4001 A.D. #4 dedicates much real estate to setting up the future of Rai's story, grinding the issue's pace to a halt. Though it is to the issue's overall detriment, Kindt and Crain wisely employ the technique of "show, don't tell." And readers are shown an Earth that is teeming with life and civilizations that the citizens of New Japan were previously unaware of.

With 4001 A.D.: War Mother #1, Valiant appears to have finally found their Turok replacement, as those Gold Key characters are likely never returning to this universe. And that's perfectly fine, as War Mother and her world are at first glance more interesting than the former. Though the issue itself is rather simplistic in its storytelling, it lays the necessary groundwork for a character that has the potential to be the most interesting of any offered by Valiant thus far.

Despite a few bumps in the road, A&A: The Adventures of Archer and Armstrong continues the Valiant tradition of unique, character-focused stories within a grander, connected universe.

Abbott #1 is a taught, engaging comic. Ahmed, Kivela, and Wordie's combined efforts make for a fully realized world readers can identify with. The artwork is fantastic, and the writing does not shy away from the social issues of its setting, or even today. This may be a bold claim, but Abbott is an early contender for best miniseries of 2018.

Regardless, with multiple options from various publishers, The Accelerators remains THE time travel book to read.

Action Comics #39 sees the team reach the conclusion of their first post-"Doomed" arc, is a perfect example of why their take on the character works where so many others in the New 52 have failed.

It was frustrating to reach the end of this story and find a "to be continued" waiting there. It seems to run counter to the brevity that helped make the show so easily digestible. The ending also just seems to come in a bizarre place, story-wise. It feels less like a break in the story, and more like Hastings simply ran out of space.

While it does struggle at times to find its footing,Adventureman #1is a solid debut issue that gets stronger with each turn to the page. The story is initially buoyed by fantastic art, and the extra pages give the writing time to match the quality, which it does. By the time the last page is reached, the thought of waiting for a second issue becomes unbearable.

At only 99 cents, this is an easy buy.

This is the first real disappointment from Adventures of Superman. Some pretty decent artwork cant save the half-baked story presented here. The good news is that we only have to wait a week for another fresh take on the icon.

Adventures of Superman #5 is a solid, character driven story. Theres a message in the outcome of this story which anyone can apply to their professional or social lives. The characterizations are perfect, but issue #5 is ultimately weighed down subpar artwork.

While far from perfect, Adventures of Superman #6 is not a bad comic, especially for 99 cents. Despite an uneven narrative, it is able to stick the landing, even if it is not the one I would have preferred. The ambition that Glass and Oeming have shown in a single, digital-first story is admirable. I would be curious to see what they could pull off with a higher page count.

Adventures of Superman #7 is a bold change of direction for the series. Im eager to see Kindts story unfold, and the art team seems more than capable to bring his vision to life. This is a perfect way to kick off Man of Steel week.

Kindt and Segovia continue their strong work on this three-part story. If DC is looking for a creative team to take on Action Comics, they might want to look at these two. Great writing and art has made this digital-first story seem bigger than what the format can allow. I personally cant wait to see what theyve cooked up in next weeks concluding chapter.

Kindt, Segovia, and Ramos end their three-issue arc in solid, if unspectacular fashion. On the whole, I would recommend the entire story to Superman fans both new and old as it makes for a satisfying read. Unfortunately, the ambitious script bit of the first two installments prevented the conclusion from fully sticking the landing.

After a multi-issue arc, Adventures of Superman returns to its standalone issue format with a rather quiet story. However, the creative team shows us that a quiet issue can be just as entertaining as a bombastic, action-packed ride. For 99 cents, you can do a lot worse than this. Pick it up.

Adventures of Superman #11 is another strong outing from DCs digital anthology series. Pete Woods strong visuals help elevate a good, albeit flawed story by comics veteran Tom DeFalco.

A couple of 2000AD veterans combine to deliver one of the best Superman stories of the year. A combination of quality storytelling, great artwork and heart make Adventures of Superman #12 a must buy.

Adventures of Superman #13 is not the strongest installment in DCs digital first offering, but this two-part arc shows promise. The depiction of Superman himself is the strongest feature, and will bring me back for me. Hopefully the overall story is able to prove greater than the sum of its parts.

Adventures of Superman #14 is a disappointing chapter in the Man of Steels publication history. The storytelling commits the sin of failing to grab the audiences attention, which is not helped by the substandard artwork. Luckily, a new creative team jumps onboard next week!

Adventures of Superman, as it has been prone to do, bounces back from a weak performance with a spectacular issue. To see Guerras art on a character as iconic as Superman is a joy, and Killens writing is a pleasant surprise. Adventures of Superman #15 starts the week in comics out on the right foot.

J.T. Krul has set up some very interesting plot threads in the opening chapter of his Adventures of Superman story. A couple minor issues aside, he and Marcus To deliver a very solid issue that lays the ground work for what looks to be a promising story. Readers should be excited to see how this plays out.

Krul and To deliver another solid issue of Adventures of Superman. The portrayal of General Zod in this issue is one the best non-canonical takes on the classic villain. It will be interesting to see how the two seemingly unrelated plot threads featuring Zod and Mongul come together in next weeks concluding chapter.

Adventures of Superman #18 is a good, if unspectacular conclusion to J.T. Krul and Marcus Tos take on the Man of Steel. The artwork is solid and the story contains many elements ripe for discussion. While the issue suffers from uneven pacing, the story will please both casual and hardcore Superman fans.

This issue's rising tension would not have been possible without the art by Jonathan Luna. His style captures the emotions of his cast so well that the reader can easily empathize with them. If there is a hang-up, it's that many of the characters are indistinguishable if not for the coloring, which includes repetitive facial expressions. However, this is a minor quibble in the grand scheme of things. Alex + Ada #13 adds more intrigue and suspense Image's intoxicating romance.

Despite these strong social themes, at its core,Alex + Ada remains a love story, and that love story takes center stagein the final act. When the titular couple is eventually reunited, the reader is put through a gambit of emotions.Even an android will find it difficult to close the final page with dry eyes. It may have flown under the radar compared to other Image titles, butAlex + Ada is as good as comics can get.

All Star Western #26 is another wacky chapter in Jonah Hex's time traveling adventure. By blending science fiction, fantasy, and western tropes, the Palmiotti and Gray have crafted an engaging and imaginative tale unlike anything else published by the Big Two. All-Star Western #26 is well worth anyone's time.

Amazing Mary Jane #1 may not be as, well, amazing as its title would imply, but it is a very entertaining reading experience. Yes, there are opportunities for meaningful discussion that it avoids in favor of a broader appeal, but the safe approach by Leah Williams and the Carloses might pay off in the long run. After all, a broader appeal means a wider reach, which can in turn lead to more opportunities.

The issue's final page sees Spider-man swinging off to his next big adventure, while graffiti on a nearby water tower states simply "Slott was here." Yes he was, and it was a hell of a ride.

If anything, the book is so concerned with setting up the new (old?) status quo for our hero that it rushes through critical plot points. But in the end, this is an enjoyable and engaging first issue.

Amazing Spider-Man has felt like a breath of fresh air since the three-headed monster of Spencer, Ramos, and Ryan Ottley took over, steadily improving with each subsequent issue. This issue is a testament to that, easily the best effort by the creative team thus far. Fun and full of heart, this is Amazing Spider-Man as its meant to be.

Amazing Spider-Man #25 is not the landmark issue Marvel claims it is, nor is it worth the $7.99 price tag. However, it delivers enough enjoyment to not be a complete waste. However, with so many mediocre titles available, Amazing Spider-Man will need to really work to earn back the faith of casual readers in the coming months.

In the end, Amazing Spider-Man continues to be a reliable title that almost anyone can pick up and have a good time with.

In all, Amazing Spider-Man #30 is a well-made, well-paced issue that may not be a necessary tie-in for those following Absolute Carnage, but is a worthwhile read nonetheless. Spencer and Ottley manage to do this while keeping regular Amazing readers in the know, making this a welcoming issue for all.

From start to finish, Amazing Spider-Man encapsulates everything great about the web-slinger.

The best way to describe Nick Spencer's run on Amazing Spider-Man is "a return to normalcy." He is telling the types of stories that people think of when they think of a classic Spidey jaunt. However, these stories are also extraordinarily safe, making this current run merely "okay."

In the end, these are just quibbles that do little to detract from the overall quality and enjoyment of this issue. Amazing Spider-Man #43 caps off a successful reintroduction of one of Spider-Mans little-known foes with a conclusion that will make even the coldest of hearts melt. While this series has had its fair share of ups and downs, Spencer and Ottley are hitting their stride. Amazing Spider-Man may not be the best superhero book right now, but it is definitely one of the most enjoyable.

Sins Rising Prelude is a competently put together book, but its existence asks the question why? Why add a supernatural element to one of Spideys most grounded enemies? Why resurrect him at all, when there are plenty of living enemies that could serve a similar purpose? Why couldnt this have been part of the regular Amazing Spider-Man book and simply not decompress the narrative so much? Like most of Spencers run, this one-shot issue is just okay.

The many different character throughout the book enables Sejic to play around with different character designs as well as their facial expressions. Few artists are able to convey emotion as well as Sejic, and in conjunction with Abnett's script it gives the book an added layer of comedy or gravity, depending on the situation. This is just another example of how in sync this creative team is. Aquaman is a must-read title.

After a painfully slow start, Arcadia #3 marks the point where the series has earned a fixed spot on readers' pull lists.

Not only is the Paknadel/Pfieffer collaboration well constructed on a technical level, it possess various themes and subtext which have relevance given this world's volatile social and political climate.

In many ways, the latest developments " particularly the strife between the leaders of Arcadia and "The Meat" " has caused this series to take on many characteristics of a political thriller while remaining rooted in a world driven by scientific advances. The combination of these elements, along with the continued development of the book's large and varied cast, has made Arcadia a must read.

Arcadia #6 sees both the world of Arcadia and the Meat decaying under the weight of the strife between the two worlds. In the most basic terms, the conflict is a pissing match to determine which side will yield first at the expense of the everyday citizens caught in the middle. It is a cautionary tale that has been repeated ad nauseum over the years, only cleaned up for a new audience. The fact that a story like the one told in Arcadia can bee seen as both a cliche and wholly relevant is a damning indictment of our world today.

Even though Staples will be on the title for only 3 issues (she does have a commitment to a little-known Image series), she has laid the groundwork that can attract readers for the long haul. If the quality of the title remains this high, that shouldn't be a problem.

The end result is a story that satisfyingly wraps a 32 issue narrative that has defined Archie for modern readers.

Despite all the fanfare that came with the "Archie Forever" marketing, the flagship title has been spinning its wheels since relaunching.

While the outcome is predictable, the journey that Spencer and Tamaki take readers on " interweaving Archie and Sabrina's mundane summer experiences " is enjoyable enough to be engaging.

If you're a fan of the 1960s Batman show, get ready because all the heavy hitters make an appearance here. While mostly the lineup from the 1966 movie, Jeff Parker and Dan Parent also throw Batgirl and Bookworm in for good measure.

While the story itself is interesting, it does not feel like a natural inclusion to the world of Back to the Future" yet.

Vaughan and Martin lean heavily into the tense race relations along the USA-Mexico boarder, presenting both sides of the argument through a number of slice-of-life imagery. The duo wonderfully develop the two leads over the course of the 50+ pages before their lives intersect (in a surprising manner) in the final pages.

Batman '66 #1 marks the triumphant return of one of the landmark interpretations of any comic book character. Parker, Case and Abbott set up what looks to be a very promising and entertaining series, and the Mike Allred cover is worth the price of admission alone. While many may choose to wait for the print version, I implore you to try out the digital edition as this is the first title under DC2. Batman '66 is rockin' good time. Tune in next week. Same Bat Time. Same Bat Channel.

Batman 66 proves to be more that a one-week fluke. Parker and Case are able incorporate even more elements from the television show while flexing their creative muscles. Tune in next week for more adventures of derring-do! Same Bat Time. Same Bat Channel.

The first story arc in Batman 66 concludes in grand fashion. Parker and Case are proving to be a powerhouse team in the digital medium as their Bright Knight comic is shaping up to be one of the top places for a Batman fix.

Batman 66 continues to be a delightful read thanks to Jeff Parkers imaginative scripts. Unfortunately, the title stumbles this week due to mediocre artwork and subpar presentation.

Batman 66 continues to be an enjoyable read. Jeff Parkers writing captures the attention of his audience through smart, tongue-in-cheek storytelling. An improvement in the art team will only add to the quality of the title. Tune in next week for another adventure. Same Bat-Time. Same Bat-Website.

For a series that relies just as much on the art as the writing, Batman 66 #6 is a welcome return to form with Jonathan Case on art duties. In a done-in-one story, Parker and Case test the creative limitations of digital-first comics in an entertaining manner while laying seeds for what may become a bigger, overreaching story arc. Batman 66 continues to be a great read.

A darker, gothic tone hits the world of Batman 66. Parker and Quinones walk a fine line between serious and absurd in a surprisingly suspenseful installment of the Bright Knights adventures. Despite some quibbles about the art, the story is captivating and the art can be, at times, mesmerizing.

Batman and Robins battle with the Red Hood gang is a welcome addition to the world of Batman 66. Despite a major head-scratching plot element, Parker delivers another script that would make Bill Dozier proud. Combine that with some great art and youve got another great title to add to your Wednesday pull list.

Batman 66 #9 is a solid, if unspectacular addition to the adventures of Adam West and Burt Ward. With some pretty cool visuals and sharp dialogue, this issue is a meat and potatoes superhero story. However, one cant help but wonder whatever happened to DC2? Luckily, the format returns next issue!

Batman #38 continues the monthly trend of Batman being awesome. The story that the creative team has crafted immerses the reader in a terrifying world, and it is wonderful. "Endgame" might just be this team's best work to date.To top it all off, they managed to find a way to include the much demanded Z-lister, Crazy Quilt " and it worked! That alone is worth the price of admission.

Batman #40 is a near-perfect conclusion to the “Endgame” arc, as well as serving as an unofficial end to the Batman saga. The creative team has positioned the book for a bold new directionthat simultaneously parallels and contrasts with past story lines. Wherever path the next storyfollows, Snyder and Capullo will have a difficult time topping themselves.

The Batman issues of "The Button" have felt like filler while The Flash provides the real meat of the story. For as much as Batman #22 does right, it still does not make much sense from a plot perspective " even with the context of the previous two issues. Yeah, it was cool to see Bruce and Thomas fight side-by-side, but it has little purpose in service to the story. At least having Williamson script this issue on the heels of The Flash #21 (as well as the upcoming The Flash #22) provides a narrative cohesion that this story would have lacked otherwise.

Though the issue ends on a big, much debated (and unfortunately leaked early) cliffhanger, it is the writing and artwork leading up it that makes this issue shine. While the conclusion could have come across as a gimmicky sales tactic, King's core understanding of Bruce and Selina makes it a beautiful and organic culmination of 75 years of romantic tension.

Ultimately, Batman #65 isnt a colossal failure, nor is it a triumph. It is simply a prime example of mediocrity, extracting an emphatic meh from readers, and thats the worst thing. Heroes in Crisis will likely join Identity Crisis in being reviled in due time. People still talk about the failure that is All Star Batman & Robin, The Boy Wonder. But comics like The Price, which is so painfully average, will be all but forgotten in time.

Greg Paks issues during Villains Month, both this and Action Comics #23.1 have given readers plenty of reasons to check out his upcoming run on Action Comics. Doomsday #1 is an enjoyable entry point for new readers, while teasing the canonical status of one of the most popular stories of all time. Paks use of a bedtime story to frame the narrative makes for a solid read. And the artwork by Brett Booth helps elevate this issue above the letdown of unanswered questions.

If there is one thing to take away from Batman / Teenage Mutant Ninja Turtles #1, it is that the creative team is clearly impassioned by the book's concept. How could they not be? It's Batman and the freaking Teenage Mutant Ninja Turtles? Fantastic artwork and solid storytelling provide an excellent springboard for this childhood fantasy come to life. It is awesome, righteous, and even" bossa nova.

This series is way better than it has any business being. Batman/Teenage Mutant Ninja Turtles #2 is another fantastic issue in this intercompany crossover. Tynion and Williams have given this series their best efforts, which has resulted in a series that is enjoyable for fans of any age. Regardless of your familiarity with Batman or the Turtles' comic book mythos, anyone should be able to jump into this series. And they definitely should, as their reward will be a taut story that is both thrilling and joyful.

Batman Beyond 2.0 continues to be one of DCs best offerings. Despite the drop in quality in art, the story remains the strength of the title. Higgins is crafting a story that honors the history of Batman Beyond while making it new and exciting. As he has done for Nightwing, the building of a new world for the protagonist is shaping up to be a fun ride.

Higgins and Silas come out of the gates swinging and hit a home run with Batman Beyond 2.0 #1. A great jumping on point for old and new readers alike, Batman Beyond is a crowd pleaser. With great art and sound writing, it is well worth your 99 cents.

Every two weeks, Higgins and Silas give us a new reason to fall in love with Batman Beyond, with this issue striking the high point thus far. Do yourself a favor and download this issue now. Youll be salivating for what comes next.

Batman Beyond has become a great way to start off my Saturday mornings. Waking up, grabbing a cup of coffee, and enjoying another installment of this series is a biweekly ritual that Ill be looking forward to if the series continues to be as strong as it has. While not the best offering of the rebooted Beyond title, this issue offers plenty to enjoy and will have readers eagerly looking forward to the next installment.

Despite my complaints, Batman Beyond 2.0 #6 is another solid outing for Kyle Higgins and Thony Silas. Higgins in particular continues to grow as a writer, and is proving that DC's talent pool is stronger than headlines would make it seem. With chapter 6 of this story, the pieces have finally come together that should make the final two chapters of this opening arc outstanding.

Batman Beyond 2.0 continues to be one of the strongest offerings by DC Comics. The latest issue proves that it can provide rich material aside from cool, sci-fi visuals. And between the mystery of the fallouts in Terrys personal life and the showdown with Rewire, Batman Beyond 2.0 will continue to be a strong title with Higgins at the helm.

Batman Beyond 2.0 #8 is a satisfying conclusion to Gothams new beginning. The series is positioned to be part of a Saturday morning routine, as it rightfully should. With two weeks before the start of the next arc, readers should spend their time revisiting this story again and again. For those of out that have not checked it out, its well worth the $8.

Batman Beyond 2.0 continues to be the cream of DCs digital-first crop. The dynamic duo of Higgins and Silas offers readers the opportunity to jump aboard a title that combines the mature storytelling modern audiences want with a healthy dose of fun. As Terry and Dicks bromance continues, there are now bearded Manbats thrown into the mix. What more could you want?

At the risk of sounding repetitive, Batman Beyond 2.0 is a worthy addition to anyones pull list. Though the series uses its tenth installment to take a breather with regard to the action, the quality refuses to fade. With the potential plot threads teased at the issues end, the creative team looks to have big plans for the coming issues.

Another Saturday in the books, another great issue of Batman Beyond 2.0. Kyle Higgins and Thony Silas are crafting something special on the digital scene that serves as the last remaining vestige of the DC Animated Universe. Where the story goes from here is sure to be a wild and entertaining ride. If you haven't hopped aboard yet, now's the time.

The pressure is on and the fun continues in Batman Beyond 2.0 #12. This adventure in the bowels of New Gotham is a blast, while the conflict above ground raises questions about Barbara Gordon's future. If her tenure at the GCP is nearing its end, will she be a full time member of Team Batman? Will she miraculously be reinstated? Regardless of the answers, Higgins and Silas work in the Beyond universe is among the best offerings in the DC stable.

While the series as a whole has been rather slow with regard to overall plot progression, this is undoubtedly a great distillation of Batman as a whole.

Batwing #26 is a blast. The over-the-top villain, combined with sound character work and a sprinkling of sexual tension make for a fun read. If you're looking for a more lighthearted DC title, maybe it's time you stopped picking up Batman: The Dark Knight or Superman and gave Batwing a try. You'll likely find yourself coming back for more.

For a beautiful looking, action-heavy title, Berserker Unbound #1 is worth picking up. But if story matters, then it's best to leave it.

It's evident throughout the issue that this creative team are fans of the Big Trouble in Little China film. Van Lente and Eisma manage to integrate several meta elements into the story organically guaranteed to bring smiles to fans. Van Lente's script adds several new twists to the story, though some of the commentary on modern society is a little too heavy handed. Thankfully, the team manages to ease off the gas pedal and allow this world to grow and breathe naturally.

Big Trouble in Little China, like its cinematic predecessor, is a smart and funny actioner.

Big Trouble in Little China #15 may not be the strongest of this week's releases, but it is certainly one of the most entertaining.

Combined with the bizarre elements that Van Lente's script demands, and Big Trouble in Little China #16 is a solid conclusion to this story arc.

Fred Van Lente and Dan McDaid use Big Trouble in Little China #17 as a tool in which they address oft-criticized elements of the comics community. Spent mostly at "Source Con" (a convention for sorcerers, not to be confused with other conventions like "Wizard World"), the creators point out how ludicrous and backwards the world we inhabit is.

With that said, the book would not look anywhere as good without the varied color palette from Triona Farrell. A combination of orange and yellow hues is prevalent throughout, and in conjunction with the inks give the book a very flat, pulp-magazine feel which serves as a great tonal match to Pak's script. Given the varied quality of BOOM! Studios' previous Big Trouble in Little China and Escape from New York series, I was skeptical going in. However, this creative team looks to be firing on all cylinders, making this issue a must-read.

Billionaire Island #1 is successful in cramming a bunch of ideas into a standard, single-issue comic. If presented as a series of vignettes with a narrative throughline akin to Supermans Pal, Jimmy Olson, this would undoubtedly be a 5-star, 10/10 book. However, thats not the case. The uneven pacing is a major detriment to an otherwise great book. The commentary and wit are as sharp as ever. The art is fantastic. The characters are engaging. The story itself just needs a some structural kinks to be worked out.

Maybe thats the whole point of Billionaire Island, to make readers upset. But when we are constantly bombarded by various media about how upsetting the world is, this issue just throws another log onto the fire. At this point, itd just be nice to open our eyes to a way that helps put the fire out instead of fanning the flames a little more.

Bizarro #1is a fantastic start to this six-issue miniseries. The core of the issue – the writing and art – provides a strong hook for many readers. But the creators also include a lot of little details, such as titling this issue “Chapter 6″, that give the book plenty of replay value. This is an issue not to be missed.

I didn't know a single thing about Blackbird #1 before picking it up, but buy the end I was hungry for more. The world that Humphries and Bartel have crafted is fascinating and full of so much untapped potential. Not since the debut of Saga has a new Image title made me eagerly await the second issue's release. Blackbird #1 certainly looks to be the start of something special or, dare I say, magical.

Bloodshot #1 isnt the strongest introduction for new readers, save for a page or two of exposition near the end, but Seeleys script is more concerned with establishing what type of book this series will be. To that end, he is successful in establishing Bloodshot as a stylistic actioner that is light on substance.

Outside of his work on Image's Descender, this is the best work that Jeff Lemire is producing. Bloodshot USA #1 is an exciting and tightly-crafted first issue of an event-worthy story. The character work is outstanding, and the action " when called upon " is thrilling. This is one "superhero" story worth picking up.

For two issues in a row, the execution has been masterful.

Mico Suayan's detailed, gritty artwork is perfectly suited for a character as hardcore as Bloodshot. Then he throws in an image of the cartoonish Bloodsquirt, who sticks out like a sore thumb, and the book becomes even more enjoyable. Add on top of it a fantastic script from Jeff Lemire, and Bloodshot Reborn #3 is another great addition to the rebirth of Valiant's most badass killing machine.

Bloodshot Reborn #4 is among the most complete single issue issues published by Valiant.

Bloodshot Reborn #5 is another fantastic entry in the series, and is an example of Jeff Lemire at his best.

Writer Jeff Lemire is joined by artist Butch Guice to start the next arc in Bloodshot Reborn, and the creative team is off to a promising start.

Gorgeous, moody, and riveting, Bloodshot Reborn #7 is a must-read.

From start to finish, Bloodshot Reborn #8 is the latest evidence that this series is a must read.

With "The Hunt" concluding, Lemire and his art teams have set a lofty standard for the future of this series as they close out 2015 on a high note.

Bloodshot Reborn #10 is a great jumping-on point, with a surprise guest in the closing pages that makes the wait for the next installment agonizing. Action-oriented comics don't come much better than this.

Book of Death #1 is a beautifully rendered opening chapter to an event that shows much promise. Valiant is coming out swinging, giving readers a story that should not be missed.

The majority of Book of Death #2 is an extended fight sequence between Gilad, the Eternal Warrior, and the members of Unity. As has been the case with many of Valiant's output, it is not a simple fight meant to fill space in an event, but rather serves a purpose to develop and reinforce certain character traits.

Even though Book of Death #3 was relatively slow, Venditti and Gill have set the stage for a finale that is truly grand in equally fine fashion.

The world chronicled in the Book of Geomancer is one of death and despair, yet Gilad refuses to accept it as truth. The book is simply a means to locate the enemy to him, while the future has yet to be truly written. It is a fascinating point of view, especially coming from a character that has seen history repeat itself ad nausem, and mostly for the worse. Many in his position would point to the bleak future depicted in the book as an inevitability. Even Gilad, under the pen of other creators, has been cynical of mankind's ability to survive into the future, yet he continues to fight for the world's survival. It is because, despite the many wrongdoings by the human race in its brief period of existence, there are elements of good worth fighting for. In the end, the key to overcoming the Book of Death is life itself.

If there's any takeaway from Matt Kindt and Trevor Hairsine's Book of Death: The Fall of Ninjak #1, it's that Valiant's resident super-spy is destined to go out like a champ. New readers are likely to be lost, but they'll still manage to pick up the basic plot beats.

Despite its inherent flaws, Book of Death: The Fall of Harbinger is a solid tie-in to Valiant's big event. The wonderful art by Kano is a big reason this issue works better than expected, but also the structure of these one-shots plays to Dysart's strengths as a writer. The Fall of Harbinger may still prove challenging for those unfamiliar with Stanchek and his allies, but those willing to dig into the details will be rewarded with a layered and powerful narrative.

Book of Death: The Fall of X-O Manowar #1 requires an understanding of Aric of Dacia's history to be fully appreciated. Robert Venditti has taken the Visigoth on a journey that has seen the character grow from a reckless, battle-hungry brute to a man the " in the present " is more patient with the sword.

Compelling but inessential is perhaps the best way to describe Legends of the Geomancer. Though it may prove otherwise, the story shares little with the main Book of Death series other than its title. But taken on its own, Legends of the Geomancer captivates.

Legends of the Geomancer #2 provides more of the brutal visuals of the first issue. Few artists are as perfect of a match for a story as Ryp is for this, as his thick lines and heavily detailed spreads encapsulate the world's raw and primitive nature.

Despite the strong artwork and writing, the book cannot shake the stigma of being an unnecessary addition to the Valiant Universe. It's a shame that the publisher is limiting the access to this title, as it is a story many would surly love to check out.

Books of Magic has been relatively inconsistent due in part to the enduring legacy of the original miniseries of the same name. However, Kat Howard and Tom Fowler's decompressed storytelling continues to serve as a strength, as with issue #17 the creators appear to have a tighter, more focused grasp of the story they are attempting to tell.

The trio of artists are tasked with creating a whole new realm distinct from the Dreaming or Faerie, and they succeed in the world of the Festival. Though it does resemble a town fair, there are enough distinct elements to make it stand on its own. Where the Festival really shines is in the creature designs, with some very interesting and grotesque figures popping up across the issue.

As it stands, Books of Magic #20 is a solid story with solid art, but like Tim Hunter, it has potential to be greater.

Every week, readers are inundated with a slew of new titles vying for their hard-earned cash, and Britannia #1 is the one most deserving of it. The combination of historical fiction and supernatural thriller stands out from the sea of spandex that take up shelf-space in most comic shops. From Milligan's solid scripting to the fantastic art by Ryp and Bellaire, the creative team has crafted a promising opening chapter to this anticipated miniseries. Gripping and visceral, Britannia is evidence that Valiant is the superhero publisher that dares to be different.

This second issue suggests that the writer would perhaps be better off steering away from a direct consideration of the headier themes raised by his work, instead allowing them to develop more naturally whilst focusing on the miniseries as a high-stakes pulp adventure " an area where this issue excels.

Buffy the Vampire Slayer #4 is a solid entry to the series, though a bit of a letdown after the high-octane action of the previous issue. As a quieter, character focused issue, it exposes some of the potential faults in the changes made to the series cast. However, if Bellaire is able to execute on these changes and stick the landing, the new Buffy has the potential to be as well regarded by the hardcore fans as the material its based on.

It's amazing how much the artwork can affect the perception of a book. While David Lopez's art is enjoyable on its own, it is a significant downgrade from Dan Mora's initial 4 issues. It isn't fair, but that doesn't make it any less true.

Hellmouth reads very much like an issue of Buffy or Angel. Without anything to make it stand out from the characters' own series, it's a wonder why this story wasn't just confined to the pages of those books.

What more can be said about David Lopez's art? He manages to bring life and energy to each of the title's cast. The pure joy of Lila's discovery that she was in Times-Freaking-Square brings smiles to the faces of readers. The pain that Carol feels when looking at Tracy, unconscious in her hospital bed, is shared with the audience. When the title calls for big action, Lopez delivers it. The effort he gives each month, combined with DeConnick's masterful handling of this cast, has madeCaptain Marvel one of the most consistently excellent superhero titles on stands today, and the eleventh issue is no exception.

With a solidscript and [mostly] great art,Captain Marvel #12gives readers yet another opportunity to join up with the Carol Corps on another galactic adventure.Superhero fanatics,those whopush for equality in media, or those who just want a good story owe it to themselves to pick this up. It may not be perfect, butCaptain Marvel is a captivating read.

Once again, Kelly Sue DeConnick brings Carol Danvers' series to an end, and sheabsolutely sticks the landing. Though this issue may not have as much emotional resonance for readers that are just picking up this issue, it is not at all difficult to follow. In fact, readers might be encouraged to go back and revisit Danvers' past adventures that lead up to this point.From cover to cover, DeConnick and Lopez hit the right emotional beats to make even the most jaded reader a teary-eyed. Simply put, this is a fantasticconclusion.

It's sharp. It's biting. Prez stands right alongside Omega Men as the top titles DC has published in recent memory. Unfortunately, the price tag for this one-shot ($4.99) and the subpar quality of the featured story means that the conclusion to Prez will likely be missed by many.

It may not be a mind-blowing adventure or the most ambitious crossover ever seen, but Charlie's Angels vs. The Bionic Woman #1 is a pleasant surprise.

Readers hoping for the next big thing for leading ladies in comics are going to be sorely disappointed. There are surely some that will point to the all-male creative team as a problem, but that really isnt the case. The real problem is that the source material these creators are drawing from just isnt very good. But they deserve credit for at least turning lemons into lemonade.

While most first issues do have an inherent flaw in that they have to dedicate valuable page space to setting up the story, that set up helps the reader buy into the narrative. Without, you get get a bunch of good looking images with nothing to tie them together. That's what Clankiller #1 delivers.

There is a lot of potential for Cold Blood Samurai to be a legitimately good book. Unfortunately, it will need to work hard to endear itself to readers after stumbling out of the gate. As a first issue meant to hook readers, Cold Blood Samurai #1 falls flat.

Convergence: The New Teen Titans is not a perfect book, a given asConvergenceis far from a perfect event. However, is a charming, enjoyable last hurrah for one of the most loved teams in the medium's history. Wolfman's deft handling of the characters, particularly in the closing pages, makes this issue stand tall over a sea of repetitive sludge.

Convergence: Speed Force is not without its problems. Why so many “heroes” are rushing to fight first without asking any questions is perplexing. The same could be said as to why so manypre-Flashpointcharacters ended up inside Gotham City before being taken by Brainiac.Convergence is a glum, polarizing event that is nearly impenetrable for new readers. However,thisSpeed Forcetie-in is a reminder that there is always light within the darkness.

The fatal flaw inConvergence: Speed Force is that the story ultimately goes nowhere. When readers wereintroduced to Wally and his kids back in the first issue, they were waiting out the situation, hoping for the best. That's exactly where they find themselves at the end of this issue – just sitting around hoping for the best. As a result, readers are left with anything but the best.

Despite its flaws and formulaic structure,Convergence: The Flash #1 is a solid examination of who Barry Allen is. For those that are relatively new readers, it should serve as an eye-opener to see how different, and yet how similar, this character is to the one running around the modern DC Universe. With the domes down, it should be interesting to see what becomes of the Fastest Man Alive.

Convergence: The Flash #2 is a diamond in the rough. The event and its tie-in have certainly yielded some questionable choices. However, the work by Abnett and Dallocchio have yielded a two-issue story that should not be missed.

Waid's run onDaredevil has been a masterful exercise in storytelling. He and collaborator Chris Samnee have managed to tell fascinating tales every month, and this issue is no different. Even though there is little action, Samnee's art alone will keep readers glued to the page. Furthermore, Waid's tightly written scriptcontains several, well executed twists that will keep readers guessing with every turn of the page. Aspiring comic writers should look no further that this series for inspiration. This is superhero comics at its finest.

Here is a creative team that is working perfectly in sync with one another to deliver a superhero saga with heart. The heroisreal. The villains are real. Even the romantic subplot is real, as Matt's relationship with Kirsten McDuffie takes another step forward. Daredevil #12is written by Mark Waid with art by Chris Samnee. What else needs to be said?

Time is running out on Waid, Samnee, and Wilson'sDaredevil. As it nears its end, readers better strap in for an exciting ride.

Daredevil #18 is both an action-packed and emotionally affecting installment. Perhaps the most surprising thing about this issue, which extends to Mark Waid'sentire run, is that it is affecting throughout the wide breadth of the emotional spectrum. There is anger, fear, sadness, and elation.In the end,Waid, Samnee, and Wilson have put Matt Murdock and his supporting cast in a place where the next creativecan thrive going forward. While this may be the end, it is just the beginning.

The fact that that much talent could combine to pump out something as hollow and confusing as Dark Days: The Casting #1 is just the latest stop on the emotional roller coaster that is Dark Knights: Metal.

Dark Nights: Death Metal #1is a success because of its willingness to embrace the craziest elements of the DC Universe and make them a point of emphasis. Like past efforts, the story attempts to explain the convoluted and contradictory nature of the publisher's history. The difference is that there is a lack of self-seriousness, pushing to give readers a fun time. Even those that have not kept up with the events between the originalMetaland this can follow along with relative ease.Dark Nights: Death Metal #1revels in the insanity of the DC cosmology, and is an absolute blast.

While we all know things will ultimately revert back to "normal" - this is one of the Big Two after all - the journey makes reading this event worthwhile.

DCeased: Dead Planet #7 wraps up what started as an out-of-continuity, (way-too-late) zombie cash grab and turns it into what is arguably the truest version of the DC Universe. Legacies. Overcoming impossible odds. The publisher sharted all the goodwill it had built up during DC Rebirth, but managed to fall ass-backwards into arguably it's truest version of itself, all by simply letting great creators create. Whatever comes next for Taylor and Hairsine, you can bet there will be a strong interest fromDCeasedreaders.

Overall, Dead Drop is off to fun, if flawed, beginning. Based on the tease in the final pages, the next issue should see the hijinks ramp up exponentially.

The title's antagonist was initially presented as a mysterious and resourceful terrorist organization, but Dead Drop #2 cast doubt on its maliciousness. Given recent world events, it's easy to draw parallels between this title and the public distrust of law enforcement and the government establishment. The message is clearer in this issue, but its effectiveness is muddied by inconsistent tone.

For the first two issues, this series has had difficulty in finding a consistent tone, a problem which carries over to this issue. Given that there is only one issue left, Dead Drop might be one the most tonally inconsistent series published in recent memory. This time, the focus is on the character of Beta-Max, who is essentially the lovechild between Forrest Gump and a 1980s office.

Dead Drop #4 is not a complete waste of time. Adam Gorham's artwork has been a consistent through-line for the series, which continues here. His artwork is undoubtedly the best thing about this issue, and is a joy to look at. Unfortunately, it's paired with a story that fails to meet its standards.

Decorum #1 is a reminder of what the comics medium is capable of.

On the art side, Mike Huddleston absolutely slays. The variation in visual style he employs is as impressive as it is breathtaking. Those that may be turned off by the complexity of the story will still find Decorum #2 a worthy read for the artwork alone.

Its important for a first issue to be memorable and to have an interesting hook to bring readers back for more. Deep Beyond #1 possesses neither quality. A pretty fantastic job by the art team is squandered on a story with no sense of direction or identity. If youre on the fence on whether to pick this up dont. This was a frustrating experience, made passable thanks to an underserved art team.

The pacing to Deep State #7 is a little uneven, which works in favor to the uneasy feel Jordan is going for. With new threats popping up everywhere, no situation seems safe. It's not all doom-and-gloom, as Jordan finds ways to release tension through well timed (and topical) humor.

There have been many stories featuring androids and the eternal question “what is human?” Some are good, some are bad, and a bunch fall somewhere in between. Then there are the few that make the ascension into greatness.Descenderis on that ascent.

On a macro-level, Detective Comics #38 succeeds in differentiating itself from the publishers other Bat-offerings. The increased focus on Harvey Bullock and his unit add to the hard-boiled ambiance. Not since Gotham Central has a Batman title given as much attention to the members of the GCPD. More importantly, the creative team is not afraid to make reading a Batman comic fun. This is largely due to Manapul's stunning layouts and use of ink-washes, while Buccellato's varied palette of cool blues and greys enable the occasional warmth of orange and yellow hues to pop off the page. Their art alone is worth the price of admission.

This new chapter in the history of Dick Tracy is off to a sound start. This is the type of comic Rich Tommaso was born to draw, and his work is only elevated by collaborating with one of the medium's all-time great creative families. The story itself, while pedestrian on its own, appears to be laying the groundwork for bigger things to come.

Webcomic maestro Tyson Hesse brings his unique style to the world of print comics with Tyson Hesse's Diesel #1. Those unfamiliar with his work will be surprised by how quickly the writer/artist establishes a world that is fully realized while managing to keep certain aspects under wraps.

Dissonance #1 is a deeply flawed comic. In spite of the best efforts of the art team, the comic cannot overcome its frazzled and unfocused story. There is a lot of potential for the creative team to flesh out, and maybe it will live up to that potential in the coming issues. However, there is a lot of work that needs to be done in order for this book to meet the standard set by its sister-series from Top Cow and Glitch Network.

Be sure to have tissues handy when reading the final chapter of Matt Kindt and Trevor Hairsine's Divinity, as this creative team delivers an emotionally affecting issue that also raises moral questions relevant in today's world.

To the surprise of no one, Doom Patrol #10 is batshit crazy. I've read every issue and, while I think I know what's going on, I can't be 100% certain. Maybe it's the beautiful, pop-art inspired work by the art team of Nick Derington, Tom Fowler, and Tamra Bonvillain. Maybe because it's unlike any other book on the market. Maybe I'm a sadist. Whatever the reason, this series keeps pulling me back in. It definitely isn't for everyone, even if it has something for everyone.

The Doom Patrol are a team once more, fixing weird injustices in crazy settings with incredible chemistry between the characters. Finally, we may have a Doom Patrol title that lives up to the legendary Grant Morrision run.

Eight issues into Doomsday Clock, and we've finally received an issue worthy of the hype surrounding it. Shocking that when you strip out the Watchmen element and just deal with the struggles of the DC Universe by focusing solely on DC characters, the results are good. Snarky commentary aside, this might just be the single best issue by Geoff Johns in his long career. Sure, there are some bumps that keep the the narrative from being completely smooth, but his writing is showing clear signs of maturation. Hopefully, this is indicative of truly great things to come.

I'm willing to give Dread Gods a couple more issues because of its unique premise. Given Marz's past efforts, there's a good chance this overcomes it's slow start and blossoms into something wonderful.

Given how climate change is inexplicably a subject for debate in the U.S. (everyone else seems to have their shit figured out), Eclipse is a surprisingly topical book that has the potential to be a meaningful contribution to the comic industry. And if nothing else, it definitely entertains with a solid story and outstanding artwork.

The Shape of Elvira #1is a middling comic, thanks to an inconsistent tone. The book ultimately cannot decide what it wants to be. Is it a send-up to haunted house movies? Is it a satire? Is it a comedy title, or is it horror? Could it be both, or possibly neither? There are just too many questions circling the issue's tone, let alone the narrative for casual readers to be pulled in. HardcoreElvirafans will certainly find enjoyment here, but the rest are better off elsewhere.

On the whole, the creative team has begun this latest arc on a promising note. Sebela and Barreto are building an adventure that hits the familiar beats of Carpenter's films without feeling like a retread of what has come before.

At the end of the day, this is simply an average comic. It's not the worst way to spend $3.99, but it is not the best way either.

The pacing remains inconsistent, but by and large this is a great improvement for the series.

It may have taken a while, but Escape From New York is no longer a chore to read, and is instead a bona fide pleasure.

After last issue seemingly "getting" this franchise right, Escape From New York #11 is nothing but a disappointment.

However, after only 3 issues, it still stands in the long shadows of Vaughn and Luna's past works.

Through four issues, Eternal Empire has been a disappointment. This is not due to a lack of technical quality, but rather lacking the emotional punch or possessing the social commentary found in Jonathan Luna and Sarah Vaughn's previous effort, Alex + Ada. Well, it looks like the fifth time is the charm, as Eternal Empire #5 sees the series conclude its first arc on a high note.

The genre mishmash, mysterious story, and engaging characters makes for a surprisingly good first issue.

The stage is now set for the creators to take this book in several interesting directions after a well written and great looking first effort.

The main story by Jody Houser, Meghan Hetrick, and Marguerite Sauvage is a fantastic Faith story, featuring all of the hallmarks which have propelled her to Valiant's A-list. There are pop references, homages to other geek-culture icons, and a charming wit that, when combined with a quality story, make for an enticing read. The issue's closing story by Rafer Roberts and Colleen Doran is a fun addition that looks to play into Roberts' upcoming series Harbinger: Renegade.

In many ways, Faith #1 isemblematic forits title character. Imperfect, lighthearted and inviting, perhaps the purest hero in the Valiant Universe delivers a pure superhero experience.It's a side of this universe that is rarely explored, but I'm more than willing to take a ride through it with Houser and Portelaat the helm.

Not only is every matter a political one, but individuals no longer feel the freedom to change their position, even when presented with factual evidence that proves it to be wrong. Conviction is a strength, but willful ignorance is not. As a result, Far Sector is not just a good Green Lantern story, it is a great story that speaks to this moment in history.

The artwork is great, but the pacing of the story is just a bit off. Still, the creepy premise and unique look should keep readers coming back for the next issue.

If history repeats itself, the flagship title of Aspen MLT will experience a creative renaissance under this creative team. Similar to when he took over Witchblade, Ron Marz has made Fathom updated and accessible to new audiences while being respectful to the years of established canon. The artwork by Oum, though imperfect, is impressive nonetheless. If this first issue is anything to go by,Fathomis a winner.

I HATE IMAGE is a near-perfect love letter to Image Comics.

Unfortunately, the artwork cannot save Feathers from Coronas formulaic script, which rehashes classic storytelling tropes throughout. It would have been appreciated if there was more to pull in readers other than boy with feathers. Seasoned readers will have few surprises beyond the opening sequence, which sets up a mystery that will presumably run the course of the 6-issue miniseries. Unless there is significant improvement in the second chapter, I cant see myself continuing further.

Firefly #1 is a damn fine opening chapter, and a welcome return to a beloved property. There is plenty of action and Whedon-esque dialogue to satisfy a broad spectrum of readers. With a more-than-capable creative team and a solid foundation to build upon, the future looks bright for the Captain Mal and his crew.

The Flash #20 is a great jumping on point, and captures everything I want out of a Barry Allen story. It delivers detective work, romance, humor and just plain fun. I cant wait to see how this story unfolds it looks to have all the makings of a fun ride.

Pacing issues aside, The Flash continues to be one of DCs standout titles. Those complaining that all DC books feel the same should really consider picking up this book. While the tone is more serious than last issue, the entertainment factor remains.

The Flash has been one of DCs most consistent and strongest books, and issue #22 is no exception. For those complaining that The New 52 all looks the same and lacks a sense of fun, The Flash speeds by in defiance of that perception. The Flash #22 is a serious contender for the best title of the week.

Chalk this up as another excellent issue of The Flash. Buccellato and Manapul have crafted another fine issue full of twists and turns that keeps the reader engaged with every turn of the page. Fun, exciting, and full of heart, The Flash continues to run at the front of the pack.

Gorilla Grodd takes the spotlight in Week One of Villains Month. The creative team of Buccellato and Batista deliver an engaging story that has both solid action and strong character development. I look forward to how Buccellato handles the villain going forward, especially as this leads into Forever Evil: Rogues Rebellion. Be sure to check this issue out!

Villains Month continues to be a success for fans of the Scarlet Speedster, with quality books published in consecutive weeks. While there is one more installment to go with next weeks Rogues-centric issue, Buccellato and Manapul make a strong push towards the end of Reverse by pulling back the curtain on one of the biggest mysteries of the New 52. The Flash #23.2 does not disappoint.

The Flash #23.3 is a Villains Month title without comparison. While DCs other titles are presenting the villains as individuals to sympathize with prior to their villainous turns, Buccellato has put together a story that makes us care for this particular set of villains. Patrick Zirchers excellent artwork only adds to an issue that might be the cream of the September crop. Knowing these two are at the helm, Rogues Rebellion cant come soon enough.

Manapul and Buccellato have ended their run on The Flash on a higher note than expected. The final showdown with Reverse Flash along with interactions with Iris and Patty made this one of the most complete and satisfying reads of their time on the title. The issue ends very much as issue one began, moving forward without looking back.

For the second month in a row, Manapul and Buccellato give us a satisfying conclusion to their Flash run. Though The Flash #25 does not showcase the character's trademark skillset, it does show us the strength of Barry Allen lies beyond the red suit.

The Flash #26 is a solid, if unspectacular, chapter in the Barry Allen saga. Christos Gage and Neil Googe do a formidable job, and have potential to be the full-time creative team. Unfortunately, this issue suffers from filleritis, but overall, it was enjoyable.

It still remains unclear where the creative team is taking this story. Though the writers are trying to make the case that the hardships he hasfaced over hiscrime-fighting career has hardened his personality,the Future Flash they have created is Barry Allen in name only. Barry is mild-mannered, hopeful in the face of tragedy, and always looking forward. These characteristics whichmake Barry Allen endearing to readers are nowhere to be found in the Future Flash. Granted, the heroic incarnation that is trapped in the Speed Force is wholly recognizable,the script gives greater attention to the alienating version from the future. This story arc has the potential to be very good, but it continues to be held back byan unfocused narrative.

Brett Booth's art continues to be the strongest facet of The Flash. Each issue is flush with energy and attention to detail that is fueled by his passion for the titular character. With a few exceptions, his work continues to be stellar inThe Flash #38. There is a thrilling battle between the Future Flash and the duo of Mirror Master and Napalm – a replacement for the presumed-dead Heatwave. Brimming with a sense of fluidity and motion, Booth does an excellent job in conveying speed – a necessary quality for a book featuring speedsters. Unfortunately, there is a slip in quality during a scene between Barry, Patty, and Iris. In one panel, Barry's face appears smushed into the page. Likewise, as Iris leaves the scene in a rush, her face is indiscernible from some of the males Booth has drawn. Luckily, these are the only negative instances of note. Plus, it's difficult to hold that against him when he sneaks in a few of Marvelous mutants for the fans.

The Flash #39is the definition of mediocre. It's neither good nor bad – merely adequate. Brett Booth continues to pour his heart and soul into the pencils, which are further enhanced by Norm Rapmund's inks and Andrew Dalhouse's colors. Unfortunately, the script continues to be – at best – okay. The ideas show promise, but refuse to be executed properly.Given the developments that occur between the covers, it remains to be seen if writers Robert Venditti and Van Jensen will be able to close the door on their trans-dimensional, time-travel adventure before the two monthConvergence hiatus.

The Flash #41 is a wonderful jumping on point for fans of the Scarlet Speedster. Venditti and Jensen's tightlyscripted issue shows much promise forthis new arc, while the art by Booth, Rapmund, and Jensen is full of the kinetic energy a book like The Flash demands.

This issue marksthe low point for DC's resident speedster. A fundamental understanding of the book's corecharacters is clearly missing from the co-writers. Despite a strong effort from Brett Booth, his work suffers from both a poor script and his own inconsistencies. The restored faith and goodwill that this titlebuilt with the previous issue has been put to waste.The Flash #42 is nothing but disappointing.

The Flash Annual #2 is a great standalone issue that builds the world of the New 52 continuity. Buccellatos writing continues to improve and Basaris artwork is a joy to behold. For those of you that have not picked up The Flash, this annual is something you should check out. Its a fun and accessible comic that all annuals should strive to emulate.

The Flash #13 is a great way for the series to close out 2016. Though the two narratives clash with each other when it comes to pacing, they each stand strongly on their own and come together for a satisfying closing sequence. Though sickeningly sweet and full of cheese, Williamson and his unheralded art team of Neil Googe and Ivan Plascencia make it work.

The Flash #21 is another solid entry into the larger saga of DC Rebirth. While the entire premise may be an ethical quandary from a creator-rights perspective, the story as crafted by DC's current writers and artists has not failed to be, at the very least, entertaining. Hopefully Williamson and the art team can iron out the remaining wrinkles in the second half of "The Button."

Overall, the book is a reflection of its writing and artwork: a great, big-picture concept that needs refinement.

The concluding chapter of "Year One" sticks the landing.

In the end, The Flash #755 is a great looking book that's weighed down by predictable storytelling.

Flash Forward #1 is a bit shaky as it tries to navigate the fallout of Heroes in Crisis, but by the issues end it finds its footing. With much of the heavy lifting out of the way, the series is set up to give readers a worthwhile Wally West comic that hasnt been seen since the beginning months of DC Rebirth. Lobdells story seems determined to be a rallying call for older readers, and if nothing else, the art team will ensure that the book looks good for its six-issue run.

Forever Evil: Rogues Rebellion opens strong and could potentially be better than the event that it is tying into. Buccellato has proven himself to be a top writer in the world of The Flash, and the trend continues here. Despite the multiple artists, the potential of this series has me salivating for more. With the inclusion of the Rogues, Forever Evil just became a lot more fun.

The Rogues lost their leader, made stops in three of the biggest cities of the DCU, and have most of the worlds baddies hunting them down and thats just the second issue. Buccellato and Hepburn are giving readers a reason to smile as Forever Evil marches on. If you love DC and are looking for a fun time, this is the title for you.

Forever Evil: Rogues Rebellion #3 might not be the best title to hit stands this week, but its certainly the most fun. The Rogues trip to Gotham offers ridiculous fun with an underlying sense of heart. They may not be the best or the brightest, but their personalities make the Rogues the most loveable bunch of baddies in the DCU, and their ongoing Forever Evil plight continues to be a treat each month.

Forever Evil: Rogues Rebellion #4 is available at comic book stores and digitally for $2.99

Fresh Romance #1 is a solid first foray from Rosy Press. With three stories of varying tone, readers should be able to find something to their taste. There is also a good amount of bonus material, including an introductory letter from editor Janelle Asselin, a breakdown on the creation of Kevin Wada and Erin Scott's beautiful cover, character designs, and even a love advice column. Those looking for more love from their comics will be hard pressed to pass this one up.

In this one issue, Tom Taylor and Juan Cabal capture virtually everything that is great about Spider-Man.

G.I. Joe #1 is a solid relaunch of the long-running series. Fans of the property, and those that may have an interest in it, should check it out. It is by no means a bad issue. However, it does not reach the highs of IDW's other licensed properties.

The Valiant Universe has been a dark place in recent years with events like "Book of Death" and even "4001 A.D." However, the publisher appears to be making for a major tonal shift. Jody Houser's Faith is evidence of this, and Generation Zero #1 even more so. With a compelling setup and an interesting, relatable protagonist, Fred Van Lente and Francis Portella have retooled tried-and-true superhero tropes into a title that reads like a breath of fresh air.

George Perez's Sirens #4 sees George Perez do what George Perez does best: draw wildly imaginative, detailed comic books. Unfortunately, it also reminds readers that his strength does not lie in nuanced writing.

If you've been looking to jump into IDW's Ghostbusters books, this is the perfect jumping on point.

If you haven't picked up the series yet, keep an eye out for the Giant Days: Orientation Edition, coming in July, which packages the sold-out first two issues in one at a single-issue price point.

This comic itself is a fun time, but it is afraid to embrace those other elements that makes the show special.

Fret not fun lovers. The book may be Wytches than Action Comics, but Percy has managed to slip a little of Ollie's trademark wit into the book.

Before the reader has a chance to settle in, the story is over and the reader is staring at the cliffhanger leading into the next arc. However, the character dynamics are too enjoyable for the rushed pace to severely hamstring this issue. Green Arrow #5 is a blast from start to finish.

The Green Lantern #8 continues to build the case that there isn't a better DC book right now.

Morrison's approach to the series, with a bunch of done-in-one installments, has done a great job in shrinking the scale of the stories without sacrificing stakes.

In the end, The Green Lantern Annual #1 is a solid, one-off tale that entertains but can be quickly forgotten.

Harbinger Renegade #1 is a welcoming reintroduction of Valiant's misfits. Roberts' ability to tap into these characters' personalities exceeds expectations. Furthermore, the narrative itself plays with the coming-of-age tropes associated with Harbinger from a fresh and exciting perspective. Add to it one hell of an effort from the art team, and Harbinger Renegade #1 is an easy recommendation.

Harleen #1 is a wonderful opening chapter that allows for a singular, unique vision of one of DCs most popular characters. While notably different from other Harley Quinn projects, Harleen honors the characters history while forging ahead in a new direction that can serve as the characters defining origin story. Not since Mad Love has a Harley Quinn story been this good.

From the writing to the artwork, Hellblazer #27 is an exercise in pure artistry. Gaiman and McKean's efforts work in perfect harmony, resulting in a story that holds up decades after its initial publication, a feat very few comics can boast. Though this creative team never again contributed to this series, they left an indelible mark on the title. If ever there is a comic that can, in a concise manner, demonstrate the artistic potential of the medium, this is it.

While the team does a good job introducing readers to Mercy, an archetypical tough outcast, and Jadoo, a young stage magician, there is little else to the plot.

Nalo Hopkinson's approach to House of Whispers has largely shown how the world of magic has impacted the regular people in this world, which has lead to overall inconsistency. The good news, is that means there are some issues that are fantastic. Unfortunately, that means some issues" not so much.

House of Whispers #20 may be a narrative mess, but it's a beautiful-looking, narrative mess. And for those readers patient enough to sift through it, there are powerful messages to be found.

For the record, there is some good stuff to be found in House of Whispers #21. Unfortunately, they are sparsely placed throughout the issue, while the artwork sinks to its weakest point.

On its own, HoX is a captivating but often confusing read akin to the first piece of a jigsaw puzzle. How it all fits together " especially when read with Powers of X " is yet to be seen, but in the meantime there are great little character moments that provide short-term satisfaction.

The most enduring stories of the horror do not rely on violence and gore, but instead manage to incite genuine dread and suspense that carries on once the story is over. True classics such asHalloween, The Omen,andThe Exorcistdo not simply shock audiences. They play mind games so that when the final credits role, the horror lingers. This comic follows that horror ideology. Ice Cream Man #1 delivers a suspenseful page-turner that is as chilling as the titular dairy treat.

Arguably the best issue of this series, Ice Cream Man #5 is less concerned with terrifying readers with traditional horror sensibilities.

In many respects, Ignited #1 is a stripped down, back-to-basics version of X-Men comics. Unfortunately, Mark Waid and Kwanza Osajyefo's story is less concerned with its characters and more with making a statement concerning the outbreak of school shootings and proposed remedies by various U.S. officials.

The cast is still too big to successfully manage with modern storytelling techniques, as Waid and Osajyefo need to compress the writing down even more. However, their unique situation " surviving a recent school shooting, discovering superpowers, and dealing with the tribulations of teenage life " offers readers a fantastical and grounded experience.

One of my favorite subplots in any comic is the humanization of Mech-Major, or as he prefers to be called, "Sunlight of the Snow". Not only is the visual of an oversized robot attending therapy sessions humorous, but it also provides some fascinating character development by simply peeling back layers.

Dysart pacing makes the reveal quite effective without giving away Harada's endgame. Unfortunately, once the reveal is made, the remainder of the book feels like a retread of the first half with only minor difference. Still, this is a solid start to what looks to be another winner from Valiant.

Even as the pacing of the story and clarity of the art waver slightly at times, the emotional core of the issue remains intact. It's a testament to writer Joshua Dysart and artist Scot Eaton's ability to manipulate the readers' emotions and sense of trust over the course of 20 pages.

Credit is due to the art team of Eaton, inker Wayne Faucher, and colorist Brian Reber for presenting Dysart's script in a manner that is easy for readers to navigate while maintaining the intricacies of the lead character's psychological dance.

Though it many not be as flashy or subject to as much fanfare as Valiant's other titles, Imperium #8 demonstrates that this series deserves a spot as one of the publisher's best.

Toyo Harada might be one of the most complex and socially relevant characters in the comic book medium today. Morally gray, simultaneously selfish and selfless, and politically influential, Harada malleable enough for writer Joshua Dysart to shape into a figure that can be the focus of stories seemingly ripped from recent headlines.

While Imperium #10 may prove to be an integral part of "The Vine Imperative" as a whole, on it's own it is merely a serviceable, but entertaining, single issue.

These events come as no surprise, as a theme central to Dysart's work in Imperium (and Harbinger before it) is that, regardless of the intentions, death and suffering follows Toyo Harada. It is what makes him easy to simultaneously root for and against. Dysart's ability to toy with readers' emotions makes Imperium one of the top books available today.

Imperium has worked best when it draws on real-world issues, which is not the case here. Imperium #12 isn't the worst way to spend your money, but there are far superior options.

Top Cow has carved out a nice place in the comics landscape for hard-hitting science fiction, and Infinite Dark is welcome addition to their portfolio. Though the issue does rush in the final pages to hit the cliffhanger, the journey leading up to that point is captivating. Though the title itself may be dark, it's potential is bright.

Van Lente is unafraid of the confusion that time travel can add to any story. Rather, he revels in it, calling out variousgenre tropes and poking fun at pop culture's "understanding" of the concept. It's a wonder we place so many rules on time travel. Will meeting ourselves in another part of the timeline really rip apart the universe? Could even the most insignificant change cause a devastating "butterfly effect"? Maybe" but maybe not. By hitting the reset button on time travel, Van Lente hooks readers in with a story that promises a different look a long-loved concept.

Ultimately, this oddball combination of ideas causes Ivar, Timewalker #3 to suffer from a bit of identity crisis. The book can't decide if it wants to be a swashbuckling adventure, a cautionary tale, or a parody of modern society. Despite its uneven nature, Ivar remains an entertaining alternative to corporate comics.

If the emotional journey wasn't enough, the final pages bring about new developments which should, to put it nicely, kick serious ass.

There's more time-travel fun that will cause the hardcore continuity sticklers to squirm, which means fun for the rest of us

That readers are genuinely concerned about the well-being of three immortal characters is a testament to Fred Van Lente's writing prowess. There are also several sequences that enable Francis Portella's expressive art to shine brightly. Based on the overall quality of this series' first six issues, comic creators should attempt to break history more often.

Given the current absence of a Quantum & Woody or Archer & Armstrong from Valiant's lineup, it falls to Ivar to fulfill the publisher's fun quotient, which it thankfully delivers. However, the fun-factor is downplayed in this particular issue in favor of high stakes action which takes a dark turn in the closing pages. As was the case back in issue #4, Van Lente deftly proves that he can emotionally affect readers in manners beyond laughter.

Pere Perez is given much to work with here. Van Lente has added a multidimensional aspect of the book to go along with "simple" time-travel, which enables Perez to create visually striking scenery and character designs. Overall, Ivar, Timewalker #9 is a great start to the latest arc. For anyone that still needs a reason to pick this up, just let this idea soak in: pirate clowns.

Despite a few bumps in the issue's pacing, Ivar, Timewalker #10 is another satisfying installment.

Mind-bending. Captivating. Tragic. The latest in Fred Van Lente and Pere Perez's Ivar, Timewalker runs readers through a gambit of emotions in setting up next month's series finale.

Without a doubt, Ivar, Timewalker has been one of the most enjoyable books being published. And so, it is with great sadness that the series' twelfth issue marks the series finale. However, the outcome " and resulting shakeup to the Valiant Universe " is an exciting proposition that hopefully other creators will take up and exploit in the future.

Ellis's efforts in establishingthe character and the world around him is so strong, it is easy to overlook the fact that very little actually happens in terms of progressing the story. There's a big difference between an ending that causesthe reader say “I can't wait for the next issue” versus “That's it?” Unfortunately, this issue is in line with the latter statement. Hopefully, Ellis can build off of the strong foundation established in this first issue to deliver a more complete experience in the next installment.Despite the abrupt ending,readers should walk away fromJames Bond #1 knowing that the iconic super spy is in good hands. Ellis and Masters' strong grasp of the character and his world is sure to delight readers.

Whereas the first issue was troubled by pacing issues, Ellis and Masters have James Bond #2 humming along at a steady pace. Many of the seeds planted in the first issue start coming to fruition, including the British government's policy on allow its operatives to travel with firearms. There are still several plot elements that remain a mystery, including what "VARGR" even means. However, Ellis's work with these characters and this world make the book worth checking out.

Perhaps the most interesting thing aboutCommander Trill #0 is that X-O Manowar's greatest threat can be seen as a hero from the right perspective. After all, who is considered “good” and “evil” can at times be a matter of perspective. Though his unwavering sense of duty makes him appear villainous, one can see how – to his own people – he might be considered heroic.

Dragons, the latest anthology under Archaia's "Jim Henson's The Storyteller" banner, continues there series' tradition of telling excellent, standalone comic books under a common theme. This first issue by Daniel Bayliss, with a writing assist from Fabian Rangel Jr. and letters by Warren Montgomery, emphasizes the bond between fathers and sons. If there is a flaw, it is that the pacing is slightly thrown off by the required interjections of the titular Storyteller (and his faithful dog). However, it is a flaw only in regards to taking precious page-space away from Bayliss's wonderful in-story visuals.

Joe Golem: Occult Detective #2 is sharp, albeit flawed, chapter in this Mignola-verse mystery.

John Constantine: Hellblazer #3 wraps up the series initial arc in satisfying fashion. Having been absent for the better part of a decade, Simon Spurrier has brought the real John Constantine back, so Joshua Hale Fialkov may one day get his opportunity. But as strong as the writing is, the artwork is even better. Hellblazers artists dont just create a world to look at " it is one that readers experience. Heres to more experiences as the series marches forward.

John Constantine: Hellblazer #4 is a masterful subversion of expectations that manages to honor the Hellblazer tradition.

Hellblazer #6 is a reminder of the powerful storytelling the comics medium is capable of.

The visuals by Aaron Campbell and Jordie Bellaire continue to be engrossing, which is especially impressive given the seemingly unremarkable settings of Spurrier's script. And even when the issue demands something more bizarre take shape like a mermaid, the artistic team makes it fit into the visual aesthetic of the world that it comes across as organic, rather than forced.

“The Darkseid War” begins in rather tame fashion, but by the issue's end Johns and Fabok have put the pieces in place for this to arc to be among the best – and most grand in scope – since the universe was relaunched in 2011. There is one minor follyinvolving Lex during one of the issue's big surprises which, in retrospect makes very little sense. However, that is the only chink in the armor of an otherwise fantastic issue. In the year that sees the 30th anniversary of the legendaryCrisis on Infinite Earths, this has the makings ofa true celebration.

Even though it it is not a true event comic, "The Darkseid War" certainly has the size and scope of one. And because it is not a true event, the creative team of Geoff Johns and Francis Manapul are able to focus on quality storytelling rather than universe-spanning continuity.

Justice League #20 lays the groundwork for an ambitious and genuinely horrific story.

Less mysterious is the quality of the art. Though there is not a substantial amount of action, Hitch's artwork remains grand. Large, widescreen panels dominate the issue, adding to the story's cinematic feel. Backgrounds are lush with detail, which further fleshes out the world on the page. There are a few instances where Hitch's facial work is subpar, which is the onea notable flaw in an otherwise great-looking issue.

With the series now in the hands of writer Jeff Parker and artist Travel Foreman, the book appears to have a tighter focus than before. It's quite a feat given that the cast has expanded greatly, and promotional artwork promises an even larger roster in the coming months.

Katana #9 is a poor outing for a series that has overstayed its welcome by eight issues. Despite boasting some impressive visuals, the writing leads to a frustrating and disappointing reading experience.

Katana #10 may not be the satisfying conclusion to story threads that readers were hoping for, but it does manage wrap of the larger narrative in an entertaining manner. Now that it is concluded, readers can look back on Katana as a junk food comicit may not have been good, but it was a peculiar divergence from the norm every month. If for no other reason than for daring to be different, we should be happy that DC took a chance on it. Hopefully, they will continue to take similar chances in the future.

Is this what I expected from this series? No. But hey, good storytellers tell good stories.

This debut issue plays with the readers' perception of reality, leading to an intriguing reveal in the final pages which serves as a great hook going forward.

Klaus #2 leans heavily into that notion, delivering a surprising amount of action while retaining the heart of the holiday season.

BOOM! Studios seems to have developed a new tradition in producing a new Klaus one-shot each year. Morrison and Mora have truly captured lightning in a bottle, and each time they revisit these characters is an event worth celebrating. From the first page to the last, Klaus and the Crisis in Xmasville #1 is batshit crazy in all the right ways.

Livewire #1 is by no means a bad comic. However, it is a missed opportunity to bring new or lapsed readers into the Valiant Universe. Hopefully, there should be improvement in the coming issues now that the setup is out of the way. But for now, only the publisher's strident fans will get a fulfilling reading experience. The rest of us are best off looking elsewhere.

Lois Lane #1 is a must-read comic that is frighteningly too real.

Long Walk to Valhalla may not be released to the most fanfare, but it deserves recognition. Look for this to be on many "best of" lists at the end of the year.

However, the issues is unevenly paced thanks to exposition-heavy segues into the hunters and the history of this tradition. But in the end, Lucifer #17 does enough to keep readers invested in what happens next.

Ludocrats certainly lives up to its namesake, as it is off-the-walls ludicrous.

Lumberjanes has had a solid run so far of being charming and hilarious, with its fair share of serious moments. Lumberjanes #15 does not break that streak, and even hits all three points in one issue

Maestros #1 is an entertaining, yet flawed comic that shows much potential. The mediocre script is elevated by the outstanding art. While it may not be the most impressive debut issue, the visuals by Skroce and Stewart make this one series worth keeping an eye on for at least the first few issues.

There are questions to be asked about the connection between Patience and Maya, given the nature of the Magdalena mantle. However, the creative team of Howard, Cady, Dibari, and Spicer provide a quality story with enough intrigue to bring people back more.

Marvel's Marvel #1 from Marvels creators Ross and Busiek isn't quite the marvel it was hyped up to be.

Overall, Marvel Knights 20th #1 is a solid debut issue. Though it does not reach the highs of past books from the imprint, it has a strong hook and great artwork, which is likely enough to make readers want to pick up the second issue. However, the story needs to start providing answers soon lest it wants to end up like so many miniseries in recent years: forgotten.

While this arc serves as a proverbial handing off of the title from Spidey to Ms. Marvel, this conclusion makes one wish Marvel had left this series in retirement.

The visuals from Hayden Sherman are stunning. Rough and unpolished, they add an unsettling aesthetic which is more than fitting for a horror title. Where the book stumbles at times is the pacing, particularly as it drags throughout the middle before the big finale (and twist). Building suspense is difficult, especially in horror comics.Mary Shelley: Monster Hunterbegins with a solid foundation. With a little more refinement in the coming issues, it could be one of the best horror titles available.

Long time fans of the franchise, as well as anyone that hada pulse in 1994, is certain to adore Mighty Morphin' Power Rangers #0.However, the truly impressive feat is that these creators have managed to turn the Mighty Morphin' era of the Power Rangersfranchise into something that can appreciated and adored by the completely uninitiated. This zero-issue may not be perfect, but neither was the television show. Mighty Morphin' Power Rangers #0is the perfect gateway into this beloved universe.

In all, the pieces in Mighty Morphin' Power Rangers #5 comes together to form a decent-looking disappointment.

If you're a fan of Power Rangers or happen to enjoy average comics, then this done-in-one issue might be worth it.

Mitch Gerads' art is perfect for this Kirby creation. There's pop-art inspiration on each page, and the colors can be at times mesmerizing.

In the fallout from the previous issue, Mister Miracle #4 is framed around a trial " the trial of Mister Miracle. In line with this seemingly apathetic depiction, Scott Free opts to have his trial held in his living room. The result is a blending of comedy and tension that is breathtaking. Thanks to the 9-panel layout that has become a staple of Kings works, the tension builds as we progress through Orions line of questioning. With each question, and each response by Scott Free, one cant help but shake the feeling that one of these two are going to snap. In the end, Mister Miracle #4 runs the reader through a gamut of emotions that is as taxing as it is rewarding.

I cant stress enough how much I loved this issue. This is the Nightwing I was looking for since the start of the New 52. If you havent been reading this title, or have since dropped it, this issue is a perfect jumping on point, and injects something thats been missing from most of DCs titles – fun.

Despite its flaws, I loved this issue. Nightwing #20 is another step in the right direction for the title and the character himself. Higgins is building a world for his title character that allows him to stand on his own out from the shadow of the Bat. If you havent been reading Nightwing for a while, nows the time to start reading. Its currently one of the best pure superhero titles on shelves right now.

If youve enjoyed the last couple issues of Nightwing, youre going to get more of the same here. Brett Booth ends his brief stint as Nightwing artist with consistently strong work, and Higgins plants more seeds for a long run on the title. Nightwing continues to be the most enjoyable, pure superhero title by DC.

A change in artists cant stop the Nightwing train. Will Conrad delivers a great debut issue, and Kyle Higgins continues his mastery of the former Boy Wonder. Nightwing continues to be one DC title that everyone should be reading.

Nightwing continues to ride its hot streak onto shelves this week. Higgins and Conrad once again deliver the goods with an exciting and well-structured tale of superhero action. Issue #24 cant come soon enough!

Nightwing #24 is a great conclusion to Dick Graysons first romp in the Windy City. The team of Higgins and Conrad give us a story in the vein of classic superhero stories, with a bit of a modern twist. After a month of reading villain books, its good to see heroes back in the spotlight. And dont forget that Dick Grayson returns later this month with Nightwing Annual #1.

Nightwing #25 is a solid, stand-alone issue that brings the title into another Batman-centric crossover. While entertaining, the issue stalls the forward momentum that this series had gained over the previous few installments. Luckily, the title returns to the Windy City next month as the legend of Dick Grayson continues.

Nightwing #26 continues to lend credence to Kyle Higgins status as one of DC rising talents. Despite a few hiccups, the title continues to provide the relatable conflicts and humor that have made Dick Grayson popular beyond the shadow of the Bat. With the emergence of Marionette and an arrival from Gotham City, Nightwings solo title looks to continue as an underrated gem in DCs lineup.

Nightwing #27 is available at your local comic book store and digitally at www.Comixology.com.

Nightwing Annual #1 is a great use of the oversized format. Higgins and Company give longtime fans what they want in a standalone story that develops the characters of Barbara Gordon and Dick Grayson without derailing their respective titles.

Valiant has set a high bar for itself, andNinja-K #1hurdles it with ease. Gage and Giorello have not just laid the foundation for a compelling series, but they kick it into high gear in the issue's final pages. With a compelling narrative and beautiful artwork,Ninja-Kis agripping page-turner.

Despite these reservations on the use of flashbacks, Ninjak #1 is a welcome addition to the most cohesive and welcoming superhero universe currently being published.

For two issues, Kindt has show readers how pop culture media has informed and molded King into the man he is today. Though it is not focal point of the series, it provides subtle commentary on the impact external stimuli, especially pop culture, has on our own individual development. It should be interesting to see if this theme carries forward in later issues.

There is a rhythm and cadence to the reading experience as the events on the page unfold seemingly in real time, which only serves to ratchet up the tension with each turn of the page.

Ninjak #4 provides a lot of great insight into the book's primary antagonists, but at times the content just feels like filler.

Kindt is joined by Butch Guice to continue the "Lost Files" backup feature, which continues to unravel more of Ninjak's past, only this time during his training as an agent. The work here continues to be strong, and could make for a solid lead feature on its own. Five issues in, and Kindt, Mann, and Guice have reinforced one truth: Ninjak is fascinating.

Raul Allen takes over this arc, bringing to Ninjak an art aesthetic that adapts to the book's wide range of settings with ease. Office settings have a mundane quality, whereas covert and action-oriented scenes evoke tension and excitement. The back-up story, with art by Butch Guice, remains a solid insight into King's development into Ninjak.

Though there are some bumps in the writing quality, the art for this series continues to be solid, with Juan Jos Ryp and Stephen Segovia providing a steady hand in the main feature and backup, respectively. Together, these artists realize a fully functional world that the reader can get lost in.

With each passing issue, Matt Kindt's Ninjak only gets stronger.

The journey that Kindt and his art team has crafted culminates asNinjak #9provides a satisfying conclusion to “The Shadow Wars,” as well as the overarching plot threads and themes that have been laid out over the course of the series as a whole. The one-two punch of Mann and Ryp provides a cinematic, immersive experience that few titles, especially at the Big Two, fail to match. Ninjak #9is a must read.

Unfortunately, readers will have to wait at least another month for the long-awaited return of Shadowman, who is absent from this installment. However, as if another reason to pick up this issue was necessary, the inclusion of Punk Mambo more than makes up for it.

Roberto De La Torre's artwork is unlike anything in mainstream comics today. It is equallyraw and refined. Thecoloring by David Baron shares in that spirit, being simultaneously haphazard, yet purposeful. The result is a visually stunning and engaging experience that reflects the narrative writerJen Van Meter has laid out. Within the space of one issue, there is politicking, spell casting, murder, business negotiations, and punching ghosts right in the face. That Van Meter is able to thread the needle and tie these multiple narrative elements in a compelling narrative is nothing short of fascinating.

The only discernible flaw in this issue is the art shake-up for a portion of the book, where Diego Bernard fills in for Roberto De La Torre. Bernard's art is by no means bad – it actually is quite engaging – but De La Torre's unique style has defined the look of Shan and her world. No matter who Valiant was able to find to help out was sure to be jarring. Thankfully, David Baron's gorgeous colors ease the transition. Moreover, the story by Jen Van Meter, surprisingly action-heavy, maintains the suspense and mystery that readers have come to expect from Doctor Mirage, setting up what should be a satisfying. Time and again, this creative team proves thatThe Death Defying Doctor Mirage: Second Livesis one of the best books being published.

“Operation: Deadside” was a welcome break from the overarchingNinjaknarrative. Like the titular character, Kindt, Braithwaite, and Reber set out on a mission to make Shadowman a viable character in the Valiant Universe once more, and they succeed. Where they leave Jack Boniface at the end of the issue is rather somber, but it positions him to be better integrated and utilized in this shared universe than his previous, isolated state. It is also great to see Ninjak overcome his limitations within the Deadside to eek out a victory.Ninjak #13,and “Operation: Deadside” as a whole, is an easy recommendation.

Ninjak #17 effectively brings "The Siege of King's Castle" to a close while tying up the few remaining threads that have been left dangling since the series' debut issue. Moreover, it wipes the titular character's slate clean for the future of the series " an exciting proposition for a character with a nonexistent cultural footprint. Though Valiant continues to build its "superhero" universe, it is not tethered to the "illusion of change" that readers demand of their Big Two titles. While the publisher's output " including this issue " is of consistently high quality, hopefully they find the courage to push themselves beyond what their competitors are willing to do.

On the whole, there is very little to complain about. Month after month, Ninjak proves itself to be one of the most satisfying titles available.

Ninjak continues to entertain, but the creative team seems to be have bitten off more than they can chew, at least for this issue. The structure of the issue makes for a confusing and at times repetitive experience, while the art lacks the crispness of this arc's previous chapters. Hopefully this dip in quality from "great" to merely "okay" is an aberration and the series rebounds in the concluding chapter to "The Fist and The Steel."

Much of what is revealed here supports theories of Ninjak's connection to the Shadow Seven, but Kindt also introduces new elements which bring the story dangerously close to the cliche work of the Big Two. With the reemergence of Sandra Darque " sister of Master Darque " comes a tired and corny speech of how Ninjak is the key because he is pure of heart and blah, blah, blah. It is a poorly executed moment that casts an immense shadow over an otherwise satisfying issue.

Valiant has had a pretty good track record since its relaunch with very few stories, let alone single issues, that are considered objectively "bad" by fans and critics alike (*cough* Dead Drop *cough*).Unfortunately, Ninjak #25 joins that rare company. Decompressed storytelling for the sake of the inevitable collected edition can prove folly, and this is Exhibit A.

No One Left to Fight #1 has a lot of good going for it, but it ultimately suffers from a subpar narrative structure.

The design for Nathan, inside the aforementioned hellscape, maintains a traditional superhero silhouette. And given the monsters he must fight off, the book reads like a perfect blend of Kirkman's greatest hits. That's not at all a bad thing, as it makes for one hell of an enjoyable experience. Oblivion Song #1 had high expectations, and the creative team clears that hurdle with ease.

Robert Kirkman and Lorenzo De Felici's Oblivion Song continues to be an equally fun and intense science fiction tale.

Oblivion Song continues to be a fun, imaginative escape. The creative team may be slow-playing their hand a little too much, but readers can take solace in that there are clearly long-term plans for this title. And as far as big, ugly monsters causing mayhem, this certainly delivers. As wild as this book has been, I get the feeling that the real fun is about to begin.

Max Bemis and Logan Faerber's Oh, Killstrike #2 is a wacky, self-aware comic that is constantly winking at the reader. Bemis' script seemingly wants to tell a thoughtful, personal journey using a silly, espionage mission while simultaneously deconstructing comics of the 1990s. Unfortunately, these wildly different concepts fail to form a cohesive narrative and fail to deliver a satisfying narrative

The art by Leandro Fernandez and Daniela Wiwa makes this book not only an engrossing read, but a beautiful one too. The heavy use of blacks and earth tones is reflective of the characters' nature, setting the tone for what looks to be another instant classic from Image.

It's Greg Rucka writing. It's beautiful thanks to Fernandez and Wiwa's art. It's good.

It's not perfect, but Olivia Twist #1 succeeds at providing an engrossing update of Charles Dickens' classic, while maintaining the spirit of providing commentary on societal issues. The writing is overall great, despite its pacing issues. Strauss and Dalva appear to have a clear vision for this title, and the art team complements that vision nicely. Consider this another success in what will hopefully be a very long line of Berger Books at Dark Horse.

Once & Future #1 is a solid first issue that shows much promise. While there is nothing within its pages to indicate why there was a frenzy in the speculator market, it sets up a story for which many (including myself) have high hopes.

Though the $4.99 price point (and a strong reliance on iconography) may cause some apprehension, the larger page count (40 pages) with these timeless characters makes this well worth it.

Spectacular Spider-man #2 might be even more enjoyable than the first issue. The characters are fully fleshed out and relatable, whether it's Peter, Johnny Storm, or Teresa. But most importantly, this book is FUN. A sharply written script and solid art team makes this the Spider-man book to read.

It's a shame time-travel is only a fictional construct, because I'd like to go back and stop myself from shelling out $4 on this issue.

Port of Earth #1 is a fascinating science fiction tale that encapsulates the genre's best characteristics. Zack Kaplan and Andrea Mutti have created a world that is vast and rich with storytelling potential. Like an onion, this book is full of layers, and it should be exciting to see each of them peeled back as larger story unfolds.

With each new installment, Port of Earth becomes a more ambitious and impressive book. There aren't too many sci-fi-polictical-action-thrillers out there (this might actually be the only thing that fits that description), and the creative team has done a marvelous job building a world that is as engrossing and depressing as our own. In the space of three issues, Port of Earth has transitioned from a title worth checking out to an absolute must read.

Postal #25 proves that a series finale does not need totidily wrap up the story to satisfy.The book ends on an ambiguous note,with Mark and Laura's respective futures on the line. However, readers that have been following this story and these characters over the course of the series should draw very similar conclusions about their fates. The series has repeatedly shown that these characters " and by extension, people in general " are willing to do or sacrifice anything for the sake of their loved ones. It is a surprisingly sweet sentiment for a book about ex-cons living in a community supported by corrupt government officials. That surprising dichotomy is what madePostalone of the most unique books on the market, and its absence will take substantial effort to fill.

Postal: Mark #1 is a fantastic entry into the canon of Image/Top Cow's Edenverse, which proves that comic universes need not be exclusively superhero fare. This is an exciting, tension-filled issue courtesy of the tight writing and stellar artwork of its creative team. More importantly, Hawkins and Ienco prove that great stories can still be found within the space of a single, 32 page floppy.

Sadly, the visual strengths of this issue cannot make up for the underwhelming narrative.

Despite its best attempts, Pretty Violent #1 is a big miss. Every joke falls flat, the characters have no redeeming qualities, and the last page twist lacks oomph as its telegraphed throughout the issue. While the artwork is interesting, by the time the final page arrives it has overstayed its welcome.

With the amount of sophistication on each page, it is still surprising that Prezis not a book from Image, or BOOM!, or even an imprint like Vertigo, but a big corporate machine like DC Comics. It was a leap of faith by the powers that be that has paid off in spades. Though sales have been shaky, there is no doubt that Prez is one of the best comics published today.

It cannot be expressed enough that entering the world of Prez means throwing caution to the wind and embracing the absurdities of the world that this creative team has forged. However, with each passing line of dialogue or image it becomes apparent that this absurd world is scarily similar to our own.

Psychodrama Illustrated #2 offers up the most unique reading experience of the week.

The story may have ended upbeing unsatisfying, but Steve Lieber's art stayed consistently top-notch for the entirety of the series. Many of Asmus' gags were dependent on Lieber's visuals, such as the "suicide sloth" or the Quantum's alpha-hero showmanship. It makes for some seriously funny stuff. Even when some of the jokes fall flat, they are elevated by the goofy expressions Lieber gives the books various characters.Quantum & Woody Must Diemay have fallen short of satisfying, but it was not without merit. The laughs alone should keep readers coming back for the next rowdy adventure.

Radiant Black #1 lays the foundation for what may be the best new superhero since Robert Kirkmans Invincible. Though it does rely heavily on conventions of the genre, fantastic artwork and character development makes for an engaging story. While living up to the standard set by this issue may be a tall task, Kyle Higgins writing has a history of consistency, while Marcelo Costas first foray as a sequential artist is a revelation.

Thanks to the efforts of artist Clayton Crain, who earned a Harvey Award nomination for his previous work on this title, Rai is a book in which readers can lose themselves in as draw parallels to our world's current socio-political landscape.

Do not be mistaken, Rai #10 is still a very solid comic book. Kindt and Crain give some much needed attention life outside New Japan " specifically on the wasteland that is Earth. In many respects, it is good old-fashioned science fiction. Seeds are also planted that have much potential in future installments. However, it falls a tad short of the series' lofty standards.

Of all the titles Valiant has produced, Rai by Matt Kindt and Clayton Crain continues to be the most unique. With Rai continuing his journey across the globe, he continues to learn more about the world that New Japan and Father left behind while building his own strength now that he is finally independent. In many ways, Rai has become a story of self-discovery; a coming-of-age tale that many millennials can identify with.

With the conclusion to "The Orphan" hitting in Rai #12, Kindt and Crain provide readers with a shocking and equally ambitious finale that is certain to play a major role in their upcoming 4001 A.D. Moreover, it completely changes the status quo of New Japan and, for some, may drudge up comparisons to the film Terminator 3.

Ravencroft #1 is a disappointment for readers looking for a bit of horror from the House of Ideas.

Reborn is a title to get excited about. In its debut issue, the writer and artist prove why they have earned their star status. Millar's script allows for a tightly paced, emotionally affecting, and action-packed narrative. Bringing that script to life is the sublime artwork by Capullo and his collaborators Glapion and Plascencia, who surpass their previous best work on DC's Batman title from a few years ago. Reborn #1 is not a perfect comic, but it comes pretty damn close.

Red Sonja #1 was a book was entered into with cautious optimism. The pedigree of the creative team is certainly strong enough to give this first issue a try. Those willing to take the leap will come away enamored and desperately looking for more. Those that pass up Red Sonja will simply be missing out.

Since starting on a high note, the latest Red Sonja has seen diminishing returns as it transitions from the quirky and political humor of Mark Russell's other works to a more serious, character-driven drama.

There might not be a more overlooked title right now than Red Sonja, as Issue #14 continues the series' nuanced examination of imperialism and the machinations of government.

Tautly scripted and wonderfully illustrated, Redlands #1 is a near-perfect debut issue.

Very quickly, Regression has become one of the titles most look forward to each month. Writer Cullen Bunn may be the big-name creator on this title, but it's the artwork by Danny Luckert and Marie Enger that is the real draw (pun totally intended).

For an event comic from a publisher that doesn't do event comics, Revolution #1 was a solid, if unspectacular debut. In all, it tries to do too much in the span of 20-plus pages. Now that the conflict has been set up and the major players are established, hopefully the creative team can focus on telling a compelling story that just happens to be a crossover featuring some major pop-culture franchises. If not, it'll just be another underwhelming event to throw on the pile.

Ronin Island #2 is the rare, perfect situation where a great writer finds the right art team to breathe life into his script. It was clear that Pak, Milogiannis, and Kniivila had a vision after the first issue, but upon finishing up this installment its evident that theyre creating something truly special. Now extended to a 12-issue maxiseries, Ronin Island is a true, all-ages adventure with elements of action, horror, and heart that should not be missed.

Ruby Falls #1 is a solid first chapter in potentially great little murder-mystery miniseries. While the art does have its occasional flaws, it overall does a good job in keeping readers fully engaged from the first issue through the final page. Nocentis script does a great job setting up the story, and the potential of playing with an unreliable character is enticing. If the creators can continue to build on what has been established here,Ruby Fallscan be special. Given the subject matter of this series, it'd be a real shame if it slipped into mediocrity.

S.H.I.E.L.D. #1is a solid first issue that anyone can pick up. Waid and his art team invite readers to follow a cast of characters that lack marquee value, but make up for it with personality and chemistry. The issue's structure sees a complete story told in the space of 30 pages while laying the seeds for a greater, overarching narrative should be enticingfor readers looking to try something a little different.Even with the $4.99 price tag, it's not a painful price to bear during this light week.

Saga #29 is another strong effort from the powerhouse team of Vaughn and Staples. As this latest arc barrels towards its conclusion, no one appears to be safe – especially the reader and their emotions. This is a book that should not be missed.

Brian K. Vaughan and Fiona Staples' Saga, as always, is a treat. Just when it seems like readers have figured this out, they make a hard right (or left) turn and bring something completely unexpected to the table.

Savage #1 stumbles out of the gate. Its story does a disservice to its titular character by trying to force a particular narrative without consideration for how the character would react. It is saved by the art team, who make an honest effort to understand the characters history. Unfortunately, by the issues end even they succumb to wackiness of the plot with bizarre and cartoonish new characters. There are comics and other media that successfully tackle the subject matter found within Savage #1, but its best if readers left this comic marooned on some Faraway island.

I truthfully did not know what to expect when I picked up Savage Dragon #219. Though it is undoubtedly a flawed comic, it is also a remarkably impressive and relevant for the times we now live in. Both the series and its creator has seen a maturity, and those that worry reading this book is akin to stepping back 20 years will be thankful to be proven wrong.

Second Coming #1 is a must read comic for fans of satire, critical thinking, and simply good storytelling. It is thoroughly entertaining from start to finish, courtesy of Russell's trademark wit and Pace's emotive characters. Yes, it possesses some elements that people will find uncomfortable " especially those that do not like their worldview put into question. However, if those Christian conservatives that were so up in arms about this books publication take the time to see what it says, they might have a good time. Who knows? Maybe theyll start acting like Christ.

Overall, Secret Six #2 may not be as good as Dale Eaglesham's stunning cover work, but it isn't the half-baked mess that the first issue delivered. If the series continues to improve at its current rate, this could become a bright spot in the post-Convergence DC Universe.

This current volume of Secret Six may not yet fully capture the magic of the previous run, but if the creative team can deliver more issues like this on a consistent basis, it might come close.

Dale Eaglesham, Marco Santucci, and Mike Atiyeh do a great job in bringing life to the various different lands seen here, from the Wildlands to the Gamelands. At times, it can feel like sensory overload for the reader. However, this is more due to the erratic script attempting to cram as much into this issue as possible, rather than a poor effort by the art team. Despite this, Shazam! continues to be one of the more consistent and enjoyable books from DCs main line of books.

As this is the first issue, there is a great deal of focus on building the world. Whatever horrors Buccellato and Infante have in store for readers are teased, but not revealed. With series such as Outcast, Wytches, andNailbiter,Image Comics has the market cornered on top-notch horror comics. Based on the strength of its first issue,Sons of the Devil has the potential to rise above any of those titles.

Sons of the Devil was billed as “True Detective and Orphan Black meets Helter Skelter,” and so far it has delivered on that promise. Though the supernatural, cult-like elements have been downplayed through the first few issues, Buccellato and Infante incorporate several items into this issue's narrative to keep readers salivating for more. Combined with a captivating lead character, andSons of the Devil #3is the issue that will keep readers hooked for the long haul.

Spider-Man Life Story #1 is a missed opportunity to do something really great. Instead, the issue is a subpar retelling of a pivotal moment in Peter Parkers character development " and Flash Thompsons too. Perhaps this issue will work as a part of a completed work than on its own, but as it stands this is just a straight misfire.

Spider-Man: Life Story #2 is a big leap in the right direction for the miniseries, thanks in large part to improved art and the 10 year time jump. While understandable from a story perspective, the creative team perhaps played it too safe with the 1960s college setting. With Peter Parker and his friends thrust fully into adulthood, Zdarsky and Bagley are free to divert from the traditional Spider-Man formula to great effect. Should the rest of the series play out like this one,Spider-Man: Life Storyhas the potential to be an all-time classic.

Robbie Thompson and Nick Bradshaw have captured the look and feel the Lee/Ditko era, delivering a modern Spider-man comic that feels like a real Spider-man comic. While there are times that the book feels redundant, there is an undeniable amount of fun that the creators have managed to pack in between the covers. Should the quality continue, there might finally be a Spider-man book that is a fixture on my pull list.