It is somewhat ruined by then having this be the impetus for yet more revenge cycles. Enough Venditti, this isnt an interesting story arc and adding more pathos isnt helping it out. Venditti needs to put this arc to rest and fast, otherwise leave this series to another writer who will perhaps make it enjoyable instead of an angst ridden slog. While not truly terrible, its biggest crime is being boring. Which is probably a bit worse, dont you think?

Hitchs art is for the most part palatable but a far cry from the really energetic output that he had previously been known for. It is really a sad day when vanity projects simply dont have the effort they used have. Real Heroes #4 ends with a promise of some actual passion next issue, and if there actually is then another long hiatus would be worth it. Hitch is trying to make it on his own and itd be nice to see a success story.

I could not, finally, go on without going into Fecundo Percio's artwork that has been attached to this series. Avatar has become notorious for their very sloppy artwork and coloring, to the point where readers expect and joke about it more often than not. With Caliban, however, the artwork is simply modest. Its nothing special, but a far cry away from awful. Simply competent and the slight moments where the dark setting really shines through are the highlights. Overall I have to admit that this is the kind of story that you read all in one go, so that the weaker aspects are shuffled around with the stuff that actually works. Not among Ennis better works and that is something that really sours on the series.

So, even with the entire media circus surrounding it the hype only hurt Justice League of America a little. The story has the potential to go in very entertaining paths and the writing shows decency enough to grow past the birthing pains of this issue, which Im favorably rating at average. The art is something that well have to live with, and while Im keeping myself from being completely sold on this series for caution of course I am getting settled in for the rest of this story arc. Lets see what Geoff Johns can shell out and if he can create a Justice League worth reading.

Now, before we wrap up, Id like to mention the wonderful Martian Manhunter back-up that has been featured since JLA #2. It adds a lot more depth to what was a very shallow character and makes him unique and interesting. Matt Kindt (writer) and Manuel Garcia (penciller) do pretty swell and one hopes that it continues to do so. Overall this was the best issue so far, and shows definite incremental improvement, but its still only just the best issue of JLA and it could be better. Geoff Johns hasnt lost me yet though, and if he hits a stride then this could turn into something special.

Overall this issue may have been the one to save what was left of the first. While nothing special Johns, as said before, at least tries with this title and was also paired with co-writer Jeff Lemire which brought this up a notch. The slowness helped it and it did a decent attempt at rationalizing the entire situation. Though at the core the only really good things were the small character moments and the focus on The Question. Better than the previous issue, but not enough to make me think that this will improve as it goes along.

So, while all of that is well and good, what drags JLA #7 down is once again the enforced need to fit in with Trinity War and things get taken one more step back. The culmination of this issue firmly brings things back to square one, which was itself not that great a square, with the members of the various Justice Leagues once again drawn into inner conflict. By giant strokes of mischaracterization and plot convenience nothing in the last two issues of the overall Trinity War crossover seem to have mattered now that things are back on track.

The story itself has no real background to it, but as it unfolds it reveals itself to be as effective as it is simple. Small character moments build up to a crescendo that has a surprising amount of twists and emotional impact. As this is not really stand alone it also serves important and rather exciting lead into the main Forever Evil storyline. Like most of the enjoyable one-shots this month they have served to entice readers into reading the main event, which I am now anxiously anticipating and hope that it all goes well. Especially since it serves as an avenue for more Black Adam.

The inking is pleasing to the eye but I think could have had some more edge to it something a bit more biting but thats a nitpick at best. Like The Phantom Stranger #12, JLA #8 fulfills its role of being a tie-in, but unlike Phantom Stranger it serves to explore the events going around the main story being told. It has a focus and it hits it almost out the ballpark. Almost due to the story being ongoing, but hopefully Kindt will land on his feet.

In what is becoming a rather worrying trend with regards to Forever Evil, however, is the inconsistency of the art. Mahnke provided some pencils here and there for the series - but the rest is provided by Tom Derenick. Now Derenick is not doing bad work here - maybe there's trouble with faces, but it's serviceable stuff for the most part. The problem lies in the jarring nature of the changes. It's a large part of the issue, which is otherwise exceptional. The current arc still has me hooked and it should given it's exciting cliffhanger. Forever Evil remains one of the best DC Comics events around, let them keep it that way.

With recent solicits as of October 2016 showing that the arc still has no end in sight, it becomes really insane that what had started out being possibly one of the best tales in the series could be the worst when all is said and done. I hope the next issue is able to give it the kick in the ass that it needs to really get back to business, but who can tell? The fact that it was a prequel helped when it could run on nostalgia, but now it seems like a detriment as we slag toward the inevitable conclusion as slowly as possible. Stray Bullets is better than that.

The back-up feature (with competant art by Ethan Van Sciver) might offset that, however, this time around. Again featuring the mysterious Pandora it sows some deliciously ripe seeds for "Trinity War" that I can assure you people will be talking about for days. Overall I say that if you've enjoyed what Geoff Johns has done so far with Captain Marvel, or Captain Marvel in general, the you should certainly check this out. It's a solid story and is shaping up to be an interesting alternate take on the classic character. If not, then you might be tempted by the back-up and what it means for the rest of the DC Universe.

The art was also decent for the most part. Artist Tony Daniel made an effort for competency and it shows. There are still several moments where it can see seen that he stretched himself and the art decreases a fair margin. While there are even scenes where the characters are off model it is on the whole not that big of a problem. Overall this issue was decent by Justice League standards, but only just a little bit above stagnant on it's own.

Now Black Adam has, largely, been reverted back to his black and white villainy, but there is still a tinge of the anti-heroic personage that proved so popular with fans. Seriously, the moment in question is going to elicit some squeals of joy from those who still hold that incarnation dear. Shazam! looks to be on the rise and the only reason why I still read Justice League. Overall this would be a little more than average issue if not for the back-up. Both have their pros, but in the case of the main story the cons severely outweigh them.

Overall this issue was a mixed bag. On one hand there is the best start a Justice League arc has had so far, some development in the controversial Wonder Woman/Superman arena, Shazam!, and good art on both fronts. The other hand however was that Johns' writing is still only a little on par, being the "best" of an area so low already doesn't mean as much, and overall the main story is only built up so as to float on the main Aquaman series " which is where the meat of the story is split up against, a small annoyance. Though, when judged according to itself, it is an appreciated rise. Perhaps it could even be classified as the start of a rise in general quality, but only time can tell.

The issue is bogged down by needless and overly stylized/expositional narration, unconvincing dialogue about the use of violence in doing super-heroics, and just set-up for future issues. That latter part gives me some small hope that this will pick up, and hopefully in next weeks Justice League of America which is a title I enjoy in a rather base way. If not the only consolation that there is remains that this story will only last for two months, and hopefully lead into a vaguely more interesting Forever Evil.

I won't go into too much detail about each member suffice it to say that one of the stand out ones was Johnny Quick and Atomica, who comes off as a rather refreshing homage to the old 50's greaser/dame dynamic - and it works greatly. Ivan Reis, perhaps given his standard DC "house style", is able to give the Crime Syndicate a look that is both new and yet very old school. To sum up I really wanted to see more of these guys and I guess that I've been waiting for "Forever Evil" to start ever since "Trinity War" began, and now the moment of truth has arrived. Hopefully it will be better than this tacked together tale.

There are those who like to decry and shame Reis for being a "house style" artist, but this is exactly the type of story that needs that sort of aesthetic. Those moments of familiarity with Ultraman, and the moments where we could see Superman in him, would be nothing without Reis " who draws a spectacular Superman, and that lends itself here a lot. It's enough to make me wish that Reis was doing the main event title, but other than that the art on the tie-ins more than makes up for it. It's an excellent start to this arc, as well as a solid middle to the overall oeuvre, and I eagerly await the origins for the likes of Owlman and the other Syndicate members.

In any case it was a brilliant scene that showcases Johns understanding of the character even when confined to a short amount of pages. So, there is a very breezy feel to this entire part of Forever Evil, which is somewhat disappointing given the ground that the Ultraman-centric issue covered. At the very least it also gave Superwoman some focus, as it implies that she too has machinations of her own. Overall it was a solid issue within itself, even though Mahnkes art begins to fail at the end (with figures looking less detailed as the readers move on). Although I hope that it picks up the pace once more, as push backs have harmed the series someowhat.

Not to say that the Anti-Monitor should be some flat nothing of a character, but Johns goes way beyond the pale in trying to facilitate a new backstory and it comes off as incredibly forced. Incredibly forced as a 13-year-olds fanfiction, actually. The art from Maguire, Lee, Kolins, Jiminez, and Jurgens is all really well done – and the art is just the best of what you could expect from them. I just hope the next installment is better for the Anti-Monitor.

Overall, while the story might not be proceeding at quickened rate, theres still enough being set down to just be satisfied with. Also, it seems like this arc will continue into a second one, so theres enough time to really bring everything home. Johns has really come a long way with regards to his Justice League in the past two years. Hopefully The Darkseid War will keep the momentum rolling when it comes to this. Comments and thoughts would be appreciated below.

This is an issue that makes it clear that the creative team knows exactly what they are doing. This is going to be an extended storyline so, honestly, this is the issue that makes certain everything is moving along as it should be. Theres a lot of plot movement and it is handled very well. One hopes that this is a trend that continues in the next issue, but thats something we can never quite be sure of. Im anxiously awaiting it though. Comments and thoughts would be appreciated below.

One thing of note were the names that Crossed give their kids. Seriously, that was a highlight. Of two names readers get one was a degradation of the name Basil (Bosol/Bafol) and the other was unmentionable in polite company. The art by Gabrial Andade was nothing to write home about but it was serviceable enough. Overall Crossed + 100 was the best issue of Crossed in a long time, and I hope it keeps it up.

Speaking of intense moments, while I was harping on about how eloquently the dogs talk, there is one specific phrase that they use over and over again with chilling animal bluntness. The term “I am a dog” is used multiple times as a call of surprise, of terror, of resilience of purpose. While it's worth maybe a chuckle early on, it becomes something so very disturbing and creepy by the issue's end. Leave it to Ennis to take a sentence as simple as that and make it a mantra of the person you once were. Outside of the art, by Michael Dipascale, which is beautiful at points and weirdly uncanny valley at others – I'm willing to follow this series as it heads into it's full run.

Theres parts that still dont quite gel – there is a needlessly bloated segment with Sleepwalker, and this all doesnt really feel like the end of an era. Its a nice story arc, but it has the tone of a back to basics more so than something that is winding down. The art by Leonard Kirk is on form for something as upbeat, but overall I hope that the final two issues figure out more places to go on the road to the ending. Comments and thoughts would be appreciated below.

This month's installment, in comparison, doesn't really move forward the plot as much as it probably should. By the final page we've not moved horizontally as much as slightly vertical. That isn't to say that there isn't any progression at all. Quite the opposite, in fact, as with the previous issue there is a bunch more emphasis put on the character work.

Overall it was surprisingly good. Suprising when taken with the what last month had to offer. On it's own it was nothing really good nor was it terrible, no matter how many would want to say that it was either. It was down the road mediocre, but with a tangible sense of potential. In fact, new readers could be actually find it an enjoyable read. Given time maybe it could grow into something that even older readers might find good. Time will just have to tell, but I'll be keeping my eye on this series for improvements.

One noticeable fault in this issue is the return of the inner monologue, which was last seen in the Zero Issue. I have problems with this because not only does the series work better without it, but that Dan Didio still hasnt worked out all the kinks with it yet. Its better utilized here, but not well enough to justify its existence.Other than that and the more inconsistent tone, the rest has stayed at pretty much the same level. The art, by Brent Anderson and Philip Tan, has improved somewhat as the line work has become more consistent and detailed. The series does seem to be on a rise with each new issue, but will it continue? We will just have to see.

This issue is the best the series has to offer so far, again not that hard. The art is as good as it has been with Brent Anderson on pencils and Philip Tan doing embellishments. Overall the series is still has quite the journey to go before it can reach its full potential, but the journey is being made and that is great. It gives the series some goal for a brighter tomorrow. We can only hope that next month brings the same amount of improvement or more.

The art, as always, has been serviceable. There is clear room for improvement, but as it stands it does the job and it does it competently. The draftsmanship that Anderson brings is eye catching and very dynamic in its execution. Philip Tan's embellishments perhaps go a bit too far and could have been toned down, if just a little. The team will be supplanted by Gene Ha for the next two issues, and while it would be nice to say that I will miss them in the meantime, I'm more excited about what Ha can bring to the table. The Phantom Stranger keeps making strides in improvement and I hope that it continues to do so as J.M. DeMatteis makes his proper co-writer premier next month.

Now as for the art it was as I had mentioned previously the second jump the series had in quality. Rather than be by the serviceable Brent Anderson it was instead done by the personal favorite that is Gene Ha. Now Has darkly ink-ridden style fits with the series to such a degree it is a small pleasure to know that he will also be doing the next issues art as well as a few covers. Its expressive and moody and captures the essence of this incarnation, and rather any incarnation, of The Phantom Stranger. So, while this was a rather good restart for the series it still has the dishonor to be tied to such a big event as Trinity War. DeMatteis seems to be able to maneuver through that so Id gladly say that if there was any time to read "New 52" Phantom Stranger it would be with this issue.

In terms of art the well managed and suited art of Gene Ha has run its course and while that was a nice and respectable development the talents of Philip Tan have returned to the series. While Ha played to the eerie and supernatural side of the series that DeMatteis has been able to bring forth, Tan goes for the rough, brutal, areas of the dark its an aspect as acknowledged as the former and still works in the overall view of things. Its all about expanding and utilizing and DeMatteis is playing the skilled game with the series and one hopes he continues to do so as it goes, as The Phantom Stranger will, into Hell.

There is no need to say that this is DeMatteis at the complete top of his game, this story perhaps even cracking near his best. Its the perfect example of how good writing is enough to salvage any series but great writing is enough to make it memorable. The art by Fernando Blanco is similarly on point though not as perfectly primed for the series as Gene Ha, it still compliments DeMatteis writing excruciatingly well. This series will have to whether through whatever the upcoming Trinity War will have in store for it and should it not survive long past that it was worth it to have this brief look at Paradise via DeMatteis and Blanco.

Especially with a book as consistent as this. I hope it survives past this event since DeMatteis has been doing wonders with this series. While this issue might be setting up for a finale, given the high take on redemption within it, it will be a very fitting conclusion. If only all the other issues of Trinity War could be as good. Thankfully it is already halfway over.

There is hardly a moment where DeMatteis is off form here, and he is still hitting all marks with this series and hopefully continues this sort of quality once Forever Evil: Blight hits stands. As for the art side there is not much to say, other than Fernando Blanco is seriously bringing it. Even though for a while I believed that none could compare to Gene Ha when talking about work on this book Blanco has proved me inordinately wrong. His work ranges from the creative, to the simplistic; from the ordered, to the incredibly chaotic and never fails to create a lasting tone and impression on the reader. Its one of those perfect matches of style and content that one so rarely sees in mainstream Big Two comics these days. With event after event bringing attention to this series what seemed to be dead in the water now has become a series with some tangible staying power.

The art in this issue is split between Tom Raney and Scott Kolins, who both do great work and really compliment their respective tales while also highlighting the differences between them. Raney's art accents the neon-plastic sci-fi wasteland that Jediah Caul, our erstwhile protagonist, has found himself trapped within. Kolins' art, on the other hand, is much more cartoonish and expressive a perfect fit for Larfleezes personality and energy. Threshold is already off to a steady start and with the new wave of DC books already on the horizon I can definitely see Threshold holding the lead on those, quality wise. Now all thats left is to see where Keith Giffen takes us on this crazy adventure through the cosmos.

Threshold as a whole continues to be an entertaining read month to month, and hopefully someone like Didio can pull strings to at least get it a second arc.

Yvel Guichet, also known to some as the artist, has been a surprisingly good fit for the series. Its a bit like a Saturday morning cartoon, but thats what its sort of going for. Not to give too much away but the world more or less ends because they three cannot get along. I cant wait to see the three face that challenge in the next issue, post any thoughts of your own below.

Overall, even though it doesn't quite have leg enough to stand on it's own, this issue is a must read for fans of the titles included who want to see their favorite characters go at it one more time. As for new readers who still go on to read this - if any particular characters catch you eye then by all means go out and look for more! Give your support and maybe we'll see more of these characters again one day.

Overall it was a fun issue. They were able to bring back two characters in a way that could please both older fans and new readers, which is the entire point of DC Universe Presents. There might have been a few hiccups, but it was an enjoyable ride. This story arc started off on the right foot and personally I can't wait to see how things unfold for Black and Blue as their story continues.

Marc Andreyko has excelled in this reintroduction to two DC Comics mainstays. A worry is that the story has been cut short one issue, so while the start might be great, the landing might need some help landing. The art, by Robson Rocha, is on form and itself brings a nice tone to the book.Overall this is still on track to being an interesting new origin for these two and an entertaining romp throughout. Will the term Black and Blue in the future become as well-known as Blue and Gold? Well just have to wait and see.

DC Universe Presents wraps up this thrilling story arc next month and while it might be sad to see this new era for these two characters close up its new beginning it does also afford the nice reflection that they had one of the better new beginnings. If other characters like them can be shown the spotlight within the pages of this book and have the same amount of zest re-infused while keeping the basics of the character than there might be some hope for the untended to parts of the DC Universe that seem up for grabs these days.

Overall it was an exciting issue and one that captures the sort of roller coaster ride that Forever Evil has become. Its a great tie-in that picks up a lot of loose plot threads from Justice League of America and fulfills a major part of the storyline. So, like much of the other tie-ins, this is a must read for those that want a well-rounded view of what is happening. The only fault I had art-wise was the front cover Brett Booth is just awful. Inside, Philip Tan, Neil Edwards, and Javier Pina do a serviceable job that shows moments of greatness. Which is, by and large, pretty impressive for a tie-in miniseries. Im already awaiting the next issue and I definitely recommend it out to all who want. Its well worth it.

The art, as such, is incredibly improved over the first issue. While the first issue had some really good work, this is simply more consistent. Neil Edwards is a worthy successor to the mantle of the series artist and reaches some rather interesting points in this issue artistically. The paneling is just enjoyable, easy to comprehend, and simply serviceable. One thing I also appreciated was the introduction of knowledge about ARGUS as an agency, which should produce some fodder for plot-lines. The series is quickly reaching its great potential and has already staked its claim as one of the most entertaining of the general Forever Evil tie-ins. As a whole this is just another feather in this events hat.

There is enough being put out here to fill up an ongoing, so while engaging, it remains to be seen in Gates will be able to juggle it all. At the very least ARGUS has found a fine groove and even the art, courtesy of Neil Edwards, has stayed gracefully stable. I am hooked and I definitely do not regret calling this one of the core Forever Evil books and a necessity. Theres three months left to this event and it is racing onwards to a fiery conclusion.

Ambush Bug makes his first, actual, reappearance in years under Giffens pen and Green IIs art captures him amazingly. Giffen also makes him one of the highlights of the issue. Theres really one badly done thing in the issue – and its due to one page having all of the text bubbles mismatched. If youve read it already you know. Its definitely a shame and stalls the issue.Yet, other than that, its a fantastic start and I cant wait to see how it wraps up.

Overall, this is one of the better Convergence tie-ins. It tells a personal story without delving into any sort of unnecessary minutiae. Its a nice, brisk, recapitulation of Wonder Womans character and cast, and I enjoyed it under that lens. Could it have done more, said more? Of course, most of these tie-ins could have, but we judge across the board and this was one of the better ones. Only one week left anyway. Comments and thoughts appreciated below.

Ennis (and Spurrier) bring out the human drama of the premise and so that is why his return to the series is a very welcome one. The art by Raulo Caceres is typical Avatar Press fare, with that unnervingly greasy look that the imprint sems to enjoy, but his art is expressive and that is where it earns its keep. It adds in the extra layer of character bits that brings Ennis' writing straight on home. It's hard being a Crossed fan because not every thing the series has to offer is like this - by which I mean "of substance" - but when it does happen it makes it all worth it... metaphorically of course.

Did this issue break the cycle of decompression? No, not really, but it did serve rather well as a finale to the first arc. With the way it ends one really hopes that the next issues focus more on story content. To save the great Frank Quitely for last, I can only really say that this was his best work on the series yet, looking more polished than the last few. Of course he keeps forgetting to do Chloes eyebrows, but better luck next year.

Near the end is where we get the real nit and grit of the start of our story, with the return of a now fully grown Ulysses and some hints at the nebulous real threat of the arc. It comes off a bit sudden, but not too jarring. At this juncture what does come off as jarring would be John Romita Jr.s art. Although rather well done and even with touches of greatness (the double pages splash with Titano), the action sequence at the issues end comes off as cluttered and absurdly hard to follow. While not as bad as some might have been expecting it fails to reach the finish line intact. Overall, however, this proved a flashy start to Johns return to the big blue boy scout.

It really does strike one that the art is what may have doomed this series from the start, but in terms of tone/art quality this probably where the series should have begun and then grew from there. In Aruajos defense there is a surprise character introduced at the end of this issue who he captures very well, none other than Spider-Ham! Overall its just a middle issue of a series that will never get to blossom. Fialkovs last issue is next month as he will not be doing the final issue, but all in all this arc has been a nice read probably more appreciated by old UFF fans. Thoughts and opinions on this series or its departure would be appreciated below.

Before we dig into that I have to say that Fialkov has actually been building up to the final pages in his Ultimate Universe work. From the start of his Ultimates run with the introduction of Future Evil Sue Storm he has seeded the idea that Sue can be just as callous as any villain. This is the issue were we see that come to horrifying fruition as she prepares to operate on Reed Richards. Its not a comfortable scene, its unnerving and all together nauseating. Yet it makes sense and Sue even quotes her evil future self before acting. I blame the sudden cancellation for the rushed occurrence, but who can say? It was an exhilarating issue and one that touched upon a nice variety of emotions and I hope whoever the writer of the last issue is, they dont drop the ball.

Overall a solid and enjoyable read that brings new light to the origin of the Flash and what exactly makes Barry who he is. Though it does, like many other Zero Month issues, read too easily. While it's content may be otherwise, it goes by too fast.

Francis Manapuls art is still some of the best art to grace the pages of The Flash. Its kinetic, stylish, and more important than not vibrant. Its filed with life, something that Buccellatos coloring compliments to great effect. There are two beautiful spreads that capture the frantic nature of Gorilla Warfare and the precarious situation that The Flash has found himself in. Some single pages, like the very last, can be said to be some of the best this run has had. There is nothing else to be said, except about the customary DC Comics credits gag, which is as clever as ever. This arc has only just begun and yet even now it is pushing the limits set by the issues preceding it. Lets see that continue next month as Gorilla Warfare continues!

This issue of The Flash might not be the most satisfying installment to the very entertaining tale that "Gorilla Warfare" is shaping out to be, but it makes up for it with energy and tightly rounded set-pieces. It's an enjoyable reprieve in an already quickly drawn tale and creates a whole new set of excitement for the rest. Now it's up to see if the next chapter can follow through, but given Manapul and Buccellato's track record so far it should be exciting to witness.

Overall it is as good as an issue as one can come to expect from the series and so I judge it on those terms, though there is call for improvement " though it seems that the second half of this story might be more balanced since it carries forth the actual plot.

The Flash is a title that has carved a niche within the New 52 as being one of the more lighthearted series, relatively. The Reverse-Flash is a villain that necessitates a turn for the darker edge and so far the title seems poised to do so. Manapul and Buccellato have kicked off on a great start in all areas, writing and art, and this story-arc has a lot of potential just waiting to be delved into. Escpecially given that it will, in next months issue, be host to the first meeting between The Flash and Kid Flash. Here's to this story-arc and to the hope that they make Infantino proud.

Overall this is an issue who main draw is the art. While I try to look for counterbalances as much as I can when reviewing this series there s really not much going on besides Manapul and Buccellato indulging themselves, or so it seems. It has signs of just being another casualty of writing for the trade which is a shame, but hopefully they are more restrained as the story-arc goes on because they are various plot beats that are intensely interesting and could make or break the story.

Manapul in general is in top form with The Flash #23, with the aforementioned connection between Dr. Elias and The Reverse-Flash, but also with the ever-present craftsmanship that is poured into the paneling and layouts. This issue is peppered with an astounding 5 two-page spreads, but one cannot fault them for being excellent examples in drafting. The cover itself is an astounding piece of art and perfect in terms of composition and general style. Its the kind of cover that makes it onto the front of the trade. Overall, ending with the first blows of the battle being struck, this is the kind of issue that hypes a reader up for the final half of the story and neatly leads into it. Hopefully it is able to follow through and not end up as pseudo-filler issues like The Flash #22 did.

One of the downsides of this issue was, and on this I am pretty disappointed, is that Manapul was not able to contribute to the art side of this issue. Not after "Mob Rule" has Manapul been able to complete one arc all the way through and given the importance of this one it's disheartening. His substitute, Scott Hepburn, is competent and creates some incredibly lavish spreads throughout the issue " helped out by Buccellato's fantastic colors. This issue could have done more, but given that it had only one focus " did that one focus spectacularly. It's now up to next month's issue to bring it all the way home " and so it pretty much has the world on it's shoulders. At the end, I just hope that Manapul and Buccellato land on their feet and end on a good note.

Patrick Zircher is on art duties for this arc and was transferred over from Rogues Rebellion, where he did half of the first issue. Zircher has a very appealing style, and captures the tone of this arc with finesse and style. Its also similar to Marcus Tos contributions to the series, so theres nothing quite that jarring with Zirchers art. Hes as stylized as Manapul in many ways, but is much more conservative with layouts and panels, which compliments and aids Buccellatos writing. This is one arc that the team cannot let fall flat, and I cant wait to see what they do next and who they bring in.

The only point of contention I have otherwise is the surprisingly lack of Iris West in these past few issues, but it is off-set by the rather amazing use of her in the last couple of issues. Overall this is clearly a well thought out finale to one of the most warmly received runs on The Flash in quite a while. All Buccellato has to do is stick the landing, which includes wrapping up about three separate plot threads while also creating a sense of ongoing adventures mixed with finality. Should be easy enough, it's the kind of stuff that you just have to face when doing a cape comic for the Big Two.

Overall Gates does a splendidly entertaining job keeping the various characters of the book and the tone of the book itself consistent with what was already shown. Its still one of the lightest books that DC Comics has out right now and that is definitely not a bad thing. Its fun, peppy, and much like a Saturday morning cartoon in the way its set up and there is a sore lack of that. The art, courtesy of Pete Woods and Fabiano Neves, also help to evoke a very fun atmosphere. Heres to whatever amount this titles has left before it surely reaches the chopping block.

Sterling Gates has been knocking it out of the park with this series, doing what was done in the first issues with Geoff Johns and expanding upon it with a lot of skill. Artist Pete Woods has also brought a lot to the table with the cartoonish, but not in a bad way in the least, colorful and very slick style. Together it makes for fun, enjoyable, and light reading. This series is not going to be a hit any time soon, and will eventually get its pink slip but Id advise to enjoy it while it lasts.

So, while on the story front, everything is nice and steady it is the art that once again find the right median between silly and serious and portrays that tone page by page. Pete Woods was a good fit for the first couple of issues, but he has received a worthy successor in Andres Guinaldo, whose work is fun to look at and also very tightly constructed. Theres nothing truly revolutionary going on, but it is a good display of the fundamentals, and that is its own achievement. JLAs Vibe will be put on hold throughout September due to the onset of Villains Month, which only serves to make the next installment more tantalizing.

Duncan Fegredos art remains the absolute highlight, which is the one constant about Millars output. The artists are pretty much the reason to continue onward, whether or not the story is good or not. Fegredo proves that he is still a master of the medium with his figure work. The setting comes to gritty, dirty, life and creates a much lived in temperament. The dingy is offset by the hints and splashes of color that sort of embody the hope that the characters have. It has grit, but its not overdone or burdened by it. It has that nice balance. Overall my only other complaint has to be the pacing near the end, but nonetheless it is a series to watch.

It doesnt hurt that Baseballs scene mentioned above is engagingly and emotionally written, so it easily hooks the reader in. Duncan Fegredos art is also on a very beautiful keel. It captures the energy, the youth, and the grime that this book needs to get it moving. Its fluid, its oily, and its all around entertaining to take in. My only complaint would be that the main plot has moved not one bit, with two issues left. Placing in new subplots might ruin the stew, but time will tell.

Where Fegredo does get to shine, however, is during an exposition sequence where he is able to let loose with more archaic forms of super-speed. Its short but overall very nicely executed. The final issue will have a lot of work ahead of it, but given the pros of the series as a whole so far I do hope it sticks the landing. Millar has been on a bit of a streak, so I hope for the best even if this installment was middling.

Overall, not bad for yet another notch in Millars current hot-streak. It would have been preferable to have included a bit more character moments to flesh them out, but it was overall what was promised. A high-octane thrill ride, nothing less and only a bit more. Makes a good impression for Millars book going forward, which I would hope are as good or even better moving forward.

Overall this is a great origin story, straight to the point, never meandering or feeling bloated. Perfect for those who are attempting to understand the character and his roots. It might seem superfluous to long time fans, but even then it is still a good story on it's own and can be appreciated on those terms. Besides, when in comic form Jonah Hex has hardly ever been one to disappoint.

On the subject of art Moritat again provides the same level of excellence. Things are given a more visceral tint with this issue, but Moritat follows suit with his linework, accompanied as usual by interesting panel layouts and expression. Overall this was an enjoyable issue and up the standards set by itself over the past year and one hopes that it raises those standards as it heads into its next.

Overall this was a very charming, exciting, and enjoyable start to an event that, whether we like it or not, is going to be with us for the better part of a year. I have faith in Johns to produce some great villain work in this series in terms of beats and interactions, but this is the "New 52" - anything is possible, including failure. I eagerly await the next installment and hope that from here on in there is smooth sailing. It's the Legion of Doom versus the Crime Syndicate, how hard can that be to mess up?

This month will see the premieres of the various Forever Evil tie-ins, all of which I man rather excited for. Johns has shown some of his best Justice League work, not related to Shazam! That is, in this series and I hope that is a trend that continues on as the story unfolds. The main hook of this story is yet to come and while I liked the use of a somewhat slow sophomore outing in a big event like this the ball needs to get rolling again fast. Besides, the match ups are to good to leave alone for too long, as there are only 7 issues to this entire thing.

Of course, after all of this gushing, there is always a downside. In this regard that is something that flls squarely on the art side - with David Finch and inkers/colorists Sonia Oback and Richard Friend. Some of the pages in this issue are among some of the worst work that Finch has ever done for DC Comics. The otherwise interesting fight between Ultraman and Black Adam look nothing more than glorified rough sketches. The counterpoint to this is that the first two pages of the issue are also among some of his most serviceable work. It's really frustrating to have some a disparity in quality in the writing and the art and I hope this is not something that intensifies over the next few issues. Johns has set out to create the "greatest DC Comics Super-Villain story of all time" and he might just make it.

Overall there is not much to complain about in this issue. Batman and Catwoman, ostensibly heroes and not in the way the Injustice League is, even get a good amount of enjoyable dialogue. It was nice to read a story where Batman is completely helpless and having to think on his feet. Finch was even palatable in this issue his artwork gaining some very real footholds here and there. The only real misstep being his rendition of Metallo, which looked like a doodle. This is a fantastic story and may become the greatest Crime Syndicate story that there ever was. If only Johns can stick the landing.

It's been a long time coming, and there has been considerable blow back from fans about the pacing of the event. The main mini series has taken 5 issues to get up to this point and while worth it, it has taken it's toll. All that's left is for Johns to weave together a suitably bombastic finale " his specialty for events. As the final issue begin to pour out, none will be as anticipated as Forever Evil #7, which could make or break Geoff Johns' villain magnum opus. A small misstep for some, as with Alexander Luthor, could endanger the kind words for this story. On a solo note, a personal favorite aspect of this issue was a brief cameo of the Legion of Doom's HQ from the old Superfriends show, with the Injustice League inside it.

Overall it was a satisfying conclusion that neatly ties the story together and, in usual Johns fashion, set-up for the next event for next year. Even David Finch wasnt as bad as he usually was the darkness of the setting and the terrain really do help to bring out what good there does lie within Finch. In a final summations, even outside of the huge disappointment that Alexander was, the way that the Injustice League disbands in pitch perfect. Not in any sort of air of hatred or disdain of each other, but rather of lightness and satisfaction of a job well done. Which I guess is what this whole event was, not perfect but well done. I know I will be awaiting the Forever Evil omnibus. Please comment below and share your own thoughts.

Of course I cannot conclude without finally talking about the art of Scott Hepburn, who contributed pages along with Patrick Zircher to the first issue, as it was a point of contention with readers. While his previous work seemed rushed and out of focus in some key areas, his contributions here have a more solid and consistent feel to them. It's cartoony but without sacrificing integrity to the work as a whole and the various touches here and there that Hepburn adds really give it a homey aura. Buccellato is on form and reading this really gives hope for his concluding arc on The Flash without collaborator Francis Manapul.

Its perhaps the best issues of the series so far and thats saying something as the mini has markedly gotten better as time has gone by. Not to mention that it has continued to use the absolutely perfect new designs for the Royal Flush Gang. Both the writing and the art are firing on full cylinders, and as Forever Evil heads into its final stretch thats what these tie-ins need to focused on. Im excited about Buccellatos future at DC Comics and hope that Hepburn lands somewhere great as well.

The issue also brings a lot of plot threads to a close, creating a sense of finality as we head right into the closing sixth part of the story next month. We see an ingenious resolution of the fight with the Royal Flush Gang (who become periphery to the Johnny Quick threat) and also a return to some older plot threads, such as the startling and warmly done return of the Pied Piper and the Central City police force. Not to give too much away (as this is an issue that really must be experienced to fullest extent) but the final issue is going to be a blow out of monstrous proportions as the Rogues face off against an army of foes. So, should be fun then right?

Overall this was a great issue. The writing and art were as good as, and quite likely better than they've been so far. The only thing I could fault it on is its brevity, but then again Demon Knights has always ben light, fun, reading. It's a promising start to Cornell's last story arc and it is shaping up to be a doozy.

The art is once again stellar. Bernard Chang never fails to impress with his work on this series. What stands out, however, are the last three pages and make me excited to see what Chang can throw out for next month's finale, which has been claimed to be a doozy. It might not be the end of days for Demon Knights, but we'll be saying a fond farewell to Paul Cornell.

Symbolizing the change in regime starting next month with Demon Knights #16, Merlin goes through his own "rebirth" within these pages " becoming fresher, younger, or in a shorter word, new. X-O Manowar writer Robert Venditti will be taking the reins in January and from all Demon Knights acolytes everywhere I would like to wish him the best of luck. We will never forget what Paul Cornell was able to bring to the table, but we hope that Venditti will be able to carry on the legacy.

Justice League 3001 is a strong start to a series that needed at least a second chance. Will it be able to ride the wave of the DC YOU push? One hopes so. I certainly do, because this is a team of creative forces that should be on everyones watch list. Of course not even this team is infallible – were going to be getting some guest artists. But one of them is Scott Kolins, who can hate that?Thoughts and comments would be appreciated below.

Overall this month's Dial H is the welcome climax to the first story arc and one that while may be outright confusing to new readers, steadfast fans will assuredly enjoy. Well, maybe after a read through or two since Mieville hits us again with a wall of his signature obtuseness. All in good fun though, and it is poised to continue that way.

The art in this issue has been dropped into the hands of David Lapham this time around. Lapham displays a competent range of expression and form for this stand-alone story, even if his work does lack the raw vibrant life that former artist Mateus Santolouco was able to bring to the table. Overall this was a solid issue and a nicely calm relaxation from the hectic events of the first arc.

And thats what makes this issue so bittersweet to boot. This has been an example of Dial H at the top of its game and at its fullest potential new twists, new turns, and endless creativity. Mieville knocks it out of the park in a unique way that hasnt been seen since the first arc. Artist Alberto Ponticelli is in his element with this type of series and putting the light onto the various alternate worlds and beings, its something that shouldnt be a delight but it is one anyway. So now thats upcoming cancellation is quick on its heel, itll be sad to see this go. Its lasted longer than anyone could have expected it to last, so Im willing to follow it up into its swan song and epilogue in the form of Justice League #23.3:Dial E #1, a part of DC Comics' upcoming "Villain Month."

Overall this was a great Annual, in the vein of such an issue being small self-contained stories that can read aside from the main story arc. Both of the stories presented here are absolutely enjoyable in their own ways and given the rather hectic nature of the current Reverse arc, they also act as a very nice breather while that is going on. It is something like this that gets me excited for Buccellatos next solo outing, Forever Evil: Rogues Rebellion, which also calls for a big emphasis on character and dynamics.

For fans of Jupiters Legacy, this is definitely going to be something to really invest time into. It brings out so much more of the world than Legacy has so far, and lifts it up like a prequel should. A newcomer might be lost, as some have already noted, due to the dynamics being more explicit in the predecessor, but at least the art and the tone should be something to bite into. Millars new leaf hasnt dampened yet and I await the next issue.

Overall, the issue is a good transitional piece. It really sets down the tone of the second half as something with a building up momentum. Theres a good amount of plot being thrown out, but the way its parsed no longer seems slow or part of a vestige from the earlier format. It leaves a reader excited for the next issue, which look to be a natural evolution. Something that seems like it should be all that is necessary to land this series on a good note.

I wish that I could wake up a year from now and be able to read the entire 12 issue series in its completion, because it is that good. Theres some coloring issues, to be sure, some things that dont mesh well with the line work, but its better than the sum of its parts. Millars usage of smaller arcs is working out wonderfully, and I hope that it keeps this upward trend. Probably the pillar of his new era. Comments and thoughts would be appreciated below.

This continues to be one of my favorite series of the year and I cannot stop recommending it to anyone I come across. Mark Millar, Wilfredo Torres, Davide Gianfelice, and the ever present Frank Quitely, have created something special. I cant wait for the Skyfox/Hutch Sr. finale to the first volume, because that was a character I am intensely interested in. Either way, its a trip. Comments and thoughts would be appreciated below.

Overall, the framing device (which I wont reveal due to spoilers) was a necessary addition due to the ramifications but it did lead to the issue having less impact than it could have. It was a detachment, which is a risk that a series which thrives on getting us close and personal would be devil-may-care to take. The issue did have its shining moments though, the stuff that pulls us in, and Gianfelice is now a treat but it does leave a lot on the 6th and final issue to bring this all home. I know I am anxiously awaiting it, and have more than a little faith in Millar and Co. Comments and thoughts would be appreciated below.

Overall, is this the end result that I expected from this leg of the series? No, not really. Yet, it works as a midway point, which is what matters most of all. Theres still a bigger picture being painted here, and the Skyfox two-parter shakes things up. If there is a denouement to be found then I think we can be fairly certain that it starts here, a trait that makes the second half all the more enticing. Jupiters Circle Volume 2 #1 comes out in November, which is a godsend – because this is one series that needs that momentum.

Tulas arts is spectacularly on form for the most part, but the one thing that I would take notice of (and which has already garnered some ire) would be the eclectic swirls of blue lines that pervade every sing page. Nominally its there to produce some sort of effect but it might just annoy unsuspecting readers. As for the script itself, while the references to earlier Supreme stories might show that Ellis has his head in the right place they may only come off as nonsensical and confusing to those who are using this as their diving point for Supreme, that and a lack of Dax not being on every other page. Overall though I can only say one: if one had to create a modern, realistic, reboot of Supreme this is how it should be done.

The grounded and the fantastical. It always seems to be a challenge nowadays in knowing exactly how much of either should go into a reboot, sometimes too little or too much of either can seem like cheating out for either half of the readership. Blue Rose has all but squashed those worries as of the final close of this installment, which not only brings another ally to the fold (Twilight of Professor Nights entourage) but also hints at another Supreme villain in the mix. Ellis and Lotay are hitting a great stride and I hope it carries over next month, for this is something that can be supremely great.

Tulay Lotay is consistently on form however. The art is the smash hit of this series. Her alien landscapes are superb, as are the Professor Night segments. The latter has become an almost welcome non-sequiter. Theres a lot of raw power flowing through the art and it makes up for the series weaker moments. Its still one of my favorite pulls each month, and hopefully it ties itself up by the end. Too many subplots could sink the ship, but the sailing is too fun to miss.

All in all, it is Lotay who takes the forefront in this issue as it leans more heavily on the series artistic side than the other installments. The most Ellis does is again set-up the important role Probe/Lady Surpreme has yet to establish in the narrative. Its not an altogether bad issue, but aside from some breaths of genius, its just there. Supreme: Blue Rose is still, however, one of the best minis this year.

In fact, that would be my man hope for the entire series which is that it does conclude. This issue, while a nicely done marvel, was still outing too much strain on the narrative. There are only two issues left and it really needs to get things into real gear or else it might not make that landing. There are a lot of lines and if this keeps up then they will all collide into one mess, and that would be a shame after all of the work that Ellis and Lotay have clearly put in.

I didnt want to get much into this issue because it has to be experienced on a personal level. Theres twist and turns in terms of plot development and characters thats not really what one might expect. Its definitely not shallow either, but rather makes all of these things hit harder that Ive felt from a Marvel book in a long, long, time. This is definitely a book to watch and hopefully it gets its due.

Its difficult to stop myself from dropping everything and just laying it out panel by panel – but that would rob people of the fun of experiencing it for themselves. This is a series that deserves to succeed and be a vanguard for a better Marvel. One where these breathtakingly written and drawn comics are the norm, and not the small gems we get year by year in a handful. I cant wait to see how this series continues next month, and for the foreseeable future.

The Vision continues a strong trend into 2016 as one of the standout series. It is a series that is on the lookout for many, and if you havent gotten on the boat yet, then I implore you to seek it out. If its not your thing, then no harm no foul, but if it is, then you might have found a series worth digging into for the next few months. Who knows how long it will last? Comments and thoughts would be appreciated below.

Romita Jr.s art is pretty much the standard of what hes done for the rest of the series. Outside of one particularly nice special-fx set-piece theres not much in the issue that breaks from what one expects already. The best thing about Romita Jrs art is most likely the variety of visual callbacks to earlier moments in the series, which really do help with giving this a sense of finality. Overall I have to rate this on a purely Kick-Ass level, and on that level its probably nigh-perfect as a finale to Kick-Ass and Im sure die-hard fans will be pouring over it, for better or worse.

Azzarellos writing in general is as on form as it has ever been. His characteristic penchant for witty dialogue and love for wordplay comes in with full force. Azzarello has several scenes within this issue both subtle and unsubtle, but always carrying a hint of humor within them. Some of his more famous works, such as Dr. 13: Architecture & Mortality are built upon his love of the stuff and the little things that he passes through with regards to Orion and Wonder Woman are a delight. Other than that we are also treated to some more myth-arc building as what exactly the importance of Wonder Woman is and the deeper mystery of her abilities. If one recalls she did exhibit the notable Kirby Crackle and that might play a big role later on.

Dont let this fool you, however, the Predator is also on good form here. Hes not toned down in the least, no matter how goofy he might appear. This is an Archie comic, but lets just say dont go in thinking everyone will get out alive. This issue hits the reader with it from the get-go and it swerves into a deliciously unnerving and frightening tangent by the end. A better balance than Afterlife, I believe.All in all, one of the better minis that should be coming out this year without a doubt. Archie is continuing in its upswing and this is something that will not break its streak. Kudos to Ruiz and De Campi for creating something that two wholly different fanbases can really enjoy. I cannot wait for the second issue and eventually the rest of the series as a whole.

Plot lines were at the forefront and DeMatteis and Didio weave through them with real skill. The writing works to establish The Stranger anew, and leaves us satisfied in how he left off. Theres even a wink at the Pre-New 52outfit which becomes a spectacular nod to the fans that the Stranger has become who he was always meant to be. The art by Phil Winslade was serviceable enough, but thankfully was not the focus. It was a touching goodbye to a series and it's characters, and the Stranger. It's a finale that has got me excited for Trinity of Sin next month.

Again, like with the issues so far, it is hard to find anything to really fault here. As mentioned above the impact of the ending might seem to come too fast in regards to other developments. Elsewhere the references Moore uses can remain as impenetrable as ever for the ones new to the stories, but are pretty amazing nonetheless. The series may be suffering some delays in the future but it has no doubt remained worth the wait. I cant wait to see where it goes from here.

Providence #10 is yet another reason why this series will be missed once it is gone. It is a diamond in the rough, a story that could have only be told by one (or two) of the greats, and a bearer of whatever legacy Avatar Press leaves. I cannot wait to see how this series ends, even with a secure amount of Lovecraftian knowledge, it is still an engaging mystery. Where will Robert Black end up when all is said and done? If one has followed the clues it is obvious, but if it were obvious then why is everything just so suspenseful? Good writing.

It would almost have been cozy were it not for the actual set pieces, so kudos to writer Roberto Aguirre-Sacasa. If I had to point out any flaws it would be that it's a series that is somewhat too reference happy. This is something that I noticed in early Afterlife issues as well, that both series really love to drop names. It's not a problem per se, but it can stick out. Overall this was a superb issue and one that I will be keeping a tab on. Comments and thoughts would be appreciated below.