As an issue one the book works. It sets up the world, the characters and the narrative nicely thanks to Bendis' solid script. His dialogue may have problems, but it never detracts from the whole issue. It has a great pace to it, which is helped by Immonen's lively art. The book feels fresh, but also continues on from recent events. New fans will find an solid story with fun moments and old fans will find an exciting new direction for Marvel's mutants. For now it looks like the X-Men are in safe hands.

So, All New X=Men‘s second outing is concerned with plot and in that regard Bendis delivers a focused and entertaining script. However his character work suffers from the writer's trade mark style as he has yet to really define the original five's characters. Understandably it is only the second issue and therefore the characters still need time to grow, but the original five definitely need a lot of work to come across as unique characters in their own right. Immonen lends a hand in the characterisation and his pencils are an endless source of entertainment as he breathes life into Bendis' script. This issue is more of a mixed bag than the last, but it is still an entertaining read with great promise for the future of the X-Men.

So, with its third outing All New X-Men misses the mark the previous issues hit. The potential Cyclops seemed to have in the first issue is hindered here as Bendis manages to slip up on the characterisations. Add to this some heavy handed exposition delivered by an unrecognisable Emma Frost, an idea forced into the book to help with future conflicts and a jarring change of pace and this issue fails to deliver. It isn't a disaster as there are moments that work, the art is well executed and the overall plot is still moving forward which gives the book a distinct direction, but it is a step down from the previous two week.

So, All New X-Men #4 is a visual treat that shows off just how important art is in delivering an engaging and emotional book. Immonen's art makes this title a blockbuster and although Bendis has issues with characterisation and dialogue, he still delivers a fast paced narrative.

So, although there are elements here that don't quite work the overall issue is a great read. It moves the book forward in a new and exciting direction that will allow it to stand out from the other titles nicely. The focus on Jean has been a boon for the book as she is re-established for a modern audience and Bendis is really hitting his stride with this title now. It helps to have Immonen on board as his artwork makes the book a compelling read. With this one issue the book has defined and earned the title All New X-Men.

So, issue six keeps up the quality the title has been enjoying. It may have slowed down in pace, but the issue is filled with a wealth of character work by both Bendis and Marquez. It is an issue dealing with the melodrama the X-Men are known for, but it is handled in such a way that it never feels overplayed. This script is easily one of Bendis' best so far and this is due to the love he clearly has for these characters. The directions the characters have been put in are engaging and have a lot of potential. The cliff-hanger adds a classic enemy into the mix, which looks set to be another great idea from Bendis. This title is not only a great read, but it is also a celebration of the X-Men and this issue is no exception.

So, All New X-Men #8 is a feast for the eyes. David Marquez makes his mark on the title with the best looking issue so far. Between him and Bendis they have addressed Angel in an engaging way. Plot elements move forward and the book continues to deliver nice surprises. Fusing melodrama, action and intrigue, Bendis and Marquez deliver another excellent instalment of this must read X-title.

Even though the art doesn't quite impress, All New X-Men #9 is still a great read. Bendis has really excelled himself with this series and this issue is no different. His use of character and melodrama gives the book a unique identity within the Marvel Now! Initiative. His script explores his characters, from their motivations to their concerns, and in doing so he has delivered a compelling issue. With another visit from the Uncanny X-Men on the horizon, Bendis looks set to continue building All New X-Men into the best flagship title the franchise has had in a long time.

So aside from Wolverine's distracting face Immonen continues to do wonders with the art. He really does sell Bendis' script, which is strong in its own right. It is an issue that teases a departure in the best way possible, but it is also an issue that addresses the moral ambiguity of each faction of X-Men. Compelling drama and character work that is sprinkled with moments of humour and fun villainy. What more could you want from an X-Men book?

So, this is another example of how Bendis and Immonen are crafting an engaging reading experience. The book is a well-oiled machine with each individual component delivering. The art is bombastic, detailed and expressive, proving that Immonen has the talent to produce quality work each month. The script is well crafted and character focused, which shows that Bendis' style suits the X-Men. This issue once again proves that All-New X-Men is the best X-Title on the shelves right now.

So, Lemire continues to build Animal Man's world and delivers a great re-imagining of the classic hero's origin. A script that seems fresh and full of character is married to great visuals as Pugh produces his best work of the series so far. It is a great jumping on point if you have yet to experience one of DC's best titles.

It isn't often that you read a comic where you chuckle at the hero's wife, empathise for the gun man threatening a load of sick kids and freaked out by a little girl. So Animal Man is a superhero comic putting family drama and characterisation before the action. Add to that the startling horror undertones and the fantastic art and you have a very unique beast indeed.

With it's mix of horror and family drama Animal Man continues to be a unique book within the new DC universe. Adding in the mystery of The Red and you get a compelling plot which will leave you wanting more. It's a book you will be thinking about until next months issue hits the stands and that is a testament to the talent found within it's pages.

Although the villains aren't as interesting as the rest of the narrative. Lemire and Foreman continue to deliver a book which is consistently fascinating, gruesome and entertaining. It's utter unique nature makes it stand miles apart from most, if not all, of the other DC books being produced. If you are wanting something completely different and a little odd, this is the book for you.

So, when you marry Foreman's fantastic imagery with Lemire's absorbing script you get this. A book that moves the plot forward with a perfect pace, highlights what our characters are up against, gives Buddy a mission and continues to deliver great characterisation. No matter how outlandish the script gets, Lemire never forgets that it is as much about the family as it is about the horror. That is the success of the book. It truly is as good as people would have you believe and if you can take the horrific aspects then you will be treated to a true classic.

Animal Man truly is one of a kind. Its a book with so much character driven emotion, which also has a compelling mythology and terrifying antagonists. It looks like nothing else on the stands as Foreman delivers a tour de force in the horrific. Lemire has captured lightning in a bottle. We can only hope that this creative team stay with the title for a very long time.

So although this issue's individual moments work as a whole it seems to fall down. The stylistic change in artists is a jarring one that doesn't help Leon's average pencils. The inclusion of the film seems to come out of nowhere and although it serves to break up the tension of the previous arc and give all the readers a moment to breathe before jumping into the next one, it doesn't quite work. It is an almost alienating inclusion and the absence of Buddy and the family for the majority of the issue is heavily felt. It may recover itself at the end, but the issue's focus on the film has produced the first disappointing instalment of Animal Man

It's an improvement from last issue on a narrative level as Lemire shifts back to the family. It's nice to see Cliff get an expanded role and his characterisation here does wonders for him and his relationship between him and his Dad. It's infused with humour as the token comic relief actually works for a change (It helps that Socks is a talking cat), but it also has an underlying sense of dread as the Rot finally catches up with the family. This is a well rounded comic with all the elements that make up a great read, which yet again proves how interesting Animal Man and his family are.

The art easily draws you in and Lemire's script captivates. Narrative blip aside the issue as a whole works well in focusing on the Baker family and their inner turmoil. It is still the DC book to beat and is a must read.

So, Lemire keeps up the pace here and gives each divergent plot strand a goal. It has a cliffhanger that not only connects the book to another part of DC's darker corner of their universe, but actually allows Ellen and the kids a continued and interesting presence in the narrative. The constant quality of this title continues to impress as it charts the life of a character that has been made relevant by the significant work Lemire has invested in the title.

So, Animal Man continues to be a delightful read. Lemire builds on his tapestry as Buddy travels through the Red. There are new mysteries posed and fun to be had within these pages. This truly is a title people talk about for a reason and every month it delivers.

So, the issue's script wins out as Lemire continues his fantastic work on this title. However the art lets it down as the inconsistency in the character work doesn't truly help. But even with that one problem it is still one of the best comics on the stands right now.

Pugh's art does wonders for the book and backed with the emotive family drama the title continues to be a great read. However the necessary evil of crossover exposition does impact the pace of the narrative. But now it is all over the crossover can move forward unencumbered and we can enjoy the ride.

So, with two artist that compliment each other and make this issue a feast for the eyes, Animal Man at least looks the part. However with such a focus on set-up the book is lacking that spark it usually has. But the world building is done now and the potential is here for an impressive event story.

Even though all the elements are here for an action packed and fun ride, the issue lacks the emotional meat the title usually provides. It looks great and Pugh does depict one intense battle sequence, but Lemire hasn't instilled any real character into Buddy's comrades so no matter the stakes there is no tension. Plot elements feel familiar and although the cliffhanger is unexpected and fun, the Rotworld story seems a bit bland. But with Maxine alone the book still manages to entertain. Lets hope next issue's narrative and character work can match the visuals on display here.

So, the book has succumbed to the weight of the Rotworld storyline. Although the art is enough to keep the reader engaged, the narrative is laden with heavy handed exposition and badly delivered “twists.” Although the plot is moving at a great pace, it is so utterly devoid of character work it ends up being a bland experience. If this is what Lemire has been building too since the beginning of the title, then it is a shame that it is so disappointing.

So, as Rotworld continues we are given a massive action packed issue that moves the plot forward and has a few big moments. It is entertaining and looks great due to Pugh's work. However this epic is lacking the depth and complexity the title usually delivers. Therefore the high stakes lack the emotional context to make you care about any of it.

So, even though this issue looks good it still has problems. The plot isn't bad, but its just bland and familiar. From the handy reinforcements to the cliffhanger, the issue just doesn't do anything interesting with its narrative. When a tiny handful of "cool" moments are more impressive than the whole then something has gone wrong. We maybe witnessing a massive battle with the fate of the world hanging in the balance, but it feels more like watching a fireworks display. It's all very pretty, but after the initial "wow" we are stood around waiting to be entertained.

So, the emotion missing from "Rotworld" is back and well executed. Cliff's death is a massive event for the title and it's a shame that the front cover spoiled the surprise. It may be fast paced and the ending a little convenient, but the character and story pay-offs are enough to let that slide. With Pugh delivering the goods and Lemire infusing his script with emotion, Animal Man #18 does more than finish The Rot storyline; it puts the title back on track.

Lemire and Pugh do such an exceptional job with this issue. It is emotionally charged, but within the context of the narrative. Everyone's reactions are believable thanks to the art and script. The book's new direction points to an interesting future for the title. It's nice to see the death of Cliff propel both the narrative and character development forward without feeling too manipulative. Simply put, his issue is a triumph.

So, Animal Man #20 is a success. The focus on the film is a change of pace, but not one without purpose. On its own the film has a great narrative, but how it works within the greater picture of the series is marvelous. It's a thematic piece that has a lot of depth. Lemire, Leon and Green have delivered an excellent issue that highlights the strength of their character work.

So on the one hand the art is terrific and really sells the character as he has never looked this good in a while. But on the flip side Johns' hasn't offered anything new for him to do, even people unaware of the character could guess the outcomes of some of the plots that have been set up here. However with the added metatexual commentary comes a sort of charm, which could sustain readers for a few issues (even if it isn't intentional).

Although this book hasn't really got anything new to add to the Aquaman mythos, it still might be a good jumping on point for new readers and that is the only redeeming feature in the writing. The art is faultless but can't carry the book alone as it sinks under it's own mediocrity.

But on the the whole there is nothing here for anyone wanting the depth presented in other DC titles. There is no massive problems that make the book unreadable, it's just an utterly mediocre read even with the great art that's on display. It's a book that will entertain people and have fans, but has not lived up to the hype surrounding it.

But with the end of the first arc we can only look forward. Johns needs to craft a plot worthy of the character, a plot that has an emotional crisis from the beginning and not just thrown in at the end. Although Reis continues to draw a lovely looking book, the title just feels like style over substance.

But again it's just pretty window-dressing to an otherwise hollow book. It's formulaic, contrived and bland. Even the mysteries of Atlantis don't really entice. With so many other books in DC's canon that create compelling solo hero adventures, it's quite remarkable that this hasn't been cancelled to make way for something better. It could only be that people are happy to see Aquaman in his own book no matter what kind of story is being told.

Whereas the art works and one scene isn't all too bad, it is not what you expect from a comic that seems to do well in the sales charts. Much like the bombastic and meaningless Michael Bay directed Transformers films, Aquaman trundles on with absolutely no purpose. It's characters come off more like caricatures than believable protagonists and it is a shame. You can target a large market share and still deliver intelligent, well structured and entertaining stories. But Johns has forgotten this and has decided on delivering the lowest common denominator for his easy to digest issues. For this title to have such a high profile is as depressing as knowing Transformers: Dark of The Moon was one of the highest grossing films of last year.

So it still has problems but there is enough potential in this issue to at least be slightly interested in this new story arc. Black Manta is a welcome addition and Aquaman's mysterious past brings some intrigue. The art is as always the book's only real selling point. But on the whole this is a by the numbers set up issue which rarely moves above average.

So, Aquaman has come a long way from previous issues. Johns has an interesting plot here and has managed to finally infuse the book with some characterisation. This is turn leads the audience to get invested in the book. This is helped greatly by Reis' great handle on the character and the world he inhabits. Lets hope it continues down this path at least for the time being.

So, although the art does wonders for the book, Johns still manages to dampen the proceedings. There is a fundamental problem with the title when every other character is more interesting than Aquaman, even with the revelation of this issue. Reis manages to give Aquaman a personality, but his dialogue from Johns does absolutely nothing to cement this characterisation. Unlike Black Manta whose characterisation is handled well by both writer and artist. The time spent on more of Aquaman's background feels like filler and could have been delivered in one page. But scripting and dialogue problems have plagued this series from the get go and it won't change any time soon. But for now the art is fantastic, Black Manta is compelling and this plot isn't half as bad as the previous one.

So, Black Manta steals the show and Johns manages to give a sense of ambiguity to who we should side with in this battle. Add Reis into the mix and that part of the book soars. But as with many an issue of this series it becomes bogged down with narrative problems as the other aspects are seemingly designed to stall for time. It may come together in the trade paperback, but for now the issue has one excellent aspect surrounded by mediocrity. You may have noticed that this review has not yet commented on Aquaman himself and that is indicative of an inherent problem with this New 52 version. There is nothing there to really comment on as he merely goes through the motions. Even giving him a back story such as the one presented hasn't made him more interesting. However the book is continuing to improve and with Black Manta on board it looks like this arc will be an entertaining one.

So, the book has a few problems but they can be forgiven due to the actual development of Aquaman's character. Johns clearly has a plan for our hero and it is nice to see him be the most interesting thing in his own book. This is a calm before the storm, which dumps a lot of information on the readers. This will hopefully allow the narrative to be less hindered by exposition in the coming months.

So, yet again Reis outshines Johns and the title continues to be a beautiful mess. It seemed to be improving a few months back, but Johns has yet again dragged the whole thing down. It is a simple premise for a story, but Johns adds aspects that don't work. Amazingly for a writer that loves to use heavy handed exposition, he does seem to neglect characterisation. This has the knock on effect of making the book a shallow read, which is a shame as it looks fantastic.

The book may look fantastic, but all the negative aspects drag it down. The title is no longer squandering its potential, it is just the simple fact that this is the quality of Aquaman stories us readers will get until a new writer comes on board.

Its art maybe lacking somewhat, but the script is surprisingly good. The way in which Johns handles Aquaman's brother is the major selling point here and his commanding presence actually works well in conjunction with our slightly wooden protagonist. It is probably the best written issue of the series so far and it is a little disappointing the art wasn't as good. However this prelude shows how much potential Throne Of Atlantis has.

So, this is the dawning of a new chapter in the Avengers franchise. One that has looked at the past few years and decided on a aggressively different path. Its big, bold and full of character, but whilst it moves forward it never forgets what the Avengers are about. Hickman Delivers a succinct take on the concept, which looks gorgeous due to Opea's art work. This is the blockbuster title Marvel Now! has been waiting for and is the perfect jumping on point for any new reader.

This second outing may not be as well put together as the first issue, but it is close. Hickman's character work stands out, especially when depicted by Opea. The big ideas might get bogged down with lengthy explanations, but the books is an entertaining read and continues to be the (unofficial) flagship title of Marvel Now!

So, although this issue may end the title's first arc with more of a whisper than a bang, it is still an engaging read. Hickman really does something interesting with the final moments of the book, which leads to an ominous conclusion. Captain Universe steals the show both visually and narratively, but other cast members also have time to shine. It is a well paced book that delivers on its blockbuster nature, but it is also a book that shows just what type of Avengers stories Hickman is interested in. Stories that are full of character, action and intriguing ideas.

This issue's visual presentation has improved upon the previous, but the script continues to slip in quality. The book is saved by the pencil work, but this is already a forgettable Bat-book. Going forward it is imperative that this series brings decent character work to the table. At the moment it is all plot and no heart.

So this issue circles the same quality as the previous one. The script is filled with one liners and no real character development, the plot shuffles along slightly and a lot of time is dedicated to cross promotion (not a bad thing if handled well). The art is clean, but lifeless. Four issues in and the series desperately needs an injection of creativity. Because at the moment this is just DC selling a product by slapping Batman's name on it, whilst ignoring quality (like they often do).

That fantastic issue one seems like something from a happy fever dream, a perfect entry point to a series that continues to descend in quality. To call issue five a low point is unfair but it is the weakest issue so far. It certainly has nothing to keep the reader interested. Filled with terrible dialogue, visually bland action and little to no story progression, issue five is a perfect jumping off point for any sane comic book reader.

So, issue six has little to offer in terms of plot, but it does attempt to do a character piece. It may seem familiar to a lot of readers, but it succeeds in what it sets out to do. The art is the main draw here with Daniel, Morey and Florea delivering a good looking Batman book. Hopefully at some point Batman and Robin Eternal will once again be able to marry its script with its art so that the readers can get another great issue out of this series.

Issue seven doesn't rock the boat, but proves that character work is a must with a series like this. The art is functional and doesn't destract from the script. Decent work, but not memorable.

This is a comic that is more utilitarian than expressive. It does its job with no real flair. It is the definition of biege, but at least it is still an improvement from those earlier issues. People already onboard with the series will enjoy this issue, but if you are wanting more from your comics look elsewhere.

This is a particular low point for the series. Lanzing and Kelly go through the motions. They drop in tonnes of exposition that cripples the pace of the dialogue. The narrative is so slight it could fit into a few pages, and the last page reveal is merely there to ensure comic book news sites publicise a series that has nothing to offer.

Although the issue was mainly bland, it had a few highlights that make it better than the last. But Batman and Robin Eternal continues to be a non-event, a cynical by the numbers Bat-book that was made to capitilise on an audience that deserves better.

The art robs the issue of any intensity the script demands. The colours softening everything unfortunately. Brisson knows how to write Harper, but does get lost in places. This isn't bad, its just another mediocre issue of Batman and Robin Eternal.

This is another run of the mill comic, created to do its job. There is nothing to keep people reading, but they will because of the characters. This is unfortunate as the readers (and characters) deserve much better than this series.

That is the problem with this issue (and the series as a whole). The creative team seem to put in little effort. They took their check and moved on. Bland comics end up being the worst as they don't elicit an emotional response. The story is coming to its third act, but the quality of the book (and this issue) killed it before it left the first.

Williams and Blackman are clever enough to use hindsight to re-examine Kate's origin. It works on every level and makes for the most interesting origin tale of the whole zero issue initiative so far. A creative team at the top of their game deliver a book that everyone should be reading.

The book as a work of art is perfect and if that alone doesn't make you pick it up Williams and Blackman have scattered enough enticing characters and ideas throughout to keep anyone entertained.

This is exactly what you expect from not only a Batwoman book, but a anything Williams draws and it is a bonus that both he and Blackman have enhanced the characters. It is a great improvement from the last issue and puts Batwoman firmly in the “must buy” pile.

So what we have here is a sumptuous book that is full of strong female characters whose personal lives are as interesting as Batwoman's adventures. The threat of the Weeping Woman continues to be shown, but to be honest she's just window dressing for all the fantastic character work being done here. There isn't a superhero book that is on this level out there and if you not reading it already go out and get it.

There is little else to say about this book other than it continues to be a work of art. It's intricate artwork goes hand in hand with it's complex characterisation. Complex in so much as the creative team have really breathed life into the main cast, making them believable heroes who populate the dark streets of Gotham. It drops in plot points that are intriguing and it's cliff-hanger will have readers excited until next months instalment. Even with it's minor problems it's a truly wondrous book

So, Batwoman yet again entertains. Not just as an artistic spectacle, but as a narrative as well. Although The Weeping Woman storyline lacked any real impact, it has at least been given a decent send off. What does stand out is the new direction the creative team are taking the character. It's definitely an exciting time to be a Batwoman fan.

So, on the whole this issue just doesn't fly as high as Batwoman's previous outings. But it isn't all bad as the narrative still works. However with Reeder on pencils it looses it's identity and with that it's emotional connection. Her art isn't bad it is just not suited to the world Williams and Blackman have created.

So, what we have is a problematic book with a handful of good scenes. It is the first time that an air of disappointment has surrounded the book. What it perhaps needs is to move away from the supernatural and focus itself more on its character development. Also Reeder needs to draw something suiting her style, perhaps Batwoman isn't that book or perhaps it is the plot that is the problem. But something has to change to allow this book to move on from these problems.

Much like the narrative, the art is inconsistent and this leads to yet another underwhelming issue. Whereas some moments entertain, they feel few and far between. The book has seemingly lost its identity it had crafted in those first few issues and this has a knock on effect with the readers investment in this new story. It seemingly has no stakes as Batwoman manages to get out of trouble so easily here. Add to the fact that the antagonists are a little ludicrous and the issue falls flat. The only hope moving forward is that this storyline doesn't last long and Reeder will hopefully move onto a book that suits her style.

So, Batwoman falls flat for another month. This story arc feels more like filler than an actual worth while narrative. The direction of the book doesn't inspire enthusiasm as Kate becomes entrenched in the supernatural. However this maybe just a bump in the road and the title will once again become focused on what made it great in the first place, its characters.

So, the character moments that have been the backbone of the series continue to keep the title interesting. The developments here are well scripted and Jacob's confession is far more note worthy than the twist ending. Again the Medusa plot does nothing to interest the reader, it is just a run of the mill story arc that has gone on for too long. The art works but is nothing to write home about. It is a shame but at this moment in time Batwoman continues to be a title that sits firmly in the mediocre category.

So, Batwoman is back on top form due to an engaging script, stunning visuals and a well executed guest appearance. The spark the title had has been recaptured, with the memories of the last few issues erased. Everything is balanced here and the overbearing mystic elements of the previous arc have been tamed due to a better definition of what Batwoman is up against. Let's hope this quality continues.

This is truly a wondrous piece of work. Williams and Blackman have outdone themselves with this issue. It begs to be read and with such a rich visual identity and compelling story it would be a shame to not include it in your weekly hauls. The title may have struggled with its previous story arc, but this is something else. In fact its something special.

Simply put this is a beautiful looking book. A book that deserves to be recognised for both its artistic merits and its compelling storytelling. Williams and Blackman are redefining the concept of the superhero team-up, whilst producing one of the most impressive comics on the stand.

So, the book is both narratively and artistically mute. McCarthy's art never compels one to sit back and admire it. The fact it can be directly compared to Williams doesn't help. But the narrative is also lacking due to some overworked narration. It maybe an interlude before the big battle and focuses on a character we haven't seen in a while, but it is mishandled in such a way that the overall product is neither utterly terrible or at all interesting.

So, although the script has pacing issues and lacks some characterisation, the book is still an excellent read. Williams art is a triumph in story telling as he takes us on a visual journey through the violent streets of Gotham. Mythic imagery merges with a suitable plot to deliver the best looking book of the month.

However the conclusion doesn't negate the excellent work on display here. Yet again the series delivers an issue with jaw-dropping art and excellent character development. J. H. Williams and W. Haden Blackman's take on Batwoman continues to be DC's most beautiful title.

So, Williams, Blackman and McCarthy deliver an entertaining issue that pushes character moments forward, whilst delivering everything a first part of a new storyline needs. The art enhances the reading experience due to McCarthy's eye for characterisation through expression. Not one narrative element outshines the other and this leads to a complete package that is engaging throughout. The focus on character has always been this title's strongest selling point and this issue is no different.

So, Batwoman #19 is a character driven piece that examines its main cast. It is a great read, but it lacks the usual visual presence the book is known for. Yes this is all set up for the next story arc and can easily be called a filler issue, but it is so well handled it doesn't matter. This well-written script from Williams and Blackman ensure that Batwoman continues to provide a compelling read each month.

Batwoman continues to be an engaging character piece. Williams and Blackman set up a story that has some great potential. The first half of the issue is a little overlong, but the script delivers once the flashback is over. McCarthy isn't as strong here as he usually is, but it doesn't make the book unreadable. With the characters coming first, Batwoman #20 is another successful issue by a talented creative team.

As a first outing, Ann Nocenti doesn't inspire confidence. This is an unnecessary origin tale, attempting to give Selina a deeper beginning has only served to needlessly complicate it. Melo's art may work, but it isn't enough to recommend this mess.

So it's a mixed bag for Catwoman's first issue but she is such an interesting character and Winick is going in the right direction with her to keep readers interested, but it needs a few tweaks.

So with it's second issue Catwoman manages to capture the title characters essence, keeps the plot moving, throws in some great character interaction and ends on a shocker. Time will tell if the decision to take such an intriguing character off the board permanently, will ultimately be the right one. But for now the fallout of this issue is something that this reviewer is really interested in seeing. There is a sense of style to the book which really sells the character. Hopefully people will look past the images at the beginning and see the great work Winick and March are doing on here.

On the whole the issue works as it puts some meat on Selina's character. The otherwise whimsical femme fatale has now suffered a great loss and must deal with that. It also has a fun cliffhanger and some vengeful action. But Winick manages to stumble on his words and it takes the bite out some of the more emotive moments. Perhaps the book might benefit from less Winick and more March.

So, Catwoman is on the up and Winick seems to be getting a handle on what he wants to achieve with the book. It still has a few kinks to work out and even though it's a fun narrative, it still has a way to go before it becomes memorable. But on the whole it's an improvement and a step in the right direction. Let's hope our favourite Gotham thief will continue to grow in Winick and March's capable hands.

So whilst Selina is continuing on her journey to becoming the most interesting female character at DC, she has yet to star in a story worthy of her prowess. It's a shame that she didn't take the money and leave Gotham as it may have opened the book up to new possibilities. But at least Batman might not be part of the comic for a while and we do have a new supporting cast member which has potential. We also have March's wonderful pencils, and with Winick's fantastic grasp of Selina's character it is still an enjoyable read.

The whole book is vibrant and bursting with a rebellious energy that is hard not to enjoy. Selina continues to be a compelling character and her supporting cast is beginning to emerge. This issue isn't an award winner but it is great fun. To ignore Catwoman is to miss out on some wonderful work by Winick and Melo.

So, even though the book is moving into a crossover, Winick makes sure it is relevant to the book. On top of that he has managed to make a male sidekick for Catwoman seem like a good idea and the dynamic between the two is perfectly played out. It's a fast paced issue with a lot of fun to be had. Winick has a plan and it will be interesting to see where he takes Selina in the coming months.

Although this is part of a crossover it does feel more like another issue of the series. It isn't bogged down with the crushing weight of the event and this is due to some great scripting by Winick. He makes Selina's encounter with the Talon a personal one and continues to articulate her established complex emotional state. March returns with his usual flair, which allows the narrative to come alive on the page. So, Catwoman continues to be a satisfying read even if it has to deal with the bloated “Night of the Owls” crossover.

Catwoman continues to look and sound great. Winick's focus on Selina is exactly what a solo title should be like, with the plot being used to give more depth to the main character. March's visuals have given the book an identity and really brought to life the world Catwoman inhabits. Again this issue proves that Catwoman is a title that shouldn't be taken on face value.

So, this issue feels like Winick had to finish his storylines for the next writer. It feels rushed and it damages the good work he has been doing on the book. It isn't helped by distinctly average art.However his Selina is a compelling character and we can only hope that she continues to be as Ann Nocenti takes over.

So, Nocenti delivers another sub-par narrative due to the fractured nature of the scripts structure. It could do without the tie-in with the big Batman event and it would benefit with some focus. It isn't terrible like the last issue and the art is an improvement, but it doesn't grab your attention.

So, as crossover issues go it at least focuses on the Joker. However neither the Joker nor Selina come across as interesting characters as Nocenti's script robs them of their charms. This is a filler issue that is designed to pull in the crossover crowd, but the worst aspect really is the fact that issue feels like a waste of time. The ending in which Joker essentially leaves because he's bored is the same feeling the reader is left with.

So, Constantine is a great looking book with a solid protagonist. However the issue suffers from a simplistic narrative that has nothing new to offer. Granted this is an issue one concerned with setting up the title character, but it needs more substance to be truly satisfying. But even though Constantine is given an uninteresting plot, the character himself comes across well. As the beginning of a new series the creative team has successfully managed to present the titles core concepts. It is a shame that it isn't more engaging.

It is a shame then that the art is somewhat wasted on the dull narrative. Lemire and Fawkes need to give Constantine something interesting to do or the book will squander the decent characterisation of its star. However the Film Noir narration needs to be reeled in and a balance needs to be found between good characterisation and too much information. This issue's success lies with its visual style and one can only hope the future adventures of Constantine will truly utilise Guedes' talent. But for now the title is a very mediocre read.

So, Constantine continues to be a fully underwhelming experience. There are a few good ideas (the London curse), but they're swallowed whole by the mediocrity of it all. Constantine himself is still interesting, but at this point it is mainly just the concept of the character that is interesting. Fawkes and Lemire seem to be phoning it in with their scripts and even Guedes art doesn't save the issue. This is a waste of a decent character.

A suitably colourful and expressive visually style marries with a character driven story to deliver a first issue that will make you want more. With little to no haunting taking place, it is all down to the characters to sell the tale to the reader, and the creative team succeed. This is the perfect entry point to new series that can be enjoyed by anyone.

Allred's art goes hand in hand with Fraction's script to deliver an issue one that is exquisite. Fraction's grasp on character is fantastic and the way he gets the reader up to speed is engaging.Allred has constructed a book that is a master-class in visual storytelling. From what one can see here the future of the Future Foundation is in good hands.

FF is shaping up to be one of the best titles of Marvel Now! It has wit, charm and a quirky tone that other books only dream of. Fraction and Allred are delivering a mainstream superhero comic that looks and sounds like a indie. It is a joy to read and if you haven't picked it up you are missing out.

The combination of Allred and Fraction have lead to this extremely charming title. The issue has a few problems at the beginning, but it is still an engaging read filled with wit, humour and character. The team is coming together and although Fraction might neglect Medusa in the script, Allred always draws her beautifully. It is truly one of the most interesting titles of Marvel Now! and the ending promises more fun to come.

Yet again this is an entertaining read that has a writer and artist in sync with each other. The issue's main narrative highlights the off beat superhero comic FF has become and it is a joy to read. It is a well balanced character piece that is one of the most charming and funny comics of the month.

The continued adventures of this oddball team are a joy to read. Matt Fraction and Mike Allred are a perfect partnership and their combined skills have made FF a must read title. This issue is packed with humour as the visual gags and witty script keep you laughing throughout. But the issue also moves forward the plot and delivers excellent characterisation. All its elements are strong and well balanced, so the issue feels like a complete experience. It really is the comic everyone should be reading.

So, while FF #6's script doesn't quite live up to Fraction's previous work on the title, it still entertains in places. The visual quality of the book impresses thanks to Quinones. But with a major chunk of the book's narrative (The Yancy Street Gang) not working and one random plot point that seems out of place, FF #6 doesn't quite come together to create a satisfying reading experience.

As this story involving Bentley-23 finishes it looks like Fraction is heading into Dr Doom territory. It is an interesting prospect due to the fact that Fraction and Allred deliver a wonderful read each month and the idea of these two dealing with the Fantastic Four's nemesis is exciting. But in the mean time we are given another issue full of humour, wit and character. Allred's visuals match Fraction's script and the pair continues to deliver the most offbeat title Marvel is producing.

The main story for this issue is unoriginal and a little bland, but the art makes up for it. But if you buy this book, you'll be treated to a wonderful back-up story that is more than worth the price tag.

So, as a first issue it sets up everything you need to know about Lady Sif and the plot. But the narrative lacks weight and seems to have a limited scope to what can happen going forward. The characterisation is there and if Immonen keeps it up Lady Sif might be able to become a character in her own right as opposed to being Thor's other girlfriend. But she may need a stronger story than the one presented here to help her develop her appeal to new readers. Schiti's art suits the material and he gives Sif a distinct look that captures her character perfectly, but it is Bellaire's colours that give the book a beautiful visual identity. It is too early to tell if Sif can sustain a book by herself, but this issue is a step in the right direction.

So, this issue gives Sif the push that was lacking last time. It is a title that looks gorgeous due to the work of Schiti and Bellaire. The art utilises Immonen's script well and all the elements come together to deliver a compelling read.

It may not be the best first issue but it has a lot of potential and for that it's worth a look.

This is classical superhero action that is done right. Fun and unique characters combine with an old school plot and colourful art to form a book that is entertaining, light hearted and a little retro. The book is a good example of how you do a good superhero book, which uses elements from the past to frame a new story (and add some nostalgia) but with enough character tweaks to bring a new perspective to the book and above all a lot of excitement, which is a breath of fresh air in a reboot full of sex, violence and angst.

As we finally get an issue that looks at these characters it is a shame that the plot begins to show it's weaknesses. However Jurgens delivers some great character moments which are backed up by some fun art by Lopresti. It may not be the best book in the 52, but it is doing something different with it's light hearted tone. Although it has some minor problems it is still the most fun iteration of the Justice League franchise.

So after enjoying the past couple of issues a sense of apathy is rising up as the plot continues to plod along. Lopresti is really doing great work here, but Jurgens needs to bring some much needed characterisation to the almost ignored members of the team. But for now the book seems to be sliding into the dull area of comic stories.

This series has fallen in quality, but hopefully it may pick up. The potential is there and now that this plot is over we can get some depth to these characters, especially the forgotten female ones. However the cliff-hanger does not inspire high hopes, as it seems like another tired and formulaic idea. It maybe a bright and vibrant book, but it is becoming a hollow spectacle.

So, on the whole the book is a step in the right direction. Throwing in more character moments work and allow some of the cast to grow. Hopefully this will continue. However Guy Gardner needs to drop the attitude to become believable in his indignation and even if they have lines Vixen, Ice and Fire still need a lot of work. It maybe a somewhat uninspired plot, but it is elevated by the books star (Booster) and an unlikely, but effective emotional core (August General).

It may not have the impact it intended but the issue does have a few key character moments to keep things interesting. The art sells the tragedy, but the injuries the team suffer don't resonate. Due mainly to the fact the girls of the team have been criminally underused since the books inception. In the end most of the deaths and injuries are meaningless, but the reactions of Booster and Guy are enough to see some sort of impact on the story at least. It isn't perfect but it could lead to a new direction that the book would benefit from.

The art works in tandem with the script to deliver an entertaining little issue. It won't set the world on fire, but it is the right direction for the title. Jurgens is moving his pieces around and in doing so has created great interest in the teams new direction. His characterisation shines and with Lopresti's art it becomes the back bone of the issue. If it continues down this path it may reclaim it's title as DC's most fun team book.

So the book has some plus points for housing cancelled comic refugee O.M.A.C. and delivering Godiva's perspective on things. The art is lush and visually engaging with the plot trundling along at an entertaining pace. This new direction has pushed the book out of its slump, but at the same time sacrificed most of its female cast. Its light tone doesn't allow Jurgens to pull off the humour he tries to inject into it. But on the whole it is solid slice of super-heroic action.

So this is the issue that highlights all the problems the title has. They are mainly narrative based as Jurgens has seemingly run out of steam. The antagonists are uninteresting and the interesting heroes have become annoying as they regurgitate a flat script. Lopresti does his best to keep us visually engaged, but it doesn't distract enough from the narrative. For now the Justice League International is a title that has too many problems.

This is a title that is going through the motions until the final issue next month. Lopresti might present a good looking book, but it is hollow as it would seem that Jurgens no longer has anything interesting to say with these character. It is a shame then that we head into the title's finale with a sense of apathy rather than excitement.

The title's big end is as unimpressive as recent issues. The fact that the team get little time in their own final issue is such a shame, but at least Vixen and Ice where at least seen. But this is clearly not the end for the team as we will have to wait for a month to see what the future holds for them in a special JLI annual. However as the dust settles on the title it is hard to see if it will be missed at all. It's a forgettable team book that had great potential but delivered mediocrity.

So, Vibe's first issue is not bad, but its also nothing new either. The elements that are intriguing don't have much to do with the title character, which is a shame. However it is early days and if Johns and Kreisberg can fully utilise Vibe as DC's dimensional border cop then the title will have a unique angle, which it desperately needs. So far it feels more like a Justice League Of America tie-in mini series than an ongoing.

So, the second issue of Vibe has cemented what type of person Cisco is and in doing so made an engaging read. The creative team have embraced the familiar elements of his narrative and turned what was a problem last issue into a entertaining look at a teenage superhero. The book has a charm to it that comes from the solid character work, art style and use of humour. Those elements make you want to come back and check out Cisco's story. However the elements that involve A.R.G.U.S just get in the way of the “hero's journey” narrative, even though the two plots are actually entwined. But with this issue's refreshingly light-hearted nature and likeable protagonist, the creative team have made a convincing argument that the title has a lot to offer.

So, Gate's comes on board and it seems that he isn't too enthusiastic with the character. He pushes forward the plot that started in issue one and there is a sense that Gate's is perhaps rushing past this plot to get to his own story. The issue itself is fine, it has a lot of problems but it isn't offensive. The art is solid and continues to give the book a suitable tone. One can only hope that this is just the shaky first issue that comes from a change in writer and not the quality of the title moving forward.

Although this issue is better than last months, it still suffers from being a little too simple. It has some fun moments and on the whole entertains, but it is a throwaway read. The art doesn't help due to its pedestrian presentation. There is nothing inherently wrong with this issue other than it being a middle of the road read.

As an issue one it works. Clean art and a streamlined script come together to create a promising package. Moon Girl herself may not be wholly original, but that's fine. It is a book that young readers will most definitely enjoy. So go out and share it with your kids.

The Movementmaybe a title that has a lot of potential, but the execution is off. As a first issue it does what it needs to do, but it isn't engaging enough to entice new readers. Simone is a solid writer and hopefully the book will improve in the coming months. However Williams' art does drag the title down. At the moment The Movementdoesn't do enough to entertain.

The main problem is that Uncanny X-Men is a preview and nothing more. First issues are suppose to entice of course, but Bendis has done little more than show the potential of this series. The character work and plot in the book is slim. It has action, but nothing really captivating. It all adds up to a first issue that does its job in explaining everything and setting up future events, but has no substance. The art doesn't quite sell the book as a visual experience and Bendis' script suffers from his own style. It isn't the strongest start in terms of storytelling, but as a look at what is to come it at least gets you interested.

So, the art may not be best suited for this type of issue, but Bachalo has a distinct style that gives the book a unique visual identity. However without consistently strong character detail the elements that Bendis focuses on suffer. But his script isn't as bad as last issue's and the improved characterisation is welcomed. The interesting elements of the narrative outweigh the bad and that cliffhanger is definitely something to come back for.Uncanny X-Menis still finding its voice, but there is a lot to like here.

So, Uncanny X-Men #3 is somewhat of a mixed bag. On the one hand the plot elements, Cyclops and the pace of the issue really work. But outside of Cyclops it is filled with unfunny, annoying and heavy-handed dialogue. Also it doesn't help that it has unsatisfying art. The problematic elements don't truly hinder the reading experience, but they are distracting. Bendis and Bachalo have created a title that has a lot of story potential and interesting concepts, but its let down by its execution. At the moment Uncanny X-Men is a diamond in the rough.

The art and script come together to make a frustrating reading experience. Both Bendis and Bachalo have done better than this.Uncanny X-Men #4 is an issue that has nothing interesting to say, which is a shame because the books core concept is so compelling. But the script spends too much time with undeveloped characters and their hijinks. New characters are great as long as you can back them up with interesting motivations and characterisation, but Bendis doesn't do that. Also whilst elements of the Emma Frost scenes work, they are bogged down with an over reliance on exposition and the hope that the reader has read all of the Cuckoos previous appearances. Throw in Bachalo's hit and miss style and the issues is somewhat of a step backwards for the title.

Uncanny X-Men #5 succeeds in delivering the whole package. The issue is an entertaining narrative, which is backed up with good character work, humour and interesting subplots. Irving steals the show with his art, giving the book a distinct look that suits the story. This is a solid first part in a new story arc and a step in the right direction for the title.

On the whole Web Warriors is a book that will interest fans of Spider-Man. It will bring in the Mayday Parker and Spider-Girl fans who have missed these characters. Spider-Gwen is front and centre for marketing purposes. But the book doesn't feel dictated by a marketing gimmick, yes it was created due to Spider-Verse's popularity but Costa clearly has his own story to tell. At the moment the only real problem with this issue is that it isn't that new reader friendly and but at least its fun.

So, as the title looks to the past, Levitz and Maguire produce the most entertaining instalment of the series. But the irony is that this is far more entertaining than anything that has happened to the characters in the present, which we return to next month. However if Levitz can continue to produce scripts this engaging then the series will be a great slice of superhero action.

So for a first issue it really does a great job in establishing these two very different female leads. Their friendship and the fun tone of the book are solid selling points. The art is vibrant and expressive as it captures the two heroines perfectly. It is nice to see a buddy book that focuses on strong female leads and Levitz has really made an effort to make Karen and Helena seem like capable female protagonist. Yes people have grumbled at Power Girls new costume and the actual present day plot isn't very inspiring. But this is an enjoyable read that manages to come alive due to a pair of ladies who are utterly compelling.

So, the book varies in quality depending on whether it focuses on the present action scene or the flashbacks. Everything set in the present is uninteresting and defies a certain amount of logic. Levitz still retains the characterization in those moments, but it is overshadowed by the infinitely more interesting flashbacks. Which have great art to accompany the depth of character work. The end result is a book that feels disjointed as the separate narratives don't come together to make a cohesive whole. However don't write the book off as it is entertaining as a character focused superhero title.

So, the book soars when it is dealing with character and Maguire enhances these moments with some wonderful pencils. But the present day storyline continues to hinder the book and it doesn't help that Prez isn't producing anything of note. Its fun but to a point and the jarring shift in tone from past to present stops it from being a must buy title.

So, although one part of the book works it highlights the problems with the parts that don't. It is a sorry state of affairs as the flashbacks are excellent. Perhaps now that Hakkou has been dealt with Levitz can focus on something more interesting and hopefully this will give Prez material he can sink his teeth into.

So, we are given the very definition of a filler issue here. Each part as uninteresting as the other. The art is serviceable and works for what it is, but it doesn't really hold your attention. These type of issues can work wonders when the reader needs a break from all the story arcs, however this title doesn't warrant a “breather”, especially after issue zero. An unnecessary book that may do more harm than good due to it being so dull.

So, the book is split in two and one side is clearly better than the other. Power Girl comes off like an after thought as Huntress steals the show. Maguire continues to produce some great work, which highlights the flaws in Prez's pencils. It is a shame that the book seems so divided in quality as both characters deserve some consistency. But this issue is the Huntress show with Power Girl in a cameo role.

So, half the book works, but the other half is a mess. Delivering half a decent book on a monthly basis is becoming this titles calling card and it makes for a frustrating read. No matter how good the good elements are they are sullied by the bad. The title needs to grow beyond what is presented here as you can already tell that Levitz is struggling to give Power Girl anything to do that's even remotely interesting.

So,Worlds' Finest has hit a creative roadblock. It maybe well paced, but there is nothing to get excited or even remotely interested about. The cliffhanger involving Damien Wayne seems to be from a different book altogether even though this title has had him appear recently. The disparate powers of the two leads has clearly become a major problem for the title and it is made worse by Levitz insisting on both characters going off on their own adventures. This is no longer a team up title, which is supposed to be its major selling point. Instead it is a book split between two characters that haven't been given anything interesting to do.

Worlds' Finest still has problems that are inherent in its concept. But reigniting the friendship between the two leads and focusing on character development, whilst still delivering an action orientated storyline shows that Levitz has the potential to do wonders with this book. At the moment it is an improvement from the previous couple of months, but it is still only just above mediocre.

So, with Maguire's style giving the book a visual boost and Levitz doing solid work on most of the script this issue continues to improve the quality of the title. However the scene at Damien's graveside is misguided and doesn't sit well with the rest of the issue's tone. But aside from that problematic aspect the rest of the book is quite a fun read.

So, even though the title has been improving of late, this issue halts that positive momentum. It is a bland script and even the solid art can't improve it. Hopefully now that the villain has been revealed Levitz can deliver something interesting.

Worlds Finest is becoming a chore to read. It no longer has any of the spark it started with and Levitz doesn't seem bothered with delivering interesting stories for these two characters to have. The whole Apokolips angle isn't really working and the title needs to move forward. At the moment the title is wasting these two characters.