David Pepose's Comic Reviews

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In the case of the Fantastic Four 100th Anniversary, Jen Van Meter essentially created her own new team, tying into the Marvel mythology and adding something new to stand alongside those titans of yesteryear. Maybe that's some metacommentary, considering how much stuggle there has been to make the FF really sing the past 10 or 20 years. Peter Parker, however, is still a popular, bankable, unkillable brand - but when you're really only doing one issue of a hypothetical future series, why not go totally crazy? Why not take Spider-Man to places we've never even seen before? Ultimately, this comic's heart is in the right place, but - perhaps like Peter Parker himself - this book doesn't quite have the imagination to take that potential as far as it can go.

The thing is, I love westerns. I think there is so much untapped potential for western comics, especially given that spaghetti westerns utilize so much of the same visual tricks as sequential art. Unfortunately, 1872 feels like the latest example of why so many publishers don't approach that genre. While this book has a solid foundation for its art, it moves so slowly and differentiates itself so little that it just feels like a bunch of Marvel characters randomly thrown together in variant costumes. If you want my fistful of dollars, you'll have to do better than that.

While it feels like there's still a missing ingredient to really make this narrative stand apart, the execution makes 20XX a decent read.

This new 30 Days of Night isn't a bad book, per se, but it has to pick up the pace if it wants to keep readers interested.

With so many comic books out there that rely solely on its high concept, it's refreshing to see a book like 4 Kids Walk Into a Bank, which instead lives and dies based largely on its execution of an otherwise low-key plot. It's easy to forget basic concepts like strong characterization, dialogue, and pacing, but Rosenberg and Boss deliver on all counts. With a foundation as rock-solid as this one, if you're not reading 4 Kids Walk Into a Bank, you're missing out on one of the best new series of 2016.

While there's some element of hit-or-miss to these stories, by and large Green Lantern 80th Anniversary 100-Page Super Spectacular has something to offer everyone, whether you're a fan of Alan Scott all the way to Jessica Cruz and Simon Baz. Due to the sheer spread of characters to cover, this anniversary special feels different than the rest, but I think that's ultimately to this book's benefit " there's such a wide diversity of themes and personal struggles for these Lanterns to embark upon that no two stories feel the same.

Maybe the big failing of A+X is that it doesn't quite live up to its core concept: Yes, we have an Avenger and an X-Man teaming up, but we never really see it last long enough to see the interpersonal sparks fly between these characters. The art looks fine, but we're not really seeing anything new with these team-ups. Here's hoping that as this series progresses, we'll see some bigger fireworks among Marvel's mightiest heroes.

While I was lukewarm at best to the opening issue of A+X, I have to say this second issue really shows me that Marvel has what it takes to make this comic not just sell, but excel. This is exactly the showcase for established and rising talent that we've been waiting for " A+X #2 is an equation that should be a no-brainer for fans of the Marvel Universe.

Stefano Caselli draws a ridiculously good Gambit, with tousled hair and modelesque features " Marvel, let Caselli draw the book next, he'd kill on it! But for now, A+X #6 will have to suffice " it may be this week's perfect read.

David PeposeThis may be a comic with two stories in it, but the first one is so good, that alone is worth the price of admission. Zeb Wells absolutely nails a Beast/Iron Man team-up, as Hank and Tony snipe and snark at one another over intellect, ego and drinking problems (Tony with alcohol, Hank with his own experiments)

Artist Jorge Molina really outdoes himself with the latest issue of A-Force, as She-Hulk and her band of superheroines take the fight back to the Thor Corps.

With the one-two punch of a fun new character and some show-stopping artwork from Jorge Molina and Laura Martin, and you can't go wrong with A-Force. While this book starts off with a shaky foundation - namely, that you have to have read a Secret Wars tie-in to understand where Singularity came from - Wilson does a great job at firming things up, with her new heroine proving to be a fun addition to the Marvel Universe. With many of her heroines now in play, I can't help but look forward to seeing what Wilson does with Earth's Mightiest Heroines assembled.

If for some reason you've missed out on all the hype about Cates and Stegman's Venom relaunch, you'd do well to get started with Absolute Carnage, a series that certainly doesn't take any prisoners.

While it's hard to justify the price tag on this one, I hope Absolute Carnage: Separation Anxiety at least provides a springboard for these promising creators for bigger opportunities down the line.

Whether this was that calculated a move or not, Absolute Carnage: Symbiote of Vengeance will absolutely appeal to fans of both Ghost Rider and Carnage, and as far as tie-in comics often go, that's victory enough.

Absolute Carnage vs. Deadpool #1 makes no apologies about being a tie-in comic, and while its overall narrative doesn't feel like the most ambitious of storytelling, I think there's a quality to both the pacing and the visual execution that shouldn't be discounted. Writer Frank Tieri turns in some of his most polished work in recent memory with this issue, and penciller Marcelo Ferreira, inker Roberto Poggi and colorist Rachelle Rosenberg take that ball and run with it, making this unassuming spinoff feel like a strong audition tape for bigger projects down the line. While I wouldn't say this is necessarily essential reading for the larger Absolute Carnage saga as a whole, I'm pleasantly surprised with how solid this limited series is turning out.

With its nastier Clark Kent and its dirtier Metropolis, think of Action Comics as the evil twin of Grant Morrison's better instincts. It's everything but the things that really matter.

Ultimately, after months of wheel-spinning and jerky story directions, Action Comics is back with a vengeance, packing a ton of action and heart into one issue. (And that's not even counting the headline-grabbing cameo by Neil DeGrasse Tyson, in a backup by Sholly Fisch and Chris Sprouse!) Big stakes, new worlds, a visitor on another strange planet showing us grace under fire " this is what Superman is all about. Definitely buy this book.

This is one of those comics that's going to split readership down the middle " you're either with Grant Morrison or you're against him, as his wildly shifting structure in Action Comics #16 is not exactly meant for beginners.

You have to give Morrison points for ambition, and even further kudos for trying to wrap his various threads together as ended his run. And while its admirable to build up Superman's supporting cast beyond the derivative sidekicks like Supergirl and Superboy, accommodating all of these characters means this comic doesn't feel much like a Superman story, let alone an enduring new piece of American mythology. This conclusion may be big and it may be expansive, but it's also so convoluted that even a Man of Steel can't quite hold it together.

Definitely not a new era, more like a stopgap, but a decently drawn one nevertheless.

Greg Pak and Aaron Kuder start off their Action Comics run not with a bang, but with a hurricane, as both Clark Kent and Lana Lang do their best to stand tall among the storm.

Since the New 52, it feels a lot like DC Comics has focused more on the "super" and less on the "man." Greg Pak has taken a welcome departure from that trend, giving us a Superman that's been more readable than much of his other post-reboot appearances. Not all monsters are actually monsters, and not all superheroes are cold, unfeeling juggernauts. There's room for nuance and character behind the capes and tights, and I'm glad on that score that Action Comics delivers.

What's perhaps most impressive about Action Comics #27 is that this, on the surface, is a low-key, run-of-the-mill story featuring the Man of Steel. The world isn't going to change, Superman's status quo isn't going to be upturned forever -- but this comic feels that much weightier because of it. This is a story that gets to the heart of who Superman is -- namely, he's a good guy who brings out the best from those around him. With stirring characterization like that, satisfying action and adventure are sure to follow.

Greg Pak certainly puts the "action" into Action Comics this week, and while his trademark characterization still shines strongly, the frenetic set pieces are a little overwhelming.

Superman may be "Doomed," but Action Comics hasn't seen this much life in it, well, since arguably its flawed, sporadic relaunch. Greg Pak and company have given Superman some real stakes, and because our hero is for once in a position where he can't just save the day by himself, his plucky supporting cast is forced to step up to the plate and help out. Even Superman skeptics should be giving this series another look, because Action Comics is back and better than ever.

Action Comics #33 is a book with the unenviable burden of setting the stage for bigger moments to come. In that extent, it succeeds even when hampered by the reality of the issue. Superman: Doomed has a lot of potential planted by this opening issue. While there are some bumps here and there, the creative team has enough heart and hard work with this book to make a return trip more than valid. We just need to pick up the pace a bit.

A mixed bag, to be sure, but the execution does trump the off-putting high concept.

Time will tell if DC's latest experiment with Superman will yield long-lasting results, but as far as this debut issue goes, this is an excellent second chance at making a good first impression.

In some ways, Greg Pak and Aaron Kuder's work on Action Comics has been more revolutionary and provocative than the Man of Steel has seen since his early days in the 1930s. Yet you can't help but be a little disappointed that Pak and Kuder have basically had to backpedal out of their convictions, leading to a Superman book that has suddenly lost much of its bite. But the thoughtfulness in the rest of the execution - and especially the show-stopping art - has made Action Comics a true flagship book for the Superman franchise, and one that demands your attention month in and month out.

Superman may have some new duds, but unfortunately, Action Comics feels like a pretty run-of-the-mill story featuring the Man of Steel.

Removing Superman's secret identity and much of his superpowers was meant to bring him down to Earth, but Greg Pak and Aaron Kuder's latest issue of Action Comics still doesn't quite handicap the Man of Steel.

All in all, not a bad book, but it could use some tightening up.

It's a week of big continuity changes at DC Comics, but the biggest of the bunch has to be Action Comics #49, which rejuvenates the Man of Steel into something at least resembling his former self.

What's probably most disappointing about a book like Action Comics #50 is that it almost assuredly was not an easy undertaking - Pak and Kuder are having to juggle storylines with two other books, plus the editors on this issue had to juggle nearly a dozen art and production crew members to put this book out.

Given Tomasi's strong characterization, it's a shame that Supergirl continues to be a missed opportunity for DC's published offerings, since she's now had an entire season on one of the biggest viewing platforms in the world. But even if that were not the case, I think I'd still have some issues with Action Comics #51, which winds up short-changing its lead characters at the cost of some pretty jarring (and ultimately not engaging) subplots. Hopefully this is just a case of a minor hiccup in consistency from some of DC's more reliable creators, and that the arc rallies in its next chapter.

Seven pencilers and six inkers are credited in Action Comics Annual #3, and the result is about as schizophrenic as you'd expect.

Having read literally every book in the "Rebirth" lineup thus far, I can say that despite some occasional missteps, DC has by and large made some encouraging course-corrections across its entire lineup. Unfortunately, Action Comics thus far feels like the exception to the rule, being the loud but insubstantial yin to Superman's heartfelt and evocative yang. While Dan Jurgens is clearly in an untenable position having to bring Superman's status quo back to a sustainable equilibrium, his attempts feel so stale that it's hard to give too much leeway, even for the benefit of the doubt. Here's hoping he can get through the necessary evil of continuity housekeeping quickly, and get Action Comics back to where it belongs.

Action Comics #975 is an over-sized issue, and it's safe to say you certainly get your money's worth, with two great stories by two great writers, accompanied by sequentials from two outstanding artistic teams. Despite a couple of bumps in the road, Action Comics #975 is a solid second chapter in the "Superman Reborn" story, primarily because it succeeds in delivering on the mystery of the doppelganger Clark's identity that's been brewing since issue #957. However, Jurgens is sure to leave you wanting more, with plenty of questions, including the mysteries surrounding Mr. Oz, still left unanswered for the time being.

This is less of a story and more of a celebration of Superman through the eyes of some of comics' most prolific writers and artists, and DC is banking - correctly - that fans will want to celebrate alongside them. It's hard not to get caught up in that infectious spirit with Action Comics #1,000, a book designed to pay tribute for the original DC superhero.

The level of care and attention brought to the various corners of Metropolis showcases this creative team's greatest strengths, and makes Action Comics a can't-miss title from the DC publishing line.

If you're looking for stellar character work, incredible artwork, and a Metropolis that feels more real and engaging by the issue, you owe it to yourself to pick up this series.

Watching Conner interact with Clark's son Jon is a fun dynamic, but the real heartfelt moments are seeing him come face-to-face with Ma and Pa Kent " there are echoes of Geoff Johns' DC Universe Rebirth Special here, but there's a reason why that was so effective.

If you haven't been reading Max Landis and Jock's two-parter featuring the Joker, get on it now.

Yet second chapters are always the toughest ones to pull off, and it's heartening to see that Afterlife with Archie didn't decompose too much between installments. The lunatic high concept of Archie being stalked by zombies is worth the price of admission alone, and if you can get over some of the occasionally tasteless beats, this combination of subversive writing and top-notch artwork make this book a book to both run toward and away.

Teenage horomones meets Night of the Living Dead equals tension and bad decisions -- all-in-all, an equation that makes Afterlife with Archie #3 well worth reading.

As somebody who reads an enormous amount of comics every week, you can sometimes get jaded by the endless deaths and cheap shocks needed to make an "event" worthwhile. But that makes comics like Afterlife with Archie #4 all the sweeter. Under the horror and shambling corpses, there's a moving character piece lurking beneath the surface. And perhaps that's the most surprising lesson that Archie Andrews has to teach us: that it's the heart, not the hordes, that'll really kill you. But when it comes to Afterlife with Archie #4, it's a testament that even the greatest heartbreak still feels oh-so-sweet.

There's a lot to like about Afterlife with Archie as a concept, and after this issue, this creative team is poised to bring the Riverdale gang to some very interesting places. But as far as conclusions go, this first arc doesn't end with a bang, but a long, decomposing shuffle. Here's hoping that we don't have to wait so long for the next installment of this ingenious series, and that next time, Aguirre-Sacasa and Francavilla really go for the jugular.

Pitting the innocence of Archie Comics against the scariest horrors of fiction seems, in retrospect, like a no-brainer. With Archie's long history of optimism and happiness and cartoony soap operatics, Aguirre-Sacasa doesn't need that much exposition to make Riverdale's fall from grace that much more tragic and terrifying. But by taking a turn to Cthulu, Aguirre-Sacasa also makes a bold statement in showing how flexible his concept truly is. Apparently the scariest threats are the ones you never could see coming.

But Hitch isn't going to be on this book forever, and ultimately Age of Ultron has to be judged not just on how good the story looks, but ultimately also on where these characters go in their quest to save the world. Right now, the Avengers' biggest threat isn't a killer android from the future, but being decompressed within an inch of their lives with little to no characterization to show for it. With stakes raised so abruptly that you can sense the reset button looming, Age of Ultron winds up feeling like an event about nothing. It's the Marvel equivalent of cotton candy " this may look good, but it is far from filling.

You can't always say a comic should be at Point A by a certain issue count, and you can't judge a specific issue by the mistakes of its predecessors. The stakes have been raised this week " thank goodness " and Bendis has put an intriguing new spin in the Avengers' desperate plan to stop Ultron. But that all said, it's clear this series won't be picking up the pace anytime soon, so if you're looking for high-octane action with all your favorite characters... you might want to look elsewhere.

Perhaps the title says it all " even though the book is called Age of Ultron, the despotic robot isn't even present in this issue. And that's because this story isn't even about him anymore. Like Wolverine's time travel gambit, Bendis has sort of side-stepped his sweeping disaster story and tried to replace it with something entirely different " the problem is, that alternative just doesn't hold water, both with readers and from a storytelling perspective. Wolverine may be the best there is at what he does, but as Bendis and company show us here, that repertoire clearly doesn't extend to headlining time travel epics.

That all said, we're one issue away from the end of Age of Ultron, and its glaring plot holes have proven to be a far greater threat to the integrity of the Marvel Universe than any killer android. It's clear there is some method to the madness - Bendis's warnings about the abuse of time travel is an intriguing thread that has popped up in a lot of Marvel books lately - but the actual execution of these ideas feels misguided. Maybe it's for the best that soon Marvel will be pulling the plug on this wayward event.

But for me, it's not just disappointing " it's frustrating. Nothing of note has happened in Age of Ultron, and the likely reaction to saying that will be "what did you expect, it's a time travel story?" And judging by how well it's done on the sales charts, no one will see Age of Ultron as anything other than a financial success. But that's rewarding the worst kind of narrative behavior. It's not expecting anything out of our events " it's us tacitly approving that we as readers will read 10 issues of a comic where nothing happens. Maybe that was Ultron's big plan, after all " because even when the Avengers win, we still lose.

While it's unclear where this series might head - and I'll be honest, I've had my heart broken by Robinson before, like in his recent Fantastic Four arc - but Age of Ultron vs. Marvel Zombies may also be one of those concepts that proves to be critic-proof. In many ways, this is a book about two extinction-level threats being thrown in the same room together - and no matter who wins, humanity loses. Here's hoping this match-up from Hell leads to some solid storytelling.

Ultimately, this series ends with ambiguity, but I think that's fair - Airboy seems more raw and autobiographical than I think anyone would expect, and that's what makes it such a compelling read.

There's a lot going on in Avengers #0, but by and large, what's great is that Marvel is showing how diverse the team's concepts can be. There are premises and art styles for a variety of different readers, and for the most part, there's a level of competence that makes all of these books feel like contenders in an already crowded marketplace. For my money, All-New All-Different Avengers and Uncanny Avengers feel like the best books of the bunch, but I wouldn't put it past a writer as skilled as Al Ewing to make me like his books, even when I'm not a huge fan of the artists involved. Either way, it's no longer an Avengers world - it's something much bigger than that. And it's a universe I'm very much looking forward to exploring.

After a shaky first arc bringing the team together, Mark Waid's sophomore arc on All-New All-Different Avengers starts to hit its stride, as he's joined by Mahmud Asrar, who makes a compelling case for why he's been tapped to draw Marvel's flagship title.

In terms of structure, All-New All-Different Avengers feels so different from the traditional "Big Two" storytelling, instead taking just as much out of a 22-minute comedy as much as a beat-'em-up superhero yarn. Because the way that 22-minute comedies typically work is that they're based on families - you care not just about each member of the family, with their own individual quirks and foibles, but you care about how they interact with each other, as well. (Will Nova and Ms. Marvel become the next Ross and Rachel? Demand it, True Believers!) Ultimately, Mark Waid and Mahmud Asrar understand the thing that should be intrinsic in superhero team books - people rarely show up for the villains, but instead show up to see how a superhero will overcome them. But in the case of All-New All-Different Avengers, they might have to overcome each other first.

Mark Waid delivers a very smart, quickly paced time-travel romp, with some very fun moments, including Jane Foster weaponizing a temporal paradox, or Miles Morales using his Spider-smarts to get the jump on dozens upon dozens of supervillains.

Juggling a super-team can't be easy, and neither can be taking the baton on a majorcomic book event - but given the names attached to this book, I'm kind of shocked that the ball was dropped this badly. There are some truly great moments to All-New All-Different Avengers, but you can't help but feel like the by-the-numbers execution for much of this issue doesn't feel like some sort of protest. Perhaps it's a matter of a light script being completely handicapped by inconsistent artwork - or maybe it's just a rare but total misfire from a pair of typically reliable A-listers. Either way, this type of output does not feel like the Pleasant Hill this book should be dying on.

If there's one hiccup to this issue, it's Waid's continuing subplot featuring Nadia Pym, the All-New Wasp, having a day out exploring Washington, D.C. with Janet Van Dyne, which feels like a bit of an insubstantial interlude amidst the Avengers' battle to the death out in space. But besides this detour into B-story territory, All-New All-Different Avengers #12 is one of the strongest issues of this series yet. If you're a fan of character-driven superhero comics like Grant Morrison's JLA or Geoff Johns' Justice Society of America, you should definitely check this issue out.

It's my business to keep up with comics week after week after week, but I'd be hard-pressed to recall a debut issue that's excited me as much as All-New Captain America #1. This is a book that has got the goods - a compelling lead character, death-defying action, some fast pacing and a couple of great twists. All that, and giving a perenially overlooked superhero his due? Let's just say that if Remender and Immonen can keep this streak going, Sam Wilson will have no problems filling in Steve Rogers' shoes as the All-New Captain America.

Hinging on action, conspiracies and even just a hint of sex appeal, All-New Captain America #2 might share a bit more with a member of the British Secret Service than it ever did a Star-Spangled Avenger. And that's actually a fun niche that the Marvel Universe - even the trippy, psychedelic Winter Soldier comic - hasn't filled in awhile. With some superb artwork and some very tight plotting from Rick Remender, Sam Wilson seems to be filling Steve Rogers' boots far better than we could have hoped.

What's particularly impressive about All-New Captain America is the way that Rick Remender anticipates his critics, the people who think that Sam Wilson isn't fit to fill Steve Rogers' boots. Instead of screaming into the Internet maelstorm, he leans into these readers' misgivings, and gives a fitting response: Sam himself isn't sure if he'll be able to do Steve Rogers proud. He's not as strong, not as fast, not as smart - and that means he's got to be twice as resolute. If that doesn't make him fit to be the All-New Captain America, then you don't know what the character truly represents.

Some hiccups aside, it's clear that Rick Remender is listening to his critics - listening, but far from letting them deter him. In many ways, this first arc of All-New Captain America feels like it has just as much promise as Remender's first Captain America arc with John Romita, Jr. - it feels like a fresh new take on a long-time character, and Remender seems to be particularly thoughtful in terms of making an exciting, important new status quo for an Avenger who is long overdue some spotlight.

Regardless of the bumps in the road, however, Remender and Immonen have put together a breezy, action-packed conclusion to Sam Wilson's first arc as the All-New Captain America. While it's a shame that Remender couldn't really commit to any of the character development he teased in this issue - I guess Secret Wars will be enough to juggle, beyond questions of whether or not Sam Wilson is sterile - but this is an enjoyable enough read. I think the mighty shield is in good hands with Remender at the wheel.

But considering how much the concept has flailed about in the past, All-New Ghost Rider isn't a bad respite. There's no way that Marvel is going to keep Robbie Reyes in the driver's seat - there's already too much iconography, too much history to just forget about Johnny Blaze and Danny Ketch. But for now, it's good to rest the concept and see what other directions it might go. If Smith can provide a solid platform for Moore to cut loose next issue, I'd say that All-New Ghost Rider will be a fantastic showcase for a future superstar artist.

Moore's true believers will have every reason to stick around, but this relaunch of Ghost Rider is unlikely to win any new converts.

That said, because we're 11 issues in, many people will see this creative switch-up as too little, too late. And they're not wrong " there hasn't been a ton of new ground broken in All-New Ghost Rider, with Smith meandering along with Robbie's two-dimensional supporting cast. He's simultaneously brought Ghost Rider down to earth, but taken away any new avenues for the sort of insane adventures that have made this character such a staple. This comic on its own isn't a complete wash, but as a concept, All-New Ghost Rider has proven that it's a lemon.

If you have to pick up one Marvel book this week, make it this one.

While this issue will probably be just for diehard Marvel cosmic fans, don't sleep on All-New Guardians of the Galaxy #11, which may be one of Marvel's most consistently good reads.

This is a surprisingly endearing first issue, given all the rage and gore and violence that happened to follow the original Wolverine wherever he would go, even as Taylor picks up on a lot of the same themes that defined Logan's storied career. In many ways, with a foundation this solid, the world is Taylor's oyster - he could send Laura down the same byzantine paths through Weapon X like her predecessor, or subvert those tropes and let her grow into her own legacy as a hero. Either way, Laura Kinney's promotion as the All-New Wolverine is looking like a shrewd decision.

Considering that I really enjoyed the first issue of All-New Wolverine, I'm hoping that this is just an unfortunately hiccup. There's a lot of potential here, but it's troubling to see Taylor and company committing to a high concept that not only doesn't play to their strengths as artists, but has been mined so thoroughly and so well by such a high-profile group. We're only two issues in, but already this series is in need of some major course correction - we already have Orphan Black, and we don't need another clone of it. What we do need is for this creative team to show us how all-new and all-different this Wolverine can be.

All in all, this is a book with ambitions, and even if it doesn't always work in execution, this is worth a look.

If you haven't been reading All-New Wolverine, get on it now.

In terms of actual high concept, I'll admit that Bendis and Immonen haven't quite convinced me on the merits of All-New X-Men " at least, not yet. But in terms of actually taking over the X-Men universe, this actually looks like a subtle but intriguing start. Now that the exposition is over, Bendis and company have room to tear the roof off of the Jean Grey School, and that's cause for celebration. That all said, however, fun execution, small tweaks and my own love of the current direction of X-Men aside, it is still a little disappointing that All-New X-Men is anything but.

Yet you don't watch fireworks for the story, and I think that All-New X-Men #4 follows the same concept. When you describe the actual story beats, not too much happens here, but because Bendis lets Immonen run wild with the action beats, you get more energy than this book has seen in awhile. Now that the opening salvo has been fired, Bendis does have to loop back and get to the real emotional meat of this story " namely, what happens when you see for a fact that your future did not come out the way you fought so hard to make it " or these fireworks are just going to be fleeting sparks for a sputtering X-Men franchise.

New artist David Marquez scores a knockout with his characters, particularly with Jean and Scott actually looking young (and extra points for the subtle differences between young and old Angel). Definitely the best issue yet.

The real triumph of All-New X-Men is that there's no splashy concept, no earth-shaking threat that needs to justify this book. It just is what it is, and what it is, is fantastic. From the writing to the art to the character arcs each X-Man seems to face, this book is quickly overtaking even Wolverine and the X-Men as the most likeable mutant book on the stands.

What a great book. Brian Michael Bendis adds so much humor and quirkiness to the X-Men here, and it only gets better with David Marquez on art.

Imagine the tastiest sandwich you can think of, but with some slightly stale bread on each end " that's the best way I can describe All-New X-Men #11.

It's rare in the current gloomy comics environment for a book to be as uplifting and cheerful as All-New X-Men, but it's issues like this that reminds us why we like this team so much in the first place. Superheroics isn't all about capes, tights and punching, but ultimately the team dynamics - and even the weird quirky family stuff - underneath. The X-Men have always excelled at these sorts of soap opera stories, and the self-referential vibe of this time-travel story makes Bendis's twists and turns all that much more intriguing. This is definitely the best book I've read all week.

While the main draw of "Battle of the Atom" is the mystery of the future X-Men " and there are some interesting beats here, particularly Charles Xavier's grandson and the new Xorn " ultimately the real hook of All-New X-Men #16 comes from the characters we've already known and loved. Who knows what lies ahead when a headstrong past and an ominous future go head-to-head? Sparks fly, the heartstrings pull, and two issues into this crossover, All-New X-Men shows no signs of letting up.

This comic's story feels like it's going through the motions, and despite the smooch-tastic cover, even the introduction of X-23 isn't adding much to All-New X-Men.

There will be some who feel that Bendis's trademark decompression still hampers "The Trial of Jean Grey," particularly with the double-page conversation spreads, not to mention the fact that it's taken three issues for much of anything to happen. (And there are others still who will scoff at Bendis's handwaving with the return of a cult classic X-Men supporting character, one who will have a lasting impact on Scott Summers and company.) Still, this comic crackles with energy and likeability, even if the actual amount of content might be a little too low to make this book truly memorable. But if action and drama are what you crave, All-New X-Men #23 is well worth a shot.

There are a few minor quibbles, here and there, particularly at how short the fight sequence between the X-Men, the Guardians and the Shi'ar is - especially since Bendis has been building to it for five issues, and also at how one of the inexperienced X-Men manages to take out one of the strongest fighters in the galaxy. And those who don't like Bendis's style of dialogue won't likely be converted here. But there's a lot to like about "The Trial of Jean Grey," and it's mainly because it harnesses Brian Michael Bendis's talents as a writer so well. This odd coupling of teams might have seemed strange on the outset, but they're two great tastes that taste even better together.

So why isn't this an A-list book? Perhaps it's because even A-listers can fall back on some bad habits. But after seeing those bad habits repeated again and again, it's almost like this book's daring us to lash out.

There is a ton going on in All-New X-Men #35, and it's a marvel that artist Mahmud Asrar can pack Brian Michael Bendis's talky script together and make it all look this good.

Still, a solid if understated script still can work well, particularly when the characterization and artwork are all on-point. All-New X-Men Special #1 might not be one for the record books, but it's definitely a fun diversion that shows how well Marvel's various properties can fit together. If nothing else, come for the characters and stay for Kris Anka's gorgeous art.

If you haven't been reading this book, you're missing out on the best X-book on the stands.

While the end of the issue does veer into the realm of graphic violence, beyond that one misstep, this is the best X-title you aren't reading.

There are plenty of X-titles on the stands " heck, plenty of Marvel books on the stands " but if you have to pick just one, go for All-New X-Men.

While it might not have the flashiness of an event book, All-New X-Men isn't only the best X-Men book on the stands " it stands in the running for one of the consistently best Marvel books on the stands, period.

To misquote a famous song, Scott Snyder's got a brand-new Bat, and better still, his artistic team is going above and beyond alongside him. All-Star Batman #1 is an exciting and well-constructed debut that juggles non-stop action with some truly sharp twists and turns. Pitting Batman against one of his greatest foes - as well as a cavalcade of potential threats from both the supervillain and civilian communities - this comic ramps up the tension and the stakes. If Snyder, Romita, and company can keep this momentum going, there's going to be a new flagship title in Gotham soon enough.

In some ways, it feels like All-Star Batman #4 is eerily prescient - and depending on your political stance, perhaps even more unrealistic than a guy who already dresses up in a Bat-suit and fights criminals for fun. But the Batman’s mission isn’t just one of hope - it’s about trudging through the darkness, about pushing through the pain, and not letting even the worst horrors keep him from fighting back. Yes, humanity has a dark side - and at times, they even succumb to it. But All-Star Batman #4 is a book that is about persistence, about commitment, about seeing things through even past the bitter end. If Bruce Wayne can take the pain and still keep standing, Snyder and Romita might be asking the most timely premise of all: if he can do it, maybe so can we.

Out of all of DC's "WTF" concepts, All Star Western feels the most crass, and that's already coming after the forced injection of superhero antics this book has already received since its relaunch, in the hopes of making it "profitable." Yet like a bad kidney, this book rejects this foreign premise almost immediately, limping along until the story mercifully ends. "WTF," indeed " only diehard fans of Booster need to mine for this fool's Gold.

You'll have to read All-Star Western #34 to find out. As far as swan songs go, this is about as good as it gets - wonderful characterization, stirring action and art from a master craftsman. It's fitting, in a way, because this series is going to go out as it lived - criminally overlooked, but always packing some major artistic heat.

Ultimately, the structure of this story works great, and there's nothing wrong with Slott and Ramos's execution " new readers are still totally going to dig it " but this conclusion felt a little less than fresh for this longtime reader.

Still, for a story that isn't character-defining or continuity-altering, Amazing Spider-Man earns its keep by showing what kind of sparks can fly when you put two smart-alec superheroes in space.

While many event comics these days start off with a big opening salvo and a B-list casualty, Dan Slott and Stefano Caselli trust in their product enough to simply make the stakes bigger. Spider-Man will always innovate, always improvise, but the nature of his character means that in the right hands, Marvel will never need to reinvent the wheel to sell his stories. The gauntlet has been thrown, and the battle will take Spider-Man to the Ends of the Earth.

This battle royale in a remote cave does feel a little similar to Slott's earlier crossover with the Fantastic Four, where the team also fought a horde of villains (including replicas of the Sinister Six). But with easy accessibility, a satisfying sense of pacing and some gorgeous art, Amazing Spider-Man places a high bar that its contemporaries would do well to emulate.

We've seen the Sinister Six step up to a whole new league of villainy, and it's been really refreshing to see Spider-Man " and by extension, Dan Slott and his Amazing Friends " rise to the challenge accordingly. Amazing Spider-Man #684 is no exception. This issue isn't about toys and gadgets, but about looking at a villain in a new way, about finding something new in what can seem like an endlessly churned superhero universe. We've seen the Webslinger take down two of the Sinister Six " if the following chapters are anything like this one, I'm excited to see what tricks The Amazing Spider-Man has up his sleeves.

Pacing-wise, this issue's great. The end twist? Superb. But in the end, Amazing Spider-Man #688 lacks the new insights to Peter Parker that has made the rest of Dan Slott's run so great.

But at the very least, Slott, Camuncoli and company are committed to a set tone, and that is something they achieve in spades. Spider-Man has always been a character known for his flexibility, with stories ranging from Spider-Man Loves Mary Jane to "Kraven's Last Hunt." But have we reached our limit for how dark we can make a mainstream Spidey book? Perhaps, like the title of the arc says, there is no going back.

Slott's epilogues are also really on-point this month, tying a nice bow on the Lizard's story while adding something new to another villain's. It's not a blockbuster ending, but it's easily one of Slott's smartest.

As far as anniversaries go, I wouldn't say that Amazing Spider-Man #692 is the biggest celebration I've ever seen " but that said, I have the feeling that eight issues from now we might see some real fireworks. This comic has solid execution for a less-than-ideal concept, and paired with one particularly good backup story, that does push this comic into the "win" column.

Say it ain't so " I've been a huge fan of Dan Slott's run on Amazing Spider-Man, but this arc with the teenage superpowered narcissist Alpha isn't grabbing me.

This can't be it... can it? Overpowered super-teen Alpha goes out with a whimper rather than a bang, making his story in Amazing Spider-Man feel like a failed experiment.

Culminating in an explosive splash page featuring much of the Marvel NOW! lineup, this would be an amazing standalone comic " but the fact that it's an opening chapter makes Amazing Spider-Man #695 even more impressive. It doesn't try to reinvent the wheel with new wrinkles or add-ons to the status quo, but instead takes a tried-and-true element to the Spidey mythos, turns it on its head, and lets the soap opera bubble over as a result. As long as Slott and Gage are behind the wheel on Amazing Spider-Man, you owe it to yourself to take yourself right into the "Danger Zone."

While the whole secret identity thing does get strained in terms of story logic, this is a fun diversion " even if it is just a diversion.

Humberto Ramos' cartoony style at first seems counter to the somber subject matter, but you find that it winds up giving the issue energy and a needed lightness to keep it from getting too bleak.

The initial bait-and-switch aside " because honestly, this should have been covered in Morbius #1, not in Amazing Spider-Man, particularly not on the cliffhanger we're on now " the overall aim of this comic feels thwarted here. Are we supposed to care about Michael Morbius? Is Marvel trying to take a new spin on him? There is a ton of potential for new story angles and new artistic takes on the Living Vampire, but if this preview is any indication, this comic is no bark and even less bite.

Even with appearances by the Avengers, Amazing Spider-Man Annual #39 is Peter Parker's story first and foremost. There are plenty of rough edges here, particularly once you get to a somewhat hasty wrap-up, but the character works so well with the concept that it's easier to forgive missteps with the plotting. This comic doesn't reinvent the wheel, or even have any greater effect on the Spider-Man mythos, but it's still a surprisingly fun read.

It's not a question of whether or not this book will sell - it will, just because everyone will want to know what's happening to Peter Parker now that he's back to the land of the living. But critics (myself included) will say... not much. The question is, how much do you miss Peter Parker? Do you miss him enough that soap operatics and a few quips will be enough to satisfy you? Or are you looking for the next big change in Peter's status quo already, even in the face of event fatigue? I wouldn't say that this comic necessarily lives up to its name, but I will say that Amazing Spider-Man remains a solid read.

It's clear that the old Parker luck will fall sooner rather than later, and with the threat of Morlun over the horizon in "Spider-Verse," I imagine that Silk will either be destined for a heroic sacrifice or a turn to villainy. But that doesn't stop Slott and Ramos from making her a welcome addition to the cast of Amazing Spider-Man for now. Slott and Ramos are hitting their stride once more, hitting the perfect balance between action and melodrama. For the first time in a while, it feels like Peter Parker has really, truly returned.

But as I was saying before, the major problem with this comic? It's got two great stories, but only one can win out. Slott's Spider-Verse story, with its heightened stakes and fun new character, easily wins out over the Kamala Khan crossover, which feels like a bit of a wasted opportunity due to Ms. Marvel's undeniable appeal. Combined with the fact that Kamala gets 12 pages of this issue and Spider-UK only gets eight, and something feels off here. Still, while the pacing of this comic may feel a bit unsatisfactory, the actual content and execution is superb - even with its flaws, this might be one of the better issues of Amazing Spider-Man in quite some time.

With Ms. Marvel, Spider-Girl, and even a no-name villain from Spidey's past, it's easy to enjoy Amazing Spider-Man #8. No worlds are saved, few characters undergo massive change, but it's a rollicking adventure filled with good cheer and a decent sense of humor. Sometimes that's enough. While this issue isn't likely to reinvent the wheel, Amazing Spider-Man remains an eminently solid read.

Right now, there's a lot of set-up and not too much action, but it's all done so well that your spider-senses will be tingling for the next issue.

With the Spider-Verse event in full swing, Dan Slott is the team player of the Spider-Office this issue, as he splits up the various Spider-Men into separate groups (which so happen to conveniently set up spin-off books like Scarlet Spiders and Spider-Woman, as well as a new arc in Spider-Man 2099). Slott should get a lot of credit, however, for juggling such an audacious number of characters - while they might not do a whole lot besides talk and size each other up, there's a lot of thought in the dynamics here.

While this comic feels clunky with the constant scene changes (in the case of Miles Morales and the TV Ultimate Spider-Man, whose sole purpose is setting up Spider-Verse Team-Up #2), there are just enough awesome moments to see Amazing Spider-Man through.

Sure, this book is busy as ever, but this is a highlight of the "Spider-Verse" saga.

Dan Slott knows Spider-Man. And more importantly, he knows Peter Parker, and what makes him special. He showed this off during his other big events, such as "Spider-Island," where Peter showed he was the best in a city full of Spider-Men, or during "Dying Wish," where Peter literally staved off death itself due to sheer grit and goodness. These moments were special because they were derived from Peter Parker's innate character, his unfailing heroism. But for a series as focused on the metacommentary of Spider-Man himself, "Spider-Verse" seems to be surprisingly devoid of any definitive character moments for its central protagonist. Instead, this series has been distracted with all the minute variations of this character, that its creators forgot to establish what makes Peter Parker so incredible, so unique, that he can stand tall even among a dozen versions of himself.

Ultimately, this isn't the strongest this book has even been, but even when it's idling, Amazing Spider-Man still operates at a higher level than most.

Combined with a series of teasers for Marvel's other Spider-series - Dennis Hopeless and Javier Rodriguez's Spider-Woman is the best of the bunch, as Jessica Drew juggles pregnancy and crimefighting, while Stacey Lee and Paco Diaz really do some spectacular work for Silk and an Amazing Spider-Man epilogue - and you've got yourself a comic book I cannot recommend enough. Spider-Man is one of those characters that is so enduring that you can put him in any environment and still produce a fantastic story. Dan Slott, at his prime, is the best kind of storyteller to prove it. Spider-Man's friendly neighborhood has gone worldwide - and that's the kind of world I like living in.

Dan Slott gives a fun new wrinkle to the Spider-Torch rivalry, as Johnny doesn't just try to beat the tar out of Peter in his own building, but they have to do so without revealing Peter's secret identity to his employees. Unfortunately, the fighting feels a little too short, with Peter being way too blase about some major property damage. But it's worth it, just to see all the familiar faces Slott is bringing back, with poor Clayton Cole trying his best to protect his workmates.

But where some readers might see the plotting of this book as overly convenient, I like to think of it as unpredictable and open for anything. And really, isn't that what we wanted to see for Marvel's "All-New, All-Different" titles? Dan Slott and Giuseppe Camuncoli have put Peter Parker in a whole new arena, one where his capabilities are limited only to his imagination. It's not just a great place for the Friendly Neighborhood Webslinger - it's a great place for his fans, as well.

Supercharged by the return of Guiseppe Camuncoli on art, Amazing Spider-Man #9 is a short-but-sweet kind of issue, briskly paced by Dan Slott as he throws set piece after fun set piece at the Web-slinger.

While there's a tiny bit of slowdown when Slott has to introduce Augustus Roman " preparing for the return of Regent following his villainous turn in Secret Wars " there's more than a spoonful of sugar elsewhere to help this medicine go down. And given that the cover doesn't actually reflect the contents of this book, that's usually the kiss of death for a comic " but it's a real credit to this book's creative team that I don't feel cheated, but instead am glad we had this time to just focus on Tony and Peter's dynamic before opening things up to the rest of Shellhead's Avengers team. If you're looking for something to whet your appetite before Civil War hits theaters, you can't do much better than this.

Ultimately, "Power Play" likely won't be seen as the strongest Amazing Spider-Man arc Slott and Gage have been involved in, with all the different characters and subplots muddying the waters of what this arc began as: the rivalry between Spider-Man and Iron Man, and the very different characterizations of Peter Parker and Tony Stark. While fans of the Spider-Marriage will likely cheer as Mary Jane Watson steps up to the plate, fans without that emotional connection can likely wait until Slott's "Dead No More" arc begins.

Perhaps it's not a surprise that an arc featuring the Jackal might be a tough sell for readers, considering the character set off a chain reaction that nearly killed Spider-Man's viability as a series. To try to riff on such a potentially explosive storyline shows that Dan Slott must have an ace up his sleeve, one that will likely give this event the direction and emotion it needs " but as far as this prelude goes, Amazing Spider-Man #16 does feel like a bit of a misstep, missing out on some of the evocative human connection that's made Peter Parker such a fun character to follow all these years. Hopefully with all this exposition out of the way, this spider will find its footing soon enough.

This isn't an opening salvo as much as it is the calm before the storm, and with R.B. Silva at his side, even this slow burn of a comic looks truly, well" amazing.

With The Clone Conspiracy looming, it’s easy for readers to slow down with Amazing Spider-Man through the lengthy number of prelude issues. If it was important, it would show up in the actual event series, right? But Dan Slott and R.B. Silva work strenuously to earn your hard-earned dollars with Amazing Spider-Man #18, which brings back one of Slott’s best characters back to the forefront, as Doc Ock stands poised for a comeback.

At the end of the day, Amazing Spider-Man #20 might feel a little superfluous against the grand scheme of The Clone Conspiracy - it might be considered a necessary evil for completists, but there’s still a little bit of evil nevertheless. Had this backstory come alongside some forward movement in the greater saga, this might be a bit more essential reading - but that said, even though Slott and Gage feel the need to (over)explain Otto Octavius’s return, they don’t skimp on the characterization or motivation to make Doc Ock’s journey a compelling one.

Part of the reason why this book's energy feels low is also that the script doesn't give Giuseppe Camuncoli a ton of room to maneuver. Because so much of the book is recap - and again, it's not to say it isn't important or necessary, it's just delivered in a fairly spoon-fed fashion - Camuncoli winds up having to draw lots of montages and flashback sequences, which wind up coming across as a bit more Wikipedia-like than I think any of the creators would have intended.

After the latest Spider-event book, Dan Slott and Stuart Immonen may be giving Peter Parker the best gift of all for this anniversary issue " just letting Spider-Man be Spider-Man, with no need for the bells and whistles outside of just super-strong execution. It's a refreshing read, and one that's easily accessible for new readers " with a creative team like this at the wheel, expect some great things to be coming from Amazing Spider-Man.

I've used the word "solid" a lot in this review, but I think that's really the word that describes Amazing Spider-Man #792 the most " out of all the crazy, heartfelt, character-driven storylines that Dan Slott has been involved with, I'm not sure if Venom, Inc. is ever truly going to match up, but its crowded roster is handled with enough dexterity and such thrilling artwork that you can't write it off as any sort of failure.

A solid book, even if this is one of the weaker Spidey-events in recent history.

It's unclear that Spider-Man will ever find true peace - which is usually one of the first casualties of drama - but with Amazing Spider-Man #800, Slott and company stick the landing magnificently, finding a truly cathartic solution to Peter's never-ending calculus of power and responsibility.

During moments like these, it’s hard not to feel a bit wistful — ever since he was first announced as the sole writer of Amazing Spider-Man, it felt like kismet for a writer like Dan Slott to be working on a character like this, a character he so clearly loved and understood and, as this issue shows, valued his importance as both a symbol and as an inspiration. Slott’s run on Spider-Man feels like a testament not just to one writer’s ingenuity, but his faith in the transformative power of fiction. And while Slott’s previous issue might have felt like a bigger, more epic climax to his years-long run with the character, it’s this beautifully produced epilogue that feels like the perfect love letter to an all-time classic superhero.

If there’s any quibbles to be had about Amazing Spider-Man #2, it’s just that the pacing feels a little shorter than one might expect - although Spencer introduces so much in the mix, from a reinstated Curt Connors to an inspired, quip-heavy appearance from Taskmaster and Black Ant, it’s hard to really fault him. But the characterization and artwork are so striking that it’s easy to say that this is both Spencer and Ottley at their best, particularly when they’re filling the massive boots of Dan Slott’s epic run on the book. It’s a tall order, but two issues in, Amazing Spider-Man is proving that it’s a book in good hands.

While Amazing Spider-Man might feel a little on the shorter side, it's hard not to be all in with the rock-solid characterization and amazing artwork for this book.

But on the plus side, this feels like the smallest of speed bumps on an otherwise superb story — it shows Spencer and Ramos’ handle on Peter Parker that they don’t even need to show him in costume to tell one of the most fun stories of the week. Change is hard, especially after years of Dan Slott’s deservedly praised run on the series — but I think Spencer is absolutely playing to his strengths with his smaller-scale stories on the Amazing Spider-Man, a series that delivers great laughs and great action in equal measure. Definitely don’t pass this book up.

Amazing Spider-Man #14 is a solid read, even if it has to fight some considerable narrative drag.

Much has been made of Nick Spencer's encyclopedic reading of the entirety of Peter Parker's adventures to get ready for his run on Amazing Spider-Man, but with this latest prelude to his Kraven-centric "Hunter" arc, one can't help but wonder if the emphasis on the soap operatics surrounding Spidey's supporting cast haven't slowed this series to a crawl.

Ottley nails the expressionwork Spencer needs for this script, but you can't help but wish he had something a little meatier and more action-packed to chew on.

While some of Spencer's plot seeding - including a device that can predict the future - drags the momentum a little bit, Gleason is such a revelation that he makes Amazing Spider-Man a must-buy.

When this book is on, it is absolutely on, making Amazing Spider-Man #44 one of the series' best issues in recent memory.

The fact that Amazing Spider-Man: Full Circle is readable at all is a miracle - so the fact that it's fun to boot is just unbelievable.

While many might view entertainment as a form of escapism, it's also a matter of relationships - both the relationships inside of the story, as well as the bonds formed between the characters and the readers themselves. Peter Parker is the kind of character that's easy to root for because he's easy to love, and watching this hard-luck hero get to make good on his personal life is something that inspires hope in all the imperfect Spider-Man readers in the world. If Conway and Stegman can continue their rock-solid work, Renew Your Vows is going to be an easy commitment for Spider-fans everywhere.

Hot off the heels of Venomverse, Eddie Brock is at the center of another symbiote-centric event with Amazing Spider-Man: Venom Inc. Alpha #1, a book that may not redefine superhero comics as we know it, but is a nice, solid bit of spider-action that touches upon everyone in Peter Parker's orbit.

As far as first issues go, Amazing X-Men #1 has more than its fair share of solid hooks - stellar artwork, an engaging story, and the return of a fan-favorite character. Considering the revolving door of death in the Marvel Universe, it's refreshing to see Jason Aaron actually have a logical plan for Nightcrawler's return, one that might bring the X-Men to a new frontier - not across nations or across planets, but now through metaphysical realms themselves. If this opening is any indication, Amazing X-Men is going to be the X-title to beat.

But looking at McGuinness's larger-than-life artwork - not to mention Aaron's over-the-top premise - are you really looking for nuance with Amazing X-Men? Or are you looking for some fisticuffs and the return of Marvel's mighty mutant swashbuckler? While there's no denying there's a bit of a sophomore slump to Amazing X-Men, there's enough fun and wonder to this comic that you'll likely come back for more.

Who would have thought that mutants in Heaven could wind up being one of the more heartfelt stories in recent X-Men lore? Yet Jason Aaron and Ed McGuinness take a nutty concept and score a home run, all by distilling Nightcrawler to his core - and extremely varied - essence. In so doing, Aaron has performed a little bit of continuity magic, blowing up all those small character details of the Claremont (and even Chuck Austen) years, all while refitting them back into something that's surprisingly, cohesively relatable. Mutant politics are well and good, but the strength of the X-Men franchise has been showing that no matter what your mutation, you're still human underneath - and it's that return to form that makes Nightcrawler and the Amazing X-Men live up to their names.

It's not the deepest story in the world, but I'll be damned if Amazing X-Men isn't one of the most fun X-books I've read in quite some time.

The tough thing about Amazing X-Men #6 is that it's not a bad book, nor are the creators bad at all. The tough thing about Amazing X-Men is knowing that this team is capable of so much more. Given his schedule, with Original Sin down the pipeline and Thor: God of Thunder gaining a ton of traction, it's perhaps not surprising that something would have to give - and it's not like the previous five issues of Amazing X-Men haven't been, well, outstanding. But as far as last hurrahs go, this is one party where Jason Aaron might have stayed just a little bit too long.

It's been a long time since I've seen a book this badly handicapped by the art. Jorge Fornes' hyper-angular style, combined with some poor page layouts and some even worse character designs, kills this book stone-dead, making it almost impossible to get into a war over Cyttorak's gem.

America's Got Powers, at its core, is a book made by people who love superheroes, enough that it doesn't matter who fights, as long as somebody does. It's self-indulgent, and far from the most original deconstruction of superhero literature " although maybe it's the most honest. While the new toys in the sandbox might not be memorable, it's the way that Bryan Hitch plays with them that is this book's bread and butter. After all, this is Hitch's world " we're all just living in it.

With comics as an industry so obsessed with the high concept, there's something refreshingly low-key about Gerry Duggan and David O'Sullivan's Analog, even if there are times it comes uncomfortably close to biting another comic's well-regarded style.

While this book's page count runs out a little earlier than one might want it to, there's still some strong work being brought to the table here, making Angel a book you won't want to miss.

It may be just a little hard for some readers to follow, but stick with it, for both the art and the attitude.

The sad thing is, Animal Man #6 may be the best executed issue of the run, but it's also easily the most disappointing.

Yet there's something to be said about starting strong, and the human drama that dominates the first half of this book is a better Animal Man story than I've seen in quite some time. With Buddy Baker presumably taking a more down-to-earth role after this issue, there's a lot of potential for this superhero without a cause, without a mission, without a family. There's lot of human drama that can be mined here, if the book's creative team can ignore all the animal mythology for a bit.

I can't help it " the movie issues of Animal Man always happen to be my favorites. Instead of drowning in mythology, Jeff Lemire writes a moving story about the intersection of being a celebrity and being a superhero. Lemire's portrait of the fall and rise and fall again of the Red Thunder is poignant, especially the hero's relationship with his son, which evokes the recent death of Buddy Baker's son Cliff.

Despite the occasional wart, Animal Man is definitely a comic that's finding its way again, after months of subsuming its own identity in the "Rotworld" crossover with Swamp Thing. The New 52 has definitely had a place for a celebrity superhero, and the added horror spin? Well, there's plenty of potential there, too. This comic is not as deliberate as some readers might want, but there are a lot of moving parts that are each starting to show some legs. This is definitely a step in the right direction.

Still, there's a lot to like about Animal Man Annual #2, which effective has its cake and eats it, too - not only do we get to watch Buddy act more like a human given the loss of his son, but we also get to experience the kinds of fun adventures that made Cliff such a touchstone in his life to begin with. By the end of this issue, you're feeling the heartache just as much as Buddy, and that's a victory for Lemire and Foreman. If you've been wondering what all the hubbub is about, Animal Man Annual #2 is definitely a book to check out.

There's still some great one-liners here, like a seagull shouting about getting thumbs, but newcomers should read the main series first.

With the duo headlining a movie next month, it's never been a better time for Marvel to launch a series starring Ant-Man and the Wasp, and given his deep knowledge of physics, it's a no-brainer to have someone like Mark Waid behind the wheel. And to that end, Waid and artist Javier Garron deliver the sweet science with Scott Lang and Nadia Van Dyne's latest team-up, even if the high-flying physics comes together a little bit faster than the titular characters.

Bringing much of the sense of humor that defined Superior Foes of Spider-Man, Nick Spencer has brought his A-game - and brought an A-game art team in the form of Ramon Rosanas and Jordan Boyd - to Ant-Man #1. This comic is a perfect mission statement for Scott Lang, and if the upcoming movie can do half as good a job at defining the character, Marvel is going to be adding another powerhouse franchise to its roster. Get ready to enjoy your next favorite Marvel series.

Consider it growing pains - Ant-Man is going to be part of Marvel's collective consciousness for at least a little while, thanks to the character's upcoming film. But just like moviegoers are going to be curious how this character is going to stand out amongst the rest of the Marvel Cinematic Universe, Spencer and Rosanas really need to carve Scott Lang's niche out further. While he's a little bit of a screw-up in the same vein as Spencer's Boomerang was in Superior Foes of Spider-Man, it's not pronounced enough to really make him stand out. There's tons of potential behind Ant-Man, but this issue barely scratches the surface.

While it takes a bit for the team to start firing on all cylinders, there's a lot to appreciate about Ant-Man #1. Even though there's certainly some narrative fat readers have to chew through at first, once the exposition is over, there's a great sense of humor - and even more beautiful artwork - to enjoy. This might not be a book that blows up the sales charts -heck, it might not even be Scott Lang's most standout adventure - but there's definitely enough to warrant checking out a second issue.

Even with only one issue left to go, Ant-Man #4 makes some big strides forward, both in terms of progressing this miniseries' storyline and scratching that narrative itch for comics fans missing their weekly hit from the House of Ideas. While Scott himself sometimes gets lost in the mix, Wells makes up for it with some satisfying twists and turns, while Burnett alone makes this series worth the cover price for his eclectic and exciting art. You might not expect it given Scott Lang's diminutive size, but Ant-Man #4 might just be Marvel's best book this week.

What could have been seen as a mixed bug " err, bag " Ant-Man #5 manages to pull off a win thanks to its stunning visuals and its breezy storytelling, even if it feels insubstantial even by the continuity-heavy standards of modern superhero comics. While I wouldn't consider this miniseries to be a seminal story for either Scott or Cassie Lang, Burnett's artwork makes this a solid offering during a quiet week from the House of Ideas.

Of course, "not bad" isn't exactly the same kind of ringing endorsement as "must-read!" Ant-Man Season One seems to make a conscious choice to target a younger demographic, and for that DeFalco and company should be applauded " considering Hank's mainstream Marvel status quo is hinged primarily on mental illness and spousal abuse, starting young readers fresh isn't a bad idea at all. That said, older readers will find this book isn't nearly sophisticated enough to suit their palates.

For the first 20 pages, I thought I was reading a winner. Great art, accessible concept, tons of room for Aquaman to learn and grow and stretch himself, and to bring readers along for the ride. Instead, all of this immaculate setup came to nothing, being blown off for a cheap gag that belittled the very character we're supposed to invest in. There are plenty of reasons to deviate from structure in a story, but only if it's for a greater good. The end result for Aquaman came out as more fishy than fantastic.

There is a little bit of decompression to this issue " the last page is an act break that I feel would have been more satisfying in the first few pages " but the book looks good, and promises some fun new additions to Aquaman's world.

There's something about this team " both the heroes and the artists " that brings the best out of Geoff Johns, an accomplished writer who I feel is still on a quest to keep changing and evolving his style. That said, this book isn't perfect, as the focus on these new characters takes away from the already struggling Arthur Curry. But if Johns can tie in these cool new toys with some genuine new insight about the King of the Seas, he might be able to have his cake and eat it, too.

There are a number of other threads in this book that could be seen as superfluous, or at the very least saps this book of its energy and speed " the two qualities that, along with Johns and Ivan Reis's star power, helped elevate Aquaman to a top slot month after month. That said, this prelude is just that " a prelude to something more. Where Johns succeeds in this book is to slowly build new histories between Aquaman and his greatest foes, and that victory, while a quiet one, may make bigger waves soon enough.

While the occasional disconnect between the art and dialogue might slow down this comic " as well as the lack of a distinct theme to make this a little more evergreen " Geoff Johns is bringing us the Justice League we've always wanted... just not in their own book. Aquaman may be a less-than-compelling lead this month, but as a team player, this book manages to keep moving swimmingly.

Definitely an epilogue, but I feel like Johns has bigger fish to fry than this minnow of a chapter.

This book is missing a key likeability that holds it back from super-success, but the tonal shift is still a fascinating one.

It's impressive how ambitious Geoff Johns is with Aquaman, packing in a ton of subplots and characters almost in defiance of decompressed storytelling. From Aquaman's behemoth aquatic friend Topo to the water-intolerant Atlantean Swatt to Mera's journey to another undersea world, there's a lot going on here, to the point where it's a challenge " albeit a fun one " trying to keep up.

Every character has something interesting about them, even if they've been ignored or underutilized for years. That was the main thesis of Geoff Johns's run on Aquaman in the first place, but as Johns concludes his time with that most iconic of Atlanteans, you can't help but feel like much of his potential was untapped. Who is Aquaman? What can he teach us about responsibilities, about bridging cultures, about adopting and reshaping and transcending our own identities, our own preconceived notions? These are heady questions that could have been answered by the King of the Seven Seas - but for now, Aquaman's "epic" battle is more like a drop in the bucket.

Out with the old, in with the new - with Geoff Johns off Aquaman, DC should take a bit more of a risk when it comes to Jeff Parker's tenure on the title. This is a run that deserves its own identity and its own style, but currently this comic is one step in the future and one step in the past. And that winds up being a real shame - there was a lot of good with Johns' run, but it also ultimately had run its course. Without a new artist, this comic is going to run the risk of being trapped in a rut - which, given Parker's clear potential in this comic, feels like a wasted opportunity.

While readers who are craving over-the-top action and political intrigue may be disappointed, it's nice to see Aquaman be human, be vulnerable, and actually have even a little bit of a sense of humor.

eff Parker and guest artist Carlos Rodriguez toe the line between silly and sublime with Aquaman #34, as the sheer potential of Parker's villain makes this a flawed but worthy beat-'em-up.

This 50th issue anniversary for Aquaman may be inconsistent, but I have to give Dan Abnett credit for trying to lend a fresh breath of characterization for Arthur Curry and his supporting cast.

He's been mishandled and poorly written more often than not, and that's why I think it's so heartening to read Abnett and Walker's take on him " it's very much proof positive that there's no such thing as a bad character, only bad execution. Maybe it's karmic justice that Arthur Curry has the last laugh after all. But it's hard not to be excited when you think about the depth of potential in this title " and best of all, Aquaman has only begun to scratch the surface.

Perhaps it's not surprising that Aquaman might be quickly overlooked amongst all of DC's spotlight on "Rebirth" and the Suicide Squad film, but with politics also in full swing, it feels like Dan Abnett and Philippe Briones' take on Arthur Curry might be the most interesting superhero book on the stands.

Ultimately, Aquaman #6 might not wind up having a ton of lasting fallout for Arthur and Mera Curry, but as far as concluding its first arc, Abnett and Walker have done an admirable job, using standard superhero tropes as a backdrop to a surprisingly rich and nuanced political landscape. And that makes perfect sense - Arthur Curry isn't just a superhero, he's a world power, and as Abnett has shown us, great power doesn't just equal great responsibility, but it also entails great complications as well.

Aquaman #27 may be meat-and-potatoes superhero comic books when it comes to plot, but the artwork is something that needs to be seen to be believed.

Bumpy plotting aside, the artwork in this book make Aquaman #31 not only notable, but surprisingly one of DC's best-looking books around.

When we look at superheroes, it’s easy to boil them down to secret origins and power sets, rather than the characterization that’s made us root for them for generations. And Aquaman — a character with numerous reimaginings, relaunches and reversals — might be more scattered than most. But it’s amazing what a little bit of humanity can do to clarify a character’s internal compass — DeConnick and Mendonca’s Aquaman is a man adrift but never unmoored, a guy who’s been dealt a bad hand but chooses to embrace the good things still in his life. He’s not grim and gritty, not an oversized beacon of hope, but a guy who seems to exude well-adjusted normalcy, even as a one-time king of Atlantis. It’s a quiet story that shows us that while things can be bad, we have the ability to choose how we stand up to it. And if that’s not a heroic origin story for today’s headlines, I don’t know what is.

A really strong showing from all involved, and a great place to fall in love with Aquaman.

But nitpicking aside, Aquaman: Deep Dives is the sort of book that DC should be putting front and center for its expanded digital-first initiatives — it’s got high production values, and puts a creator on a new character for a refreshing and different point of view. Orlando and Sampere clearly are a team that work well together, and one can only hope that this Aquaman one-shot isn’t the last time we see them collaborate.

That's probably damning Aquaman: Deep Dives with faint praise, but the story does read like a first draft that probably should have been workshopped significantly before bringing an art team on board. Artist Aaron Lopresti keeps this issue from sinking too dramatically, but the result is purely disposable action featuring a purely forgettable team-up. Unless you're a Sea Devils completist, there's no need to pick up this watered-down Aquaman adventure.

Still, this is perhaps the best installment of Aquaman: Deep Dives yet.

The measure of a character can be learned based on the types of adventures they can have, and Abnett and company have opened up Aquaman to a world of possibility. If this debut is any indication, Aquaman might become your favorite soon enough.

If you're a fan of alternate history stories like The Man in the High Castle, you should definitely keep Archangel on your radar.

While there are a few bumps with some of the twists - namely, how Sheila's art exhibit can be seen as anything other than super-creepy is a suspension of disbelief I'm not sure even Waid can pull off - but for the most part, Waid and Fish's infusion of characterization makes Archie a book that's well worth reading. Waid has reinvigorated this decades-old property, showing a veracity and deliberateness to these teenagers that I don't think I've seen since Brian Michael Bendis first took over Ultimate Spider-Man. If you haven't been reading this masterful series, you definitely owe it to yourself to start now.

All in all, this might be the single best issue of Archie yet.

Serving as an interlude of sorts following last issue's big upheavals, Archie #13 also gets a change-up of a different sort, with Joe Eisma joining as the series artist. And boy, was that an excellent pick - Eisma has had a lot of practice drawing teenage characters over in Morning Glories, and there's a surprising amount of heart to his angular style, particularly during a scene where Archie struggles to live a life without Veronica in it.

It speaks to the popularity of Archie Andrews and his Riverdale gang that these characters have endured for as long as they have " but in this critical moment in the company's history, they needed someone with a sure hand to maintain the flagship title upon Mark Waid's departure, one that could help lead this series as it charts a stellar multimedia path forward. And I gotta tell you, Nick Spencer and Marguerite Sauvage do a tremendous job at proving why they're the right people for the job " no matter if you're a fan of the comics or the television shows, Archie #700 is a perfect reintroduction to the town of Riverdale, and the kind of well-produced celebration that other comics companies would do well to emulate.

As a concept, a murder mystery set in a techno-dystopia sounds great, a sort of Blade Runner-esque thriller for the Marvel Universe. But somewhere in the execution, Armor Wars doesn't quite connect.

Competent pacing and action aside, it's not hard to find a lot of books that can hit that marker these days " while there is plenty of potential to be found Asgardians of the Galaxy, but this team will need to stretch themselves more if they ever hope to reach it.

If you haven't read this series, pick up the previous two issues, because Assassin Nation is one of the funniest books you'll read all year.

Lots of stuff is going on in this book, but it's never too heavy to get on board now.

It won't reinvent the X-books like some of its sister titles, but Astonishing X-Men can still exist as a book that's merely just good.

It leaves you in a weird position: do you avoid the book, and in a way then invalidate the importance of the moment? Or do you plunk down your dollars, no matter what the content, in order to make a political statement? The fact that you have to decide at all means something has gone way off the rails with Astonishing X-Men #50, an anniversary issue that never lives up to its promise.

Honestly, if you pick up one Marvel book this week, I'd be hard-pressed to recommend anything over Astonishing X-Men. This book has been a dynamic and thoughtful adventure that thinks deeply about the enduring nature of the Children of the Atom, portrayed brilliantly by a murderer's row of artistic talent. If you haven't been reading this book, buckle up and take a ride to the Astral Plane, because this book is certainly living up to its name.

What's most important about Astonishing X-Men is that Soule has done a magnificent job at juggling his team of mutants, and more importantly, knows how they work together and what has made them so beloved by readers for years. And in that regard, this might not be the strongest chapter of Astonishing X-Men, but you better believe I still can't wait to see what happens next.

With two shakier issues in a row, one hopes Soule is paired with an artist that can inject Astonishing X-Men with the energy this book needs.

There's been a lot to like about this book, but hopefully Soule and company can make the next few issues of Astonishing X-Men pick up the pace.

While the execution isn’t necessarily flawless, Rosenberg is bringing something different to Astonishing X-Men that I think bears watching — something that, in many ways, plays to the strengths of the franchise dating back to Dave Cockrum and Chris Claremont’s original run. While we’re not seeing the sort of wild concept work of living islands or galactic forces gone awry, part of the reason why the lineup of Giant-Sized X-Men succeeded was because of the way the cast interacted and gelled with one another — and that’s the sort of sparks I’m seeing with Rosenberg’s work here. Like Justice League International before it, Astonishing X-Men eschews the iconic in exchange for the irreverent, making for a surprising and engaging read.

If you're a dog lover and a fan of superheroes, take yourself out for a walk and get Astro City #47.

There are some great moments in this comic, but they're often fleeting, stomped down by the unrelenting march of event storytelling. The X-Men, for example, look to be turning a corner beyond the infighting of Schism and Avengers vs. X-Men, and the Scarlet Witch and Rogue continue to be Remender's clear favorites. But for every great moment, there are plenty of eye-rollers, including Ahab stabbing his umpteenth mutant or the Red Skull pulling a secret plan out of Tony Stark's head from out of nowhere. Comics can be goofy, can be crazy, but they need some sort of internal logic in order to be believed - and Axis lacks that consistency to ground it. Without that, even with its plethora of characters, this crossover feels less than the sum of its parts.

Now that the initial struggle against Red Onslaught is over, I want to hold out hope for the future of AXIS. Remender's done the necessary evil of introducing 30 characters for this storyline, and now that they don't have to be in such close quarters, I'm hoping the second arc will focus more on the shift in characterization rather than the lackluster superpowered fireworks. Despite how this review might read, I am a Rick Remender fan, and I know he's capable of strong pacing, striking fight choreography, and even better characterization. Here's hoping this comic can switch axes, moving from impenetrable blockbuster to a smart new spin on the heroism in the Marvel Universe.

After a rough three issues, AXIS is definitely taking a needed upturn in quality with this fourth issue - that said, it still has a long way to go. There's something about this premise that still feels wonky, which is not a good thing this far into the story. What it'll take for AXIS to succeed is right in that scene with Carnage - showing these heroes and villains actually taking some bold actions to define themselves into their new roles. (Just talking about killing isn't enough.) It's taken four issues, but now Rick Remender has effectively turned the playing field upside-down - now he just has to show us why it was worth it.

Five issues in, however, AXIS hasn't managed to cross the inversion line from disappointing to exciting.

Right now, AXIS has finally overcome its bloated introduction, only to get hit with another problem - a lack of consistency with the artwork. Given this series' weekly timeframe, shifting artists is perhaps inevitable - but is it necessarily conducive to a coherent, cohesive comic book storyline? AXIS has had plenty of sins in the past, but I feel like this sixth issue is primarily an editorial concern - perhaps the grab bag of artists will look better as one collected edition, but as a sequential read, this comic still has an identity crisis.

That said, the one irony of AXIS #7 is that even though it's a series about the Avengers and X-Men turning into villains (and their so-called villains stepping up to the plate), this series has only gotten really good once Remender has ignored the vast majority of the characters involved. Sometimes you can only shove so many different voices in 20 pages before it starts to feel incoherent or rambling. Yet even as he narrows down the scope of his characters to some familiar faces, Remender does manage to distill the key element of AXIS - namely, the difference between a hero and a villain. And that's an achievement that justifies playing favorites.

We've got too many characters trading punches interchangably with one another, and it's ultimately too frenetic to be satisfying.

And that's the real tragedy behind Axis. It's not about good versus evil, or the sacrifices made to change the status quo. Marvel wanted Avengers vs. X-Men Part 2, and they got it - and this is more of the same haphazard, rushed storytelling and cog-in-the-machine visuals that flat-tire even the strongest writers and artists. You can't help but wonder if that's why Marvel has been lacking in its event game the past few years, even when it's thrown superstar writers like Jonathan Hickman, Matt Fraction and Brian Michael Bendis at it. You can't expect organic, coherent comics when you're stacking the deck against your creators like this. And that's a shame, because at the end of the day, Axis likely began with the best of intentions. But as they say, good intentions are all the road to Hell is paved with.

Had Jason Aaron and Chris Bachalo not done such a superior job with much of the same content, I think I would have liked Avengers #29 much more than I did. Coming so much later than Aaron, however, this comic comes off as a case of too little, too late.

The flagship book of the Marvel Universe is finally upon us, and believe me when I say that it doesn't just meet expectations " it shatters them. Gods, super-soldiers and men of steel unite against a common foe no single super hero could withstand. It's a simple formula: World's biggest superheroes. Comics' greatest talents. The industry's biggest book. A perfect launch. Time to assemble, Avengers fans " your new favorite series has arrived.

New readers may be confused, but those interesting in seeing where Hickman's mystery goes will find plenty to chew on here.

dam Kubert and Frank Martin look as polished and painterly as I've ever seen them, which makes the small emotional moments " Shang eying the most powerful person in the universe intently, or Spidey giving a nasty smirk " some real oomph. Combined with a nice cliffhanger, this was a fun read.

While action purists will likely make their way towards Uncanny Avengers, the Hickman faithful will still find plenty to like about Avengers #11. Even with its characters out of costume " or perhaps because of it " Hickman shows there are more directions the Avengers can go besides punching a bad guy in the face. As he continues to build up A.I.M. and his secondary heroes, Hickman just needs to start delivering the A-listers, and Avengers will truly live up to its full potential.

Twelve issues in, and Avengers is sadly starting to wear out its welcome. The problem with this comic is that, despite the title, Earth's Mightiest Heroes still feel like supporting cast members in their own book " Jonathan Hickman's plot essentially makes the Avengers babysitters for a new species of human.

It's been 17 issues, and Jonathan Hickman has finally expanded his roster of the Avengers... but considering how slowly this book has progressed, this feels more disappointing than fun.

It's taken me awhile to realize what book Avengers has been reminding me of, but it finally hit me - Dwayne McDuffie's Justice League of America. Instead of making this a book about the title characters, Avengers has become Marvel's de facto continuity book, setting up the status quo for the big event rather than actually delivering on its central premise - an awesome team-up book featuring the best and brightest of the Marvel Universe. With few sparks amid all the outer space fireworks, this is Infinite-ly disappointing.

Ultimately, if you've been curious about Avengers but were turned off by all the hubbub of Infinity, Avengers #24.NOW is as good a time as any to try to get back on board. With some strong artwork and some ambitious plotting, there's a lot to like about this series, which seems to be subtly repositioning itself to make for a more stable read. If Hickman can scale back on some of the threats and focus more on what makes Earth's Mightest Heroes tick, this might be the beginning of an upswing for this title.

Some might say this owes a little too much to DC's Identity Crisis, and others rightly may say this is too little, too late, but this is one of the best outings I've seen of Jonathan Hickman's Avengers.

Like the Avengers themselves, I feel lost here - and not sure I even want to wait while they try to find their way back.

Considering all the cast members in Avengers, it feels like a real misstep to have another issue focusing solely on Hyperion, particularly when Smasher, Cannonball, Sunspot, Captain Universe, or any of the other numerous characters in the series barely get any screen time - and that's not even including the A-listers beyond Cap and Tony that get zero love in this book. (Sorry, but putting them in Avengers World doesn't count, especially not when they have to move over so Euroforce can get a new origin story.) The thing about Avengers #34.1 isn't just that the premise feels limp or the ending feels a little anticlimactic - it's that Hyperion seems to threadbare of a character that we're reduced to just repeating catchphrases over and over again.

Time is running out for the Avengers, but it's nice to see that even in the bleak times ahead, Hickman and company can still find ways to stoke our enthusiasm. For the first time in a long time, this series feels like we're getting some real bang for our buck, and considering this is mostly just a tease for a post-Axis future, that's a real victory. With tremendous stakes and a murderer's row of artistic talent, Avengers is back in rare form.

"Time Runs Out" might be the kind of kick this series needed all along.

While Waid's other big team book, Champions, is on the fast track to superhero success, Avengers doesn't feel as sure of a bet. Though on a purely narrative level there's little difference between this book and All-New, All-Different Avengers, the change in art might make this book as easy of a jumping-off point as it is for readers to get on board. Yet All-New, All-Different Avengers had some moments of real brilliance in its short run, with Waid coming up with new and interesting team-ups for a diverse group of Marvel heroes " and with a challenging new artist and a story that could span all of time, I have faith that Avengers could be gearing up for a bold new era.

All in all, a truly wonderful book that more people should be reading.

For a book that brings together two super-teams, Avengers #673 doesn't bring much of a punch.

Writer Jim Zub and artist Sean Izaakse deftly juggle all of Earth's Mightiest Heroes in this extra-long one-shot, and while the plot is certainly not world-shaking, they do a tremendously effective job at showing the Avengers doing the kind of swashbuckling the Avengers do best.

Rather than chase after fleeting headlines, Jason Aaron and company prove to be much more responsible in Avengers #700, using this anniversary issue to tell a large-scale story with an insane number of characters. The result is, by and large, a good old-fashioned superhero beat-down that eschews flashiness and instead earns its bombastic beats. There's a lot going on with Earth's Mightiest Heroes in this issue, but this issue never feels overstuffed or overproduced. Instead, Aaron and a who's who of talented artists celebrate the Avengers the best way they can " not by throwing readers a stunt, by telling a quality story that stands on its own.

For a so-called "quiet" issue, Aaron and McGuinness do a lot to build investment into the Avengers, leaving this reviewer excited to where the title will wind up going next.

While the central narrative may feel a bit disjointed, the artwork and central character still chalks up a nice win for Avengers #19.

Working as both an insightful character piece, an event tie-in, as well as a great teaser for the Avengers as a book moving forward, Avengers #20 winds up being one of the best single issues the series has delivered in quite some time.

Additionally - and this is the clincher - Humphries leans so much on the semi-humorous bits that he doesn't really justify or explore the actual high concept enough: these aren't human heroes, but A.I. What does that mean? What is the difference? What sets this book apart? And what kind of leader is Hank Pym going to become? Without that hook, this book comes off as a group of D-list Avengers in a marketplace saturated with other Avenger titles. But with the team coming together like a well-oiled machine, here's hoping that Humphries and Araujo can show us what makes these tin men tick.

This is a tough book to read, with no real hook for most Avengers fans -- and yes, that even includes the shoehorning of the Uncanny Avengers. Unless you're a Hank Pym or Vision completist, leave this lemon on the shelf.

While some writers swing for the fences and try to make daring new arrangements with decades-long continuity, Christos Gage focuses on the fundamentals. Things like theme, character, organic conflict. There is a craft and a structure for a good story, and Gage is disciplined enough not to cut any corners with Avengers Academy. It's solid storytelling that is all the more surprising given its youthful protagonists. Maybe the adults could learn a little something here.

To rephrase another superhero epic, it's not what you do that defines a comic " it's how you do it. Gage should be hitting all the emotional high notes with his resolutions to these characters, who, like any good parent, he is giving enough interesting wrinkles to make them palatable to other writers, should the opportunity present itself. But in terms of this comic alone, it's a little too focused on hitting plot points, rather than fleshing out the character beats that make them special.

While this book wears its influences unapologetically on its sleeve " and yes, the fact that these overpowered teenagers have accepted the new status quo so quickly is a little much to swallow, even with Arcade's new-and-improved powerset " there's still something guiltily, trashily fun about Avengers Arena.

Distaste with the exploitative high concept aside " and I can only imagine that amount of hate Dennis Hopeless has gotten for doing this book " Avengers Arena is sort of the dark mirror image of Christos Gage's beloved sleeper book. More characters showing more character, but unlike the immortal IP of most Avengers books, these new concepts come with a very distinct expiration date. If Hopeless can balance the extended characterization with the sort of Battle Royale fisticuffs that set this series apart, it may escape the fate of its canceled predecessor yet.

Definitely wasn't expecting to like this book as much as I do, but it's one of my top picks at Marvel these days... whether I like to admit it or not.

Not bad, Dennis Hopeless. Not bad at all. Jumping to yet another narrator in the sixth issue of Avengers Arena, things finally start to heat up " it's not nearly as potent as the first issue, but finally claws are bared, swords are drawn, and some of these kids finally show they're not as friendly as we thought.

Lots of good progression for these characters, and a conclusion that will launch a thousand Tumblr posts. Read this now.

It's difficult to get too in-depth on this issue, for fear of spoilers " but suffice to say, if you've been reading Avengers Arena, whether you've been angry or been loving it, Hopeless and Walker have some sharp twists that you're really going to love. With some huge fireworks, some nice character dynamics between longtime teammates, and more than one big surprise, this arc goes out with a bang.

Ultimately, this issue is for completists only, as this answers some pressing questions on how the responsible heroes of the Marvel Universe haven't figured out Arcade's plans - it's a decently written issue, albeit one that isn't a requirement for the overall Avengers Arena storyline.

The kids are far from all right, as we have one issue to go before Avengers Arena transitions to Avengers Undercover. At this point, it's really Hopeless and Walker's book to lose - there's a lot of tension, a lot of heartache, and a lot of earned stakes to this comic, as Hopeless really has built up why these teenage heroes are now at each others' throats. If this issue is any indication, the next installment of this series is going to be all killer, no filler.

I think that Avengers Assemble has a lot going for it " strong art, strong dialogue, a minimum of continuity to get in its way, a tone that is largely all-ages " but it's also the underrated middle child of the Avengers franchise. This is a title without a grand purpose within the Marvel Universe, and the story itself stumbles a bit without a unifying high concept to ground it and guide it. Ultimately not a bad effort from DeConnick and company, but one I do fear may get lost among its more ambitious sister titles.

While the low-key nature of the writing and the art means fans won't break down the doors of their comic book shop to buy this book, it would be their mistake - Avengers Assemble brings the goods, through and through.

Just by virtue of the post-apocalyptic setting - not to mention lingering affection for the "Old Man Logan" saga that Brisson himself recently concluded - there's bound to be fans of Avengers of the Wastelands just based on sheer high concept. But beyond those guaranteed fans, this book can't help but feel a bit watered-down from its source material. Brisson's clearly capable of strong storytelling - his work on New Mutants being a prime example - but his return to the wastelands proves that sometimes you really can't go home again.

With a surprisingly saccharine ending to wrap things up, Avengers of the Wastelands never really lives up to its iconic predecessors.

Event books are typically characterized for wanting to seem smart, but ultimately wind up being low-calorie slugfests. Nick Spencer, however, has other ideas in mind. Marvel has always been thought of as "the world outside your window," but with the more fantastical elements of books like Jonathan Hickman's Avengers and Secret Wars, it's easy to lose track of the human element alongside this alleged big picture. But not so with Avengers: Standoff on Pleasant Hill - if Spencer stays true to his style and puts his characters' voices and opinions front and center, this could be a very compelling read.

That said, good looks can only carry you so far, and Avengers vs. X-Men still hasn't hit that sweet spot in terms of story logic or nuanced characterization. Everyone's got to be at an extreme, and unfortunately, with the all-too-human characters of Marvel, that means nobody looks good. Ultimately, that won't matter much, as the appeal of most of the Marvel Universe in one place is too good for most readers to pass up, but I can't help but wonder what kind of a knockout we're missing here.

The easy part was getting all these heavy-hitters together. And considering how it's assured that this crossover will set the tone of the Marvel Universe for a while, that might be enough for sheer sales. But Avengers vs. X-Men is lacking that drive and direction that, say, Civil War possessed, with the character interactions being just the same handful of qualities being rehashed again and again. With the plot taking a turn for the ludicrous, this issue is a collection of Marvel's finest not swinging for the fences, but simply knocking a bunt.

Lots of shouting, lots of punching, but not a lot of specificity with Marvel's nuanced characters " that's pretty much Avengers vs. X-Men in a nutshell right now, down to the final boss(es) getting more powerful as the "heroes" press on. The X-Men are definitely coming off as the Redheaded Stepchildren of the Atom here, with no moral equivalency in sight, but if you're a diehard Kubert or Avengers fan, well, at least you've got a pretty fight to look at.

Macro-story issues aside, I do hope that the Big Two take note on this issue, and make more event books read like this. Jason Aaron has taken all of Marvel's biggest characters and really put them into some hot water, all while hooking in jaded readers with some well-placed humanity and tension. It's obvious who the winners of Avengers vs. X-Men are going to be, but if we can really root for somebody in this series " anybody, really " then the readers are going to be who come out on top.

By the end of the issue, I feel like we've more or less gone in a circle, with Hope still being an all-powerful deus ex machina, the X-Men getting evil-er, and Cyclops and Emma both still living to fight another day. This book looks great, but 10 issues in, it would have been nice to be more than that. With a throughline that is stretching beyond the breaking point, this book has all of the blockbuster we've come to expect from superhero epics... but none of the heart underneath.

Is this a strong, fun read in its own right? Absolutely. With some gorgeous artwork, an action-driven plot with plenty of character and a new format to explore, the potential for this line is infinite. And after this first installment, reader enthusiasm for this product just might match it.

As a story, Avengers vs. X-Men #6: Infinite does work. As an exciting platform for a new medium... well, it's still a work-in-progress. The price point does make this a good purchase for die-hard Cyclops fans who want to see him deal with the cosmic force that killed his wife, and for some, that will be enough. For me, I think it's a well-intentioned misfire. But then again, that's what evolution is all about.

Hickman and Spencer do a great job at keeping a lot of balls in the air, even if they don't necessarily catch all of them this time - there are a few plot points that fall flat, and much of the bloated roster of the team still feels fairly underutilized. That said, there is a lot going for Avengers World, as Hickman and Spencer go against the grain in this era of decompression and pack a lot of story into one comic. This book doesn't quite nail its potential yet, but there's a lot to like about Avengers World #1.

The overall execution of Avengers World is very strong - stronger than a lot of other superhero books on the stand, to be honest. But part of the problem with this book is that it isn't allowed to really stand on its own two feet. Because of Hickman's involvement, this book continues on the AIM-centric storyline that's been dominating the main Avengers book - only this happens to focus on two characters instead of, uh, four. But that also brings up the question of Avengers Assemble, which went on its own path and got canceled by lack of sales. What is it that Earth's Mightiest Superheroes need to translate those big movie sales into comic book dollars? Maybe Avengers World will bring us closer to the answer of what does and doesn't work. On the one hand, not too much happens here - but on the other, this team shows that this book has a solid foundation in terms of talent, and shows exactly what this franchise could be capable of. But it definitely still could be better.

Oof. Talk about a decent story handicapped by some seriously gnarly art. Going from the expressive, cartoony artwork of Stefano Caselli or the clean, stylized work of Marco Checchetto to the rough, undynamic work of Raffaele Ienco is one of the biggest issue-to-issue trip-ups I've seen in a long, long time.

While the other Avengers books might be crossing time and space before Secret Wars, Avengers World delivers a much, much more satisfying reading experience by staying closer to home.

While this comic attempts to follow up on one of Disney's most bankable movies of the year, you can't help but wonder why Rage of Ultron can't commit to the same cast of characters that have struck so much gold in the cineplexes. The benefit of original graphic novels like this is that you don't have to be beholden to continuity - you can pick and choose characters and eras at your leisure - but in its efforts to include multiple eras of Avengers, Rage of Ultron loses something in terms of its focus. Still, if you can get over the abrupt shift in focus, this is a decent graphic novel with some gorgeous art and some very striking characterization for Marvel's premier bad robot.

Even with the Avengers name on the cover, this Captain Marvel story is one that you can probably skip.

While Gillen occasionally slips into slanginess with some of his characters' voices, this is a solid, if quiet, conclusion to his X-Men run.

The fights are short, but they are still admittedly pretty sweet. AVX: VS #2 is, in certain ways, an anthology on steroids " even if these stories are largely self-contained and have little to no effect on the Marvel Universe as a whole, these match-ups are an entertaining platform for some of Marvel's best and brightest artists to jam together. I still wonder how much better this book might have been with some more breathing room, but the fact remains: whether it's the Avengers or the X-Men who lose, readers of this series win either way.

With one fight feeling a little old hat and the other ready to knock your socks off, the end result of AvX: VS is still a win, albeit not the cleanest one. Those who buy this book are doing it not for plot development or even so much character dynamics, but seeing a good old-fashioned throwdown drawn by the best and the brightest. Right now, they've got half that. In order to keep the momentum going, Marvel has to keep the brackets shuffled a little bit better than this.

Fans of the Black Panther and Storm should steer clear of this story, which is not what you want to hear about the stars of a comic. But as a whole, there's not much more spark than throwing random sets of action figures together. Other installments of AvX: Vs. have managed to pull off some cool fights with quirky combinations " heck, Aaron and Fraction have written plenty of them " but this is worse than a dud. It's a bomb.

This is a decent enough showcase for some surprising names, but the small scale makes AXIS Revolutions #3 feel just a little too disposable to be a must-read.

The original Back to the Future screenwriter, Bob Gale, teams up with scripters John Barber and Erik Burnham as well as artists Brent Schoonover and Dan Schoening to tell two prequel stories to the legendary series, and fans of the original series will likely love what they deliver.

Barrier is definitely a cool conceit, but it's also going to be an acquired taste that even the exquisite artwork may have to work overtime to conquer.

This is a simple chapter with some simple, visceral thrills, but considering the baggage that Batgirl has been carrying with her return to the Gotham city rooftops, it's nice to get back to basics a little bit. Barbara Gordon is done moping, done being the victim, and uses that fury and hurt and rage to stage her own campaign against the Clown Prince of Crime. Not a bad tie-in for Gotham's latest crossover epic.

Batgirl #16 seems to have the same problem that its sister title Batman and Robin does " it already said everything it was going to say a month ago.

If you've been waffling on this book, Simone and Pasarin have delivered a reason for you to give Batgirl another shot.

While the overall premise of "Gothtopia" - namely, Gotham and all of its denizens living in a hallucination-fueled utopia - still feels a little shoehorned, Simone makes the villain of the piece one of the creepiest new characters I've seen come out of a Bat-book in a long time.

While you might say that this is leaning on a tried-and-true premise, who's to say that doesn't describe superhero comics as a whole? Gail Simone is able to flex some long-dormant muscles with Batgirl #31, injecting this series with some energy as she delivers a menacing and malevolent bad guy. But at the heart of it all, we find ourselves cheering not for Ragdoll as a bad guy - but almost as the return of a friend.

It feels like we've seen a lot of Batgirl angry - we saw her mad when her insane brother James kidnapped their mother, we saw her mad when the Joker came back, we saw her mad when James was killed - yet I'd be lying if I didn't say that Gail Simone wasn't able to mine that for some good drama.

While the cover claims that Batgirl has been "undefeated," I don't know if I'd go that far - indeed, I feel like her struggles have defined her character as well as this run in particular. For every step forward she makes as Batgirl, Babs ultimately winds up taking a step back personally, and it's that dichotomy that's made for some particularly effective melodrama in this series. While one could argue that sometimes Batgirl was too often stuck in a rut, she felt a lot more three-dimensional than some of the other poor dudes in the other Bat-books. This issue may have had its share of too-neat wrap-ups, but it does provide a clean wrap-up for Cameron Stewart, Brendan Fletcher and Babs Tarr's highly anticipated run on the book. As far as goodbyes go, this may be the best way to wrap up this era of Batgirl.

I wish more Bat-books were as good as Batgirl. Hell, I wish more comics were as good as Batgirl. It's smart, funny, a brand-new take on a classic, and it looks absolutely, jaw-droppingly fantastic. Sometimes a change of scenery is all you need for a fresh start - and if this second issue is any indication, it looks like Burnside agrees with Batgirl even more than you might expect.

Batgirl continues to be the best-paced, best-drawn book in the DC stable, even if this issue gets upended by some very non-P.C. villainy.

While there are some missed opportunities as far as the dynamic between Jim and Barbara Gordon, the sheer technique shown by the Batgirl crew makes this for a fun read, one that most people likely won't have the persnickety objections that I do. Batgirl still remains one of the brightest and most fun books in the DC lineup, and if the biggest complaint is that its most action-packed issue is too action-packed, it's a great problem for readers to have.

If there's one thing that Batgirl #43 does right, it's making sure that you not only care about Barbara Gordon, but that you pay attention to her vibrant supporting cast, as well. Like I said before, it's the contrast here - it's not just the headlining character who's important, but the people around her, as well. With some beautiful artwork and some really engaging characterization, this tiger-centric book isn't just good - it's grrrrrrrrrrreat.

This is a great, action-packed issue, and perhaps even more importantly, Bengal seems to really be hitting his groove, subtly fitting in his style to flow more seamlessly from Babs Tarr's work.

If there's anything that might detract a bit from this issue, it's that the wedding itself - which includes a trans female, which is absolutely historic for a Big Two comic book - feels a little drawn-out, even though Tarr draws it beautifully. But a few slower pages isn't enough to stop a superstar issue of Batgirl, one that brings together two of DC's best and brightest characters, and absolutely does them justice. This creative team has done a lot of great things with Barbara Gordon, but this wedding issue definitely takes the cake.

While plenty of Batgirl's rogues gallery have been bright and bubbly villains, Stewart, Fletcher and Tarr remind us there's more to Barbara Gordon than just fun and games. Tackling some bigger perils than we've typically seen of this series, Batgirl is delivering an ambitious and superbly constructed storyline.

This issue ties together so many wonderful threads from previous issues, and I really cannot say enough good things about it. Kudos to the entire team for having the vision and the guts to pull this one off.

But that all said, it's very, very easy to be hooked, given the sheer scale and amount of fun this finale is. Cameron Stewart, Brenden Fletcher and Babs Tarr have really reinvigorated this character, letting Barbara Gordon really stand out visually and thematically amongst an increasingly crowded lineup of Bat-books. Given that this series has been defined by its lightness and beautiful artwork, Batgirl #50 proves to be a fitting send-off to one of the best new DC books in recent memory.

An unexpectedly fun read for what should have been a fill-in. DC should definitely look to these annuals for inspiration moving forward.

Ultimately, Batgirl's accessibility and likeability remains its strongest asset, and it's a smart move from DC to use its rising popularity to showcase some of the other Bat-books on the stands. While this story occasionally reads as a little thin or hard to follow, the sagging middle is forgivable when you remember how strong the beginning and end are.

This isn't the most polished anniversary issue of Batgirl, but Mairghread Scott and Marguerite Bennett deliver a nice one-two punch with their short stories, featuring Batgirl grappling with the aftermath of Batman and Catwoman's cancelled wedding.

And best of all? It's totally self-contained, even as it's part of a greater storyline " you can jump in without reading the previous two issues, even as you'll find that it's very difficult to leave. Batman #4 can't come quickly enough.

Out of everyone in the New 52, Scott Snyder and Greg Capullo are officially the team to beat, showing how to make a satisfying chapter that makes readers eager for the next installment, rather than just follow along out of habit. Batman #5 is a comic that stretches itself " and it's protagonist " beyond the breaking point, and it's that level of ambition that's earned yet another perfect score. Once is happenstance, twice is coincidence, but three times is a pattern. Pick this book up yesterday.

This story is great from a plot perspective, as it ties in Nightwing and Gotham City's hidden past far better than, say, Snyder's architecture-based Gates of Gotham. But after the rock 'em, sock 'em pace of the past six issues, this much denouement is a little bit like whiplash.

If all comics could have a conclusion this well-conceived, we would be celebrating a golden age of storytelling. At the very least, we can celebrate a vindication. For those who doubted Scott Snyder " and yeah, I counted myself as one of those skeptics, for sure " this is the comic to watch. Because deep in the dark streets of Gotham, hidden away beneath secrets and scars and lies, a bona fide comics superstar is being born.

Since the New 52, Batman has been blessed with an indomitable winning streak, thanks to Scott Snyder and Greg Capullo. But it's even more exciting that this issue is their best one yet. The Clown Prince of Crime might be at his most murderous, but make no mistake " he's going to put a smile on your face.

In a lot of ways, I think this issue is an example of breaking a few eggs to make an omelet " Snyder has talked about Batman's extended family for awhile now, but outside of Nightwing hasn't really given them much screen time. Not only that, but I have the feeling that the new mysteries about Batman's early days fighting the Joker may spin out into something interesting moving forward. Yet the long game is not always as satisfying as the here-and-now, and the slow second half of this book kills the momentum and keeps Greg Capullo from doing what he does best: knock-down, drag-out action.

The most hardcore of Batman readers may be rubbed the wrong way by Harper Row, from her incongruous introduction during Snyder's Court of Owls storyline to her casual use of (nonlethal) firearms, seemingly with the staunchly anti-gun Bruce Wayne's permission. It's no secret that Harper is a vanity character, Scott Snyder's attempt to bring a lasting legacy to the Bat-mythos long after he's gone. And that's ultimately what will make or break your reading of Batman #28 - do you want to see Harper Row succeed? If not, nothing Snyder will do will convince you to stay on-board - but if you're intrigued by the Bluebird's heroic flight, this issue may be the burst of girl power that Gotham City deserves.

Besides the minor story hiccups, however, this is a great way to dive back into Batman, after months languishing in the past with "Zero Year." For the first time, Scott Snyder gets to bring in other elements of the DC Universe into his street-level, tough-as-nails Gotham, and the fireworks are about as big and fun as you'd expect. As far as first chapters go, "Endgame's" super-powered brawl shows this arc has the potential to be a knockout.

Still, as far as conclusions go, Snyder and Capullo promised we'd see some fireworks - they just didn't mention how gut-wrenching they'd look. The finale of Endgame is violent and intimate, a raising of the stakes of what was set up years ago with Death of the Family. It's painful, like all good drama, and it absolutely sets up some new directions with the Batman books that could have some great potential. While there are a few bumps that keep this issue from perfection, I'd still say this is the best conclusion Snyder and Capullo have done since the Court of Owls.

But even if takes a little while to warm up, the thought behind Batman #43 is more than sufficient here. It's clear that Snyder has put some thought into the passing of the baton from Bruce to Jim - and perhaps back from Jim to Bruce again. This transition could have been particularly bumpy, but Snyder has given us a suitable reason for Bruce to be absent, and has taken solid steps towards giving Jim Gordon a solid rogues gallery of his own. It's a brand-new Gotham City, and let it never be said that Scott Snyder and Greg Capullo haven't taken great steps to earn it.

Granted, this isn't a perfect comic by any means - whenever Jim Gordon isn't on the page, the story does slow down dramatically, as the amnesiac Bruce Wayne feels a bit too maudlin to command our attention, while the homicidal Mister Bloom's murderous rampage doesn't quite feel creepy enough to really grab us, even with the show-stopping final scene. But ultimately, that's not why we're reading this book - most people aren't eagerly awaiting Bruce Wayne's return, as much as they want to see if Jim Gordon can live up to his potential with his brand-new suit, his brand-new team, and his brand-new way of doing things. And as Jim Gordon has learned, you can't beat City Hall - but it's surprisingly fun watching City Hall beat him.

There's a lot going on here, ranging from a new Bat-cycle to the history of the Narrows to Geri Powers' plans to put a Batbot in every major city in the DC Universe. It's a lot, and even worse, he's going to have a thankless job. Snyder's going to have purists calling for his head, not giving him the time or the leeway to show us a different angle on the Dark Knight - and honestly, given the fairly one-note characterization Bruce has had for decades, it's not bad to give Gotham a shift every once in awhile. But by not having a truly clean break from the past, Snyder slows down his own book. Granted, not every issue is going to be a home run, and expecting that is unrealistic - instead, consider this issue a seed that will bear fruit soon enough.

Ultimately, Batman #48's greatest downfall also happens to be its greatest strength - it took a lot of guts for Snyder and Capullo to sideline DC Comics' most popular character and replace him with an everyman, and signalling Batman's return so soon makes me wonder what might have been with an organized, institution-friendly Dark Knight. You can't help but feel like the switchover is a little abrupt, almost as a reaction to post-Convergence reader attrition. But even while Jim Gordon's time as Gotham's sole Caped Crusader has come a little short, Snyder and Capullo are definitely positioning a triumphant return for DC Comics' original Dark Knight Detective.

Throughout the "New 52" run of Batman, there's been a recurring question of "what is Gotham?" And while Scott Snyder might argue that Gotham is its history, I might do him one better: Gotham is its creators. There have been dozens of writers, artists, letterers and editors toiling over Batman's 75-year career, but I can think of very few who have delved this deeply to flesh out Batman and the city that orbits around him than Snyder and Capullo. Runs like this aren't just rare, they're unheard of " and to have a run like this actually be good is even more unprecedented. This conclusion is less of a fast-paced finale and more of an epilogue, taking the scenic route through 51 issues of blockbuster storytelling. Over the past five years, Snyder and Capullo have gone through a herculean undertaking, mapping and building Gotham from the ground up. I can only imagine what it must feel like now they get to just sit back and enjoy the view.

Without a dynamic artist like Greg Capullo or Rafael Albuquerque taking the reins, an annual's expanded page count can bore readers just as easily as it can enthrall them. But with a downgrade in the art and a focus on a villain rather than Batman or any of his fun supporting cast, this book is for Freeze purists only. Snyder's main Batman book is still as untouchable as it gets, but this is too much money for not quite enough fun.

While admittedly this issue has its moments of feeling rushed, there's something so pure about Batman: Futures End #1, something that speaks to the power and longevity of DC's most popular character. You don't need crazy setup, you don't need explanation - you just need action. Even when he's at death's door, Batman is always ready for war. And that's a thrill that five years could never touch.

While this first arc feels unsteady, with a pair of creators not nearly as bulletproof as their predecessors, the sheer ambition behind Batman might pay dividends down the road.

Yet by the last page of this issue, it's clear that King has other plans " and that just as Batman (and his readers) are finally getting steady and comfortable, he's going to pull the rug out from underneath everyone soon enough. Of course, the problem with serialized comics is that you can't just tease the future " the here and now has to also feel engaging and exciting. In that regard, Batman #5 succeeds with some caveats, as King and Finch raise the stakes by pitting the Caped Crusader against a foe that is way out of his weight class. There are still some rough edges that could stand to be smoothed out, but this is certainly the best issue of this run yet.

All in all, Batman #6 is a strong finale to King's opening arc, and one that heralds great things to come.

This issue is one that’s primarily set-up, it allows for a couple of diversions which will please the readers anticipating the grander "Rebirth" plot, but it’s framed around getting the team together. What makes this issue work better than a standard comic where characters join forces is that there’s a thematic richness based on the actions taken in King’s first arc. Batman’s trip to Arkham is supplemented by knowing that this is a last hope. He’s not making a Suicide Squad because it’ll shake up the status quo, but because he’s already lost his vigilante protege, Gotham - he can’t lose Gotham Girl, as well. While Janin’s artwork has given new life to Batman as a title, King quietly pushes ahead with his ominous themes. Bane might have been the one to cripple Bruce Wayne, but it’s Tom King who might push the Bat past his moral limits.

There's a mystery at the heart of "I Am Suicide" " at least, I hope there is " but it's going to take a lot of patience to get through this issue of Batman.

Far and away the best issue of this run yet.

But ultimately, Batman #18 isn’t meant to be a narrative triumph - after all, we’re only in Part Three of “I Am Bane,” so we shouldn’t expect any game-changers here - but it is an artistic one. This is by far one of the strongest issues that David Finch has delivered not just for this series, but across his entire DC tenure. Putting him on a Bane-centric storyline has DC tapping into Finch’s stylistic strengths as a creator, making Batman #18 a must-read for the visuals if nothing else.

This arc is certainly not for everyone " there are plenty of people who might say it's too bleak, and they wouldn't be wrong " but honestly, as far as dystopian detours go, I wholeheartedly endorse just how far Batman #47 has gone.

Tom King continues to do some interesting structural things with his run on Batman, delivering an inversion on the classic Batman-Joker frenemy dynamic from The Killing Joke and transferring it to the Dark Knight's bride-to-be Catwoman.

The jury may be out on Mr. Freeze's innocence, but as far as Batman #52 is concerned, it would be a travesty of justice to pass this book up.

It's human. It's fallible. It's messy. It's Batman. And maybe that's the only verdict that matters.

Given the high bar that King and Gerads set for their collaborations with Mister Miracle, Batman #62 I think clears that lofty standard nicely.

Writer Tom King and artist Jorge Fornes take a trip down memory lane in Batman #66, and while there's some repetitiveness from this look back at Bruce and Selina's failed wedding, it's hard to deny just how gorgeous this issue truly is.

Between its polarizing high concept and its undeniably terrific art, to say Batman #67 is an acquired taste might be putting it mildly, but it's the kind of narrative risk-taking that I wish more creators had the courage and skill to attempt.

Showing some much-needed humanity amongst the craziness of Batman's life and the DC Universe as a whole, this interlude proves to be one of the highlights of Tom King's latest arc.

Like the previous issues of this storyline, there will be readers who vehemently disagree with my assessment of "Knightmares," that its ephemeral, shifting narrative feels dramatically unsatisfying, for all its outre storytelling choices and all the things King has left unsaid. To be honest, they might not be wrong, either. But given the high concept of this storyline - being trapped in a never-ending series of bad dreams - I think this experimental approach is justified, that that the threads that come together are intentional, rather than an oversight.

For my money, I enjoy King tinkering around with Bruce's mental state more than I do his traditional rogues' gallery, so a wild card like Thomas Wayne perks up my interest, and combined with some show-stopping artwork, Batman #73 remains a solid if quick read.

If King and company can make their finale as strong as this arc's introduction, "City of Bane" will prove to be a hell of a send-off to one of the most ambitious Batman runs in history.

With that bit of narrative flashiness out of the way, Batman #77 is a solid but flawed installment of the "City of Bane" arc " three issues in, one can feel the decompression dragging a bit, but there's still enough sparks from both the writer and his dual art teams that we may still want to see this storyline through to the bitter end.

Writer Tom King teams up with artist John Romita, Jr. for an issue that has plenty of much-appreciated fireworks after the slower pacing of the previous chapters.

For every PlayStation or iPhone under the Christmas tree, there's sure to be an ugly sweater or a package of socks not far behind. With Batman Annual #1, you need to be willing to take the great with the not-so-great because overall, this is a very enjoyable holiday-themed Bat-book. Is it essential Batman reading? No, but it certainly has some remarkable moments, a nice dose of nostalgia, and is sure to put you in the holiday spirit.

While this isn't the most sweeping of statements about the World's Greatest Detective, Batman Annual #4 will likely appeal to diehard fans of both King and Fornes' work.

Who would have thought that twice the Batman and twice the Superman would be too much? Yet Greg Pak winds up putting the cart before the horse with a needlessly convoluted plot, compounded by some messy artwork by Jae Lee. Considering how talented this creative team is, it makes for a somewhat frustrating time - while this book still stands above much of the rest of DC's catalog, you can't help but feel this book could be better. The World's Finest, this isn't.

Luckily for Batman/Superman, this book looks so good that you can begrudgingly forgive many of its other sins. That said, you can already see the wear and tear on Jae Lee, as now he's only drawn half the book, with many of his characters losing their key details due to his overuse of silhouette and shadow. We've seen already that Greg Pak gets these characters, but until he can streamline this story - namely, one Superman and one Batman is enough - this comic is barely going to get by on looks alone.

It's an imperfect read, but one that ultimately hits more than it misses.

Not a hugely auspicious issue, but not a bad one, either.

If there's one thing that holds this issue back, it's that plotting-wise, Taylor doesn't quite have as much of a hook as he does with his characterization. While the idea of a murder mystery on a moon is interesting, having a tease about Kryptonian history has already been done to death, even dating back as far as the very issue of Batman/Superman over a decade ago. What I'm hoping will happen is that Taylor can give us one strong twist to make the end destination seem worthwhile, and continue on his fantastic characterization to make the issues getting there feel this punchy. For now, this isn't a must-read, but it's certainly a surprising show of quality, and perhaps a sign that bigger things should be in store for this team.

Every so often, DC Comics puts out a title that I feel I have to keep harping on, just to let everyone know that this is the real deal - this is a comic book you should not only be paying attention to, but that you should be emulating. And in the hands of Tom Taylor, Batman/Superman is that book - instead of trying to reinvent (or reboot) the wheel or to goose sales with crazy high-concepts, epic guest stars or A-list names attached, this book rests on characterization only. And let me tell you, I wish more books had the courage to do the same.

Lots of fun twists, great character moments, and a super-poignant ending make me wish this creative team could have stuck around for a long, long time.

But ultimately, it's ironic that in his final days, Superman winds up sounding more true to himself than he has in quite some time, and that's a big compliment to Tomasi and company. Watching the World's Finest duo team up and face their own mortality is a great bit of characterization in an industry that all-too-often focuses on the short-term stunts rather than the long-term readability. While there might be plenty of big books out this week, you'd do well not to overlook Batman/Superman.

That said, there are people who might cry foul at this issue's large price point, shifting art teams and unfocused, almost jazz-like narrative - and they would be right. Batman/Superman Annual #1 isn't a comic that's going to go down in the history books, but instead is a bit more of a disposable but entertaining read. It's nice to see Greg Pak and DC Comics utilizing the Batman and Superman families beyond something like a depressing, status quo-altering crossover book - this is pure adventure with no frills, and that's what makes it fun.

Regardless of hiccups, Batman/Superman #3's immense production values help carry it to the top of this week's reading pile.

For a two-part detour, Williamson and Derington have delivered a fun, villain-centric story, and while our title characters might feel a little superfluous, there's enough solid beats here to stick the landing.

James Tynion IV and Freddie Williams II reunite the Dark Knight and the Heroes in a Half Shell in Batman/Teenage Mutant Ninja Turtles II #1, an action-packed slice of fan service that'll make you say cowabunga (or booyakasha, if that's your preference).

Some critics might accuse this book of being shallow, of not finding a deeper connection between its two franchises - but when it comes to Batman/Teenage Mutant Ninja Turtles, I think they might be trying to reinvent the wheel here. Part of the reason why these two franchises work so well is that they don't need to justify themselves or continuously remind us of how they became who they are. Just rev them up, put them on a path towards one another, and watch the sparks fly. It's clear that Batman and the Turtles are in great hands - the second issue can't come fast enough.

Honestly, Batman/Teenage Mutant Ninja Turtles III #2 is one of the most thrilling single issues I've read all year, and this issue alone already justifies Tynion and Williams' third trip to this particular well.

James Tynion IV is leaning on a tried-and-tested structure with Batman/Teenage Mutant Ninja Turtles, but for a project like this, I actually have to say that's a great idea. When you have a hook as simple as this, you don't need to reinvent the wheel - you just need to have a solid grip on characterization, and then let these mythologies clash as often as possible. If you're a fan of Batman: The Animated Series or anything Turtle-related, you're going to want to buy this book immediately.

The Teenage Mutant Ninja Turtles finally join forces with the Batman himself, but James Tynion IV gets just a little ahead of himself with his plot structure, and winds up dropping the ball on this epic team-up.

When you read as many comic books as I read on a weekly basis, it's easy to name comic bookss that are smart. Or challenging. Or funny. Or just plain convoluted. But honestly, there are very, very few comic books out there that are as positively joyful as this book. You absolutely sense the enthusiasm that this creative team put into this book, and like all unexpected pizza toppings, once you're done, you can't wait until you enjoy it again. If you pick up one book from the Big Two this week, make it this one.

While this issue is a little shorter on content than some of the previous installments, James Tynion IV continues to deliver with the crowd-pleasers, as Damian absolutely tears through the Turtles, evoking the same sort of carnage from his first appearance by Grant Morrison.

While the seams are showing a bit in this last issue, that's not to say that there hasn't been plenty of good bits to Batman/Teenage Mutant Ninja Turtles, a fun series that at its best has nicely wedded the best parts of two iconic franchises. Ultimately, six issues doesn't necessarily feel like enough space to adequately condense the sprawling universes these two sets of characters inhabit, and it's a real credit to Tynion that he's done as well as he has " and to Williams, for making it look this good. Even if the fan service winds up overpowering its structure, this is still a book that demands your attention.

Now that the title characters are finally teaming up, maybe the third installment of Batman/Teenage Mutant Ninja Turtle Adventures will begin to live up to its promise.

While it doesn't quite stick the landing, Tomasi has at least given himself some more room to make it right. The mystery of Batman and Robin " whether or not Damian would turn to evil " was never really a mystery, just by virtue of this book's title. The thing that was most important was how Bruce was going to connect with his son. And that conflict is still intact. Now that the explanations are over, I'm feeling confident that Tomasi will bring an even more satisfying emotional reunion when this storyline concludes next month.

There's a lot to like about this action-heavy conclusion, but oftentimes Batman and Robin #7 also gets in its own way. After months of fairly methodical build-up " even some decompression last issue " the ending here comes off as a bit rushed, with the larger-than-life beats coming off as too big even for this story. It still stands as one of the stronger Batman titles, but that said, with this creative team, I know the potential for Batman and Robin is even deeper than what's on display here.

Even so, this comic doesn't need a flimsy "Death of the Family" tie-in to make it fantastic. Peter Tomasi and company open this comic up with a bang, and it doesn't let up for a second. For Patrick Gleason, this is some of the best work he's done in ages; for Tomas Giorello, he's in the unenviable position of following a top-tier powerhouse. Regardless, if you're looking for a smart, stylish beatdown in Gotham, Batman and Robin is the place to find it.

It's that atmosphere that makes Batman and Robin #15 such a treat, as it goes even further than its flagship book dares. It looks and feels disgusting, disturbing, creepy " all the qualities the faceless Joker has been designed to cultivate. With Damian Wayne getting more and more likable as he becomes more protective over his father figures, this is a great exercise in watching two fun characters clash and strike some sparks.

In terms of execution, Batman and Robin #16 feels like the book we deserve, even if its not the book we need right now. We buy into action-heavy crossovers because we feel that's what "matters" in those rolling biographies of our favorite characters. While we will be continually disappointed on that score, this comic ultimately delivers on the surface, giving us plenty of punches and fisticuffs in dynamic style. But this comic also doesn't pretend to be anything more than a standard fight book, nor does it try to be, which I think ultimately makes it a little less durable than it should be.

Batman and Robin #18 is a comic that makes you feel the wounds, the loss, the lack of direction that Batman himself must feel after one of his greatest losses. This is a beautiful comic, a powerful comic, yet it is also a comic with no answers.

But all you need is one good guest star, and Batman and Red Robin has one on hand with Frankenstein on the scene. This is definitely an odd book, and a bit of a tonal shift from the more real-world stories Tomasi and Gleason had been telling for the previous 18 issues, but the execution winds up being refreshing. We've already seen Batman's brand of denial in books ranging from Teen Titans to Fallen Son, and even with a stunt like Carrie putting a wobble on things, with a creative team this good, this is well worth checking out.

Not a bad read, but I also know this team is capable of more.

In case you didn't read Batman Incorporated, Peter Tomasi recaps the story quite effectively, adding in some more action for good measure. But the real hero of this comic is Patrick Gleason, who stages this frightening melees perfectly, including Damian's tough-guy scowl at his impending doom, the larger-than-life nature of the Heretic, and the sheer broken-hearted look on Alfred's face as he wrestles with his own culpability.

While the actual interaction between Batman and Two-Face has yet to materialize, Tomasi and Gleason have delivered a gorgeous-looking setup in Batman and Two-Face #24. Consistent as ever, this creative team is one of the best DC has to offer, and with the artwork and characterization looking this good, this is a book you'd be foolish to overlook.

While Batman and Two-Face #25 won't cause any riots in the plot department, there's something to be said for doing the simple well. Batman is a character that thrives because he's built for action - and action is what Peter Tomasi and Patrick Gleason deliver here. If you're looking for a gorgeously drawn, no-nonsense fix of Gotham City fisticuffs, you could do much worse than Batman and Two-Face #25.

All in all, the rock-solid creative team keeps this book afloat, even if this story isn't the strongest in the Batman and... series. Chances are, what will bring you to this book versus any of the other strong Bat-titles is Patrick Gleason's signature art style, but if you're a fan of continuity-free storytelling and sharp artwork, Batman and Two-Face #26 is a decent, if not revolutionary, book to pick.

Batman and Two-Face #28 is bloated and at times rushed and messy, but it's also a story that's so bold, I can't believe DC actually went through with it

That may not be what this comic is meant to be, however. Tomasi has already spent plenty of time with Batman mourning the loss of his son - continuing to harp on that ad nauseum might prove to make this too dour of a read even for Batman. This is a fight comic, through and through, and while it's not the most striking superhero showdown I've ever read, Patrick Gleason's artwork makes it striking enough to stand out.

If there's any one downside to this book, it's in the pacing - namely, because Tomasi has to introduce certain members of Darkseid's family, this story cuts out just a little abruptly, with the last page in particular feeling a big anticlimactic. But even with the ending sputtering out a bit, it doesn't hamper 18 pages of solid storytelling beforehand. If you're looking for hardcore Batman action, Batman and Robin #35 is the place to find it.

The market has spoken, and it's spoken loud - Damian Wayne cannot die. And in so doing, Peter Tomasi has told the most balls-out crazy story he possibly could to get him to this previously mandated conclusion. Ultimately, whether or not you want to descend into this craziness is up to you - sure, it's self-indulgent, it's loosely (perhaps even sloppily) plotted, but that's like going to McDonald's and complaining they don't have steak. This is a fight comic, a gorgeous fight comic, even if it's got zero calories from a storytelling perspective. People will cheer because they have their Robin back, and for them, that's all that will matter. To paraphrase another Batman scribe: Maybe this isn't the book we deserve, but it's the book we need right now.

This comic is an interlude, through and through, but it's one that's thoughtful and endearing, despite its occasional rough edges. Or in other words, it's similar to Damian himself.

Ultimately, this reads like half a good comic " Damian Wayne's Day Off is as good a concept as any (even if the Bat-suit throws off its balance wildly at first), but the subplot feels like a waste of space. That said, if you're looking to get your fix of Damian, this is a great place to check in, and easily more accessible than Morrison's more convoluted Batman Incorporated. A mixed bag for sure, but one that ultimately is a worthy effort.

Ultimately, weekly comics are still an unproven storytelling method, with even the best examples having some major issues with pacing or a schizophrenic visual or narrative tone. But it's hard not to feel excited when you see a book that looks and reads as good as Batman and Robin Eternal. If DC can keep the art looking this good - and if Tynion and Snyder can keep their momentum going without Batman to guide his flock of Robins - then this might be the weekly comic we've all been waiting for.

It's taken them years to do it, but DC might just have cracked the code when it comes to putting out awesome weekly comic books.

All in all, DC continues its winning streak with this book.

Ultimately, the need to wrap things up makes this comic feel less like a story and more like a Wikipedia entry.

It might not sound this way reading this, but I truly believe that this finale coming out as a little less-than-engaging isn't such a knock against Tynion, considering that many, many other writers with much longer track records would have churned out something that instead would have just been completely incoherent. But as a reader who is looking for a piece of writing to really grab me emotionally, I can't help but think that this book lost its way by the end, sacrificing all that wonderful characterization of the first dozen issues in exchange for obligatory cameos, standard plot twists and low-calorie pyrotechnics. 26 issues can't be easy, but if the sprawling, distended, occasionally meandering focus of Batman & Robin Eternal has taught us anything, it's that for a weekly story like this, maybe less really is more.

There's a lot of potential to a book like Batman and the Outsiders, and just based on the propulsiveness of this debut, I have confidence that this creative team can pull it off. Bryan Edward Hill feels like exactly the kind of writer I'd want to have follow up James Tynion on this type of character-driven Bat-book, and to be honest, I feel like Dexter Soy is one innovation away from becoming the next big superstar artist at DC.

After its bleak and confusing opening arc, Dan Jurgens and company are starting to bring Batman Beyond back to its more charming roots.

For ostensibly being a bit of a breather issue, Batman Beyond sure knows how to keep readers intrigued. While Tim Drake spends much of this issue worrying about Matt McGinnis, Dan Jurgens gooses this issue with liberal doses of action, such as a two-page fracas with Rewire, but the real meat of this issue has to be the fall of the Justice League to Brother Eye, which artist Bernard Chang knocks out of the freaking park.

This story is not the most straightforward thing on the stands today " even diehard Batman Incorporated readers may need a second or third pass to take it all in " but because it looks so good and has so much energy, it's tough to begrudge this book. While Morrison and Burnham may very well prove this cliffhanger to be a fake-out, I'm definitely ready to reinvest with this team.

This is an enormously powerful single issue, easily the best of the week. Do not miss this book.

There's little wrong with Morrison unraveling the mystery behind Leviathan " with lethal results " but there is an energy lacking that keeps this comic from its usual lofty heights.

Anyone interested in Gotham's future should give this book a read " and considering how far Damian Wayne had to come to become accepted as the new Boy Wonder, I think that's about as fitting of a sendoff as he could get.

The scale of this comic is particularly ambitious, and Morrison's juggling of so many characters and so many subplots is admirable in and of itself " yet there's a lesson to be learned here. When Damian was first introduced, Morrison thought he'd kill him in one arc... until he saw the character really taking on a life of his own. In death as he was in life, I guess, since the death of Robin has largely superseded any convoluted doomsday plots Talia al Ghul might come up with. Batman Incorporated isn't a story about high concept anymore, it's a story about emotions and family and heart " and that might be a Leviathan too big for even Grant Morrison to tackle.

Structurally, this comic makes plenty of sense, and I give Morrison a lot of praise for tying together so many forgotten threads for his final crescendo. Yet seeing this in practice winds up falling flat " think of a chef telling you how great a peanut butter-and-pickle sandwich might be, because that's what he had in the fridge. Batman Incorporated #10 is that same sort of weird-tasting combination, only years in the making. There may be some good constants here " Chris Burnham's art, Morrison's sense of deliberateness and scale " but that doesn't make this weird comic any easier to swallow.

Unfortunately, not only is the outcome of this "final battle" between Batman and Leviathan a foregone conclusion, but after all the possible buildup that Morrison has built over years and years of storytelling... all we get is a fistfight? Granted, Batman's reckoning with Talia will finally unfold next issue, but aside from the Heretic's final fate, this feels a little too easy, a little underdeveloped. This is neither Batman nor Morrison's finest hour.

Batman will never die, Morrison says, but will he always be shiny and new? I disagree, and I think this finale is proof: despite the coolness inherent in his concept, without a writer whose heart is truly in the product, this Dark Knight will always be just a shadow of his potential.

Not a bad book by any means, but there's definitely some fat that could have been trimmed here.

Hitch, of course, excels most when he has Batman duke it out, and while I'd say that he and Ellis are getting diminishing returns with their lengthy widescreen brawls, there's still a sense of weight and power that we can feel with every blow.

That all said, it's heartening to see a comic that doesn't just make financial sense, but works creatively as well. Batman: Arkham Knight is one such comic. If you've played the video game, this is a great tie-in to the next installment of the franchise, and even if you haven't, this is a smooth entry that clocks in at 30 massive pages of story. Whether you're buying this in installments or waiting for the collected edition, this is one great bit of outreach featuring one of DC's most enduring characters.

Comparing Creature of the Night to Secret Identity is an inevitable and perhaps unenviable task, given how well Busiek distilled the Man of Steel's tone almost 15 years ago. Yet with his meta take on Batman feels like a gnarlier beast than the coming of age of Clark Kent, as we meet eight-year-old Bruce Wainwright, a Batman superfan whose life is turned upside-down when his parents meet a similar end to Thomas and Martha Wayne

While there may be bits of the narrative that feel inconsistent, Murphy's artwork is unimpeachable, with his Azrael redesign being one of the most striking Batman images in ages. Where the collision course between Batman, Azrael and Joker goes remains to be seen, but just based on sheer artistic talent alone, you could do far worse than checking this book out.

An imperfect but ambitious work.

While I do think Murphy rushes past a lot of his emotional beats to the point that they only feel like taps rather than haymakers, the core audience for Batman: Curse of the White Knight will likely vibe much more with his deeply kinetic art style. Do I think that this conclusion necessarily hits all the points that a good sequel does? Not quite - and a series less masterfully drawn would likely get hit a lot harder as a result. But for Curse of the White Knight, the outstanding visuals helps stick the landing where its own shaky narrative might not.

The problem is, Taylor's classic art style, while refreshing, doesn't sustain interest as well as a cohesive story might. There's a lot of thematic potential for the rise and fall " and sabotage " of a metropolis, but Death by Design falls victim to convenient plot points and a villain who never justifies his chutzpah. Kidd purists will already be on board, but those who aren't members of the choir already won't find a firm foundation here.

Ambition is never a crime in the comics industry, and to be honest, I wish more books failed because they were too ambitious rather than the other way around. Batman: Earth One is one of those books. There's plenty of material to work with, and there's a ton of setup for future storylines. But what this book doesn't do is ultimately too damaging to ignore: for all its enthusiastic world-building, it fails to set up an exciting alternative in characterization to either the current Batman books or the epic Batman movies.

In a lot of ways, it makes sense for DC Comics to keep coming back to the origin of Batman - it was that same origin that redefined the company's fortunes, and perhaps its telling that they would come back again and again, hoping to strike gold the same way they did in 1986. Unfortunately, Batman: Earth One, Vol. 2 isn't going to have that same kind of instant magnetism. Those who are interested in reading more Batman stories after the mega-popular Christopher Nolan movies are going to wonder who this bumbler in a bat-suit is, and diehard fans aren't going to buy this low-tension storyline when they have Scott Snyder or the Arkham City games to electrify them. The sad thing is, Johns and Frank might be one of DC Comics' best teams - but it just so happens that their styles are not the right fit for DC's biggest icon.

But the real issue, beyond anything technical, is the overall premise to this first issue of Batman Eternal. Jim Gordon is not Robin. Batman isn't just Harvey Bullock or Renee Montoya. They come from two very different worlds, and you have to make a choice which one is going to be your focal point. By having the two at ostensibly equal levels, it either draws Gordon's gritty, realistic world into melodrama, or it takes Batman's larger-than-life theatrics and calls attention to its one-dimensionality. It's going to take a bit more than this to make me care about the Commissioner's latest dilemma, and it's going to take a lot more than this to make Batman Eternal worth 52 issues of investment.

While I think there's still something to be desired for making Batman Eternal a story that will really hook readers, you can't deny that both issues of this series at least draw the plot forward with something concrete. In the last issue, it was a train disaster - this issue is the return of one of Gotham's most insidious foes. With Jason Fabok's artwork giving this series a stable framework - at least, for now - this comic has done just enough to keep me interested for next week. At least for now.

Stylistic missteps and an overly slow plot makes this issue of Batman Eternal more filler than killer. Not much really happens here, something that a lot of weekly comics try to get away with (and often do). Everyone wants to see what happens to Batman, and because they get another chance next week, it's easier for them to forgive (and more likely forget) misfires like this one. I just hope for all our sakes that this book picks up and starts putting some weight behind this weekly schedule.

With the all-consuming grind of a weekly story, it can take a lot not just out of the exhausted creative teams producing it, but for the overworked and overstimulated readers struggling to consume it all and make it all make sense. Sometimes a vacation is all you need to recharge your batteries and start fresh. Maybe Batman: Eternal #9 was the getaway this series needed all along.

Still, I have to give Batman Eternal credit where it's due, in the fact that this book has really been good at fleshing out Gotham as a character - something, I would argue, that Scott Snyder in particular has tried to do ever since he joined the Bat-books back on Detective Comics. With some strong art and a lot of ambition with its cast, Batman Eternal is definitely starting to shape up.

This issue of Batman Eternal is very far removed from the usual Batman story, and I think that shows the flexibility of this ensemble title - it's not afraid to deviate from a "traditional" Batman story, instead tapping into many different types of stories, all united by that omnipresent Bat-symbol. This comic leans into Batman's horrific side without regurgitating the old stories about the symbolism of bats, instead showing the kinds of horrors that Arkham can conjure up. And with protagonists this unexpectedly good - a compliment you can also give the creative team - this book is the best kind of magic.

Maybe the problem is Batman. Things were going so well, as Ray Fawkes and company had Batwing team up with Jim Corrigan - the human host of the otherworldly Spectre - but this origin of Deacon Blackfire falls flat as soon as the Batman shows up.

Sometimes comics succeed based on their plots, and sometimes they succeed based on their execution. Batman Eternal #41 is a mixed bag in that regard, as it's got just enough "important" plot points - and surprisingly strong art - that people will likely feel vindicated buying it, if only because it feels bigger than many of the issues that came before it. That's the real struggle behind Batman Eternal - there are so many storylines that are picked up for only a few issues before being lost in the next subplot, and with magic, technology, action and criminal politics all fighting for the spotlight, it makes this book a schizophrenic sort of read. Still, clarity does come when you least expect it, and moments like these are ones to cherish in a book like this.

At the end of the day, what will really make or break Batman Eternal #50 is the big reveal of the mastermind behind this plot against Gotham - and to be honest, that's probably the biggest point of contention for me, personally. It's almost a sure thing that Tynion and company will explain this mastermind's rise from D-lister to man of the hour, and while it certainly affects a few other members of the Bat-family, I can't help but feel like it's a retread of "Hush," only with an even more implausible character. But with two issues to go, the Batman Eternal creative team will likely work hard to sell their plot twist. While readers and creators alike may be eagerly awaiting the finish line, this is one last sprint that feels breezy and fun - but time will tell if it ultimately comes off as satisfying.

Batman Eternal hasn't been a perfect series, nor does it have a perfect ending. But as a whole, there's a lot of ambition to this series that has made it a worthwhile venture. There's been a cadre of different artists on board, allowing DC to experiment with potential up-and-comers in the context of their most popular franchise, and the sheer breadth of the series, including villains from across Batman's rogues gallery, has made this feel like a must-read. The Bat-Family has coalesced and even expanded under Snyder and Tynion's leadership, bringing characters like Bluebird, Spoiler and Julia Pennyworth to the fold. While it might have helped to reveal this series' true big bad an issue earlier, Batman Eternal will be one of DC's most ambitious achievements for some time to come.

Perhaps you can chalk it up to a slow week at DC, or simply a slowing down on all fronts with the holidays approaching, but Batman Europa winds up being one of the strongest of the DC books this week. Ultimately, that praise is due primarily to Jim Lee flexing his muscles, treating readers to see a master in action. While the change in styles might not be to everyone's liking, it's Lee that makes Batman Europa worth your time - hopefully, with that hook in place, Casali and Azzarello will up their game in future installments.

If you're taking the anthology track, you're going to need more than just two short stories to really justify an audience's dollars " judging by how well yesterday's Superman: Man of Tomorrow worked as a standalone story, I can only hope DC takes any future cues from the Man of Steel, rather than what feels like a watered-down outing with the Dark Knight Detective.

Credit where it's due - while the first issue of Batman: Gotham Knights felt woefully insubstantial despite the A-list talent attached, this sophomore installment shows there's plenty of storytelling potential coming from names you might not be familiar with yet. Self-contained, beautifully illustrated and touching upon all the elements that make a Batman story great, you're absolutely getting your money's worth with this 99-cent adventure.

Batman may win the battle this time, but Russell and Bogdonavic leave readers with a gut-punch, knowing that not even Gotham's wealthiest man can figure out how to win the war.