Six Sidekicks of Trigger Keaton #1 is a wonderful dark comedy. Almost every joke lands due to the talent of both Kyle Starks and Chris Schweizer. Starks' wit matched with Schweizer's comedic timing is a recipe for absurdity that delights from start to finish.

This book avoids the pitfalls of most anthology comics. Not a single story was a bore to get through, nor did I feel like any didn't belong. Even the ones with stories I care less for were delightful from an art standpoint, and none were too long. There was a consistent level of quality among each story with the occasional standout. Your mileage may vary depending on your attachment to the different eras on display here, but not to the degree that they aren't worth it.

The art is wonderful, the dialogue is on-point, and Superman is just straight up fun again. This run is possiblyone for the history books.

Action Comics continues to impress. Bendis and Epting expertly demonstrate a side of Superman comics that is sorely underrepresented and leaves you craving more each month. With incredible art and a strong sense of character, there's no reason you shouldn't give this issue a shot.

Action Comics #1,011 is one of the strongest issues yet. Balancing the grim with the whacky, Bendis and Epting deliver a Superman book that feels as familiar as it does unique. It's a delicate balance, and they walk it with care.

Action Comics #1,015 is a very fun re-introduction to the character of Naomi. So fun that I actually put the book down and preordered her solo book about halfway through the issue. It peters out a bit towards the end and has a few missteps in the art, but ultimately it's still very much worth reading if you're a fan of this run or Naomi herself.

Action Comics #1,022 is a strong issue that suffers from a few minor setbacks. The art is strong, but it doesn't play to the artists' strengths the way it could. The character banter is solid, but it sheds light on some annoyances with the continuity. These flaws don't overshadow the well-written dialogue and plotting that this issue offers. Action Comics, much to my delight, appears to be on the rise once again.

I don't know what I thought The Amazing Mary-Jane #1 would be, but it wasn't what I got. It's even better. The characterization of Mary Jane and Mysterio feels effortlessly compelling, and their dynamic is what makes the book work. On top of that, the Carlos Gomez art is entirely effective, though a little on the safe side. This series is, at least so far, not your traditional Marvel superhero fare. It may go that direction in the future, but if it continues to essentially be a weird indie book about an actress and a supervillain then I'll be perfectly happy.

Amazing Spider-Man #13 puts a cap on another very strong arc, though it's not the best we've seen from this team. It has that patented Nick Spencer humor, paired with some wonderful art by Ottley that makes the book sing. The two work together brilliantly, but the plot feels somewhat forced. Despite that, strong characterizations and storytelling still hold the book to a level that is more than worth your time.

Two strong artists and an interesting story direction make this issue a great jumping-on point. There's a lot of setup here, but Nick Spencer's track record proves that we'll be better off for it in the long-run.

I didn't dislike reading this issue at all. It's still a strong character piece for Kraven and Spider-Man with great art, it just lacks much more beyond that. As an issue, it's good. As a culmination of 11 issues, it's somewhat lackluster.

Amazing Spider-Man #26 is a hilarious issue that's full of heart. While it doesn't do much to push the "main plot" forward, it does deliver a worthy Superior Foes successor. Kev Walker makes a wonderful addition to the team whose style doesn't feel far removed from those who came before. While the book does spend a bit too much time on recaps, it doesn't significantly hinder its quality. This book has always been a blast, and that hasn't changed.

The Amazing Spider-Man #37 is a breath of fresh air after an underwhelming couple of months for the title. It gets back to what made it so refreshing in the first place, focusing on Peter's social life, the Kindred mystery, and the art team's spectacular work. I couldn't be happier to see it.

With Amazing Spider-Man #43, Spencer and Ottley deliver an incredibly wholesome experience that builds upon the last issue's momentum. It may tie in into a larger story, but it doesn't need to, as it feels completely satisfying all on its own. This team is magic, and the issues they work on together reflect that. I'm thrilled to have this book back.

Amazing Spider-Man #850 succeeds as both a celebration and as the next chapter in Nick Spencer's run. Every artist attached to this book is worthy of the honor, and succeeds in delivering one of the best looking books of the year. Not every story is a winner, but they're all more than worth reading for one reason or another. This issue is an exciting look back at Spider-Man's past, but doesn't forget to excite you for its future.

Amazing Spider-Man #55,as well as the entirety ofLast Remains,is a disappointment. It's too dark to the point of being devoid of humor and fun. I find it comparable to the Star Wars sequels, in that there's so much that is interesting, but it's so devoid of context that I barely know what I'm seeing and why I should care. Kindred has long been the least compelling part of Spencer's run, and this new focus on him is unwelcome. It seems this story plans to continue even past this arc, and in my opinion that's a mistake. The Boomerang shenanigans were fun, let's get back to that.

Giant-Size Amazing Spider-Man #1: King's Ransom, despite its mouthful of a title, is a precisely executed issue that successfully wraps up this story.

It's not without its problems, but it holds my interest due to the total swerve in the opposite direction it takes from Abnett's run. It's got some surprisingly great art and a promising set of new characters. If DeConnick manages to subvert some of the tired tropes I'm expecting to crop up, I can see a very fun and different Aquaman book coming out of this.

This is a fine first issue for new readers, and a promising one for veterans.

Batman #66, as a single issue, is a joy. Pair Tom King doing what he does best with Jorge Fornes, an out of the blue modern master, and you get magic. This book takes a somewhat middling story arc and injects life into it. Do yourself a favor and give it a shot.

This outstanding action sequence stretches across twenty pages, and it leaves you empty. This is an issue I won't soon forget, and that is equal parts due to my frustration and my adoration.

This issue feels like a return to form for Batman. While Knightmares had good individual issues, it ultimately felt like it killed the pacing of the book. This issue makes it all feel worth it though, by focusing on what King does best. He says a lot with a little and gives you something to think about rather than handing you all the answers on a platter. Plus, it's fun to watch Batman punch people.

Batman #74 is an emotionally satisfying culmination of many issues of build-up. It's filled to the brim with thoughts and ideas and is executed wonderfully by a creative dream team. This issue answers the questions that it needs to answer and leaves the others alone. It's issues like this that demonstrate why sometimes it's better to use restraint in storytelling rather that going all out on everything. It makes for a raw and real issue of a Batman comic book.

This isn't an issue with much plot resolution, but it's a hell of an emotional payoff. Tom King delivers on the return that we all knew was coming, while John Romita Jr, Klaus Janson, and Tomeu Morey display an incredibly tight grasp on comics pacing and storytelling. This is an incredible issue full of things I've been waiting to see for a long time now, and it's just as sweet as I hoped.

Batman/Catwoman #1 is not without flaws, but its strong foundation and character work more than make up for them. I think if the team can successfully build upon this groundwork, and the transitions become a bit more definitive, this has the potential to be their best work with the character.

Batman Superman #10 succeeds in delivering a pure and focused superhero story. On the other hand, it doesn't ask you to think too much. At different times of the day this dichotomy strikes me in differing ways, but I at least never find it boring, and that isn't nothing. Add Clayton Henry's versatile art style into the mix and you're left with a book that doesn't aim to challenge, but still ends up feeling worthwhile. 

Batman/Superman #16 manages to impress me both from both a nostalgic and critical point of view. The split-narrative works when taken as a single piece, as well as when taken as separate stories. Ivan Reis' art is frankly some of his best in a pool of work that already astounds. I don't know where we go from here, but I do know it's worth keeping an eye on.

Batman and the Outsiders #1is a strong start. It's not blowing any doors off their hinges yet, but the groundwork that's being built is solid. It's got great characterizations and dialogue, with hints of an interesting plot boiling beneath the surface. Given time, this book could become something very special.

The Batman's Grave #1 doesn't break a lot of new ground, but it's still more than worth the read for the execution. Warren Ellis' writing is restrained and tight, while Hitch and Sinclair's art effectively builds dread and drives its ideas home. I don't quite know what this book is yet, but I very much look forward to finding out.

Beta Ray Bill #1 is a gorgeous book accompanied by all the right Simonson sensibilities. The plot hasn't quite kicked off yet, but there's clearly a high level of respect and love for the characters and world. Daniel Warren Johnson has delivered an issue that's as packed with emotion as it is with frantic action, and I can't wait to read more.

Black Hammer/Justice League #1 may not tread a whole lot of new ground, but the old ground feels just as fresh. The two properties are handled precisely and allow new readers to blend right in without feeling that they're missing out on something. While much of the actual crossover's quality will be dependent on the following issues, this is still a rock-solid start. It's the most fun I've had reading Justice League in quite some time.

Daredevil #610 is another strong entry in Charles Soule's run. Its strength lies in Noto's art but it is occasionally let down by Soule's over-expository captions.

This arc has been a stellar reflection on what Daredevil has gone through in the last three years, but a somewhat lackluster one when asked to stand on its own two feet.

Daredevil #1 is a potentially great book that has blemishes in the form of pacing. Regardless, it has wonderful art and is clearly very in tune with the character of Matt Murdock.

Daredevil #27 is something of a mixed bag. It has the unfortunate job of juggling someone else's story with it's own, and all things considered, it does a pretty good job. It would be very easy for this to be awful, and it wasn't awful; it was solid. Plus, the tremendous artwork by Checchetto and Hawthorne did wonders for this alright story. I liked reading it, but I'm relieved that the next issue appears to be back to normal.

DCeased: Dead Planet #1 continues to defy all odds and deliver an experience that's satisfying on countless levels. With a script that's so full of horror and darkness, it still manages to come out ahead of all that and present superheroes as the positive influence that they are. The art is stellar, and intensifies emotions across the entire spectrum, elevating the book to new heights. This book shouldn't work, but over and over again, it does.

DCeased: Dead Planet #7 is a satisfying end to a spectacular sequel.

Detective Comics #1,000 is a wonderful celebration of Batman. Every story is worth reading, and the best of them will stick with you for a long time. Even those that are more forgettable offer something, whether it's a classic Batman artist or an interesting perspective. This issue works because it manages to be more than a number, it's a labor of love.

Despite its lackluster start, Event Leviathan still has plenty of potential. Alex Maleev's art is still a joy to look at, and the dialogue is mostly solid. This is not a poorly constructed issue. It's just (excuse the pun) an uneventful one.

Event Leviathan #6 is a satisfying end to this chapter of the Leviathan plot. I haven't loved every issue, but due to Maleev's art and Bendis' commitment to the reveal, it all feels worth it in the end. It's not without flaws,but it's ultimately a success.

Fantastic Four: Antithesis #1 is some of the most fun I've had reading comics in recent years. It isn't overly-complex or thought-provoking, it's just a thrilling adventure. It feels like a lost Kirby chapter, and that's the highest praise I can give a superhero book. If you're a fan of the Silver Age, Kirby, Waid, Adams, superheroes, or just fine comics, do yourself a favor and give this a try.

Fantastic Four: Life Story #1 has plenty to enjoy, but is not ultimately great. Given that Mark Russel is one of my favorite writers, I'm giving him a long leash and I'll be reading this series to the end no matter what, but I wasn't blown away by this first issue. Sean Izaakse's art is strong, and Mark Russel has a good voice for the characters, but I'm gonna need a bit more before I start singing the book's praises.

Fantastic Four: Life Story #6 brings to the First Family what only someone who came from outside the comics world, like Mark Russel, can. Comics were not originally a world he chose to run in, and I think that gives him a certain degree of freedom to do whatever he wants. He likely doesn't have a deep and personal respect for the characters he's writing, and that allows him to do so much interesting stuff with them. I find not respecting a fictional character enough is often as detrimental to storytelling in comics as respecting them too much, and Mark Russel often strikes the right balance. Accompanied by a small army of great artists and editors, and I think this book has turned out very well in the end. I look forward to giving it another read one day, it deserves that.

Farmhand #10 is an emotionally satisfying conclusion to this arc. I appreciate how understated it is as an ending. It could have tried to go big and cracked under its own weight, but it instead opts to go small. The emotional climax to the story is just a conversation between two people in a bed, and it's wonderful. Farmhand is a unique and incredibly well-crafted book, and it would be in your best interest to catch up before season three.

Farmhand #11 works for the reason that the whole book does. It doesn't throw a ton of new ideas and characters at you every issue to feign depth. It just builds and grows upon what's already been there since the beginning. It's branching out in different directions all the time, but it never feels like a departure from the book's core. Guillory has an intense focus and plan, and it's on full display in this issue.

The Flash #755 is a fantastic conclusion. It's character work blends with the story so well that it masks it's less interesting aspects. Sandoval's art is strong, and it meshes incredibly well with Williamson's bold script, delivering what is one of the strongest issues of this run.

The Flash #759 begins the countdown to the end of a long run. It's had it's ups and downs, but the consistently strong art and respect for the history has made it an overall enjoyable run. This issue in particular is somewhat rough around the edges, but it has a strong core that outshines it's more technical flaws. This is a good book, but I hope to see the rest of the arc pull out all the stops and end the series on a higher note than this issue implies. 

The Flash Annual #1 touches on so many of the right buttons for me, and wraps up not only its first arc, but loose threads left from other projects. It's a wonderful throwback to comics of old, but with the creators' talent teeming with the refined modernity of our time. With heart, humor, and spectacle, this issue hits all the right beats.

A top-notch introduction to a new series. Strong characterizations and art make this a must-read.

Friendly Neighborhood Spider-Man #5 is only let down by sky-high expectations, which isn't such a bad thing considering it set that bar itself. Taken as a single issue, this is both a heartwarming and heart-wrenching story that digs deep into who Peter Parker is. It's obvious Tom Taylor loves Spider-Man for the right reasons, because this book feels exactly right. Plus, in an era where Spider-Man artists are at the top of their game, Yildiray Cinar more than holds his own and delivers a beautiful book.

Future State: Dark Detectiveis strange, as the main story is a bit of a dud, and the backup is where the real meat lies. Tamaki's story, at least so far, just has very little actually happening, whereas Rosenberg's is so dense and enjoyable. Both stories are illustrated by incredible artists, both of which make the book more than worth the read.

The Green Lantern is a must-buy for Green Lantern Fans. It's fun, its weird, and surprisingly hilarious. If Morrison and Sharp can keep this up we'll have a modern classic on our hands.

The Green Lantern #5 is Grant Morrison, Liam Sharp, and DC Comics in general operating at peak performance. Everything works, and no ideas are explained too much or too little. The character work is as stunning as the art and serves to remind you why we love comics in the first place. If you're not reading this book, read it. Then read it again.

The Green Lantern #7 is, at the end of the day, a successful experiment. It perfects the combination of prose and comics storytelling and makes the two feel like partners. It does what Morrison does best, and re-contextualizes what you knew about a character that you have known for years. If you like comics that play with the form, you're not likely to find a better example from Marvel and DC than you are with this issue.

The Green Lantern Annual #1 is a fun, though slightly underwhelming issue. My biggest problem is that the art isn't up to par with what I've come to expect. Additionally, the story is a bit more grounded than it usually is, and as a result, feels a bit more standard. Regardless, it's still a solid superhero story full of great moments.

Guardians of the Galaxy #2 is not just a step up from the previous issue, it's a step up for its namesake. Cates and Shaw demonstrate a level of craft that is almost unrivaled in superhero comics at the moment. Blending the absurdity of Cosmic Marvel and the genuine human emotion of an indie book, this creative team demonstrates exactly why a few years from now they'll be the biggest names at Marvel.

Whatever grievances I may have with the plot I can easily dismiss due to the high quality of the craftsmanship. The character banter never fails to be a high point, and the book's unique identity always keeps me engaged.

Guardians of the Galaxy #10, despite being well written and drawn, just falls short of what it should be. Many of it's greatest and most exciting characters are sidelined in favor of the more marketable names, and it feels like a missed opportunity. Despite that, Cates does have a strong handle on Rocket and Peter's characters, and their voices carry the book. It's fun, but there's just not much lurking beneath the surface. With the end drawing ever closer, it's becoming clear that the team doesn't have much of a vision for Guardians of the Galaxy.

Harley Quinn and The Birds of Prey #1 disappoints me. The talent is there, the characters are there, but I just feel nothing reading it. If you're a fan of the previous Harley Quinn book by the same creators then I'm certain there's a lot to love here, but unfortunately, I'm not one of those people. If you're someone like me and looking for a fresh start, you won't get it here. The incredible talent of Amanda Conner does, however, still make the book worth the purchase despite it all. The characters in the title alone should make me come back to give issue two a shot, but I'm honestly not sure that I will. 

Hellblazer: Rise and Fall is as good an introduction to Hellblazer as I can ask for. Taylor's restrained and humorous darkness meshes with Robertson's gritty pencils in a fashion that seems as if they're meant to work together. This book succeeds at building many characters in the span of a single issue while simultaneously building the intrigue in what comes next. In short, I think I'm a Hellblazer guy now.

Hulk #1 is another hit by guys who only know how to make hits. This creative team takes The Hulk barreling in a new direction and appears to have no intention of stopping. Ryan Ottley's art has ascended to new levels, and Donny Cates continues to be one of the most consistently strong writers at Marvel. Its problems are slight and not yet critical, the character is in good hands, and I'm very much excited to see what happens next.

In the end, there's so much to say about Human Target #2 that I think the only way to truly understand it is to go and check it out yourself. Tom King and Greg Smallwood are a match made in heaven, and it's as close to perfect of an issue as you can hope for from mainstream comics. I anxiously await the next installment in a way I haven't felt since the last time Tom King made me feel it.

Invisible Woman #1, though flawed, is quite fun. While I think the art isn't quite up to snuff, it certainly has its moments in which De Iulis shows off real talent. With that said, I'm ecstatic that Waid still writes a compelling Sue Storm. It feels that he only just stepped away from the character for a brief moment rather than nearly two decades. I'm very much looking forward to seeing what comes of this mini, as it's about time Sue got what she's due.

Iron Man #1 is a success of a focused character piece. The plot is somewhat disjointed so far, but it finds a strong center in its characterizations of Tony Stark and Hellcat, accompanied by the wonderful art team of Cafu and Frank D'Armata. I left the issue excited about Iron Man, which is something that I've never experienced before. Perhaps excluding Demon in a Bottle, this book has the potential to become the defining Iron Man run.

Iron Man is quietly great every month, and the cliffhanger just proves that this will continue to be the case for longer yet.

Batman: The Smile Killer #1 manages to breathe life into a Batman story that could easily come off as bland under a team with less experience and talent. Sorrentino and Bellaire are an art force to be reckoned with, and they bring so much subtlety to Lemire's concise script. In future issues it's many mysteries will need to pay off in a way that's satisfying, and as of yet I'm only assuming they will due to my confidence in the team. As an issue on its own, though, it's very well done.

Justice League #60 shows a huge improvement over the already competent first issue. As the team dynamic begins to solidify, so too does the direction of the plot. The creative team manages to sidestep my hang-ups about Black Adam and manages to make me look forward to what he brings to the table. This is a fine issue that makes the future of the title look more bright.

Justice League vs Legion of Superheroes #1 is worth reading and will be worth sticking with as long as this level of quality is maintained. There are a lot of interesting ideas at play here, and they are being implemented by an incredible creative team that has a history of playing to each other's strengths. It's a bit thin in terms of actual plot, but the characters' fun banter and exciting action make up for it.

Kang The Conqueror #1 starts off shaky, but ultimately delivers on it's promise. Kelly and Lanzing show a fundamental understanding of one of my favorite characters and, though it's not perfect, the future of this book appears bright. Carlos Magno shows a side of himself I've never seen before and proves himself to be the right choice for this book. Let's cheers to Immortus, and Nathaniel, and Rama-tut, and whatever other version of Kang lovingly graces our eyeballs.

Legion of Superheroes #1 is a strong start. Bendis and Sook do a mostly good job of building the world without too much exposition and info-dumping. While I don't know much about the characters besides Jon yet, I do look forward to finding out. The ending falls flat, but it's not enough to ruin a solid, incredibly well-drawn book.

Legion of Superheroes: Millennium #1 is a book with great artists that unfortunately doesn't deliver what it needs to. The character of Rose/Thorn serves as a fairly strong focal point of a story that is devoid of much excitement. It's fun, and it's not unworthy of your time. However, if you're a fan of the Legion then you're probably looking for Legion of Superheroes #1 instead of this.

Leviathan Dawn #1 is the sequel (epilogue?) that I didn't think I wanted. It improves upon Event Leviathan in nearly every way with a heavier emphasis on character progression. Maleev's art is breathtaking and the script is incredibly tight. At the end of the day, this story exists to remind the reader that the Leviathan plot isn't done for, but more importantly, it makes you okay with that.

Little Bird #2 is nearly perfect in terms of comics storytelling. It's obviously a book made from a passion for the medium, and it utilizes the strengths to craft a story that could only be told in comics. It's a book with a vision, and while much of it will likely sail over readers heads as it does mine, it doesn't make it feel any less special. Little Bird demands your attention and deserves every bit of it.

Little Bird #3 fires on all cylinders and lands every shot it takes. It's impressive world-building and story direction are products of the creators' masterful understanding of the medium. Books like this are rare, and you'd be remiss to pass this one up.

Combining disturbing scenarios with a compelling tale of redemption and rebellion, Poelgeest and Bertram deliver another utterly compelling piece of the puzzle. All they have left to do is stick the landing, and I have complete faith that they'll pull it off.

The worst thing about Little Bird #5 is that I no longer get to gush about it every month. The writing and art are, as always, perfectly in sync. One simply does not work without the other, and that's not due to lack of talent on any creator's part, it's due to the storytelling being so deeply intertwined between the team. This is peak comics, folks. Books like this are the reason we continue to try to give new creators a shot, because there's always that chance that you'll find a Little Bird.

Lois Lane #1 is a book I enjoy more and more as time passes. It sets up multiple intriguing plot threads that are magnified by stellar character work. It's then all tied together by Mike Perkins and Paul Mounts' appropriately moody art. Oftentimes in the comic book community, you'll be confronted with the sentiment that Superman is important because he's the character we wish could be real right now. This book sets out to explore why what we may need more than a Superman is a Lois Lane.

Lois Lane #6, despite the complete disconnect from the other issues, is an important and effective chapter. In fact, it's quite possibly the best issue so far because it's based entirely on something we can all relate to on some level. It's a mature look at death, and the messy nature of the grief that follows.

Marvel Knights #2 still hasn't quite inspired the confidence in me that this creative team should have by this point. While it is quite fun to read, it leaves you feeling empty and unsure. With Henrichon off pencils next issue, I'm going to need to see a significant improvement in the story department to get me to stick with this book.

Marvel Team-up #1 is wonderful. It contains some of the best art at Marvel right now, which is amplified by the flip-book format. The occasional eye-rolling dialogue aside, the writing is very strong, and puts its faith in the artist to make it sing. This is the kind of book that reminds us why we love superheroes and comic books in the first place.

A solid cliffhanger and wonderful art will leave you wanting more from what may end up being Ahmed's best work since Black Bolt.

Moon Knight #1 doesn't break a lot of new ground, but it does make a complex character with a convoluted history feel easy to grab on to and understand. The art by Alessandro Cappuccio is a delight, and Mckay's dialogue is precise enough to stay out of the way. The team avoids a multitude of pitfalls other teams have fallen prey to with the character, and as a result have set up a Moon Knight status quo that is brimming with potential.

Nightwing #78 sets up an interesting status quo while also delivering fantastic character work and artistry. I have my nitpicks, but they are heavily overshadowed by the incredible craftmanship that Taylor and Redondo display.

Outer Darkness is a fun sci-fi book and well worth a look, but it will need to flesh out its concepts in an interesting way to continue to be worth your time.

Primordial #1 does a lot right, and at the same time leaves something to be desired. Jeff Lemire and Andrea Sorrentino are a dynamite team who have proven themselves time and time again, so I have no doubt this story will develop into something special. As it stands it's gorgeous, compelling, and has an amazing premise. The art is not without issues, but the talent is undeniable. Keep your eye on this one.

The art by Albuquerque is the best thing the book has going for it, and if you just want to gawk at some pretty pages, this is a good book to do it with. I don't regret reading it, but I can't say I'm particularly compelled to pick up the next issue.

Sea of Stars #2 is another pretty fun issue. Stephen Green's art is spectacular. Aaron and Hallum's character work is expectedly effective. While I would like to see more plot progression next time, it didn't bother me during the read. There's just too much to enjoy.

With witty dialogue and amazing art, Shazam is making its case for finally being a top book at DC. If you like the character, the creative team, or just fine storytelling in general, you owe it to yourself to give this one a shot.

This book takes you on a fun journey, but it forgets that to truly make that journey special, you first need to know the characters you're following.

She-Hulk #1 is the return to form that fans have been waiting to see for years. Rainbow Rowell and Roge Antonio spend twenty pages reminding you what you like about the character, all the while utilizing their own strengths as creators to amplify that love even more. It's fairly light on plot, but that shouldn't be enough to scare any fan of the character away. This is one to keep both eyes on.

This is an example of two creators that are perfectly in sync, so much so that trying to separate their contributions to the book is nigh impossible. If you're interested in the craft of comics, there's not many better places to look for an example of the collaborative effort involved. Alternatively, if you're just interested in some wild space adventures; this book is appropriately wild.

Silver Surfer Black #5 is an appropriately poignant ending wrapped in a well-written and poetic prose. On top of being masterfully drawn by a Master-class art team, it's also incredibly wild and fun. This is undoubtedly one of the best comics being published right now. Do yourself a favor and pick up the trade, it's more than worth it.

Skulldigger + Skeleton Boy is another radical entry in the Black Hammer Universe. It places its foot directly in the Miller-era of superhero comics and pulls it off flawlessly. With an incredible art team and a writer with a strong and cohesive vision, this book is just begging to be read.

Star Wars #1 kicks off what seems to be a compelling ride that bridges the gap between Empire and Jedi. Soule's strong characterization of our heroes, as well as a few new characters, is the book's best quality by far. The art is amazing in some places, and unfortunately distracting in others. Overall, it's not the best Star Wars book to come from Marvel, but with a bit more time and consistent art, it certainly could be.  

Darth Vader #1 is one of the best Vader comics in a sea of outstanding Vader books. It leans into the character's history, the good and the ugly, and manages to produce something more than coherent of it. With such a strong art team as well as a script so well-executed, I struggle to think of someone I wouldn't recommend this to.

Strange Adventures #1 is a delightful start that threatens to live up to the unreasonable expectations set upon its shoulders. Shaner and Gerads' art work together by operating independently, while Tom King proves he's more than a one-trick pony by offering a unique perspective on truth rather than trauma. Provided the rest of the series is consistently as strong as this opening, we'll have another modern classic on our hands.

Strange Adventures #2 manages to one-up the first without even pushing the present timeline forward. It deepens its mystery by muddying the waters of the truth even further while doing some terrific character building underneath. The artists play off of each other incredibly well, exemplifying King's tight scripting. Books like this don't often come from the Big Two, and it thrills me to see chances being taken.

Brian Micheal Bendis hangs another solid issue of Superman on his belt. Strong characterizations and fantastic Ivan Reis art make this worth picking up, despite its somewhat lacking plot.

Superman #8 easily steps above many of the issues in this run. Effortlessly blending two plots, Bendis, Reis, and Peterson deliver a very fun chapter of this Superman run.

Bendis has a strong handle on these characters, and the art team is constantly upping their game. If you've liked this run so far, then there is plenty for you to enjoy here.

Superman #14 is possibly the strongest issue of the Bendis and Reis run so far. It hasn't quite hit the highs of Action Comics, but that gap is closing faster than ever. The creative team's plans are beginning to fully form, and it's exciting. The occasional awkward bit of dialogue isn't enough to hold back an issue so full of fun and fresh ideas.

I know I'm beginning to sound like a broken record, but Superman #15 is the best issue of the series. It just keeps improving. Bendis and Reis manage to not just set-up multiple exciting future plot threads, but also satisfyingly wrap-up the others. Frankly, I haven't been this excited to read Superman in years.

Superman #18 is shockingly great. Given it's premise, it was expected to sour me on the book, but instead it has me more excited for the future than ever. Bendis delivers a tight script brimming with outstanding character moments, and Reis takes those moments and exemplifies them with what is maybe the best work of his career. This is one of the good ones, folks. 

Superman #19 is a fantastic follow-up to my favorite issue of the run. It homes in on the consequences of Clark's decision and does so with a degree of thought and care that I didn't expect. The dialogue and character beats are stellar and are matched by the artists' incredible talent.

Superman #27 is, as usual, a very fun read. While I think the story is being stretched in weird places and not given enough room to breathe in others, it's hard to hate something that's page after page of fantastic art and dialogue. The characterizations sing and are the main draw for the issue. I've had a blast with this run, and I'm sad to see it come to a close with the next issue.

Superman #29 is a promising start. Philip Kennedy Johnson, despite his relative greenness, displays an acute understanding of the form and characters. Phil Hester, who's demonstrated his value over and over again, proves he has not lost a step over the years. The plot leaves a bit to be desired, but the strong character dynamics and wonderful visuals more than make up for it.

Superman Leviathan Rising #1 is both a great set-up for future stories and a stellar one on its own. Your mileage may vary on certain stories, but as an overall package, it's very well crafted. It hits you right where all good Superman stories should, and in a few places, you may not expect.

Superman's Pal Jimmy Olsen #2 continues to impress. Leiber and Fairbairn do an outstanding job on the art, making this one of the best-looking books on the stands. Fraction is doing some of the finest work of his career and demonstrating a wide range of talents. This book is full of heart and compelling on nearly every level. I can't wait to read more of the most dangerous man in Metropolis.

Jimmy Olsen #10 is a wonderful reintroduction to the world of comics. Though I do find the overlapping storylines to be somewhat opaque, it kind of doesn't matter. This book isn't about the big beats of the story, it's more about the micro-moments. The dialogue, the masterful cartooning, and the character-work are the stars, and they shine as bright as they always have.

I'll miss this book. For the entirety of its run it's been perhaps the best title in DC's current lineup, and consistently delivers the laughs as well as the heart. Fraction's scripts are teeming with life, and the artists deliver some of the most beautiful pages of comics I've read in some time. This is a diamond in the rough, and one that I can't wait to watch readers discover for years to come. 

Nice House on the Lake #1 is a fantastic start. The cast, though a bit bloated, seems to have a well-thought-out chemistry and history with one another. The art of lvaro Martnez Bueno and Jordie Bellaire is astounding, and it manages that while looking completely different than their other works. James Tynion IV has set up an absolutely fascinating series, and I deeply hope he lives up to the promise, rather than buckling under its intense weight.

Nice House on the Lake #4 is the best issue so far. The art is masterful, and the writing is paced perfectly. With a big reveal and plenty of room for more, we're left with a satisfying issue that leaves you begging for the next.

The character work is genuine and fun, and it retains the charm that makes the property so special. Its most grievous flaw is that it makes little to no effort to shift its storytelling perspective from tv to comics. Despite that, it's a fun ride for fans, and I'm looking forward to reading up the rest of the series.

Overall, The Question: The Deaths of Vic Sage #1 is a timeless comic. It doesn't rely strongly on any continuity, and as a result it stands strongly on its own. While I have concerns regarding the direction it seems to be going in, it doesn't change the fact that this issue is absolutely stellar on its own. Incredibly refreshing art and stylish prose make this one of the best #1's of the year.

Ultimately, while not as specific to my tastes as the first issue, this is another stellar entry. It's a heavy diversion from the last and looks to be so again in the next. Cowan and Sienkiewicz manage to make a tough read even tougher with their raw and unfiltered art. This is a great comic, unlike almost any other on the stands right now.

The White Trees #1 is genuinely wonderful. In a short time, Zdarsky, Anka, and Wilson manage to not only engage the reader in its characters, but in its world as well. This book's not just impressive in terms of telling a captivating story, it's fantastic from a craft standpoint. It's the way comics like this should be done.

Thor #2 was a wonderful follow-up to an incredible beginning. It's given me confidence in the staying power of this run and in this team, because now I know there's more to it than what is immediately on the surface. Donny Cates delivers a wholly unique and tight script while Nic Klein and Matt Wilson elevate the book to the cosmic scale it demands. Here's to many more years of stellar Thor stories.

Thor #6 is a wonderful conclusion to an arc that defies expectations. With writing and art that are equally skillful, the team manages to deliver an issue that is cohesive and natural. Take out all the bombastic Marvel-isms that tickle my fancy, and I would still love this book for it's high level of craftsmanship.

Wonder Twins #12 beautifully wraps up one of my favorite books of the last few years. It not only manages to thematically tie the entire series together, but also to deliver a genuinely touching send-off for these characters. Russel and Byrne do in this issue what they've always done on this book. They absolutely crush it.

Fantastic Four vs X-Men #4 is a solid finale to a series I mostly really enjoy. It's my least favorite issue, but in the end, I don't regret reading it. If you are thrilled by the X-Men's new status quo, you'll likely find much more to chew on than I did. If you aren't, however, there is still enough here that's worth your time.

Bendis and Gleason's enthusiasm seeps through the panel borders, and that enthusiasm was enough to improve my mood going forward in my day as I kept thinking about it. I want more. Young Justice #1 achieves every goal it sets for itself, and that is by my definition,a perfect comic.

Young Justice #6 excels in its portrayal of its large cast of beloved characters. Bendis and Timms make a great team, and are only held back by a lackluster Gemworld plot. Even still, it's salvaged by a touching Superboy story, effective art, and a compelling group dynamic.

Young Justice #8 was worth the longer than usual wait. Jon Timms is producing his best work on the title so far with some incredible and cohesive action sequences. Bendis flexes his muscles by not only balancing the core four very well but also with some totally new villains. If you didn't love the first arc, I recommend giving it another shot. This issue is just pure fun.

Young Justice #17 is one of the finest issues of the series. It takes a break from the giant stakes and speedster-level pace and lets the characters carry the story. It's exactly the kind of issue that is Bendis' known specialty, and guest artist Scott Godlewski does a great job at selling the type of story that should be antithetical to good comics. Of course, Bendis still can't seem to shake this meta-commentary of the DC Universe and what a mess it is, and I think we could all do without that. Still, I hope to see more issues like this one going forward.