still time for a little bit of fun as Buccellato and Zircher close out the first chapter of the New 52 Flash series in style. The story is a great way to showcase both sides of Barry's life, posing intriguing questions that will be fun to answer in the next few issues, and the artwork, whilst different to what defined this series when it began, is a joy to look at.

Only one issue to go, and we're still full-steam-ahead with the plot twists, unexpected revelations about Barry's personal life, and a twisty, turny plot that brings the Flash and Deadman together in an organic way. The artwork from Zircher is unique and sets the tone for this story which is very different in tone to the rest of the series, and overall everything is working together seamlessly. It's a shame that we have an entirely new creative team coming on, since it seems this one is working just fine.

It's a pity that Flash has had such a good run and it has to end on this bum note. The storyline has too much going on, and not enough time to sort everything out as we'd like. The issue itself isn't actively bad, it just feels like it could be so much better, and there's a lingering feeling of unfulfilled potential in this final storyline. Instead, go and read Forever Evil: Rogues Rebellion to give writer Brian Buccellato the send-off he deserves, then meet me back here for next month's new creative team, and the return of Wally West!

This first issue by a new creative team does everything it ought to do " it establishes Barry's current status quo, introduces us to the most important supporting cast members, gives us a cliffhanger ending that will make readers want to come back for more, and is just all around very enjoyable. It's a solid start that lays a good foundation for what's to come, so fingers crossed it's just as good as this, if not better, from here on out.

New creative teams are always a worry, but this one seems to be making its mark on the Flash well enough already. They have good ideas, and seem to be very good at balancing the multiple plotlines that they're running with in a single issue to turn out a very rewarding experience that feels well worth the price of admission. Brett Booth's art continues to be easy on the eye and versatile enough to cope with everything Vendetti and Jensen are throwing his way, so it seems that Barry is in good hands for now.

I'm quietly optimistic at the moment about The Flash. The new creative team hasn't managed to screw anything up majorly just yet (although their speedy character development does need to slow down a bit), and the visuals are great. The storylines are all well balanced, and even though there's a lot going on, The Flash feels like a meaty comic book every month and takes a while to consume, plus it deserves revisiting every now and then to remind us where we've come from. Everything is bubbling away nicely at the moment " it'll soon be time for these plots to all erupt together, and then we'll see if the new team can stick the landing.

Flash has been doing well so far, so I'm hoping this issue, which looks to be the penultimate part of the first storyline by the new creative team, is just a bump along the road. There's still lots of time for the team to prove that they can execute the ending with flair and clever plotting, which is how they've managed to turn out the last few issues, so the precedent has been set.

This first arc comes to a satisfying conclusion as a civilian gives the Flash the run-around, whilst opening the door for the conflict in next month's Futures End storyline. As the Future Flash heads towards the present, he has one more opponent in his way " the Reverse Flash! So I'll see everyone back here in a month for that, but in the meantime, I officially give Robert Venditti, Van Jensen, Brett Booth, and his artistic compatriots the Seal of Approval. I'm on board guys, don't let me down now.

This issue is a long time coming, with the final battle between Barry and Future Flash (at least for now) being full of good explanations for Future Flash's motivations, and the conclusion to the issue sets up a lot of potential for the next few issues too. The artwork remains excellent, despite some cluttered panels as Booth and Dalhouse get a little over-excited with the lightning bolts, and once again Flash makes itself recommended reading.

This new arc of Flash begins well, establishing new mysteries for our Barry whilst getting the Future Barry's hands dirty in the present. There's some strong hooks to continue reading about, with the Speed Force section being tantalisingly short, and Future Barry's section being all over the place, helping to cement his feeling of fish-out-of-water. It seems that the Future Flash is here to stay, at least for now, and that works just fine with me.

This issue of The Flash isn't really anything to write home about, with both the Flash and Future Flash stories being kind of pedestrian at the moment before things kick into higher gear later on. The promise of Overload gains this issue half a point, and Brett Booth is back to pencilling the entire issue after help from a fill-in last month, so the visuals are as top notch as ever. Next issue should be a bit more action packed, but this month's one is definitely a quieter affair.

Flash's second arc under the new creative team ends with a bang, but the rest of the issue is a hyper-speed whimper as plot threads get rushed to their conclusion too quickly, especially after a long winded few issues that now seem to serve no purpose. There's a lot of anticipation for issue 41, but there's also the potential for the writers to mess this one up, as they take on one of the Flash's greatest foes, and the first of the iconic villains that they have written. Fingers crossed, everyone, and we'll see how well they do in three months' time.

Surprising me isn't easy, and yet Constantine's Futures End outing has managed to do it. It's not a perfect story, and it's not even really a Futures End story, but it's a good look at what Constantine is capable of when he puts his mind to it, and shows that magic has interesting sub-clauses to it that make what Constantine does possible. The artwork is superb, and overall this is one worth checking out. Can the main series get back to this level of quality?

I think what makes Robert Venditti and Van Jensen's run on the Flash so far so compelling is that it isn't hampered by the baggage that the Green Lantern title has. Where Green Lantern has been involved in massive galaxy-sprawling storylines for years now, the Flash is a little more personal, and as a result it doesn't feel wrong for these stories to stick to that tone, as opposed to seriously shifting in tone like over in GL. With an issue and an annual under their belt, it seems the pair (along with artist Brett Booth and helpful hand Ron Frenz) have got off to a very good start. They have my attention at least " let's see if they can keep it.

Despite a little story hiccup, Flash: Futures End is basically essential reading if you're already reading the series. Don't be tempted to take the month off, as the creative team certainly hasn't, and we owe it to them to check out this vital installment of their ongoing storyline. It may be a gimmick for other books, but Flash has embraced Futures End and made it work for its own story, instead of the other way around.

Mighty Avengers may be launching in the middle of Infinity, and it has been announced just recently that its second arc will tie-in to Inhumanity afterwards, but if Ewing keeps his writing this strong, and Land bucks up his silly pornface ideas, then this title will be an Avengers book well worth checking out for a long time to come. Nice work, everyone.

Even with only two issues under its belt so far, there's a lot to like about this title. Even with Greg Land's artwork dragging everything down, the dialogue and scripting continues to impress, and there are plot swerves that I'd never have expected to see along the way. As an Infinity tie-in, this title is doing well too, firmly establishing itself as part of the storyline without stepping on the toes of other titles or retreading ground that other books have already covered.

Mighty Avengers' first arc comes to a satisfying close, bringing the team together for a big hurrah as they defeat the bad guy and save the day. All that's missing is the nice little bow on top as the opening storyline concludes. It does feel a little like it could be a mini-series, with the story coming to a close here bar one dangling plot thread, but there's enough good work here (and little enough pornface) to justify this series sticking around past Infinity for a while at least.

With Al Ewing at the helm, I can see Mighty Avengers being a book I enjoy for a long time yet. His grasp of the characters here is excellent, allowing them to do a lot of work in a short space of time, and managing to make an issue that is almost devoid of fighting seem exciting and a page-turner. Despite the constant drawbacks of Greg Pornfa-I mean, Land, Mighty Avengers is a book that deserves a look, and is beginning to carve its post-Infinity niche in the Marvel Universe.

With Young Avengers having come to an end, there's room for a 'fun' Avengers book in the line-up, and this issue of Mighty Avengers seems to be its audition for the part. Equal parts humorous and exciting, with set-pieces that will have you punching the air with glee, this book has definitely defined its identity and deserves a place next to all of the other grimdark Avengers books that are on the stands. Even Greg Land seems to be on top form in this issue, with only one slip-up marring this issue and bringing it down from a perfect score.

It's always a gamble to minimize your superheroics in a superhero title, but if you do it right, readers will barely notice. The character dynamics in this issue are as exciting as a fistfight, and the banter is worth the price of admission alone. The artwork is to die for, and even though there's absolutely no punching, this is definitely a worthwhile purchase.

This little two-part story looked like it was going to be a diversion from the rest of the Mighty Avengers story, but it turns out that it is actually full of establishing story points that will haunt us for the rest of the series' run, with new villains and new complications, topped off with the best art this series has seen since it started. Whilst it's a shame that Schiti isn't the regular artist on this series, at least it's a comfort to know that Ewing's tight plotting and great dialogue will be here for the long run.

I'd be quite disappointed if Mighty Avengers ended here, and whilst this series is indeed over, Al Ewing and the majority of these characters will return in November as Captain America and the Mighty Avengers, under the leadership of Captain Falcon, I mean, the new Captain America, formerly the Falcon. Ewing has proven that he knows exactly what he wants to do with these characters, and the fact that he manages to tell a cohesive and conclusive story even when running through two events and never losing momentum at all. This final issue embodies everything this series has tried to be throughout its run and manages to encapsulate all of the themes that the past fourteen issues have used, all in 20 pages. The Deathwalkers may not be the best villains, but they're not stopping this series going out on a high, or me following it into its new incarnation.

Annuals can sometimes be easily avoided, but that's not the case here. Even if you think this story isn't going to have that much impact on the main title, this is an excellently told story that deserves as much attention as the rest of the series. The artwork is worth the price alone, but Gage's script is just as solid as those of Slott, and his storytelling here has changed New York's attitude to Spider-Man for what seems like the tenth time in twenty or so issues. Well done all around, team.

Goblin Nation may take up 6 issues of the main Superior Spider-Man title, but this annual deserves to be read alongside it. Even if it doesn't deal with anything too important bar the fate of Carlie Cooper, it's still a solid read that won't go amiss if you're reading the rest of the excellent Spidey books on the stands at the moment. I've said it before, but I'll say it again, if Marvel ever need a replacement for Dan Slott on Spider-Man (which I hope they don't for a long time), then Christos Gage is easily the man for the job.

Despite its few flaws and one confusing story point, Teen Titans is one of the better Futures End issues I've read. I could see myself easily revisiting this team of Titans and their new mission statement in the future, there are sufficient mysteries set out (Heretic notwithstanding) that I'd want to see them again, and the artwork by Andy Smith is consistent and easy on the eye, if not particularly noteworthy. Overall, this issue succeeds in most places, falls down in just a few, and leaves me wanting more. Success!

Spider-Man's back, and he's firing on all cylinders. This isn't a perfect first issue, but it's pretty damn close, with the entire creative team doing their best to welcome Peter back to life, as well as set up everything that's coming in the next few months, and revisiting some old plot points to show us how Peter's return impacts them. There's laughter, there's smiles, and an undercurrent of foreboding too " nothing ever stays happy in Peter Parker's life for long, unfortunately, but for now we can enjoy the fact that Peter's back, and he's brought everyone's A-game with him.

With its first arc done and dusted, Amazing Spider-Man has done a lot in six issues. Peter Parker's back and here to stay, and all of the characters around him have their roles in his life (and his roles in theirs) well defined. There's a big tick in the win column in the form of Electro, whilst Black Cat's new role will likely come into prominence when Spidey least expects it. Plus, the introduction of Silk has the march to Spider-Verse well and truly on the way. With great storytelling from both writer and artists, it's not hard to see why Amazing Spider-Man is Marvel's top selling ongoing series at the moment.

I've been waiting for Necessary Evil for a while, and I love Spidey 2099, so I could be biased, but I think this arc is off to a great start. We've hit the ground running, and with all the information and story set-up out of the way early, there's plenty of time in the next few issues for Slott, Stegman, and co. to tell a story that will go down as a definitive 2099 epic.

Necessary Evil has one more issue to go, and despite my worries, I'm sure it'll be just as fast-paced and packed to the brim as this one was. Slott continues to prove why he should be the one writer allowed to dictate Spider-Man's life, and with help from his artistic collaborators, he continues to churn out issue after issue of rock solid superhero action all with that Superior twist.

Necessary Evil explodes to a conclusion (literally) in this issue, and whilst it may be the end of an arc, it's definitely only the beginning of so many stories to come. As usual, Slott builds on everything that has gone before whilst moving pieces into place for more fun to come, and not a single word balloon or panel feels superfluous or pointless. Another home run from Slott and the team " I'd like to carry the sporting metaphor through to say that he's pitching a perfect game or something, but my sporting metaphors are definitely not my strong suit, so let's just say that once again Superior Spider-Man is superb and we really shouldn't expect anything less.

It just goes to show that you should never underestimate this book " even when it's meant to be the 'quiet moment' between big storylines, it is definitely essential reading. Plot points in this issue are going to be reverberating across the title for a long time to come, and you'd be a fool to miss out on it now.

Despite the quick resolution of the Stunner plot, Superior Spider-Man once again keeps things moving and has some huge developments for our lead character and the supporting cast too. Slott doesn't let a single panel go to waste, and the issue ends with almost every character in a different place than when they started. The artwork is exceptional, and once again, this is a book you should most definitely be reading.

This is possibly the first issue in a while where I've not been completely wowed by this series. It has all the parts in play, but when they all come together, it doesn't form as cohesive a whole as the issues that came before it. The lack of Spider-Man could be a reason why, but I feel like this isn't something that should be a problem " Spider-Man has one of the richest supporting casts of all the Marvel heroes, so there's no reason why they couldn't hold an issue on their own. I think it's just a case of having the stakes too high, the ending a little too predictable, and a cliffhanger that we've seen before. At least with Goblin Nation on the horizon, there's bound to be plenty more thrills and spills that will wash this issue out of the memory easily.

The Superior Spider-Man is in for the fight of his life as Goblin Nation approaches its mid-point next issue. There's still plenty to play for, but the Goblin seems to be winning so far, with the upper-hand in almost all of the battles he and Spider-Man have had. The addition of Mary Jane to the proceedings may tip the scales in Spidey's favour, but a last minute attack by the Goblin has left someone very dear to Otto in grave danger, and only time will tell if he'll be able to save them before the Goblin Nation claims its first victim.

Superior Spider-Man has been a fantastic book for 31 issues, and it's with a heavy heart that I bid it adieu. It will always been a superb Spider-Saga that deserves to stand up with the best of them for being bold, making changes that annoyed a load of people and gave a hell of a lot more enjoyment for a year and a half. Peter may be back, but the shadow of Otto Octavius will be around forever, and the Superior Spider-Man is a legacy well worth leaving.

Batman Annuals are always a treat, an extra installment of a brilliant series is never something to turn down. Last year's Batman Annual introduced us to Eric Border, unbeknownst to us revealing the location of the Joker for the next year as Zero Year took over the main Batman title. This year, we get a supplemental story to Endgame, and whilst it isn't required reading, like most annuals, it does warrant a look at. If you're a fan of creepy Joker stories, and the more human aspect of Gotham City, then this is definitely a book for you, and it's definitely one that makes you think about the Joker in general, just like the main Batman series is doing at the moment too.

Forever Evil may be taking forever to finish (thank you, DC delays), and it may have a plethora of tie-ins that you can shift through, but Rogues Rebellion should be at the top of your pile. If you read The Flash, it's basically required reading, and if you don't, then you should read it anyway because it shows what happens in the Forever Evil world if you don't want to fall in line, but you don't want to be the good guy either. The Rogues are surprisingly fun protagonists, and there's a big heart behind this mini-series even if it's cast are all dangerous criminals. But aren't they the best kind?

It's lights out for Lights Out, and everything really has changed. For the first big event in a series that has thrived on events since the Sinestro Corps War, the Green Lantern books could have done a lot worse than this one. Change is in place, characters are going in new and exciting directions, and best of all, we only have to wait until next week to find out the fate of the Corps going forward " even better.

It may have taken me a while to get around to this issue, but it was worth the wait. Kid Gladiator's journey home is enjoyable and emotional, especially for a character that tries to hide his emotions at every turn. Jason Aaron, Nick Bradshaw, and everyone else involved in this issue do what they do best, and the result is another fun entry into the Wolverine and the X-Men mythos.

This series has had some craziness since it launched. It's pushed the boundaries when it comes to madness, and has come up with some awesome storylines along the way. This is the first issue that's amped up the emotional impact to the point where I was shaking my head in sadness as the issue ended. David just can't catch a break, and the fact that we're so emotionally invested in this poor, broken man is testament to the journey that Simon Spurrier and his artists and co-creators have taken him on. Excellent stuff, and one of my favourite issues of this already consistently excellent series.

Once again, this title has spun in a new direction and is taking David, Ruth, and their 'enemies' in a new direction. Most of this issue is a brilliant fight scene, something this series has lacked so far, and whilst the usual interesting characterization and excellent dialogue is present, it's nice to see our main character really let loose. With an intriguing cliffhanger set-up, the next issue of this title can't come soon enough.

Another month, another stellar issue of X-Men Legacy hits the stands and reduces my brain to a pile of mush as I try to work out what's going to happen next and couldn't be further from the truth. Spurrier continues to turn out exemplary plotlines, whilst Pham's addition to the creative team seems to be a definite step in the right direction too. If my love for this title isn't obvious yet, I'm not sure what else I can possibly do. Maybe buy you all a copy to read for yourselves?

Another arc comes to a close, but like this week's Superior Spider-Man, it just means that more tories have started rather than one coming to a conclusion. Spurrier has always said that he knew how X-Men Legacy would end, and he seems to be getting ample opportunity to move the pieces around and make sure that it ends under his terms, which is good news. More fun is still to be had, and this issue is a prime example.

As we barrel towards the eventual conclusion of this excellent book, it's nice to see that there are still twists and turns in the story to enjoy, and brilliant narratives to make each issue different from the last. With three issues to go, I'm wondering what's coming next, a feeling I've been feeling since issue #1 " that's consistent storytelling indeed.

X-Men Legacy may only have two issues left to go, but there's everything to play for as David, Ruth, and the rest of the X-Men family head into the final stages of Spurrier's story. There are some events in this issue that do make me wonder if there's going to be an awkward time reversal that sorts everything out, which I'd hope there isn't, but the rest of this series has already shown that Spurrier knows exactly what he's doing, and I, and the rest of the readership I'm sure, will be happy to let him steer this ship into the final port, however destructive and emotionally devastating it may be.

The Riddler's one-shot was probably the issue I was most looking forward to this week, and on the story side, it delivered excellently. The artwork lets down what is a revealing look at Edward Nigma's psyche, and whilst it doesn't tie-in the way that it was advertised, that doesn't stop this issue being a part of the Scott Snyder Bat-epic. It's just a shame that we couldn't snag Greg Capullo along the way.

Whenever an extra sized issue is announced for no apparent reason, there is always cause for concern " it's probably just a cash grab, right? But this equates to almost three issues of Batman in one go, and that alone is well worth the price tag that this issue comes with. Snyder, Capullo, Tynion IV, and Albuquerque are performing to the best of their ability, as usual, and it means that this is one of their best issues yet.

Perhaps the most underwhelming issue of Batman in a very long time, though this could just be because the story took a very unexpected left turn into uncharted territory and seemed to ignore the storyline that it has spent the last 6 or so issues building up. Even so, Snyder and Capullo on a bad day are still better than most of what the New 52 has to offer, so they get a pass"this time.

Batman's Zero Year experience started off really well, and yet now, I find myself wondering what the point of it all was. The story being told now doesn't seem to be using the Riddler's blackout, the incoming storm, or the fact that it's set almost six years before the main New 52 universe to any extent at all, and until the point of this storyline comes into focus, I'm going to continue wondering.

Scott Snyder has proven once again that I shouldn't doubt him. His script in this issue is full of emotional beats, if a little dialogue heavy, and despite the last few issues seeming to be out of place, they do in fact make sense in the big picture of Zero Year. As always, Greg Capullo and company turn out a beautiful issue in terms of artwork, with dramatic action scenes and subtle expressions that compliment Snyder's emotional scenes very well. Looks like this series is back on top, and for the first time in a few months, I can't wait to read the next issue of Batman.

This issue is intentionally confusing, intentionally frustrating, and enjoyable as hell. Considering we've been in the past for almost a year now thanks to Zero Year, it's nice to get a capable Batman, backed up by his supporting cast (even if they're a little different than usual), kicking ass and taking names. The fact that we need to wait to find out what happens next just amps up the anticipation factor on Batman Eternal, which is shaping up to be an intriguing new diversion for Batman readers. In the meantime, we'll just have to wet our appetites on this tantalising teaser of an issue.

Dark City comes to a climactic conclusion as the Riddler, Batman, Doctor Death, and Jim Gordon all get their stories moved a dramatic amount forward, and Scott Snyder and Greg Capullo set the stage for the final section of Zero Year, Savage City. It's really no surprise now that Batman is excellent, but it's especially excellent after last month's random detour into the future of Batman Eternal. With Capullo's groundbreaking artwork and Snyder's perfectly plotted story, Batman earns its inflated price tag this month " I'd happily pay twice this much for a comic this good.

The final arc of Zero Year is off to a cracking start, and shows that Scott Snyder, Greg Capullo and the rest of the creative team have really thought this through. Considering this is a year-long storyline, there could easily be times where the foot is taken off the pedal, and the momentum is lost, but this is clearly not one of them. This book remains as good now as when Zero Year started last year. With only three issues to go before Zero Year comes to a close, Batman has a lot to accomplish, but if any creative team can help him do it, it's definitely this one.

Conclusions for my Batman reviews are always a little repetitive. Zero Year is great. Scott Snyder is great. Greg Capullo, Danny Miki, Fco Plascencia, and Steve Wands are great. This storyline should have by rights worn out its welcome about 6 months ago, but with the added back-up of Batman Eternal now giving us the modern day Bat-fix, it's even more enjoyable than before. The writing is still solid, the artwork is phenomenal, and there's a damn good reason why Batman is DC's top selling comic book month in and month out. Yes, it's got Batman in it, but it's also damn good.

With one more issue to go, Batman keeps its winning streak going with a penultimate issue that sets up the finale with ease. There's a lot riding on this one, and the main complaint I've seen from other critics with Scott Snyder's Batman run so far is that he can sometimes flub the finale a little. Personally I don't see the problem most of the time, I especially love the ending to Death of the Family, but let's see if he manages to please everyone else instead of just me as he and his cohorts reunite to bring us the long-awaited conclusion to Zero Year later in the month.

Going from strength to strength, Batman launches into its next high profile storyline with a bang, with great artwork, a storyline that everyone can get behind, and a villain that everyone loves to hate. Aided by a great back-up story, if this issue is setting the tone and quality for Endgame, readers of Batman (which is basically everyone at this point, right?) are all in for a treat.

The lead story in this issue is exceptional, full of plot points that will go down in Bat-History. The return of the Joker is expertly pulled off, and the battle with Superman is full of twists and turns. The back-up story isn't as strong as in the first issue of this storyline, but the idea is sound and will likely have more luck in future instalments. Endgame remains essential reading, not just for fans of the Batman, but for fans of good comics in general.

It's been a while, but this issue of Batman deserves the full 5/5 rating. There are a few little hiccups, but the ideas presented in this issue as well as the reveals about the Joker's potential origins and just how far he's going to go during Endgame to defeat Batman (spoilers: as far as possible, and then even further) are jawdropping. When a comic makes you feel genuine emotion, that's rare. When a comic makes you feel genuinely creeped out to the point where you have to put the comic down, but you can't because it's so engrossing, that's unique.

Endgame's endgame (Yep, I did that on purpose) is fast approaching, but if this issue or any other in the storyline has shown us anything, we've got no idea how it's going to conclude. With cliffhangers galore and some jaw dropping revelations, the fact that this issue doesn't really move the story forward is easily off-set. The back-up story works well with the art style applied, and of course, Greg Capullo is doing superb work on the lead story too. What more is there to say than “Batman is phenomenal, and there's a damn good reason it's DC's top selling title ever month.” If you're not reading it, you should be.

I was going to say that the only part of this issue that stops it from being a perfect 5 star is that there's no reference to Forever Evil, but you know what? It's excellent regardless of that, and so something like that shouldn't be enough to stop it getting a perfect score. This is one of the best villains books out this month, and even if you don't read Swamp Thing, you should check this out anyway and find out as much as you can about how warped Anton Arcane is and how much you're missing out on by not reading Soule, Saiz, and friends' Swamp Thing.

This title, as usual, continues to impress. The story continues to build on previous issues whilst focusing on a new subject, and there are some plot points in this issue which will resonate within the title for a while yet. The artwork isn't up to the usual standards but is definitely better than I'd expected when I saw the front cover, and luckily we get a second installment of the series this month with an annual coming our way in a few short weeks, so the final cliffhanger won't play on our minds too much in the meantime.

This issue lacks the pizzazz that the last few issues have had, but it is still hugely enjoyable and great fun. If you like your fight scenes visceral and full of clever uses of the participants' powers, plus a conclusion that has a huge amount of potential moving forward, then this issue is definitely for you.

I'm sure you're all sick of me saying it by now, but Charles Soule's Swamp Thing is absolutely superb, and despite a momentary blip last issue, we are now back on track and rocketing back up the quality ladder. This issue may not star everyone's favourite Swamp Thing, but the developments in this issue will keep us going until Alec's inevitable return. And when he turns up again, hell hath no fury like a Swamp Thing scorned.

Soule has done it again. With the help of his artistic collaborators, he has turned out a perfect issue of Swamp Thing that puts a big bow on the Seeder storyline and calls it finished, but it is really just a stepping stone onto something bigger as Alec heads towards the horizon with new purpose and infinite possibilities.

It's no surprise that Charles Soule still has aces up his sleeve to play, as Swamp Thing moves from one overarching storyline into another. Capucine's final reveals are worth the wait we've endured, and the final page cliffhanger here is an intriguing way to end this issue that will have fans scratching their heads (unless they've read the solicitations for future issues, I guess). Pina's artwork is always up to the task, and once again this creative team have produced a highly enjoyable issue of an excellent title.

Swamp Thing has been firing on all cylinders for over 10 issues now, plus a villain's month issue, and an annual, and it shows no sign of stopping. Even with the Seeder conflict over, all it has done is open more doors and more story opportunities for Charles Soule to exploit. And with Jesus Saiz, Matthew Wilson, and Travis Lanham along for the ride, Swamp Thing is one of the best looking, as well as the best written, titles that the New 52 currently has to offer.

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The Sureen may be defeated for now, but with the introduction of the Grey and a reveal in the last few pages that shows that there's more going on here than we thought, it's clear that this arc will reverberate through this title for a while yet. Nothing Soule has done so far has been for no reason, and I expect the enemies and friends that he makes in this issue are far from finished with Swamp Thing's world.

I love this series. I've probably not said it quite so bluntly before, but it's true. No matter what gets thrown at Charles Soule, he adapts easily and carries on with the overall story that he is telling without losing any steam. This issue picks up on a crossover from elsewhere and blends it into the ongoing plot without fail, creating an issue that stands alone easily, but will also be enjoyable for those Aquaman readers who've made the adventure across from that other book to see what's going on over here. Hopefully Soule will have done the job well enough that they'll stick around " I know I will be, as I have been for 30+ issues now.

You'd usually associate longer story arcs with six plus instalments as being the big, important storylines in a series. This two part story looks set to buck that trend as we have important revelations and character developments galore, as well as an extremely badass piece of storytelling for the titular character. I know I'm waiting for next issue with baited breath, and I'm sure I'm not the only one.

Unlike a lot of other books, Swamp Thing manages to finish its ongoing arc in time for September, so we won't feel like the storyline has been interrupted. Granted, there's a lot of aftermath to deal with, but at least we're not midway through an arc and going on a detour to Futures End. Swamp Thing's Futures End issue is one that I'm anticipating the most of the month, so here's hoping it impresses as much as the rest of the series.

This new arc of Swamp Thing has some great new characters, an interesting take on the idea of Kingdoms, and some of the best design work of the series so far. As always, Soule, Saiz and the rest of the creators on this book are doing their absolute best, and this issue is yet another in a very long line of excellent ones.

Once again, the twists and turns of Charles Soule's storytelling have me wishing it was next month already so that I can find out what happens next. The anticipation of the next issue is always enormous, and very rarely if ever does this series disappoint. The artwork is phenomenal, the story moves along at a brisk pace that builds momentum before crashing into a cliffhanger that you'd never see coming. Once again, another superb issue of Swamp Thing from everyone involved.

This issue of Swamp Thing isn't quite as awesome as the ones surrounding it, but it has moved the characters around into the right positions to trigger the final showdown between Alec and his allies, and the Machine Queen and hers. It's obvious now that this final arc of the book will be using everything that has gone before to build to a massive crescendo. Aided by the always solid art and design work of Jesus Saiz, this issue is a vital step towards that finale, which is going to be both amazing and heartbreaking as this brilliant title ends.

The Machine Queen's attack rages on, and even with the help of his allies like Capucine (who is still present despite being dead, which is a nice touch) and Abby Arcane (who gets the raw deal this issue as Alec falls hook, line and sinker for the Machine Queen's plot), it looks like the worst is yet to come for the Swamp Thing. Despite some lacklustre artwork, this issue ups the pace on last issue and builds momentum for the upcoming series finale.

Is it any surprise that this series still hasn't missed a beat? If it is, it's probably time to adjust your thinking, but Gillen, McKelvie, and everyone else involved in this series are on fire. The care that goes into the story and artwork, and even the recap and title pages, is so evident that I can't believe more people aren't reading this series. Do yourself a favour and try it " you're missing out on one of Marvel's best ongoing books right now.

It seems more and more likely that Young Avengers is going to end with issue #15, and whilst that is going to be a sad and depressing time, we still have 5 more issues left of this excellence to enjoy. The care that goes into crafting this series is always evident, and it just goes to show what can happen when a creative team takes a less than usual approach to superhero comics. This series is pushing boundaries in the same way that books like Hawkeye and Superior Foes of Spider-Man are doing, and that, combined with the fact that it is highly enjoyable to read, makes it a must-buy every month.

Young Avengers is a difficult beast to talk about at length without repeating myself, and so this conclusion will just end with something I've said many, many times before, in many ways and forms " 'THIS BOOK IS BRILLIANT READ IT'

Is there anything left to say about this series that I haven't already said? Young Avengers is a superb series, and even though there are only three issues left, it's still not too late to jump on and ride this crazy-train to its conclusion. Whatever Gillen and McKelvie touch together seems to turn to gold, and this series isn't just gold leaf, it's 24 carat through and through.

I'm not going to go on much longer. You've definitely heard it all before. Young Avengers is exceptional storytelling, comics at its finest, and you're missing out if you're not reading it. If you've not listened to me yet, you're probably not going to listen to me now, and shame on you for that.

Only one issue remains, but it almost feels pointless to review this issue alone. Bringing the saga of the Young Avengers to a close in style, Kieron Gillen and his friends are telling one long story split into multiple smaller ones, so the conclusion to this issue feels more like a commercial break than a cliffhanger, and I'm glad that the resolution of the issue will be in my hands in only a few short weeks as opposed to a month. Assuming that the final issue is as solid as this penultimate one, it's safe to say that Young Avengers will be going out the same way it has continued for the past 14 issues " at the height of comics quality, and first to read on my pile every week.

Extra note: With Young Avengers coming to a close, I will now be reviewing Loki: Agent of Asgard, beginning in February by Al Ewing and Lee Garbett. So Loki will still be around, and you can follow him along with me.

I had high expectations for this title, and the opening issue has surpassed them all. Equal parts funny, clever, witty, and thought provoking, I'm already clamoring for issue 2, and there's a whole month to wait for it yet. Ewing's script is word perfect, capturing the new and improved Loki's voice effortlessly, and Garbett's pencils are already making a statement for this book. Jump in here with both feet, everyone.

I don't think it's any surprise that I'm in love with this series. Al Ewing is doing brilliant work both here and on Mighty Avengers, every page is a joy to read, either with laugh out loud jokes, clever plot twists, or engaging and varied characters that all play off of each other very well. With Lee Garbett's artwork backing up the excellent script, Loki is in great hands " I was worried when Kieron Gillen relinquished the reins of everyone's favorite trickster that the next person to take up the mantle would lead him astray, but I needn't have worried at all. Loki's just as good (or evil, depending on your view and how he's feeling in the morning) as ever.

Note: This series, as well as Jason Aaron's Thor: God of Thunder are going on hiatus for a few months now, and combining to tell one story in the meantime. As a result, check back soon for a review of Original Sin: Thor & Loki " The Tenth Realm, and then Loki: Agent of Asgard #6 when the series resumes.

This annual may have a $4.99 price tag, but I would easily have paid double for it. Soule continues to delve into and further create the mythology of this title, and has truly made the series his own. Alec's journey to battle Seeder continues next week, and thank the Green we only have to wait seven days to find out what happens next. If it's even half as good as this issue, it'll be well worth the wait.

Charles Soule has now penned two Swamp Thing annuals, and whereas oftentimes annuals are throwaway done-in-one stories, his have been integral parts of the Swamp Thing mythos he has been building. This issue bids farewell to Alec's best friend, and does so with style. His interpretation of Etrigan passes all the tests I put in place (considering he's one of my favourite characters, I had high expectations), and the emotions run high throughout the issue. Add in a consistent yet varied art team and this one is well worth the $5 admission fee.

Look at that, another perfect score for Swamp Thing. You probably think I'm being overly generous, but I find that this series constantly surprises me with how consistent and intelligent it can be. Soule is a master craftsman, and his artists can do no wrong. This issue sets the bar for the Futures End one-shots going forward, as well as the Swamp Thing series itself.