So far, The Omega Men feels almost like a more violent version of Guardians of the Galaxy, and even though I only have a small taste of the cast's personalities, I'm completely in.

So if you wanna be a hipster, and say "Pshh, I read Outcast before it was a TV show" (which Kirkman says is already in the works!), OR if you just wanna see a child get punched in the face by an adult man (probably my favorite panel), go ahead; give Outcast a read. Cuz hell, if demons are as real as Kirkman says they are, I'm gonna need these"

The ending on this one is solid, and introducing a new character with all the qualities Rayner initially enjoyed in himself is a nice touch.

The great part about this book is Harley plays just about every role you can play attending Comic-Con. She's treated as a cosplayer, actively looking to get a portfolio review as an artist, worked a booth as a retailer, was utterly confused about Dick's Last Reso" err "Rude Rick's Hateful Hideaway" as a tourist, and ends the book hunting for all the unnecessary comics and statues we're all guilty of wasting our money on every year.

This comic feels like a '90s cartoon for all ages, and after reading through the story, well, call me the worlds greatest detective, because Ive figured out why Im so confused by that PREVIOUSLY: page! This is a kids comic! (Or at least a young teens comic!) Good for you Marvel. This is what I like to call a gateway book, luring readers in at a young age! Mwahaha!! It aint quite for me, but after reading it, I feel like I just walked out of a Disney movie (which, technically, I kind of did.)

For what Green Lantern #38 lacks in space fighting laser action, comic scribe Robert Venditti (X-O Manowar) makes up for in literary complexity and maturity. These are the types of books that turn one-dimensional costumed characters into multifaceted heroes and martyrs!

This will be a great gateway book to get a young audience into the kind of comics that aren't all murder and mayhem. And it's also great for older audiences who may remember, or were even fans of, the original, which came out literally the same year Einstein published E=mc2 (No joke! 1905! Seriously! Look it up!). The only drawback is that it could fall short with the gaping demographic between those two groups. Definitely a niche comic.

Bringing out Sinestro's primary villain (which is already a weird concept) on the 5th issue of the series was a bold move, but this issue answered a LOT of questions, and really pushed this series into the forefront of the Lantern books.

It's a pretty basic plot, but like I said, for generally obscure characters all getting their own monthly book, it's a good introduction, and a fun read. Jurgens is a strong dialogue writer, and he juggles this large cast of characters well.

So this is supposed to be the really messed up future, right? I've gotta say, as far as Green Lantern CORPS goes, this might as well be a typical John Stewart story arc.

It all seems a bit excessive" but like I said, the comic is simply fun, and as with anything, overthinking it can quickly ruin.. that fun.

This issue may not warrant the highest score for the clich prison break scenes, but oh those killer last few pages!

This issue is the equivalent of "I'm all caught up on Netflix, but the series finale is tonight, I guess I'll see how it ends even though I have no idea how we got here."

I love Cullen (Magneto) Bunn's series, but it's issues like this that make some of the earlier ones hard to read.

GL 36 is a straightforward bridge book between major events. A good guy pep talk, a bad guy pep talk, and the introduction to a new story element that serves as a good cliff hanger for the next part. We don't learn too much, and so far, Hal seems to be as much of an audience member as we are, all while Sinestro and Kyle do most of the heavy-lifting story-wise. I won't spoil it, but while the ending scene is fun, it almost cheapens a character who's become a pretty big villain in the ring-slinger universe.

Overall, it's a poor start, but it's got potential!

I don't know what the goal here was, but if this isn't shock-value, it's blasphemy.

DC, you're aware that the most interesting things about your comics are the bad guys, right? So why would a huge crossover event revolve around such one-dimensional characters?

This book left me with more questions than interest in answers. Good luck to the scrawny kid stuck with the psychopathic Hank Hill, because this is one story I'm not jumping on, ah tell h'ya what.