David Harth Comic Reviews

The plot is classic Marvel cheese, which is part of the problem. Morgan le Fay has decided that the best way to destroy the Avengers is to go back in time and make the US lose the Revolutionary War. It's not the strongest idea in comics, and it feels slapdash in the worst possible way. It honestly kind of feels that editorial wanted a rah-rah America story (possibly trying to cash in one the wave of jingoism sweeping the country) and worried about the plot later. The book is kind of spineless why not send one of Marvel's black heroes back to those days so we can talk about the hypocrisy of the Founding Fathers although it does have a part that talks about whether it would be so bad if the British won the Revolutionary War. However, if you don't like old school Marvel-type stories, this isn't a book you're going to enjoy.

A.X.E.: Eve Of Judgment #1 has a huge problem. It should have been Eternals #13, but Marvels zeal for hyping events and using them to pump sales is a huge mistake. Gillens writing is on point, but the art by Ferry and White has some problems. All in all, this is a serviceable comic, but it could have been better.

A.X.E.: Judgment Day #1 could have been a lazy hero versus hero event, but Gillen makes sure thats not about to happen. This is a marvelous first issue, one that sets up a wonderful conflict. Schiti and Gracia are breathtaking together, their art really making everything look the best it can be. If the rest of the series is this good, fans are in for one of the best events in recent Marvel history.

A.X.E.: Judgment Day #2 is a wonderfully paced action comic that completely changes the tenor of this event by the end. Gillen, Schiti, and Gracia do a bang up job. This events first issue was brilliant, and this one is somehow better than that, which speaks to just how well this creative team is doing.

A.X.E.: Judgment Day #3 continues to be amazing. Theres really no other way to describe it. Gillen, Schiti, Gracia, and Cowles are making the best event books since 2015s Secret Wars and theres no two ways about it. This story continues to go in exceptional new directions, ones that no one would have figured when it was announced, which is why its so great.

A.X.E.: Judgment Day #4 is brilliant, and therere no two ways about it. Gillen, Schiti, Gracia, and Cowles are doing excellent work. This event is the best in a long time, a treat for everyone who reads it.

A.X.E.: Judgment Day #5 continues this event's book run of near perfection. The creative team is amazing, and this penultimate issue is terrific. Anyone not reading this book is missing out on something brilliant.

A.X.E.: Judgment Day Omega is an excellent coda to the best Marvel event since Secret Wars. Gillen does brilliant work with the Eternals, and it would be great if he was doing another series. Vilanova and Mossa are perfect for the art, and Lanhams letters really help sell the dialogue and the emotion. This book is fantastic, and thats all there is to it.

Absolute Batman #8 has a lot riding on it, and it impresses with every page. It's hard to imagine a world where a comic from Scott Snyder and Marcos Martin could be bad, because it's definitely not this one. Absolute Batman #8 is a suspenseful masterpiece with art that needs to be seen to be believed. This is a perfect way to introduce Mr. Freeze to the Absolute Universe, and it fits into the horror vibe that Snyder and Dragotta built in the book's first story arc. Absolute Batman has a lot of competition in the Absolute line, but this issue shows that the book isn't ready to give up its crown any time soon.

Absolute Flash #1 is an absolute blast from start to finish. Lemire has always done a great job with teenage characters one needs look no further than his Royal City to see this and he gives readers a very different and realistic depiction of teen Wally. There's so much happening under the surface in this book, with Lemire laying out the breadcrumbs on a journey of discovery. Not a single page or panel is wasted; this is a book that packs a lot onto every page, but it never feels like it's overstuffed. The issue is supremely well-paced, its break neck speed zipping readers through the timeline like they were moving at superspeed. The art is fantastic; shoutout to colorist Adriano Lucas, whose use of yellows and reds throughout the issue is outstanding. This doesn't feel like any Flash book that came before it, and it's full of the little hooks that have allowed the Absolute books to snare readers. Absolute Flash #1 is a flawless first issue, giving readers a treat for the eyes that w

I think one of the things that I've really enjoyed about Absolute Flash since its beginning is the way it's built its characters, something that is on display in this issue. I love Wally and Grodd, but there's something about Captain Cold that I find magnetic; he's so competent and in control that he draws the eye whenever he's on the page. Absolute Flash's Rogues have been a highlight since the beginning, and this issue uses them to perfection. Trickster remains the VIP; Jesse's acidic wit stays winning. The fight against Heatwave is a nice little mid-issue moment, showing the Rogues in all their glory with a cool surprise save. It's just a fun little sequence to lull you into thinking the big stuff is out of the way.

Absolute Martian Manhunter #2 is able to follow up a masterpiece of a comic with a continuation that brings order to the beautiful chaos of what came before. This comic is visual storytelling at its finest, using page composition and art to bring a world to life. Absolute Martian Manhunter #2 brings together the disparate elements of comic storytelling, weaving them together into a mass of words and images that is completely unlike anything on the market. It's hard to imagine a comic can be this good, but here it is. Books like Absolute Martian Manhunter show just what comics can be.

Action Comics #998 is everything you could want from a Superman comic--action, adventure, humor, and it hits all the right emotional notes for a story about people and their fathers. The art and writing are first tier and in a perfect world, this team would continuing telling Superman stories forever. As it is, they put a fitting cap on a storyline that could have went either way, but managed to soar, like a bird. Or a plane. Or a certain Kryptonian.

Jurgens, Conrad, and Nunes deliver another great issue. Its really hard to imagine any other team taking this many plot threads and resolving them all in one issue and doing it so well. In this age of comic deconstructionism and taking six issues to tell stories, this team is able to touch on multiple themes and put a nice bow on them and do it all in a single issue.

Action Comics #1000 is a love letter to Superman, pure and simple. Its the kind of comic that a person could give to a some hypothetical person who has no idea who Superman is and by the end, theyd not only understand the character, but have fallen in love with him and gotten excited about the future of the character. Its worth every penny of the $7.99 cover price and not just for Superman fans.

Much like Superman #1, this is a near perfect first issue. It sets up a few plot lines, the art is great, and works to hook readers in.

    This is a weird issue. It does away with a few of the mysteries in this storyline before they could be developed more. Its entertaining, but Bendis makes some choices that are suspect for this arcs longevity. Revealing so much already raises the fear that Bendis will pad this story with his special brand of the filler: a lot of boring talking. The big reveal at the end is nice and opens up a lot of possibilities, but this is a strange time for it. The art is the books saving grace. Gleason and Sanchez kill it and elevate the material to a level that it couldnt reach on its own. This still an interesting story, but Bendis picked a strange time to lay down some of his cards.

Action Comics #1003 is a marked improvement over the last issue. Bendis uses some of more annoying tropes to good effect here, but he still finds a way to mess up the story a little bit because of them as well. Yanick Paquette and Nathan Fairbairns art make up for that, though. The pencils are detailed and expressive and the colors fit the mood of the various shots perfectly. Its not a perfect book, but it has a few moments in it to keep the reader on the hook for the next issue.

Action Comics #1004 is the worst issue of Bendis' run so far, and it doesn't bode well that it's come so soon. The issue kills all of the momentum of the Invisible Mafia storyline, chopping it up to foster cheap drama and make readers buy another issue to see what happened between Lois and Clark.

Action Comics #1005 is all of Bendis fault wrapped up in one book. Theres a lot of talking but none of it is important, the events therein dont have any impact, the action is muddled by unnecessary filler, and the reveal is both underwhelming and an easy one to guess. Ryan Sooks art is wonderful, but when a story is this bad, thats just gilding a piece of fecal matter. In the end, none of it really matters and it leaves no impact at all.

Action Comics #1006 is good, but its too little, too late at this point. The reveal at the end of the issue could lead to some interesting developments, but its something long time readers have seen before and its hard to see how it will really affect the plot. Sooks art is the highlight of the book, as its been on every issue hes drawn, but that doesnt make up for the legacy of bad decision Bendis has made on this book. Its a shame, too, because this is a well paced enjoyable read, but this story arc is already so tainted that it cant really save it on its own.

Action Comics #1007 is a complete and utter disappointment. This issue is supposed to be the kick off for Bendis big DC event, setting the table for what's to come, but there's nothing here. That said, there's always the chance that this story will get better as time goes on, but this is a very inauspicious beginning and it doesn't really bode well for what's to come. There are a few bright spots in this one, but not enough to elevate it to level that could be called good. As usual for Action Comics, the art is top notch and Bendis does have a grasp on Lois and Jimmy's characters in this issue, but other than that there's nothing to hook readers here.

Action Comics #1008 is competent, but that's the best that can be said for it. It ratchets up the threat of Leviathan but fails in making readers care about the group or actually fear them. The art feels a little rushed, but it's still pretty good in most places. Bendis uses a lot of double page spreads in this one, but it seems like he's mostly just using them so he can have more room for dialogue, not for action scenes and the like. There's nothing to hate about this book, but there's really nothing to love either.

Action Comics #1009 is the best the book has been in months. It actually serves to get readers interested in Bendis forthcoming Leviathan event, adding some intrigue to the whole thing. There's some good characterization in the book, the only exception being Jimmy Olsen. The ending is quite interesting, and it could be fun to see how it all works out. Epting's art is much better than it has been. All in all, this is a good book; it's not great, and it definitely doesn't make up for the mediocrity of Bendis Action Comics so far, but it entertainingly does its job.

Action Comics #1010 is a strange beast. Its tonally all over the place, but its still a crucial issue with a lot happening. The way it jarringly shifts from deadly serious to light-hearted hurts it a lot. It feels like Bendis couldnt decide what he wanted the book to be, so he kept changing it around, maybe hoping that the lighter moments would make up for the darker ones. While the lighter moments are entertaining, they feel almost like an affectation, and that takes away from the book. The art team turns in some dynamite work, though, and that helps a lot. All in all, this would be a better comic if Bendis could pick a tone and stick to it. As it is, this one never feels as important as it should.

Action Comic #1011 does what this storyline struggled to do in the beginning- it sets up Leviathan as a powerful and mysterious organization, but one whose plans are way more interesting than they seemed at the beginning. Bendis doesnt waste any page real estate in this one, just dropping more bombs, whetting interest in his upcoming Event Leviathan. That said, event set-up has always been Bendis strong suit, and there is no guarantee that hell be able to keep that up in the upcoming book, but here he turns in an exciting story that leaves readers begging for more.

Action Comics #1012 would have been a tremendous comic six months ago, but so much time has elapsed since readers saw the Invisible Mafia that they feel sort of insignificant. That is not a good look for what looks to be a big part of his plans for this book. The addition of Rose and Thorn is excellent, but Bendis looks like hes ready to ignore things about a character to do what he wants with them to make his story work, a hallmark of his. Szymon Kudaranskis art is excellent and buoys this lackluster issue is. The Invisible Mafia is an interesting concept, but Bendis abandoned it for so long that readers might not care as much as he does about them. As it is, this issue doesnt feel very important, and thats a bad look for the start of a new story arc.

It would be nice if Bendis could have stuck to one plotline instead of watering the whole thing down by including so many. None of them are bad, but it just doesn't feel right putting them all together.

Action Comics #1014 is a breathlessly paced, wonderfully written comic with great art. Bendis moves things around quickly while still giving everything the room it needs to breathe. It would be nice if Clark Kent/Superman were more proactive in the whole thing, but thats a very small gripe. Kudaranski and Anderson gel together perfectly, producing beautiful art. Its tough to say much bad about this issue. While Its not exactly perfect, but its a home run nonetheless.

Naomi is a wonderful character, but instead of doing something dynamic with her, Bendis just expositions her to death. All hope is not lost, of course, but this issue suffers because of the way Bendis presents things.

As an introduction to Naomi, this issue and the one preceding it present her a fun character and even give readers a hook to go and check out her book. There's a lot to like in this one, and it outweighs any problem the book has.

Action Comics #1017 is such a great way to open a new story arc. Bendis grabs readers right away, making them anticipate how things got the way they are and keep turning the pages. There are a few Bendis-isms in the book, but they dont hurt the story as much as they could. The art has a few problems, but for the most part, is pretty good. Small critiques aside, this is an outstanding issue, and it will definitely keep readers coming back.

This comic is basically all the problems with Bendis' writing in a nutshell- focuses on his OCs to the detriment of the story, skipping most of the fight, and progressing plots that don't fit into the story he's telling.

Action Comics #1019 starts like it's going to be another cliche Bendis comic- a bunch of boring talking heads fawning over a Bendis created concept. However, he salvages it by having it actually play into the story at hand, a welcome change from the last issue. Romita Jr's art works for everything in this issue, his versatility as an artist working with the peaks and valleys of Bendis's script wonderfully.

Bendis still has a few more things to clear up in next issue's conclusion to this story arc, but this issue fills in a lot of the blanks from previous issues and has some great action.

Action Comics #1021 is a great comic. This story arc is probably the best one of Bendis's tenure so far, and this issue ends it in perfect fashion. This issue is action-packed and a roller coaster ride of ups and downs. Romita Jr's artwork makes the whole thing pop. This story could have gone a few ways, but it turned out great, and this ending is a testament to that.

Action Comics #1022 delivers on so many different levels. It's a quiet spot after the sturm and drang of the last story.

Action Comics #1023 is a good issue that, unfortunately, shows off the creative team's weaknesses. Bendis drags the middle of the book out with a whole lot of repeated dialogue. A lot happens, but very little of it has any real weight. Romita Jr.'s art has some of the problems that have plagued his work, with indistinct line work and some strange lack of details in a few places. There's still a lot to like about this issue, and it's entertaining, but it does have some problems.

Action Comics #1024 could have went either way- Bendis's track record on mid-story arc set-up issues isn't great, but this one ducks a lot of the problems that those comics of his have historically had. It sets things up and is entertaining throughout, not feeling drawn out at all and giving readers a nice ride that gets them excited for what's coming next. Romita Jr.'s art is better than it was last issue, which is a huge plus. Action Comics #1024 isn't perfect, but it's very good and leaves readers begging for more.

Action Comics #1025 is one of those times when it being a cliche Bendis comic works out very well. It's full of dialogue, but it's well-paced. There could be more action, but overall it doesn't hurt the book that there isn't any, and seeing as how this is one of Romita Jr's off issues artistically, it's good that there isn't any big action scene. All in all, this is an entertaining comic that will leave readers waiting to see how it all shakes out.

Action Comics #1026 is an action-packed romp. Bendis balances his seemingly pathological need to write reams of dialogue while also keeping up the pace of the issue by showing the Superman family battle Parasite. The ending is pretty cool as well, if a little mystifying- why are the F.B.I. arresting Lois? On Leones word? Its weird but it makes for a good cliffhanger. All in all, this a pretty good comic and another example of how good Bendis has proven to be at writing Superman, even if it took him a bit to get this good.

Action Comics #1027 sees Bendis tie up a lot of loose ends, putting a boo on the S.T.A.R. Labs stuff and the Invisible Mafia. He does it without breaking any of his toys on the way out, giving future creators the chance to use them. The issue itself is just a good Superman story, with every member of the cast getting a chance to do something cool. Romita's art is uneven but more good than bad. All in all, a fine effort from all involved.

Action Comics #1028 puts the capstone on Bendis's run, and it's pretty wonderful. This isn't an action extravaganza. It's just a bunch of very well done character moments. It's a great goodbye from Bendis to Superman and his cast. Romita Jr.'s art is a bit uneven. It isn't bad, but it's great in the places where it needs to be. This is a great send-off for Superman.

Action Comics #1029 gives the payoff to the last issue, trading parental anxiety for parental triumph. Kennedy does a great job in this comic of playing with the emotions of the scene. This issue also raises some questions about the future and Amanda Wallers role in everything, as well as setting up a great cliffhanger. The back-up story is interesting if a little weird. All in all, this is a satisfying comic that is building something interesting.

Action Comics #1031 is a solid issue. Both stories end on nice cliffhangers that bode well for the future. The main story is action-packed and intriguing, and the backup's ending finishes the whole thing with a lot of questions. The fact the stories oddly mirror each other is icing on the cake.

Action Comics #1032 is such a fun Superman comic. Johnson and Sampere deliver a straightforward narrative that sets things up for the future but does a great job entertaining in the present tense. The backup story is really ramping up nicely, with Cloonan, Conrad, and Oemings story starting to branch out and really get some legs. Action Comics continues its streak of good stories since Johnson and company have taken over.

Action Comics #1033 is a fun comic. Johnson has built an interesting Superman story. Hes been doing a great job on the Superman books so far, and this issue keeps that up. Samperes art is outstanding and compliments the story very well. The backup keeps things going and is a lot of fun. This comic is a wonderful read, even if it isnt reinventing the wheel.

Action Comics #1034 does some great stuff. The main story is action-packed and builds the plot up even more. Johnson has shown that hes great at this sort of thing, dropping great stories in every issue. Duce steps up with the fill-in issue, keeping the art at the high level it had previously been, and the backup team is firing on all cylinders. Action Comics #1034 delivers a lot of bang for its buck.

Action Comics #1035 downplays the action and replaces it with emotion in the main story and mystery in the backup. Theres a lot of good stuff in these two stories, and the creative teams do a bang-up job.

Action Comics #1036 is just an all-around entertaining comic. The Warworld Saga is shaping up to be something special if this beginning is any indication, and the backup remains just plain fun. It would be great if DC just put out a Metropolis book based around them. This comic is more bang for the superhero buck.

Action Comics #1037 lives up to its name. Johnson and company give readers an action-packed comic full of surprising moments. Its exciting and where its going to lead is anyones business. The backup is a great kick-off for a story. As usual, this book is killing it.

Action Comics #1038 is yet another hit in a book that has been full of them lately. Both teams do a remarkable job of building their stories. The art is mostly great, but it lacks in places in both stories. All in all, this issue is gets it done.

Action Comics #1039 is terrific. Johnson is creating a once-in-a-lifetime epic, and Federicis art is the perfect complement. The backup is heating up, and things are getting interesting there. Aldridge and Melo are doing an excellent job with Martian Manhunter. Action Comics has truly reached the next level.

Action Comics #1040 is further proof that this book is the finest superhero book on the stands. Both creative teams are in rare form, and every comic fan should be checking this book out because its nothing less than a must-read.

Action Comics #1041 continues to deliver. This is low-key one of the best superhero books on the market, with both creative teams really nailing their stories.

Action Comics #1042 is such a masterpiece of art and storytelling. The main and backup teams do a fantastic job, although the art in the backup slips a little bit. Action Comics is one of the best superhero books on the market, and reading this issue reveals why.

Action Comics #1043 adds some more to the story, but other than that, it feels very much like the other chapters of this story so far. The art is phenomenal, and all in all, this issue definitely makes things more interesting than they were before.

Action Comics #1044 is so great. Johnson and company are firing on all cylinders, giving readers great action and incredible plots. The main and backup stories are all good, and this one remains a must-read.

Action Comics #1045 is yet another great story, both in the main and back-up. The creative teams are hitting hard, and other than a few weaknesses in the art in the main story, this is a great read.

Action Comics #1046 is a great penultimate chapter. Johnson is excellent at making an action-packed story, but he has no problem showing why the heroes are heroes. He does that with Superman and Steel in this issues stories. Ossio, Loughridge, Lapham, Mulvihill, and Sharpe supply the story with amazing visuals. This issue does an incredible job of getting everyone ready for the finale of this brilliant story.

Action Comics #1047 kicks off a great new story. It hits all the right notes, which is expected from Kennedy at this point. Kal-El is back, as is Lex Luthor, and all is right with the world. Federici, Loughridge, Lapham, Mulvihill, and Sharpe provide excellent visuals that make this story work better than anyone could imagine. If the beginning of this story is this good, the rest should be a blockbuster.

Action Comics #1048 is yet another winner. This book honestly feels like it cant lose ever. Johnson is the best Superman writer in a long time, and when hes teamed with artists like Perkins, Loughridge, Lapham, and Mulvihill, the book is going to be exceptional. Combine that with Sharpes fantastic letters, and readers get something special on every page.

Action Comics #1049 continues this books run of excellence. Next issue is the big blow-off to Johnsons run, and itll be amazing to see what comes next. Both stories show off teams at the peak of their powers, giving readers remarkable tales. Action Comics is consistently better than nearly any other superhero book on the market, and thats all there is to it.

Action Comics #1050 is yet another great book in this series repertoire. It expertly sets up the new status quo for Superman and really builds anticipation for what comes next. Its a perfect Superman comic.

Action Comics #1051 kicks off the new format with a bang. Each story has its strengths, but the Power Girl one is the most unexpected and the best one. This is three creative teams coming together to give fans wonderful stories. Its just as great as everyone assumed it would be.

Action Comics #1052 continues the Superman renaissance. Each story has its strengths and is building towards something interesting. This comic is always worth every penny, and the new format makes it even better.

Action Comics #1053 is yet another Superman spectacular. The middle story is weaker than usual, but the other two are still great. Williams and Sauvage are the highlight, with their story ending in the upcoming Power Girl special. However, no matter how it breaks down, this comic is a treat.

Action Comics #1054 delivers with all three stories. The main story is the winner this month, but the third is a pretty good replacement for a Power Girl short. The second story has taken a nice twist, even if there are still some problems with it. Action Comics has been amazing for ages now, and this issue keeps that up.

Action Comics #1055 goes from awesome to good to okay. Its still an excellent book, but the back-ups feel like theyre running out of steam, which is a problem in a book with two of them.

Videos by ComicBook.comAction Comics is one of DC's must-read books in 2026, and this issue shows off why. Waid has always written an amazing Superman, and he's just as great with Superboy. Waid is basically a doctorate-level expert on old school DC, so giving him a chance to redo the tales of Superboy was honestly the best idea that DC could have. Superboy is one of the most important concepts in comics, and getting a new modernized version of the Teen of Steel is everything a Superfan could want. Waid does an amazing job with young Clark Kent, capturing the goodness of the boy as he tries to navigate a world that has changed completely since putting on the red, blue, and yellow.

Superman: Warworld Apocalypse #1 sticks the landing. Theres really nothing else to say about it. Johnson, Peterson, Conrad, Raynor, Mendonca, Loughridge, and Sharpe produce an action-packed finale, one that has wonderful moments and sets things up for the future. Endings are difficult, but this one makes it look easy.

Adventures of Superman: Jon Kent #1 is a pitch-perfect first issue. Taylor, Henry, Bellaire, and Abbott give readers a thrill ride that sinks its hooks into readers and dares them not to buy the next issue.

Adventures of Superman: Jon Kent #2 is a fast, action-packed ride with a cool ending. Taylor does some good character stuff, and the art team makes it all look wonderful.

Adventures Of Superman: Jon Kent #3 is a fun comic to read. Some fans groan at Taylor combining Jon and Injustice, but for fans willing to give it a chance this is a killer story. Henry, Belleaire, and Abbott are the key to all of this, as their art takes a good script and makes it fantastic.

Ahmed hasn't exactly shone on Wolverine, so some readers could be reticent to pick this book up. He's a writer who had one amazing comic almost a decade ago, and has since given readers some pretty basic superhero stories. This annual is one of those. Annuals in the 21st century are usually comics that tell a cool little snapshot story that doesn't really dig too deep into the character or the main story arc of the book (although, obviously, that does happen sometimes). That said, I think Ahmed was the right writer for this issue. This book plays the right notes you want from a Spider-Man book in an entertaining manner and doesn't really bend his skills to a breaking point.

Kelly, Larraz, and Romita Jr. have a tall order in front of them. The Amazing Spider-Man is the most hated bestselling comic on the stands right now, and the Wells run, combined with editor Nick Lowe's well-known disdain for the fans of the book, is enough to keep most people away from this issue. That would be a huge mistake. I'm a person who stopped reading TASM after "One More Day", and this book sold me on this new run. Joe Kelly is one of the most underrated writers in the history of the medium, and this book is an example of why he's such a great writer. It's intriguing, action-packed, has a great hook, and is funny. It's everything you could want from a Spider-Man comic. Pepe Larraz's art is beautiful. There's really no other way to describe it. In a lot of ways, Kelly and Larraz's Spider-Man feels like the platonic ideal of Spider-Man. It's not going to make you happy if you're Mary Jane partisan, but if you just want a good Spider-Man comic, this is exactly the boo

The Amazing Spider-Man #2 is a fantastic follow up to the last issue. It pays off the ending of the first issue, using that to inform the rest of the issue's plot, as Spider-Man being drugged keeps coming back throughout the issue. The humor is classic Spider-Man, and the character interactions are always entertaining. The central mysteries of the issues what is Hellgate and Hobgooblin's plan, how did Spider-Man get drugged, and who was after Rhino are built up well. Kelly and Larraz are doing their best to make readers forget about the mistakes of The Amazing Spider-Man's recent past, and succeeding pretty well. I didn't think that Marvel would be able to sell me on liking the mainline Spider-Man book after so many years of making me hate it, but Kelly and Larraz are showing that The Amazing Spider-Man can still recapture some of the glory of the past.

Ascender #1 is a book full of possibilities. It drops readers into a familiar place thats completely different and guides them along expertly without ever seeming like its guiding them. Lemire perfectly combines exposition with storytelling and lays out a trail of tantalizing clues to whats going on. Nguyens art is terrific as always, fitting this new, more magic based universe perfectly. Theres a lot to like in this first issue, and it does exactly what its supposed to- reintroduce readers to a new, old world and get them interested in what came before and what comes next.

Ascender #2 delivers on all fronts. It hits all the right notes, combining world building, character work, and action in a perfectly paced comic. Jeff Lemire has long been one of the most consistently entertaining writers around, and this comic is yet another of his hits. He understands how to use a single issue to tell a full story, sowing seeds for the future and giving it all room to breathe. Dustin Nguyens art is likewise just as perfect for the book. His sci-fi stuff in Descender was great, but the more fantasy-oriented material that hes been tasked with in Ascender might actually be better. Ascender #2 is the epitome of a creative team working in perfect sync, and its a joy to read.

Ascender #3 delivers on so many levels. Lemire and Nguyen are a fantastic team. The script and the art gel imperviously, drawing readers in and making them feel whats happening on the page. Lemire invests the whole thing with so much feeling, and Nguyen gets that feeling across on the page. Beyond that, theres a feeling of suspense throughout the entire thing as readers wait to see if Mothers forces will be able to get Mila and Andy in the present and a feeling of foreboding in the flashbacks. So far, Ascender has been a great ride, and this issue is a perfect representation of that.

Ascender #4 doesnt pack the same punch as the previous issue. Theres no big emotional moments, just suspense and set up. That said, its done in such an engaging way that it doesnt really feel like set up and thats a testament to Lemires skill as a writer. Nguyen knocks it out of the park again, deploying his excellent character skills to sell the suspense and keep readers invested. This issue doesnt reach the heights of some of the previous issues, but its still an excellent comic.

Ascender #5 works so well because the creative team gels and make it all work. One could say that the big moment of the issue is simple shock tactics, especially with the way the book ends. But Lemire and Nguyen have worked so hard to put readers into this world that it never feels cheap or manipulative. This issue opens the story, even more, giving readers so much to look forward to. It will be a treat to see what comes next.

Ascender #6 kicks off the new story arc with everyone in hot water. Lemire expertly uses the rapport between reader and character to give the story moments that will keep them coming back for more. Dustin Nguyens art is a perfect complement to the whole thing, giving the story the fantasy feel it needs while also making the emotional beats hit that much harder. How will the heroes get out of the jams they are in? Lemire and company make it a joy to keep coming back to find out.

Ascender #7 gives a reader a break from the overarching plot to spotlight Telsa, and it succeeds admirably. Lemire shows readers how Telsa went from being utterly loyal to the UGC to a broken down sea captain just trying to survive using three scenes. It's a deft bit of plotting. Nguyen's pencils and colors perfectly compliment the script. A lot of times, issues like this can anger readers- they want to see all of the stuff from the last issues resolved, but Lemire and company have mastered this kind of storytelling and use it wonderfully.

Ascender #8 does a lot of heavy lifting plot-wise but still gives the characters room for development, using little moments to hit home what's going on with them. Lemire paces everything beautifully, allowing it all to breathe and develop on its own.

Nguyen's art is amazing, as always. Lemire and Nguyen are building a story that rivals its predecessor in quality and succeeding at every turn. If they keep pumping issues like this one out, Ascender will go down as a classic.

Ascender #10 is a perfect example of both setting a tone and subverting expectations. Lemire sets out what the issue is about on the first page, then uses one shocking moment to seemingly get readers ready for another one" before reminding readers what the comic is about. He's very subtle with it as well, and that makes it work that much more. Dustin Nguyen's art is amazing, as usual. He and Lemire deliver a fitting capstone to volume two of the book.

Ascender #11 does a beautiful job of starting the third story arc. Lemire sets up some intriguing things- will Mila take magic? What's the source of magic Sister is looking for? Will the King Of Gnish, a shiftless teenager, harm our heroes or work against Mother's edicts? Except for some coloring obscuring his line work, Nguyen's art is wonderful, as always. Ascender #11 starts the next phase of Mila's journey with another fabulous issue.

Ascender #12 is yet another great issue of a great comic. Lemire and company know exactly what they're doing, and while they are definitely trading on Descender nostalgia, it works perfectly. The cliffhanger at the end is the icing on the cake. Ascender #12 keeps building the story and giving readers exactly what they want.

Ascender #13 feels like a clinic on how to do a mid-chapter of a story arc. Lemire sets up multiple plot points for the future and never skimps out on the good character moments that make this book shine. Nguyen's art impresses as always, giving the sci-fi stuff the harder edges it needs and the fantasy stuff a nice, dreamy feel to it. This is a great comic, plain and simple.

Ascender #14 is a perfectly paced comic and that makes a lot of difference. Lemire builds everything up, giving readers two big moments for the price of one. Nguyens art is amazing as usual and his use of color really sells the feeling that Lemire is trying to invoke with the scenery. While the plot structure of this issue is pretty familiar, that doesnt make the issue any less good, although it doesnt hit the emotional highs of previous issues of the book.

Ascender #15 is a masterpiece. Lemire and Nguyen are perfectly in sync, and their work mirrors each others- theres a sparseness to the issue that is also pregnant with information and potential. Its, frankly, a beautiful comic created by two masters at the top of their game. This is the first issue of this story arc, and if the rest of it can match this one book, Ascender will remain exceptional.

Ascender #16 is yet another example of Lemires way of setting up pieces for the inevitable end. He knows exactly how to array everything and bring in new plot points. This issue also does a great job of building tension, making readers wonder whats going to happen next. Again, Nguyens art makes the whole thing sing. While there are no massive story-changing moments, this is still a great read.

Ascender #17 is a great penultimate issue. Lemire keeps the pace high and fills the thing with action, and the books ending will leave readers hyped for the last issue. Nguyens art is breathtaking as usual. Everything about this comic works admirably.

Ascender #18 closes out Lemire and Nguyen's saga in a wonderful manner. They wrap things up in a neat little bow. This isn't a perfect comic, but it's a perfect ending for this book. The script and art are top-notch, and this is a beautiful ending for fans who have been following this story for years.

So far, this book feels like a collection of cool ideas done poorly and nothing about this issue changes that impression. Soule just isnt the right fit for an X-Men book. His ideas have potential, but his character work mostly falls flat and his threats never feel very threatening, even when all the characters are talking about how dangerous the villains are. The issues art saves the book a little, but in the end, this issue is all filler and it shows. Little to nothing of it sticks with the reader. It moves the plots forward in an efficient way, but its all empty calories.

The only thing astonishing about Astonishing X-Men is how awful it is. It feels like Soule theoretically knows how an X-Men story is supposed to work, but he just cant execute one correctly. This books cast is some of the most interesting X-Men characters, ones who could make the stories pop that much more, but the only thing Soule gives them to do is comment on the tepid plot. The art in this issue would work better in a horror comic than a superhero one but, even in a horror comic, the coloring wouldnt do it any favors. It boggles the mind how anyone at Marvel could look at this comic and think that its a good idea to continue making it. Astonishing X-Men is a waste of everyones time.

If this book was being judged solely on the art, it would be getting an A, but Soule's scripting is so bad, it drives it down a few notches.

Astonishing X-Men #11 is a much stronger installment than any of the others before it, but it suffers from a lot of the same problems that have been plaguing the book. Weak characterization, hit or miss art, and a predictable twist damage a lot of things that should have worked. Its still a head above nearly every other issue of this series, though, so it has that going for it.

Astonishing X-Men #12 takes all of the problems the book has been having and bundles them up. Misuse of characters, uninspired visuals, repetitive storytelling, and art that fluctuates wildly in quality are the hallmarks of this series and they're all on display in Astonishing X-Men #12.

    After Charles Soules terrible run on the book, this issue is a welcome change. Greg Lands art hurts it a little, but Rosenbergs script is too good to be held down by it. Its not exactly a return to the form of Whedon and Ellis days, but its a strong start and a massive improvement over what Soule was doing. Rosenberg tells his story while also giving readers glimpses into Havok and Beast that they may not have had before. It all serves the plot, but it also feels organic and earned, something that Soule was never able to manage during his run. If Rosenberg can keep this up, theres no reason why Astonishing X-Men cant become the crown jewel of the X books.

Rosenberg and company arent reinventing the wheel with this X-Men story, but it does all the little things right. The characters are entertaining and endearing, theres good action, and the plot, while at this point not seeming like anything special, has the potential to take some interesting turns, especially with the way this issue ended. The art isnt consistent, which is a shame, but this book is light years better than it was under Charles Soule and deserves a look.

Astonishing X-Men #15 is another successful entry in Matt Rosenbergs continued rehabilitation of the the book, after Charles Soules disastrous run. The book would benefit from a better art team, but Rosenberg is able to make it all work by telling an intriguing story and using the great characters he has in interesting ways.

Astonishing X-Men #16 combines great characterization with some fun action, and thoroughly entertains. It has a few problems, but not enough to sink the book. Rosenbergs handling of Havok is a highlight, and theres enough little twists and surprises in this one to keep readers invested. The art could be better and the villains could be more filled out, but that doesnt detract very much from how enjoyable this issue is.

Avengers #1 is entertaining, but its not breaking the formula. MacKay, Villa, Blee, and Petit do a wonderful job together. This book needs to overcome a lot of bad will from the previous run, and this issue succeeds in getting readers hooked.

It's hard to identify who Avengers Forever #1 is for. It's not for fans of the original and there isn't a large contingent of Aaron Avengers fans out there. It's not bad, just thoroughly average, which is a huge problem for a new book. Maybe it'll get better, but the first issue doesn't make a huge argument for its existence.

Batman is DC's most important character, and Fraction understands the character and his world. I was smiling the entire time I was reading this issue, because the writing is spectacular right from the beginning. It picks up from the end of the last issue, and goes on from there. However, even if you didn't read the last issue, you won't be lost. The first few pages do a great job of putting you into the story regardless of whether you've been following the book.

World’s Finest gave DC one of its best 2025 stories, and it easily has the highest pedigree in all of superhero comics right now. It’s a book that has been casually brilliant for years, to the extent that we’ve just sort expected it to be great. However, this new story, starring the Earth-3 versions of the World’s Finest Duo (or in this case, the World’s Foulest Duo, I guess) is the kind of shock to the system that makes this book work so well. Stories like this remind us just how good Mark Waid is at all of this, with To giving readers some gorgeous art that will known their socks off.

BRZRKR #1 is breathtaking. It feels like the beginning of a Keanu Reeves movie, which is fitting since he helped write it. He and Kindts working relationship seems to be very good. There are so many secrets in this comic, and the visual storytelling is strong, thanks to veteran artist Garney. Reevess first foray into the comic industry is a definite winner, and he has great talent backing him up. BRZRKR #1 is an intriguing, action-packed book that will leave readers begging for more.

BRZRKR #2 is an all-around great comic. Reeves and Kindt arent reinventing the wheel here, but its still an intriguing book with all kinds of directions it can go in. Itll be interesting to see where they take the book, but one thing is for sure- it will look good getting there; Garney is one of the best action pencillers in the industry. BRZRKR #2 is a cool ride that will leave fans wanting more.

BRZRKR #3 does a lot with only a little bit. Kindt, Reeves, and Garney deliver a ton of brutal action yet also fill the book with pathos to get readers into Bs head when he was young and questioning his existence. In fact, this issue makes his life even sadder in retrospect, as hes been doing the same thing for millennia. BRZRKR #3 is a great comic, both overt and subtle, and one fantastic read.

BRZRKR #4 puts the capstone on Bs origin and builds things for the future. This story isnt exactly a new story- Kindt and Reeves are sort of telegraphing exactly where the book is going, with the government trying to create more of him, the object that will make B normal, and how his powers came about- but its well told. Garneys art is the icing on the cake; it works with the script very well. This book may not be re-inventing the wheel, but its still great.

BRZRKR #5 does a lot with a little. Imagining Unute as unlucky in love makes as much sense as anything, but Reeves and Kindt capture it in a quietly devastating way. Garneys expert pencils bring every bit of pain to life. BRZRKR #5 eschews the gore and violence of previous issues to quietly devastate the reader.

BRZRKR #6 takes a story readers have gotten before and tells it in such a way that it still works. Reeves and Kindt work well together, and Garneys art brings everything they put in the script onto the page. This book remains a joy to read.

BRZRKR #7 brings some interesting ideas about Unutes life while introducing some great new plot developments. Reeves and Kindt take an issue that could have been all exposition and spice it up wonderfully, and Garney and Crabtree do a remarkable job with the visuals. With this issues reveals in mind, it will be interesting to see where this book goes.

BRZRKR #8 is a tour de force. Reeves, Kindt, Garney, and Crabtree deliver a sumptuous feast of visual storytelling, one that changes the direction of the book entirely and takes it on a new intriguing path. BRZRKR #8 is the turning point, and what a turn it is.

BRZRKR #9 is a feast for the eyes that raises a lot of intriguing questions. Its quite entertaining, with Garney and Crabtree carrying the issue on their shoulders like champs. Kindt and Reeves do a good jump, but they may want to start dropping some explanations soon, or things at the end are going to feel a bit bloated and rushed.

BRZRKR #10 could use a bit more exposition, but its still a nice read. It sometimes feels like Kindt and Reeves are writing this like a movie a little too much, but it does work in a lot of ways. Garney and Crabtree continue to kill it on the art, which does a lot of heavy lifting. The book is still interesting, and this issue is quite entertaining despite some deficiencies.

The plot of the issue is simple: Bolt does some superhero stuff, we get introduced to Kid Thor and the other members of Capes Incorporated, and then a few more plot elements kick off before a kind of abrupt ending. Kirkman establishes the workplace/cop show feel of the book quickly, uses that to set up a few longterm plots, drops a mystery on readers, and takes it all home with a little more character development. Capes #1 is a fun read, but it's not going to change the way non-Marvel/DC superhero comics work. It's firmly in the tradition of non-Big Two superhero comics. It's not as raunchy or violent as some other examples, but it has just the right adult edge for those readers who want something a little more mature from their superheroes.

Pepose was able to reintroduce the Captain Planet mythos in the most entertaining manner possible, doing a great job of bringing a story that is over thirty years old into the present. This is an exciting comic with a lot of storytelling in its pages and does a wonderful job of getting people interested in the story. Casallos and Sutil's art works well for the most part, taking the excitement of Pepose's script and bringing it to life. Captain Planet and the Planeteers #1 is a great way to bring back a group of classic characters, giving readers some nostalgia while also introducing something fresh and new and very worth getting excited about.

Cave Carson Has An Interstellar Eye #1 brings Cave and company back in grand fashion. Sure, the story is simple, but its a good hook for the next issue and its so visually intriguing that it keeps the reader turning the pages. Michael Avon Oeming and Nick Filardi are doing amazing work and it elevates the whole thing.

All in all, Cave Carson Has An Interstellar Eye is a wonderful-looking book that suffers a bit in the character department. Cave and Chloe are obviously the stars, but none of the other characters are memorable enough to care about. The cliffhanger ending comes out of nowhere, nullifying any impact it should have. Its a shame that the writing isnt as great as the art, but its not a bad book. Theres some very cool stuff going on, but there are enough drawbacks to tarnish the luster of this book.

Cave Carson Has An Interstellar Eye #3 takes what could have a bland, formulaic sci-fi story and tweaks it a bit, taking it into territory that make it a much more worthwhile experience. Its not perfect by any means, but its an improvement on the last issue. The creative team uses the books hallucinogenic flavor to enhance the whole affair, but its starting to feel a bit formulaic in its use, which could be a problem down the road. However, this is still a trip worth taking.

    Cave Carson Has An Interstellar Eye #4 takes everything the book has done well so far and adds to it by giving it an emotional core. By putting a focus on the relationship between Cave and Chloe, it gives readers something that was missing and makes the whole thing more realistic. It also casts the series in a whole new light. Its not just a bunch of trippy sci-fi adventures, its a journey of discovery for a man and his daughter as they learn to be better to each other. Its nice when a book can transcend what it was while keeping the same entertaining flavor, and this one achieves that admirably.

    Over the last two issues, this book has improved immensely. The second and third issue was a decent sci-fi story, but it didnt play into a greater plot and felt a little too reliant on being trippy. Last issue was a good one-and-done with a perfect emotional core, and this issue served as a link, not only back to the first issue, but also to the back-up story, while containing some cool sci-fi concepts and the same high-quality artwork that has graced the book since its debut. With the way its picked up in quality, its sad that readers will have only one more issue to enjoy it.

Cave Carson Has An Interstellar Eye #6 is a pitch-perfect send off for them. It transcends the already lofty heights the book has risen to.

Cheetah & Cheshire Rob the Justice League #1 is the perfect way to kick off a story. There's so much going on in this first issue that it grabs you immediately. There's no way to read this issue and not want to know what's going to happen next. Rucka and Scott make an amazing team, and if the rest of this book can match the first issue, this will be an awesome series indeed.

Children Of The Atom #1 is a great introduction to a new team of heroes. It grabs readers by the throat with a big fight in the opening pages and never let's go, dropping more and more interesting things into the mix before ending on a moment that is kind of predictable but no less gripping for that. Chang's art is pretty great throughout, selling the actions and the characters. Children Of The Atom does a lot with its first issue, and all of it will keep readers coming back.

Children Of The Atom #2 builds the story even more. Ayala uses Cherub's monologue to raise the series's main question: are things what they seem, or is there more than meets the eye? It works wonderfully, and they do a great job throughout the issue with the characters and events. This is an exciting book, made all the better by Chang's expert pencils and page layouts. Children Of The Atom is one of the most interesting X-Men's books being published right now.

Children of the Atom #3 is the most emotionally resonant issue of the book so far. Its easy to feel for Gimmick- shes the one friend everyone has who will do anything for her friends but never gets the thing she wants or needs. Ayala does an amazing job of illustrating who she is and the ending of the book is just perfect. Medinas art makes the whole thing work, bringing it all to life. This issue starts to answer questions and set things up for the future and is the most intriguing issue of Children of the Atom yet.

Children of the Atom #4 takes everything there is to love about an X-Men book and puts it perfectly on display. The characters are interesting, and getting to know them is enjoyable. There's the fun interpersonal drama, moments of growth, and setup for the future. The main X-line is full of books that go nowhere, but that's not this one. It's a fun, old-school X-Men book, and Ayala and Medina are doing an excellent job on it.

Children of the Atom #5 feels like showing off, honestly. Ayala, Medina, and Curiel are just so good together, and this issue is just them knocking it out of the park page after page. This comic has everything that anyone would want from it. Its just so good.

Children of the Atom #6 is a perfect ending to a great book. The only bad thing about it is that it is the last issue. Ayala and company have created something exceptional with this book, and it's a shame to see it go. It's been an achievement its entire run, and if readers are lucky, it'll come back.

Clear #1 is peak cyberpunk noir. Snyder isn't reinventing the wheel, but this story is more than the sum of its parts because of Manapul's art. It feels like Snyder wrote it specifically for Manapul, and he makes it very special.

Clear #2 builds on the world and the mystery. Everything is more interesting, but the characters are kind of elementary so far. The ending of the issue is excellent, and the art is terrific. All in all, another fantastic read.

Clear #3 is cyberpunk done right. Snyder and Manapul aren't reinventing the wheel with this one, but they are still killing. They do a fantastic job of bringing the world to life, the most essential part of cyberpunk. The cliffhanger ending is perfect for this one and will keep readers coming back.

Clear #4 seems to bring the whole mystery into focus, but Snyder is such a good writer that theres always a chance this is a red herring. His personal style shines throughout the book. Manapul is hitting the next level with his art in this book; it looks incredible. All in all, another oustanding issue.

Crossover #1 is the real deal. It's gripping and powerful right out of the gate and is just wonderful throughout. Readers are given just enough to get what kind of world they're dealing with, and everything about it is bait to keep them coming back. This comic is pretty much perfect.

While not as emotionally affecting as the first issue, Crossover #2 is still a great comic. Cates plays the whole thing perfectly, making all the set-up and world-building extremely interesting. He introduces a lot of plot points in this issue, ones that could make for fertile story ideas, and the book goes on. Shaw's artwork makes the whole thing look amazing, really bringing Cates' script to life. Crossover #2 sets up a lot of exciting stuff for the future and does it adroitly.

Crossover #3 is a wonderful comic. The opening flashback hits the right emotional notes, and Cates keeps things going from there, really fleshing out the characters. He keeps adding more wrinkles to the whole thing- what does Ryans father have planned? How are the Paybacks and Avas benefactor going to play into everything? Shaws pencils are some of the best of his career, making the whole thing that much better. Crossover hit its first Crossover, and its delightful.

Crossover #4 is a great book. It does a lot of world-building but keeps things exciting, and the end just keeps throwing more and more at the reader. Cates, Shaw, and the rest are doing a marvelous job of making this feel like a giant crossover between the comic universes, even though that would be so very illegal (Disney is known for being very litigious). Everything about Crossover is amazing, and this book keeps showing readers why that is.

Crossover #5 feels a bit convenient at times, but that's alright. The only disappointing thing about the comic is that the fast pace makes it go by too quickly. However, the ending is pretty perfect. Cates hypes readers up for the next issue expertly. Shaw's art is the icing on the cake as usual. Crossover is such a great book, and while this issue isn't the best so far, it's a fitting penultimate issue of this story arc.

Crossover #6 changes the whole book. Its a great ending to the first story arc. Cates and Shaw really bring it with this issue, finally giving readers the massive crossover moment theyve been looking for. The big twist at the end is nearly perfect, and it will be interesting to see where the book goes from here.

Crossover #7 is yet another stellar installment. Zdarksy and Hester tell a great story, giving Cates and Shaw a break. This is an excellent issue that takes a look at an artist and how they feel about themselves that also does some great work with the books story. Itll be interesting to see if the book does this again, inviting on different creative teams and showing different facets of this world. Its a nice change of pace and a fun issue that keeps up the comics quality.

Crossover #8 is yet another fantastic issue of one of the most fascinating books on the market. Cates nails every page, and Shaw and Cunniffe nail every panel. As far as opening issues go, this one succeeds at everything admirably. Sure, it isn't as brilliant as the Zdarsky issue it's better.

Crossover #9 is the best issue of Crossover until the next one. The way that Cates, Shaw, Cuniffe, and Hill keep turning in issues that are better than the last is frankly stupefying and should put everyone else on notice. The storytelling is on point, the art is brilliant, and fans are getting an amazing story. Those Bendis-speak panels and Elle's protestation are the icing on a delicious comics cake.

Crossover #10 is a lot of fun. This is the second issue in a row that made fun of Bendis, but its even funnier because Bendis himself did it. The art is gorgeous, and the book sets up some stuff that should pay off nicely in the future..

Crossover #11 continues this book's run of excellence. Cates uses himself as a mouthpiece to give readers more about the secrets of this story. It's a tantalizing glimpse that leaves the reader wanting more. Shaw's art is wonderful and is some of the best work he's done on this series. The end reveal is a big deal and bodes well for what's to come in this book.

Crossover #12 is a feast for comic fans, new and old. Cates and company do a great job, and it's really interesting to see where Cates and Shaw are going to take this book in the future, what guest creators are going to show up, and how it's all going to work together. If it's anything like this issue, it's going to be entertaining.

Crossover #13 is a fun read. One could desire for there to be more character growth, but it's okay there isn't; this issue gives readers everything they need. It's entertaining and deep in equal measure, and the art is gorgeous, elevating the whole thing to another level. Crossover is about to go in an exciting direction, but if it stays at this level of quality, things will be amazing.

When I first started reading this book, I was really happy with it, but as it went on, it just felt like we were getting a pretty standard X-story starring Cyclops. One of the problems with the X-office lately is that so much of it is kind of cliche; these books can still be entertaining, but there's no depth to them. Cyclops #1 has that feel, just like the art feels like every other generic X-book out there. This isn't a bad comic; it's entertaining with some cool art. However, if you're looking for a book that's going to dig into Cyclops and change the way you look at him, you're not going to get that. Cyclops fans will like this book, but I don't really see it bringing a lot of new readers to the character.

All in all, I like what this issue says about the characters, as well as how it sets things up, and gives me a different view on my favorite Daredevil fight (the character is too OP in my opinion, so I love seeing him get trounced in a fight).

Dark Crisis #1 is an entertaining beginning to DCs next big event. It already has some strikes against it for many fans, which is unfair because Williamson and company make this a very entertaining first issue. Its not a comic that will change the world, but its still worth picking up.

Dark Crisis #2 is exciting but a little too fast-paced for its own good. Williamson is still setting things up, though, and it does show in the way the story is set up. Sampere and Sanchez are a great art team, so the issue is a joy to behold. Dark Crisis is shaping up well, but it needs to slow down and breathe.

Dark Crisis #3 is even more set up, but its well done. Williamson paces the whole thing well, and the art looks great. The issue sometimes feels like its hitting the right parts to make DC fans happy, so if someone is a DC fan, theyll love it. One definitely has to be sold on Dark Crisis to like this issue, so if thats the case, then it works.

Dark Crisis On Infinite Earths #4 is good. It seems like things are finally starting to happen, which is nice. Williamson is a great DC writer, so if the reader is a fan of DC, theyll still be enjoying this book. That is its triumph and its tragedy. Sampere and Sanchez do an amazing job with the art, and Napolitanos letters look wonderful. Things are finally starting to happen in this book, and thats a good thing.

Dark Crisis On Infinite Earths #5 feels like the series is coming together. Williamson has built something really intriguing so far, and this issue makes one appreciate it even more. Sampere and Sanchez are doing brilliant work with the art, and Napolitanos letters bring the dialogue to life so well. This event is a DC lovers dream.

Dark Crisis On Infinite Earths #6 is fantastic, and thats all there is to it. Williamsons twist has made this a different story than what everyone thought, which is a great thing. Sampere, Sandoval, and Sanchez kill it on the art, something a book this action-heavy needs, and Peteris letters do a wonderful job of delivering the dialogue in the best way. This issue wont win over the naysayers, but theyre missing out on an amazing comic.

Dark Crisis On Infinite Earths #7 sticks the landing. Much like the rest of this book, its not going to win over fans who arent already into it, but for fans who like it, its fantastic. It kicks off the new era of DC very well. The creative team does a tremendous job, with the art especially being good. Dark Crisis On Infinite Earths has been a great ride for DC fans, and this ending is wonderful.

All in all, Dark Knights Rising: The Wild Hunt is a great book and a worthy part of the Metal saga. Knowledge of Metal and the DC Multiverse is necessary for it to work, but, for those who have it, its a choice buffet. The story works together so well even with so many disparate creators, which makes it an amazing book.

DC K.O. is full of powerful beings, so starting out with a fight between Superman and Captain Atom shows just how wild things can be. The book is written by Superman writer Josh Williamson, so you would expect the Man of Steel to be the focus, but instead, we get Nathanial Adam giving us the narration at first. It's an interesting look into a character that we don't get to spend too much time with; when was the last time anyone actually cared about Captain Atom?

DC K.O. has been killing it, taking the simple idea of a tournament arc and using it in the smartest way possible. The tournament isn't the story; the story is how the tournament affects the fighters. DC K.O.: The Kids Are All Fight Special #1 keeps this up, with writer Jeremy Adams kicking the issue off with Jon Kent wanting to join in the fight somehow, feeling overlooked. Much like DC K.O. and December's Fight Month, this issue is all about what this tournament means for Jon. Meanwhile, Fairplay, Quiz Kid, the Boom, and Cheshire are all going through the same thing and find something for themselves, some way for them to help. Those are the inciting incidents for this story, and they fit.

DC's Kal-El-Fornia Love #1 is yet another example of DC's anthology dominance. It's exactly the kind of story that should come out after a movie like Superman; much like the movie, it shows off how great Superman's supporting cast can be. It's lighthearted and fun, but also captures the power and heroism of Superman and his friends. If you have a friend who saw Superman and wants to read a cool comic without being inundated with lore they don't understand, this is the best comic to buy them.

Dead Man Logan delivers in a lot of surprising ways. There were a few directions this one could go, but Brisson throws in a few twists and turns that will surprise readers and provide a great hook to keep them with this book til the bloody end. Hendersons art is the icing on the cake. This is a must read for any fans of Logan.

Dead Man Logan #2 keeps the quality of the first issue going. Its only two issues in and anything can happen after this, but Brisson, Henderson, Woodard, and Petit are crafting a perfect Wolverine story and a fitting swan song for a character that has been the star of one of the best books Marvel has been putting out for the last three years. The cliffhanger ending of this one will keep readers coming back, but if they arent already sold on this book, thats their loss.

Dead Man Logan #3 has it all- great art, perfect characterization, and an engaging story that keeps getting better. Ed Brisson is making Old Man Logan's swan song something for the ages and Mike Henderson's art is the perfect accompaniment. This could easily be a grim, joyless book that would still be entertaining, but instead Brisson and company deliver something that subverts those expectations expertly.

Dead Man Logan #4 keeps up the high quality that this book has had since the first issue. Brisson is crafting a wonderful story, one that keeps surprising readers. Henderson's art works perfectly with Brisson's script. This issue adds another wrinkle to the plot and the possibilities of what will happen next are nearly impossible to guess. So many things can happen with all of the ingredients that Brisson and company are mixing up in this book that anything is possible and that's rare in today's comic industry.

Dead Man Logan #5 is another triumph in a series that has been full of them. Brisson again flips the script on readers, seemingly closing out one plot while opening doors for others. Will Logan go back to the Badlands? Does Mysterio have a new plan? What is up with Miss Sinister going down so quickly? It's anyone's guess where this book will go, but if it's anywhere like it's been, it will be well worth it. To top it off, Mike Henderson's pencils are the perfect accompaniment to Brisson's script. Dead Man Logan has it all.

Dead Man Logan #6 is a masterpiece. It combines deft characterization, great art, and fantastic story beats to create something that perfectly does its job. In the hands of another creative team, this could have been a glorified filler issue, but Brisson and Henderson give it the perfect amount of gravitas and fan service, making it truly special.

Dead Man Logan #8 succeeds, as usual, on the strength of Brissons scripting. He expertly deploys exposition in this issue, and it all has a pay-off. By giving Sabretooth a boss, it adds another layer to the book. Mike Hendersons art has been better than it is here, but he still draws a great action scene. This issue continues this books stellar run.

Dead Man Logan #9 does a great job of setting things up for the next few issues. Brisson is able to keep the set-up interesting, though, using it to do a bit of subtle character work. A lot of times, issues like this can be very boring, but Brisson keeps it all very entertaining throughout. Mike Henderson continues to express with his expressive, detailed pencils. While not the best issue of the book so far, its a solid, entertaining comic.

Dead Man Logan #10 starts fast and never slows down. Brisson makes this work perfectly, giving readers a great mix of action and exposition, keeping the breakneck pace. It wouldnt work as well without Hendersons art, which gives the whole thing a more kinetic feel, although there are a few places where his detail suffers, mostly in long shots with a lot going on. The two of them gel, giving the issue the right amount of pathos to make the ending work. This issue sets up a collision course between Dani, Logan, and Sabretooth and seeing as how the series has been fantastic so far, and it will be great to see where it all goes.

This issue is an action-packed treat, and Hendersons art makes the fight scenes look fantastic, and his character acting makes the big moment in the end that much better.

Dead Man Logan #12 is an excellent send-off for Logan. Brisson and company are a bit rushed by the page count, but it hits the right emotional notes. The fight, in the beginning, lacks a bit of punch because of the pacing, but it's still exciting. The highlight of the book is Logan's farewell to his family, perfectly capturing the man and his struggle with his past. Brisson, and Jeff Lemire before him have been writing one of the best Wolverine books in years, and Dead Man Logan was a fantastic send-off for the character. It had action, adventure, and emotion. Ed Brisson's writing captured the personalities wonderfully, and Mike Henderson's art made the whole thing that much better. This issue was almost perfect, a fitting end.

Deadly Class #32 goes for the throat and doesnt let up. Theres really not much more that can be said about it. Its action packed, but still finds time to tell a story. The reader not only feels like theyre watching it, but also that it is happening to them. The creative team gels everything together so well. It serves as a good jumping on point and sets the tone for the forthcoming story arc.

All in all, this issue is half great, half okay. The scenes between Kenji and Saya and Marcus and Viktor are well done, with the latter being less than what it should be but still really good. The other parts of the book are merely okay. Petra and Helmuts pages sell Petras aversion to killing, but ends on a strange note and the presentation of Zenzeles origin feels weird and out of place. The book also feels really short, which is another detriment. The last issues fast pace carries over to this issue and it doesnt really work here. This isnt a bad comic, but its not up to the books usual par.

    Deadly Class #34 is very well written, but the weak art hurts it a lot. A lot of important events happen in this chapter and the art detracts from the proceedings instead of adding to it. Its a shame, because the art of the last two issues have been so good. Maybe Craig and Boyd overworked themselves to get these last three issues out so quickly, but this one would have benefitted from a little more time taken on the art. The script is so stellar and it deserves better art than this.

If the art was better, Deadly Class #35 would be one of the best issues of the series so far. It does a lot of important things with Marcus character and sets up the future of the comic in a perfect way. Unfortunately, the often ugly artwork mars the whole thing. Its definitely worth picking up, but its not the total package.

Deadly Class #36 gets a little tropey and the ending is predictable, but the great art and some interesting character development keep it from being a waste of time. Its a good comic that suffers a little bit on the execution of the reveal from a script standpoint, but more than makes up for it in other ways. It sets the stage for a lot of action to come, though, and that makes up for a lot.

Deadly Class #37 exemplifies what makes this book so enjoyable, even if the art isn't as high as it used to be on every page. Remender can stuff much deft characterization into the book very subtly. Craig's art is a little rough in places but shines throughout the last two-thirds of the book. It's a shame that this isn't the Craig of the book's earlier days, but this one is a still a banger.

So far, theres no inkling of what shape Marcus and Marias plans will take beyond revenge, but this issue does a great job of setting the table for whats to come.

Deadly Class #39 feels old school, and thats a great thing. In a time when so many stories are written for the trade, this issue feels like a one and done while still moving plots forward. Its a testament to Remenders skill that hes able to make this work. Theres so much good character work in this issue that the surfeit of plot and dialogue never bog this issue down. Wes Craigs art is better than its been for a long time, with a sharpness and detail that its lacked. The ending is a big moment for this book, bringing back a favorite fan character. This issue is the best Deadly Class has been in a long time.

Deadly Class #40 kicks off the new story arc in an action-packed issue that balances the carnage with a smart set-up. Remender and Craig work together to present a chapter that flows from one point to the next, sweeping the reader along and tantalizing them with what could be on the horizon. Its not anything groundbreaking or next level, but it does everything it needs to do in an inimitable fashion.

Deadly Class #41 is ponderous and a bit slow, with very little going on. Remender uses too much page real estate to get inside Marcus head than to set up an exciting story for the issue. While getting into a characters head isnt a bad thing, it is when it just feels like a rehash of what readers have gotten from the character before. The art by Wes Craig and Jordan Boyd doesnt do the book any favors, either. Its muddy and indistinct in most places, with only one scene really working. Hopefully, the next issue will have something happen, because this one is dead in the water.

Deadly Class #42 is a game-changing issue for all the characters. Everyone's plans are thrown into disarray by actions beyond their control, and it plays out wonderfully. Remender throws a lot of balls in the air and catches them all in this one. Wes Craig's art isn't as bad as it has been, but that doesn't mean it's good either. However, the writing is so compelling that it does all the heavy lifting of the issue, and the art doesn't detract from it very much. It'll be interesting to see where things go in the next issue.

Deadly Class #43 starts like any other issue and then veers wildly in another direction before coming back around to more usual Deadly Class territory. In some ways, Remender changing things up is pretty great, but then one realizes that even the change is just another twist that he would usually use and it robs it of a lot of its impact.

Deadly Class #45 is a welcome return. The book had major ups and downs, but this new direction feels right. This is a great comic, one that sets up many interesting plot points, ones that will be fun to watch Remender explore. Craig's art has a lot of problems that it had before, but Loughridge's colors do a lot to smooth things out, and the fight scene looks good. Where this book is going is anyone's guess, but this is a good start.

Deadly Class #46 is the best this book has been in ages. There are so many factors to it, but Remender, Craig, and Loughridge are firing on all cylinders, and this issue is even a marked improvement over the last, the beginning of the story arc. What happens next is anyones guess, but if this issue is any indication, itll be great.

Deadly Class #47 is depressing, but it all makes sense. Remender does a beautiful job of showing addiction without getting too stereotypical about it, but he never glorifies it. Craig and Loughridge's art is almost as good as it ever was, which is excellent. It's one of the best issues of Deadly Class in a long time.

All in all, Deadly Class #48 is one of the best issues of this comic ever. The entire creative team turns in some fantastic work. Its an action-packed romp that drops readers into things at 60 mph and then rams it into 200 mph. Its the end of this story arc, and its a great way to end it. This is pretty much a perfect issue of Deadly Class and sets a high bar for the eventual end of the book.

Deadly Class #49 starts the last story arc with a bang. This book has picked up a lot since the doldrums of the middle of the book. Remender does a fantastic job with this opening story, and Craig and Loughridge are on point. This is a great opening chapter.

Deadly Class #50 is a piece of classic Deadly Class greatness. Remender, Craig, and Loughridge have been firing on all cylinders in the last two story arcs, and this issue is a prime example of what makes this book so great.

Deadly Class #51 continues this books farewell victory lap with yet another action-packed banger. Remender, Craig, Loughridge, and Wooton are in rare form for this one, and it shows on every page.

Deadly Class #52 is a roller coaster of emotion. It can get a little preachy, but thats fine. Remender, Craig, and Loughridge are doing fantastic on this book, and this issue definitely whets the appetite for what is coming next.

Deadly Class #53 hurts. It hurts a lot, but that also shows just how good the creative team is and has been. Readers care about these characters, and Remender tears them down expertly. Craig and Loughridge do a fabulous job on the art, bringing all that pain to life.

Deadly Class #54 is all about an aging punk asking himself the hard questions. Remender using Deadly Class to talk about Gen X isnt exactly new, but this chapter has some moments of happiness that readers dont often get from this book. Craig and Loughridge do a lot of heavy lifting to make this very dialogue-heavy issue work better than it has any right to.

Deadly Class #55 is a great penultimate chapter. Remender gets a little preachy in the beginning, but it works for the characters. The second half of the book is where it shines. Craig and Loughridge are perfect, really selling the script. This issue expertly gets everyone ready for the books ending.

Deadly Class #56 sticks the landing with an issue that is cathartic and emotional. Remender, Craig, Loughridge, and Wooton have done a remarkable job with this final storyline, and this ending is the best way imaginable to end this book.

Videos by ComicBook.comDoctor Strange went to Asgard last year, after Doom took the mantle of Sorcerer Supreme in Blood Hunt. That particular chapter in his life saw him becoming the Sorcerer Supreme of Asgard, in an effort to get back to the Earth. He's still stuck there in this latest issue, but Doom is no longer Sorcerer Supreme, and this book needs a new identity. The identity it seems to be going for is the Asgard book; Thor is no longer the main character of that world, and it seems like writer Derek Landy wants to make Strange that character. It works to a point.

East of West #36 is a masterclass in comic storytelling. There are few books on the market that can match it sheer scope and the audacity of its storytelling. Hickman and Dragotta are slowly unfurling an apocalyptic masterpiece that delivers the powerful moments and action such a thing needs while also finding way to connect emotionally with readers. Its complex and rewarding book that would be served better by a more regular publishing schedule or at a least recap page, but when it comes out, its one of the best books, bar none. Its a rare treat.

East of West #37 starts out very slowly and can be confusing for readers who havent been re-reading past issues to remember everything, but once it hits its stride, it presents a tight story of a man getting back on the road of revenge. In the hands of lesser creators, this installment would have started in a nosedive and never recovered, but Hickman and Dragotta pull it out of that dive with a combination of deft writing and detailed art.

    East Of West #38 gives readers a good pay off. It keeps things straightforward, which is a change of pace for this book, following a single plot line for the entire installment, with only a small digression to set up the future of the book, catching readers up with one of the books most entertaining characters. This chapter has some important developments, made all the better by Dragottas expressive character acting. Its one of the better single issue installments of East Of West and packs enough surprises to keep readers turning the pages in a different way than the book usually does it. Its simple and quiet and all the better for it.

East Of West #39 gets readers reacquainted with whats been happening, and pulls the rug out from under them in one fell swoop. Hickman expertly subverts what readers thought they knew, and presents an alternate take on what has seemed inevitable. The art team delivers their usual amazing imagery, with this issues colors being especially good. This is one of the better story-arc openers in the books history, because it works so hard to get readers caught up while also offering up tantalizing developments. Its not exactly a perfect jumping on point for new readers, but its the closest a book as densely plotted as this can get.

Hickman and company have put out another quality issue in East Of West #40. The feeling of it being a bait-and-switch is a little disappointing, but, otherwise, everything in this book whets anticipation. The art, especially the coloring, is fantastic. Where it will all go is a mystery, but one things for sure--its a great ride.

East Of West #41 is a strange bird. On the one hand, it's another brick in the wall of plot that Hickman is building and it succeeds admirably. On the other hand, the books steep learning curve harms things a bit. The thing about it is that even if the reader gets confused or can't remember what a character's name is, by the time they reach the end of the book, they'll feel extremely satisfied with what they've just read. Take the Vizier; even if one doesn't remember much about her character, her actions make perfect sense. The book's complicated nature and erratic shipping schedule don't hurt it enough to make this a bad book, just one with some flaws.

East Of West #42 takes an event that readers thought they knew and puts an extra little shine on it. That shine not only changes the way the event itself is perceived but also takes what readers knew about the dynamic between Death and War and changes it into something else entirely adding an extra dimension to it.

East Of West #43 begins the last story arc of the book explosively. Hickman gives readers an apocalyptic battle but makes sure to save the outcome for an upcoming issue to keep readers on the hook. Dragotta and Martins art is a fantastic compliment to the script, giving readers a breathtaking battle while also making smaller moments work. A recap page would be appreciated, but other than that, this is another excellent issue and a fitting way to begin the last story arc.

East Of West #44 delivers with high octane action and perfect set-up. Hickman fits a lot of set-up into this issue without it feeling stuffed to the gills or screwing up the pacing. As the issue ends, every character is in their position to play their part in the books ending. None of it feels contrived or undercooked. Dragottas art does a wonderful job of making the whole thing come to life, from the violent battle to his top-notch character acting. With one issue remaining, Hickman and company turn in a chapter that whets the anticipation for what is coming next.

East Of West #45 sticks the landing. At first read, it feels like something is missing from the book, but the more one thinks about the various endings, the more perfect they feel.

Eat The Rich #1 is a great first issue. This is horror done right. Gailey masterfully sets the tone of the book right off the bat, and it works great. Bak and Titovs art fits the script wonderfully. As far as first issues go, this one works very well.

Eat The Rich #2 changes the game. Gailey throws a great twist into the story that makes the whole thing that much better, taking a story that could have been cliche but still good and making it into something different. Bak and Titov bring the whole thing to life, really playing up the emotion and the atmosphere of Gaileys script. Eat The Rich is shaping up into something different than expected, and thats great.

Eat The Rich #3 adds even more to the story and does so in a wonderfully chilling manner. This is the third iteration of that word in this review, but it's really the perfect way to describe what Gailey, Bak, and Titov have created with this issue. This issue took a great story and made it something next level.

Eat The Rich #4 doesnt do anything special until the end. This is the books penultimate issue and ending it this way really makes the whole thing that much better. Where Gailey and company go is anyones guess, but it should be fun.

Eat The Rich #5 nails the ending unless the reader is a cynic. Gailey has done a fabulous job with the horror throughout this book, and the ending has a nice hopeful tinge to it. It's up to the reader whether the conclusion works for them, but that doesn't mean it's not good. It's very well done. The art is phenomenal, so it looks amazing no matter how the reader feels about the ending. Eat The Rich has been a great book, and this ending works.

Eternals #1 is a perfect reintroduction for a property that hasn't exactly been a household name over the years. Gillen does an outstanding job of melding the familiar and the new while also giving new readers an in for the whole thing. He takes a complicated concept and streamlines it without sacrificing any of the things that make it special. Ribic's pencils are lovely and fit the book, bringing it all to life. Eternals #1 is the perfect first issue, giving familiar readers what they need and not leaving out new ones.

Eternals #2 is a great book. It starts with a great action scene and gets better from there, with Gillen adding more and more to the story. Who is behind Zuras's death and the damage to the Great Machine? What is Sersi's plan? How does it all come together? Gillen makes readers want to know the answers to these questions expertly. Ribic's art is the perfect compliment to his script, giving it the sense of scale and grandeur it needs. Eternals is shaping up to be something special.

Eternals #3 is a perfect balance between character building and furthering the plot. Gillen is doing an amazing job with this book so far, laying out who the Eternals are and progressing the story. This issue adds even more wrinkles to the plot, making things that much more interesting. Ribic's art continues to impress, even if his faces can be pretty weird sometimes. Eternals #3 keeps up the quality that this book is quickly becoming known for.

Eternals #4 seemingly puts an end to the mystery of who betrayed the Eternals to Thanos, but theres still so much more left to discover. This is Gillens writing styles greatest strength- he finds ways to answer the mysteries in his books that open up to more mysteries. Ribic turns in some of his best art of the series so far, and the more he gets to draw Thanos, the better. All in all, this is another top-notch issue of Eternals.

Eternals #5 is another triumph for this book. Gillen expands on the lore of the Eternals, introducing a new faction and using infographic pages to drop even more secrets and info on readers than before. Ribic's art is outstanding throughout, really capturing the emotion and power of Gillen's script. This issue sets up a lot of great stuff, and it'll be interesting to see how it all plays out.

Eternals #6 starts with a hard-hitting fight like only the team of Gillen, Ribic, and Wilson could deliver and then gets heavy. Its a wonderful twist, and it changes the Eternals forever. Itll be interesting to see where the team takes the book from here, but it will be uncharted territory, and thats exciting.

Eternals #7 does a lot of setup for this new story arc and possibly beyond. Adding Thanos to this book is the gift that keeps on giving, especially as hes been missing from Eternals comics. Gillen is exactly the right writer to bring him back, as he seems to understand Thanos is more than a cudgel. Too many other writers dont get that, and itll be great to see where Gillen takes things with all of the characters. Ribic and Wilson are working wonderfully together; the art looks sensational. All in all, this is yet another great chapter of this book.

Eternals #8 sometimes feels like Gillen showing off in the best possible way. Ribics art has a few little problems but its at its best when it needs to be, with Wilsons colors making it that much better. This is still the best comic Marvel is putting out.

Eternals #9 brings the action and the heart. Gillen does a great job throughout and sets the Eternals on the next phase of their battle against Thanos. Ribics pencils are a bit less detailed than usual but still good, and Vilanova definitely shines in this issue. All in all, another great issue of this series.

Eternals #10 is more proof that Gillen is one of the best comic writers working today. He juggles the books plots expertly, and his Thanos is the best since Starlin. Ribics art is mostly good, with the Thanos sections being excellent. However, when it gets wonky, its distracting and kind of funny. This is a great comic, though, even with the janky art.

Eternals #11 continues this book's superb run of quality. Few writers can match Gillen, and this issue is a beautiful example of why. It balances action and plot beautifully. Vilanova and Wilson are a great team, and the art fits the script very well. Eternals is the cream of the crop.

Eternals #12 is one of those books that is almost too good for words. Gillen is such a fantastic writer, able to find a way to make a standard length story feel long and satisfying, delivering everything readers want from a narrative. Ribics art goes both ways in quality, but its greatness far outweighs the few deficiencies, with Wilsons colors taking the cake. This is a crucial issue, and the entire creative team nailed it.

Eternals: Celestia is yet another brilliant piece in the Eternals saga that Gillen is crafting. Ajax and Makkari react to their circumstances very differently, and Gillen does a fantastic job with each character. Zamas art is breathtaking, bringing the script to life. This book takes the story to some interesting places, and it will be great to see how Gillen pays it all off.

Eternals: Thanos Rising #1 is an excellent comic. Gillen works his magic, proving why he is perfect for Eternals comics. Weavers art takes all of the brilliance of Gillens script and brings it to life. There are not enough good things that can be said about this comic.

Eternals: The Heretic #1 presents another chapter in Gillens unfolding Eternals saga, and its a doozy. Uranos is a great character, and it will be interesting to see how hell play into the future of the main book. Bodenheim and Salazars art beautifully brings the whole thing to life and gives readers another reason to miss Bodenheim. This comic has it all.

Extermination #1s title makes a promise, and the rest of the comic delivers on it. There are a lot of jaw-dropping moments in this one, and it sets the stakes high right off the rip. Brisson has created a compelling narrative, with enough twists and turns to keep readers coming back. In the long run, the time travel aspects of this story have the potential to do away with any of the big moments this book delivers, but that doesnt take away from how powerful this first issue is. The art seals the deal, supplying the gorgeous visuals a story like this deserves. This is a quality X-Men story, whether readers are pro or anti-O5, delivering all the thrills and chills a story of this magnitude deserves. Its a must buy for any X-Men fan.

    The first issue of Extermination was consistently shocking, and those shocks helped make it so effective. This one isnt nearly as shocking, but it succeeds just as much as the last installment because Brisson has a constructed a story that runs on the actions of the characters, using them to inform the plot. The art is the icing on the cake, taking Brissons script and giving it the visuals it deserves. Extermination is easily one of the best event books Marvel has put out since Secret War. Its a must buy series, not just for X-Men fans, but for comic lovers in general. Brisson and company are doing something special with this one.

Extermination #3 easily hurdles the high bar set by the previous two issues, adding some interesting ideas and keeping the plot moving.

Extermination #4 delivers nearly everything it needs to. Sometimes, a writer will slow things down for the second to last issue of a story, but Brisson doesnt do that here. He keeps the frenetic pace of the book up, and is able to fit in all the exposition without sacrificing any of the drama or action. The cliffhanger ending will throw readers for a curve and keep them on the hook for the next issue. The only weakness is the art, and even thats a minor weakness. Extermination remains one of the best X-Men stories in years.

Extermination #5 is the perfect ending to time lost original five X-Mens story, while also being one of the best X-Men stories in years. Action packed, clever, and immaculately drawn, this is the rare Marvel event mini series that delivers everything it needs to and more. Brisson, Larraz, Gracia, and Sabino deserve all the praise for this book. Even for people who hate the idea of the O5 in present, this is a perfect story and this last issue is the icing on the cake.

Fallen Angels #1 is a great first issue. It focuses on a little-used X-Men character and puts some flesh on her bones. Hill sets up an interesting conflict, one that ties into Hickmans conceit about humanity using machines to equalize themselves with mutants, and has picked out characters who all have the same warrior spirit, ones who would bristle at the peace of Krakoa. Szymon Kudranskis art is impressive, and it will be great to see what he can do in more action-heavy issues. While not perfect, this is an excellent beginning for a new book.

Fallen Angels #2 works so well because it gives readers more of a glimpse into who Kwannon is. Hes taken what a groan-inducing change from the Hunt For Wolverine fiasco was and made it work out so very well because hes willing to put the work in on her. He also gives readers quick little glimpses into who Cable and X-23 are and their roles on this team. Kudranskis art makes the whole thing sing. His action scenes are dynamic and well laid out, and he does a great job with character work. Theres so much to like about this book. Its not the greatest thing ever, but its well crafted and an intriguing read.

Fallen Angels #3 is an action-packed little number that brings the team one step closer to their quarry. Bryan Hill does a great job with Kwannon, per usual. Her motivations make perfect sense. The pep talk in the middle of the fight is a little much, besides that, he does a great job here. Szymon Kudranski and Frank DArmata work together nicely. The action scenes are dynamic, and the dark coloring throughout the book sets the stage for the groups descent into Apoths darkness. This isnt the best Dawn Of X book, but its a good character study for Kwannon and an intriguing story nonetheless.

Fallen Angels #4 gives a lot of answers and sets things to come up nicely. Hill is doing a great job of fleshing out Kwannon, and his presentation of a rogue AI that thinks it's God fits with the overall themes of Hickman's Dawn Of X, while also subverting them just enough. Kudranski and D'Armata work together to give the whole thing an eerie atmosphere that makes things work so much better. There's a lot to love in this book.

Fallen Angels is a book a lot of people are sleeping on, and that's a tragedy. This issue is a wonderful example of why it's so great.

Fallen Angels #6 is a fitting end to a great series. This one has definitely flown under the radar, but it has been a treat the whole time.

Fantastic Four #47 is a great ride. Pepose is Marvels secret weapon right now, and this book proves it. He sets everything up brilliantly. Cabal and Aburtov kill it on the art, giving readers the visuals this story deserves. This one is a cant miss.

Fantastic Four #48 closes out this two-issue story perfectly. Pepose gets the Fantastic Four and shows that with every page. He even does great character work with Oubliette. Cabal and Aburtov were a terrific choice to draw this issue, giving readers detailed art that pops off the page. This is peak FF, from start to finish.

One of the biggest problems with Fantastic Four in the years since the end of the Hickman run (other than Marvel marginalizing them because they didn't have the film rights until recently) has been that most of the time, one aspect of the team was pushed beyond the other, and the book was never able to do what a Fantastic Four comic should do. It was either too sci-fi, too superhero, or too family oriented. North's run has succeeded so well because he has found the perfect balance of all the things that a Fantastic Four comic should have. Fantastic Four #31 is basically a perfect Fantastic Four comic in every way. The writing is constantly impressive, doing some deep lore digs and using them to inform the story he set up in One World Under Doom, hitting the right emotional notes, and giving readers an awesome cliffhanger ending. The art brings it all to life wonderfully. Future Fantastic Four creative teams need to take a look at this issue and follow it as a blueprint.

Female Furies #1 gives readers a different look at Apokolips, but it's one that makes perfect sense. The only thing holding the book back is the steep learning curve, but Castellucci proved on Shade The Changing Girl and Shade The Changing Woman that she can take difficult, esoteric concepts and make them accessible. Adriana Melo's art is perfect for this book. The ending is a good hook to keep readers coming back, but beyond that the hope that Furies will get comeuppance against their oppressors should be enough for most readers.

Female Furies #2 adds to Castellucci's abuse narrative while also adding new wrinkles to the story. Adriana Melo's art continues to impress, bringing a level of emotion the story needs. The only problem this book has is that many readers aren't ready for the very frank discussion of misogyny and sexual abuse this comic puts forth and especially don't want to see it in the Fourth World. However, the art and writing are top notch, and that's all that matters.

Female Furies #3 is another triumph for this series. Castellucci goes a bit more subtle and it pays dividends. She uses this halfway point in the series perfectly. There's the feeling of a bookend to this one, the ending of somethings and the beginning of others. Melo's art keeps wowing, fitting Castellucci's scripts to a tee. Readers familiar with the Fourth World will see where the story is going from here but Castellucci's proven how good she can be, so it will great to see what she adds to what readers already know.

Female Furies #4 opens the series up as it reaches its second half. Castellucci is able to fit in her narrative about how women are treated in society while giving the book a new place to go. This issue introduces several new elements to the plot, ones that will be very interesting to see play out as the book heads toward its conclusion. Adriana Melos art seems to get better with every issue. Theres a lot to love about this book.

Female Furies #5 is a great issue, but it isnt perfect. The Furies reaction to Earth is humorous, the fight scene is exciting, and Bardas speech is heartfelt and powerful. However, Williks groveling and the added chauvinism of the Apokolips inner circle feels tacked on to make the bad guys look worse, but that really isnt needed at this point. Adriana Melos art is still top notch and continues to impress. It will be cool to see what the Furies scheme entails next issue, and this issue sets it up rather well.

Female Furies #6 is a bit of a disappointment, especially after how good the preceding issues have been.

F.A.R.M. System is straight-up brilliant. There's really no other way to describe it. Koslowski does something nearly impossible today: he creates an enthralling new superhero universe from scratch. This book hooks a reader like nothing else on the stands today and doesn't let go until the last page. It's a long book, but well worth the time and honestly a steal for the price. It doesnt come out until November, but its worth the wait.

Ghost Cage #1 is a cool beginning for a new series. Dragotta and Goellner do a great job of sucking people in from the word go. It all feels familiar in its set-up and characters, a 90s cyberpunk manga, but its exciting and mysterious, which will definitely make a reader want to come back.

Ghost Cage #2 is a visual masterpiece with a pretty great story. Dragotta and Goellner take a rather standard manga plot and make it into something special, a story that every reader should experience. The last issue is still forthcoming, but it should be amazing.

Ghost Cage #3 is a wonderful thrill ride that sticks the landing. Dragotta and Goellner have done so much with these three issues, putting out an action-packed manga that has heart and humor to spare, as well as the kind of wild dystopian sci-fi concepts that make this sort of story work. Its been an amazing book, and this ending is wonderful.

Giant-Size House of M #1 never reaches the height that the story reached in Giant-Size Dark Phoenix Saga and Giant-Size Age of Apocalypse, but it's not a bad comic. It's nice that Collin Kelly and Jackson Lanzing remembered that Ms. Marvel has experienced racism before she learned that she was a mutant, which is something that a lot of Ms. Marvel writers have seemed to forget over the years. However, much like House of M before it, this is a very anemic story, and the lack of plot hurts it in the long run.

Giant-Size X-Men: Fantomex #1 is a very good book. It gives the reader a glimpse into Fantomex's past that they've never had before, but it's also very respectful of Morrison's original vision of the character.

Giant Size X-Men: Jean Grey And Emma Frost #1 is a perfect homage to one of the most striking issues of Grant Morrison's New X-Men.

Giant-Size X-Men: Magneto #1 is one of the most disappointing books that Hickman has written during Dawn Of X so far.

Giant-Size X-Men: Nightcrawler #1 has the look and feel of an old school X-Men story. This is a plus and a minus. It's cool to see such an old school approach, but there have been lots of X-Men stories that follow this exact formula in the past, so it robs it of a lot of its impact for long time fans. Alan Davis's art is amazing, as always. This is a fun, one-off story. It isn't perfect, but it doesn't have to be.

Giant Size X-Men: Storm #1 ties up a lot of plot threads in a satisfying manner. Hickman lays out some clues to what might come next for the World, and it'll be fun to see where he takes the whole thing. Russell Dauterman's art makes the whole thing pop, with Matthew Wilson's colors giving the pencils the flair they need. All in all, Giant Size X-Men: Storm #1 is a wonderful ride.

Giant-Size X-Men: Thunderbird is the real deal. Orlando helps Rose, a wrestler turned comic writer for this issue and a Native herself, turn in an impressive script about one mans quest to find himself and his people, the latter literally. The art perfectly compliments the script, with the team nailing both the action and the character work. Thunderbirds return bodes well for the future, and this is easily one of the most exciting and well-done issues of the nascent Destiny Of X era.

The best Godzilla stories use the monster to talk about humanity. Shin Godzilla and Godzilla Minus One are both extremely deep Godzilla movies, while the American Godzilla movies of the '10s and the '20s have been more about crowd-pleasing entertainment. Godzilla Vs. Hulk #1 definitely plays into the latter. Duggan was never going to tell a Shin or Minus One-type story it's just not his way of writing superhero comics but he does sell an entertaining kaiju romp to readers, one that hearkens back to the older days of Marvel and Godzilla. Camuncoli, Orlandini, and Blee's art is the best part of the book, keeping that old school feel while lovingly rendering the kaiju. There's some interesting bits of world-building throughout the issue, but not so interesting they overshadow the main event. All told, this is an average comic, but that's fine. Not everything needs to be groundbreaking and deep, and fans of Godzilla will definitely enjoy this book.

Green Lantern #1 is a perfect reintroduction for two DC icons. If theres any problem with this book, its that John Stewart isnt getting his ongoing. The two teams serve up a steaming helping of awesome to readers.

Hellions #1 has a fascinating premise. Putting together a group of mutants to use in the worst situations, a team that is already on the edge of breaking Krakoan is a great idea, and Wells pulls it off admirably.

Hellions #2 is a gut-punch of a comic. The pace is quick and brutal. Wells doesn't waste a lot of time getting to the action, but he's still able to do some nice work with his characters, balancing things very well.

Hellions #3 does a great job of setting up the threat of Madelyne Pryor. Her mania makes sense, but she's just insane enough to keep readers from sympathizing with her too much. Wells sets a nice spooky vibe, and Segovia and Curiel's art does a great job of upholding the tone. Hellions #3 has it all- thrills, spills, and chills- and is a wonderful comic.

Hellions #4 makes some strange plot decisions to do some character work that is arguably better than any demonic invasion. While it is weird not to get the cliches, what readers get is more compelling than what they may have gotten if Wells made more run of the mill decisions. Segovia's art works for the issue as well. Hellions #4 closes out the first story arc in fine fashion.

Hellions #5 is a fun read, but in the overall X Of Swords story, it just feels like a placeholder, a way to pad the run time, to use a movie metaphor. The Hellions aren't going to be able to make enough of a difference in the whole thing; it would completely ruin X Of Swords if they did. The idea is good, and the characters make the whole thing worthwhile, but it's just a way to justify X Of Swords being 22 issues long. Well and company do a great job, though, so there's that.

Hellions #6 is an action-packed romp that will have a lot of repercussions in this book. Whats going to happen with the members of the team left in Arrako? What did Tarn do to Mister Sinister between the survivors retreating and him killing the team? What happens next? Wells does a great job throughout this issue of posing new questions for readers and setting things up for the future. Carneros artworks very well, even if its sometimes a little undercooked. This one feels like a turning point for this book, and thats a good thing.

Hellions #7 serves as a turning point for the team- no one trusts Sinister, and now a lot of the team is silently judging Psylockes defense of him as well. Wild Child and Nanny have become wild cards, vicious survivors changed from their experiences. Wells finds the sweet spot between humor and drama, and Segovias pencils get the points across with aplomb. Hellions #7 sees a team changed by the experiences of X Of Swords, and its a great look.

Hellions #8 is another example of why this is one of the most interesting of the X-Men books. It combines a good sense of humor with a lot of dark stuff, making the whole thing more palatable. Wells is the perfect writer for this book, and Segovia's art really makes his work shine. While this isn't a groundbreaking book by any means, it's very entertaining and a treat to read.

Hellions #9 is a good issue. Wells shows that he can do a lot with his characters in a few pages, using his page space strategically. The main plot of the issue is pretty interesting as well, as Sinister is outsmarted and Mastermind just does exactly what he's known for doing. The surprise villain reveal at the end is pretty great as well, as it's a villain that hasn't been seen in a bit and is always fun when he shows up. Segovia's art is the icing on the cake, his character acting, selling the issue's moments admirably. Hellions #9 sets up a new storyline and does some cool character work.

Hellions #10 works for what it is, but it could have been so much more. Wells hits all the right marks, but there was so much potential here that got left behind. Its a perfectly fine comic but nothing special. Segovias art marks everything look great, so thats one in the plus column. This is still an interesting story, but it could have been more than it is.

Hellions #11 redeems what felt to be shaping up to be a mediocre, at best, story. Wells expertly cleverly subverts reader expectation- of course, Sinister and Mastermind, mutants known for their subterfuge, had something shady planned. Its a great twist, and it pulls this issue into the stars. Segovias art is the icing on the cake. Hellions #11 does a lot of heavy lifting for the books future, and its looking to be a great one.

Hellions #12 is a fun comic. The Hellfire Gala isn't a traditional multi-part story, so there's a certain amount of wheel-spinning that has to go on, and this issue does it entertainingly. Wells and Segovia do a fine job with this one, fitting in character development, a lot of great moments, and an ending that bodes well for the future.

Hellions #13 has an old-school feel and looks to be building an excellent story. The Hellions' past is coming back to haunt them, and if it's anything like previous issues, it'll be a great story. Wells and Antonio make a good team for this one; it balances character work, set-up, and humor expertly.

Hellions #14 is another example of why this book is so solid and entertaining. Wells knows how to balances a book very well, getting the right mixture of action, exposition, humor, and stakes to make the whole thing work. Antonio and Beredos art makes the entire thing look great. Hellions remains one of the highlights of the X-line.

Hellions #15 starts like any other chapter of the book, and then the ending hits and just shifts the whole thing into another gear. Wells is doing a fantastic job with this book, and Antonio continually knocks it out of the park on pencils. This story has opened this book up to go in so many directions, and it will be a treat to see where this stellar team takes it.

Hellions #16 is an issue of build-up expertly done. Wells lays out a script that is heavy on emotion, and it lands amazingly, with Segovias pencils bringing it all to life. This is set up done right.

Hellions #17 is the books penultimate issue, and its a tragedy. Wells sets up an amazing story, Segovias artworks brilliantly, and the story has a great ending. This book is the direction the X-men books should be taking, but most of them cant hold a candle to it. The fact that great books like this keep ending and the remaining books are so mixed in quality is a problem the X-Men line will have to deal with in the future.

Hellions #18 is the end to one of the best X-Men books being published. Wells sticks the landing with the writing, even doing some build-up for future books he wont be involved in. Segovia is his usual amazing, and Carloss art is perfectly fine if a little uninspired. All in all, this is a great ending that would have been perfect if Segovia drew the whole thing.

Home #1 is a powerful read that grabs readers early and never let's go. The cruelty of American immigration is laid bare for all to see, but that's only part of the story. Juan and his powers inform the rest of it, and it will be interesting to see how the book answers all of the questions this first issue poses. Anta and company have created a comic that everyone should read, one with all the potential in the world.

Home #2 continue its breakdown of the terrors of the American immigration system. Anta's script does a fantastic job of both being politically charged and telling a compelling, emotional story. The book works on multiple levels, and it's a joy to read, even if it does jerk the heartstrings. Wieszczyk's art doesn't seem like it should work with the subject matter, but it does brilliantly, really capturing the feeling of the whole thing. Home is a fantastic book, and this issue keeps that up.

Home #3 represents a creative team hitting on all cylinders. The story that they are building is excellent, and this issue is yet another example of that. It captures the sorrow of the sundered families, the love of the family members and has an amazing sense of wonder. Anta perfectly builds the emotion of the issue- it starts sad, and it just keeps rising from there. Breathtaking is the perfect way to describe this issue.

Home #4 continues this title's run of excellence. Anta is telling both a compelling superhero story and calling the way the US treats human beings who weren't born here. Wieszczyk's art does a fantastic job capturing the script in all its power. There are not enough good things to say about Home.

Home #5 is a wonderful ending to a great series. Some people may not like the cliffhanger, but it works both to build anticipation for what will (hopefully) be an upcoming sequel and to give readers what it feels like to not know what's going to happen next with someone's family. Anta and company have done a marvelous job with this series, and this ending is the icing on the cake. Go out and buy several copies, so it gets a sequel.

House Of X #1 is pretty much everything X-Men fans could wish for.

House Of X #2 is a gamechanger. Thats all that can be said about it. Hickman lays out a masterful retcon that in the hands of a lesser writer would never work; theyd never be able to make the scope of it work as he could. Pepe Larrazs art makes the whole thing that much grander, as hes able to execute Hickmans script in a way that makes that comes to life.

House Of X #3 presents a lot of great ideas, showing how both sides in the brewing mutant/human conflict are driving themselves closer to tragedy. The mutants newfound power is making some of them hubristic and antagonistic. While humans are playing with technological power that could very well their doom if it goes the wrong way. Its a great dichotomy, and Hickman lays out in a way that is subtle enough to not seem preachy. The art by Larraz and Gracia is a bit too dark in some places, but they still present some great imagery. While this issue doesnt have the huge, redefining moments that previous installments of this book or Powers Of X had, its still a great comic.

House Of X #4 is a book where the shocks keep mounting. Each one takes the wind out of the reader but works to sell the stakes of the mission. Hickman makes sure that none of it seems unearned or gratuitous. These moments also open up a whole lot more questions about the future of the book and where it goes next that are so very tantalizing. Pepe Larraz and Marte Gracia's art give the script the imagery it needs to be effective. Just like every issue so far, this one will leave readers breathless to find out what happens next.

House Of X #5 is where things really start to come together for this book.

House Of X #6 doesnt go out with a bang, but with a huge party.

Hulk Annual #1 brings the horror wonderfully. Pepose, Majado, Delgado, and Petit drop an excellent found footage horror story that works so well because of Marvel additions like the Hulk and the Mole Man. Anyone who isnt already excited for Johnsons upcoming run will definitely be after this issues ending teaser. This is a Hulk comic that will appeal to anyone.

Hunt For Wolverine is a commercial that fails to sell the product its for.

Immoral X-Men #1 has a vibe that makes up for some of the weaknesses of the story. Emma is awesome, Sinister is a bit disappointing, but the set-up is intriguing. The art is pretty strong, but nothing jumps out. All in all, its a pretty cool comic.

Immoral X-Men #2 is pretty good, but it ultimately doesnt matter. The nature of this story means that nothing that happens in this issue is going to stick, so its hard to really get invested in any of it. Its very well done and entertaining, though, so that makes up for the yawning emptiness at its center.

Immoral X-Men #3 launches the last phase of SoS expertly. This story was stalling a bit in the middle, but this one kicks it into the next gear. Gillen, Vitti, Beredo, and Cowles give readers an engaging read that sets the stage for the next phases wonderfully.

Immortal X-Men #1 is the best the X-Men books have been in a long time. Gillen is a master of this kind of storytelling, building layers of plot that will play into the future. A book focusing on the Quiet Council is exactly what these books need with Hickman gone, and this is the best writing the line has seen in a long time. Werneck and Curiel's art is terrific, challenging Larraz's X-Men for the best-looking book. Just from a quality standpoint, this is the new flagship of the Krakoa Era. If the first issue is any indication, this is going to be a fantastic comic.

Immortal X-Men #2 is the total package. Gillens writing is brilliant, and the art from Werneck and Curiel is beautiful. This is pretty much the premiere X-Men book, and its only two issues in; it shows a creative team hitting on all cylinders, presenting great art, plot, and characterization. This is the flagship book, and no one can say otherwise.

Immortal X-Men #3 is fantastic. Gillen does an HoX #2 riff but invests it with heart that the original doesnt have. It works wonderfully for the story and shows the many futures of Krakoa. Werneck and Lima make a wonderful art team with some great standout pages. Immortal X-Men continues to dominate the X-books when it comes to quality.

Immortal X-Men #4 keeps proving why this book is the tippy top of the X-Men food chain. Its always a joy to read, especially when Gillen is writing characters its easy to tell he loves, like Emma Frost and Mister Sinister. Bandini and Curiel make a great art team, realizing Gillens scripts wonderfully. Immortal X-Men is always wonderful, and this issue keeps that up.

Immortal X-Men #5 is an example of the perfect way to do a crossover issue. Gillen ties it into Judgment Day but does it in a way where this still feels like Immortal X-Men, focusing on one of the books more interesting characters. Bandini and Curiel have worked together much better on this issue than last. All in all, another fine issue.

Immortal X-Men #6 is another excellent issue. The opening could have been axed except for Destiny getting judged, but overall it all works. Werneck and Curiel do a brilliant job with the art, which is to be expected. Its definitely a great read.

Immortal X-Men #7 is yet another excellent crossover comic. Gillen, Werneck, and Curiel keep proving why this book is the best in the X-Men camp. Its also extremely important to Judgment Day and definitely deserves a read from anyone who is reading that book.

Immortal X-Men #8 doesnt reinvent the wheel, but its still an excellent read. Gillen writing about Mystique, Destiny, and Sinister never gets old. Bandini and Curiel do a good job on the art, even if therere some places where the pencils arent the strongest. This is yet another fine outing for this book.

Immortal X-Men #9 is a perfect thrill ride. Gillen keeps things light, but the stakes never feel unimportant. Werneck and Curiels art complements the script beautifully. Immortal X-Men remains an amazing book.

Immortal X-Men #10 is the best issue of this book so far, which is saying something. Gillen is brilliant in general, but this book really takes that to the next level. This is the issue that every X-fan needs to read even if they arent, for some mystifying reason, reading Immortal X-Men. Wernecks art isnt as good as usual, but that doesnt mean its bad; instead of being amazing, its merely great, which isnt a bad place to be. Curiels colors help that out immensely. All in all, this is easily one of the most important comics of the Krakoa Era so far.

Immortal X-Men #11 is a welcome return. The creative team is firing on all cylinders, playing in this new era of the X-Men. Storm was an excellent choice for a main character, and it elevates this issue.

Imperial #2 does its best to give readers some action, but there's just so much going on and the art doesn't really fit the issue's events. Hickman redefined what space battles could be in Infinity over a decade ago, but this issue shows sometimes that not every artist can make them work. This isn't a bad issue by any stretch of the imagination, but it never really finds its flow. The pacing is too fast, and that can keep the issue's events from really hitting readers like they should. Imperial was always going to be a tough sell, and the second issue puts into question whether this book can be everything it was promised to be.

Kennedy and Klein give readers the perfect beginning to a new kind of Hulk horror series, one where the monster is actually a monster. This is a major change to the Hulk status quo, and it's amazing. I'm sold on this book, and I'm pretty sure you will be too.

Inferno #1 is a fantastic comic but also so very bittersweet. It illustrates why Hickman is the perfect person for the X-Men, as he presents a tale that mostly just reiterates what he's said before but in a completely new manner. This book is a perfect example of why so many are sad he's leaving. Schiti and Curiel are the perfect art team for this issue. Enjoy Inferno, as you won't see it's like in the X-Men books for a long time.

Inferno #2 is amazing. That's really all there is to it. It blows everything else out of the water on a script and art level and shows why Marvel can't replace Hickman with Duggan or anyone else. This is storytelling at its finest.

Inferno #3 is straight-up amazing. Hickman does a remarkable job, and the art is great, even if Caselli's pages aren't as good as the others. That's pretty much the only complaint; the art isn't completely spectacular for a few pages, just mostly spectacular. Inferno is next level.

Hickmans legacy on the X-Men isnt going to be nearly as good as his legacy on Fantastic Four and Avengers/New Avengers. Part of the problem is that he didnt get to personally finish his story; part is that too many of the writers he handpicked dropped the ball that he gave them. Multiple X-Men books have been straight up bad and Hickmans own work on X-Men often felt like it was treading water as well. X Of Swords was not a good story by most metrics. Inferno is the best the X-Men or Hickman has been since HoX/PoX. However, the problem comes in that, once again, its just a really well done typical Marvel event book. It tells a story and sets things up for the next publishing initiative. The creative team does a great job and this is a wonderful read. It doesnt save Hickmans run from being kind of disappointing, though.

Juggernaut #1 is a great look at a character that really doesn't get enough spotlight. It's an entirely different look at him as well, one that most readers have never seen before. The series looks like it's going to be an in-depth look into Juggernaut's personality, and that can be a good thing if Nicieza can keep up the quality of the issue. Garney's artworks very well for this book as well- his Juggernaut is a huge imposing presence, and it will be great to see what he does in this book" especially if Juggernaut and the Hulk clash next issue.

Juggernaut #2 was advertised as a fight between Juggernaut and the Hulk, which would have been fun, but what readers got is something way better.

Juggernaut #3 is a great little issue. It touches on Juggernaut's old sins, adds some more mystery to D-Cel, and sets things up for the next two chapters with a surprise reveal. Why does this villain want D-Cel? That's a great question, and if Nicieza's work on this book so far is any indication, it will be great. Garney's art is spectacular. He was the perfect choice for this book, and he proves it every issue. Juggernaut is shaping up to be much better than anyone could have anticipated.

Juggernaut #4 sets things up for this series last issue. Nicieza has been doing a lot with Juggernaut through this book, showing his need to become more independent and become his own man. Garneys art delivers the good as well. Juggernaut has been a wonderful book so far, and this book continues that quality.

Juggernaut #5 closes out this amazing mini-series with a pitch-perfect ending. Nicieza finishes his redemption arc for Juggernaut and lays the groundwork for a new future for the character. Hopefully, this mini-series sold well enough for the story to be continued because Nicieza has done some stellar work with the character. Garney will hopefully continue to whatever comes next; his art in this issue is good but not his best. All in all, Juggernaut was a great mini-series that took a different look at a fan-favorite character and set him on a new path. Hopefully, fans will get to see more of his journey.

Jupiter's Legacy: Requiem #1 delivers. There's really no other way to put it. This is Mark Millar at his best- superheroics, the humor, the characters, it's all there, and it's all amazing. Tommy Lee Edwards' art is often breathtaking and sells the grandeur of the book totally. John Paul Leon's pages are amazing; he's a talent that was lost too soon. This is a great comic, and if Millar and company can nail the rest of the book the way they've nailed this comic, then it will be one for the ages.

Jupiters Legacy: Requiem #2 builds on the promise of the last issue. It combines big superheroism thats very much reminiscent of Millars time on The Authority and combines it with deft characterization and wonderful dialogue. Edwards art is just breathtaking throughout; his heavy linework is insanely detailed and sells everything. Jupiters Legacy: Requiem is shaping up to be an amazing book.

Jupiters Legacy: Requiem #3 is an all-around excellent. By juxtaposing the current lives of Hutch and Chloe, Millar shows how different things are for each of them- but also how similar they are. He also sets up a lot of great stuff for the future. As for the art, Edwards is turning in some amazing work that needs to be seen to be believed. Jupiters Legacy: Requiem is shaping up to be the cream of this years superhero crop between the excellent writing and beautiful art.

Jupiters Legacy: Requiem #4 makes the argument for why this book is one of the best superhero books on the market yet again. The plot is excellent, but the characterization is the champion here, really showing Millars chops as a writer. The art remains breathtaking. Edwards, Chang, and Niro do amazing work together, and Edwards is showing why hes one of the great unsung talents of the comic industry with every line he draws. Jupiters Legacy: Requiem #4 is the pinnacle; few other books can reach it right now.

Jupiter's Legacy: Requiem #5 is a magnificent piece of writing. There's a reason that this book is month in and month out one of the best superhero books on the market, and this issue is a perfect indication of why. Millar builds the reader up, only to tear it all down and leave it all up in the air for the next issue. Smith takes over for Edwards and does a great job. All in all, another stellar issue.

Jupiter's Legacy: Requiem #6 is yet another wonderful issue of this book. Millar, Dow Smith, and Niro do amazing with this book. It's an all-out action issue with a great ending. Superhero comics don't get much better than this.

Justice League #60 is chock full of Justice League goodness, from the main story to the backup. Bendis is doing a bang-up job with his new League, bringing a new team together and seemingly having a lot of fun with it. Marquez is the perfect artist for it- guy feels like he was born for this job. Add Bonvillains coloring to the whole, and its wonderful. V and Xermanico are building a great story in the backup, one that makes readers sorry they arent doing a full-length Justice League Dark book. Justice League #60 is a one-two punch of Justice League greatness.

Justice League #61 is yet another great issue of this book, both in the main story and backup. Both creative teams are expertly building their respective stories, doing a great job of keeping readers invested. Seeing where both stories go is going to be great.

Justice League #62 continues the high this book has been on since Bendis took it over. It's just completely entertaining, both the main and the backup, and that's just how a Justice League book should be. Both stories are a lot of fun, with cool twists and turns. Justice League is quickly becoming the premier team book in comics.

Justice League #63 is just chock full of Justice League goodness. Bendis has been a different writer since he hit DC, and the way hes structured this book is a huge example of that. He breaks his own tropes while also indulging them, and it works very well. Marquez is better with Bonvillain, but he and Plascencia still deliver a great-looking book. The backup remains worth the full price of the issue alone, with V and Xermanico knocking it out of the park. This new era of Justice League is shaping up to be amazing.

Justice League #64 is yet another example of why the Justice League is so good right now. Bendis does a great job with this issue, presenting a new threat and building in some hooks to keep readers coming back. Pughs art is pretty great throughout and really helps the script shine. The JLD backup, as usual, is the icing on the cake. V is proving to be a master of the magical side of the DC Universe, and bringing Batman in is an inspired idea, even if hell only be around for a little bit. Kumars art hits all the right spots. Justice League is the best team book on the market.

Justice League #65 is yet another example of why this book is the premiere team book on the market. It has it all: compelling plots, great action, and fantastic art. The creative teams are taking readers on a tremendous ride, and they never fail to impress. This is the book that every superhero fan needs to be reading.

Justice League #66 is yet another clinic in how to make an amazing team book. Both stories and creative teams are putting out some straight-up wonderful work, and theres pretty much no other team book on the market that gets close to it. Justice League is the cream of the team book crop, and this issue is yet another example of why that is.

Justice League #67 is yet another clinic in how superhero team books should be. The creative team of both stories do some fantastic work. These are action-packed tales that impress in entirely different ways. Justice League is stellar, and this is yet another example of why.

Justice League #68 is a good comic, especially the backup. The main story is uneven. It starts well, but the latter portions of it slow the whole thing down. The art is pretty great, so that helps. The backup is still amazing. Theres really no other way to describe it. It really buoys the whole book.

Justice League #69 is yet another entertaining issue of this book. While the main story has a few problems, it's still overall entertaining and different from other Justice League stories. The backup is worth the price of admission alone. This is such a good book, and that's all there is to it.

Justice League #70 is good, but the main story is uneven. Overall, this is an interesting plot, but Bendis goes too far with Royal Flush Gang being generic criminals. Still, it does feel like it's all going somewhere interesting. The backup is amazing, but that's pretty expected at this. This is an overall excellent team book with a few problems.

Justice League #71 is better than its going to get credit for. Bendis, Hester, and Gapstur do a great job with their story, V and Kumar masterfully take their bow, and Fajardo Jr. adroitly colors it all. Team books dont get much better than this.

Justice League #72 works as an opening chapter. Bendis is able to capture just how big the events are in this story with Xanadoth. It remains to be seen how it will play out, though. The art fits pretty well, with Kudranskis work standing out. All in all, a well-done comic.

Justice League #73 is a well-paced middle chapter of a story. Bendis shines in stories where he can't meander along, and that's on full display in this issue. Kudranski and Lupacchino do a great job on the art, with Kudranski killing it. All in all, an entertaining issue.

Justice League #74 ends this story and Bendiss run on the book. Its a beautiful issue with amazing art. Bendiss run on Justice League has been a lot better than it gets credit for, and this issue is a fantastic example of why.

Justice League #75 is a good prelude to Dark Crisis. It does exactly what it advertises and does it in an entertaining fashion. Williamson supplies an action-packed script, and the art team knocks it out of the park. Its not a perfect comic, but its entertaining, which is really all that matters in the end.

Justice League: Road To Dark Crisis #1 is a great aftermath issue and begins the set-up for Dark Crisis. There will be several more, and this one does a great job of setting some story beats up. The writing and art are all pretty great, and this one is a must-read for anyone planning on buying Dark Crisis.

Justice League Dark Annual #1 fills in some blanks from the back-up while also giving readers more information on the central menace of the story. V and Watters do a phenomenal job with the writing in this comic, and it begs the question: why can't the JLD have an ongoing? Mittens and Fajardo Jr. knock the art out of the park. The writing and art are outstanding, and this book is such a treat.

The Justice League is in a great place right now. DC All-In and "We Are Yesterday" have set up a lot of great story ideas for the team. Justice League Red #1 adds to that. I'm always a little leery about Ahmed's work after wowing readers with his Black Bolt series, Ahmed has been kind of disappointing ever since, and his Wolverine has torpedoed the books sales but this issue takes an idea I like (the black ops Justice League team a la Justice League Elite) and sets it up well, asking some interesting questions about the League and AI. Henry's art is very good, and does a great job with the script. Henry's art doesn't wow you, but it's still pretty aesthetically pleasing. Finally, it brings back one of my favorite DC characters, with a plot that can go a variety of ways. All in all, I'll be buying the next issue of this book to find out where it's going and you should too.

Knights Of X #1 is a cliche fantasy opening chapter. Howard is a talented enough writer to make it all work, but this book has nothing outstanding. Its all boilerplate, but there is enough to keep a reader coming back. The art is what really sells the book. Quinn and Arciniega are an incredible team, and they elevate the tepid script and make the book special.

Marvel has been pushing Knull pretty hard lately, and honestly, I was kind of surprised when they announced a new series following the villain on his journey to regain his power. Knull has always been a tough sell for me, mostly because the character is a perfect example of "what you see is what you get. Knull #1 is everything you could expect from a comic like this. We have the powerful villain in a cage getting sassed by everyone, that sass allowing him to escape, and then a bloody battle through Hela's fortress that ends with Knull "getting away, which was the dark goddess's plan all along.

Legion Of X #1 is an oversized issue, but it still feels like its stuffed with content. Its well done, as Spurrier, Bazaluda, and Blee make a great team, but this issue can overwhelm readers with plots and characters. It would have been served better by either getting more pages or slowing the pacing down and making it two chapters. Its still a good read and sets up some intriguing things for the future.

Little Monsters #1 is an intriguing first issue. Lemire once again shows that he can write for artists like few others in the industry and Nguyen's art does all of the lifting it needs to. This issue gives readers just enough to make them hungry for more, like the vampire children within.

Little Monsters #2 plays on some well-worn vampire story tropes but does so in an entertaining manner. Lemire and Nguyen are a fantastic team, their skills blending together to create an excellent little chapter that gives glimpses of the future.

Little Monsters #3 is peak vampire horror. Its also a complete collaboration; Lemire and Nguyen are a great team, and this book sees them working together completely. Its one of those comics where it would be interesting to see the script and then look at the finished product again. Little Monsters is vampire horror at its finest from a team that is nothing short of brilliant.

Little Monsters #5 strikes the right balance of atmosphere and plot. Lemire, Nguyen, and Wands are dropping a unique vampire story on fans with this one, giving fans more glimpses into the blasted world of the book.

Little Monsters #6 is the turning point of this book. Lemire and Nguyen work together brilliantly in this issue. Whatever comes next is going to be great.

Little Monsters #7 is easily the best issue so far. Lemire creates a wonderful little dichotomy with the flashbacks and reveals some major league lore. Nguyens art is amazing and makes this book that much better. Its been a bit, but Little Monsters return is welcome.

Little Monsters #8 does a great job with pace. There isnt much to Lemires script, but he fills the whole issue and keeps readers on the edge of their seats. Nguyens tri-color art is the books strong suit; his working relationship with Lemire gives readers amazing visuals. Little Monsters continues to be an excellent little horror book.

King and Gerard manage to deliver another stellar issue. Theyve reached a level of sympatico that only the best creative teams have. They perfectly balance mundane with the fantastic in this series, while also making readers question everything theyve just read. The enigma of what is real in the book is a fabulous way to keep readers on the edge of their seats and theyve completely nailed the characterization of every character in the book. Mister Miracle is the kind of comic that only comes around rarely. Its such a perfect encapsulation of everything that can be done with comics and its a book that will be talked about for years to come. This issue further cements it as one of the best books out right now and King and Gerard as a premier storytelling unit.

Mister Miracle #8 is yet another home run for King and Gerads. It seems simple, yet there are so many layers to it. Mister Miracle is one of the, if not the, best comics being published right now. These two creators have reached a level of storytelling sympatico that is rare to see. They use the comic medium perfectly to tell their story, with the words and the pictures working together in ways that are both overt and subtle. Mister Miracle is a storytelling tour de force and #8 keeps that going, while even perhaps surpassing the greatness that has come before.

Mister Miracle #9 is another home run. It does so many little brilliant things. Its always been a rather subtle book and this issue is no exception. Theres so much happening under the surface and that makes it all the more rewarding. It constantly subverts reader expectation. No other book being published by the Big Two is anything like it. King and Gerads are telling a story for the ages with this one.

So far, Mister Miracle has been a standout book, but this issue transcends what has come before, hitting a new level of brilliance.

If what comes next is as good as what's in this one, Mister Miracle will join the pantheon of greatest comic stories ever. Somewhere, Jack Kirby is smiling to see his creations used in such a perfect manner.

Fans are going to be split by Mister Miracle #12. It's definitely not what one would expect after the last issue, but it's better for all of that.

For fans of Dani Moonstar, this book is going to be a blast. For fans who know nothing about her, this book will catch you up on what you need to know and show why she’s such a beloved character. Few comics are perfect, and this one has some small problems, but all in all, it’s still an enjoyable read that will get you to come back for more.

Namor #8 is a book that excites me as a Namor fan. Namor can get trapped into a cycle of snarky heroism, betrayal of his surface comrades, war, and repeat. Seeing him actually grow beyond that cycle, realizing that he's kind of always known and kept it from himself, is a great little bit of character development that Namor has needed for a long time. This issue has a lot of great moments in it, and it caps off a series that could have went in the same direction every Namor does, but instead veered into a new direction. It'll be interesting to see whether Marvel keeps this new status quo, because it could lead us to the most interesting Namor stories ever.

There were still some surprises, though, like the complete canonization of the Milestone imprint. For those who don't know their DC history, the Milestone imprint was created by a coalition of African-American creators like the late great Dwayne McDuffie, Denys Cowan, Chistopher Priest, Michael Davis, and Derek T. Dingle and published by DC. The Killing Joke is now a hundred percent canon as well, as is the controversial Identity Crisis. The issue also brings up the return of Supergirl from Superman/Batman in the early '00s, but doesn't explain how Kara came back, since her death in Crisis is also canon. Waid does a tremendous job of laying out the history of DC from 1986 to 2011, putting the right spotlight and emotional resonance to various events.

New Mutants #1 is such a fun book. Hickman and Brisson set the right tone immediately. Theres something hopeful and cheerful about this book that really impresses upon the reader. The characters are fun and play off each other well. Having them go on an adventure to Shiar space is a wonderful plot, allowing the book to branch out for their first story arc. Shiar stuff is still very much in the X-Men wheelhouse, but its just outside the box enough to work for this team, who have a very unorthodox feel to them. Rod Reis art is the icing on the cake. His characters are expressive, and his linework is simple yet detailed. If this first issue is any indication, this is going to be a great book.

Rod Reis' art really sells the tone. His characters look great. His sci-fi renderings are a little underwhelming, but so far, that's okay. A lot of the Dawn Of X books have been kind of dour and serious, so it's really nice to have a palette cleanser as great as this one in the line-up.

This issue isn't as much fun as the first two, but its still just as entertaining.

New Mutants #4 builds on the last issue rather well. Brisson uses human greed as a prime motivator in this one, and it works very well. On top of that, he does some subtle character work, which shines a light on several of the characters. Marco Failla's art is okay, but it suffers in a few places. It will be interesting to see how things play out in the next issue. Can a drunken Boom Boom save the day or will she make an escape already in progress even worse? Brisson knows how to bait readers into coming back.

New Mutants remains the most fun Dawn Of X book.

New Mutants #6 throws a lot of interesting little tidbits for attentive readers. Brisson knows what he's doing, and there's a lot of shy little hints in this book.

New Mutants #7 takes what could have been a by the numbers issue and stands the whole thing on its head in the best way possible. It's plain to see how much fun Hickman is having writing this issue because it's that much fun to read. Rod Reis's art is great, referencing classic New Mutants stylings while still keeping it his own. This issue is a treat.

New Mutants #8 is a great single issue. Brisson shows that he hasn't forgotten how to write a compelling single-issue story that is both new reader-friendly and a treat for returning readers. More comics need to be like this. He fits so much into this issue. The art Marco Failla does a great job with his script. There need to be more comics like this one.

New Mutants #9 shifts tone a lot, but it never feels jarring to the reader. Brisson is great at this. He sets up a lot of stuff in this issue, from interpersonal problems within the team to Magik dismissing Cyclops, to Doug experimenting with Krakoa. There's so much going on in this one, but it doesn't feel overstuffed.

It starts off very strong, but then the quality falls a bit; it's not bad, it's just nothing special. That's New Mutants #10 in a nutshell- it's not bad, it's just nothing special.

New Mutants #11 wraps up its storyline nicely and gets readers ready for what's coming next.

New Mutants #12 is a nice one and done that ties up a bunch of loose ends from other issues, ending the DOX website's threat. Brisson picks up a plot thread involving Nova Roma, a nice bit of set-up that will eventually pay-off. Failla's art makes everything look great, especially the stuff with Glob. Brisson and company give readers a good succinct issue.

New Mutants #13 is almost like a pause button on X Of Swords. It focuses on the characters and how they're reacting to the overarching plot, making it an especially good crossover issue. Character gets left out of these kinds of things a lot, and Brisson does a superb job in this issue, making this issue about Cypher and his struggles. Rod Reis' art is excellent, especially the way he uses color. All in all, this is a great comic.

New Mutants #14 is a strong debut for Ayala on the book. They give the team a new purpose, one they are perfectly suited for, and the choice to bring in the Shadow King is very nice. Something came to him in his youth and brought him into the Astral Plane could it be someone from Arrako? Who is the mystery man that haunts Karma? These are great questions that Ayala's script asks. Reis's art is good throughout. His action scenes look good but aren't extremely dynamic. Nevertheless, his character acting is top-notch. New Mutants #14 is a great fresh start for the team.

New Mutants #15 has a lot going for it, but the art doesn't help much. Ayala does a great job building up to why it's so easy for Shadow King to get his claws into the mutants and do some excellent character. Reis's art, though, barely does the script any favors. It's okay in some places but sketchy and rushed in others. Still, the book is definitely worth a read.

New Mutants #16 does a great job with the characters, but the plots are all over the place. Perhaps Ayala is trying to say something about the ADHD generation with the way plots keep jumping around seemingly at random. Ayala's plots have a lot of potential, but there's just too much stuffed into this issue, and the story feels like it's lost its focus. Reis's art can be good, but it's definitely an acquired taste. New Mutants has a lot of promise, and this issue is okay. There's just way too much going on.

New Mutants #17 has some intriguing things going on under the surface that make it better than it would be. The story going through the book is fascinating because of what it says about mutants and whats happening to them on Krakoa. However, the books other plots are alright at best. Reiss art is highly subjective, with some good parts and some parts that might not appeal to everyone. New Mutants works more because of whats under the surface than whats on it.

New Mutants #18 is the best issue of Ayala and Reiss run by a country mile. Both of them are at the top of their game for this book, and it shows. The key to this issue is the emotions of the character and the creators hit with all cylinders. Things are building nicely, and hopefully, the creative team can keep up the quality of this issue in the stories to come.

New Mutants #19 is a great read. Ayala uses the team as family concept to iron out differences and get the team on the same page again and still finds time to play into the plot that they've been building throughout their run. Lins' artworks very well for the issue, and it would honestly be nice if he stayed- he and Milla are a great team. All in all, this comic effectively uses the Hellfire Gala setting to take a breath and recharge the team's batteries.

New Mutants #20 is all Ayala talking about acceptance in different ways. It works wonderfully; it all plays into the plots theyve been building throughout their run, and the ending builds such anticipation for the next issue. Linss art delivers as well. This is a beautiful installment throughout, and its a joy to read.

New Mutants #21 is just another example of how good Ayala has made this book during their run. Each plot gets the room it needs to breathe, and each one is interesting. There's a sense of momentum to the whole thing that really makes the whole thing work very well. Reis is back on pencils, and it's the best his art has been in a long time. All in all, New Mutants #21 is another fantastic issue.