Going forward, All-New X-Men has proven to be a consistent and steady title with taut storylines and immense potential. The back and forth is maneuvered with precision, and the creative elements work together to build a storyline that has repercussions in store for the future.

All-New X-Men keeps it interesting, and that's a hard thing to do. In issue #8, readers get to see a little bit of the past. We all know how it ends, so to speak, but that doesn't mean we know where it's going.

When Angel and present-Beast discuss the purpose of bringing the X-Men to the here and now, the plot thickens as Beast realizes his mission could have the unintended effect of making the future happen even sooner. A meeting between Cyclops and Cyclops puts Wolverine and the rest of the school on edge, and the issue ends there. Excitement describes what I'm feeling, and All-New X-Men's successful run fuels that emotion with some serious gas ready to burn.

All-New X-Men has been consistently good with tight writing, unpredictable plotting, and heavy situations that pique interest. Issue #10 continues the streak of expert writing and art, and the title delivers with bang for the buck. Expectations are high, and fans want to see where it all leads. If Marvel can keep the current creative team together, All-New X-Men could very well be Classic X-Men.

It's a refocusing that shows why the X-Men have continued being one of Marvel's hottest properties. They're Marvel's strangest heroes, and it's a good thing.

All-New X-Men treads interesting and fresh ground, even if the plot points and arguments can be found in forums and comment sections. It's Bendis' smooth storytelling and level plotting, free from a heavy hand, that drives the issue. The cinematic visuals display the drama, and this issue continues the solid streak from issue #1. At this point, we don't know if the original Scott Summers will be the modern-Scott's undoing.

Just in time for summer.

All-New X-Men has a little bit of everything, and this issue in particular is a lot of fun to read. It's hard not to smile when Havok and Cyclops high-five each other after a battle well fought. It's a moment that's deliberately cheesy and could have failed as overtly sentimental. This creative team does it service by making it a moment people can relate to " a snapshot of unabashed brotherhood after a job well done.

All-New X-Men's title may be deceiving in that way. These are historic figures, adapting or fighting to remain the same. Bendis' respect for the source material is apparent, and he's giving us more of the same here. And that's a good thing.

Fans of X-Men have missed Jean Grey. All-New X-Men didn't bring her back to life " it brought back through time. In All-New X-Men #16, fans get double the pleasure in seeing the two Greys, displaced yet fascinating. Young Jean Grey is out of place, but she's the character fans have grown up with. The older Jean brings back memories of the Marvel Girl fans have lost, and seeing her alive and well makes one think what the X-Men universe would be like if she were still around. It seems, at least for the time being, fans can have their cake and eat it too.

And if this turns out worse? Well, there's a few working at Marvel who know how this story goes, and it's in their hands to make sure the present leads to a better future.

All-New X-Men gives new and old readers of the X-Men titles more of what we'd expect — drama and conflict. The team will have to overcome love squares, the modern world, villains, and its own membership. In comic book terms, it's a tremendous list worth checking out on a month to month basis.

It wouldn't be realistic for the X-Men to always have to go toe to toe with tier-one level threats, and their skirmish against a group of violent religious fanatics gives them something to consider while they remain here in the present. How the extremist group will factor into the story or to the X-Men Universe at large isn't immediately clear, though there's enough reason to believe they will factor into the story arc. The possible addition of another mutant to the team could also spell more trouble and adventure, and the prospect is one to get excited about. It's reminiscent of the Chris Claremont stories that grabbed current events and topics relevant to the readership and placed them within the panels.

Where the story goes from here remains to be seen, though the cover may provide the biggest hint of things to come. With X-23 joining the X-Men ranks, the X-Universe has added another great character to its ongoing story, and it's an addition that adds intrigue to go along with that teenage drama.

If there's a full circle to be drawn, it's in Bendis' hands. He holds the keys to the X-Universe, and the job he's done has been excellent thus far with nods to Chris Claremont that have given hardcore fans something to think about. The flashback scene reads and looks like one of Claremont's graphic novels, and Brandon Peterson shows he can switch it up by changing his art style with some help from James Campbell in the colors department.

A few things are made very clear this issue, and one of them is that All-New X-Men works best with Stuart Immonen on pencils. Immonen's ability to switch from the serious to the humorous works perfectly with Bendis' knack for interjecting scenes with personality.

It's respectful, reverent, and experienced. And the creative team as a whole is on the same page for a thrill ride across the galaxy.

All of this solidifies All-New X-Men's place in Marvel's monthly catalogue, and anyone who bemoaned the creation of the title should give it a chance. After 24 solid issues of deconstructing the X-Universe and breathing life into this generation's stories, Bendis has created a fine legacy as the present X-Father. The stories act both as a tribute and groundbreaking history for the X-Men canon, and the direction it's going in could provide for some amazing stories to stand alongside Claremont and Byrne's on the X-Men shelf.

All-New X-Men #25 feels like a turning point for the series, especially with the Original Sin crossover coming soon.

Overall, it's still an above-average issue that still proves All-New X-Men is a solid title worth putting on your pull-list if you're an X-Men fan. I'm for having interactions between the elder and younger X-Men, and I wish there was more of it. We get these great snippets that are well-written and edged, but there are so many characters and plot points that need to be addressed " I just wanted to hang out with Scott and Jean for just a little longer because there's so much going on in that negative space.

What I want to see are positive developments that give closure. It seems we're getting a lot of building blocks, and that's great for building tension and excitement for what's to come. But I want my cake and eat it too.

All-New X-Men is a killer title that has enough to keep readers on the edge of their seats. The tricky part will be the finish, which will determine a good chunk of the story's weight in the grand scope of things. We have interesting characters who have it out for each other, but the purpose and development need to be as, or even more, important and worth the price of admission.

I'm looking forward to the next issue now that it looks like there will be an emphasis on the most underused X-Men of all: Angel. The angle is interesting enough " as the young X-Man steals Cyclops bike, we see how the circle closes in on itself. And then we realize, this All-New X-Men is history repeating itself, and that's a great thing.

Bendis comes through with an issue that gives readers a true X-Men experience. By piercing through the outer veil and giving us a behind-the-scenes perspective, we get to the nitty and gritty to learn more about their personalities " without which, the individuals are X-Men in name only.

The addition of Miles Morales is something to get excited about " I just wish the entire issue had that sort of gravity to it.

But what's to come could definitely turn these feelings inside-out. I'm not going to write this issue off " it's the journey in between the beginning and ending. So far, this story arc hasn't gotten off to an awesome start, lacking that punch and gumption I've come to expect from the title. There needs to be a why for this what, and I think the real value of this story will be seen from the next set of issues. Remember, it's not how you start " it's how you finish. The payoff could be the end justifying the means.

Seeing the classic X-Men on Earth-1610 is probably one of my least favorite things in comics right now. I'm all for Marvel keeping the universe's separate, and I think there are too many plot points left on the table that should come back to play. A part of me thinks this story arc is necessary if the rumors are true " in whole or part " that Marvel's working on their own version of DC's Crisis (take your pick), but that doesn't mean we can't have more bang for the buck.

That said, All-New X-Men #34 is a good issue that picks up the pace on a story arc that's been a bit of a snooze fest. While the prospect of seeing the X-Men out of their element might have seemed cool on paper, the past issues have lacked drama. Things look like they're back on track with Dr. Doom making some moves and the X-Men making some headway towards finding some answers.

As a standalone issue, this is the most fun All-New X-Men's been in a while, and I'm curious to see what happens in the next set of issues as things wrap up " or don't. Bendis has said he's had a plan for this story, and I'll save my thoughts on that and the review for the series as a whole when all's said and done.

I'm ready to move on from this arc to the next. With all that's been announced, I get the feeling like the X-Books are starting to enter another gear. My expectations are tempered, however, due to so many of the arcs ending on disappointing notes. The problem is not so much with the conclusion " it's how the entire story fails to live up to its promises. With issue after issue leading us down a road that constantly reminds us of the scenery, even a couple of beautiful sunsets are not enough. Fans want to see plot points dealt with, and there's a lot fluttering around in the wind, and we're about to pull up into the parking lot any minute now.

For now, it's the equivalent of the legendary point by Babe Ruth, and we're just waiting on the pitch and swing. The Amazing Spider-Man #1 amounts to a primer for new readers and the calm before the storm for returning readers familiar with the characters. As someone who hasn't read any Spider-Man for the past few years, Slott's scripts are gentle and inviting " a status quo I'm hoping will shift as Spider-Man takes on new and familiar threats.

We get as much Spider-Man as we do Peter Parker, and seeing the two sides working and developing the plot shows an approach to the character that's more than just page-fillers and throwaway plots. It's actually pretty amazing.

I like where The Amazing Spider-Man has been going, and the plot elements are adding up nicely. For fans looking for a comic book experience, this one has superheroes, slighted villains, and ambition. Gail Simone said something about the newest Spider-Man movie showing off the titular hero's kindness " something which was left somewhere on the cutting room floor in the past films. In The Amazing Spider-Man 3, we're brought back into those silver-age glory days of heroism with a teaming up of sorts between the hero we wish we could be (Spider-Man) and the heroes that do exist (the firefighters).

I'm really interested in seeing where this goes. It was one thing to expect a Spider-Man counterpart who would either rival or complement him. I didn't expect a mutual attraction, even with Parker's relationship with Mary Jane Watson currently on hiatus. That could become a permanent thing now, and that spices things up considerably.

It's entertaining, well-written, and beautifully visualized. Its ambition seems to be its biggest detractor as we're sort of led through the story at a quicker pace than our thoughts and our emotions can follow.

Amazing Spider-Man #6 is an action-packed issue with plenty of story progression that doesn't abandon the the other good bits that have made Dan Slott's current run a lot of fun.

Once again, The Amazing Spider-Man #8 carries an Edge of Spider-Verse story " the cover itself features the second story overthe main one. The pacing for this issue's mainstory feltlittle rushed, especially towards the end. The end result is a story that might have some bearing on the future, but it feels more like a detour at this point while Spider-Verse takes over. Hopefully, things return to normal next month, whether by Gage or Slott's hand " and if there was anything immediately major that this issueshowed " it's that Spider-Man's in pretty capable hands.

The Spider-Verse is the real deal, and if future issues can keep up the urgency and deliver some great moments within the title, readers who're limited to just The Amazing Spider-Man won't feel left out. So far, Slott and crew have given us a great issue that's crammed with characters and their histories, and the multiverse of the Spiders feels so heavy it could branch out from the Marvel Universe for its own set of titles.

One of my favorite scenes this issue involved Gwen Stacy's exchange with Parker. After apologizing for his over-protective nature, Stacey reveals she had been unable to protect the Parker of her universe. Things like that put plenty of things into perspective, adding new angles to classic stories.

Slott respects his fans, and he's building a relationship with readers by proving he's the biggest fan of the character. His love for the comic is infectious, and the Spider-Verse succeeds because we buy into the madness/genius of it all. This is the complete package, and you do yourself a disservice by ignoring it altogether.

In two weeks, we'll get the climax of the arc, and just in time for Marvel's Secret Wars leading into a brand new Marvel Universe. I don't want to think too far forward, but I'm really hoping Marvel doesn't renumber this.

Sometimes, that's the life of a superhero, and I applaudSlott and the creative team for giving readers a conclusion that doesn't splinter into a million broken pieces. It's a great finish with some exclamation points on the finer Spider things " seeing Parker and Co. stick to the high ground, while seeming a little classical in the comic book sense, seems so refreshing as an oasis in the middle of a dark and gritty comic book landscape.

Probably the best thing about Slott's run on this volume of The Amazing Spider-Man, and something that can't be denied, is his respect for the character. Slott values Spider-Man, and it shows. There are absolutes for the character " heroism, selflessness, and that sharp tongue " and Slott's conclusion for the Spider-Verse arc puts those characteristics at the forefront as the Spiders head into their next adventure.

The cliffhanger gives us a quick glimpse of Ghost, and the visual team's representation hints at something terrifying with Ramos' depiction edging on horror. It's a great page that will hopefully keep readers around for the title's last issues heading into Secret Wars. I expect Slott will have somethingup his sleeve for the finale, and I'd keep reading if I were you.

With the art getting better, the story coming to a full resolution, and an end in sight, The Amazing Spider-Man shouldn't be ignored. Fans looking for something a little more classic and with less grit should definitely take a look at this superhero comic that's unashamed for being exciting, fun, and still Spider-Man.

If and when Hickman and crew go back to tried and true threats and obstacles, will the audience for this new series be happy with returning to familiar old villains with human origins? The bar is set high, and there's a saying that could temper expectations " At the top, the only way to go is down. But who's to say this is the peak of this creative team's potential?

Jerome Opena's artwork is not as strong with this issue, but don't interpret that as saying his artwork isn't beautiful, cinematically charged, and comic-forward. It seems like there's a lot less action in this book, and Opena's composition still makes things interesting though some of the facial expressions aren't consistent with the rest of his work. Opena's art is complimented by the color workings of Dean White, Justin Ponsor, and Morry Hollowell. Panels are toned and flushed with colors that convey a sense of mood while other panels have broad palettes of color. Visually striking, an action packed third issue could lead to high sales as people pick one issue up for reading and another to cut and paste panels onto a bulletin board.

Avengers #3is a bittersweet issue where Tony Stark and Steve Rogers' vision of a bigger team becomes reality as characters use their powers creating synergy and potential teamups between previously unrelated Marvel heroes. It ends with ominous foreshadowing, but some readers may be too preoccupied with unresolved questions and plot points that stick out but don't really catch. On its own, it's a solid issue, but in comparison to what preceded it, it just falls short as if its potential wasn't realized.

In the grand scheme of things, Avengers #4 may seem to be a key piece in the puzzle. For now, it's a solid step in Hyperion's legacy, and time will tell how high he rises. Readers have found that Hickman puts clues and references in each issue alluding to plot points found in other issues " the panel in Avengers #4 showing A.I.M. pulling Hyperion into this universe shows a key scene that also appears in Avengers #1. If it's true that Hickman's story covers 36 issues, readers are now moving past the tip of the iceberg.

When Dare — even her name seems contrived — gets the command to put on the glasses, she does so with little hesitation, and as she gets taken into space, her reaction is far too unrealistic for someone getting shot into space.Avengers #5 feels too trite and small as if it's another building block in Hickman's Avengers extravaganza, which has taken a really steep dive.

Avengers is moving forward again after spending the past two issues delving deeper into characters who will likely feature somewhere, somehow down the line. While issue #6 also focuses on a new character, the plot points involving Captain Universe and its host that point to an immediate and urgent threat that could destroy all life could be the reason for justifying the Avengers title's premise which is building a bigger team to deal with bigger threats.

For readers who want to their stories in courses with plenty of meat will find Avengers #7 a bone to whet the appetite. Characters throw around terms and names explaining them with more terms and names. It's clear that whatever's on the horizon could be big, really big, but it's formless without a face.The groundwork's been laid, and there's a rumble coming from the throttle.

Batman '66 #1 has nostalgia without the feeling it's all being done for nostalgia's sake. It's a great read " a sort of time machine to days sitting cross-legged in front of a television singing "Na-na-na-na Batman!" Even those who are either too young to have seen the show or blase about its existence might find a tether here. For all of the black and white and gray that exists in comics today, this one is full of technicolor.

Batman #1 is a great issue with a solid lead-in. Somehow, Snyder brings in a lot of what makes Batman great " the physicality, technology, and detective work. There are twists and turns, a little bit of gore, and more than a hint of mystery. It was wise of DC to leave the Bat family alone. It may be the one book that survives the New 52 relaunch.

Readers will hopefully get to see a clearer picture of the mold Batman was created from. If brains and brawn are Batman's skills, his superpower is sheer determination. It's the driving force that carries him toward his goal. He's a man with great capabilities and with tremendous faults and failures, and unlike his counterpart, Superman, who inspires hope and represents the kind of human people can aspire to be, Batman is an empathetic character who more closely represents who we are.

It's a shame that the Joker's story fails to deliver on the goods. For a character as prankish, devoid of morals, and insanely funny, Batman 23.1 feels like the kind of story idea left on the drawing room floor that writers bring up on occasion.

While some view Villains Month as a gimmick to increase sales across the board for DC's comics, Batman #23.2/Riddler #1 feels thought out and part of the universe. It doesn't leave the reader with the impression that something great or immense is coming over the horizon, but as a one-shot story, it's above average. There's a bit of character development and a steady pace with some weight. Will readers find themselves lost if they decide to pass? Most likely — no. Still, for those who want to see the Riddler in action, it's something, and that's better than nothing.

Batman #23.2 overall is a disappointing book only because it doesn't go over any boundaries or take it to another level with a storyline that begs for attention. In it, we see a day in the life of a villain who, under the microscope, isn't really much more than a mob boss with better branding. The Penguin deserves something more " a story that shows how far his claws go into the city. He's named after one of the most beloved birds on the planet " an unassuming animal that's non-threatening. That sort of contrast, black and white, should be played up even more. The short and ugly Oswald Cobblepot, gentlemanly to those who don't know him.

he Batman title in its New 52 phase has produced plenty of great moments that have kept fans coming back month after month. It's been a consistent top-10 seller and for good reason. The creative team has hit a stride that continues producing quality issues that set the bar for what superhero comics should be. Some may argue it's the title itself that sells the comic, but I'd be the first to stand up for the names in the credit section.

Greg Capullo has his work cut out for him this issue because there are three very separate and distinct set pieces that demand their own motifs. Batman's battle with Superman is an action-packed skirmish out in the open that requires a few subtle touches because of the chess play between the two heroes. Snyder's written sequentials have to make tonal sense in the visual space, and when Superman tears away at the Justice Buster, piece by piece, there's a good amount of tension increased by Capullo's lens zooming in and out and in again that has an ebb and flow to it. Danny Miki's inks are incredibly strong, and the negative spacing and emphasis on the cracks and debris work thematically with the story.

Batman continues to be one of the most consistent titles month after month. It's hard to find anything glaringly wrong because the issues are polished and precise. If anything, they might suffer a bit from being over-produced " you won't find too many happy accidents " but so what? At the end of the day, Batman #37, like the issues before it, is entertaining and impactful with each page adding one new layer to the overall continuity. So far, each of the story-arcs has brought something to the table, and years from now, they'll be worth coming back to again and again. I'm not afraid to say that we're in a golden age for the Batman series, and each issue feels like another piece of history. We are all witnesses.

There's no superhero book out there like Batman at the moment because Snyder gets to play with the best toys, and he's deft in handling them with care. He knows how to create terse plots that make you fear for the safety of the main characters. We don't usually read Batman expecting to see him die " and because of that sort of predictability, serials often suffer because the biggest prize is never at stake. But with the Batman series under Snyder and Greg Capullo's direction " we know there's a fate worse than death for Bruce Wayne.

At this point, we're forced to sit back and wait an entire month before seeing what's to come, but it's a good time to go back to that first issue for another read through the 38 issues previous to this one. You might find other clues Snyder's placed in those back issues that will point forward to whatever the creative team's got in store for us as Endgame continues.

For a story arc aptly titled Endgame, this is a Batman story that won't fade away anytime soon. This issue will have huge consequences, and the aftermath will be a sight to see. In an interview, Snyder said he wanted to go out with a bang, and though his position as head Batman scribe won't be changing, he and the creative team have upped the ante with a Batman-Joker tale that will be popping up on Best-Of lists.

Fret not, Bat-fans, this isn't some sort of experiment or sleight of hand. This is another chapter that has the potential to be groundbreaking. I know some fans don't like change, but if you've been a fan of the Batman title since Snyder, Capullo, Miki, and Plascencia took over with the New52, you would do yourself a huge favor by sticking with it on another leg of their journey.Christopher Nolan played with the idea of anyone becoming Batman — the idea was that the cape and cowl were a symbol to inspire people to take responsibility for their neighborhoods and cities. In this new story arc, we see one of our favorite characters finally get his chance, and I can't wait to read more.

That said, Batman #42 is another solid entry. Wayne's appearance in the book adds a nice twist that may give fans clamoring for his return a nice glimmer of hope. Given Snyder's track record, I'm excited to see what happens.

You don't want to miss this issue. Everything is on point, from script to art, and it's apparent that Scott Snyder has a very big story to tell.

Fear not Bat-Fans, Batman is in good hands. With a new conflict that could pit a superhero with no powers against superhero rivals with exceptional powers, this could be another great chapter in the series.

Batman #2 should have brought fire, but it feels like a false alarm. Hopefully, the next issue picks up the pace and gives readers something to latch onto.

Superman and Batman have long been compared against each other. As the two faces of DC, they exist as two different faces of the same coin. There's a back and forth within these pages, a chess game between two individuals fighting on the same side and sometimes against each other. Either way, fans win.

This issue is less Batman Superman as it is Batmen and Supermen. Bats and Supes appear together only on two pages in the entire issue, and it isn't clear what's going to happen when they meet again. For now, the contrasts are split through the characters we know as Batman and Superman. Each now has two components " old and new. The aged versions live in a more utopian world where their actions have changed lives. Knowing this, will the younger versions join forces or discover a critical flaw that forces them to fight the future? The addition of another Justice League member whose connection to Superman in the New 52 has been controversial may up the ante with more drama, more action, and more awesomeness.

I'd venture to say that Batman Superman is DC's best book, and not because it stars the World's Finest. The title takes nothing for granted, and it pokes at the myths that have seen their lusters shine, fade, and regain their shines. This is the origin story of two superpowers meeting, and it will define their relationships, at least, for the immediate future.

Though Pak remains as writer, the next issue may be a jarring experience for some. Pak managed to juggle four character's worth of inner monologues, and if the next issue seems a little "silent," it's because of the downscaling. With new art comes a change in perspective, and Brett Booth will be a pleasant change to some or a major shift for others. But as long as the dynamics are there, Batman and Superman will continue to be a compelling book. So far, the series has triumphed because of how well it examines the relationship between two titans. The result is a sum far greater than its parts, and readers wanting more out of their superhero books would be well served putting this on their pull list.

Judging by the stark shift from the abstract to the technical, one might assume DC editorial is forcing Pak's hand. What changes may come, the characters are the important thing, and Batman Superman #5 seems to lose that. The title seems to be in a state of finding itself, and if the balance keeps changing without ever righting itself, readers might find themselves pulling the issue in want of sticking to the character's individual titles.

Tomasi and Gleason have created an issue that doesn't necessarily bring closure, and it still feels like something is passing. They have built something that expands and builds on the DotF storyline, and there's forward progress. The struggle continues for some of DC's most complicated people, and Batman Robin #17 doesn't tie the loose ends into a nice little bow " it presses the issues and keeps the flag raised. The Joker is still out there somewhere, and Gotham has problems.

We can't always have our cake and eat it too, but it's good to know Batman is in good hands with a new creative team ready to take on the challenge.

It all seems a bit Morlockish, and The Dark Knight #23.4 does try to reach high by developing the character with some interesting and taboo plot points. But like many of the other Villains Month issues, The Dark Knight #23.4 suffers from a story that lacks in both execution and polish. Ann Nocenti tries to give the Joker's Daughter a compelling origin story, but a clumsy script filled with wordy exposition through character narration bogs down a story on rails.

Taking Captain America out of America and transporting him into a different dimension opens up a new world of possibilities, and Remender's plotting and sequencing will likely have Captain America fighting a difficult battle to save a family or just a few of the members in it. Those who aren't familiar with Arnim Zola might feel a little underwhelmed because there's a lack of villain cred. Remender sees potential in Zola, and readers may see the emerging of a supervillain into the mainstream.

Though it's strange that Marvel's direction for the new Captain America series is to place him in a world without America, there is something about Captain America's ideals and personality that become more exposed through his hard work and diligence. The world Zola rules is bleak and barren. A perfect canvas for the colors to bleed through.

Captain America is still one of the better books in the Marvel NOW! relaunch, and anticipation is building for a duel between a desperate Captain America and the man who stands in the way of him getting home. Rogers has waited too long, and fought too hard to fail. For now, the odds are stacked against him, but one can't help but hope for the best because it's easy to relate to a hero who's far from home.

It's very possible that the next issue could even go above and beyond what's happening here, which doesn't discount how well this book is written, drawn, inked, colored, and lettered. The creative team is stretching further and further with a reach that's going for fever pitch. What Captain America does so well as a title is bringing the legend face forward in a very relevant and relateable way. Readers familiar with the character don't need to be told who he is " and the series has avoided becoming stagnant through movement and intelligent storytelling.

How the creative team will top this remains to be seen, and with the bar set so high, one wonders how well the story will end. Besides having to overcome huge expectations, there's no reason to believe the creative team won't deliver, and next issue looks like Captain America will fight a tougher battle from a mental and emotional standpoint.

Writer Rick Remender continues to twist the screws into Captain America with setback after painful setback, and readers get to see Rogers freeclimb, freefall, crash through a glass roof, and land on his shield " all in the span of a few pages " and just as the book hits its midpoint. This isn't Captain America and the Avengers " it's a solo battle pitting one man versus many " and the lonely climb to the top becomes even more forlorn when Rogers duels with Princess Jet Black and finally finds Ian.

With eight issues in, Captain America does not look like it will have a happy ending, and when this story arc finishes, will the title get a few months rest so the Captain can take some time off? Credit goes to the creative team for building a comic that doesn't feel distant or superficial. Other comics feel episodic and routine, but this is a substantially formative story arc with deeply felt repercussions. Captain America's pain is this title's gain, and it's likely Rogers will stop Zola and save the day. But at what cost? It's clear the kid gloves didn't stay on past the first page of the first issue.

I expect things will feel more settled next issue or in the issues to come. Issue #9 is not the climax that readers want, but it's possible it wasn't intended to be the peak, and we're only at the beginning of the ending.

Captain America #10 completes a story arc filled with suffering, ups and downs, and loss. It's likely Captain America will rise to the challenge and fight through his emotional turmoil, and that could be a story in itself. Will Steve try to return to Dimension Z? Will Ian make it to Earth? What will Princess Jet Black do as a commoner? It's a compliment to the creative team that these questions exist, and it's a bigger credit to the team knowing readers will want to find out the answers.

The first story arc for Marvel NOW!'s Captain America title used flashbacks to dig to the root of Rogers' personality. With issue #11, it's a fresh start. Remender has proven he's got the character down pat, and he's already boldly taken immense strides in making sure that Captain America is a title fans can enjoy. And now that the Captain is back in America, it looks like he'll have some interesting conflicts ahead as he deals with an American soldier causing trouble abroad.

Soule is a perfect fit for the Civil War series " the scripting gets right to the point without taking for granted the scope of both sides.

Civil War is shaping up to be a great series worthy of its namesake, and if you're loathe to pick up anything Secret Wars, do yourself a favor and check out this series. It's a winner with a growing cast of characters, a pertinent conflict, and a creative team that's producing work well worth the cost of admission. With Captain America: Civil War on the horizon, this is a great primer for things to come.

Civil War is a beloved crossover event that's considered one of the greatest moments in comic history. Civil War II looks to join its predecessor with a dramatic first chapter that explores how the bitterly the bonds of friendship tear.

Civil War II #2 serves up what looks like the prime point of conflict, but it should have done more to differentiate the varying sides of the series' main argument.

Will a reader who skips this issue feel left out " probably not. While the issue is set up to kickstart Convergence, a synopsis would do far less damage in terms of cohesiveness and time spent. I wish this issue was much better in its pacing and scripting because there was a lot of missed opportunities. I think the mystery could have been kept without the characters spending the issue beating around a bush, and the development on the final pages would have gained a lot more with a lead-in that was far heavier and concerted.

Convergence is a weekly series, and by the end May, we'll have a new DCU without the New52 stamp. DC won't be renumbering, but the status quo will change as it's very possible older and more classic characters will replace their present counterparts. Imagine a DCU with Kingdom Come Superman, Flashpoint Batman, and the Flash from Li'l League. That might excite some and dismay others, and I hope the next issues in this series has a compelling narrative that ends up being less a two-month distraction and something a little more like Crisis on Infinite Earths " something that's still remembered by fans today.

Convergence #2 is a book that will be known more for what it lacked than what it did right in terms of story. The series thus far has been a disappointment with a plot that has meandered around the important details and action sequences. Even witha premise as strong as this one, King has managed to deny readers the goods, opting instead to tell readers what they're missing. With art hungry for action, Convergence #2 feels more like a digression.

Convergence: Batgirl #1 sets the bar high with a strong issue that doesn't keep new readers out. Kwitney's scripting is inviting, and the measured approach gives readers all the information they need to understand the conflict and to appreciate the concern. For Brown, the convergence is the worst thing at the worst possible time " and she spends a good portion of the issue comparing herself to others. I can see certain ways this story will play out, but it doesn't make me less excited to watch what happens next. The creative team has all of the ingredients for a great second issue, and I hope it makes huge waves.

Rebirth #1 reaches across the aisle to bring the past and present together for an exciting new future.

Sejic shows you don't need an entire team to create a comic, and for that, I commend him. His all-in-one approach works because he's taking full ownership of the story, art, and the world that Death Vigil resides in. All the blame falls on his shoulders. And when it's applause " the prestige is his alone. Right now, he's being called back for an encore.

If this is the status quo, Death Vigil is a winner. Its world is immense, and the storytelling is rife with the things readers want to enjoy. It's worth a pull-list spot, and if you're into grand plots with extraordinary characters, you'd be remiss to let this slip by.

The world of Death Vigil is immense, and anyone asked, What do you want to be when you grow up, might answer in various ways. But living vicariously through Clara, we can all dream of making the world a better place. And that's an emotional quality that Stjepan writes into the backdrop of the comic through the personalities he develops and the plot points that work thematically within the ideas that have been presented.

The series so far has been on fire, and the latest issue continues the streak with confidence. As a one-man band, Stjepan Sejic proves life is unfair — working on the title as both writer and artist, he excels majorly in both. I highly recommend Death Vigil, especially to those who may not like comic books, because it shows what this medium can do. In the hands of a talented creative team — and in this case, a single person — a comic book can tell a great story on various levels. Death Vigil has action, humor, and its own universe filled with a compelling cast. That's more than you get with the price of a cup of coffee.

Altogether, Death Vigil is a product of several elements working together to create one of the best comics on the market today.The art and writing are superb, and issue #5 is another piece of evidence that Death Vigil deserves a place in your pull list.

The Vigil may have met their match, but we still have a few more issues. The Necromancers may have won this battle, but the Vigil should win this war.

The road to perdition begins with a step, and there's something compelling about seeing a character move to the edge of a cliff.

Like I said before, I didn't expect the story to take this sort of turn, and I'm surprised at the angle " the first issue kept a steady beat while this second one felt like industrial metal over drum and bass. We're on a journey with Pollux to discover not only his future but his past as well. The story has plenty of impact, and I would recommend it to anyone looking for a riddle to solve.

Drifter #3 is another chapter in a brilliant set of issues that's pacing itself quite nicely, and it seems like Brandon and Klein have really planned this one out. The mystery is alive, and there's plenty of gravity here to pull you in with a world that's revealing more of itself each page. I'll say it again, Drifter is one inspired piece of work, and I hope that it continues telling a strong story with beautiful artwork month after month because a letdown from such heights would be too much to bear.

The first issue isn't the most fantastic, but the makings are there. How things will pan out will determine whether it was worth it to even begin.

Matt Fraction's scripting is solid, and so are Mark Bagley's pencils. Solid pretty much describes the entire issue because it feels rather standard — there isn't much in the ways of the exciting, tense, urgent, or brisk. It isn't tedious or plodding either, so there's nothing really negative about the book. Though it might have gained from having some new scenarios to add some plotting or tension, issue #2 doesn't rock the boat as much as it just tidies up the house before closing the door on this section of the story. It's just an average story that's designed to set the team up for its send-off. Forreaders who picked up this series for their pull-list, it'd be premature to give up now because the team's finally off. Where they go next issue may give readers climbing the fence a reason to come back or hop over altogether.

What this issue needed was something a bit more interesting, something more educational. As a one-off issue,Fantastic Four #3is a forgettable one. What it needed was some more facts, some deeper deliberations from the members talking about what they experienced. As a sci-fi adventure title, Fantastic Four would benefit from being more scientific, more theoretical, more…sci-fi. Right now it's an adventure story without dazzle or spectacle, and without a quick pulse, it just feels like it's going through the motions.

The strongest thing about the book are the colors done by Paul Mounts, Edgar Delgado, and Rain Beredo. Depending on which part of story's being told in the panels, color schemes change. For the flashbacks, colors are lighter and more vibrant with "sunlit" panels. On Ayleth, where it's darker, the colors are deeper and darker. It's the most cohesive thing about the book because Fantastic Four #4 is all over the place. Even the painting itself seems incorrect " it's a portrait with Reed in the center surrounded by his family and teammates. Why would the Aylethians gravitate towards an unfamiliar side character in a portrait and pay no attention to the other Fantastic Four members in the painting?

It's a forward-thinking title with a lot of potential, and the combination of Fraction and Allred makes for a one-two punch straight to the brain and funny bone. The script is engaging, the art is hypnotic, and the combination of both makes for a title that feels fresh. If there could only be one between FF and Fantastic Four, the better book is FF.

The creative team is firing on all cylinders, and kudos to them for being on the same page — FF is definitely a title worth picking up because it's punchy and direct to the point. It's got drama, action, and a good amount of heart. While the Fantastic Four title feels drama-free and stagnant, FF gets more than its share of the great things that make great comic books.

If readers are looking for a smart and funny book with original storytelling and a fresh perspective " FF is it. It's got great characters, lots of emotion, and a genuine love and respect for the characters that's building from the ground up. The creative team has put out three issues of a major title that feels like something coming from an independent publisher. That's a huge compliment because it implies quality, art, and rich storytelling.

FF has been a consistent title with lots of potential still being mined for future stories. Characters are growing, situations are compelling, and the creative team hits it on the nose each time. Back issues can still be found because this isn't Marvel NOW!'s most sought-after title. For readers looking for a title that's about characters and emotional resonance, FF hits the mark.

At first glance, nothing seems out of order on FF #6, until a few panels in when it becomes more evident that a new artist has taken over for Mike Allred. If Allred's art gets comparisons to the likes of Jack Kirby, Joe Quinones' could perhaps be compared to Joel Shuster with its stage-like posing and simpler pencils. Not that Quinones' artwork is childs-play — he's a suitable stand-in for Allred with his classically styled panel composition and exaggerated posing. One thing about seeing FF from another artist's perspective — it's now evident how much Allred is responsible for the FF's successes in storytelling.

Issue #7 feels like a detour that hits a rough patch. The positives are still there — great characterization, funny humor, and spectacular visuals. Thing is, they're bright spots in an issue that's largely dull and uneven in pacing. It's the issue with the most dialogue, the most action, and the most characters. Welcome to the Negative Zone.

Flash: Rebirth #1 shows us a solid preview of things to come with a creative team geared for the task.

Fwendly Fwuits makes heroes out of nature's candy, and while adults might not clamor for this sort of thing, children could be discovering their new favorite comic.

Grayson's in great hands, and regardless of whether there's a Freudian thing going on here, the approach looks like it's heading in a fun direction against the likes of its grim and grittier Bat-Family titles. When I first heard about the title, I was worried that DC was just cashing in on the hype of the Winter Soldier, but Grayson stands alone. It brings me back to the series Spy Boy " a comic series that had a lot going for it. If Seeley and Co. can build a series that expands on what's set up here " an entertaining and well-written story with complementary visuals that are a joy to stare at " they've got a winner on their hands.

Grayson #2 has some great moments, and it's an eclectic mix of genre tropes with some excellent surprises. I like the fact Seeley and Tom King have plotted a story that doesn't involve supervillains for name recognition. Instead, the focus is on characters and interesting plot twists that revolve around a bigger foil. For that Grayson #2 stands out. Future issues will be much stronger than this when the pacing doesn't get bogged down by setup. Action is Grayson's strongest suit, and it will benefit greatly from not having to ride the brakes.

Throughout the issue, Dick tries his best to solve problems through communication and logic only to get run over by his associates who have a shoot-first mentality. As Nightwing, he worked alone " and I'm wondering how long before the former freelancer bucks his employer. It's great to see the moral dilemmas played up as Grayson plays double-agent, and it's evident that King and Seeley are playing up not only the lines Grayson has to walk, but the black and whites on either side of him.

If and when Grayson goes back to being Nightwing, I don't think this arcwill take being swept under the rug gently. Readers will look back on these stories fondly and for good reason. With each new issue, Grayson proves he's more than Batman's former sidekick, and as a new reader myself who never jumped onto the Nightwing bandwagon, I've found myself waiting for the next issue to see him fly again.

Grayson #5 is a needle-sharp issue that conveys the message. While it might not be the most exciting book on shelves for DC's lineup this month, it shouldn't be overlooked. The Grayson title excels where it matters most " character and story. With a foundation like that, everything else seems more meaningful and weighted.

Guardians of the Galaxy #11.NOW is cut and dry without losing flavor. It's a delicious morsel that sets the stage for a cosmic X-Men showdown that brings in another franchise which gets its time on the silver screen this summer. It's very possible fans of the All-New X-Men series will see enough here to want to continue with the series even after the crossover's finished, and I'm hoping Marvel doesn't give us the old bait and switch by taking some of the creatives off this book.

The trial has begun, but with the X-Men and the Guardians of the Galaxy nearby, there's a possibility this trial of the galaxy could lead to more than a hung jury " if you know what I mean.

What we've basically received are plot points over plot points, and there's general excitement over things to come. But to what end? Like a rolling stone that gathers no moss, The Trial of Jean Grey and All-New X-Men at large have given us great moments and potential storylines to be harvested only to become stepping stones for more plots, twists, and threads. Tragically, it all stops short of epicness as we get another episode in a long-run soap opera that teases us along. And that's what I expect of Bendis " epic epicness. Instead, these crossovers have falled a little short with most of the action happening at the beginning and ends of each episodes.

The answer might be found in the definition of the word. In one definition: A harbinger spreads the word of another person's coming. In another: The harbinger is a sign of things to come. Is Harada the harbinger for Stanchek, or are the powers they both exhibit a precursor for something else? That and more may be answered in the issues to come.

If the plotlines that were thrown about show any promise about the possibilities and direction, it could be one very humorous and crazy ride " even if the authors don't stick to their word about the fourth wall.

And with a talented visual team to go along with that one-two punch writing team, Harley Quinn looks like she's just beginning her reign as the queen of comics.

Don't get me wrong " Harley can exist without the Joker. But it's going to take more than a hijink-of-the-month to keep me interested. We all know Harley is a few cards short of a full deck, but it isn't clear whether readers should approach the title the same way. For all of the mayhem and murder, are we in on the joke or just hanging along for the ride?

Every and anything goes, and this is a good two steps forward for the title in some ways because it's easier to see why readers love Harley Quinn.

This is a slow roast of a title for me, though I'd like to think for the public at large, it's a polarizing one. Some may love it, and some may hate it. As a fan of the character, I'm taking this title issue by issue, holding onto my deeper critiques until it's clear what Conner and Palmiotti are up to. In the meantime, Harley Quinn is a fun read that might turn some off " some might think it's hot while others might think it's not " and there's plenty of potential here for amazing things.

Indestructible Hulk #1 is an excellent read and worth the price of admission. Waid and Yu are a worthy creative team, and the Hulk is one of Marvel's A-listers. The title may have changed, but it begs the question: How indestructible is he?

The bar is still high which is a good sign for this creative team going forward. There's an intangible but thick presence of ego in the room as Banner and Stark share a meal after their fight. It's effective writing coupled with amazing art that making this an series worth putting on a pull-list. Banner's fight with Stark was a pre-meditated bro-fest designed to bring himself some closure and sanity. Does this mean readers are seeing the beginnings of a rehabilitated and burden-free Banner? Time and stories will tell if Banner ever rids himself of the Hulk, but those looking for a respite from the common story will find a cure with Indestructible Hulk.

Overall, there's a lack of real tension and without an imminent threat — Hulk, so far, has fought one-off battles that he has won — the first few issues that will likely make up the first volume of Indestructible Hulk has hit a plateau that will hopefully spike up in the next issue with a bigger and better villain, or with some important developments. Origin stories set up for major plotlines, and it's apparent that Waid is moving the story somewhere. What Indestructible Hulk #3 lacks is a juicy plot line or twist foreshadowing what's to come.

The creative team has definitely found a sweet spot " Waid's opening up on the gas, and Yu is on fire with his pencils. While the other titles are getting bi-monthly releases, Indestructible Hulk has been coming out once a month, keeping readers waiting and ready for more.

Jupiter's Legacy feels like a heavy book. Characters discuss Obama, religion, and sex. It isn't clear " at least to me " if Millar wants to play judge, jury, or advocate. Maybe Jupiter's Legacy is a mirror reflecting society, and Millar merely wants to give ground to a discussion.

There's tons of drama in this issue, and Millar has been known to wrench things even further. Expect upheaval, pain, and misery in the issues to come. By the look of things, it will be worth it.

It's hard to say at this moment. In fact, after reading this issue and chewing on it a little bit, it's really hard to say anything at all.

I'm looking forward to reading Jupiter's Legacy #5, and if the rest of the issues ramp up with a stellar finish, issue #4 will be remembered as the lull. It's not a particularly bad issue, but with everything coming before it, there should have been more to this than a doom and gloom chapter that's too cliche for its own good. What this issue needed was more depth, something more than a few panels that told us that things were sort of terrible. The past issues really brought the pain, but Jupiter's Legacy #4 settles into bed with a glass of lukewarm water.

The legacy is strong, and it's time for a recruiting drive. Will Book Two begin years in the future as the rebellion hits its peak, or will Walter prove too intelligent to let power slip from his fingers?

The word forever suggests stability, strength, and predictability. Forever is a constant. In Lazarus issue #1, Rucka shows how many levels he's working on. Take a look at the main character's name. Forever Carlyle couldn't be more aptly — or ironically — named.

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Lazarus is a title that demands a serious look, and there's an emotional depth to the characterization that makes Forever Carlyle a future superstar in the comic book world. She's efficient and ferocious, and she doesn't need to talk about it. Actions speak louder than words in Lazarus, and Forever is the kind of girl that brings a knife to a gunfight.

If the first story arc gives us a fair glimpse of what it's in store for Jonah — vengeance will be swift and painful. There's a big and compelling picture that's loaded with emotional turmoil and urgency, and the overall professional quality of the book makes it one of the best comics being released.

At this point, the only problem with Lazarus is that we have to wait for issues on a monthly basis.

Lazarus is comicdom's Martian Chronicles with its personal touch and real-world perspective. These characters live and breathe as if they were taken from living constructs. This is a series not to be missed unless you're only about capes and spandex.

Some keep their eyes on the goal, waiting for it to be achieved. What makes Lazarus so sweet is the journey itself " the lives of the characters and the state of the world they live in. The questions are just as important as the answers, and the experience is enriched because of it.

And that's the thing about war " whether it's fought by armies or cells " everyone is vulnerable. A bomb doesn't care where you were born, how much money you've got, or what you do for a living. In the face of death, we are all alive for just one moment more before it's over.

As a political thriller, Lazarus is a mature comic in the sense that it presents a lot of layers and some geopolitical themes that seem relevant to current affairs topics. Rucka's plotting has a balance to its methodology that doesn't force the reader to follow his agenda or convert to a specific perspective. The characters and world are presented as-is, and it's up to the reader to cultivate their own thoughts on the story. To some Angel may be a terrorist. To others, he could be a misguided freedom fighter.

What Wilson and her creative team has done is set a new standard. Superheroes are at home in comics, but that shouldn't mean we as readers should be left in the dust. This is storytelling at great lengths that pulls in readers from wherever they are to exist in a world that isn't. It's when we close the book that we look around and see that art has imitated life, and we are very much alive.

The creative team has created a series that makes you want to cheer with every homerun and cry tears with every miss. It's a hard thing to do, but they've captured lightning in a bottle. I haven't felt this excited in a while about a comic that captures what it feels like to want to become a superhero. Comics in general have taken a gritty turn, choosing to become darker. Ms. Marvel is hopeful, inspiring, and fun.

If you haven't picked up this title, you're sorely missing out on something that could possibly become Marvel's new wave.

This is an adventure for the young and old to share, and while Kamala is learning the ropes, it seems, so are we.

Issue #6 is an amazing issue that can stand alone just for its ability to make you smile. This is a comic book in the truest sense of the word, and Wilson's mastery of the scripts " Khan's geek-speak and pop-culture references " makes this a compelling title that reads very well. The visuals also add something to an incredible title that's a winner for Marvel.

Ms. Marvel's greatest strength is in the title's ability to relate. It's not a throwaway series that's meant purely to take up a few minutes of your time and a few bucks out of your wallet. Ms. Marvel registers with its readers on a level that gives it impact. It somehow flies in the face of all the things we expect mainstream comics to be while being, ironically, what comics used to be during its most well-remembered eras.

Issue after issue, Ms. Marvel continues to rock, and I'm glad Wilson didn't end the first story-arc with a simple meet and beat. Ms. Marvel needs an arch-villain, and instead of giving her training wheels with a familiar B-level villain who gets dispatched and tossed away, we get a measured conflict that's appropriate. This isn't so much about world domination as it is a localized and immediate threat, and the title's better for it because of the more personal approach.

Kamala's journey is ours because we're included, and Marvel would do well to keep this team together for as long as they need to. For all we've been given, which has been a delight to read and see, it looks like Wilson's building a worthy legacy for this character. The hope for a future and the exciting present " readers will look back on these issues as classics.

Ms. Marvel is one of my favorite series from 2014, and I hope they keep this team together for a long time. Ms. Marvel #10 doesn't neglect to speak to its audience, and it's great to see a positive message from a comic book that takes itself as seriously as it needs to. Fans looking for a classic-styled superhero comic with a great sense of humor and a dose of great power working hand in hand with great responsibility should look no further.

Even with the Inventor gone, we know there's an even greater threat, for who invents the Inventor? I don't know whether Secret Wars will be a huge wall or a bridge for Ms. Marvel's future a few months from now. It would be a tragedy to lose something so reminiscent of those golden age comics " a book that inspires and exhorts its readers to reach higher, think of others, and fight for justice.

As a one-off, Ms. Marvel #12 isn't totally dismissable. The first half seems rough compared to Wilson's previous issues, but the second half delivers bygiving Ms. Marvel a few teachable moments thanks to the trickster Loki. It seems ironic at first, but Loki's the nerd to Thor's jock persona, which makes the Ms. Marvel's first battle with Loki one for the books. With that, I'm looking forward to a new story arc, and whether it's Alphona or Bondoc at the helm of the visuals, I think fans should expect great things.

I've had the chance to sit on this issue for a few weeks before writing this review, and even now, I can see the art in both the writing and visuals, but I can't help but feel like I'm peering through the space between two iron gates slowly opening.

The comic that started as a Kickstarter project looks polished, cool, and fun. There's something about the attractive and slick visuals that makes Rocket Girl a success waiting to happen. Rocket Girl looks like a passion project with invested creators who are willing to take a huge share of the work. Reeder pencils, colors, and letters the book. As serious as some time travel stories are — Rocket Girl looks like it's playing the field with humor, a bit of mystery, and some straightforward adventure. It's a blend that has great potential, and it's worth checking out.

Daniel Acua's artwork has a cinematic quality in terms of composition, though his rendering has a scratchiness that actually lends itself to the story's brisk pacing. Acuna's artwork seems like it was meant to convey the speed of the story and not force readers to stew over the sequentials. Everything is geared for maximum impact so leave your magnifying glass in its case.

Fans may feel uncomfortable with the way of things, and they should. We're talking about Captain America, here. But the last thing this company needs right now is some hackneyed conclusion with a trace-buster-buster twist where it's revealed that Captain America wasn't really Hydra after all.

What I liked most about Secret Empire #2 is that it gives us various perspectives " even if they don't all hold their weight in water.

It's not a perfect issue, but it packs a solid punch. I would have liked a little more work on the facial expressions by Ribic and less open-ended ominousness from Hickman. Marvel has given hints as to what happens in Last Days and Battleworld which steals a bit of the issue's thunder, and the sheer amount of cliffhangers along with the lack of bodies leaves the door swinging wide open.

The Secret Wars are building up, and so far I'm pretty sold on the crossover. Don't take that to mean I'm all for reconstructing the Marvel multiverse — but if this continues, it might all be worth it.

Don't discount Secret Wars — the story and the art are great, and anyone considering the notion of giving up on the Marvel Universe should check this series out before abandoning it. The fact that this version of Secret Wars has already topped the previous volumes doesn't say all that much, but to say it's one of the best mini-series in recent history might change a naysayer's mind.

That doesn't mean Secret Wars #5 is a throwaway issue. The conflict continues to become more and more defined. With Valeria making it a priority to find Strange's murderer and a group of villains and heroes from the old world ready to take down Doom, things are being set into motion for a brutal and exciting climax.

Only a few more issues until we find out what kickstarts the new Marvel Universe, and this latest issue keeps the momentum going.

Overall, there's a lack of something greater or a sense of real danger or excitement, and though this issue ends nicely with Superman's act of kindness stopping Anguish in her tracks, this particular storyline feels like a filler story. The problem is, this entire run has felt like it's been made up of filler stories.

Superman #11ends with him beaten and at the mercy of the creature from another dimension. An editor's note follows the standard tagline, Continued in the next issue of Superman! The note reads: “Provided we still have one!” Let's hope #12 is worth the wait.

Superman needs bigger and better challenges that test a superhero in his prime. This storyline would have made more sense in a Superboy issue because youth and inexperience can lead a superhero to fight blindly for his ideals. Again, the problem isn't that Superman has ideals and a code of ethics/morals to live by, it's the approach, the execution, and the threading of story which are guided by Jurgens' pen and plotting. Superman advocates truth, justice, and the American Way, but in issue #12, he comes across more as a zealot. Superman deserves more characterization than that.

What's missing is why anyone should care.

Exploring his childhood by showing him raise his own child, we get to see Superman as never before -- a family man stepping into another hero's shoes.

Superman Unchained #1 is well worth the price of admission. The artwork, so far, is loud, tremendously epic, and the characters are attractive. The scripts give Superman and Clark Kent intelligence to go along with the physical prowess, and the plotting has an industrial rhythm to it " a steady beat with urgency and push.

If there's anyone who's able to get his groove back, it's the one they call Superman. And while the title suggests he's been given a pass, so far Superman Unchained #2 feels like the process has just begun. There's action and excitement.

For a series that was so heavily anticipated, there's a disturbing lack of urgency. Introducing a new foe for Superman looks great on paper, but if there's no real challenge or depth, it's a bandaid that covers the biggest problem of all " writing a Superman story that makes people realize how great Superman is.

Superman is back to where he should be -- kind of. The Superman of the 80s, 90s, and the early aughts returns to become the only Kal-El in current continuity. Superman: Rebirth #1 tries to give it emotional weight, but will you really feel it?

Supreme: Blue Rose #1 is a great first issue that starts with the basis " and I'll use Supreme's original inspiration " of what it's like to exist in a world with Superman, looking up from the ground. This is a Lois Lane type of story that puts the emphasis on a human contending a mysterious force that could save the world or upend it.

Yes, it doesn't compare, and it probably won't ever get made into a movie. It doesn't further the canonical universe created by the House of Lucas, and at the end of the day, Darth Vader is so much cooler as a cyborg " but for readers who want to see what could have been, The Star Wars is a gift.

The vague details and the juggernaut pacing that blasts through the last act is a little dizzying, but there's potential here because the scant details provide enough compelling details. The writing style, the music video abstracts, and the frenetic pace calls for a soundtrack to be included, and authors Way and Shaun Simon will have to fill the remaining issues with real substance without the inclusion of a musical score. The title says Fabulous, and that's the expectation, even if the lives are cut short, the truth gets a little worn, and the Killjoys don't ruin all of the fun.

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Anyone looking for a fantasy comic might find exactly what they're looking for in Witcher #1. It's not the strongest start, but the elements are there pointing to everything genre fans want and desire. If it's anything like the video games, expect an immense world filled with history that's constantly shifting and building. Issue #1 scratches the surface, and if the subsequent issues dig further, fans can expect something pretty amazing.

Umbral is a title with plenty of potential, and Johnson and Mitten's shoulders have a lot to bear. Fantasy settings are familiar, and without something fresh, things can go quickly south. Nothing so far has been absolutely stellar, but there's nothing to say that won't ever happen. Issue #2 could be the most important issue yet of this book's young shelf-life.

It's a solid start, and Bendis will have his hands full detailing the exploits of the original team living and working in parallel to the new team. How will the Cyclops " Cyclopi? " deal with each other, and what will Jean Grey think? How will new Scott rein in his members, and what new mutants will join the squad? And will the other X-Men " Wolverine, Iceman, Storm " fight or follow?

It isn't ground breaking " it's mostly laying ground setting up characters and events for the next issue. It still carries some of the momentum from the first issue, and the last page definitely piques interest. How Bendis works Magento's part in this could make or break the story and force questions.

The combination of strong writing and amazing art gives Uncanny X-Men #3 a lot of pull, especially for those emotionally invested in Cyclops' story. As a rogue leader, he's a force to be reckoned with because of the heavy hitters on his team. He's also a man on a mission, and as one of the best tacticians in the Marvel Universe, he's a formidable foe for the universe's supervillains and superheroes.

Uncanny X-Men stays strong, in title and story. Keep it up, team!

This is Cyclops' Extinction team, but they're broken. Bendis does well in showcasing how the changes affect the team dynamics, morale, and relationships. What the future holds for this team is uncertain, and it's likely it will be uncanny.

Uncanny X-Men #6 is a bridge between issues. It introduces one new mutant who figures to be a game-changer and another mutant who returns to the fold under a new banner. There's build up and reveals, and the creative team keeps it interesting with dramatic visuals and character development that sees the team building and growing in strength. Uncanny X-Men is Marvel's flagship mutant book, and the events taking place within these pages should have the biggest effect. What we're seeing is an X-Men team being forged in fire — literally — and Bendis is dangling war on the horizon.

The gripes aside, Uncanny X-Men #7 isn't standard fare, and it should be applauded for taking a step in a foreign direction. Bendis could have old the story of a team overcoming very different odds, but he's used this story arc to create tension. The X-Men didn't finish the fight, they didn't claim a major victory, and they look more than they have since the first issue.

Uncanny X-Men is Marvel's flagship mutant book because it bears the standard title. It says a lot that this series doesn't have Wolverine anywhere near it, and it's good to see some of the heavy hitters get their own spotlight. Though the debate about Cyclops being right wages on, it appears as if Bendis has a plan for the future of Charles' dream, and the way things have been moving along " it will probably be very uncanny.

Kudos to the creative team for pushing the pace and creating an issue that puts some of the most powerful mutants on Earth in harm's way. Bendis could have chosen higher-profile characters, but he's bringing in solid and dangerous foes capable of making a huge impact on the X-Men universe.

Issue #10 isn't a total loss, and there are some really good moments. It raises expectations for the next issue, and the plot threads may weave into a stronger tapestry over time. We've gotten our fill learning about the characters, poring over their powers, and understanding the ramifications of Cyclops' actions.

Uncanny X-Men #11 is a win, and we finally get a glimpse of Cyclops on the mend. He's sick and tired of being sick and tired. This is what progress looks like, and Summers is mad as hell and not taking it anymore.

There's still hope for this to become a great story — Bendis has proven his abilities before, and there's no reason to believe he can't come through. We'll just call this issue the battle for the Battle of the Atom, and one can hope the next issue will add another measure of awesome so I can write a glowing review.

Things are getting real serious in the world of the X-Men. With two issues left to go, Battle of the Atom has already surpassed last year's AvX debacle with a more resolute storyline, better pacing, solid development, and exciting action. What happens next is up in the air. There could be more casualties, and it looks like the classic X-Men may be stuck where they are. That could mean more issues of All-New X-Men, which is a good thing as long as the team doesn't over-extend their stay.

Cyclops' groups of young mutants feels like a great foil to All-New X-Men which showcases familiar mutants coming into their own in a different place and time. This Uncanny X-Men squad is building their own reputation, fighting for a spot among the mutant elite as heroes, and so far, so good.

Uncanny X-Men is Marvel's flagship book X-Men book, and Bendis won't let readers forget that. This is the future of the X-Men, and the creative team has produced a book grounded in the three things that make the X-Men a great read " characters, characters, characters.

Uncanny X-Men #16 is a geek tour de force because of its many thematic elements. Brian Michael Bendis proves he's worthy of the X-Men torch by writing an issue so filled with rich history, contrasting ironies, and character development without blatant narratives.

For entertainment purposes, if you're a fan of Uncanny X-Men, this one is another solid entry for the title. For others, it's a good jumping on point because it's another issue of team-building and solidifying mutant powers.

For the past few issues, the title has put its Bendis-scope on particular characters while the rest of the X-Men titles have dealt with major threats and story arcs. In Uncanny X-Men #18, we finally see a line on the horizon. An episodic issue centered on Cyclops, issue #18 weaves together the many complicated plot threads to form a unique tapestry of the mutant revolution's tortured hero.

The previous issues with their character sketches were a good detour, but it's time for the Uncanny X-Men to get back on track. While new readers joining the rest of us will benefit the most this issue, it's a good reminder for the pull-list subscribers of the particular threads left untied and loose. For some, it's an "about time" moment when the story they've waited patiently (or not) for is finally getting its round.

I expect next issue to get on with the storyline. There's been some great setup with some interesting develpoments, and it's time to get this thing moving forward. Since Uncanny X-Men began, we've seen Scott's team grow into a formidable force. The stakes are even higher now, but when will we finally see some action?

Chris Bachalo's pencils and colors seem like they've been streamlined to deliver maximum impact. The composition is great, and the delivery is amazing, particularly in the panels with Erik and Frederick where the tension can be felt. Last time Magneto was in an issue of Uncanny X-Men, he caused havoc for Mystique and her crew, then leveled the building they were standing on.

Chris Bachalo's art is strong this issue, particularly in the wide-angled shots of the helicarriers bringing destruction down on the school. There's so much detail in the nitty-gritty, and thanks are due to the six inkers working on the panels. If there was one point of criticism for Bachalo, it's in the facial expressions of Hill whose facial expressions are a little reserved. It would have raised a lot of tension to see Hill giving orders with a bit more emphasis.

As a standalone issue, however, this one won't matter much to the person who will only buy one comic for the entire year " and if you are that person, I am sorry. For the rest of us, it's a great jumping on point that points to the future " one of character development, drama, and more action.

That said, Uncanny X-Men #25 could drop a huge bomb that could either distract us from the Cyclops plot or intensify it. I'm for either as long as we get a good story, and so far I'm waiting with bated breath to see what comes.

Probably the most curious thing " and perhaps the most indicative " is the issue's cover " a collage of scenes and faces in red and black and white with the word revolution at the top. It looks unfinished, and anyone unfamiliar with the X-Men would be hard pressed to figure out what it all means " even those well-versed in X-Men lore would be stretching to piece it all together. It's trying to say something, but it relies too heavily on what we already know. It lacks synergy or that punch that gets us roiled inside. The X-Men as a team is filled with characters suited for telling stories with contrasts and conflicts, but like the cover, this issue felt bland.

What I do know is that Uncanny X-Men #26 really split me with part of me wanting some actual developments and the other part of me seeing this as a slow boil to an inevitable finish. I want to have my cake and eat it too, but I am just so hungry.

Uncanny X-Men #27 has its origins in the Original Sins crossover that brought one of Xavier's secrets to light. Though there are still plenty of questions surrounding his last will and testament, we've come across a mutant with extraordinary powers who must be dealt with in one way or another. I think it's interesting to see that in the years since the Professor's death, it's only now that the X-Men are seeing his true wishes being fulfilled: peaceful interaction and communication rather than violence. I see Cyclops truly embodying Xavier's vision in a time when it looks like the Jean Grey School X-Men have become too self-righteous to see how far they've fallen. That alone makes this issue a standout, though it is another section of the ride that is the current story arc.

And that's what makes Uncanny X-Men #28 so great " walls break, mountains crumble, and history repeats itself in cruel ways. In a modern X-Men world, is Cyclops the new Magneto, Beast the new Moira MacTaggert, and Magneto the new Professor Xavier? I still consider Bendis the X-Father because of his ability to set these stories on edge by pushing elements to extremes and bringing history to bear. A conflict between Magneto and Cyclops opens wounds, and the expectations of what's to come make me excited for the next issue.

Overall, Uncanny X-Men #29 has its share of missteps in specific areas, but it's a solid issue that benefits strongly from a second wind just in time for Secret Wars. Like many of Bendis' stories thus far, the setups have been better than the endings, and if the coming issues provide a strong conclusion, his could be one of the memorable arcs. For what it's worth, the events happening in the pages of Uncanny X-Men #29 might not be important in and of themselves, but there's potential for some groundbreaking stuff as long as the way forward finally leads to that unreachable horizon.

So with that, I'm not sure if I like this issue or not because I feel like I need to read the next issue to get my bearings straight. The issue leaves me with a bit of confusion, and I can't predict what's going to happen with the X-Men, S.H.I.E.L.D., or Cyclops' young squads. But judging this issue on its own as if it were a one-shot, I would have to say it's a mind-blowing read not without its flaws. Bendis flubs up Xavier and Bell's exchange " "I am so offended by you being here. You've ruined my life." " but in the big picture, he proves no life is too important to dust away. The twist was unpredictable, and Uncanny X-Men #30 is the freshest the series has felt in a long time.

It's a development-heavy issue that finally brings the story back to its focus - Cyclops.

I'm left disappointed overall with Uncanny X-Men #32. The cover is probably the most compelling thing about the issue " it depicts Cyclops standing over slain versions of himself, the one survivor. I'd much rather the issue pushed Cyclops to go out with a bang, taking up the mutant revolution on his own. Freed from the entanglements of subplots and side stories, we finally get to the meat of it all as the embodiment of Professor Xavier's dream shows the world what one mutant with a purpose can do. Instead, Scott Summers falters and then relies on his brother to pick him back up. The mutant revolution becomes a buddy story, and I find myself just waiting for this chapter to finally just end.

There's way too much stuff up in the air. What happened to Illyana tasking Eva Bell with bringing Hank McCoy to trial? What happened to Professor Charles Xavier's will? What happened to Cyclops and Havoc? Will any of these questions be answered, or will they come into play as the Secret Wars turn into Battlewars? Will it even matter at that point? For that reason, Uncanny X-Men #33 fails, and that's unfortunate

That said, I'm ready for any new start to the X-Universe, though I hope the major plotlines get the endings they deserve. Uncanny X-Men #34 feels like another attempt to stall for time, and it's a shame that Mystique's “ending” doesn't amount to much more than her being captured while she's been working as an actress. This seems like a slow and meaningless death of the X-Universe as major plotlines flutter in the wind, and in light of the rumors about Marvel killing off the mutants in its universe for the time being in order to bully Fox into sending the movie rights back, I can't help but feel like the fans are ones who are really going to suffer for this.

With that, I'm looking forward to All-New X-Men Annual #1 to add some extra layers. Were it not for the buildup and the likelihood that what happened to Eva will factorinto what's to come, this would have been an interesting read all in itself. But with months and months of storytelling, plot twists, and forward-pointing, it just doesn't satisfy.

We find out how powerful our heroes are when they deliver the punches. We see how strong they are when they take them.

Wolverine #2 continues the search for answers, and if the appearance of the Watcher means something — I'm hoping it's the start of something huge. For now, the tracks are laid, and the train's picking up steam. Where it goes, Marvel knows. We'll have to wait and see for issue #3.

The issue ends with Frankenstein's monster catching his prey by surprise, and the X-Men attacking their own students. There could be a lot of character development for Max Frankenstein and Quentin Quire who are in situations that run contrary to what's been status quo. For now, readers will have to wait to see what happens to them, as the X-Men take a back seat.

Even the Frankenstein monster resembles a Broadway villain with dialogue that comes really close to being over the top. There are cliche elements that drag the story down and make it feel trite as if the creative team is balancing a line they don't want to cross by making things too serious. Not that Wolverine and the X-Men #22 is terrible — it's a fun book that doesn't want to take itself too seriously. The problem is it feels a little too light for its own good.

Minor gripes aside, Wolverine and the X-Men is the best of the bunch so far. It's got a kicker of a story, and the action takes readers where they want to be — in the thick of it with members of three teams duking it out. The X-Men have spent a lot of time griping and coming to terms with old teammates/rivals/enemies. It isn't certain that Summers and Logan will ever become friends again, and there's no promise that the status quo — if there ever was one — will be restarted. After reading this issue, I wanted to go straight into the next issue.

With one more issue left " an issue that needs to really rock for this crossover to be remembered fondly " this crossover so far has been largely simple and uneventful. Wolverine and the X-Men #37 needed to bring the story to a critical mass for an epic conclusion. Instead, it lumbers around and rolls over. Those waiting for the trade paperback should skip this section and replace it with " and then everyone decided to take it outside.

On the art side, I just wish David didn't opt to mold Diana in his mind's eye image. She looks too much like David's other comic book women, and if there's one female superhero who should break the mold, even if it's against our modern-day standards of beauty, it's Wonder Woman. To me, Wonder Woman should embody an aesthetic fit for her as a representation of the warrior-woman " an Amazon whose beauty is a match for her strength and class and not the other way around. That said, while this first issue might not fit my version of Wonder Woman, it does display some great imagery. If Meredith's story rises to great heights, David's pencils won't let her down.

This current Wonder Woman arc reminds me of '90s era Image titles. Most of them ended up being variations and knockoffs of the X-Men, and they didn't survive long because they didn't measure up. Right now, Wonder Woman looks like it's trying to distinguish itself from the first 34 issues, and while these two issues haven't been awesome or classically bad, subsequent issues need to find their identity rather quickly and bring some sort of wow factor. I'd like to see the comic with a bit more finesse and some heavier tension that doesn't default to explication-heavy scenes to make sure readers aren't being left behind. With an artist as talented as David, let the visuals carry silence and some of the expression. I'd also like to see steadier plotting that doesn't take the first issue's water-theme and relegate it to a cameo appearance here. It's starting to feel like the story itself is becoming saddled with too much goings on.

As the first issue, Wytches #1 does more than produce a sharp hook. It will get its fingers around your spine, and fans of the creative team will get to see them work on a title without the tethers that come with producing a comic about a beloved superhero. Wytches is Sndyer, Jock, and Hollingsworth on a difficult mission to keep you awake at night, and so far, their magic is pretty strong.

Snyder does well in placing bits of information deliberately and conspicuously to keep our attentions focused. It'slike a bit of sleight of hand when a magician leads us with one hand while the other hand prepares a surprise, but it's effective as a way to keep the plot threads spinning. Pairing that withJock's acumen in getting the story told visually creates a dynamic that's bigger than any one piece by itself. In terms of the themes " the words and art have a synergy that produces a swell that works like a pulse that beats harder and faster. I didn't expect to have the characters come this quickly into the thick of things, and the shock of it all " the quick escalation " will keep readers from getting comfortable. The title is called Wytches for a reason, and they're here " and they're terrifying.

This is just X-Men. Substantial, exciting, and a sight to behold.

X-Men #2 shows how important this title is to Marvel's stable of X-Books. It's got heft and drama — even heft in its drama. In its writing and in its art — the book is sharp and streamlined for maximum entertainment.

Big picture " things are heating up, and the potential for a great story is there. This issue is a lull, but it isn't indicative that things are falling apart. It might not be what readers expect, but there are clues and foreshadowing building up for future issues.

X-Men #4 works because it covers the rounds. There's action, a sense of newness and exploration, and psychology. This is a team looking to take a stand, and as sum of its parts, it's pushing and pulling all at once. There are dynamics that create a palpable tension within the team, and though the narrative could have been a wee bit stronger, it's the action that really speak louder than the words.

With chapter three finished, the ball is back on homecourt for Brian Michael Bendis' Uncanny X-Men story. Overall, Battle of the Atom has proved to be an interesting and compelling crossover that's connecting the various issues of the X-Books. When all is said and done, readers will judge the whole, and credit the X-Men creative team for a solid issue that's not without its flaws. And however small or great those flaws, they don't do much of a dent to the overall plot.

Next issue looks like it will deliver in the action department. The X-Men are in code red, and it's up to Cyclops to save the day. Is Battle of the Atom the redemption that Cyclops wants, or is it the truce that he needs? Readers will have to wait another week for the next chapter.

It's good to see X-Men back on track after Battle of the Atom seemed to put things on hiatus. We get more of the X-Men's female teammates showing they can handle their own, and Wood adds some dramatic elements to the story that wouldn't be possible with a testosterone-laden cast. It's also apparent that Wood has chosen from the X-Men's femme fatales for the title's first set of villains. While some may pine for a Magento-level counterpart, it's a bit early to bring in the big guns when Woods has something up his sleeve with the possible reemergence of Arkea Prime.

The birth of the Sisterhood gives the X-Men a formed threat, but will Wood give readers the action scenes to boot? With Battle of the Atom taking precedence, things for the X-Men title have been a little shaky, but there's potential here to produce something.

All of that character development in the past few issues is paying off, and there's momentum here. Wood has taken the less traveled course, and of all the X-Books this month, this one gets the award for best action and cliffhanger.

It's clear that Wood can write setup, and he can write interesting set pieces teeming with action. There's been a lot of setup so far, and if the last two issues of the current story arc were just filled with meaningful battles, Wood would have a very complete story here. What makes the arc compelling now is the possibility of seeing the dead rise, and that's no easy feat.

For all of the threats and fear-mongering, things are too simple in some regards. It's as if Wood has given up on the chess game for a few toys in the box. Remember when you played with your action figures/dolls but you had to put down the toy that wasn't speaking or involved in the conversation to pick up the one that was? That's what this issue feels like.

It wouldn't be so frustrating if there wasn't as much potential. It almost feels co-opted " a story's mapped out only to have the plug pulled at the last minute. Looking at the issue's cover where the main X-Men team take on Sentinels on a beach, I'm just left confused.

Battle of the Atom #1, in writing and in display, feels like a bookend for the All-New X-Men books, which is in line with the next chapter " part 2 continues in the pages of All-New X-Men #16. The seeds have been planted, and it looks like this concerted effort between a small group of writers and artists " last year's AvX was a debacle with way too many chefs in the kitchen " will lead the charge for a great crossover for a major victory that will make X-Men fans happy.

That said, what will happen to the individual X-Titles remains to be seen. All-New X-Men gets a dramatic change in scenery while X-Men loses Kitty Pryde. Uncanny X-Men now adds a whole team to its stable while following Cyclops as leader and mentor to himself. The book with perhaps the most to lose is Wolverine and the X-Men as Logan seems to be the biggest victim of the crossover as he's lost the classic X-Men and a lot of clout as headmaster.