So there it is, part one of "Brainiac." The issue provides a great setup, while being 100% accessible to new Superman readers looking to find what they have been missing in comics, as well as old readers who know every excruciating detail of Brainiac and Superman's long history of being sworn enemies. The issue also gets bonus points for making Brainiac scary again, which I have never been able to suspend my disbelief to when I'm stuck looking at a green man with light bulbs on his forehead. Even the cliffhanger is frightening, and it's Brainiac drooling on himself! Promised to be the gateway to the 2008 Superman event, "Brainiac" has started off with all the right steps, and I'm excited to see where this goes.

Part Two of "Brainiac" once again delivers everything I could ask for in a Superman comic. I got action, character development, a great Daily Planet office sequence (Lombard is hilarious), and a kick-ass cliffhanger that, once again, makes Brainiac menacing without actually doing anything. I can't wait till Superman comes face to face with his foe and sees how truly horrible the real Brainiac is. The cover image to next months issue seemingly indicates I dont have long to wait. If you aren't picking up Action Comics, please do. As far as superhero books go, this is one of the best.

Action Comics #868 was another great addition to Brainiac. I think my favorite moment was Jonathan and Marthas cryptic conversation on the farm and how it foreshadows that everything wont be the same after this story wraps. Even the cliffhanger helps add to that notion with the entire city of Metropolis in a deep state of, Oh sh*t, this is bad. Action Comics continues to be one of the best superhero titles on the stands, so get out there and pick it up if you dont already. Its stories like these that show how great a character Superman is, and why he is still vital to American pop-culture. How is that for a compliment?

But for this one misfire in story-telling, Action Comics #869 does a lot right. It nails the scope needed for the situation and even gives an interesting cliffhanger to suck you back in for next months installment. But seriously, who wasnt going to see this through? This is one of the biggest Superman stories in years. Its repercussions will be felt for months to come throughout the entire line of Super-verse books. On this point alone Action Comics #869 is worth the price of admission.

I'm really loving this whole "World Without Superman." Sure it's been done before, but this time it really feels like the writers have a master plan which will make the overall story much more rewarding once we've seen the big picture. The "New Krypton" crossover was a big letdown but I'm willing to accept its purpose in hindsight--give readers some amazingly original, and creative books in its wake. Action Comics being the prime example.

This latest arc in Action Comics just feels like DC is spinning their wheels with this series before the big relaunch initiative. Thankfully, that's only a few months away, meaning Action Comics will hopefully once again return to a place of prominence.

While Axel Gimenez' art makes up for the less-than-thrilling narrative by Paul Cornell in spots, Action Comics #903 is a bust overall. If DC's goal was to make Action Comics as boring as humanly possible in order to get fans riled up for good Superman stories come September's relaunch, then mission success. September realy can't come soon enough. Maybe then Action Comics will once again be worth shelling out money for.

Action Comics #3 is still an enjoyable read, but it definitely carries a few faults that are hard to overlook. Something can be said for how Morrison is making every issue feel like a substantially dense read instead of the typical "write for the trade" mentality that a lot of writers adopt, but there are times when I wish Morrison would let his concepts breathe. Action Comics #3 is a fine example of that mentality.

Issue #4 is a definite step in the right direction, but I'm still waiting for the hammer to drop and for things to get crazy good as I know Morrison is capable of delivering.

It's clear Morrison is still trying to find his footing with Action Comics. His big ideas are starting to bubble to the surface, but unfortunately some of the story's heart is being lost in the shuffle. If Morrison can peg that down, Action will become one of DC's most creatively-charged and memorable books.

Action Comics #7 is a great indicator of where I want Grant Morrison's latest Superman saga to head. It has all the crazy concepts I expect from Morrison (Earth's Internet was really Brainiac!) without forgetting that a story needs an emotional core to be memorable. Action Comics #7 provided both of those facets, making it a highly enjoyable read.

With only one issue left to Grant Morrison's Superman saga, there's a lot to cover to put a satisfying bow on things. While I usually have all the faith in the word with him, I'm not sure he can pull it all together with the way things are going.

I really dont know what has happened to Frank Miller. This is the first All Star Batman & Robin issue Ive reviewed for Comics Bulletin and its, unfortunately, the first one I havent really enjoyed. This one was just all over the place. If it wasnt for Jim Lees interiors or Frank Quitelys wonderful variant cover I would burn this mother down. But only if I had matches to waste. Ouch.

If you're coming over to All-Star Western #1 from the previous volume of Gray and Palmiotti's Jonah Hex, be mindful that All-Star Western definitely feels different. It might star the same character, but there is a different tone and approach taken to storytelling with this new series -- All-Star Western will use serial storytelling instead of Hex's patented one-and-done tales. However, All-Star Western #1 is still a solid comic that is worth the $3.99 price point. The story established in this first issue should easily grab your attention to have you excited to return to late 1800s Gotham next month.

It's kind of surprising for me to admit this, but I enjoyed the back-up feature of All-Star Western #2 more than the main story focusing on Hex and Arkham. There was just more to it and it came across as more interesting. I hope next month the main feature can be back on its A-game, because I've become accustomed to Jonah Hex comics always rockin' my face. This month's installment just didn't have that magic.

Artist Rafael Albuquerque continues to knock American Vampire out of the park. Albuquerque has proven since the beginning of this series that he's a perfect fit for tackling the freakish, scary side of vampires. With issue #15 and the new feral breed that's introduced, Albuquerque's impeccable track record remains untarnished.

To say the least, it might only be a month, but the wait between now and then is going to be brutal. This series continues to be a grade-A comic.

While most of the issue is comprised of characters yelling "Move!" and "Through Here!" types of commands, Scott Snyder does manage to hit us with some touching bits at the issue's conclusion that once again remind us that American Vampire is a story about characters at its core, it's not just gratuitous monster slaying. While it's true that American Vampire #17 flies by in an instant, it's also hard to hold that against Scott Snyder and Rafael Albuquerque. They have crafted another comic that makes you anxious to find out what happens next. If anything, that's just good storytelling worth sacrificing some spooning action over.

American Vampire fans, get pumped. American Vampire #18 is an explosive, status quo-altering entry into this series. Snyder and Albuquerque have once again proven that they know how to deliver a series with bite (sorry, I couldn't resist).

American Vampire #19 is another solid entry into this series and comes highly recommended. Learning Skinner Sweet's backstory is probably worth the price of admission alone for American Vampire fans. However, after last month's incredible finale to "Ghost War," Scott Snyder's decision to sidestep that momentum to wind the clock back for a story covering Skinner's past might be disappointing to some. But if you're a diehard American Vampire fan, you'll gladly take whatever this creative team spoon feeds you.

Overall, American Vampire #20 is another solid purchase. But by this point, that's too be expected. If you've been digging American Vampire up to this point, issue #20 is another must buy.

"The Best in the Cave" has been another success for American Vampire scribe Scott Snyder. By flashing back to the early days of Skinner Sweet and Jim Book's careers to revisit an era when they were on the same side, Snyder has revealed a new, engrossing layer to the duo's tragic tale. If you've been enjoying American Vampire up until now, I don't see this issue changing your mind.

Part two of "Death Race" is another awesome installment in this continuously-solid series. There's really no other way to look at it. Snyder might be letting the deep characterization take a backseat for action, and Albuquerque's pencils might be a little less refined than we've grown accustomed to, but that doesn't change the fact that American Vampire #23 is still an entertaining romp in this incredible vampire-filled universe. Oh, and the last page cliffhanger should send diehard American Vampire fans in a tizzy.

As I mentioned previously, I'm going to be sad to see this latest arc end next month. I need more rockabilly vampire action in my life, and this arc has supplied it in spades. Fans of American Vampire should find a lot to like with this issue, but that's par for the course with this series at this point.

Fans of American Vampire should love this issue. Not only is it a fitting conclusion to "Death Race," but it also plants quite a few tasty seeds for future installments to ensure this series stays as exciting as its first issue was.

While Felicia and Cash aren't the main stars of the main American Vampire ongoing, they thankfully get their time to shine here with Survival of the Fittest. It also pleases me that this mini-series is just as entertaining as the main ongoing, fleshing out the world of American Vampire while also giving some much needed perspective on the members of the Vassals of the Morning Star. We're only two issues into this series, so get on board now if you haven't already.

As is the case with most things Scott Snyder related, it's getting harder and harder to critique his work. I rarely have anything bad to say, and that's the honest truth. And with Sean Murphy involved on art duties, it's especially hard to find faults with Survival of the Fittest. This book continues to be an entertaining thrill ride from start to finish with wonderfully composed artwork by one of the industry's best. If you haven't bought into this mini already, now's the time to do so.

While American Vampire: Survival of the Fittest #4 isn't the strongest issue of the series to date, due in large part to a hefty amount of exposition to open up the book, the truth is it remains a great read that's probably better than 80% (rough estimate) of the titles hitting stands. If you're currently enjoying everything American vampire related like we are, odds are you'll enjoy this issue just the same.

The conclusion to American Vampire: Survival of the Fittest is a (ahem) fitting end to this series. Ever since Scott Snyder and Sean Murphy started this mini that spotlighted the Vassals of the Morning Star, I've been hooked. It was also a pleasure to revisit the characters of Felicia Book and Cash McCogan, both of whom got their much deserved time in the spotlight over the course of this mini-series. Now I can't wait to see how the end of this series comes into play with American Vampire proper down the line. I truly hope it's sooner rather than later, as I want to see what happens next right away.

Animal Man #1 is a great start to this series. It's really that simple. The art might not be to everybody's taste, but the story should make up for that. Lemire and Foreman have provided a great introduction to Animal Man for new readers, while also giving long-time fans something fresh to be excited about.

Those who enjoyed Animal Man #1 last month should find Animal Man #2 up to standards. And if you haven't checked out this new Animal Man series yet, you're missing out on one of DC's best new books.

Much like the previous two issues, Animal Man #3 comes highly recommended. There are a few rough spots where art is concerned, but the positives far outweigh the negatives. For fans of Animal Man, you'll be happy to know this book remains one of DC's best.

With that said, Animal Man #5 is still a fantastic conclusion to this book's first arc. Lemire has set the groundwork for the upcoming Animal Man/Swamp Thing crossover, and that foundation is looking very solid. I can't wait to see where this book goes next.

Animal Man has been amazing since the get-go, and Animal Man #6 is no exception. Lemire's choice to drop us into a interlude could have been disastrous for this series' pacing, but it works out beautifully using the film framing technique. Animal Man is still one of DC's best books, easily.

But if you can look past the artistic hiccups of Animal Man #7, the book should still entertain. There's some great character stuff happening here, especially with Buddy's son, Cliff. The scene featuring the mullet maniac trying to tell a cute girl his father is Animal Man is priceless. Socks the cat also has a few standout scenes. Overall, Animal Man #7 delivers from a narrative point of view, but the art needs to be hammered down in order to stand toe to toe with Lemire's fantastic story.

So if there's one thing you should take away from this review, it's this: pick up Aquaman #1, whether you're a longtime fan of the character or someone who, like myself, made fun of him for years. I can tell you this: the years of ridicule are over for me. If someone makes fun of Aquaman in my presence I will quickly tell them how wrong they are and toss this book in their general direction. Aquaman #1 is a great introduction to the character with breathtaking art that should make Aqua-lovers out of all of us.

Aquaman #2 is another win for the creative team involved. It's a book that's once again funny, engaging and action-packed. You can't ask for much more than that, especially from a dude who talks to fish.

While I enjoyed the end of "The Trench" storyline, I will admit that the series lost a little bit of steam by the end of that story. Thankfully, Geoff Johns and Ivan Reis have managed to suck me back in with the start of their latest story arc. Aquaman #5 is an incredibly well drawn comic that sets up an sure-to-be epic storyline.

For fans that have been enjoying this series, Aquaman #6 is still an enjoyable intermission. However, I feel it's one of the weakest entries in the series yet. The blame can be placed on both Geoff Johns and Joe Prado's shoulders, as the story doesn't really provide anything meaty outside a touching tale about how not all humans are evil, and the artwork just never seems to find its comfort zone. Let's hope the mystery of Atlantis' sinking next month kick-starts this series into greatness once again.

The seeds have been planted for an epic mystery yarn in the pages of Aquaman in the months to come. I'm a little skeptical if Johns will indulge himself a little too much in past Aquaman continuity and render the whole point of the New 52 relaunch moot for newcomers, but I might be thinking a little too much into things at this point. When push comes to shove, consider me excited to see where this heads next.

The Chain is absolutely a worthy follow-up to The Fall. Cameron Stewart and Karl Kerschl have done a fantastic job grooming these characters in the vast Assassin's Creed universe. Better yet, like The Fall before it, both Assassin's Creed fanatics and newcomers can enjoy The Chain. Whether you fall into the former or the latter camp, The Chain offers a great narrative, engaging characters and beautiful art worth buying into.

It might be lofty to say this, but I honestly believe Assassin's Creed: The Fall is the best video game tie-in comic series I've ever read. Fans of the Assassin's Creed games will get a kick out of all the winks and nods found within, but regular comic readers should not look the other way with this series. The Fall is an expertly crafted sci-fi comic about the meaning of family. That's something any comic fan should be able to get behind. In the end, this is a series I won't mind picking up in a collected edition and displaying proudly on my bookshelf. How many video game tie-in comics can you say that about?

I really went into this first issue with super high expectations and came away slightly disappointed. Like I said, this is a fun book, but by the time I closed the last page I wasnt invested in the title character like I thought I shouldve been. I already knew going in Atomic Robo was a badass robot, something more to hook new readers in wouldve been nice. The last thing I will comment on is the books closing short story. It started off great and ended hysterically. Kudos to Brian Clevinger for the amazingly clever and funny story title.

After two issues, Batgirl is definitely in the top tier of DC's New 52 books. It's clear that Gail Simone is having a blast writing this character back in the prime of her life. And with artist Adrian Syaf aboard, Batgirl continues to be in great hands.

Overall, I think part three of "R.I.P" is the best issue of the story yet. The Club of Villains has made their move and swiftly crushed the Bat family. All that remains is a resourceless Tim, who I'm genuinely worried for. And even though Bruce has no home or money, is hopped up on multiple drugs, and experiences the delusion that he is the Batman of planet Zur-En-Arrh, I still want to see him slip even more. Grant Morrison has said this story will be the furthest the character has ever fallen, but I'm curious to see just how much further Morrison can take him. Next month can't come fast enough.

The latest arc in Batman is off to a solid start. Let's hope Tony Daniel and Steve Scott can keep up this level of quality to make Two-Face's return a welcomed one.

Outside the heavy emphasis on Catgirl and Enigma, Tony Daniel's "Pieces" arc is one of his strongest yet. It's Daniel's solid character work and Scott's distinct pencils that make this story rise above mediocrity. There's a war a-brewin' and I'm interested to see where this goes.

While it's sad for me to admit this -- seeing as how this is the final issue of Batman Vol. 1 -- I can't recommend Batman #713 to diehard Batman fans. It's truthfully not worth your three dollars, seeing as how you already know everything this book covers.

After one issue I'm already sold on Tomasi and Gleason's run on Batman and Robin. It's delivered everything I want from this series: great writing, exceptional art and a plot that could be as odd as what Morrison accomplished during his tenure on the title. After a three month lull, Batman and Robin has returned to greatness. Hallelujah!

After only two issues into their stint on Batman and Robin, Peter Tomasi and Patrick Gleason have sold me on story they're telling.

Worrying about the state of Batman and Robin during Tomasi and Gleason's hiatus seems to be for naught. Winick, March and Bresson have supplied an entertaining follow-up to Grant Morrison's Jason Todd arc from earlier in this series. Let's hope they can continue this hot streak next month.

It's truly a shame that the art of Batman and Robin #26 isn't up to snuff because David Hine's story is pretty damn entertaining for a standalone tale. At first glance, it might come off as a standard Batman-systematically-taking-down-a-few-new-villains type of story, but there's more to mine under the surface if you choose to do so.

The majority of Batman and Robin #2 is rock solid. Every scene featuring Bruce, Damian and Alfred is spectacular. However, the book ends on a really lame note, if I'm being honest. The last few pages just don't gel with the rest of the issue at all and definitely feel tacked on, making me think Tomasi just threw them in there to progress the plot forward ever slightly. Remove those pages and Batman and Robin #2 is a fantastic follow-up to a spectacular issue #1. But as it stands now, Batman and Robin #2 is good, just not as great as it could have been.

After last month's bump in the road, it's good to see Batman and Robin back on track and sailing smoothly. This issue also makes this arc's villain, Morgan, quite the imposing figure who could finally find the thread to pull to unravel the Dynamic Duo once and for all.

With issue #4 of Batman and Robin, Tomasi really shows his hand with where he's taking this series. And I'm going to be honest, I like it. A lot.

Batman and Robin #5 might not be the "crap hitting the fan" issue we were all expecting following last month's cliffhanger, but it still delivers any entertaining read nonetheless. We're just going to have to wait till next month to see the gloves really come off and if Damian takes the plunge into darkness or not.

Batman and Robin #7 is one of the best issues of this series to date. The characterization is great, the scripting tight and fluid, and the art a gorgeous ballet of superhero fisticuffs. This is the level of quality we want this series to stay at. Please.

It's odd, I could take or leave Batman Beyond at this moment. The story isn't blowing me away, but it isn't bad either. It merely is. If you're looking for a continuation of Terry McGinnis' story from the Batman Beyond animated series, this series should suffice. But if you're looking for something that will blow your mind, Batman Beyond has yet to really show its teeth.

The end of Batman Beyond #7 does set up some interesting things for the future of this series. I just hope that Adam Beechen finds a way to respark my interest with future installments.

To wrap up: Batman, Inc. #6 -- buy it.

Batman Inc. might release on a sporadic schedule, but I feel every issue is worth the wait. It's going to be sad to see this series go on hiatus while DC relaunches their entire line. The struggle between Batman's army and Leviathan is just warming up and I want to know where it's headed right now. And if the teaser for next month's installment is any indication, the ride is about to get a whole lot crazier.

If you've been following Grant Morrison's extended Batman epic over the last few years, Batman, Incorporated: Leviathan Strikes! #1 is not to be missed. This is the prelude to the final phase of Morrison's epic that's been years in the making. Leviathan Strikes! #1 might feel disjointed due a haphazard shipping schedule, but the end result still provides plenty of comic goodness to enjoy.

Overall, issue #1 of Batman: Arkham City is a success. Outside the one storytelling misstep, Dini and D'Anda's first installment lives up to the lofty expectations placed upon it. This book should please all types of fans -- whether you're coming in via the video game or just looking for a good Batman book.

Of the three issues that have released thus far, issue #3 is the weakest of the lot. But that doesn't mean it's bad. Far from it, actually. It's just that the plot is spinning its wheels, which is unfortunate for a series that only has five issues to tell its story. If you've been buying this series and enjoying it thus far, this issue will most likely continue down that same path. But there's a part of me that knows it could have been more substantial.

As I said previously, Batman: Arkham City is a series that can be enjoyed by both comic fans and those just dabbling in the book because they're excited about the upcoming video game. Issue #4 is another worthwhile installment in this series and I can't wait to see how it all wraps up next month.

Batman: Death By Design centers around the construction of a new train station in Gotham to replace the old, rundown Wayne Central Station. In our recent interview with Chip Kidd, the writer expressed that the story was inspired in large part by New York City's Penn Station, and how the popular travel hub has become a shadow of its former glory; to Kidd, a designer by trade and student of architecture by hobby, this is beyond depressing. Death By Design clearly echoes Kidd's sentiments with the real-life station found in NYC, as a few characters in his story serve as vicarious voices to resurrect what was once great instead of tearing it down and starting from scratch.

Batman: Gates of Gotham #2 is a must-buy comic. We're being delivered, on a silver platter no less, a definite origin story for Gotham City wrapped up in an intriguing mystery yarn.

I still believe Batman: Gates of Gotham #4 is worth your time and money. It might not be the most important chapter in this story, and the art definitely has its faults, but you're not going to want to miss the setup for the big finale. I guess there had to be a point where such a wonderful series stumbled a bit. This is that moment.

Batman: Gates of Gotham #5 is a fitting conclusion to this mini-series. Even though this is not a main, proper Batman ongoing, Gates of Gotham makes for a great book end to this era of the Dark Knight before September's big relaunch initiative.

Overall, Batman: Streets of Gotham #1 was a great pick-up. The main feature rocked--with excellent storytelling by Paul Dini and fantastic pencils by Dustin Nguyen--and the backup wasn't half bad either. While I will be picking up next month's issue once again for the Batman lead feature, I'm very intrigued where Marc Andreyko is taking his baby, Manhunter, in the back-up story. Four dollars be damned.

If you haven't bought into Batwoman yet, that needs to be corrected immediately. Many Bat-fans consider Kate Kane the black sheep of the Bat-family, instantly writing her off because of it. That's a dumb thing to do, to put it bluntly. Since the character operates on the fringe of the Bat-universe, it gives the creative team handling the book the creative freedom to come up with some truly unique and genuinely engaging stories. "Hydrology" has been a great example of this series' potential.

The biggest disappointment about Batwoman #6 is that the plot doesn't move anywhere. I'm all for stories that slow down to shed some light on the emotions of the characters, but the vignette approach here doesn't leave enough room to really dive head first into any one character's mindset. Batwoman #6 is a slight lull in an otherwise outstanding series.

Batwoman was one of my favorite books of the New 52 relaunch for its first arc. However, the series has seen a dip in quality in both scripting and art. I'm hoping that the series eventually finds its footing, because if this continues on it might get acquainted with my pull list's chopping block.

Even with the Indiana Jones model (everything working out based solely on luck instead of skill) of the first four issues seeming to faded away for a more standard superhero plot progression, I can still highly recommend Booster Gold to anyone, now more than ever. It seems fan service problems have been addressed to avoid alienating audiences, which in turn, makes for a fun, engaging comic.

So the final question is why did I give this issue just a 4 if I spent the last four paragraphs raving like a mad man about it? Well firstly, as a reviewer I have to check my fanboy-isms at the door when writing. I have to judge from the outside looking in and for Booster Gold #10, being on the outside looking in isnt quite a nice place. While the issue is one extended fight sequence which isnt hard to follow, the emotional impact of a lot of the reveals bring the book full circle with the happenings of DCs first weekly from two years ago, 52, and even Countdown to Infinite Crisis from three years prior. If you havent read those stories, then the awesome reveal of the mastermind villain wont hit too hard, or have much meaning besides being hilarious. While the issue provides a one panel recap of the happenings from 52 to bring readers up to speed, it just doesnt cut it when trying to take this three year in the making epic all in. For that reason, and that reason alone, I nicke

Chuck Dixon has done a fantastic job transitioning into Booster Gold with its new status quo. He has successfully picked up and carried the torch, making this series as interesting and fun as it was under the direction of Geoff Johns and Jon Katz. Though its a shame Dixon is only staying on for a two issue stint, making the future of this book as cloudy as the time-travel rule book.

Booster Gold #47 isn't a terrible book. Not by a long shot. But it definitely could have benefited from focusing more on Booster and his supporting cast then being a throwaway Flashpoint tie-in. This series, in general, defied the odds and made it 47 issues focuses on a DCU C-lister (sorry, Booster). It deserved a little more than this as its swan song.

The Search for Swamp Thing #2 might not be a "must buy" book, but it is an entertaining reintroduction for John Constantine, Alec Holland and Swamp Thing into the DCU proper. If you want to know how these characters get reestablished in the universe for the upcoming September relaunch, The Search for Swamp Thing will suffice.

Captain America #1 is a solid debut issue. It successfully establishes the cast, sets up an intriguing yarn and delivers it all with beautiful artwork to let your eyes ogle over. If you're a newcomer to Captain America, this is definitely a great place to start. The only people I can see being slightly disappointed with this first issue are the folks who don't want Brubaker's Captain America run to be influenced by Marvel's desire to draw in new readers with a new #1 after seeing Captain America: The First Avenger. Much like Invincible Iron Man and Mighty Thor before it, this new Captain America series is written with those people in mind. However, that's clearly not a bad thing, as Brubaker and McNiven have proven they know how to make a comic that can, and should, be enjoyed by everyone.

I'll admit that the cliffhanger to Captain America #2 is a little bit out there. However, I have faith in Brubaker that he won't turn this series into a Saturday morning kid cartoon full of nonsensical action. Brubaker is far too good of a writer to take that turn with this new series. But cliffhanger aside, Captain America #2 is another great pick-up from the dynamic duo of Brubaker and McNiven.

Make no mistake about it, this new Captain America series is quite the trip. It's definitely a departure from Brubaker's normal gritty, espionage-focused Cap stories, but that's also a welcomed change-up as far as I'm concerned. This series' reliance on big sci-fi concepts makes it all the more interesting, because you never know where it's going to go next. And I'm ready for what comes next.

Captain America #7 isn't the best issue of this series to date, but it's also not bad by any stretch of the imagination. It's a fun comic that should satisfy longtime Cap fans.

If Judd Winick and Guillem March can find a way to tone down the excessive bra and pantie shots in future installments, this series might be able to make a rebound. Winick has a decent voice for Selina Kyle, too bad it's overshadowed by some of her other, bustier assets.

I have said it before, and will say it again, Criminal is one of the best values hitting comic stands. At $3.50 an issue, 50 cents more than the standard comic book, you're getting ten fold the amount of content. The main narrative is always gripping, the characters are always entertaining and mystifying, and the supplemental material is always a great read. There is really nothing to complain about with Criminal. I absolutely love this series. If you haven't tried it yet, pick this one up.

Do yourself a favor and run out and pick up the first two issues of Criminal: The Last of the Innocent, as well as this week's issue #3. You won't regret the purchase. So far, this story has been one of the best from Brubaker and Phillips, and that's saying a hell of a lot.

Criminal: The Last of the Innocent's conclusion leaves you with more questions than answers. Some might hate that, but as I explained before, it makes you mull over this story in your mind far after you've read the final page. There is no definitive good guy or bad guy, just the gray in between. And that's where the Criminal series has always excelled.

Dont let me babbling on about one broken film rule turn you off from this book. If you have been following Brubakers tenure on Daredevil you will find much to like here. For new readers jumping into the series because the old Gotham Central band has reformed, you should find enough enjoyment from this story to keep you around far after Ruckas name is off the credit list.

With only two issues in the bag, now's the time to invest in the current adventures of Daredevil. Shadowland managed to burn a lot of diehard Hornhead fans, making it a tough pill to shallow when Marvel announced that he would be back to his old routine within a couple of months. But there is nothing routine about Mark Waid and Paolo Rivera's run on Daredevil thus far. When push comes to shove, this series is interesting and exciting again. That's worth celebrating.

Daredevil #3 is actually the end of the first story arc for this new series, which Waid ends on an interesting and damn funny note that should have readers excited for next month's issue to see where this all goes. As an added note, a tip of the hat is in order to Mark Waid for making a goofy villain such as Klaw interesting and menacing as a Daredevil foe. He was dealt with pretty quickly here, so let's hope he shows up again down the road, you know, just so Paolo Rivera has a chance to draw him again. If you've been enjoying this series thus far, Daredevil #3 will not derail the train. And if you haven't yet dabbled into Waid and Rivera's Daredevil, for shame, as it's arguably the best book Marvel is currently putting out.

Mark Waid and Marcos Martin are killing it with this latest story arc in Daredevil. The writing is sharp and witty, and the art is breathtaking and energetic. It makes me so happy to see Daredevil as one of the best books of shelves once again.

Daredevil, as a series, is a creative juggernaut. Both Waid and Martin are firing on all cylinders, and their work is paying off in spades. We've said it before and we'll say it again: Daredevil is absolutely one of Marvel's best books. You need to be reading this. End of story.

Sometimes people assume crossovers, no matter how big or small, automatically equate to a dip in storytelling quality. Let Daredevil be a case to debunk that theory. Crossover or not, Daredevil is still firing on all cylinders. Pick up this book.

As usual, Daredevil #9 is a fantastic superhero comic with surprising layers. As we tell you every month, if you're not picking up Daredevil, you're making a huge mistake. This series continues to be the best thing Marvel is putting out. Make sure this book is on your pull list.

Spoiler: Daredevil is still an amazing series. You need to be reading this book, whether you're a fanboy of a specific universe or not. Daredevil is that good.

Shying away from discussing spoilers is a tough thing to do when talking about End of Days #1. But let's just say that a major event happens in the book's opening pages that sets a somber tone for things to come. Bendis and Mack then return to writing Ben Urich, who acts as the book's emotional through-line.Unsurprisingly, the writing duo manage to find a creative way for Urich to carry the story while also catching up new readers with the history he and Matt Murdock share together through a clever use of exposition featuring some beautifully painted artwork by Bill Sienkiewicz.

When all is said and done, Daredevil: Reborn has been a bust. Issue #4 might not be terrible, but it's still an exercise in frivolousness. This series didn't have to exist, but it does because Marvel wanted to capitalize on the fallout of Shadowland. Soon Daredevil: Reborn won't matter a lick, yet we're still out $16.

DCU Online: Legends has been very hit or miss from an art perspective. But issue #8 proves that Mike Miller should be DC's go-to guy for this series from this moment forward. Miller has a dash of Doug Mahnke in his pencils, which goes a long way toward making his work pop off the page. What's depressing is that Miller will most likely be missing from next issue, as keeping up with a monthly book is hard enough, let alone a bi-weekly one. But I take comfort knowing that when Miller does return to this series, the art will be top shelf once again.

DC Universe Online: Legends continues to defy my expectations. The book is a solid alternate timeline tale that thankfully can be enjoyed by everyone, not just those playing the Sony MMO. If you're looking for something epic in scope, but outside the main DCU continuity, DCU Online: Legends should fit the bill.

But again, this issue is not indicative of the level of quality this book normally sees. For the most part, DCUO: Legends is a quality comic book. This week's issue however, not so much.

I feel like something major has to happen in the next issue or so for my interest in this series to be reignited. We're a long way from where we started, and it's a road I'm not particularly fond of spending money on.

I can safely recommend Last Will and Testament to pretty much anyone looking for a well written piece of fiction. While the connections to Final Crisis are rather broad, there is still a good story making up the foundation of this issue. Those that hate Meltzer have probably already sworn the book off but for everyone else: youre not likely to find a better writer than Brad Meltzer when it comes to personal stories that tap the core of human existence. This is but another example to add to an already excellent portfolio of work.

Deathstroke #1 brings the badass, sure, but it doesn't provide much else to really sell this series to anyone. The book ends with an intriguing tease that could be enough to bring people back for issue #2. But I fear Deathstroke #1 is just too superficial for its own good. I'm not saying I want to read about Slade Wilson analyzing poetry and taking women on dates through the park, but I definitely want more than what was offered here.

I'm really hoping Matt Fraction finds a comfort zone with his cast of Defenders. It's really the main thing holding this series back at the moment. Now that the first-issue formalities are out of the way, we can get to the real meat of this story -- the stuff that makes that Casanova comparison apt. But it's going to be hard to enjoy the trippy goodness with a cast of characters that all sound alike. I love funny comics just as much as the next guy, but sometimes you need to step back and realize when too much of a good thing turns gold into coal.

I'm still holding out hope that Fraction turns this ship around and starts to differentiate his cast of characters. One part of me thinks it will happen; the other, well, not so much. If Defenders continues down this road, however, I'm unfortunately going to need to drop it. No matter how incredible the plot may get, it won't have much of an impact if the cast comes off as carbon copies of each other.

The "Dark" corner of the DCU shines once again, this time thanks to Paul Cornell and Diogenes Neves with Demon Knights #1. And if you needed one more thing to sell you on picking up this first issue: it's got angry dragons. Boom.

Paul Cornell is honestly the perfect fit for this series. We've seen what happens when he's allowed to let his imagination run wild, and it usually always winds up being a good thing. A series like Demon Knights is a perfect creative playground for Cornell to experiment in. And thus far, his experimentation has paid off with one of DC's most entertaining books coming out of the New 52.

People, Demon Knights is awesome. Please join the bandwagon and give this fun book a shot if you haven't already. You won't regret it. A series like this needs all the support it can get to keep it from getting the axe. And if it gets the axe, I'm going to be a truly sad panda.

Outside stalling the forward-moving plot, issue #4 of Demon Knights is another solid entry in this series. Paul Cornell obviously has long-term plans for this cast of characters, and judging from what this issue offers, I think we should all be excited to see where this all leads.

Demon Knights #5 might not push the ongoing plot forward much, but it does still entertain with some solid character building and interaction. I still stand by my assessment that Demon Knights is one of the best "happy surprises" of the New 52 relaunch.

If you're still on the fence about Demon Knights, I urge you to pick up the book. It's one of those rare books in the New 52 lineup that offers something you can't find elsewhere. The cast is great, the artwork is gorgeous and the writing is sharp as a tack. This is a book you should put your full support behind.

So, are you picking up Detective Comics? If not, shame on you. Scott Snyder and Jock continue to build one of the darkest, most enjoyable Gotham City sagas in recent memory. So why only a "9.0" you might ask? Well, I truthfully believe the best is yet to come from this dynamic duo.

This might be the wrap-up to Snyder and Jock's "Hungry City" arc, but the overall story is far from over. The pawns have been moved into position and I can't wait to see where this all heads over the course of the next few issues. The team working on Detective Comics has yet to disappoint, and I don't see that happening anytime soon with what's being set up here.

Now comes the part where I say this is another rock solid issue of Detective Comics by Scott Snyder and Francesco Francavilla. This run just keeps getting better and better, and easily ranks as one of DC's best ongoing series. If you've been reading Detective since Snyder took the reins, you'll love this issue just like all the rest. If you haven't been reading this series, what is wrong with you? You're clearly more mentally deranged than James Jr.

Unfortunately, all good things must eventually come to an end. That's the case this week with Detective Comics #881. But what a run it's been. As I said previously, there is no way this run on Detective Comics won't go down in the history books as one of the best Batman stories ever. Not only does it put a definitive stamp on Dick Grayson's venture as Batman, but it also peels back the layers of Jim Gordon's psyche and gives a fitting explanation as to why Gotham is the way it is. Honestly, what more could you ask for from a Batman story? Scott Snyder, Jock and Francesco Francavilla have given us everything and the kitchen sink, now it's time for us to just happily dwell in it.

I think it would have been easy to dismiss Tony Daniel's Detective Comics in light of all the other Bat-books hitting shelves as part of the New 52. In the past, Daniel has provided us with some solid Batman stories, but he's never been able to blow us away with his writing to get us to pack up shop and leave the Bat-series written by the likes of Grant Morrison, Scott Snyder and Peter Tomasi. But I truthfully believe Detective Comics #1 could be the start to something truly great from Daniel, as not only a writer but also an artist. Detective Comics #1 is a great comic from top to bottom. This is one you're going to want to set money aside for.

Detective Comics #2 is another check in the win column for Tony Daniel. He's laying the foundation for a great Batman story with some truly killer art. Let's hope he can keep the streak alive next month.

Like I mentioned previously, I don't think Detective Comics is the best Bat-book on the stands; that honor goes to Scott Snyder's Batman. But even if that's the case, Detective Comics still stands as one of the better Batman books coming out of DC, as well as one of the more entertaining series three months into the New 52 relaunch.

As I've mentioned previously, I wasn't really expecting a whole lot from Tony Daniel's Detective Comics when the series was first announced. That was clearly ignorant of me. There are a lot of different Batman books currently hitting store shelves, and Daniel has somehow managed to make his series feel unique. That's no small feat when you're going up against the likes of Scott Snyder and Peter Tomasi, to name but a few. Now I'm interested to see where this series goes from here, and that's a feeling I never thought I'd have four months ago.

Up to this point in time, I've enjoyed Tony Daniel's Detective Comics run. With that said, issue #5 is definitely the series' weakest link thus far. The book just doesn't feel like a cohesive whole; instead, it comes off as two half-baked halves that got slapped together to produce one 20-page comic to justify the $2.99 price tag. In a nutshell: Detective Comics #5 just doesn't satiate.

Since this series' first arc, Detective Comics has been slipping. Daniel is struggling with his characters' voices and the story itself seems to lack focus, bouncing between an excessive amount of characters while continuously having new ones thrown onto the undercooked heap.

While I would love to be able to report that Voodoo Child #1 is a raging success, that's unfortunately not the case. This book has a genuinely interesting setup (just read the first issue's solicitation), but this first installment doesn't really do a great job making that shine through to hook readers back for next month. Maybe the second time will be the charm for this new Vertigo series. Here's hoping.

But for the two problems I had with the latest issue, I still found a lot to like and warrant a pick up of next months issue #81 which is a full issue, no back-up conclusion to The Dark Ages." It should be pretty intense and throw the inhabitants of Fabletown into a whole new status quo.

Fantastic Four #601 is not a great place to start reading, however. In order for this issue to have its full impact, you're going to need to start from the beginning of Jonathan Hickman's run. Yep, all the way back. But the juice is absolutely worth the squeeze, as we've said time and time again.

But, honestly, the dip in quality in the art is a small price to pay for such a fantastic story. I'm willing to look past the art if the story can deliver, and that's absolutely the case with Fantastic Four #603. Longtime readers of Fantastic Four should love this issue for the story it tells. I know I did.

This entire "Forever" arc has been outstanding and it definitely sticks the landing. This feels like the culmination of Jonathan Hickman's entire Fantastic Four body of work and it's amazing how well it's been pulled together. Let's hope the future of the Fantastic Four is as bright as this moment right here.

I even found myself being turned into a fan of Mark Bagley's artwork. Honestly, I've never been a huge fan of his, although I never hated his work either, but his work on Fantastic Four looks great for the most part. Although, he does have trouble differentiating people such as Johnny and Franklin, which is kind of a big gaffe considering the age difference. Otherwise, Fantastic Four #3 is a good looking book that nicely complements Fraction's script.

Fans of Ed Brubaker and Sean Phillips previous collaborations should find a lot to like in Fatale. The book presents a great mystery, interesting characters and treads unfamiliar territory for the creative team involved. It's Brubaker and Phillips stepping out of their wheelhouse, but they manage to do so with grace and focus that makes me excited to see the great things that come from future issues of the series. If Fatale #1 is your first foray into the works of Brubaker and Phillips, forgive the slower pace of this first installment, because if we've learned anything from this team, they always wind up delivering in the long run.

As we said with this series' first issue, if you dig Brubaker and Phillips' Criminal series, then you'll enjoy Fatale. Outside the Lovecraftian influences, Fatale feels like another story set in the Criminal universe. Some might balk at that idea, expecting Brubaker and Phillips to tackle something entirely fresh with this series; but for everyone that enjoyed what this creative duo has churned out in the past, this series will continue to satisfy.

Those coming into Book of the Skull expecting some major revelations in regards to Fear Itself might be disappointed. But if you come into this story looking for a quality narrative with solid writing and spectacular art, then you'll leave happy. Book of the Skull accomplishes what a prologue is meant to do: tease. Ed Brubaker and Scot Eaton have whet my appetite; now I'm ready for Matt Fraction and Stuart Immonen to come in and deliver a truly awesome main course.

FF #3 is another great chapter in Jonathan Hickman's Fantastic Four epic. It's very hard to complain about Hickman's approach to the FF and their mythos. Even when you factor out the death of Johnny Storm, Hickman is writing one of the most engrossing Fantastic Four stories I've ever read. I can't wait to see where this goes.

This is the part where I sound like a broken record: FF #4 is a solid comic and another exquisite entry into Jonathan Hickman's Fantastic Four saga. If you haven't been reading, I suggest you pick up the start of Hickman's run and play catch up so you're ready to go for next month's installment. You're missing out otherwise.

Jonathan Hickman's FF continues to be on the up and up. The overall saga he is weaving is getting grander by the month, which I couldn't be more happy about. As I've said before, if you haven't been reading this series, then you're missing out on one of Marvel's best books. 'Nuff said.

While it's clear that these two Black Bolt-centric issues will eventually tie in to the main narrative of FF -- Hickman is too good of a writer to not make that happen -- it's still frustrating that they have completely derailed the series' forward momentum. Let's pray things are set back on track next month.

It killed me that the last two issues of FF weren't up to par with everything that came before them. Thankfully, FF #8 is a return to prominence. FF fans should be satisfied with FF #8, no doubt about it.

If you've been reading and enjoying all of Hickman's Fantastic Four work thus far, then FF #12 should still be a welcomed addition to your collection. The story here is solid. It's just that the art can't keep pace. Hopefully Bobilo can clean up his pencils for future installments to better fit Hickman's grand vision for the Future Foundation.

If you've been enjoying Jonathan Hickman's overarching Fantastic Four saga, then FF #15 should fit snuggly into place for you. But it's worth noting that this issue doesn't really feel accessible unless you're knee deep in all of Hickman's Fantastic Four material.

Final Crisis #3 is another winner as far as I'm concerned. Plots and subplots are starting to converge, and the scope of the series couldn't come off as any more epic than it already does. It's going to suck waiting a month or more for the next installment, but I'm sure it will be worth it once the final product hits our hands and we actually get to see what Earth under the control of evil really looks like.

If I had to find one fault with the book is would be during the closing pages. There is an extreme usage of narration for a number of pages, and if you have read my previous reviews you know this type of storytelling tends to irk me. I always feel there is a better way to get story points across. But wouldnt you know it, Tomasi makes use of the narration both literally and in a great context. So by the time I reached the end of the issue, it didnt bother me. It actually led to a fantastic scene with Jonns closest friends honoring him in the grandest way possible. Finally, the books last page might make the biggest of DC fanatics shed a tear just like the heroes did in the pages that preceded it.

It is for this that we honor you, Dr. Light. For everything you were and everything you could have become, if it wasnt for the horrid, horrid vengeance that was brought down upon thee. I pray you find a safe place in the after-life. I hear its better there anyway.

Like I said, a lot of readers will skip this book simply because they arent enjoying Grant Morrisons work on Final Crisis but besides appearances by Libra and mentions of the Anti-Life Equation, Revelations is just an extension of Ruckas master plan for Crispus Allen and Renee Montoya played out over the backdrop of the end of all things. Revelations even does a great job filling in readers who arent familiar with the history behind this story, giving you another reason not to avoid it. Final Crisis: Revelations #2 is easily the book of the week.

I wish a lot of comic readers that arent enjoying the main Final Crisis series could look past the trade dress of Revelations and give it a shot. Its one of the most epic series I have read in years. The writing, story, and art are so good that this series could have been the main Final Crisis mini-series and I would have been just as happy. It definitely has the sense of epic a DC event should. There are just so many things working correctly for Revelations that cracking open each issue when I get home from the store is an absolute joy. Cant wait to find out what happens next.

The only shortcoming of Revelations #5 comes from Philip Tan's pencils. Looking back at the first few issues of the series Tan's line work was much sharper and much more detailed. Don't get me wrong here, he is still a phenomenal artist and I'm glad he is getting future high profile DC work, but the final issue of Revelations seems overly muddy, sketchy, and just not as visually stimulating as previous installments. Characters look a lot rougher than before, and the majority of panels lack a background outside of a solid color. And when we do get a background it looks like an outline for building that was suppose to be filled in with more detail at a later date but never was. It could be that Tan was rushed by the time this series was wrapping to meet deadlines so I just hope he's given some solid lea -time from now on because he can produce some amazing art as seen in the first few issues of Revelations.

This is another great addition to Geoff Johns and Scott Kolins Flash portfolio. I might even be as bold to say Rogues' Revenge is an enthralling as the main Final Crisis plotline. This is due mostly to Johns' perfect handle of these characters, breathing life into them with each page. The cliffhanger is also a perfect place to leave readers salivating for next months installment. Simply put, the Rogues are back in town.

Rogues Revenge #2 is another great example of how strong these tie-ins to Final Crisis have been. But seriously, did you really expect less from Geoff Johns and Scott Kolins? DC, I plead you to strap this creative team to chairs and demand they write a monthly Rogues series. I would be there in await for itflash.

It's a shame that the final issue is so lackluster. The Flash series has been absolutely stellar as of late, but I guess that trend had to end sometime. It's just a shame that it happened now, right before the Flash gets his big spotlight.

I feel like The Flash #1 is going to be a divisive comic due to Barry and Iris' unexplained split. It doesn't help that this is established on the book's opening page, which might make longtime fans of the character instantly brush this book aside. But if you can get past the continuity hiccups, The Flash #1 has a fun story to offer. And if I'm being honest, I'd happily spend $2.99 on the book's art alone.

What Flash #5 does so well from a storytelling point of view goes back to what I mentioned in the opening paragraph: it slowly introduces new wrinkles to the Flash's power set which blows the storytelling potential through the roof. I won't spoil it here, but Manapul and Buccellato come up with a pretty wacky idea stemming from the Flash's use of the Speed Force that could have serious implications from this point forward. Basically, it's an exciting time to be a Flash fan, to say the least.

Outside the questionable characterization of Captain Cold, the Flash #6 is another solid entry in this series. The way the plot jumps back and forth through time helps simulate the quick-moving nature of the book's titular character and makes the read far more engaging than it otherwise would have been if it chronologically moved from one beat to the next. This is a series you should not be missing.

From top to bottom, The Flash #7 is a great comic. The visuals are energetic and eye-popping, and the story manages to pull at the heartstrings. The last page cliffhanger might fall a little flat, but I'm willing to look past that in the grand scheme of things. This is another rock solid issue of The Flash, courtesy of Francis Manapul and Brian Buccellato.

Flashpoint #1 is probably the rockiest start to a DC event in years. If DC had held back on the marketing push prior to launch, maybe a lot of the moments found within would have had more punch. But when you break it down, it's essentially a glorified version of the various press releases that lead up to this first issue's release and offers nothing new. But hey, at least Andy Kubert's art is rock solid. That justifies the $3.99 price tag, right?

By the time you reach the final page, you'll be begging for it to be next month. The cliffhanger of Flashpoint #2 hits like a wrecking ball, and fittingly, might tear down all your expectations for where this series is headed. I was disappointed with Flashpoint #1, but after issue #2, I'm onboard for the duration.

I really want to love Flashpoint. The concept alone is dynamite. But its lack of focused storytelling is really holding this series back. With only two issues remaining, I fear that Johns and company are running out of space to give this series the impact it needs to have leading into September.

It pains me to say it, but I'm ready for Flashpoint to be over and this new DCU established. The concept for Flashpoint is a solid one, but the delivery has been scatterbrained, to say the least. Having read Geoff Johns' books for years, I know he's better than this at pulling everything together. But with Flashpoint, he can't seem to find his stride, which means readers are left with a jumbled mess of an event to usher in the brave, new DCU.

Flashpoint #5 unfortunately does not turn this series around and make it amazing. The issue's final few pages make Flashpoint #5 better than most previous entries in the series, but that isn't saying too much. Flashpoint was an ambitious event that DC unfortunately didn't know how to properly structure. And because of it, we're left with a mini-series that features a bunch of neat concepts but completely lacks a soul.

Don't get me wrong, Flashpoint: Batman #1 is a well written, well drawn comic, it just doesn't carry much weight. Hopefully the second issue of Flashpoint: Batman - Knight of Vengeance can turn things into high gear and make this companion mini-series worth the investment.

Deadman and the Flying Graysons was the Flashpoint tie-in I was most excited for. It's good to see J.T. Krul and Mikel Janin not only live up to my expectations, but exceed them as well. And by the look of things, the Graysons' last performance is going to be much bloodier than we remember it.

The only nitpick I can log against Deadman and the Flying Graysons #3 is the hokey narration on the issue's final page. It seems J.T. Krul is trying too hard with the inner monologues to establish a close bond between Deadman and Dick. It comes off as a little forced. But it's a small complaint that in no way makes the issue unreadable. When all is said and done, I'm happy to see this mini-series end on a high note.

Consider me shocked by the quality of Flashpoint: Grodd of War #1. I truthfully wasn't expecting much, but what I got engaged and entertained me thoroughly. While this book is meant for the Flashpoint diehards, I implore everyone to give it a shot for an interesting done-in-one character portrait of Africa's new ruler.

I was really hoping for another solid Flashpoint tie-in with Lois Lane and the Resistance #1. I did not get that. What I got was an emotionally devoid setup issue that really doesn't have me excited for next month's installment.

While it's disappointing that Lois Lane still isn't a key player in her own series, Lois Lane and the Resistance #2 is an astronomical leap in quality from last issue. Grifter makes for an interesting character and the art by Gugliotta is quite striking. It should be fun to see how Abnett and Lanning wrap this one up.

In what has become standard fair for most Flashpoint tie-ins, I'm left with my pants around my ankles since this mini concludes with a "o be continued in Flashpoint #5" note. As it stands, Lois Lane and the Resistance isn't a complete, standalone story, forcing you to pick up Flashpoint #5 to find out how things play out. But let's be honest with ourselves, the chances of Flashpoint #5 elaborating on the Resistance's plight outside a few throwaway panels is slim to none. That series has already bitten off more than it can chew. But to get back on point, as a series, Lois Lane and the Resistance hits a few highs, but is mostly made up of lows. This final issue isn't awful, but it won't make you fall in love with this series either.

Wonder Woman and the Furies #1 still ranks as a solid comic, inconsistent artwork notwithstanding. It seems Abnett and Lanning are having some fun with this concept and are getting right into the thick of the story to make sure each issue provides some substance. Wonder Woman and the Furies #1 definitely succeeds there.

Having now seen how this series concludes, I can't rightfully recommend Wonder Woman and the Furies. In the end, this series is nothing more than a sloppily-plotted compendium to Flashpoint. And while the art by Agustin Padilla isn't bad, it's also nothing that will make you want to throw down your hard-earned dollars for a storyline that goes nowhere on its own.

Frankenstein, Agent of S.H.A.D.E. #1 is probably going to be a hard sell to many people. I imagine a lot of folks will see the title and the cover on book shelves, laugh, and then pick up their standard superhero fare and go about their business. That's a mistake. Taking nothing away from the superhero books we know and love, Frankenstein #1 is worth a shot because it's something completely different. It also doesn't hurt that it's written by Jeff Lemire (he's so hot right now). Frankenstein, Agent of S.H.A.D.E. #1 should definitely be on your pull list.

If you like monsters, action and have a dry sense of humor, Frankenstein, Agent of S.H.A.D.E. should be right down your alley. Jeff Lemire is creating one hell of a fun series here, so you would be a fool to miss out on it.

With great characters, a solid story and perfectly fitting artwork, Frankenstein, Agent of S.H.A.D.E. remains one of DC's best books coming out of the New 52. If you haven't bought into it yet, please correct that error in judgment.

Frankenstein, Agent of S.H.A.D.E. might not be Jeff Lemire's best work in the New 52 relaunch (that honor goes to Animal Man, obvi). But it's still an incredibly entertaining series that deserves your attention. Much like Paul Cornell's Demon Knights, Frankenstein tackles characters and subject matter you won't find anywhere else in the DC catalogue. For that reason alone, it should be on your pull list.

Taken as a done-in-one tale, Frankenstein #5 should entertain followers of this series. If you're new to Frankenstein, Agent of S.H.A.D.E., I recommend starting with issue #1 before jumping into this week's #5, mostly because issue #5 doesn't do the character or mythos Lemire has worked hard to build up any justice. Frankenstein #5 is a fun read, but only if you're already invested in the character beforehand.

Frankestein, Agent of S.H.A.D.E. remains a wildly imaginative series that covers a nice niche in the DCU for people looking for titles outside Batman, Superman and the rest of the main DC superhero stable. And it's clear after six issues that Jeff Lemire won't be running out of wacky ideas to throw at S.H.A.D.E. any time soon. And that makes me a happy reader.

From a storytelling point of view, Frankenstein has been a consistently entertaining book. And now that Alberto Ponticelli's style has evolved for the better, Frankenstein has officially become one of my favorite New 52 books. I can't wait to see where things go from this point on, especially spinning out of this issue's cliffhanger.

Gotham City Sirens is a good read. Time will tell if it really has the legs to stand next to the other important Bat-titles, but for a fun buddy romp with three of the sexiest ladies in the DCU, you can't beat this.

I still have interest in where this series goes from here now that zombies are running amuck in Afghanistan. If Sable can establish an emotional core to his series, then we might be in for a few entertaining issues to round out this mini. While issue #1 didn't fully hold my attention, I'm remaining optimistic for the rest of the series.

Much like with the first issues of Justice League and Action Comics, Green Arrow #1 is a safe book. It establishes its cast of characters and provides an entertaining yarn to get you from start to finish. But now that the formalities out of the way, I'm excited to see Krul take some risks with future installments. Because if he doesn't, I fear a lot of readers might lose interest in the adventures of Oliver Queen. And that would be a shame.

I saw promise in the first issue of Green Arrow. But this second issue was snoozeville. I can get this type of story from a large number of other superhero comics on store shelves. I want something in Green Arrow that makes this book stand out. If Krul can focus more energy on making Ollie's supporting cast well-rounded, standout character instead of paper-thin, plot-development pushers, then we might be in business. Until that point, Green Arrow just isn't that great.

Green Lantern #31 is another great addition to an already classic run. The seeds Johns has been planting are starting to come to a head and when you have Ivan Reis depicting all your words, things seems to be in sound hands. Its a true testament to Geoff Johns and Ivan Reis storytelling abilities to take an age old story and give it that extra shine, making coal once again look like diamond.

Like I said before, Green Lantern #44 is a great read. While it doesn't move the overall Blackest Night plot forward with leaps and bounds, it does offer some great character moments and a few jaw dropping sequences that easily warrant the $3 price tag. And if you want the full "Blackest Night" picture, Green Lantern is a definite must buy.

Thus officially begins the War of the Green Lanterns. Johns and company have crafted a great prologue issue to hook in readers and get them behind this latest GL-centric event. Like I said last month, it's a great feeling to know the Green Lantern books are back on track. And if this prologue is any indication, this is just the tip of the emerald iceberg.

Green Lantern #66 is likely the best issue of this mini-series thus far. A lot of the reason for that is because of the insane cliffhanger the book leaves you with to chew on as you close its final page. Thankfully, we don't have to wait until next week to know what happens next, as this week also sees Parts 8 and 9 hit shelves.

It's actually rather rare when the conclusion to an event radically alters the landscape of a universe. But that's exactly what Green Lantern #67 does for the Green Lantern mythos. It's going to be interesting to see where this all goes. If the Green Lantern proper series was getting predictable and stale to you, let Green Lantern #67 be a wake-up call that things are just getting started.

I've long been a fan of Geoff Johns' Green Lantern series. It's had its ups and downs, but at the end of the day it's consistently delivered solid superhero stories. With the New 52 relaunch, Johns seems to be opening up and experimenting more with his quintessential superhero storytelling formula, and that's a welcomed breath of fresh air. As long as the stories remain consistently good, I'll take them any way I can get them.

When going down the checklist, it appears as though Green Lantern would be a win on all fronts. But something is still missing to make this feel like the next, necessary step in Geoff Johns' Green Lantern saga. What we've been reading has been fun, but the storyline, in some ways, feels forced. Maybe next month this book can bounce back and reignite my interest in the series.

Overall issue #25 is a stellar superhero book. I could have done without the Mother Mercy giving a three page monologue about her history, instead opting for Tomasi to creatively find a way to relay this information to readers through action, but oh well. That stuff happens in superhero books all the time. Villains and quasi-villains just love to monologue; its like their thing. But otherwise part 4 of Ring Quest displays some kick-ass super-heroics, continues to build to the final showdown next issue with Mongul, and gives readers some great eye candy from Patrick Gleason.

Overall issue #26 of Green Lantern Corps rocked my socks off. I did not imagine I would be this impressed with the book in a week that had quite a few of standouts for me. I look forward to where this leads as we get closer and closer to "Blackest Night." My pick of the week.

Like I said, this is an entertaining comic. Tomasi continues to build off the Sinestro Corps Wars steam, tell his own interesting stories, grow his cast, and forge a path towards Blackest Night for the Green Lantern Corps title that solidifies the existence of the book. In a nutshell, this is another solid entry into Tomasis run and worth a read.

Finally, just when I think the story in GLC is getting boring compared to its brother series, Green Lantern, Tomasi sucks me right back in with a great cliffhanger leading into the next arc of his run. If youve been following this series, Green Lantern Corps #28 will seem like more of the same goodness because of the building plot developments. For everyone else on the fence, this months issue might not be the best showcase of what this series has to offer because the art doesnt look as good as months with Patrick Gleason on duty.

So let me reiterate--go out and buy Green Lantern Corps. It's just as good, if not better than Green Lantern and really fills in the missing pieces leading to the hugely hyped "Blackest Night" event. A lot of people are interested in DC's next summer event and GLC is a perfect way to hype yourself up and get informed with everything the event intends to bring.

Overall, GLC #60 is a solid read, it's just underwhelming until the final few pages.

While I appreciate Tony Bedard taking a fresh approach to his War of the Green Lanterns epilogue issue, I also can't help but be disappointed that it really carries no weight. If you're a die-hard John Stewart fan, this one might be worth a look. But for everyone else, you're better off saving yourself $3.

To put it bluntly, the Green Lantern books have really failed to engage post-War of the Green Lanterns. They are definitely in need of a recharge (pun unintended). You're better off skipping this one and saving your money for Tony Bedard's Green Lantern: New Guardians in September, which will hopefully reinvigorate the adventures of Kyle Rayner.

Green Lantern Corps #63 is a step up from the last few issues in this series. It might not be the epic send-off we were hoping for, but at least it delivers a moral that explains what the Green Lantern Corps is all about: they are always around, through thick and thin, to help those in need.

The end of Emerald Warriors #11 comes up quick. That has to speak to some degree about the level of quality for the book. While it's a little disappointing that this issue came out before War of the Green Lanterns concluded, that can't be held against Peter Tomasi and Bernard Chang. For what it is, Green Lantern: Emerald Warriors #11 is a fun standalone story starring everyone's favorite loudmouth Lantern.

While Green Lantern: Emerald Warriors #12 doesn't add a whole lot to the overall Green Lantern mythos, it does provide a mildly entertaining story that should leave you satisfied with your $3 purchase. For what it's worth, Green Lantern: Emerald Warriors #12 is one of the better post-War of the Green Lanterns standalone tales.

This review has been kept rather short but I think the major points of the issue have been touched on. If you've been enjoying this series to date and also like Secret Invasion, this issue is a no-brainer purchase. The comic continues the goodness of previous issues and drops quite the bomb on fans with a shocking Skrull reveal. And even although it's almost telegraphed from the beginning of the book, it was still surprising to actually see it carried through. It also makes me curious where the series will go from here. There is serious potential for a complete shift in direction after this Secret Invasion tie-in is over. And while the series was only four issues in, it will be cool to see the Guardians post-Secret Invasion if the writers of the series have the stones to pull the trigger on what they set up.

If you've been reading Haunt since the beginning, you'll probably get more enjoyment out of Haunt #19. Fundamentally, the writing is up to Casey's standards, it's just that the story is not meant for anyone other than established Haunt fans. And that's disappointing. This was a clear chance to pull in new readers, and Casey blows it. Oh well, I can make due without picking up yet another superhero book.

After one issue the Haunted Tank is off to a great start. Im really excited to see how this series plays out and cant wait for more hilarity to surely ensue. Its the reason I gave it a shot in the first place, and it didnt disappoint.

However, not all is well in art town for Hercules #2. Admira Wijaya seems to have a problem with layouts, often times confusing the hell out of me with the flow of panels. This forced me to re-read pages in different patterns to find out which fit best. That is a major flaw for a comic because it completely removes you from the narrative. If you dont believe me, take a look for yourself with a sample I have provided below.

Overall, consider me intrigued by the future of Hoax Hunters. Outside the book's art, I enjoyed the cast and world of this new series. Hopefully Moreci, Seeley and Ringuet's universe sticks around to see what becomes of it.

While issue #15 is still a good comic, worth the three dollar price tag, it isn't as strong as the previous sixteen issues that have preceded it. A part of me wishes Brubaker and Fraction ended their tenure on the book with last month's issue #14 because that was a kick-ass finale to everything they built upon from issue #1. Instead we get two more issues from the duo and if issue #15 is any indication, they seem to be spinning wheels to give lead way to the new creative team taking over at issue #17.

I really cant recommend Immortal Iron Fist: The Origin of Danny Rand to anyone besides the Rand diehards, and those who can't interrupt their perfect runs on a series. There is nothing new here, nor a story that takes the old and spins it in an interesting light. These issues were reprinted solely for Marvel to make a quick buck on fans of the relaunched series that have fallen in love with the character and need to know every detail. However, this doesn't deliver.

I want to love The Incredible Hulk. Jason Aaron is a great writer, and Marc Silvestri is typically a solid artist. But things are not gelling. It's sad for me to admit this, but I'm ready for Silvestri to move on and a more fitting artist with a passion for the project to step aboard. The Incredible Hulk's story deserves as much.

Honestly, I'm ecstatic that this series is ending next month. I'm tired of writing about something I loathe and that has shown no sign of progress. We're all going to be better off when this one is swept under the rug and forgotten.

As par for the course, both the writing and art are a letdown in inFamous #6. I don't really know why I bothered to expect differently. I'll just chalk it up to me being an optimistic person. But that optimism has cost me $18. The entire inFamous mini-series just reeks of being phoned in. If you need a book to make a solid case for the majority of video game tie-in comics being crap, inFamous is your bread winner. I will leave you with this: I am so happy this series is over. Now I can put it out of my mind and pretend it never happened.

If you enjoy the entire IDW Publishing line and fancy yourself a fan of H.P. Lovecraft and company-wide crossovers, maybe Infestation 2 will hit the right chord with you. That wasn't the case with me. With no prior knowledge of IDW's more obscure creations, Infestation 2 #1 read like a mess that offered nothing for a newbie to grab hold of and enjoy.

The delay might have been long, but issue #3 of Infinite Vacation didn't disappoint. It definitely takes an overly dark turn, but the concept and characters alone are worth coming back to next month.

So far Matt Fraction is three for three with his work on Invincible Iron Man. I have finally found a shell head book that I can enjoy, and look forward to, each month. The battle of wits between Stark and Stane has been great, but I hope Fraction continues to build the plot of his run from this starting foundation to create an epic run to rival what Brubaker and company are doing on Captain America. Tony Stark deserves it.

Because this issue was mostly comprised of a fight sequence, it does read rather fast. The issue is also very well paced which makes the pages fly by even faster maybe leading you to question if your $3 was well spent. Well, I'm here to reassure you that it was. "The Five Nightmares" has been one of the better Iron Man arcs I have read in recent memory, and I hope Fraction's hot streak continues on this title so I can enjoy some more Iron Man stories of this caliber.

Hopefully Fraction can turn the dial up to 11 with next month's issue to get me once again fully invested in Invincible Iron Man. It's a depressing feeling not being there month in and month out.

It's great to see Invincible Iron Man back to the level of quality we've come to expect from this series. The last two months have had us worried that Fear Itself got to Fraction and he lost focus of what matters in this series -- character. Invincible Iron Man #505 proves that we're back on track, with a future that could be very toxic, if you catch my drift.

If you've been buying the Invincible Iron Man series, this issue isn't going to turn you away. It might not be as strong as previous offerings, but it's still a solid read that sets up some interesting things for future installments.

Some readers might walk away from Invincible Iron Man #508 feeling gypped. The book definitely covers familiar ground, but even if that's the case, the solid characterization that's always been a staple of this series should help justify your purchase of the book. It did for me.

If you've been enjoying the slow-burn nature of Invincible Iron Man thus far, issue #509 is not going to turn you away. In fact, it actually succeeds in areas where Fear Itself fails, namely establishing a true sense of dread and fear that this is indeed the end of days. Fraction's solid character work has been Invincible Iron Man's biggest draw since the series' inception. It's what makes issue #509 stand above mediocrity.

If you've been reading and enjoying Invincible Iron Man, this issue won't turn you off from the series. It's as fundamentally solid as most of the issues before it. And the cliffhanger should have your interest piqued to find out what happens next.

At this point, Invincible Iron Man is a series that you're either into or not. Fraction has been telling one massive story that builds upon itself and it's been an interesting journey all the way through. Sure, Invincible Iron Man might not be as exciting as when Tony pulled the plug on his own brain, but it still remains a fascinating read if you've been following it from the get-go.

After a little bit of a lull, it seems Invincible Iron Man is back on track with exciting things planned for future issues. Let's hope things continue on the up and up.

Im keeping this rather short but do yourself a favor and get Jonah Hex #35. Im just as guilty as everyone else but maybe its time to put down some of the spandex books that have been nothing but punching month after month and instead invest in something that actually gives comics a good name. Jonah Hex #35 is that type of book. Three dollars is a small price to pay for something this good.

This month's issue of Hex is drawn by Jordi Bernet, who evokes a style reminiscent of Joe Kubert. I know that's lofty praise, as Kubert is one of the true masters of sequential storytelling, but you can see touches of Kubert in Bernet's work. Bernet never tries to go overboard with layouts, choosing to go with what's practical over what's showy, while also being very tight with his figures and landscapes. Even the line shadowing on figures to add depth reminds me of Kubert's work. When all is said and done, Jonah Hex #65 is a good looking comic that gets the job done without distracting from the story's pacing.

Is Jonah Hex #68 worth picking up? Absolutely. You're still getting a great 20-page story here. It's just that your eyes are not going to be happy with what they're looking at.

Much like we've stressed here at IGN time and time again, Jonah Hex is a series that you can pick up and read any issue because they're all standalone tales. With that in mind, I urge you to get out to your shop and snag Jonah Hex #69. You'll be able to enjoy it even if you don't have any prior knowledge of Hex as a character. And if that's the case, issue #69 might actually convince you to pick up this series until it relaunches in September as All-Star Western.

I think a lot of people are going to finish this issue and start wondering when DC's flagship title is actually going to kick into high gear -- when the superheroes stop fighting each other and turn their anger and frustration with a world that hates them towards a threat that requires their combined might. Justice League #2 doesn't quite reach that point, but it's a fun ride nonetheless.

Justice League is meant to be DC's blockbuster action title, and Justice League #3 delivers on that promise. The overall plot is moved forward ever so slightly here, but you probably won't mind because you get to see your favorite heroes tearing bad guys apart in fine fashion. While not perfect, Justice League continues to be a solid superhero series telling the origin of DC's finest heroes.

If you wanted grandiose action in your Justice League book, you're now getting it in spades. However, Geoff Johns is injecting enough personality and character-defining traits into all the members of the book's ensemble cast to make this series feel like something more substantial than a bunch of dudes (and ladies) wearing tights and punching monsters in the face. At it's core, it's very much that, but at least it's a fun ride for new and longtime DC readers.

Look, Justice League #5 is still a fun ride, it just doesn't offer much depth -- or, better yet, the depth it does offer is suspect -- and the artwork lacks consistency and feels lazy at points. But I have to admit, I'm still a sucker for the Justice League fighting Darkseid. I always will be. And for that, Justice League #5 was worth my money.

Justice League isn't quite the book I want it to be -- one that mixes the bombastic superheroics with deep characterization (this coming from a guy who actually loved Brad Meltzer's introspective run on the title from a few years ago). With that said, however, this issue in particular did a whole lot more right than it did wrong. There were a lot of great little moments scattered throughout and some solid teases as to the potential of this series moving forward. I'm excited to see what the future holds for the "Super Seven."

Consider Justice League #7 to be two short stories under one cover. Thankfully, both stories are worth your time and money. Personally, I'm really interested to see where both of these threads lead.

Justice League Dark #1 is a solid, if ominous opening chapter to this new series. Peter Milligan alludes to some dark turns coming down the road, but he's still playing nearly all his cards close to the chest. But I'd be lying if I said I didn't want to see his full hand. With the necessary stage-setting out of the way, Justice League Dark should have clearance to push the pedal to the metal from this point forward. And with a team like the one found in this book, there's really no telling how far Milligan and Janin will take them. The potential for Justice League Dark is limitless.

We're still plugging away in setup mode for Justice League Dark, but that's not necessarily a bad thing. The Deadman moments of this issue might seem a bit odd, but everything else Milligan spits out works well to continue building an intriguing mystery for this series. Hopefully next month things really start to pick up.

Oh, one last thing, kudos to McDuffie for making a jab at the "Brand New Day" of Amazing Spider-Man with Zatanna's line about "magic." Whether that was intended or not, I got a good laugh out of it.

It's also nice to know the story and writing holds up to the standard set by the pretty pictures. However, one aspect of James Robinson's writing that is very hit or miss with readers is how he narrates monologue boxes. As of late, Robinson writes these boxes as if they are a stream of consciousness, and that continues here in Cry for Justice. In fact, sometimes this approach requires multiple readings of the same sentence in order to understand what Robinson is trying to get across. It can be frustrating, and definintely removes you from the flow of the story, and art, from time to time. But it doesn't take long to get use to, and once you do you'll find a worthwhile setup to what will hopefully be a long and fruitful run on the Justice League books for James Robinson, Cry for Justice being the lynchpin. So get yourself a copy and get in on the ground floor of what will hopefully be a story that re-establishes the Justice League as the premiere team in superheroics.

The saving grace to the overall package of Justice Society of America #15 comes in the form of Johns, once again, adding a Coming this year in primer to the end of the issue to wet the appetites of JSofA readers. While not as mind-blowing as the primer at the end of issue #1, we do get some tasty nuggets here. I wont ruin the surprise, but the final image on this page is by far the most intriguing, especially for fans of the previous volume of JSofA and 52. But that is saying something isnt it? The fact that I closed this book with a smile on my face due solely to the end teaser page shows that the contents that preceded it didnt deliver like I hoped they would. I guess the standard for Justice Society of America is a pretty high bar, but that is because I know Geoff Johns can deliver. It just looks like I will be waiting another month for the shipment (hopefully).

At this point I feel like this review has shaped into why Dale Eaglesham should be chained to a desk and drawing Justice Society of America, without fill-ins, for all eternity. Geoff Johns is obviously taking this series in a more emotional, dramatic direction and the only penciler that should be drawing this is Eaglesham. Instead we get the series regular fill-in artist, Pasarin, and heavily emotional moments fall flat, thus making the issue rather boring. No plot developments really move forward, hinging all the weight of the issue on emotions hitting readers which they fail to deliver. Justice Society of America, please get better.

Though I still feel the first arc of this epic over-arching storyline, Thy Kingdom Come, ran a bit long without proper resolution, Gog is already started to deliver the payoff of the entire epic by its second installment. The scope has been turned up to 11, at least, and Gog looks to be aiming at really shaking up the status quo of the Justice Society, and maybe even the entire DC Universe. Lets just hope Geoff Johns and Alex Ross stomach is as big as their appetites and the story doesnt fizzle out by carrying on for too long and drowning out the momentum. Justice Society of America #17 is a perfect example of the type of superhero comics I look for today; ones whose emphasis is delivering a sense of epic simply through rock solid characterization.

Im a constant flip-flopper when it comes to Justice Society of America these days. I go through spurts when I really love it, then the next month Im kind of left wondering where this is all going. But if Justice Society of America #18 is any indication, and my hypothesis turns out to be correct, we can expect some exciting things in the coming months, its just a matter of sticking out through this dragging story-arc. However, one thing is for certain, Justice Society of America is, and has been, the best super-hero team book on the market.

But Justice Society of America #20 doesnt do everything wrong just like I mentioned before. The whole glimmer of greatness thing. What it does is provide us with some tasty nuggets about Starmans true mission, and the fallout of the JSAs struggle with the JSI leads to an interesting curveball in regards to Alan Scott and Mr. Terrific. But the truth is, Im just anxious for this sequel to Kingdom Come to wrap up so the series can move on. Its almost gotten to the point of this story is sullying Kingdom Come more than honoring it.

Fortunately, next months issue #22 is the end of this Kingdome Come sequel and hopefully we can start seeing Justice Society of America return to its former glory coming out of this mess. We know a storyline involving Black Adam and Isis is right around the corner -- some of Geoff Johns pet characters at DC -- so Im sure JSA will be readable in the near future. Until then, do whatever you can to avoid the current issue, even if it means you biting the bullet and accepting a numbering gap in your long box.

It's going to be hard going to the comic shop next month, seeing Justice Society of America's new issue on the shelf, and not pick it up. Not only because I continue to have faith that Johns could turn this sinking boat around but, like a lot of comic readers, I'm a completest. And being only two issues away from John's farewell seems like reason enough to just stick with the title and see it through. However, I know that's a bad idea, because it means I'm literally throwing money in the trash. I think it's time to move on.

I truthfully feel like Kick-Ass 2 #3 could be the breaking point for some. This series has never shied away from brutal violence, but this issue might take it a little too far. The moment in question might serve its purpose from a plot perspective, but part of me thinks Millar could have gotten to point B without resorting to raping my innocent eyes.

If you haven't checked out Memorial yet, I highly recommend you do so. It's a fascinating premise with plenty of room to grow and prosper. The wild ride is just getting started, so I suggest you jump aboard while we're still in the early stages.

Men of War #1 is not the start to this series that I was hoping for. It's a slow, emotionally hollow reading experience that might not provide enough substance to get people to tune in again next month. And that's exactly the opposite of what these new #1s are supposed to be.

Overall, I think New Avengers #42 is a worthwhile purchase. I haven't followed the regular series since about issue #20, but with "Secret Invasion" bleeding into Bendis' other books, and my interest peaked, I gave New Avengers #42 a chance, and it paid off. For long time readers of the series, I'm sure issue #42 is another golden nugget in the overall picture that Bendis is crafting. I'm also quite sure a lot of the moments in this book will have even more impact for long time readers than it did for this guy. Also, New Avengers #42 did achieve another goal besides forwarding the overall "Secret Invasion" plot: it made me curious to go back to the beginning of New Avengers and see if Jessica Drew's actions match up with this new twist, if in hindsight she has been acting "Skrully" all along.

Freefall continues on next month and I really hope its the storylines conclusion. I havent see anything online, or in the book, that details how many issues this arc is suppose to take, but Im pretty much done with it. While Rags Morales art continues to be fantastic, its not enough to keep me interested when paired with a rather boring, clich script. I hope Tomasi can turn this story around and produce a kick ass finale to keep me on Nightwing into the future.

If I wasnt already a monthly Nightwing reader I wouldve initially been rather pissed that I bought it for the R.I.P. tie-in that wasnt there. I mean, not only does the book not tie directly to the big event, but when it does, its allusions completely screw up the timeframe of events and will probably do nothing but confuse readers of R.I.P. even more than they already are. However, if youre currently picking up Nightwing regardless of R.I.P., or just looking for a good story, Nightwing #147 wont disappoint. Im hoping that a bunch of people will give this series a shot solely for the advertised tie-in. Then, once getting over the frustration of being lead on, will be able to enjoy the issue none-the-less and be onboard for future installments based solely on the merits of the writing and art. This is another solid addition to Peter Tomasis Nightwing saga. Check it out.

If you have ever liked Dick Grayson you owe it to yourself to start picking up this book. Dont worry, dont be scared. There arent anymore Jason Todd Nightwing-monster-beasts, or crappy D-List villains. This is the Nightwing we should have been reading about for ages with the high caliber talent that is necessary for one of the oldest comic book characters in existence. But you know the saying; its better late than never.

While issue #149 isnt the best of Tomasis run, it is another strong installment and reason enough to continue following the series. Now comes the wait for next months over-sized anniversary issue.

Its a shame this series is ending so soon. I know the character Nightwing will continue to show his face in other series but unfortunately its without Peter Tomasis amazing characterization. And thats what makes me very sad about this series cancellation. But I am thankful we have this awesome run on Nightwing to re-read in the future.

I think a lot of Nightwing fans' worries will be laid to rest with this issue. Mind you, it's not a phenomenal debut, but it's a solid establishing issue that shows Kyle Higgins still has a great grasp of Dick Grayson's character, something he first put on display in Batman: Gates of Gotham.

But the star of the show this month, without a doubt, is the artwork by Eddy Barrows. Last month I criticized Barrows for not being able to properly handle the quieter, non-superhero moments of the book. That's not the case with Nightwing #2, where Barrows kills it on both the superhero action sequences and the moments featuring just two heads talking to each other. Barrows even stretches his legs with some impressive layouts that go a long way in playing up the dynamic action found in the panels. All in all, Nightwing #2 is a pretty, fun book to behold.

For a book that was riding so high for its first half, it definitely is a letdown that there is an artistic switcheroo midway through issue #3, which takes the issue down a peg or two. With that said, Nightwing, from a story perspective, is still firing on all cylinders. If you come for the story, you should find yourself satisfied.

As I've said before, Dick Grayson might be out of the spotlight as Gotham City's Dark Knight, but that doesn't mean his latest series isn't worth following. Nightwing remains a solid book spearheaded by a writer who seems to know and understand the character inside and out.

Nightwing #5 is a home run from a writing and artwork mentality. However, the lack of forward progression to the series' overall plot -- outside the book's final page reveal -- does hurt this issue. Hopefully Higgins and Barrows can get this book's pacing back on track next month.

After the last few issues seemed to sidetrack this series a bit, Nightwing #6 gets things back on track in a big way. I'm once again excited to see where things go from here.

It's been a long time coming getting to this final issue of Nightwing's first arc. This arc has had some great highs and some frustrating lows. Thankfully, issue #7 falls into the camp of the former. Now it's time to move on to the epic "Night of the Owls" crossover and here's hoping this series can remain at this level of quality.

With the last few issues, specifically last months #5 and this months #6, giving a much deeper understanding of Sven, I think Northlanders is finally showing its worth as a high caliber Vertigo imprint. The series is great, simple as that, and Northlanders #6 is the fulcrum of Brian Wood's masterpiece, so far.

With Nightwing having seen it's final issue last week, Robin this week, I would say Outsiders is the definitive Batman story currently hitting shelves. Now Battle for the Cowl is right around the corner, and DC is definitely pimping that book as the next chapter of the "Batman RIP" saga, but for my money, Outsiders is the logical continuation of what would happen if Batman really disappeared. The idea is in the fantastic hands of Peter Tomasi and Lee Garbett.

But for the lack of both Alfred and real plot developments, Outsiders #16 still delivers a comic that is worthy of the $2.99 price tag. What I can say is that when these issues chalk full of character moments instead of plot progression are looked at in the context of a much longer run, they will stand out as the highlights of the entire story. This is always the case. I could give a damn if there's a sweet punch thrown by Geo-Force towards Deathstroke, it's the build-up to that point at makes the moment memorable, and that's why all this solid character development is key to a worthwhile story in the long run. It's just a matter of us only receiving a chunk of that story once a month which makes the lack of developments sting that much more. But judging from Tomasi's previous work, Outsiders will be a consistently stellar read, plot progression or not.

Of all the titles that have released thus far under the "Batman Reborn" banner, Outsiders #19 is easily the weakest. Sure, Peter Tomasi has the ingredients brewing that could potentially lead to a epic plot inter-mixing various Batman and DCU A-listers, but he's unfortunately still too busy setting the groundwork instead of moving the plot forward. And for this being the sixth part in a storyline, it's too long a time to count on comic reading folk to stay interested. People who are by far the most anxious fans on the planet.

I'll be honest, I wasn't expecting much from Penguin: Pain and Prejudice #1. But the book thoroughly surprised me. The rest of Batman's rogues could benefit from similar mini-series to establish their place in the world of Gotham for new readers. Gregg Hurwitz and Szymon Kudranski have a solid handle on the Penguin character and I'm excited to see where this leads. Most of all, I want to know what the deal is with the Penguin's Norman Bates-esque relationship with his mother. It's creepy, to say the least.

A large reason why this book is so effective is because of Szymon Kudranski's dark and moody artwork. Kudrankski's heavy use of shadows fits the tone of Hurwitz's script like a glove, making Penguin: Pain and Prejudice feel like a guilty pleasure type of read. There are only a few panels in the book that are hard to make out because of the artwork's emphasis on shadows, which unfortunately kills some of the story's momentum since you have to stop and try to decipher what you're looking at. Otherwise, Penguin: Pain and Prejudice is a sharp-looking comic with a dark, yet revealing tale about one of Gotham's best rogues.

If you haven't bought into Penguin: Pain and Prejudice yet, I urge you to do so. It's been a fascinating examination of the inner workings of Oswald Cobblepot thus far, and I don't see it tripping up anytime soon. The writing is sharp and the art is gorgeous. If you like good comics, make sure this one is on your pull list.

If you haven't been reading this series already, shame on you. You're missing one hell of a great mini-series diving into the psyche of one of Batman's best rogues. There's a lot to like here, whether it's the book's creepy story or moody artwork. Rush out to your shop to pick up this issue and the three that preceded it to catch up before next month's conclusion.

But that's about where my complaints with Penguin: Pain and Prejudice #5 end. This series has been fantastic since its first issue and I'm glad to see it end as strongly as it began. I think we now hold in our hands one of the best Penguin stories ever told, featuring heartbreaking writing and artwork that perfectly complements the story's incredibly dark undertones. Is this the Penguin's Killing Joke? After some thought, I'm leaning towards yes.

The only downer to Peter Panzerfaust #1 is that it ends too soon. The cliffhanger comes and you're left wanting more. But then again, that's also indicative of the quality of storytelling Wiebe and Jenkins achieve with this first issue. Bring on more Panzerfaust. AhrooOOO!

After two issues I'm still enjoying Wiebe and Jenkins' unique take on Peter Pan. Honestly, outside the film Hook, which I love, this might be one of the more creative interpretations of the source material I've seen. I'm just waiting for this series to really get moving instead of just subtly hinting at what's to come. Either way, I'm definitely on board for next month.

The whole point of this Marvel Point One issue is to get readers pumped for the upcoming year of Marvel Comics. Unfortunately, it failed to do that for me, outside a few stories, which, if I'm being completely honest, I was already pumped for. And at $6, this issue comes hard to recommend to anyone other than the Marvel True Believers.

For those anticipating Frank Castle's return to a solo series in the main Marvel Universe, The Punisher #1 should satisfy. The book introduces new, interesting characters to the ensemble cast, shows Frank Castle doing what he does best, and maybe most exciting of all, doesn't tiptoe around the violent world that Frank Castle has succumbed to being a part of. If only Checchetto's art was more consistent, then we would have a do-not-miss slam dunk. But even so, The Punisher #1 still comes highly recommended. Welcome back, Frank.

Getting down to brass tacks, I don't think The Punisher #3 is as good as previous issues in the series, and a large reason for that is because Frank has now entered the realm of the super-powered Marvel U. I find the character works best when rooted firmly in realism, much like the previous two issues of this series have been. But don't be mistaken, this is still a solid comic. It's just that Rucka and Checchetto set the bar so high for themselves at the start of this series that it now takes a lot to match or exceed our lofty expectations.

Like I said before, this issue of The Punisher is probably the best to date. And that's saying a lot. In 20 pages, Rucka and Checchetto have managed to establish and/or grow three of the main cast members of this series. That's no small feat, and it deserves some praise.

While the artwork of Punisher #6 might be lacking, the story definitely delivers. The Punisher has been one of Marvel best new series, and it continues down that path with issue #6. It's just really sad that the book's art took a dive for such an important moment in this series.

I've been loving this new Punisher series since its very first issue. After seven issues, my mindset hasn't changed in the slightest. Alongside Daredevil, Punisher -- in my opinion -- is one of the best Marvel books on shelves. You owe it to yourself to read it for some great character work that's more than just superheros beating the living snot out of each other.

Greg Rucka's take on the Punisher continues to reveal new interesting layers to the character, and that's saying a lot considering he's often deemed a one trick pony. If you haven't been reading this series, it's in your best interest to pick it up from the beginning to see what all the fuss is about. The Punisher still remains one of Marvel's best books.

Punisher: War Zone has not yet met the quality of Greg Rucka's proper Punisher run, but at least this issue is a step in the right direction. It's a little odd Rucka plays off basically the same note as last issue to get his point across, but it's written well enough that in the end I didn't mind. Things should get much more interesting from here on out.

Red Skull: Incarnate #1 is a comic that everyone should be picking up, whether you're a Marvel fan or not. As much as it's a story of an innocent boy turned evil, it's also a fantastic companion piece to Magneto: Testament, which serves as an educational history lesson for some of our world's darkest hours. Grek Pak gave himself the impossible task of making us, as readers, feel and sympathize with the Red Skull. I'm sure it wasn't easy to pull off, but Pak has succeeded.

So far Greg Pak and company have not disappointed with Red Skull: Incarnate. This is a brutal book that not only pays respect to history, but also delivers a believable origin story for one of the Marvel Universe's biggest villains. If you haven't bought into this series yet, I recommend you do so.

Red Skull: Incarnate #3 might be the weakest link of this series thus far, but it's still a good comic. Outside Pak's exposition-heavy closing, the characterization remains strong and the art by Mirko Colak is still top notch.

We still have one issue left to go in Red Skull: Incarnate, but it seems like Greg Pak and Mirko Colak are putting together a historically accurate mini-series that rivals the tremendous Magneto: Testament. Fingers crossed that next month's issue #5 delivers.

Greg Pak had some big shoes to fill (his own) when tackling Red Skull after Magneto: Testament. When I heard he was writing another origin of a famous Marvel supervillain, I balked. I just couldn't fathom him catching lightning in a bottle twice. But now we're here, Red Skull: Incarnate is complete, and there's Greg holding up two separate jars of captured lightning, waving both in my face and shouting "na-na-na-na." OK, so he isn't doing that, but he has every right to. Red Skull: Incarnate has been a resounding success.

Resurrection Man #1 is just not the exciting start I was hoping for. By the time I closed the book, I just didn't care all that much for the book's lead character. I also thought the rest of the cast introduced in this first issue were a little too over the top for my taste. Granted, things could turn around for this book. But as a hook for this series, Resurrection Man #1 just doesn't deliver.

From reading this you know my one problem with Robin # 182. It's just too big to ignore because it could have been a game changer. But other than that, Robin #182 was a fitting conclusion to "Search for a Hero" and one of the better Robin tales I've read.

It's sad to see titles like Robin disappear when they seem to actually be telling worthwhile stories. But that's how editorial rolls sometimes and we just have to roll with it. Robin will be back, in some fashion or another. And much like Tim says on the closing pages of Robin #183; "What comes next? I've been waiting for it. Guess I've lived for it all this time. I want it so bad. But I won't tell anyone how much it excites me. Soon...it'll be time to meet the new Robin."

If you missed the first volume of Rocketeer Adventures, be sure to pick up this first issue from the series' second volume to make up for that mistake. Rocketeer Adventures is a damn fun book that's well worth your time and money. It's comic at it's purest form, providing entertainment for all ages.

Scalped is a series that shouldnt be missed by anyone. It would take a lot of convincing to prove Scalped isnt the best series being published at Vertigo, and thats quite an honor. Jason Aaron and R.M. Guera are delivering month in and out and issue #17 is quite possibly the strongest issue yet. And as for the epilogue in the issue, I dont really know what is going on, but Im excited to find out. Next month cant come fast enough.

Scalped has become a hard book to review each month. My job is to point out flaws and discrepancies in others work but with Scalped, Jason Aaron has created such an air-tight package that I find myself with less and less to say because the book is so good. Its a kick-ass, no bullshit affair and if you can handle a jolt of that in your funny books, then you will be right on the reservation with this book. See what I did there?

This review has been pretty short and sweet but there isnt much else to say about Scalped that hasnt already been said. While I dont think you'll be going insane with anticipation for the next issue, you will always get your three dollars worth with Scalped. Every issue is written so masterfully and drawn so exquisitely that it creates a great storytelling package. I have said it before, and I will say it again, Scalped is crime fiction that deserves a much larger audience. Its just as smart and enthralling as the best crime flicks and novels, but doesnt get the notice because its a funny book. God damn shame if you ask me.

Scalped continues to move along at a strong pace, keeping me invested in its characters and themes all while delivering one of the best crime sagas I can remember. With issue #20s unexpected turn for Dashiell, things are looking to heat up in the following months and deliver something entirely new to readers of the series to keep them hooked. Go out and pick this series up, start from the beginning and enjoy this amazing, sadistic ride.

The tension to Scalped continues to rise yet keeps everything at a cool simmer just waiting for the eventual eruption. Ive been the reviewer of Scalped for some five months running, maybe even more, and I continue to praise this series month in and out. Its almost making me look bad because I keep recycling the same sentences with different structures. Just buy Scalped. You know what, next month that might just be my entire review.

Well, I think Ive accomplished my task and successfully pulled from the back of my brain some new praise for this series that I didnt know was there. However, I do find it kind of funny that every month I serenade Scalped with more beautiful words than Ive ever said to any one living, breathing human being. But, oh well, at least I can trust Scalped to never let me down. So its praise well deserved.

I'm going to leave this review short because Scalped #28 is one of those rare issues that comes along and completely floors you. It literally knocks your ass to the ground, kicks your jaw open, all the while you continue to beg for more. Scalped should not be missed by anyone, with this issue being a shining example of why that is.

If you've been reading Scalped on a monthly basis, know that issue #46 will not disappoint. But honestly, that's pretty standard nowadays. This series just keeps getting better and better with an incredibly intricate and unrelenting plot, fantastic writing and perfectly appropriate art.

You know what? I might just start writing the same review for every issue of Scalped. "Scalped -- it's still good." That's pretty much all there is to it. There isn't a single issue that ever disappoints me. Even in the case of this month's installment, it might not move things forward by leaps and bounds, but I can't say that I'm not entertained by learning more about the ensemble cast of the Prairie Rose Reservation.

Surprise! Scalped #51 is absolutely worth buying if you've been reading this series up to this point. This issue is yet another piece added to Aaron and Guera's twisted puzzle and should not be missed. If you're late to the Scalped party (like, way late at this point), then do yourself a favor and rush to your local shop to catch up via trades so you can follow along monthly as the series winds down to its natural conclusion. Because once Scalped is gone, there's going to be a definite void left in the comic industry.

Scalped is a series that always delivers. It might not be the first thing I pick up and read when it releases, but it never disappoints. Scalped #52 follows right in line. This one should shock fans of the series.

The issue's time jump definitely threw me for a loop when I first sunk my teeth into Scalped #56. I instantly had flashbacks to the final issue of one of Vertigo's other epics, Y: The Last Man. But in a good way. The decision to go this route works out nicely for the narrative and makes the inevitable drama to ensue all the more crushing. Man, I'm going to miss this series so much.

The finish line is in sight for Scalped and it's both exhilarating and depressing. On one hand, I can't wait to see how Aaron wraps up his engrossing crime saga. But on the other hand, the hole left by Scalped when it's gone will be hard to fill. There are a lot of great creator-owned comics hitting the stands every month, but there's something primal about the way Scalped handles human interaction that isn't duplicated elsewhere, thus making it a hard act to follow.

I didn't know what I was getting myself into with Secret Avengers #16. Turns out, I was getting myself into good comics. Plain and simple. And judging from the teaser image for next month's installment, I can look forward to another fast-paced, done-in-one tale from this creative team. Sign me up.

Secret Avengers #17 is an entertaining standalone story, but one that I won't be holding in high regard. It was essentially a Michael Bay flick on page, so take that for what it's worth.

If you picked up this book, prepare yourself for one hell of a comic book treat. If you skipped over Secret Avengers #18 on your trip to your local comic shop today, remedy that mistake posthaste.

While I like all the Rick Remender I can get, I almost wish we didn't get that Secret Avengers #21.1 issue. Issue #22 serves as a perfectly good introduction to the new Secret Avengers team under new creative management. It quickly gets the ball rolling and doesn't let up until the final page. Fans of this series, and Rick Remender and Gabriel Hardman in general, should find a lot to like with this book. Here's hoping future issues continue to deliver this level of quality.

Secret Avengers #23 is an action-packed issue that also manages to pepper in a few beats that will play heavily into future installments of the series. This book as been great thus far under the guidance of Remender and Hardman, and I can't wait to see where it goes from here.

I really hope Secret Six stays around for a good long time. The fan demand is there, and now its a matter of getting everyone, through word of mouth, to give this series a shot and make it a financial success for DC. Its a great writer, teamed with an excellent artist, working on characters that gel together so well that the comic practically writes itself for Gail. The Secret Six is a perfect example of the saying, There are no bad characters, only bad writers.

I get the same feeling reading Secret Six that I do when reading Matt Fractions Invincible Iron Man. Where most superhero stories go out of their way to be overly serious in order to sell the notion of a bunch of grown men wearing underwear outside their pajamas, Gail Simone and Matt Fraction take the road less traveled and enrich their stories with all human emotions, including humor, even if it does go against the standard superhero soap-opera tropes.

There is still more Secret Six to come, as this issue's final page says so. But with the looming DCU relaunch, there is definitely a sense that the Secret Six will be swept under the rug. Even if that's the case, it doesn't change the fact that Gail Simone and J. Calafiore have been producing one of DC's best monthly series for the last 34 months.

Artist J. Calafiore continues to be a great fit for this book. He's shown a tremendous knack for character expression, displaying this talent perfectly on the last page of this issue, where a new recruit is drafted into the Secret Six. Simply put, it was also a great comedic moment to cliffhang on. Here's to next month's big finale.

For the die-hard Secret Six readers out there, this final issue is everything you could have hoped for. The only reason it's not getting a perfect score is because J. Calafiore's layouts for the book's double-page splashes are a little hard to follow, if I'm being honest. Otherwise, Secret Six #36 is exactly the type of conclusion we were hoping this team of misfits would get.

If you're looking for a well-constructed horror comic, Severed is a damn fine choice. The pacing is great, the characters are interesting and the threat is as terrifying as horror icons such as Michael Myers. This isn't your typical torture porn that has snaked its way into the collective consciousness of the world and deemed itself "quality." Severed is what true horror should be about: something that plays with your mind as much as it plays with body limbs.

With only one issue to go, Severed is shaping up to be a modern horror comic classic. The writing is as sharp as the Salesman's teeth; the artwork is strikingly beautiful; and the story makes it almost a necessity to wear a diaper when diving in. That's a perfect storm when it comes to horror comics.

As a series, Severed has been a memorable entry in the horror genre. It's been a tense ride where the thought of hope and a brighter tomorrow are set aside to explore the darkest corners of the human condition. For a horror series, would we have it any other way? And lastly, we now know why the book is called "Severed." Gross.

Even when factoring in the disappointing drop in quality for the book's artwork, Sigil #3 is another solid entry into this brand-new series. The Sigil may be lacking tights and a cape, but it soars above the crowd due to its wonderfully imaginative concept and skillful execution.

If you missed the boat on Sigil, I urge you to pick up this issue and the three that preceded it. Mike Carey and Leonard Kirk's Sigil deserves your attention.

I was really hoping Silver Surfer #1 would meet my lofty expectations for what a good Silver Surfer story is. Thankfully, it did. This first issue features great scripting, eye-catching art and a cliffhanger that has me excited for next month's installment. I can't ask for anything more from a debut issue.

After two issues, I'm still enjoying Pak's take on the Silver Surfer. He continues to impressively straddle the line between superheroic entanglement and insightful soul-searching. With this series now half over, I'm already wishing it was an ongoing so I could get this much Norrin Radd love month after month.

The art is probably the issue's weakest link. Previous installments have done a much better job masking the transitions between Harvey Tolibao and Iban Coello. But in issue #4 it's like night and day when there's an artist switcheroo. This issue shows serious signs of artist fatigue in hitting those monthly deadlines. Let's hope next month's final installment bounces back with a quality artistic showcase. This series deserves that much.

The Silver Surfer mini has hit a few road bumps along the way, but thankfully the series wraps up with a solid concluding chapter. Good Silver Surfer stories are increasingly rare, but now that we've seen how this one plays out, we can definitely add it to that criminally short list.

What Im venturing to guess will happen in next weeks Superman #682, or the following weeks Action Comics, is that everything that happened in this issue of Supergirl will be covered in a single line of dialogue to catch readers up. This will be a simple task because most of what happens here is filler in context of the New Krypton story. Its all material that will become much more prominent once this crossover is finished, when Supergirl will have to tackle some heavy issues for the character in an attempt to keep the book interesting.

With James Robinson doing some great character work on Superman's supporting cast, and Renato Guedes drawing the hell out of it all, Superman has once again become a can't miss title. I look forward to more of the Superman/Atlas juxtaposition in future issues as well as the inevitable Daily Planet sequence in Superman to see if Clark matches up with the version of himself over in Action, to see if Johns and Robinson truly are on the same page and building a cohesive Superman universe.

I wish I came away from Superman #680 more impressed but truth is it was rather underwhelming. I got sick of the constant fighting during this arc about two issues ago and hoped the finale would remedy this and give some great introspection into Superman or even Krypto. But unfortunately all these four issues have said is Krypto is a badass and a good boy. And frankly, I already knew that going in.

With a smooth transition from the New Krypton Special, Superman #681 has delivered exactly what I was looking for: epic scope, character exploration, and a great cliffhanger, that is completely unexpected, to make me begin drooling for the next installment. I might even go as far to say this issue was better than the Special the preceded it and the best thing Robinson has done with Superman thus far.

The only other thing worth touching on in this review is the cool use of Alex Ross' classic cover. Once you've read the entire issue you will notice that the image of Superman holding Jonathan Kent while he's dying takes on new meaning with the reveal of Mon-El's new secret identity. Pretty cool little twist on the meaning of the cover if you ask me. Truly a case of a comic using an iconic image to foreshadow the contents of the issue without explicitly showing what happens.

I did love how the issue juxtaposed the past and present to fill in readers with the scenario of why Mon-El is taking over for Superman as Metropolis' protector, as well as how the rest of the supporting cast factor into the narrative without just seeming like out of place cameos. So to wrap up, I think this first issue of Superman's new direction was spot on in delivering the quality I've come to expect from James Robinson and Renato Guedes. Both are working without the series' title character and succeeding in making me care for everyone else. That's not easy to do. I'll definitely be picking up Superman #687 next month for the continuing adventures of Mon-El, the Guardian, and Steel, and I'd advise you do the same.

So, Swamp Thing #1 is a book full of win. Just buy it, you won't regret it one bit. Scott Snyder and Yanick Paquette have delivered a fantastically written, beautifully drawn opening chapter to usher in Swamp Thing's return to the brave, new DCU. Who's pumped to see where this goes from here? This guy.

In this writer's humble opinion, Swamp Thing #2 is the book of the week. Snyder has set the groundwork for one epic story. It also doesn't hurt that he has an artist like Yanick Paquette to draw all his beautifully creepy imagery, of which this issue is full of. Swamp Thing is a series that you need to be reading, no questions asked. And if you aren't yet, hightail it to your local comic shop and buy into this.

This is the point where you stop reading this review and go read the issue for yourself instead. Trust me, you won't regret it. Scott Snyder, Yanick Paquette and Victor Ibaniz have turned in another disturbingly beautiful piece of work.

Finally, Swamp Thing #4 features swampy dinosaurs. That's right, the cover doesn't lie. Immediately stop reading this and rush out to your local shop to pick up the book (or remain lazy and get it digitally). Swamp Thing #4 is another stellar installment in this series that is yet to disappoint (and we really don't want it to... ever). Taking on Swamp Thing is a mighty intimidating assignment, yet Scott Snyder and company have proven themselves up to the task, and they've exceeded our wildest expectations thus far.

Should you buy Swamp Thing #5? Okay, that's a dumb question; Of course you should! If you value good storytelling and art, Swamp Thing is an absolute must buy.

Scott Snyder and Yanick Paquette have once again raised the bar for themselves. There's no doubt about it. This is what comic book storytelling and art is all about, and the two facets of the craft blend flawlessly together in Swamp Thing #7. This is why I read comics.

Swampy #16 also marks the return of Yanick Paquette to pencil duties, which always boosts the rating of this book. Paquette's line work continues to enthrall, as he handles the quieter moments nicely and the action sequences with gusto. And when things get horrific " and they get horrific, especially on that final page " Paquette is there to turn things up to 11 to make you want to punch Anton Arcane in the face yourself.

Long-time readers of T.H.U.N.D.E.R. Agents will most likely find plenty to enjoy in this first issue. For the newcomers, you might come away confused by the book's turn of events, but the solid character work found within should be enough to bring you back for at least one more issue to see where things go from here.

I really want to like T.H.U.N.D.E.R. Agents. But sadly, Nick Spencer and company haven't wowed me yet. Issue #2 definitely ends on a high note, but getting there felt like a chore at times. And the word "chore" should never be associated with comic books. Ever.

If you're anything like me, the first few pages of this comic will probably make you face-palm hard. But if you stick with it, there's an enjoyable story to grab hold of. It might not be a masterpiece, but it's an entertaining standalone worth checking out.

Overall, Treachery #1 is another checkmark in the win column for Peter David, Jae Lee, and Marvel. While the issue doesnt give a whole lot of information in the way of the mini-series overall plot, it does do some fantastic world building for Gilead and the books constant supporting cast. But with such strong writing and art Im truthfully more intrigued by the setup to Treachery than the mini-series that preceded it. If you havent read the two previous mini-series (Gunslinger Born and The Long Road Home) go out and get them as well as the first issue to Treachery to find out what everyone continues to rave about. This series is that good.

The Dark Tower comics continue to be one of the best $4 values in the entire industry and issue #2 of Treachery is no different. An intriguing character introduction with a clever spin on the gunslinger motto plus great character development for the existing cast as well as two awesome supplemental pieces involving the Dark Tower world: there is a lot to enjoy here.

The Long Road Home, as well as the Gunslinger Born (Marvel's first Dark Tower mini-series), have been drawn by Jae Lee whose artistic style is very much a snapshot of David's writing. However, the presentation by which Lee accomplishes his panels seems to counter the stiffness of his figures, rendering the art impressive instead of tame and boring. For example, one way Jae Lee spices up his pencils is how he renders hair, which is astonishing, although it looks like everyone has their head underwater while getting their picture taken. It also helps when you know how to use shadows to add amazing depth to your pieces. Every panel draped in shadows helps depict Mid-World as a dark and seedy place, somewhere even the most pure of souls become overtaken by the darkest corners of the world.

So why the 4 bullet rating? Well, when thinking back on the issue the only real complaint I have is that no plot threads are tied up. But being an avid reader of regular monthly on-goings, this doesnt really bother me, Ive grown accustomed. Its almost like Im pretending the cover of the issue doesnt say, "Limited series: 5 of 5, but instead is just another issue in the continuing adventures of Mid-World. So if youre in the same boat as me, issue #5 of The Long Road Home will seem like a welcome addition to the Dark Tower lore. For trade waiter, it sucks to be you. Let this be a lesson that you should support the industry and pick up monthlies. Plus the Dark Tower floppies come with extra content the trades wont have.

For being a complete newbie to The Darkness in comic form, The Darkness #101 did a good job making me care about the drama on the page. Here's hoping the series continues to be this emotional while still being fairly welcoming for new readers looking to get in on the sadistic action.

The Fury of Firestorm could prove to be an interesting series down the line, but I'm just not seeing the draw yet. There's just too much forced teen angst in this first issue to really enjoy the experience. Hopefully next issue is when this book sets that stuff aside and really begins to heat up (I'm not apologizing for that awful pun).

As for the art of The Last of the Greats #1, Brent Peeples' pencils have a very classic feel to them. He also supplies some solid splash pages and spreads in this issue. I think Peeples has a bright future ahead of him, as his superhero-centric work is quite strong.

For a setup issue, The Manhattan Projects #1 has a lot of things working for it. It's got quite a few out-there ideas, as well as a solid core focusing on the mentally-fractured Doctor Oppenheimer. However, we're yet to know what exactly the Manhattan Projects are. All we know thus far is that they're mysterious and secret. But since this is an ongoing series, there's plenty of time to build on that mystery and eventually deliver a satisfying payoff. When push comes to shove, The Manhattan Projects #1 should be satisfying enough to get you back for issue #2 next month.

It's not too late to get in on The Mighty Thor. We're only three issues in, so if you've been sitting on the fence thus far, hop on over. The water's extremely nice.

Don't get me wrong, The Mighty Thor #4 is still absolutely worth purchasing. It's just that it's very much calm-before-the-storm-type storytelling. Next month's installment seems to be when things really hit the fan, so to speak.

If you've been enjoying The Mighty Thor thus far, this issue won't turn you away. It's another solid entry into Fraction and Coipel's epic saga, and I'm jazzed to see where it goes next.

I was honestly hoping for more from this Fear Itself prequel issue. Fraction could have spent a considerable amount of time with Odin and Cul during the early years of their lives, but instead decides to hastily rush past the good stuff to harp on points he's already made elsewhere. This issue had potential, but it definitely doesn't deliver on it.

New Deadwardians #1 is, in my opinion, the best of the new Vertigo #1's thus far. The cast is enjoyable and the mystery afoot is one I'm interested in seeing through. If you're skipping out on this book because it's "just another" vampire/zombie book at Vertigo, get that thought out of your head. I think you'll find a lot to like with this series even if you're feeling the effects of undead fatigue. This is a fresh concept that's pulled off quite well with its first issue.

The Ray #1 is an interesting start for this series. I really like the character and his supporting cast. It's just that the undercooked superheroics and out-of-place villain hold this first issue back. Hopefully things straighten themselves out for issue #2.

The only area of The Ray that needs improvement is the series' villain. Gray and Palmiotti have created a great new Ray character, and now it's time to build up his first arch-nemesis. Hopefully Gray and Palmiotti can pull this off to make this series get a good bit better in subsequent future issues.

Like I mentioned earlier, I'm completely sold on The Red Wing. This issue solidified that. If you haven't looked into this series yet, I recommend you do so. It's quite the wild ride.

But again, at only $1, The Rinse is worth checking out. So forget about that soda or bag of Cheetos with your name on it. Spend that dollar on The Rinse. Who knows, you might find yourself a new favorite series. Because trust me, as delicious as that bag of Cheetos seems, don't let it fool you, it's a fleeting feeling. But comics are for life.

And that's why Umbrella Academy is such a treat to read every month. You really never know which way Way and Ba are going to pull their audience. Everything about Umbrella Academy is surreal, bizarre, and outlandish. And I freakin' love every panel of it. It's the little touches that make this series worth reading, that make me laugh out loud, or smirk because of the sheer creativity seeping out of Gerard Way and Gabriel Ba's skull. Whether it's the spider-hole vampires, Sance's baby chest-sling, Number 5's outlined plan for Red Team, Mr. Pennycrumb's diet, or the subtle wink and nudge to Sance's sexual orientation, it's all incredible. So while Dallas #5 might fall short of the consistently obnoxious greatness this series has seen to date, it's still wildly entertaining and a definite must buy.

The Underwater Welder is a roughly 220-page tour de force with enough emotional resonance that you might find yourself wiping away a single tear while closing the book's final page. Thus far, this is my favorite original graphic novel of the year. Hands down. You should not let this one pass you by. So rush out to your local comic shop and snag this bad boy as quick as you can, even if it's at the expense of some of your weekly pull. Stories like this don't come around too often, so get while the gettin' is good.

Everyone picking up weekly comics should be reading Walking Dead. There is no reason not to be. If you want a soap opera in written form, look no further. Crazy crap happens mostly every month that will give you something to discuss around the water cooler the next day at work just like your favorite prime time shows or soaps. So go to the store, buy all the back issues or hardcovers, get caught up, and enjoy one of the best rides in entertainment.

Thief of Thieves #1 is a satisfying introduction to this series that establishes the main cast with some great characterization and ends strongly with a cliffhanger that's sure to get me back next month. In addition, the art by Shawn Martinbrough, while not super detailed, complements the story nicely with a slick presentation for this seemingly cool heist story.

Avengers vs. New Ultimates #5 is the most disappointing issue of the series yet. We know Mark Millar is a better storyteller than this. He uses easy outs for nearly every story beat in this issue. He's a creative guy, he could have thought up better threads to move his pawns into position. The only thing lifting this book up is the art by Yu and Segovia. If you must buy this issue, get it for the art, just don't think too hard about the logistics of the plot.

I don't think Ultimate Comics: Hawkeye #1 is as successful of a start as Hickman's other book, Ultimates #1. The book's got a great setup, there's no doubt about that. But the delivery in this first issue leaves something to be desired. Hopefully Hickman fills that void with future installments.

I think it's time to accept the fact that Bendis knows what he's doing with Ultimate Comics Spider-Man. Miles has been introduced and now he has the costume, so at this point it's up to Bendis to carve a unique path for the character. So far he's done a pretty bang-up job.

It might have taken a half of a year to get to this point, but Miles Morales is finally out there as the new Spider-Man of the Ultimate Universe. Thankfully, the character's official unveiling to the public is pulled off smoothly by Bendis and Samnee.

With how this week's issue ends, it looks like Ultimate Comics Spider-Man is about to get really intense. I've been loving the ride thus far, so I see no reason why I won't continue on this crazy train next month.

With how this book ends, I'll definitely be back for next month's installment. It's a more subdued ending, but it works in setting up what's to come with this series. I've been enjoying this series since its first issue, and issue #8 is no exception. Ultimate Spider-Man fans should be happy with this book.

But when it comes down to it, this second issue of Ultimate Comics X-Men just feels more focused and delivers a tighter narrative than last month's installment. Hopefully, Spencer can keep this up, finding a way to balance pre-established continuity and accessibility to deliver a happy medium for all types of readers.

I can't help but feel this entire story arc would have been better if there was a different artist attached. The story itself has been solid, but Tocchini's artwork has really dragged things down. Comics are a medium equal parts words and images. You can't have one without the other; otherwise it isn't a comic. Therefore, truly great comics are achieved by both aspects carrying their share of the load. Uncanny X-Force #23, sadly, doesn't manage that.

If you're a fan of Uncharted, you'll find plenty of banter, intrigue and plot to enjoy from this first issue. You just better know your characters going in, otherwise this thing might feel a bit hollow.

If you consider yourself a fan of the Uncharted series, then by all means, pick up this series and give it a shot. Just look at it as another new adventure to take part in with your best friends Nate and Sully. But if you're not a fan of the games, then Uncharted is still a hard recommendation, only because it doesn't offer much for new readers to grab hold of outside some action sequences.

When push comes to shove, Uncharted is one of the better comic adaptations of a video game out there. What I mean to say is I don't cringe and pray for death when I'm reading it (*cough* InFamous *cough*). However, without the addictive gameplay of a video game to suck you in, this Uncharted experience needed strong characterization to fuel the story. And honestly, it doesn't deliver much outside the standard wit we've come to expect from the franchise. I was hoping for a lot more.

Even with a downgrade in art, this Venom series is still keeping me completely entertained. I still stand by the fact that this is the most interesting version of Venom in years. You know what, scratch that, this is the most interesting version of Venom ever. Because he's no longer just some mindless monster, he's actually a character worth following.

When all is said and done, this re-imagining of Venom continues to provide the thrills I am seeking from a book of this nature. Remender has really made good use of the black ops angle he infused into the Venom mythos. Having never been a fan of Venom in my life, it's saying a lot when I'm anxiously looking forward to what comes next.

Spider-Island tie-in or not, Venom #6 is an enjoyable read. It might not reach the level of quality seen in last month's character study issue, but it definitely manages to entertain. The cliffhanger also leaves me with a lot of questions that make me excited to pick up next month's issue.

I'll be honest, I usually cringe when a book is forced to tie into an event. That same feeling crept over me when I heard Venom was tying into Spider-Island. Thankfully, my fears were for naught. Remender handled it well, giving readers like myself a book to enjoy even if we're not invested in the over-arching plot of the event being tied into.

Overall, I think Venom #13 is a solid start to this "Circle of Four" mini-event. There might be some lackluster art scattered throughout, but that doesn't take away form the genuinely interesting story Remender has concocted to bring together Venom, Red Hulk, X-23 and Ghost Rider. This one should be interesting to see play out.

Overall, the Circle of Four mini-event has been a rousing success. As I've stated before, this is one of Marvel's best events in recent memory. It might not have gotten the publicity and hype put behind it like something like Avengers vs. X-Men, but that doesn't mean you shouldn't check it out. It's a damn entertaining read from start to finish, even if the final chapter doesn't stick the landing perfectly.

It's really a shame that the ending of 99 Days drops the ball. Outside the boring radio broadcasts, 99 Days flies by due to great character work and a gripping narrative that smartly ties together the real world horrors of 1994 Rwanda and present day gang violence in America. Not to mention the art by Kristian Donaldson is a really great showcase of what's possible with the gray tone scale of the Vertigo Crime imprint. If you brace yourself for a divisive ending, there's a lot to like about 99 Days. And when all is said and done, we've seen a lot worse.

Outside my minor gripe about the artwork, Winter Solider #2 is another success. The story is obviously building towards something huge, and Brubaker's character work is spot on. If you haven't already, buy into this book while it's still young. Otherwise, you'll be missing something great.

With only three issues in the bag, Winter Soldier is definitely a series you should get onboard with in its early goings. The plot is complex and the characters rich. Winter Soldier is one of Marvel's best new books. Period.

Overall Wolverine #67 just didn't capitalize on the great setup presented by part one of "Old Man Logan." Issue #67 gives very little in the way of plot development, instead meandering around by showing eye candy to trick Marvel fanatics into thinking this is a worthwhile issue. The cliffhanger was also a letdown for me because it reveals why there are so many issues to this storyline. And while anyone with eyes could have seen things not going as planned, I thought the reason for a detour would have been a lot more exciting than what was revealed. Overall, issue two of "Old Man Logan" was just adequate enough to keep me around for at least next month's issue, but by no means was it up to the caliber of the storyline's first issue.

For what it's worth, I think Wonder Woman #1's strongest asset is the mystery it concocts. Wonder Woman is a great character, no doubt about it. But Azzarello and Chiang have planted the seeds to a mythology and story that has piqued my interest maybe better than any Wonder Woman series I've read before coming out of the gates.

Brian Azzarello and Cliff Chiang's Wonder Woman easily remains one of DC's best books in the New 52. It's beautifully illustrated and brings a fresh, fascinating and fun take to the Amazon Princess and her world. In the past, I usually give up on Wonder Woman's solo series after only a few issues of testing out the water; but with this latest series, I'm in it for the long haul.

Some might be upset that a series called "Wonder Woman" doesn't focus solely on the book's titular character. While that's a fair assessment, it also undermines what Azzarello is trying to accomplish with this book: make a Wonder Woman series that feels as epic and important as the books about Batman and Superman. Thus far, Azzarello has succeeded.

Wonder Woman #6 is a book that comes easily recommended. If you've been enjoying this series thus far, Wonder Woman #6 will feel right at home for you. If you haven't been reading Wonder Woman, purchase the previous five issues and catch up. It's totally worth it.

Azzarello and Chiang continue to successfully build the mythology of Wonder Woman and her origin in the New 52 DCU. I find it hard to find any substantial faults with the direction Azzarello is taking Wonder Woman and her world. It's fresh, it's exciting and it's entertaining. As I've said time and time again, Wonder Woman is a series you should be reading.

Xenoholics #1 is a fun book. It's pretty much that simple. It manages to be funny, charming, dark and twisted all at the same time. I don't think the book is going to absolutely wow anyone, but it's a solid introductory issue that dangles an interesting carrot in front of your face to get you back for the second offering.

All in all, Xenoholics is a series that continues to impress. Will it blow your mind? Probably not. But it's quality entertainment with a hilarious concept that Williamson and Damoose are playing up for all it's worth.

Xenoholics has been a wonderfully fun series thus far. In fact, I'd even go as far as to label issue #4 my favorite of the bunch yet. I can't wait to see where things go from here.