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.

X-Men #5 is a terrible comic. There's really no other way to put it. Duggan messes up from the first page and then never really recovers. In fact, he continually makes the book worse and worse until the end. This is kind of okay until it gets to the part with the big bad with a parabolic microphone watching Cyclops and Urich through a window. Pina and Carlos get nothing great to draw, and their art is fine, except for the Reavers, who look sooo very bad. This issue isn't comically bad, where can you laugh at it. It's just really, really bad.

Duggan hits new lows in X-Men #21. Nothing about his writing works in this comic. The art is great, but it cant save such a terrible story.

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.

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.

New Mutants #33 sees the book go out with not a bang, but a whimper. Its just a disappointing, badly written comic. The story was never better than okay in the previous issues, but Anderss writing in this one falls off a cliff. The art is better than its been, and the lettering is nice, but if this is the quality of the upcoming series, theres not much reason to stay with this book.

Straight up, X Of Swords: Stasis #1 is a cash grab in every sense of the word, a way for Marvel to bilk five more dollars out of readers. Nothing happens in it all and while from a technical standpoint, its a well written, nice looking comic, it is completely superfluous. It does nothing to make an argument that its existence is needed. In that way, its completely emblematic of X Of Swords. Apparently, some readers and critics are somehow enjoying this story but how they are doing so is mystifying. Dawn Of X has been excellent up to this point, so maybe theyre looking at this story through rose-colored glasses, but otherwise, this whole thing is a bloated mess and hopefully, it will get better when the actual action starts.

X-Men #22 is terrible. Duggan is taking Orchis and making them lame. Thats the whole thing about this book. Orchiss schemes arent scary; theyre petty. Under Hickman, Orchis was powerful and unstoppable. Now, theyre cliche. The art is fantastic, but the script is so bad its not funny.

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.

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.

Uncanny X-Men #18 is a miss on all fronts. Rosenberg has always tried to cram a lot into every issue as if he was mid-90s Scott Lobdell, but this one is a failure. Nothing feels like it has the room to breathe. Events happen, but its all so suffocating that none of it has any impact, not even the death of an X-Man. Villas art is merely there, doing nothing to elevate the script. The developments with Emma Frost promise something, but with the way the book has suddenly gone, theres guarantee it will be anything worthwhile.

X-Men #12 closes out Duggans first year on the book, and it keeps up the bad work this book has become known for. Duggan and Tini Howard seem to be in a death spiral to see who can write the worst X-Men book, and the only reason Howard is winning is because Duggan has Larraz and Gracia making the book look good. Other than that, this is mostly drivel.

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 #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 #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.

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.

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.

Return of Wolverine #4 is yet another lackluster issue of a series that should have been a much bigger deal and better executed. The villain and her organization is still pretty one dimensional and the reasoning behind Persephones motivations is interesting, but doesnt really explain anything about why shes really doing anything. Declan Shalveys art is a bad fit for the book in most panels. This series has been a minor disaster with pretty much every issue. Logan deserves better than this muddled, lackluster effort.

Return Of Wolverine #5 brings this mini series to a close and it ends the way it began- disappointing.

The Secret X-Men feels like a waste of time. Howard writes some entertaining interplay between the characters, but the plot is barely even worthy of being called that. Even if it plays into something in the future, there's really not much reason to actually buy the comic. Francesco-Mobili and Aburtov are a great art team, but it's not enough to make this book worthwhile.

Superman #9 is a Bendis book through and through, and that's it's the biggest problem. Visual storytelling is about showing, not telling, and Bendis has always ignored that lesson completely. This issue wastes a lot of pages talking about Ultraman visiting Jon, a plot point that seemingly goes nowhere, that could have been better used showing Jon's journey through Earth-3. Ivan Reis art is hit or miss, but Peterson is shining right now. There's a glimmer of some good characterization for Jon in this one, but Bendis wastes it. That glimmer and Peterson's art are the high points of the book, but they aren't enough to save it. This issue had potential, but Bendis squandered it by indulging his base tendencies as a writer.

X-Corp #3 is an exercise in mediocrity, except for the back-up. The characterization is poor, the overall premise of X-Corp becoming a telecom company is not thought out enough, and it's just kind of boring. There's a bit of corporate intrigue and a cliffhanger ending, but they don't save this comic at all.

X-Men #13 is a competently done issue and that's pretty much the best that can be said for it. Structurally, it's sound and everything in it works towards the story it's trying to tell. Hickman and company do a fine job with it on the level of putting together a comic that plays into a larger saga. However, it also contains a terrible retcon that changes everything fans knew about a character in the worst possible way to sell a story that isn't all that good.

X-Men #4 is one of the worst X-Men books of the Krakoa era, if not the worst. The only thing that saves it is the art by Pina and Arciniega. Duggan makes so many mistakes its almost like hes never actually read X-Men comics before. If this is what the supposed flagship of the franchise is, its in trouble.

X-Men #17 is like digging through sewage to get a lunch box. Theres lunch, but everything stinks. Duggan is his usual terrible throughout the issue. Cassara and GURU-eFX arent up to their usual stellar, which is just plain weird. This book continues to be abysmal, but thats not even surprising anymore.

X-Men #18 is another issue that would be a total fail without the art. However, thats basically X-Men since Duggan took over, so theres no surprise there. The dialogue is mostly terrible, the plots are mediocre, and the humor is bad. Luckily, Villa and Milla do a really fantastic job with the art. Reading this book is a groan-inducing chore, but looking at the art is pretty great.

X-Men #20 is not a well-written comic in any sense, but the art is amazing. Thats pretty much par for the course for this book.

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

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

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

S.W.O.R.D. #10 continues the downswing in quality this book has experienced. Ewing just doesn't make anything in this comic feel like it matters, and that's a huge problem for a book that was so mired in crossovers that it never developed its own identity. The art is the best part of the book, but the coloring makes it look a little too polished. This whole book is becoming a disappointment.

Superman #8 is a bit of disappointment, story-wise. So far, Bendis has kept the worst of his writing style over in Action Comics, introducing bad OCs, cramming it with unneeded dialogue and sacrificing action for that, and basically doing whatever he wants with continuity. This issue introduces most of that to Superman and it's a shame. The ending is cool but probably will never be explained, the art is great, but Bendis indulges his worst tendencies in this one and it brings the book down. It's not terrible, but it's definitely disappointing.

Superman #17 is okay. Bendis highlights the relationship between Lois and Clark and how well they gel as a couple, and its the strongest part of the issue. The other parts in the book feel inconsequential and dont seem to fit in with the story hes trying to tell. The art by Kevin Maguire, though, makes even those useless seeming scenes look great and lends itself to the best part of the book perfectly. It feels like things are about to change in this book, and this issue is supposed to be the prologue to that, but instead of focusing on whats important for that it jumps around a little too much.

Uncanny X-Men #6 is the disagreeable issue of the book so far. This one is just pure filler, stretching the story out. The ending has potential, but the rest of this book does nothing special. This comic shows the overall story is lacking, but unlike some of the issues, theres no great characterization or character interplay to save it. Its a mediocre comic.

Wolverine Infinity Watch #4 is a disappointment compared to preceding issues. Its hard to put the finger on the why of it, though. Its fast-paced, there are some great plot points, and MacDonalds art mostly looks excellent. In the end, it feels like Duggan dropped the ball on this one a bit and thats a shame. The ending is overbooked and sets up a fight that readers already saw two issues ago. Its not a bad comic, not really, it just feels off, and thats a shame because the rest of the book has been excellent. Hopefully, Duggan will be able to course correct in the next issue.

X-Corp #1 is, at best, an underwhelming first issue. Howard doesn't really make an argument for why this book needs to exist, which is very important in a first issue. She mischaracterizes the book's star to make her fit the book, which is a shame because this book would be a lot more interesting with the old perfect Monet at its head. The plot itself is alright, but it's nothing special. Foche's art is clean, but it's also bland, and it doesn't really do anything to elevate a pretty mediocre comic. X-Corp's premise is so broad that it's worth sticking with to see how it will develop, but it's a bit of a chore to read.

X-Corp #4 has a glimmer at the beginning of being a good comic and then spends the rest of the issue torpedoing the book's premise. The ending makes no sense, and while it's a good cliffhanger, why should anyone care if the whole thing doesn't make sense? The art is okay but nothing special. X-Corp is a different kind of X-Men book. That doesn't mean it's any good.

X-Corp #5 gets all-action, but it has the same problems as every other issue of this book so far. Howard does a good job with the Fenris Twins and the structure and pacing of the chapter, but other than that, everything else in this issue falls flat. Foches art is okay, although some panels arent exactly great. X-Corp #5 is a change of pace, but its still stuck in the same race.

X-Men #16 is a well-written comic, but it doesn't feel like anything important. It's a problem this book has been having for a long time. Hickman is a great writer, and there's nothing really wrong with this issue and how it's written. It just doesn't feel like anything special. Noto's art is the issue's saving grace, but even then, there's just something empty about the whole affair. It's just setting things up. The wheels are spinning, but the car isn't going anywhere.

X-Men #21 is completely unsatisfying. Hickman writes well, and there's some definite setup for the future going on, but this isn't House Of X/Powers Of X quality, and it's not even close. If one isn't on board with the meandering, oh so clever riddles of the Red Diamond Sinister Secret pages, then it's going to do nothing for the reader. It feels like set up for the sake of set up and says very little. Now with more celebrity cameos! It's perfectly fine, but it feels like it's trying to be profound and fails at it. That said, at least it looks amazing. All in all, it's perfectly fine, but it's not going to whet anyone's appetites. It doesn't even feel like it's meant to; it's infuriatingly open-ended. It's endemic of Hickman's time on the book, for better and for worse.

X-Men #8 sees an underused X-Man finally gets some use, but it's hard to say whether it's good use or not. It feels like Duggan has kind of invented this version of Synch from whole cloth, and it's not great. The plot is just sort of there and feels like an excuse to use MODOK. Pina's art looks great, even though Duggan doesn't give him a lot of action to draw. It's yet another disappointing issue in a book that's been full of them.

X-Men #9 is another example of the multitude of problems this book has. Duggan just isnt the right fit for this comic at all; he can come up with some good ideas, but his execution of them is frequently bad. As always, the art saves this book from being downright abysmal, with Villa especially shining in the action scenes. Its hard to be disappointed in this comic anymore; its so mediocre that reading just sort of renders one numb.

X-Men #13 opens up with a massive mistake thats impossible to forgive. Therere several other problems throughout the book as well, but this book is almost too simple for Duggans shoddy writing to screw up. That makes it the best chapter of this book in ages, which is damning it with faint praise. Villa and Milla do a good job on the art. This issue isnt great, but it isnt as terrible as usual.

X-Men #15 is yet another Duggan-written book. There's a good plot, but his execution of it is as poor as always. Marvel needs to stop putting A-list artists on this book and see if Duggan's writing can survive without amazing artistry. Cassara and GURU-eFX are brilliant, and Duggan does give them some cool stuff to draw, at least, but it's still a mediocre comic, and they deserve better.

X-Men #19 is surprising because it isnt completely terrible. Duggan somehow stays out of his own way and doesnt completely botch this issue. Nothing is spectacular, and the subplot makes some dumb mistakes, but the art makes up for a lot of the normal Duggan problems that are baked into the script.

X-Men: The Trial Of Magneto #4 is certainly a choice. This one definitely isn't it anymore for anyone who wanted an X-Men story. It's yet another piece of apologia for Scarlet Witch, but it does have some good moments. Williams is a good writer, but this book is just mystifying. The art is the best part of the thing, at least. Where it goes next is anyone's guess.

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 #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.

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.

New Mutants #32 is pretty basic, all things considered. It suffers from coming so soon after a defining run on the book. All of the creators are good, but theyre just not as good as what came before. This story is average at this point, but theres room for improvement.

Old Man Logan #46 does some nice character work, expanding on some of the themes that Brisson has been setting up in this books. Unfortunately, the plot and art arent anything special and Brissons solid characterization cant buoy them up very much. Theres a chance hell turn it around in later issues, but this an extremely average comic. It fits into Brissons overarching story, but its not going to wow anyone.

Superman #24 is kind of mystifying, which should be a good thing for a magic story but isn't. It's sort of cliche and could have been more interesting if Bendis went full Bendis on it instead of tacking on an action plot with a new villain that is lackluster at best. The art is pretty good, so there's that. It's not a terrible comic, but it's nothing special.

Wolverine #13 is an okay issue of X-Force. If someone bought it hoping to see Wolverine or whats on the cover, thats not whats in there. It sets up some cool stuff for the future, and Percy is always entertaining, but its nothing special. Eatons artwork is aggressively mediocre, which is a pretty good way to describe this issue in general.

X-Corp #2 is a slight improvement over the first issue, but only a slight one. Its a bit boring but not terrible, and the Fenris plot puts some juice into the whole thing, even if it probably only should have been established here and expanded upon elsewhere. As an aside, David Aja, whos doing covers, is totally aping the covers from Grant Morrison and Chris Westons The Filth. Like everything else about this book, its obvious, cliche, and a little boring. This book is improving, but theres still a long way to go.

X-Factor #4 is bloated. It gets across what it's trying to, but it's obvious that there's not enough story for all of the pages. Williams does an admirable job of not letting the cracks show, and the art by Gomez and Silva is pretty good to boot. All things considered, it could be worse.

X-Men #17 is fine. There's nothing wrong with the writing; the story is exciting, there're some fun moments. Cannonball and Sunspot are very entertaining. However, it just feels like it's there as filler. Sure, the Shi'Ar Empress owes Storm a favor, and that will play into things later, but does any of it really matter? Is this a story that demanded to be told, especially right now? Hickman is a creator who rarely missteps, but it feels like he's just spinning his wheels. Booth's art is very good, but there's something that is kind of anachronistic about it. X-Men is like a ship without a rudder- it gets somewhere, and the trip isn't always unpleasant, but it is aimless.

X-Men #7 is a comic with fantastic art. The writing doesn't match the art at all, but Duggans writing is merely bad in this issue, not as abysmal as it has been. At least he choreographed a nice action scene. Larraz and Gracia are the MVPs because of course they are. The art elevates the so-so writing.

X-Men: The Hellfire Gala #1 is a slog of a comic.

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.

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 #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.

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.

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.

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.

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.

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.

All in all, New Mutants #31 is fine. Its average, which is a step down from what it was before. It has its moments, and Anders, Alburquerque, and company show potential. Itll be interesting to see how this book goes in the future.

This story had a lot of potential. It was interesting to think of what kind of ways Mayor Fisk would try to get the flash drive back, but its all become rather cliche. There were so many places this story could have gone. There still could have been a fight with Bullseye, but it could have been structured differently to make the whole thing better. The point of Wilson Fisk being mayor is for him to be a new kind of threat than he was before, but this story shows him just doing what hes always done. The fight makes the whole thing better, but it doesnt change the fact the story veers into same old, same old territory.

Since Wolverine died, readers have gotten great Wolverine stories from the likes of Jeff Lemire, Ed Brisson, and Tom Taylor. In an environment with stellar stories such as these, nothing in this book makes a case for why it needs to exist.

The Return Of Wolverine #3 is a good single-issue comic, but does very little to progress the plot of the book, which, while not a great plot, definitely needs some polish. This is the third issue, and things arent even remotely clear. The villains are so generic, it hurts. If Soule wanted to do a greatest hits Wolverine book, he didnt need to include anything about Soteira in it at all and would have had a much better comic. Shalveys continued wrongness for the art doesnt help matters much either. If it was just to be judged on the strength of Wolverine/X-Men confrontation, this would be a better book, but this is the middle of a five issue mini series with a plot and stakes that are still unclear. It feels a little too indulgent and thats a problem.

SWORD #1 is alright. There are some very cool moments in the book, but Ewing doesn't really make an argument for why this book exists. For example, why is this even a mutant book at all? A SWORD book isn't a bad idea, but it feels like the only reason this is a mutant book is that those are what's selling right now. That said, Abigail Brand is a very cool character, and there are some obscure mutants in this book that some fans love, and that's reason enough to come back. Ewing has proven just how good he can be in other books, and this book does have some potential. Valerio Schiti's art is pretty great throughout, and he and Gracia work well together. This isn't a great start, but this book does have potential.

S.W.O.R.D. #7 is a bit of a double-edged sword in that it's an entertaining book that is also super annoying. This book deserves to be able to do its own thing, and it's never got to. Ewing is a good sci-fi writer, but he has a whole lot of great characters that he's doing nothing with, and that's a travesty. Caselli's art is excellent, which definitely helps. One day, this book won't be bogged down by crossovers and get a chance to be special.

It feels like S.W.O.R.D. #9 is the bare minimum. It works on a surface level, but it feels like it was written according to a chapter in Comic Book Writing 101, and Ewing is just better than that. Camagnis art is excellent, which is a plus. Theres nothing wrong with this comic, but theres nothing special about it.

All told, this is an average chapter of Saga, with a few interesting standouts. Saga is still one of the better books being published, but it feels like its in a rut and this issue is a great example of that. It moves the story forward, it builds characters, and there are some cool visuals, but it all feels so rote. For most books, this would be perfectly fine, but Saga isnt most books. It set the quality bar very early on and in recent arcs hasnt been reaching that same point. This story arc does have the potential to change all that, but time is running out for that to happen. Its no reason to drop the book, but its a rather average chapter of Saga. Its not bad, just a little disappointing.

Superman #14 is a disjointed affair. Critical elements to the plot just seem to happen out of nowhere, and it makes the whole thing suffer. Maybe Bendis is going to reveal things down the line, but not doing it here leaves so many questions that it almost ruins the entire thing. However, the art is fantastic, and the ending is a great feel-good moment for fans of the LoSH, bringing them back in grand fashion. The ups and downs of the quality of the writing hurt this issue, though.

Superman #23 is an okay issue, but it's a classic Bendis opening issue of a story arc comic- a whole lot of talking and set up.

As far as it goes, this issue works well enough to get a reader to come back, but it isn't anything special.

Superman #32 is definitely a book with two different stories of varying quality. The main story is a lot of fun, just a great Superman story that boosts Jon. Johnson and Godlewski do a wonderful job throughout. Lewis and Basris backup isnt nearly as good. Its a bit too long, and it feels like it, but at least the art is good. It hurts the book overall, which is a shame.

Silencer #2 isnt a perfect book by any means, but its fun and keeps things moving. The art is its biggest strength, but the plot has potential and Silencer is an intriguing character. Its not the best ride at the theme park, but its still worth your time.

Uncanny X-Men #10 is a strange beast. Its a good book with a shocking conclusion and great art, but that conclusion feels so cliche for an X-book by this point that its not very special for long time fans. The book also doesnt really use its too large roster effectively. This issue is emblematic of all the good and bad things this story has done so far. Its not bad, its just extremely by the numbers. This story arc has had a lot of ups and downs quality wise and this one lands somewhere in the middle: not bad, not great, but kind of average.

X Of Swords: Creation is a tough comic to recommend. It's not a bad comic- it's well made, the story works, the art is good. However, it's still kind of a hard sell because this is the beginning of a 22-part storyline, and it doesn't feel like there are 22 issues of story here. The set-up is good, but as with any huge event story, one has to judge the first issue on something besides how good the first part is and on what the story that comes after is going to be like. This event story is especially huge, with few other stories in recent memory being this big. As good as this issue is, what comes next is still a hard sell.

X-Men #9 is a good issue of this book, but that's a disappointment with just how good this comic has been since Hickman took over. The beginning of the story is excellent, but the rest of it feels too rushed. It's not a bad comic, it's just sort of average. What's not average is Leinil Yu's art. This story could have used more room, whether it be just a few more pages for the two issues or another issue entirely.

X-Men #14 is a well done comic, but one's enjoyment of it entirely hinges on whether X Of Swords is working for them. It's all very predictable, but it does do an excellent job of getting across the kind of person Genesis is- she may actually be more hardcore than Apocalypse. The art is great if a little static. However, it's just more set-up for a crossover that already feels like it's gone on too long.

X-Men #11 is yet another example of a beautifully drawn book that fails completely when it comes to the script. Duggan seems to do his best writing in the art direction because anything he does on his own that the artists don't have a say in is terrible. At least in this issue, he remembered the Phoenix never actually had control of Jean Grey. Honestly, this is the type of comic where the reader should just look at the pictures. They'll still understand what's happening and save themselves from reading some weak writing. That's why there will be two grades for this issue- one for art and one for writing because the art doesn't deserve to be bogged down by this kind of terrible writing.

X-Men: The Trial Of Magneto #5 has a good ending, but it also shows just how bad this book really has been throughout its run. It would have been a fine mystery book, but Marvel apparently had other plans for it, and it hurt things immensely. The ending doesnt do much to redeem the story and is even more frustrating because it could have been a great story if it had been done differently. Wernecks art is uneven, which is basically this book in microcosm. This comic is the ultimate missed opportunity, and its ending cant save it, even if its the best part of this five-issue tale.

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.

    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 #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 #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.

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.

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.

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.

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 #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.

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.

    Old Man Logan #42 looked like it was going to be a same old, same old, hero-and-villain-forced-to work-together-to-survive-the-Savage-Land story that readers have gotten multiple iterations of. Instead, Brisson and company give readers something with a little more meat on his bones. The art could be better, but Brisson is moving ahead with the story hes been telling in the book since he came on and making some smart choices with where hes going. If hes executes them as he has in this issue, then readers are in for a treat.

S.W.O.R.D. #11 almost feels like a futile gesture, a Hail Mary pass in the fourth quarter in a game that's already been lost. Stretching the football analogy further, it's a great play, but it does nothing more than show that the team is good and the next game will be better. Ewing finally does something worthwhile with this book, and while it bodes well for the future, it just makes one wish he was doing this sort of thing the whole time. Camagni is a good artist but nothing special. Hopefully, this book's developments will allow X-Men Red to be better than it was.

Sins of Sinister: Dominion #1 is a fitting ending for the story. The writing and art are both well done, but it cant really fix the disquiet this story leaves in a reader. The Krakoa Era is one unfolding story, and at the end of events, it feels that way the most. SoS is all the weaker for it, and this ending plays into the feeling that plots are just pieces moving on a board.

All in all, Superman #40 is an average chapter in what has mostly been a rather stellar Superman book. Its not bad, at all, its just nothing special, but the story does have the potential to get better. Robinson introduces some interesting wrinkles into the whole thing and Mahnkes art is great.

Superman #44 is a good ending to a what was shaping up to be a great story . The creative team nails it when dealing with Bizarro and Superman, but when it pulls out for the other things going on around them, it pales a little bit. It doesnt ruin the whole thing; this is still a really good story and the best Bizarro story in a long time. The first two issues of this arc were amazing, setting up everything so perfectly and while the ending of this is good and works, it doesnt fit the set-up. Its a bit disappointing, but still worth the read.

Superman #19 continues the story of Superman revealing his identity by focusing on the Daily Planet. Bendis uses his signature tropes in the best possible way in this issue. It's entertaining. A problem is the chapter doesn't seem to lend itself very well to a story arc. Sure, there's a cliffhanger ending, but other than that, where is this story going? Ivan Reis's artworks at the beginning of the issue, but suffer later, possibly because of the number of inkers on the book. As stated above, this is an entertaining issue, but it doesn't feel like it works for a long-form story.

Superman: Son Of Kal-El #17 spends way too much time on a plot that everybody knows will work out, but at least Taylor moves the main story forward elsewhere. The art team of Tormey, Coleman, and Fajardo Jr. is brilliant and is definitely the highlight of the comic. Its a good book, but some of the choices are mystifying.

Overall, The Man Of Steel #4 is a very strong comic. Bendis and Maguire are able to lay out a great, kinetic action sequence that also shows Superman for the type of hero he is, one who is always thinking as hes punching, trying to make sure his battles dont affect the city and people hes sworn to protect. The reveal will probably make sense in the long run, but it feels a bit cliche and lacks the menace that it seemed to be building towards. Bendis is giving readers an entertaining Superman and moving past a lot of the deficiencies in his style. Hes not completely past them yet, but The Man Of Steel bodes well for his future with Superman.

    Its a good comic that sets up several things for the future, but its not as good as it was building up to be and thats a disappointment. As a whole, The Man Of Steel did a lot of things right and proves that Bendis can be a good fit for Superman, that he can mostly transcend a lot of the negatives in his work, and that he can set up things that may provide great stories down the pipe. This issue shows that he can still falter sometimes, though. Its a good comic in an otherwise great miniseries. So, sure, its a disappointment, but its a disappointment in that it wasnt as well done as the other five issues, but is still a worthwhile read.

Uncanny X-Men #17 puts a real-world spin on Rahnes murder, and it fits very well. Its not the evil plan of some mutant mastermind or a government-sponsored hit (although something like that sort of happens in the book), its just a symptom of the hatred and bigotry of the world. After six very Cyclops centric issues, this one focuses on Logan and his own guilt over another death on his watch, one he feels in part responsible for. Unfortunately, this art doesnt fit the caliber of the script. Its blandness hurts what could have a stellar issue of Uncanny X-Men. It doesnt kill the chapter, but this issue could have been so much more potent if the art was better.

Uncanny X-Men #20 does an admirable job of tying together a lot of Rosenbergs plots from this run. The inclusion of the Upstarts takes away what makes them special and the fight with them is sort of static and lifeless, but theres a lot to like about this issue. Laroccas art is much better than what readers have gotten in the last few issues, while still not being the best it could be. Rosenberg gets in some great character moments with Dark Beast and Emma, though, and it buoys the issue and the fight between the Wolvie and Revanche and the Hellfire Club makes up for the Upstarts fight. This is a solid comic, even if it does drag a little.

Wolverine #16 is an entertaining comic, but it feels like theres stuff missing. Percy does a good job of letting readers know who Solem is, but he doesnt give them the big Solem/Wolverine fight that this story seemed to be building towards. Kubert is at the top of his game again, which is pretty much what hes been doing the entire time on this book. Its not a bad comic; its just strange.

The first story is the strongest of the bunch, touching on Wolverine's past in Japan and telling a story that touches on his life's weariness and the things he sacrifices for being a hero. The third is a lot of fun and shows readers that Wolverine is as smart as he is tough. The second story is a huge disappointment on all counts. It barely belongs in this book, and Bachalo's art just doesn't translate well to black and white.

Wolverine: Black, White, And Blood #4 isnt the weakest issue of the mini, but its not the strongest either. Its pretty good all in all, with the last story bringing down the curve. The idea behind this series is sound, but its kind of been a case of diminishing returns since the first issue, which was just about perfect. Its presented some fun Wolverine stories in a novel way, though, and this issue succeeds in that as well without too much trouble.

Wolverine Infinity Watch #5 goes in an entirely different direction than the ending of the last issue. It builds the character of Hector more than over the previous four chapters, but it sort of comes out of nowhere. Its an exciting way to end the series, but its so abrupt that it might leave readers a bit cold, because, for the majority of the series, Duggan has been playing with Loki and Wolverine. Andy MacDonalds art is good, but he could use more work in his character acting for the most part. All in all, this is a satisfying ending, even if it does come out of the left field.

X-Factor #7 is a good comic. Williams focuses a lot on the characters, but the issue is very slow-paced. It kind of makes the main plot feel unimportant in a lot of ways, almost like it's just incidental to everything else. The whole Siryn mystery is resolved rather quickly, but the end of the issue cliffhanger does a great job in making it feel more important than the rest of the story does and works very well. Baldeon's art is great, but that's pretty much his default setting at this point. X-Factor #7 works, but it doesn't balance the character drama with the main plot very well and almost fumbles the ball.

X-Force #21 plays with the concept of telefloronics that Percy has been building up throughout his run. Its intriguing, but its not enough to save an aggressively okay comic. Theres nothing wrong with this book- the writing is good, the art is good, the plot is good, and it builds up intrigue for the next issue- but its just good. Theres nothing spectacular about it. Thats okay, of course. Its still an entertaining ride, and thats all that matters.

X-Men #10 is pretty good when Duggan isn't doing too much, so the Wolverine scenes work very well. It's nice that he finally remembered to do something with her after ten issues of her barely doing anything worthwhile, but that's a deficiency of how he plots the book in general. Pina's art is weak in a few places but is overall very good, pairing wonderfully with Gracia's colors. Any issue of X-Men that's above mediocre is rare, so this one is a pleasant surprise.

X-Men #14 isnt terrible, which is pretty good for this book. Its not really a tie-in, feeling like something that Duggan planned anyway. X-Force #31 did the same thing, but it felt better in that book, mainly because Percy is just better than Duggan. The book is a mixed bag, but the good parts shine enough that it overshadows Duggans usual dross. Villa and Milla do a good job, for the most part. All in all, its a mostly entertaining issue that has just enough good stuff to overcome Duggans usual shoddiness as an X-Men writer.

X-Men: The Trial Of Magneto #3 has a great ending, but the rest of the book feels like padding it. Its not a bad comic, but its not as good as previous issues. The art is also weaker than what came before, which doesnt help. This one is lucky the ending is so good.

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.

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 #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 #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 #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 #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.

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.

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.

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 #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.

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.

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.

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.

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.

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.

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 #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 #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.

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.

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 #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.

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.

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.

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.

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 #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 #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 #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.

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.

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 #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 #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.

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.

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 #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.

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 #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.

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 #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 #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 #29 works well as a one-and-done. Its not exactly an issue that will hook a new reader, as it deals with a lot of stuff that a reader would need to know, but Lore does a good job. Sanna and Brown deliver some kinetic action, but the character acting isnt as strong. This one is a fun comic and a great read, despite some of its flaws.

Nocterra #10 is another exciting chapter. Snyder, Daniel, and Maiolo do a great job with this issue, setting things towards the inevitable end of this part of the story. Nocterra is nothing short of entertaining, and this issue is another example of that.

Nocterra #12 follows the plot formula to a tee but uses it wonderfully. Snyder, Daniel, Maiolo, and AndWorld Design give readers an action-packed and intriguing opening issue for this new story arc.

Nocterra #13 moves quickly, but theres a lot of substance to it. Snyder, Daniel, and Maiolo are an excellent team. Itll be interesting to see where they take things as the book goes on.

Old Man Logan #36 is a great start to a new story arc. The art could be a little better, but Brissons story is so good, if a little cliche, it still engages the reader. The whole set up for this story arc is pretty intriguing. If there is ever a weakness to Wolverine/Logan stories, its that they fall back on the same types of villains, usually ninjas, shadowy government agents, mutant threats, or old foes with scores to settle. Pitting Logan against the Kingpin, especially the new mayor of New York Kingpin, is an inspired choice. This isnt a perfect book, but its an entertaining read with a great hook for the issues to come.

Old Man Logan #40 isnt much of a Logan story. It showcases a character who has rarely gotten any starring roles and is better for it. The plot is tried and true, but Brissons script is brimming with emotion and is easy to connect with, and Robersons art is expressive and dynamic. Its all very cliche, but it works in the best possible way.

    Old Man Logan #41 is a solid book. It presents a never before seen match-up, while also bringing back two classic Wolverine villains for a nice bit role. There are a few problems, but overall, its an entertaining issues and sets up what could be a very interesting story as two hunters fight to survive the Savage Land and each other.

    Old Man Logan #44 is an entertaining book with a few minor drawbacks. Theres too much focus on Bullseye, which isnt entirely a bad thing, but it takes away from the effects his actions could have had if readers were more in the dark about what he was doing. However, even with that weakness, its a well-paced, exciting comic that will leave fans clamoring for the next issue.

Old Man Logan #47 could have been a cliche affair and, while it still definitely has elements to it that could considered as such, Ed Brisson throws in a twist on the formula that makes the whole thing shine a little bit more, and the cliffhanger ending sets up the next story arc wonderfully. These two elements, along with improved art, make this one into something special. Subverting a formula while still giving readers something satisfying isnt always easy (ask Rian Johnson), but Brisson and company pull it off here and make it look effortless. The art could be better, but this is definitely a story worth picking up.

Once And Future #11 gives a modern twist to killing Grendel, and it's a lot of fun. Gillen, Mora, and Bonvillain all do a wonderful job of providing an outstanding, entertaining fight. The issue keeps up the great sense of humor from the installment before. Once And Future #11 keeps up the little Beowulf story in this arc, and it'll be great to see what the next issue brings.

Once And Future #21 is yet another example of what this book does best. It moves the plot forward, has great action, and showcases the art team. It doesnt all land, but its still an entertaining comic.

Planet-Size X-Men #1 is a great read. Duggan and Larraz give readers a breathtaking look at the re-creation of a biosphere, and its a move that looks to have massive repercussions on human-mutant relations in the future. That said, its a little too convenient for the plot and actually one of the least intelligent moves Krakoa could make. All in all, its a good comic.

All in all, Proctor Valley World #1 is an effective first issue. Morrison and Child set out who the characters are effectively, do a great job of setting the scene and let it all play out. The art by Franquiz and Bonvillain is great, cartoony, and colorful and works well for the story even if it seems like it shouldn't. This isn't a typical Morrison experience, but that's okay- it has a nice flavor and wonderful set-up.

Proctor Valley Road #3 feels like it cops the formula from the last issue, but Child and Morrison make the whole thing work with excellent character work and little moments that shine through. The story keeps getting more interesting, and it will be fun to see where this one ends up. Franquizs art doesnt always work with horror, but its still excellent. Proctor Valley Road might not be what fans expected, especially if theyre looking for super weird Morrison, but its still a lot of fun.

Return Of Wolverine #2 is a better comic than the first issue because it focuses on a well-drawn, well-written fight, instead of the cliche early-90s Wolverine story that Soule is laying out in the book so far. The end of the issue sets up a reunion that many fans have waited years to see, but thats really the only thing to look forward to with this story if youre a long time fan of Wolverine. This one still has a few of the same problems as the last issue, but it also does a few more things well.

S.W.O.R.D. #3 is a really good issue. Putting the focus on Manifold is a great move by Ewing. While the story mostly deals with King In Black stuff, it still does a bit of set-up for the future by bringing Gyrich into the book and revealing him to be working with mutantkinds greatest enemy. The art is very good, considering the number of artists who worked on it, with no jarring stylistic changes. S.W.O.R.D. #3 is yet another crossover issue done right.

S.W.O.R.D. #8 shows off just what this book can be when its not bogged down in whatever sci-fi crossover Ewing gets it involved in. This is a great Storm-centric issue, showing her new life as Regent of Arakko, and it honestly kind of makes a body want a Storm on Arakko book. Vilanova does a fantastic job with the art. This issue doesnt reinvent the wheel, but it is good fun.

Saga #62 is exactly what readers would expect from the second issue of a Saga story arc. Vaughan and Staples build the story expertly. Its all to be expected, and its another entertaining chapter.

Saga #63 follows the plot formula of this book to a tee, but as usual, Vaughan and Staples make it work. There are enough tantalizing developments in this issue to get readers excited about whats coming next.

Saga #64 builds up the plot more. Its a pretty good story, with several plots that could go either way.

Storm & the Brotherhood of Mutants #2 is a fun comic, and the team does a fantastic job, but theres a fundamental problem with this story that it cant fix. None of this is going to matter, but at least its a fun read.

Super Sons #13 keeps up the legacy of pitch perfect characterization and solid artwork that have been a hallmark of the book since its debut. It has humor, heart, and action, something this book has been continually bringing.. Bringing Talia in lets readers see Damian in a new way and this story has the potential to sow some discord into Jon and Damians relationship. Its not perfect, and this story arc could go either way, but if you havent given Super Sons a try yet, this is a perfect place to start.

The Bizarro section is full of little things like that and it makes the issue that much better. Bizarro stories should always be mixes of the ridiculous and the serious. Some creators err too far to either side and the story falls flat, but so far, Tomasi and Gleason have struck a great balance. The rest of the book contrasts with that opening section, while also setting up a nice thematic resonance with it. The first few pages are a little jarring, but sticking with it rewards the reader with a smart and fun Bizarro story.

Superman #6 delivers an action packed finale to the Phantom Zone storyline and sets up a few glimpses of things to come. Its rare for a Bendis written book to be this action focused and the art team takes full advantage of it, laying out some beautiful double page spreads that capture the fight perfectly. The big reveal at the end is already controversial, but readers will have to wait to see where it goes. Superman is easily the better of Bendis two Superman books and this issue keeps that up.

Superman #7 takes something that a lot of fans are up in arms about and handles it rather gracefully. Fans reading through the book, hoping to find Bendis destroying Jon for his own sake are going to be in for a disappointment. This isnt a groundbreaking book; most of the stuff in here feels like things most fans have already figured out, but its well told and the art is mostly great. This was a classic Bendis info dump book, but it doesnt suffer from his penchant for long winded, boring dialogue and it works to hopefully keep readers coming back to see what comes next. This is a good comic and hopefully fans can look past their own prejudices and give it a chance.

Superman #12 is hard to quantify. It starts out really good, with wonderfully drawn and exciting action. Ivan Reis knocks it out of the park in these pages, showing readers how great he can be. The second half of the issue is well done, but how much a reader enjoys it will depend heavily on how much they are into Bendis Krypton retcon. This isnt at all a bad issue; far from it, really. It does a great job of setting up more things for the future, and they are all pretty intriguing. However, if the reader doesnt like what Bendis has been doing, they arent going to like what they see.

Superman #15 puts Bendis' first big Superman story to bed in a beautiful fashion.

Superman #31 is another great Superman comic. Kennedy highlights one of Supermans weaknesses while also showing one of his strengths- his selflessness. He keeps playing with the whole fathers and sons thing, and it works. Godlewski and Rapmunds art is pretty great and fits the story well, and the backup is pretty good, even if it reads a little fast. All in all, this is an entertaining read.

Superman: Son Of Kal-El #12 builds the plot more, and its an entertaining read, but its not as great as it was in the beginning. Maybe Taylor is holding things off for the future, and the art is good, but compared to some of the other DC books coming out on a monthly basis, its par for the course

Superman: Son Of Kal-El #15 ends the Gamorra plot very well. Taylor keeps up his strong character writing, and the art team does an excellent job. This ending does everything it needs to and has some wonderful moments.

Superman: Son Of Kal-El #18 is a pretty good last issue for this book. It leads into the next phase of Jons life well. Taylor has created a fantastic series so far, and it will be interesting to see where he takes Jon next. Tormey, Coleman, Hanna, and Fajardo Jr. have all done nice work, and Sharpes letters are the icing on the cake. This issue closes out this book in great fashion.

Uncanny X-Men #1 is a good return for the most important mutant book of them all. The two stories it contains are very good X-Men stories, but the first one is weakened by concepts that readers have seen multiple times, and the second suffers a little from uneven art and the ending being spoiled by Marvels publicity machine. Readers expecting something akin to Grant Morrisons revolutionary and transformative New X-Men arent going to get their wish. This book is more like Joss Whedons return to form Astonishing X-Men run than anything else: indebted to what came before, but extremely entertaining. Its a must-buy for X-Men fans, and also gives new readers with only a cursory knowledge of the X-Men a good place to start.

The writing team throw more fuel on the fire in Uncanny X-Men #2. The art is solid but uninspired and the story hits some nice notes, building up its central mysteries rather expertly. Theres also a lot of instances of good character writing and humor that doesnt seem lame or forced. The first issue was good, yet safe, and used concepts that have been a tad bit overused in the franchise. This one introduces some new things, and, while it still feels safe, theres also definitely room for things to get crazy later on, especially with the big return at the end of the book. The art could use a little more flair, but this is a satisfying comic thats building an intriguing mystery.

Uncanny X-Men #3 ups the ante, ending the first third of this ten week story with two big reveals. The characterization is perfect, and the highlight of the whole thing. The art and coloring are mostly good, with a few noticeable deficiencies. The big reveal at the end should keep readers on the edge of their seats, though, and makes up for a lot.

Uncanny X-Men #5 keeps adding more to the plot. The art isnt great, but its not terrible and theres plenty of interesting little turns in this one to keep readers coming back. It leaves readers with a lot questions- will Apocalypse be able to influence X-Man? Can Legion and the young X-Men actually hurt X-Man? Exactly how powerful are the Horsemen of Salvation? Will Psylockes gamble blow up in her face? Its questions like these that intrigue readers and drive them back to the book and this book is definitely worth coming back to.

Uncanny X-Men #16 closes out Rosenbergs first story arc with Marvels merry mutants and so far, his writing style is great for the book. Hes able to do a lot of exposition and dramatic work without the book getting boring or wordy. Sometimes, like with Havoks nagging, it takes a while for anything to develop from it, but when it does develop, it fits wonderfully with what hes trying to do with the X-Men in this new status quo.

Uncanny X-Men #19 adds a lot of interesting wrinkles to whats been going on in the book. Emma, as a master manipulator who is also being manipulated, is a nice touch and seeing the lengths shes willing to go to for survival will give new and lapsed readers a feel for who she is. The art is the books biggest weakness. It doesnt do anything very bad, but it doesnt do anything very good either. With better art, this book would have been amazing, but its still very good.

Way Of X #2 is an intriguing little comic. From the end of the book on bringing Legion to Nightcrawler just being a great person, this issue is building something worth reading. The little moment between Nightcrawler and Legion talking about their names is perfect, a highlight of Spurriers script. Quinns art has its upsides, but his style is nothing special. Way Of X has a great premise, and it will be fun to see where it goes.

Way of X #3 takes an interesting approach with the Hellfire Gala in that it barely even shows it. Spurrier knows he has to do something with it, but he uses it as set dressing for the story he's trying to tell in this book, which was the right thing to do. It all works out very well, and this book is a pretty good read. Quinn's art is solid but not great, and it works well enough. This is almost like the anti-crossover crossover issue, and it's fun for that reason.

White Savior #1 is an excellent kick-off issue. Theres a very obvious joke here that the creators arent scared of, but the first issue doesnt lean on it. Todd is a fantastic character and is a big reason this issue is so successful. This book lays out a fun story that readers will enjoy and is definitely worth checking out.

White Savior #3 is good, but not as funny as the previous issue. The jokes are still there, though, and the team does a lot more plot work in this issue. The reveal of Neal feels to be stretching things, but its a small problem in what is definitely an entertaining issue.

Wolverine #5 is a great little comic. There are a few deficiencies to it, but one of them helps the story move along, and the other isn't Percy's fault. It's still very entertaining, though, and while it isn't as artfully written as some previous issues, it's still quite good. Bogdanovic and Wilson do a great job with the art. Wolverine #5 is a lot of fun.

Wolverine #14 is just a solid issue of Wolverine. Percy does such a great job with the character and builds an exciting plot, playing off what he set up in the Hellfire Gala issues. Kubert and Martin return on art and knock it out of the park. This issue isn't going to change the world, but it's a lot of fun.

Wolverine #15 gives readers some more background on Solem and sets him and Wolverine on a collision course. Percy has become an expert at building plots for Wolverine, and this issue is no exception. Kubert and Martin are amazing together, and this issue gives multiple examples as to why. Wolverine #15 is a great comic.

Wolverine Infinity Watch #3 is an action-packed and overall fun book. It gets a little predictable later on with Logan and Loki pretty much taking exactly the roles youd imagine they would during the fight, but Duggan fills it with enough solid characterization and expert character interplay that the books few flaws dont sink it very much. MacDonalds art is off in a few places, but overall does an admirable job of bringing the script to life. This book is definitely a treat whenever it comes out.

X Lives Of Wolverine #5 is a good ending to an otherwise stellar series. Its action centerpiece is one of the best Wolverine fights in years, though, and while there are some disappointments with the comic, its still a good read. Percy, as usual, knows precisely how to write Wolverine. Cassaras art is a little lesser than in previous issues but still pretty good throughout. This has been a great series, one of the highlights of the X-Men line for the last year.

X Of Swords: Destruction is a good ending to a remarkably uneven event. The creative team pulls out all the stops in this one, presenting an ending that opens up some possibilities that are intriguing. That said, the events ultimate place in history depends more on how those events play out than anything else. The ending of X Of Swords saves the story from many of its more unfortunate excesses in the first half. Its not perfect, but its a lot of fun.

X-Force #6 feels like a nice one and done issue that will have greater consequences in the future. Percy focuses on Beast in this one, showing how he runs black ops. His mindset is very scientific and methodical, which fits him perfectly. The art by Stephen Segovia is good. It serves the script very well. All in all, this is an entertaining issue with an ending that shows that maybe Beast doesn't go far enough in his methods.

X-Force #9 does a lot of nice character work while also bringing some chickens home to roost from earlier issues. Percy does a lot of heavy lifting in this issue in the best possible way, moving the story along nicely, while also doing some great character work. Joshua Cassara and Dean White's art looks great, adding to the whole thing. Life in the mutant CIA is tough for everyone, and this issue does a great job of illustrating that.

X-Force #31 is technically a Judgment Day tie-in, but Percy doesnt let that stop him from telling his story. He sets things up well and does some smart character work. Gill, GURU-eFX, and Caramagna do an excellent job with the visuals and letters. This is a solid comic.

X-Force #32 is a simple but effective comic. Percy keeps the story going in an entertaining manner, playing with a couple of his long-term plots. Gill and GURU-eFX are an amazing team, and their art really elevates the book. Itll be interesting to see how this story shakes out.

X-Force #33 closes out this Kraven story in wonderful fashion. Percy, Gill, GURU-eFX, and Caramagna give readers an action-packed romp of an issue. It shows off everything this team does well.

X-Force #37 pays off a mystery that has been going on since the comic launched. Its a good story; its entertaining, sets up a few cool plots, and the reveal makes sense. All in all, this is another fine issue of an underpraised book that deserves a lot more eyes on it.

X-Force #40 kicks off a new story for this book in the best way possible. Percy takes a standard dystopian future story and throws a curveball into the mix, which is pretty great. All in all, this is a fantastic read thatll hook readers immediately.

X-Men #5 is a good issue that could have been great with just a little tweaking. Hickman is setting something up with this one, but spends too much time telling readers about the Vault and spends very little time showing them anything. This issue is intriguing, but it could have been so much better. R.B. Silvas art is wonderful. He makes some very cool design choices, except the new costumes for Synch, Darwin, and X-23. This one was right on the cusp of greatness, but fell a bit short. Its still very good, though.

X-Men #2 is entertaining if what you want from an X-Men comic is different from what Hickman has been doing. Its a standard superhero book now, which is fine. Duggan does an excellent job with that sort of thing, and the book is never dull- every page gets used well. Larraz and Gracia are phenomenal once again, probably one of Marvels best art teams working right now. X-Men is a superhero book again, for better or for worse.

X-Men/Fantastic Four #2 raises the stakes from last issue. Zdarksy does a great job with each team, presenting them both as equally proficient without playing favorites. He sets up a good hook with the last page of the issue. What exactly is Doom up to? Readers will definitely come back to find out. Terry Dodson's art is an improvement over the last issue. All in all, this is a solid, fun comic.

X-Men: Red #1 is a good but not great book. It sets out its reason for existing, and the last page reveal is pretty cool, but other than that, Ewing has an unusual feel an X-Men book, almost like he's following the guide, but that's it. Caselli and Blee's art is pretty good, but it could be better. That feels like this book in a nutshell- it's good, but it could be better.

X-Men Red #10 is yet another great issue. The team does what they always do, presenting an awesome story. Its a little emotionally vapid, but its still a fun read.

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.

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 #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 #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 #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 #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 #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.

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 #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.

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 #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 #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 #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.

    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.

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 #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.

    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.

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.

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 #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..

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.

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.

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.

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.

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.

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 #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 #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 #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.

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 #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.

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

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 #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.

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.

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.

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 #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 #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 #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 #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 #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.

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.

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.

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.

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.

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 #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.

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.

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

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 #22 does a great job of juxtaposing Shadow Kings pessimism with the power of community. Ayala presents both sides very well. Reiss art does a good job of illustrating the issue. Its an entertaining issue and continues this grand, long Shadow King story Ayala has been building.

New Mutants #30 is a good comic for fans of the team. Sadly, Ayala is leaving, but they go on a high note. It's a fun comic, and anyone who loves the team should give it a read.

Newburn #2 is the epitome of a crime comic. Each team does a remarkable job with their story, showing two very different types of crime stories. This book is such a treat, and that's all there is to it.

Nocterra #1 presents an interesting world to readers, even if the setup for the journey for it is kind of cliche. Snyder uses narration expertly, as he's wont to do, laying out the rules of this new dark Earth (get it- Nocterra?). Daniels and Morey work well together, even if the creature design leaves a little something to be desired. Nocterra has a great premise, and the characters have a lot of potential, and that's all a new book needs.

Nocterra #2 is a treat. Snyder continues building this dark new world while also fleshing out the book's main duo. The crux of the whole thing is Augustus's story- which one is true, and how much of Val's opinion of him is true? Was he able to read her and just told her what he thought she wanted to hear? It will be interesting to see how all of this plays out. Daniel's art is doing an amazing job of bringing the whole thing to life. Nocterra is shaping up to be something special, and this issue shows why.

Nocterra #6 ends the first arc pretty well. Overall, this is a fascinating book, and while Snyder nailed the finish, it feels like he got a little fancy in a few places. The ending still works; its just a tad overwrought. Daniels art works pretty well throughout, but its also not as good as previous issues. Theres nothing wrong with the comic- its still terrific, and as an ending, it works. Itll be interesting to see where Snyder and Daniel go with this book, but its a ride everyone should take.

Nocterra #7 does some great world-building and sets this new story arc on its road. Its a little too fast-paced at times and the art isnt perfect throughout, but its still a good book.

Nocterra: Val Special is a cliche story that still hits hard. Snyder and Daniel take a plot that every horror story has done but use it to show readers how Val has changed since her younger days. Manapuls art is terrific, and thats all there is to it. This is a great comic and whets the appetite for the return of Nocterra.

Once And Future #5 keeps up the blistering pace of the series while also answering a lot of burning questions that the end of the last issue raised. Gillen is writing about the power of stories in this book. But this issue also shows that the real power in stories comes from those who are in them. Dan Mora and Tamra Bonvillain are the perfect art team for this book, gelling together to create some fantastic art. With only one more issue remaining, Once And Future remains a triumph.

Once And Future #14 is a fast-paced ride that drops a whole lot more on readers. Gillen has been ramping things up throughout this series, and this issue adds even more. It will be interesting to see what comes next, especially as England, is inundated with even more stories. Mora's art gets a bit sketchy in a few places, but it's still mostly excellent, with his character acting really selling everything. Once And Future #14 ends on a cliffhanger that will pique reader interest, but this would still be an amazing comic even if it didn't.

Once And Future #15 clues readers in some things they needed to know while also setting stuff up for later. Gillen accomplishes this without ever letting the book seem slow or boring, building anticipation and tension with the scene cuts. He doesn't give Mora any big action scenes but lets him show his character acting chops, making the issue work that much better. Once And Future #15 does a great job of cluing readers in and keeping things on the up and up.

Once And Future #19 opens things up on a high note and never lets up from there. Gillen sets up the new status quo expertly, using the first few pages to not only outline the world but where all the other characters are in it. Mora and Bonvillain are one of the best art teams around, and this book proves that with every page. This opening issue of the new story arc does a great job at pulling readers in and comes highly recommended.

Once And Future #20 starts a new conflict and has a great emotional throughline. Gillen is almost showing off with this issue; he does such a great job of expanding the plot and hits the right emotional beats. Mora continues to be one of the best artists in the industry with this issue. The issue does what Once And Future does best, impressing readers with each panel.

Once And Future #23 is a juggling act of the highest caliber. Gillen shows off his talents once again, and Mora and Bonvillain are again one of the best art teams in the business. Once again, this book remains among the best.

Powers Of X #4 plants a lot of seeds. Hickman, instead of picking up where the last issue of House Of X left off, tells a story that shines a light on a lot of things, while also giving hints of things yet to come. The Phalanx storyline is the only clunky part of the issue, but thats only because its tough to see how it plays into present-day of mutantkind. The art by R.B. Silva and Marte Gracia is just gorgeous. The two of them work together so very well and present a lot of great imagery. This one definitely slows things down a bit, giving readers a chance to breathe after the last two issues of House Of X. Even though it sets up a lot of future stuff. It also raises some very interesting questions about the present of both books and what might be going on. Its a great ride.

Powers Of X #5 establishes and sets up a multitude of ideas. From explaining how Cerebros new mind downloading ability works. To the Krakoan Quiet Council and its governing powers. To Namor and his doubt in Xaviers motives compared to his actions. Hickman is planting seeds that will grow into something great. The Year One Thousand stuff is interesting, but what that seed will grow into is anyones guess. Silva and Gracia provide the high-quality images the story needs to work. With one more issue left, its anyone guess where Hickman is going to go with this book and thats the biggest strength.

Proctor Valley Road #2 does a great job of keeping readers interested. Child and Morrison do a great job of fleshing the characters out and keeping the intrigue going. Their writing combined with Franquiz's deft pencils makes this book a treat to come back to.

Proctor Valley Road #4 is both intriguing and standard penultimate issue fare. It does all the heavy lifting it needs to and sets things up well. Morrison and Child do a great job of building a world around the story, and Franquiz's art is perfect for this story, even if it doesn't seem like it at first glance. Proctor Valley Road is the fun summer horror movie that everyone needs after the "joys" of the last years.

Proctor Valley Road #5 is as cliche as they come, but that makes it no less entertaining. Child, Morrison, Franquiz, Bonvillain, and Campbell have created a fun horror comic that just begs for a sequel. This issue serves to tie everything up nicely, and while it definitely leaves things open, its enough of an ending that if theres never a sequel, its still a satisfying story.

S.W.O.R.D. #4 is an action-packed romp that uses its cast wonderfully. Its hard to know whether Ewing set out to show how little of a threat Knull would actually be to the heroes of the Marvel Universe, but he does show that, and the book is better for it. Schitis art does a great job of setting the scene and giving the whole thing the kind of momentum it needs. S.W.O.R.D. has been a fun ride so far, and it will be great to see where Ewing and company take it.

S.W.O.R.D. #5 deals with the disruptive element that is Fabian Cortez but also sets him up as someone to watch in the future. Ewing scratches his sci-fi itch in this issue and also finally does something interesting with Arakko, which was completely unexpected. Schiti art is a great compliment to his script. S.W.O.R.D. remains one of the most impressive X-Men books.

Sabretooth #5 isn't as cerebral as some of the other issues, but it's still a fine comic. LaValle, Kirk, Beredo, and Petit have created an outstanding miniseries that set up the next chapter in Sabretooth and his fellow prisoners' lives expertly. It's not as great as the previous issues, but it's a fun read.

Saga #58 lays out a lot of great plots and does some adroit character work. Vaughan and Staples continue to be an amazing team.

Savage Avengers #6 keeps doing what this book does best. Its an action-packed romp that is going to shock readers by the end. Pepose, Magno, Grundetjern, and Lanham are firing on all cylinders, and this book continues to be a highlight every month.

Storm & the Brotherhood of Mutants #1 is an excellent kick-off. The issue drops a lot on readers, but it never feels that way. Its a killer story throughout, full of action, engaging plots, and terrific art. If this is what Sins of Sinister is going to be like, its a classic in the making.

Superman #41 doesnt reinvent the wheel, its not going to solve all the worlds problems with religion, but its a good time and it tries to tackle to difficult subject without being preachy or judgemental. It succeeds at that rather well, even if its basically preaching to the choir.

The Bizarroverse storyline is shaping up to be a great one. This first issue in the story gave the impression that this would be a meeting between Superboy and Boyzarro, with a good old fashioned Superman/Bizarro tussle in there somewhere. Thats a fun, albeit simple, premise, but Tomasi and Gleason have expanded on that, adding new layers to the story and upping the ante. This story will be the last one the team gets to do before Bendis comes in and its looking to be one for the ages.

It doesnt seem like its going to be one for the ages, but its very much a solid Superman story, one that wont disappoint long time fans.

All in all, Superman #4 feels like the first comic where Bendis has really understood what it takes to write a Superman comic.

Superman #5 does a lot of heavy lifting, continuing an already entertaining story and setting things up for the ending and beyond. A lot of the time in his career, these setup issues have been the most boring parts of the story, but Bendis and the art team work together to give this story the feel it needs to keep readers invested. A lot of readers arent completely on board with his Superman run yet, but showing them this book would go a long way to getting them into it.

Superman #10 is probably the best of this story arc so far. Bendis is able to craft a narrative that plays to his strengths in precisely the right way. It never gets bogged down by all the dialogue because none of it is superfluous or boring. Peterson's art is stellar, and while Reis has some sporty pages, the last big page is fantastic. This issue takes the story in a bit of a new direction, which hopefully Bendis can pull off. It isn't perfect, but this one is an enjoyable read.

Superman #20 is a lot of fun. Bendis gets the right mix of action and drama in this one. He even gets in one of his best jokes ever- the Daily Star editor jokes that everyone at the Daily Planet worked there, a deep cut reference to how in the Golden Age, Clark, Lois, Perry, and Jimmy were all employees of the Star before the Daily Planet even existed. Reis's artwork makes the whole thing sing. While this still very much feels like two different stories, they're both entertaining.

Superman #22 is a lot of fun. Bendis writing action can be a mixed bag, but this issue isn't like that at all. The battle between Superman and Mongul is pulse-pounding. The interplay between Lois and Cameron is a lot of fun as well. This issue sets up some interesting stuff for the future as well. Kevin Maguire's art makes the whole thing work- his action is bombastic, and his character work is top-notch. All in all, Superman #22 is a fitting ending for the "Truth" arc.

Superman #27 is a great Superman story, highlighting exactly who he is as a hero and person- a man who strives to defend and understand, wanting to end fights with diplomacy as much as with violence. Bendis nails this perfectly throughout the issue and paces the whole thing wonderfully. He strikes a delicate balancing act, and hes at his most Claremont-ian in this issue- using caption boxes to describe whats going on in Supermans head while also giving readers great action set pieces. Reiss pencils make sure those set pieces look great. Superman #27 is another example of just how good Bendis has gotten with the Man of Steel.

Superman #29 is the beginning of a new Superman epic, and it definitely delivers. Kennedy Johnson tells an interesting story, one of fathers and sons, and adds some more intriguing elements like what exactly Waller is up to. Hester's artworks for the action and the character acting but isn't as good when it comes to the monster's designs. The back-up story by Lewis and Basri is interesting as well, and it will be fun to see where it goes. This is a great Superman issue, a wonderful way to open up a new era for the character.

Superman #30 is a wonderful little Superman story. It plays into Johnsons overall narrative about fathers and sons while also telling a cool Superman story. Again, Superman is thrown at a threat that could mean his death, and its rather thrilling to have stories where Superman is vulnerable in new and different ways. Godlewskis art does a great job in this issue, giving it just the right feel. The backup story is good, too, and it will be interesting to see where it goes. Superman #30 is chock full of Superman goodness.

Superman: Son Of Kal-El #2 builds on the premise of the last issue. Taylor gives Jon some new stuff in this issue, including a new friend and enemy. Timms doesnt get as much to draw in this issue, but it does look terrific, so thats all that matters. This series is shaking out pretty well so far, and this issue keeps that up.

Superman: Son Of Kal-El #4 feels like Taylor's way of reassuring readers that Jon is just as good a Superman as his father. It works splendidly; he also builds up the threat of Gamorra and shows just how good Bendix is at playing this game. Di Nicuolo's art looks great and really helps the script along. This is a fun comic that makes a case for why Jon deserves to be Superman.

Superman: Son Of Kal-El #6 is a fun little comic. It loads up more ammo for the Superman vs. Bendix and Gamorra plot in an entertaining fashion. The Superman books are in a great palace right now, and Taylor and Timms are doing a great job. This issue is yet another example of how great this comic is.

Superman: Son Of Kal-El #8 continues building Jon as a hero and Bendix as a villain. It will be fun to see how they play off each other in the future, especially with the developments of this issue. Tormey and the art time do a great job on the art, making this one a joy to read.

Superman: Son Of Kal-El #10 is a fun issue. Taylor fits in some great Luthor and Lois moments and handles the coming-out scene well. The action in the chapter could be better, but it does make sense for the story. Its just getting a little stagnant that Jon is so pacifistic in this book. Superman isnt just about the big fights, but it would be nice if there was more action. Tormey and Blee supply some excellent art, capturing the emotion of the events therein as well as selling the big moments. All in all, another fine issue.

Superman: Son Of Kal-El #13 is the best issue of this book so far. Maines and Taylor bring Dreamer into the DC Universe proper, and her role in this issue is wonderful. Henry, Maiolo, and Herms are a fantastic art team, really bringing the script to life. This issue is so much fun.

Superman: Son Of Kal-El #14 is a well-paced, action-packed chapter. Taylor, Tormey, and Blee are at the top of their game in this one, and itll be great to see where the book goes next with this story.

Superman: Son Of Kal-El #16 gives everyone the reunion theyve been waiting for. Taylor hits all the right notes with this one, building to the moment well while also setting up the rest of this story arc. Tormey, Coleman, and Fajardo Jr. give readers the kind of wonderful art theyve come to expect from this comic. All in all, another great effort from this creative team.

    Man Of Steel #2 is the kind of comic where it very easily could have turned out very bad. Theres so many plotlines going on that, if any of them failed, it could easily sink the book, and if the art wasnt as top notch as it is, none of it would have worked. Fortunately, this isnt the case. Rogol Zaar not knowing about Superman is a stretch, but so far, Bendis has transcended a lot of the negative tropes in his work and is turning in a very engaging Superman story that is hitting all the right spots.

The Man Of Steel #5 continues this mini-series run of quality. Adam Hughes art is the MVP of the issue, and Bendis continues to balance the action and the drama perfectly, setting up things for the future without neglecting the main plot. Its not perfect, but The Man Of Steel #5 still soars.

The Wicked + The Divine: The Funnies is a light-hearted romp. It takes the big, ponderous style of the main book and throws it out the window, giving readers glimpses of a funnier universe in its corners. It doesnt progress the main story or add anything to the mythos like the other specials did. Instead, it sets out to be a fun experience, a collection of Wic+Div comic strips from the coolest Sunday morning paper ever, and succeeds admirably.

Uncanny X-Men #7 is a marked improvement over the last issue, which was just glorified filler. Its nice to focus on the younger X-Men and the AoA is always great to visit. Combine that with some great art, cool redesigns, and a smart script and this one is a winner.

Uncanny X-Men #8 takes all the promise of the last issue and runs with it, giving readers a satisfying and intriguing chapter in this story. The last two issues have improved things immensely, making this story relevant again. The twist ending here is great, giving the heroes a seemingly insurmountable obstacle to overcome. Theres only two more parts left to this story, but if they can match whats been in this and the last issue, this story will have redeemed itself nicely.

Uncanny X-Men #11 takes the last story arc's ending and it uses it to set up a new status quo. It is a familiar one to long time X-Men fans, but Rosenberg has proven his writing chops elsewhere and this issue is no exception. The Blindfold story feels superfluous, but other than that, this issue is a great reintroduction to the X-Men. The art is top notch and Rosenberg paints a bleak picture without giving away too much. It will be very interesting to see where everything goes from here.

Uncanny X-Men #12 is a mile a minute thrill ride. Rosenberg sets things up quickly and gets right to the action, giving Larocca and Rosenberg a chance to shine with some great action sequences. It will be great to see where all of this is going and what role O.N.E. plays in all of it. This book has gotten way better since Rosenberg took over sole writer, giving it a focus that it didn't have before. Uncanny X-Men #12 tells a satisfying story and sets things up for the future.

Uncanny X-Men #15 is chock full of good stuff. Rosenberg is churning out a lot of plots and they are all interesting enough to keep readers hooked. He's a master of fitting a lot into a book but making sure it never seems bloated or slows down. Larocca's line work is good, but GURU-eFX's colors don't do his pencils any favors. All in all, this issue is another brick in the wall Rosenberg is building and it will be wonderful to see how it all stacks up.

Uncanny X-Men #21 is a fun read for such a dark comic. Rosenberg has shown a proficiency for heavily plotted comics in his run so far and does it again in this issue.

Uncanny X-Men #22 caps off Rosenbergs run and wipes the slate clean for Hickman to come in and work his magic. Rosenberg has used his 12 issues to let readers into Cyclops head and hes done a great job. Things have gotten a little dark but it all fit the story he was trying to tell. The only weakness of his run has been the tired mutants are in danger of extinction trope that has been Marvels go to mutant story since the end of House Of M, but hes made it work rather well. Laroccas art in this issue is some of the best hes turned in on the book and really strengthened the story Rosenberg was telling. Messinas art feels out of place taking over for him, but it is still good. All in all, this issue worked. There were a few little things that could have been better, but overall, this one is an action packed roller coaster.

What's The Furthest Place From Here? #4 is a lot of fun. Rosenberg does an amazing job of setting up who the characters are and setting up what's coming. Boss's art brings the whole thing to life. This book just keeps impressing more and more.

Whats The Furthest Place From Here? #5 is a filler issue, but that doesnt make it any less entertaining. Rosenberg and Boss do a fantastic job on this issue and show a filler issue should be done.

Wolverine #8 starts on a huge high but kind of goes down from there. That said, it's not a bad book, far from it. Percy can't write a bad Wolverine book, and this one is still pretty good, even if the prologue overshadows everything else. The story it sets up seems pretty interesting, and it will be nice to see what comes next. The art team does a fantastic job, with Wilson's coloring being a standout. As usual, Percy and company knock it out of the park.

Wolverine #11 looks to be the culmination of the Vampire Nation arc, and so far, so good. Percy has built it up into one of the most unsung yet exciting subplots in the X-Men books, and this issue sets up all the pieces expertly. Eaton's art is hit-or-miss- some of it looks good, and some of it doesn't. It doesn't bog the issue down too much, though. Percy remains the MVP of the X-Men line, and Wolverine is still one of its strongest books every month.

Wolverine #17 works so well because of how the tone builds throughout. It's that black ops vibe, that feeling that it's all going to fall apart because someone isn't who they seem to be, makes the whole thing work so well. Medina's art works, but Kubert is tough to come after. It all works so very well, though.

Wolverine #21 is a fast-paced thrill ride that finds an amusing way to drop exposition on readers that never messes with the books pacing. Percy writes an amazing Deadpool and knows how to blend him with Wolverine expertly. Kuberts pencils arent perfect all the way through, but when hes hitting, its a thing of his usual beauty. Martins colors make the whole thing look like a million bucks and are the cherry on top of a beautiful read.

Wolverine #25 is a simple comic, and thats why it works. It sort of feels like Percy wanted to use this chapter to prove just how much he knows about Wolverine because this comic is a clinic on who the character is. The art, from the main story to the back-up, is all amazing. This is a sensational anniversary issue.

Wolverine #30 could easily be a blow-off issue, but Percy has more coming for readers. This is an excellent comic with exciting, well-paced plots and amazing art. Itll be great to see what comes next and what Beast has up his sleeve for Wolverine and company.

Wolverine: Black, White, And Blood #2 is a bit of a step back from the first issue but still very entertaining. Claremont and Larocca are the MVPs, but the other two stories have their moments, even if they aren't perfect. The art is very good but falls a bit short of the last issue. However, its still an action-packed ride and would entertain even the most discerning fan.

X Deaths Of Wolverine #2 adds more wrinkles to the story. Percy is constructing a wonderful story here, and hopefully, he can stick the landing. Vicentis art is a beautiful fit for the story. All in all, another great issue.

X Deaths Of Wolverine #5 is a good, if predictable, ending. Percy and Vicentini do a good job on this issue, and it looks like the ending will play well into the future. X Deaths has been the more important book of this event, and while the ending is a little formulaic, it still works and bodes well for the future.

X-Factor #1 is a very good book. The existence of such a team on Krakoa makes perfect sense, and it will be fun to see where it goes. Williams gives the book a very entertaining vibe; the characters' banter makes the book's dark subject matter- investigating mysterious disappearances- and lightens it up just enough without making light of it. Baldeon's cartoony art shouldn't fit the book, but it does. X-Factor #1 is a lot of fun, and it will be great to see where the creative team takes it.

X-Factor #6 begins the second movement of this book in grand fashion, presenting an engaging mystery. Williams kills it with the characterization, allowing readers to really connect with the characters. Baldeons cartoonish art is amazingly versatile, and this issue really shows off his range. X-Factor #6 is a great way to begin a new story arc.

X-Force #7 is a great comic. Percy uses it to keep playing with his theme of PTSD that has been running through the book, using Domino and her tragedies to show readers that not everything on Krakoa is sunshine and rainbows and that being a superhero is hard work.

X-Force is a book that takes a look at the horrors that the guys who fight in the shadows have to face and doesn't look away and it's a stronger book because of that.

Joshua Cassara's art does a beautiful job of making everything work. X-Force #10 proves why this book has been a secret highlight of Dawn Of X.

X-Force #11 may be a prelude to another story, but it's one done right. Percy manages to keep his own plots moving forward while still serving the purpose of the prelude story. While the beginning of the issue is a little clunky, it all develops nicely as things go on. Bazaldua's art is fantastic and, with GURU-eFX's coloring making the whole thing pop. As a prelude to X Of Swords, this issue is excellent, and it also just a great issue of X-Force in general.

Percy shows readers just how much X-Force is about the greys in this issue, and it's kind of fascinating. Bazaluda's art is nothing special- there are some problems, but it's not bad enough to jeopardize what is an otherwise great comic.

X-Force #14 continues to right the ship of X Of Swords. Its a fast-paced issue but gets across everything it needs to. Percy and Duggan dont waste a panel- everything builds the story. Cassaras art, combined with the deft coloring of GURU-eFX, is a treat for the eyes. X Of Swords started off rocky, but chapters like this prove that it can be a great story.

X-Force #16 is a little heavy handed with the metaphor at its center, but Percy makes up for it with the deft character that has become his stock in trade. The issue is also pretty exciting, with Cassaras art looking great and really getting across the gravity of the situation. X-Force continues to impress and has quickly become one of the best X-Men books being published.

X-Force #19 completes the redemption of Quentin Quire, transforming Kid Omega from the enfant terrible of the X-Men into something better. Percys metaphors can be heavy-handed and obvious, but they work. The gritty quality of Browns pencil does the story more justice than one would think. X-Force #19 can be a little obvious and predictable, but its still a great issue.

X-Force #22 is another excellent issue of this book. Percy is doing something exciting with his storytelling in this book, and the last two chapters show why it works so well. This issue is generally a great read, but it introduces new factors to the battle between XENO and X-Force that could play into the future. The art team of Gill and GURU-eFX kill it on this issue, making it look great. X-Force is a solid book, and this issue is another example of why.

X-Force #23 opens up a new battle for the team and does so in an entertaining manner. Percy has been building these plots for a while, and seeing where he takes the whole thing is going to be a lot of fun. Coccolos art is outstanding, and GURU-eFXs colors make the entire thing pop. X-Force #23 is a good beginning for a new story arc.

X-Force #24 sets up even more of Mikhails plan, and the whole effect of the issue is heartbreaking. Percy does a great job of putting the emotion out there, and Coccolo and GURU-eFX bring the whole thing to life. The way that Mikhails plan has unfolded is wonderful, and it will be fun to see where it all goes.

X-Force #25 seems like it shouldnt work at all, but Percy and company nail it again. Percy and Gill work very well together in this comic, and the sense of foreboding that they give readers with the beginning of the date scene is so great. X-Force continues to be one of the highlights of the X-Men line.

X-Force #28 does a great job of setting up the new threat to X-Force and then making it that much worse. Percy builds an entertaining story that does the heavy lifting with two of the book's best characters. Gill and GURU-eFX remain an incredible art team, giving readers some fantastic imagery. All in all, this is another stunning chapter of the book.

X-Force #30 keeps doing what this book does best. It has some great character moments, an intriguing story, and stunning art. Setting up Kraven as an enemy of mutantkind that X-Force has to deal with is inspired and comes right out of left field. All in all, Percy, Gill, GURU-eFX, and Caramagna do a great job with this one.

X-Force #34 does an excellent job of going into the next phase of the team. Percy is building something fascinating here and in Wolverine. Allens art is average, but GURU-eFXs colors are wonderful. This issue balances plot, character, and action very well.

X-Force #35 is a fantastic comic. Percy does an excellent job of juxtaposing Beast and Sage and how theyve dealt with their jobs. Itll be intriguing to see where the book goes from here. Allen and Lopezs art is alright. Its not bad, but its not great either. However, this is still a really good comic.

X-Force #36 is yet another fantastic issue. It picks up two different plots and does very well with both of them. Its the kind of comic that does everything right - excellent plot, awesome action, brilliant character building moments, and an ending that drives up the stakes. This book has always been great, so its no surprise that this issue keeps that up.

X-Force #38 ends a long-running plot that has been built since the first issue. Percy, Gill, GURU-eFX, and Caramagna give readers a hell of an ending, balancing action, plot, and character. This book has been burning it up, and this story keeps that up.

This is a pretty fun issue, all and all.

X-Men #1 is a strange animal. Its hard to say if a superhero X-Men book is the right way to go after two years of anything but, however, Duggan, Larraz, and Gracia deliver an entertaining story that hits all the right points. Theres some set up for the future, and it will be interesting to see where this book goes.

X-Men/Fantastic Four #1 is, for lack of a better word, fantastic. Chip Zdarksy has a keen understanding of the FF and their dynamic, and it plays out very well in this book. He also captures the feeling of the new status quo of the X-Men- they're young money in a world of entrenched power, and they're throwing their weight around a bit. The artworks in some places but not in others, but it doesn't hurt the story. The cliffhanger ending is great, and it brings back a character Zdarsky wrote very well on his Marvel Two In One run. This issue is a great beginning.

X-Men Red #8 is yet another solid issue of a top-tier X-book. Its still between this and Immortal X-Men on whats the best X-Men series out right now. Ewing does his Marvel sci-fi politics thing thats so much fun, pays off a lot of dangling plotlines, and gives an exciting story. Musabekov and Blee are a top-notch art team. If theres any drawback to this comic, its that it takes readers away from the Arakko stuff, which is the best part.

X-Men: The Trial Of Magneto #2 is great for the characterization. Williams nails each character and who they are. The plot of the issue is pretty standard, but there are a few nice little additions as the chapter goes on. The ending sets the stage for the rest of the book, and where it goes from here will be intriguing. Werneck and Wilson are the best art team for this book, as every page is impressive. All in all, this book is one of the highlights of the current X-Men line.

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.

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 #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.

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.

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 #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.

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.

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 #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 #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.