The second half of this book definitely drags a bit, but that's mostly in comparison to the first half, which is paced so tightly that when things loosen up it's hard to ignore. Regardless, there's a lot of good stuff happening in this opening issue. The title is approachable for new readers, open for those wanting to return to the Mignola-verse, and rewarding for those who have stuck with it all along. Scott Allie explains in the letters column that they have big plans for Abe Sapien in the coming years. Abe Sapein: Dark & Terrible #1 shows how serious they are about that.

It's a good comic and I enjoyed my time reading through Superman's latest adventures, but the price point is all wrong. Especially since the first issue actually had more story pages, it was a rather unpleasant surprise to find out that this book was so short. If you're charging an entire dollar more, you need to offer something to make the purchase worth it, and I'm not sure DC did that this time around.

Adventure Time #1 is a lot of fun. It might not necessarily knock your socks off, but if you like Adventure Time or all-ages comics (or know of a young reader who likes either of these things), this book will have something for you. It's my understanding that this printing sold out on its first day, but your local shop might still have a copy. Otherwise, Boom! is reprinting this issue, or if you can't wait, you can always get it online.

I think Adventure Time #4 is the most fun I had with a comic book this week. It's definitely my favourite purchase, despite the fact that it breaks so many of my usual rules: it's $3.99, with only 22 pages of content (eight of which are the back-up story), but I don't care. I'm always willing to be a bit more lenient for smaller publishers, that there are no ads certainly helps, and most of all, the fact that the story's just plain awesome is a pretty good argument in favour of this book. This comic is a ton of fun, and that's what I want from my comics.

Adventure Time #5, like Adventure Time #1-4, is a ton of fun. This series' humour is right up my alley, and every issue seems to just be getting better and better. Adventure Time, like many of my favourite comics, is the perfect blend of being entirely appropriate for children while also being incredibly fun for adults. Love it.

This book is just so much fun that it's not fair to other books on the stands. North seems to be laying the groundwork for some exciting things to come (I believe I've heard "Cable parody" applied to describe the coming issues), but he doesn't forget to provide a good story while doing that. Additionally, I really enjoyed Anthony Clark's backup, so that's a plus.

This series is great for readers young and old. Ryan North provides some absolutely hilarious scripts on a monthly basis, and Shelli Paroline and Brandon Lamb do an great job of knocking all of those scripts right out of the park. Happily, everyone seems to be upping their game for this time travel arc, making what was already a terrific book even better.

Ryan North may not be writing every single comic book (much to my chagrin), but reading his continued work on Adventure Time almost makes up for that small oversight. This book remains a perfect combination of North's inimitable writing and the show's own stylings, coupled with the terrific work of Shelli Paroline and Braden Lamb. And the backups this book gets continue to be a globbin' good time. You should be lumping reading this.

Adventure Time #13 is a complete package, giving readers a main story and two backups that are all enjoyable for different reasons. There's a lot to like here, especially when North, Paroline, and Lamb continue to work so well together. Next month's conclusion looks to be quite the time.

Adventure Time continues to be the fun and enjoyable comic that we've come to expect. Ryan North, Shelli Paroline, and Barden Lamb deliver a delightful conclusion to their ongoing storyarc, and Chris Schweizer does the same for his excellent backup story. This book is steady as she goes, and I'm happy to see it.

Adventure Time is continually one of the most fun comic books around. There's a reason why it was nominated for three Eisners, and this issue is a perfect example of that. Finn and Jake's unique dialogue is a welcome experiment at a time where so many comics are content to stay the course and do what they've always been doing. The fact that it fits so well into the overall narrative is icing on the cake.

Kaboom! obviously wants to take as much advantage of having the Adventure Time license as they possibly can, and as long as they keep hiring such talented creators to do so, I'll be ready and willing to support their efforts. Fionna & Cake manages to fit into the strange and odd stylings of Adventure Time while also bringing some new things to the table. I'm really excited to see how this mini plays out, because this opening is pretty great.

If you've read all the previous issues, then it's a no-brainer to pick this up. However, if you're considering buying all the issues or picking up the eventual trade, I'd suggest doing so only for the younger readers in your life or for the die-hard Adventure Time fans, because there are other books out there that tell this kind of story better.

Amala's Blade #1 is an enjoyable yarn that promises some solid moments in the issues to come. If you're a fan of fantasy and high adventure, this is definitely worth taking a gander at, as Steve Horton and Michael Dialynas appear to be laying the groundwork for a mighty fun read.

Amazing SpiderMan has been an utter joy since Dan Slott came back to write it, and SpiderIsland has been among his best work on the book. It does so much right and is so much fun. If you missed this event, you owe it to yourself to pick it up in trade. If you have read it all, I salute your good taste.

If you've been wanting to jump onto Amazing Spider-Man, this issue is for you. It might not feature its titular webhead, but it is right in line with the usual fun tone of the book and just so happens to set up what looks to be one of the major storylines of 2012.

I feel like a jaded reader to say this, but New York isn't going to be destroyed in Amazing Spider-Man #678, which takes any suspense that could have existed right out of this story. But who knows? Dan Slott has impressed me in pretty much every other issue I've read; maybe he has one heck of a rabbit to pull out of his hat in part two. I sure hope he does.

This is a technically sound issue of Amazing Spider-Man. It has all the ingredients you need for a good comic, but they don't quite come together in the end. The jokes are little too force. The art is a little too standard. There's nothing wrong with the issue per se, but it doesn't quite stack up to some of the other work Slott has done on the very same book, so it suffers by comparison.

I've been pretty forgiving of Amazing Spider-Man because of how great Slott's work has been, but the past few issues have been quite ordinary, and I'm not willing to shell out $3.99 for that. The verdict might be a little harsher than this book deserves, but I know that Slott and company can do so much better. Hopefully the teaser at the end delivers some more exciting stuff soon, otherwise I'll be moving on from biweekly webheaded adventures.

If you haven't been reading ASM lately, there's a lot of good things happening here. On the other hand, if you've been faithfully following Spider-Man's exploits under Dan Slott's stewardship, it might be time for a break, because ASM #682 isn't reinventing the wheel and the ride is getting a little old.

Spider-Man is fun again. If there's anything to be taken from the past few issues of Amazing Spider-Man, it's definitely that.

Doctor Otto Octavius is the new Spider-Man. Peter Parker is dead for now. Does anyone care?

The series as a whole has been fantastic. This storyline has been no exception, often providing both Snyder and Albuquerque ample opportunity to show off their many talents. As this story moves towards its conclusion, I imagine that things are only going to get better. I'm sure you've heard it before, but I'll tell you again you should be reading American Vampire. This book won the Eisner for Best New Series for a reason.

As always, Scott Snyder puts in a solid comic that does most everything right. It's a bold move to jump so far back in time considering that the series has been moving forward up until this piont, and the choice is an exciting one. I can't wait to see what comes next for Jim Book and Skinner Sweet.

As a discrete object, this issue doesn't do all that much. Seriously, for all the storytelling we get, this issue breaks down to "Hole in the Sky gets vampiric powers". That's it. As much as I love Scott Snyder (and, as we know, it's a lot), this issue doesn't stand up on its own. It'll be great once the rest of the story is told, but if I was just starting out with the series, it wouldn't keep me around.

This arc has been a true return to form for American Vampire. Everything you've come to expect from this series is back and better than ever. The cliffhangers in these issues have been absolutely nuts, and this issue is no exception. That last line in particular is killer (pun intended).

American Vampire is back at the top of its game, and I couldn't be happier.

Calvin spends the issue complaining of how over enough time it can be difficult to find something new. The story Snyder and Cruz put together ensure that he doesn't have to wait too long, which just so happens to make for a pretty darned good read. This issue definitely adds something new to the American Vampire universe, and you should give it a look.

The second American Vampire tie-in is off to a great start. Snyder quickly sets the scene and the stakes, providing lots of reasons for the reader to care about what's going on. At the same time, Nguyen draws the hell out of this book, providing us with some gorgeous visuals to go along with Snyder's words.

Did you know that Scott Snyder is a great writer? And that Dustin Nguyen is an amazing artist? Your answer to both questions, was probably "yes", but just in case you'd forgotten, the two do an excellent job reminding you with their work on the final issue of their American Vampire mini-series

This new dynamic duo provide yet another quality comic. There's still a lot left unexplained in Animal Man's most recent adventure, but it is clear that there is an explanation behind everything that's going on, and it will be revealed as time goes on. I, for one, cannot wait.

If you haven't given this book a chance, you should seriously consider doing so, because Lemire and Foreman are really pulling out all the stops, providing a decent thriller with some of the best character work around right now.

This is a fantastic comic. Lemire and company offer an excellent done in one that stands up on its own but also serves the overarching narrative. I had no idea what to expect going into this issue. I'm thrilled we got this; it completely blew me away.

Animal Man has been one of DC's best, and it shows no signs of slowing down. the combination of family and deadly superheroics sets this book apart from a lot of the titles currently on the stands. More than that, it makes this book something special. If you aren't already doing so, you should be reading Animal Man.

Jeff Lemire's first issue of the Rotworld storyline is a good one, but it gets a little bogged down in setting up the new status quo for the arc. It definitely looks like it'll keep picking up and I'm dying to see how the past and present will mesh-up, but those are things that are yet to come. As is, there's a lot to like, but it's not quite up to par of some of the earlier issues.

Steve Pugh, Timothy Green II, and Joseph Silver give us some terrific looking art from start to finish, but without an engaging narrative to hang it on, the whole thing feels a little hollow.

When Buddy confronts the Red towards the end of the issue, they tell him that he is nothing but "a stopgap". That's precisely how this issue feels. It is very utilitarian, and its ultimate worth will only become evident in later issues when we see what Lemire does with the new status quo he is establishing. Lemire is a talented guy, and I imagine that he'll be able to do some interesting things eventually, but that doesn't make this issue any more satisfying. We're really just moving pieces around, getting them ready for later, which is all well and good, but doesn't do much for the here and now.

This comic manages the incredibly difficult task of continuing an ongoing narrative while also being entirely approachable for new readers, something that should ideally be far more common than it actually is. Jeff Lemire, Timothy Green, and Joseph Silver truly made a wonderful comic together, and I hope that these gentlemen will get further opportunities to collaborate in the future.

ARPRSA is far from perfect, but it shows a lot of promise for a first effort. If Clevinger and company can build on these early successes and iron out some of the shortcomings (and I think they can), I have every faith that Real Science Adventures will mature into a book every bit as strong as the main Atomic Robo series.

For $2.75, you're getting four rock solid stories (or parts thereof), which no matter how you look at it, is a pretty good deal. I'd also be remiss if I failed to mention that what few ads there are in this book are saved for the end, which is a nice bonus. ATPRSA #2 is a fine step forward for this anthology, and I look forward to what comes next.

If you're a fan of Atomic Robo, this series is a bit of a no-brainer, but there's lots to like even you are unfamiliar with Nicola Tesla's greatest (fictional) creation. Although Brian Clevinger's scripting is a little on the slow side, the pieces that he's using look like they'll build into a compelling whole, and Erica Henderson is a lot of fun on the art side of things. It's definitely worth a look, but this opener isn't as strong as it could have been.

Atomic Robo: The Savage Sword of Dr. Dinosaur #1 is perhaps a bit long title-wise, but it reads like a dream. The book wastes no time, delivering enjoyable moment after enjoyable moment, and sets up what looks to be one of Robo's most exciting adventures yet. It should be expected from a book with Dr. Dinosaur's presence, considering what a ridiculous character he is, but it's welcome nonetheless.

I will admit that I came in with a pretty heavy bias against this series, but I still maintain that it failed to do all that much with its concept in this opening effort. There were some cool moments throughout, but nothing that really grabbed me and guaranteed my return for the next part of this event. Things could very well pick up in the issues to come, but I don't feel the need to see how that'll play out. Your mileage may vary, but I'll happily spend my comic book dollars elsewhere.

Exorcism is another excellent addition to the ever-expanding Mignola-verse. It is a great character piece, looking at one agent trying to deal with the supernatural world that threatens our own and how she reconciles the two. I'm really excited to see what comes next. And I clearly have some reading to catch up on.

There is a lot of imagery in this book that fit that haunting beauty label, and it makes for a memorable read. Considering this book is done by a team of writer/artists, it's not surprising that the words and art support each other so readily, but it does make for a mighty satisfying reading experience.

The creative team of Mike Mignola, Christopher Golden, Ben Stenbeck, and Dave Stewart has worked on every single issue of Baltimore, and it shows. These men have built up some ridiculous chemistry with each other that they unleash to make these small looks into Lord Henry Baltimore's life come alive.

This series emanates style, creating, in a single issue, a desolate and despairing Europe that is besieged by a menace that few believe in and even fewer can face. Each and every word and image have obviously been selected with care, and they all add up to build a tale that I'm eager to follow.

After a certain point, it can become difficult to find different ways to say the same thing: Mignola, Golden, and Stenbeck once again provide a terrific comic that tells an engaging story. I truly hope this team stays together in the long-term, because it appears that there's plenty of more Baltimore to come, and I can't think of any other creators I'd rather have penning his exploits for our enjoyment.

Baltimore is classic Mignola, and has the added advantage of being slightly more approachable than the years of continuity behind both Hellboy and B.P.R.D. I'm always happy to get my hands on this series, and the creative team seems to be raising their game every issue.

This might have been my favourite comic that I read this week. Paul Tobin and Colleen Coover have a really fun concept on their hands of a girl who is kind of a hero and also likes to steal stuff sometimes. The whole experience is a bundle of fun, and I am eager to see what comes next.

It's honestly difficult to express how much fun Bandette is. When so many comics continue to insist on the importance of grim and gritty, it is an incredible breath of fresh air to get something as fanciful as Bandette. The characters and situations of this book are all large than life, but their writing and drawn with an honesty to them that makes it mighty hard to resist.

Fanboy griping aside, this is a solid comic book. The rushed pacing hurts the story a bit, keeping this from being a "Must Read", but everything else is so good that it's forgivable. Snyder continues to write a mean Batman, and Capullo and Glapion are doing a bang-up job of bringing his words to life.

The panel layouts are frenetic and hard to keep track of, just like it's hard to know exactly what's happening and what's a fevered delusion on Bruce's part. Follow that up with Batman exploding himself, escaping, and returning to the point of death, and you have a roller coaster of an issue that is filled to the brim with excitement.

This book suffers from expectations. Whether it's the high level of excitement Snyder has been providing throughout this series or Cloonan's inclusion, Batman #12 just isn't able to live up to its own hype. It's clear that this story and this character will be important to Snyder's future Bat-stories, but that in and of itself doesn't make the issue an interesting read. It really feels like there's no real payoff at the end of this issue, as if it's all building towards something that will come later. Even what little payoff we get in Harper's decision to help Batman is cheapened by the fact that we already know she does this in issue #7. And again, the art, which should have been awesome, was a bit of a let down, especially when it comes to the random swapping of artists at page 22.

It's called Batman #13, but this is the Joker's book through and through. Scott Snyder and friends are bringing a meaner, scarier Joker to the Batbooks, and the time without the character actually makes this feel different from your average Joker story. The sakes feel higher. I know it's easy to complain about how the status quo never changes in mainstream comics, but after this issue, I feel like anything's possible.

There's a little bit of stumbling over the course of Batman #15, but when this comic is on, it's on in a big way. The Death of the Family storyline already feels like an instant-classic, and this issue is an excellent addition to the arc with Scott Snyder and company putting some of their best feet forward.

Batman has been DC's book to beat since Death of the Family started in issue #13, and I'm hard pressed to think of something that's been better. Snyder, Capullo, Glapion, et al. manage to keep the momentum going while maintaining the sense of foreboding and dread that they've been building since kicking off this storyarc back in October, which is no small feat. I haven't a clue where this will all lead to, but right now I'm really curious to find out. A wonderful feeling to have.

Admittedly, if you've been following the entire arc, it's unlikely that you'll skip out on the conclusion, but that doesn't mean it's terribly satisfying. It's unfortunate, considering how strong the rest of Death of the Family has been, but Snyder's story just doesn't keep up with the moody art from Capullo and Glapion.

Scott Snyder's writing simply isn't up to snuff. Beyond a small moment of Bruce mourning Damian's passing that is barely related to the rest of the issue, there is virtually no emotion to be found here. Greg Capullo's brilliant art and James Tynion IV and Alex Maleev's intriguing backup are not nearly enough to make up for how cold and lifeless this issue feels. It seems like we're killing time in the lead up to Zero Year, so you might as well stay away until that hits in June.

I've long tried to champion short or done-in-one stories, but these past two issues of Batman have been too boring to recommend in any serious way.

Despite Jay Fabok's great art, I found the story to be really weak. There's a lot going on, especially with the many flashbacks that occur throughout the story, but unlike his usual manner, Snyder is unable to bring everything together into a neat little package at the end.

As I hoped, Batman, Incorporated #0 does it's own thing, partly fitting in with the "secret origins" aspect of the Zero Issues, while also managing to seemingly tell the story that Morrison wanted to tell anyways. There's a reason why he's one of the most respected writers in the industry, and he more than shows why that is with this excellent issue. While I was expecting Burnham to continue on art, Irving was a welcome addition who, due to his past work with Morrison, was able to fit in seamlessly with what has come before. More than anything else, this issue has got me even more excited for what's to come, which is all you can ever ask for from a comic.

Grant Morrison is back in a big way. His Batman story picks up right from where it left off, and it hasn't lost any momentum from the reboot or the time away. If anything, I'd say it's somehow gained momentum,a s things are moving fast and furious. It's good to have Morrison back on a monthly Batman title.

Grant Morrison and Chris Burnham give us yet another great Batman book, which is pretty much par for the course at this point. I loved the use of Matches Malone, as it fit quite naturally with what's been going on story-wise and was really well done. The whole issue was a ton of fun, with lots of great little pieces that ended up making an even better whole. As a last comment, I totally dug Batcow's cameo appearance. I hope that she sticks around even longer.

Realistically, Morrison's experiment goes a little off the rails here. In many places, the comic is weird, unclear, or downright bad. But it's not all horrible. There's enough going on in this issue to make giving it a read through worthwhile. It's far from a perfect story, but I do appreciate that Morrison is willing to take risks and try new things, even if they aren't always successful.

I'm every so glad that this issue got to take place back in regular ol' continuity. It's nice that DC didn't force the creative team to bend their tale to the status quo of the DCnU. It's nice to get to see the natural conclusion of this part of the story. I was also thrilled to see that there was no strict page limit being enforced here, as Morrison seems to take as much time as necessary to put all the necessary pieces in place to tell a great chapter in what's been an epic story. If you've been following everything up until this point, this issue does not disappoint. If you haven't and happen to like challenging, mind-bending reads, I don't understand why you aren't already following this title, but you should definitely give it a shot.

This is by no means a bad issue, but it isn't quite at the same level as the last one was. To be honest, it feels a bit like this issue is coasting on the success of #2. Things continue to build, but they aren't moving as fast and the logic doesn't entirely fit. It all adds up to a couple of minor problems that are slowly threatening to overwhelm the overall story. I must say, unless you're already enthralled with the tale that's being told, the book doesn't give a lot of reason given to get you to come back for more.

Despite my little rant at the end, this is a good conclusion. Frankly, it's possibly the best conclusion the series could have gotten. All the characters got to have their moment in the spotlight, there was a sense that something relevant has happened, and there were hints at what is yet to come (I imagine the events of this series will play a role in Snyder's forthcoming run on Batman). It's just too bad that it couldn't have read a little better as a serial publication.

These stories are a lot of fun, and I'm sure that's just as true with the physical copy as it is with the digital ones. If you've been looking to spend some time in Gotham City that isn't all grim and dour, then 'Lil Gotham just might be for you.

This is definitely a step in the right direction for Batwing, but with Winick soon to be leaving the title, one must wonder if it's too little too late. With the identity of the new writer and the when of when they'll be taking over still up in the air, it's hard to say if it'll last, so I'd recommend you enjoy it while it's here.

This book is exciting in a way that I feel a lot of the new DC books failed to manage. The story and art have some missteps, but they are generally of a pretty high caliber. Perhaps most importantly, I'm excited to see what happens next, which is what every story should strive to accomplish.

The story continues to be engaging, but could be moving a little quicker. Fortunately, Oliver's art is as stunning as ever, which makes the pace a little easier to swallow. There's some things going on in the periphery, but I'm not sure when they'll get any storytime. We'll see how the next few issues go.

There's a lot of good Batbooks coming out right now (which I suppose only makes sense when DC is publishing a million or so each month), so you could be forgiven if Batwing has slipped under your radar. Nevertheless, Winick and Oliver are telling an engaging story in the pages of each and every issue, so if you've been looking for something new to read, I'd urge you to give this title a chance.

We're seven issues into Batwing, and this book still feels as fresh and exciting as ever. Winick is crafting a brilliant origin story for Batwing, and one of the best parts is that it's going at the pace that's right for the story. While many series seem to cap their arcs at six issues - written for the trade - we're still a ways off from Massacre's capture. I really appreciate that the story is getting the space it needs; it makes the whole experience that much better.

This was a great finish to what's been an incredibly fun and exciting introduction to the newest member of the Bat-family. The next issue will be involved with the Court of Owls crossover, and while I'm not keen on the arc in general, I have the utmost faith that Winick and company will be able to make it good and relevant to David Zavimbe. Can't wait.

Batwoman #0 is easily the best origin issue we've seen from DC this month, but far more than that, it's one of the best issues we've seen from DC this year. Williams and Blackman (along with Dave Stewart's delightful colours) have come together to deliver a brilliant issue that is wrought with emotion, can appeal to readers old and new, and is just some plain great comics. Go and read it, enjoy it, and then read it again.

I've been going on and on about how DC isn't doing so hot in their representation of women, and I'm happy to say that Batwoman bucks that trend. However, while it's great that the book's lead is a strong female character, the reason you should be reading this is because it's a great comic book. The writing is great, the art is arresting, and the interplay between the two is wonderful.

I don't know how else I can say it. At the risk of overstating things, this could very well be the best comic book coming out from any company at the moment. If for any reason you haven't given this title a chance yet, you should get to your local comic book shop and pick up all four issues. Williams and Blackman are making beautiful comics together and you want to be a part of this.

Fortunately, we still have one more issue of these talented creators working together, and if it's anything like this one, I cannot wait for it.

Batwoman is an absolute joy to read. The story is top notch, the art is just as good, if not better, and together it makes for one of the tightest packages around. With a story that's been going since the first issue, it's not exactly easy to jump on, but if you haven't been following the book, you should give it a try anyways, because it's one of the best things happening in any superhero book around.

Oh, and did I mention that the story continues to be amazing? And all the characters feel like real and distinct characters? And that Williams and Blackman manage to fit in virtually every single relevant character they have in the series in these twenty pages? 'Cause those things happen to.

This done-in-one interlude looking at Maggie Sawyer adds a different perspective and some extra information on what's been going on in this book with Medusa and her nefarious forces, and while it was a bit of a surprise, it wasn't an unwelcome one. It certainly helps that I've become a big fan of Maggie over the course of her relationship with Kate Kane, but this is, plain and simple, a solid character study that can be enjoyed by all (although those final lines are tragically ironic for readers who have been following the series).

There are some narrative missteps in the issue, but it still manages to feel like an appropriate conclusion for this story arc. This is doubly true as a conclusion to Williams' run as artist for the series, as he somehow manages to outdo himself yet again, raising the bar ever higher for comic book artists everywhere.

Batwoman is a fun book. J.H. Williams III and W. Haden Blackman don't always quite explain everything as thoroughly as maybe they ought to, but a close reading often allows a filling in of the blanks, which sometimes works better. And while Williams is still missed on art duties, Trevor McCarthy seems to be getting better with every issue, which is saying something, because he was already pretty good to start with. I don't rightly know how my DC pull will look come October, but I have a funny feeling that Batwoman will still be there.

There's a lot to like in this one-shot, but I know it isn't for everyone. However, Beasts of Burden: Neighborhood Watch's greatest concern is telling some good stories that, while perhaps focused on younger readers, can be enjoyed by people of all ages. If that sounds like something you or someone you know likes, you should give it a gander.

Nick Spencer and Ryan Browne have teamed up to give Bedlam the kick in the pants that the series needed. Issue #7 feels fresh and full of possibility, which is a great shift from the conclusion of the previous arc, which felt a little stretched out. Hopefully they'll be able to maintain this pace going forward.

This book isn't reinventing the wheel, but it's doing a pretty good job redesigning it. Tony Bedard's story choices, while mostly rather safe ones, seem to be serving the overall narrative, and Ig Guarra and Ruy Jose are trucking along quite smoothly in the art department. If you've never read Blue Beetle, than I would strongly suggest giving this title a look, and if you have, it could still be worth a gander.

The cupcake fight is worth the price of admission alone, but above and beyond that, Comeau and Holmes have a hit on their hands. This book is a brilliant combination of humour, fun, and whimsy that makes it a great time for readers of all ages and backgrounds. Bravest Warriors is sold out at the distributor level, so it might be hard to find yourself a copy, but if you can, you're in for a treat.

On the whole, this is a solid issue, although whether or not it's good enough to warrant sticking around for the next arc is up in the air.

Your mileage may vary, but I wasn't won over by this issue. If I hadn't just read five terrific issues of Cap & Bucky action, I would drop this title without hesitation as not being worth a monthly purchase. As it stands, I'll have to put some serious thought into whether or not I'll be back for round two.

Once again, if you know your Cap and you dig him, this book is probably for you and you're likely already all over it. However, if you are, like myself, a bit less familiar with the character, this book is not going to help you get much better acquainted. For how steeped it is in continuity, it sometimes feels like it's written in another language, but at the very least, Francavilla makes it a veritable feast for the eyes.

This is an interesting opener, providing a window into Carol Danvers' new status quo, but I feel like it could have been a bit more explicit or in-depth at times. With all these hints and how excited DeConnick has been about writing the character, there's definitely a lot of promise here, but it wasn't yet been realized. I imagine that things will be slightly better articulated in the issues to come, but considering this opener, I'm not sure I'll stick around to see.

Catalyst Comix is a strange beast. It's still not quite clear what exactly this book is going to be about, but it has more than enough style to mask that fact for the moment. All the stories have bright spots to them, but I must say that Ulises Farinas' is far and away my favourite. He's still relatively new in comics, but I hope to see a lot more of him in the future.

This book had some issues with its release schedule last year, but things are starting well for 2012.

This done-in-one continuation of the current stroyarc is a testament to the strength of the world Layman and Guillory have created. The book's protagonist is absent, the explored concepts are new, and we're following it through secondary characters, but it all feels right. This series has become far more than its catch opening premise, and I'm mighty thankful for that.

This issue of Chew is like most others that have come before. That is to say, it's amzing. John Layman and Rob Guillory have somehow managed to continually maintain the same high level of quality from issue #1 until now, and I don't see that stopping any time soon, which is both astounding and worhty of recognition.

John Layman and Rob Guillory know what they're doing when it comes to comics and Chew #30 proves that beyond a shadow of a doubt. The two have built up an amazing, intricate world in these first thirty issues, and while we've gotten some answers, it's clear that there are still - and will continue to be - many questions to explore in the thirty issues that remain in this series.

Secret Agent Poyo is ridiculous, (somehwat), mindless fun, and it makes no apologies for that. Nor should it, as John Layman and Rob Guillory deliver a great issue starring a fan-favourite Chew character without ever feeling like they're pandering to the masses. To put it another way, it's a comic with a luchador mask wearing rooster. What else could you possibly want?

With all these talented people working together, the real winner is the reader, because Bellaire, Walsh, and Brisson's chemistry is magical. One of the characters in this issue talks about how Reconnect "want[s] us to stay in the dark". The same is true of what Comeback wants of its readers. But while Reconnect would like this for presumably nefarious reasons, Brisson and company simply want to tell the best story they can. Thus far, they're succeeding.

Comeback continues to be phenomenal. All the individual pieces are brilliant, and they perfectly support each other, resulting in a whole that is greater than its parts. This series has been compelling as all get out since issue #1, but the twist the creative team drops in this issue takes the story to another level entirely. Comeback #5 cannot come soon enough.

Conan the Barbarian is a book that is going places. Brian Wood, Becky Cloonan, and Dave Stewart seem to be the perfect compliments for each other, and I cannot wait to see the beautiful things they are going to do together. If you haven't already, you should be giving this book a look, because it's well worth your time.

These two creators are getting on like a house on fire, and the comics they're producing benefit greatly from it.

This creative team really seems to understand each other, and I'm glad that they got another kick at the can here with Conan the Barbarian #7. While solicitations say that Cloonan won't be around for the next few issues, I can always hope that she'll come back. Failing that, I'll always have brilliant issues like this one to remind me of how good she, Brian Wood, and Dave Stewart are together.

Conan the Barbarian #16 is a great comic by Brian Wood and David Gianfelice. Their prior experience working together is evident, as they both bring their A-game here, making for perhaps the strongest opener to any Conan arc this series has yet had, which is saying quite a lot considering the talents we've seen before. The Nightmare in the Shallows looks like it's going to be a good one.

Creator-Owned Heroes isn't quite like anything that's on stands right now. The two comics it contains are intriguing introductions to stories to come, and all the little additions make it something special. If you're looking for a change of pace from your comic books, might I suggest you give Creator-Owned a chance?

The writing isn't bad, but don't expect to have the strongest handle on what's going on by issue's end. Cyberforce #1's saving grace is its great art and its zero dollar cover price. It will cost you literally nothing but time and the space to store it (and not even physical space if you download it from Comixology), so you can't really go wrong here. We'll see if this gambit pays off in the long-run, but for the moment, there's no reason not to look into Cyberforce.

This is a fantastic start to what looks to be a great new series from Marvel. I don't mean to gush, but as I'm sure you've gathered, this issue blew me away. The writing and the art is phenomenal. I wish more comics could be like Daredevil #1, because this book was an absolute pleasure to read, and if it's any indication of what's to come, I'm definitely picking up every issue.

I feel like I'm coming off as a little harsh against Waid's writing, but my nitpicks are based more on the fact that his work seemed much tighter in the first issue. He's still great here, only suffering in comparison to himself. Rivera, on the other hand, continues to knock my socks off. I used to think of myself as reading comics mostly for the writing, but part of the reason I like this book so much is the incredibly quality of Rivera's art. The issue suffers a bit in its pacing, but it is still head and shoulders above a lot of other comics out there. I will most definitely be back for the next part of this great story.

This series continues to be one of the best superhero comics on stands right now. Waid and Martin offer yet another rock solid issue of Daredevil that does pretty much everything right. The tone, writing, and art all manage to support and reinforce one another in a way rarely seen nowadays. You owe it to yourself to be reading this comic.

I'm really enjoying Daredevil. Mark Waid has really made this a title to watch, and as long as things continue to be this good, I definitely won't be taking my eyes off it. I'd suggest you do the same.

As a single issue, Daredevil #9 doesn't do so hot. Waid's writing is too vague here to provide much meaning to what goes on, which makes for a surprisingly unsatisfying read considering everything that goes on. While the fact that this comic will look much better in trade isn't much of a consolation to those who actually picked it up in singles, Rivera's wonderful art definitely takes some of the edge off.

Although I feel like Daredevil #10 is a big step in the right direction, I wouldn't say that it makes the shortcomings of the last few issues look much better, but I am glad to see things getting back on track.

The art is amazing, but the story doesn't quite keep up. Things feel rushed, opportunities feel missed, and at the end of it all, little actually changed for these characters - especially for Daredevil, whose plight got this whole thing started. It leaves me asking what the point was, which isn't a great feeling.

I've been having issue with the story in this series for a while, but the good will it built up during the first arc or so resulted in me following this book longer than I would have otherwise. So while I didn't make good on my decision not to buy the title, I certainly intend to give it a miss next time around. There simply isn't enough interest being built to keep me around, despite how great the art might be.

While I've been away from the series the past few issues, Waid's plotting manages to make this issue's reveal feel fresh and exciting, even though, in retrospect, it feels like the only way things could have played out. And although we're getting answers to some of the long-term questions of the series, I'm happy to say that there's plenty of reason to keep reading. Waid and Samnee continue to put on their clinic of how to make enjoyable superhero comics that manage to walk the line of balancing the character's superhero persona and secret identity.

Daredevil: Dark Nights is not exactly what I was expecting, but it is still an enjoyable read nonetheless. The narrative has a few minor issues, but overall, Lee Weeks has an interesting story on his hands here. Of course, the fact that the art is so good goes a long way to making up for any plot shortcomings - especially with the search for the downed helicopter promising so much more outdoor scenes. Issue #1 represents a decent start, and I'll definitely be coming back to see how Weeks' follows it up.

This is definitely a departure from the comic book norm, but I'm not entirely convinced it's a welcome one. I'm not going to lie, the prospect of watching Deadpool slaughter a whole bunch of people in ways that will all likely be more gruesome than the last doesn't really appeal to me, but I feel as if I'm not the target audience of this book. However, I am glad that books like this are coming out, because diversity in the types of comic books companies are putting out is a good thing as far as I'm concerned.

Deathmatch #1 is by no means perfect, but it's a lot better than I was expecting it to be. There's a genuine mystery going on here and while the answer may or may not be satisfying in the end, I am interested in knowing just what is going on. Maybe even enough to pick up issue #2.

Kurtis J. Wiebe and Riley Rossmo's Debris was a rather large departure from their previous work on Green Wake. But it was also a welcome one. This story is built far more on action scenes and beautiful landscapes, providing for a different type of stunning art. A sci-fi tale of adventure and discovery, Debris was definitely an enjoyable, if slightly rushed, comic book.

I'm loving every moment of this comic, but I recognize that it might not be for everyone. On the other hand, if medieval superheroes fighting endless hordes of evil monsters a midst witty oneliners sounds appealing to you, I would strongly urge you to give this title a look.

This comic is just a lot of fun. Things were a bit slower this issue, but it's clear that they're building towards a pretty solid crescendo, and I cannot wait to see things once they really shift into high gear.

I've been enjoying the heck out of this book, but it seems to have suddenly gotten a lot more depth than suggested in previous issues. I'm not entirely certain how I feel about that, but I'll definitely be interested to see how the visions and the various twists play out in the issues to come.

As unfair as it might be to switch gears on the book so quickly, my main complaint here is that, now that things have picked up, they're moving perhaps a smidgen too quickly.

Demon Knights deserves far more praise than it gets. Cornell, Neves, and Oclair are making something really special and fun, and more people should be giving it a gander. If you're looking for something new, this issue is an excellent introduction to the characters and their world.

There's some good stuff happening here, but a lot of it is in danger of being lost in the noise of everything else that happens in Cornell finishing off his run on the book. I feel like the series itself would have been better served by giving Cornell another issue or two to really conclude, but that's obviously not going to happen. Demon Knights was one of my favourite things to come out of the DC relaunch of last year, but some of its initial energy and passion seems to have been lost along the way. It's hard to say if Robert Venditti's arrival will fix any of that, and I'm not one hundred percent certain I'll stick around to find out. We'll see.

With so many straight superhero books on comic book shelves, it remains nice to have something slightly different coming out from DC. I like that Venditti and Chang have managed to maintain links to the work of the creators who've come before them on the title, but I also wonder if they're staying a little too close to that origin. I like Demon Knights, but it has been running the risk of becoming stagnate. Hopefully these two gentlemen can inject some real change as they ease their way into the book.

John Layman's first issue of Detective Comics demonstrates that he definitely has a long-term direction of where he wants to take his run with Batman, but it's not yet clear whether that direction is going to be worth following. A lot of what we see in this issue has been done before - and in some cases, it's been done better. But while the writing is a bit of a let down, the art is anything but. Jason Fabok takes an average script and makes it shine awfully bright. The backup is a little better storywise, but all in the all, this issue doesn't bring anything new to the character.

Dial H #1 is the first part of DC's "Second Wave" for the New 52, and if this is a sign of what's to come, colour me impressed. The story that China Mieville is telling is unlike most anything else on stands and, as an added bonus, also happens to be both really well told and interesting. Combined with Mateus Santolouco's art, it looks like we have a real winning combination on our hands.

Dial H had a bit of a stumble in its sophomore issue, but it's clear there's a lot to come in this series. It might be a bit too much too soon at times, but I'm interested enough to give it a few more tries to see if it all comes together. Here's hoping.

This project has been described as being based on Tarantino's uncut script for Django and that it will be showing a bunch of stuff that got cut from the final film. It's hard to say whether that will be a good thing or a bad thing, since there are often valid reasons for things to be cut, but based on this opening issue, I have a good feeling about where this story is going.

There's a lot to like in this book. Although there's a few eccentricities that distract from the overall reading experience, on the whole Jai Nitz and Greg Smallwood have done themselves proud, putting together one bang up opener that keeps the reader wanting more. It's always nice to see new stories, and this one looks to be going places.

One of the most impressive parts of Dream Thief #2 is that it manages to read as a done-in-one story, resolving the mystery of Jimmy Oliver's death and punishing all the guilty parties, while also forwarding the wider story of John Lincoln and his relation to that aboriginal mask. Indeed, the issue even finishes with a hint of what John will be facing next month in Dream Thief #3. Jai Nitz and Greg Smallwood do a brilliant job of balancing their micro and macro-narratives, delivering a satisfying issue that will read even better within the context of what's to come.

The story that Jonathan Hickman and Nick Dragotta are telling here is an incredibly interesting one. There's elements from all kinds of stories, including westerns, science fiction, the bible, revenge stories, and lots more, but Hickman and Dragotta mix them together into something that is greater than the sum of its parts. Hopefully East of West did not fly under your radar, but if it did, I would suggest doing your darndest to get your hands on a copy. The price to page ratio alone is worth the purcahse.

This issue is almost more of a thesis statement than anything, as it's clear that the coming issues will be somewhat different in how they are composed, but I think I'm hooked nonetheless. Roberson has a solid concept behind him, and with Culver providing the art, I'm hard pressed to resist this package. And once again, at 99 cents, you'll be hard pressed to find a better use of a dollar.

FF #8 is good comics. There's a lot going on and it's all really engaging stuff. The interlude of FF #6 and #7 is really well used in this issue, making a few moments way more meaningful than they would have otherwise been. I'm back to being excited for this book and I cannot wait for next month's installment.

For all my concerns and qualms, this is a rock solid issue. Everything that's happening makes me want to see what's coming next, which is always a good thing.

There's nothing wrong with the story, per se, but I'm increasingly of the opinion that Hickman's story might read better in trade, which doesn't really encourage me to continue reading it in serial. As it stands, whether or not I come back for the next iteration of this series might depend on what else is coming out that week, which is too bad, but I'm having a hard time rationalizing why it is worth buying this title on a monthly basis.

I've been enjoying this book, the writing is top notch, and the art is just as good, but as someone who hasn't been following this epic story since the beginning, having jumped on with FF, I just can't get up to speed with everything that's going on. I've been trying to figure it out through the individual FF issues, but short of reading through all of the issues of Fantastic Four that Hickman did, it's not going to happen. I imagine that if you've been there all along, this is treating you well, but for anyone who's in the same boat as myself, while I admire your tenacity for sticking around so long, I think it's time to leave.

This issue is all about subverting expectations, which is kind of funny, because as an opening issue, it's also all about creating expectations. However, Robinson ably navigates these seemingly contradictory objectives, providing an excellent first issue that presents an intriguing world with a powerful hook to get the reader back for more.

The art on this book is phenomenal. Manapul is easily providing the best depiction of the Flash that I have ever had the pleasure of coming across, and while the writing isn't quite on the same level, it still makes for a solid comic. If these first two issues are any indication, I think that the Flash is only going to get better as it goes along, gaining momentum as its creators get more and more comfortable with their tasks and the world of Barry Allen. I can't wait.

Manapul and Buccellato are nailing each and every issue. This book is simply too good looking not to pick up, and if you aren't giving it a serious look, you're doing yourself a disservice. Francis Manapul is, in my opinion, one of the best artists in the industry right now, and he's doing some pretty impressive things with the Flash, and what's more, I'm pretty sure he's just getting started.

The writing isn't quite what is has been and the game of Waiting for Barry gets a little old, but this is still a pretty darn good book. At this point, the art is more than enough to keep me on board, but hopefully the writing picks up soon, because I can't subsist on art forever regardless of how purty it might be.

Manapul and Buccellato are rewriting the world that Barry inhabits. There's nothing wrong with that, but they haven't taken the time to fully express what the differences are and what they mean. Consequently, you end up with a world that looks eerily familiar to Flash-fans, but doesn't really make any sense yet. As the above shows, I'm finding it rather off-putting and am losing patience, but maybe you are more tolerant than I.

Francis Manapul and Brian Buccellato are telling some solid Flash stories here. My earlier impatience aside, the two do seem to have a vision of where they want to take the character, and that's finally coming into play in a big way. Things are looking good, especially when you consider Manapul's shining art and Buccellato's excellent colouring that we've gotten to enjoy since issue #1.

As I said at the start, this is a book that is a lot of fun. It's not perfect, but it doesn't have to be. There's nothing wrong with playing fast and loose with things sometimes, and Manapul and Buccellato are doing just that. They also seem to finally be pushing their Flash into new territory, and I'm excited to see what we'll find. Especially when the whole thing looks this good.

Like last week's Daredevil review, it might be a little harsh, but I was honestly disappointed with the writing in this issue. The conflict between the Flash and the Weather Wizard should have been front and centre this entire issue, but it was lost in the shuffle of trying to quickly explain the many unclear actions and motivations that led to that encounter. And the issue also suffers from the lack of Manapul art. This issue would have benefited greatly from a bit more lead-up to the whole thing, instead of dropping the reader in the middle of it and trying to explain the whole thing during the fight.

Francis Manapul and Brian Buccellato are back, providing one of their prettiest issues yet. This is definitely a huge step in the right direction to taking this series back to its earlier glory, and I'm looking forward to reading this week's Annual to see how the whole story plays out.

If you've been following The Flash, this is a must read, as you'll be super lost come issue #13 otherwise. However, if you've been looking to jump onto the series, I'd suggest waiting for issue #0 next month, as this book isn't not exactly friendly to new readers. There's a heck of a lot going on, but it wouldn't always make a ton of sense to people unfamiliar with what's going on.

This is what Flashpoint should be about. Honestly, this is what comic books should be about. Azzarello and Risso tell a great story with a clear beginning, middle, and end without talking down to the reader, while also delivering some highly memorable moments. Every aspect of this miniseries has been excellent, but the last scene is particularly haunting. If you've missed out on this book, you should rectify that oversight as soon as possible.

Deadman and the Flying Graysons #2 is an alright comic book. It's not amazing, but it's also not terrible. While things come off as a bit rushed, if you can see past these shortcomings, there is an interesting story in there that could be worth your time.

It pains me to say this, but this title just isn't interesting. I am a pretty big fan of Jeff Lemire's work, but his skill as a writer doesn't seem to be coming through here. It's almost as if he's trying too hard for Frankenstein and company to be crazy and exciting, and it doesn't feel genuine. I've tried to give this title a fair shake, but I think this is it for me.

Even from this one issue, it's clear that Keatinge and Campbell have a big story on their hands with a clear end point in mind. With that end coming with issue #34, we'll be able to see how it all plays out sooner rather than later, which has its pros and cons, but I'm mostly happy to have discovered this gem. This series is great fun and reading this one issue actually got me so excited about the book that I read through Keatinge and Campbell's entire run from issue #23, which is just as good. I can't recommend this book highly enough.

Green Arrow has floundered since the New 52 reboot (and had been floundering for years beforehand as well), but the simple announcement of Jeff Lemire and Andrea Sorrentino to this book showed a certain resolve to right the ship. We're only one issue in, but already the title feels far more interesting than I can remember it being in recent memory. It looks like these two gentlemen may have hit the sweet spot.

Green Wake is a really dense book that is packed with intrigue, character work, and mystery. The first arc proved this without a shadow of a doubt, and it looks like this second arc is going to be more of the same, which is a good thing. If you haven't had the pleasure of reading this title, I would strongly recommend giving Green Wake #6 a shot.

While there are some missteps along the way, on the whole Grim Leaper has a lot more good than bad. And when you consider the fact that you're getting 27 pages of comics (spread across the main and backup stories) for a scant $3.50, that's a deal that's well worth your attention.

Grim Leaper is currently trying to do too much with too little space. There's a smorgasbord of ideas here, but none of them have enough space to really shine. However, I'm hoping that, as this is a limited series, Wiebe will manage to wrap these loose threads back into the main narrative as we move forward. There was certainly a few hints that that might be the case. Now we just need some concrete action around those possibilities. Also: you should totally buy this to support Ryan K. Lindsay's story, because Ryan's a great guy! (also also: because he writes pretty good comics!)

If you're into war comics, dinosaurs, and fisticuffs, there's a lot to like in Half Past Danger #1, but if you'd like a bit more in the way of story to go along with that, you might come away from the issue feeling a little underwhelmed, left instead with the promise of more in the issues to come.

Minor missteps notwithstanding, Halloween Eve is something special. A modern day A Christmas Carol with some Wizard of Oz thrown in for good measure, Montclare and Reeder have created a sweet little story that can be appreciated by readers young and old. As I said earlier, Halloween stories do seem to be increasing in popularity, and if they can all be as genuine and enjoyable as Halloween Eve is, I can't wait to read them.

The book closes on Happy yelling at Nick to "Pay attention to the talking horse!", and I would give you the same advice. It's still too early to completely understand what's happening in Morrison and Robertson's Happy, but it's definitely looking to be something worthwhile. Like the best Morrison books, it has its fair share of action-packed scenes, but there's a lot more to Happy than mindless violence, which I'm thankful for.

This is an excellently conceived comic book. Fraction, Aja, and Hollingsworth combine for a Hawkeye book that is unlike anything else available right now, placing the focus squarely on the life of a superhero in-between their superheroic activities. I admire their zest for the mundane, but I'm not yet convinced I need to see more of it. We shall see.

Matt Fraction, David Aja, and Matt Hollingsworth are doing some really cool things in this book, all of which add up to make it well worth your while. Whether you're a fan of the creators, character, or superhero comics in general, you should give this title its fair shake, because it's doing some exciting stuff, all while telling interesting stories.

This book remains one of the best - and funnest - Marvel has on offer.

I look forward to Aja's return, as he, Fraction, and Hollingsworth have a chemistry that appears difficult - if not impossible - to recreate. This two part story had some enjoyable moments, but it missed more targets than it hit.

This book is packed with greatness and you should be reading it. There's no excuse not to as far as I'm aware. The only thing about Hawkeye #6 that I'm not wild about is the issue's cover, and that's mostly because it eschews the purples that have been so present inside and outside the book itself. The rest of it is gold, so get on that.

The fact that Fraction is donating his royalties from this issue to Sandy relief efforts only makes this issue easier to recommend. Hawkeye #7 approaches the serious topic of Hurricane Sandy as only Hawkeye could - with a delicate balance between levity and earnestness - and it hits the marks (sorry about that).

Hawkeye #10 is a good comic, but I'm not sure if it's necessarily a good Hawkeye comic. Tragedy and pain is always bubbling under the surface in Fraction and Aja's pages, but here they burst through, taking centre stage. The sudden difference in tone and focus makes for a somewhat odd reading experience, to say the least.

Matt Fraction, David Aja, and Matt Hollingsworth deserve plenty of accolades for going out and trying something like this. Especially because they stick the landing so very well. Pizza Dog was already one of the best supporting cast members in the Hawkeye book, but with this issue, it's clear that he's also a deep and well-rounded character that just so happens to be a dog.

While it's always a good thing to check out new books, this is one that isn't really worth your time. Neither Fialkov nor Oliver's skills really shine through here, leading to a comic without any clear sense of direction that simply falls flat in its execution. Sorry He-Men Nation.

You should really give this series a chance. As much as it focuses on MMA fighting, it's really a character story, and Oren Redmond is worth reading about. Besides, there will only be 4 comics to pick up, and thus far, it's been really, really good. It's a nice change of pace from most of what you'll get in your local shop, so take this book for a spin.

Butler and Mellon's work continues to roll right along. After a minor hiccup last issue where things were a little too similar to Chuck Palahniuk's best known work, everything seems to be back on track as Oren works his way into trying to make something of himself.

I don't know how many people were following this series, but it wasn't nearly enough. Blair Butler and Kevin Mellon set out to tell a story about a young man's short time with MMA fighting, and that's exactly what they did. There's a lot to be said for a book that knows what it wants to do and goes out and does it really well. I wish there were more books like Heart coming out right now.

Visually, Helheim #2 is a home run. Jolle Jones and Nick Filardi are a potent team, giving the reader a barren, yet gorgeous land of snow and cold populated by vikings and all sorts of badness for them to fend off. The fights look cringe-inducingly wicked and are a true highlight. However, Cullen Bunn's script feels a little light this time around. It leaves you wanting more, but that's because of how little you actually get. One or two issues of this isn't so bad, but hopefully he's a bit more forthcoming in future chapters.

Mike Mignola's return to writer / artist duties on the character that made him a comic book icon is just as great as you would hope. Seriously, the whole thing is so seamless that it's almost like he never stopped doing interiors. Hellboy in Hell is classic Mignola, offering beautiful art coupled with a challenging story that yields no easy answers.

Beyond that last minute stumble, this was a great first outing for a new series. I came into it with no expectations, and Sebela and Moustafa really wowed me. They hit with a solid premise and follow it up with an even better execution, with both the writing and art being some top notch stuff. If that's not enough to convince you to check it out, let me reiterate that the whole thing is only 99 cents. That's right, you get an excellent 15 page comic for pocket change. You can't find that kind of value anywhere else noways. I'd definitely suggest checking it out.

That being said, this is still an excellent comic by a great creative team. I've been enjoying each issue of Christopher Sebela and Ibrahim Moustafa's High Crimes, but it really feels like they have found their stride here. Confident storytelling is tied with wonderful art, I cannot wait to see what comes next, and as always, the 99 cent price tag is mighty hard to beat.

Infinite Vacation has taken a mighty long time to reach its end, but now that we're here, I can say that the wait has been worth it. Nick Spencer and Christian Ward's story of multiunverse jumping adventure and romance receives an excellent conclusion that is greatly improved by the extra page count.

As you can see, I'm a little conflicted here. The slow pace, clear predilection for writing for the trade, and the high pricetopage ratio are definite turnoffs, but it's not all bad. Jim Lee's art is terrific (even if I didn't really mention it at all above), the action is solid, and there are some genuine character moments buried underneath it all. I'd say if you can swallow the ridiculous price, then why not? Otherwise, waiting for the trade is the way to go. They way this thing's getting written, there can be no doubt that one is coming.

This issue was easily the most value per dollar of any of the Justice League issues thus far, but it feels like too little too late. The only part of the main story that really grabbed my attention was the last page, and while I thought that moment was pretty cool, one good page isn't really great motivation to come back for more. I feel like it's a bit representative of the arc as a whole. There was a lot going on, but very little of it was really worthwhile. With that in mind, I can't say I'm terribly eager to keep buying this series.

The main story won't blow you away, but it won't let you down either. And with the Billy Batson backup, you're getting 32 pages of story for your $3.99, which is mighty rare nowadays. The value's alright, but there are definitely better books out there.

There are some moments that are a bit of a slog to get through, but as I said, it's clear that Lemire is bringing his signature great ideas to this comic. With so much exposition out of the way, I imagine we'll get a lot more of the good bits in the coming issues. I know I'll be giving them a look to see what comes.

Lazarus is some absolutely brilliant science fiction on the part of Greg Rucka and Michael Lark. We're only starting to understand the world that Forever lives in, but it looks to be an incredibly fascinating one. It's hard to not want to know more about what's going on, and like any good science fiction, it looks like Lazarus will have some interesting things to say about our own present-day society. I'm definitely ready for more, and next month's issue can't come soon enough.

The Prayer of Neferu is an enjoyable done-in-one romp that hits a lot of the right notes, but it doesn't do much more than that. If you're jonesing for a good adventure yarn, you could do worse than this story, but it isn't the most memorable of Lobster Johnson's stories.

This opening chapter is a bit of a let down, but considering Wood's other work and the reveal we get towards the end, it feels like there's something more going on here. I'm unsure if that will be enough to bring me back for a second issue, but Ming Doyle's art just might.

The writing isn't anything special, but Alex Ross' art is. If you have any fondness for Ross' work, then this becomes an easy recommendation, as Ross displays the same flair and panache that he has in past projects but now featuring a fun collection of some of the great pulp heroes of yore. Masks doesn't look like it'll go down as a classic, but it definitely seems like it'll be fun.

I am quite frustrated by Alex Ross' non-presence on this book (as you may have gathered), but the fact remains that, while Masks has a cool concept behind it, the execution is lacking, and there's no real motivator to stick around to see if things will improve.

Like most of Monkeybrain's offerings, Masks & Mobsters #9 is high on both quality and value. This series has routinely been one of the most enjoyable ones that the publisher has put out, and issue #9 is no exception to that rule.

This is a great comic. The only thing keeping me from putting Mystic down as a Must Read is that it might not be for everyone. It is an allages comic, which is a turnoff for some (though I can't understand why), and it is very different from mainstream comics. I'm not kidding when I say it reminds me of Dickens, because this book has more in common with Victorian Literature than modern superhero comics. In my mind, that is a good thing. If you agree, I would wholeheartedly encourage you to get your hands on this book. You will not be disappointed.

This comic is great storytelling. There's a lot of classic conventions being put to work here, and it's all coming together to make a whole that is far greater than its individual parts. I would put this comic in line with some of the better Disney films. It's the type of story that has a sense of timelessness to it, and I imagine it could be enjoyed for generations to come if it were better known.

Jeff Lemire and Cully Hammer combine for a really enjoyable read that is a nice change of pace from the regular DC-fare: a deliberately paced, slightly supernatural mystery starring a pretty regular joe lead. The ending is the only part I would call a little rushed, unnecessarily eliminating what could have been an interesting plot point, but considering this might be the only story Kid Eternity gets, I can't really hold it against them.

Looker wasn't quite as thrilling as last month's Eternity, but that's to be expected with this kind of book. Some months will be hits, some months will be misses. I'd say that Looker falls somewhere in between. I wouldn't buy this book on a monthly basis, but I was happy to have read this done in one story.

This is classic comic book fun. O.M.A.C. won't necessarily have you pondering the deeper meanings of life or whatever, but that's fine. Not every book needs to be infinitely complex, and I'm happy to have more low key books like O.M.A.C. to kick back and relax with.

This opening issue is the perfect balance between whimsy and reality, and they can keep this up for the rest of the series, Peter Panzerfaust is going to be something special.

And that's me for the week. How were things by you? I'm always interested to hear your thoughts on books, but I'm particularly curious how you found the Batman annual. Would you echo my assessment or am I being way too harsh here? Let me know what you think in the comments, should you be so inclined.

Peter Panzerfaust continues to impress with its imaginative reinterpretations of both a literary classic and one of fiction's most common historical events. Kurtis J. Wiebe and Tyler Jenkins make quite the storytelling team, and the addition of Heather Breckel to the fold is a good one. Julien's story has gotten off to a good start, and the book's cliffhanger definitely leaves me wanting more.

I'm still really digging this book. Ken Garing is offering the comic book world a type of science fiction that few others seem interesting in creating at the moment, but more importantly, Garing is doing a fabulous job of telling his story. With his gorgeous art and uncanny ability to create stunning vistas, I'm only getting more excited for this book.

Ken Garing's Planetoid is truly something special. Garing is telling an engaging science fiction story of survival and triumphing over adversity, and one of the most exciting parts is how the emphasis of each issue has changed while still remaining true to the wider narrative. Judging by the closing page of the issue, the greatest challenges for this new stage of Silas' life are yet to come, and I'm excited to see what happens. Good on you if you're already reading this. If not, you can buy this full-colour, ad-free, thirty page beauty at your local shop or online at Comixology.

Planetoid has been one of my favourite finds of 2012, and issue #4 has the same level of quality as the first three issues. This series refuses to stand still, offering something new each and every issue while still maintaining a strong sense of continuity from one to the next. There's been some problems with delays, but I'll be ready and waiting for Planetoid #5 when it hits stands.

Planetoid has been a great pleasure to follow. Ken Garing has slowly built this wonderful story up over the course of these five issues, and while I'm sad to see it end, Planetoid #5 was a great note to go out on. There were a lot of great moments in this issue, and they will not be soon forgotten. It was brutal, it was harsh, and it was beautiful.

Polarity #1 is a promising start from Max Bemis and Jose Coelho. There are some missteps, but for Bemis' first comic book writing credit, the good far outweighs the bad. It looks like things should go up from here, so if you like weird in your reading, you should give Polarity a try.

Max Bemis and Jorge Coelho continue to bust out the jams in Polarity #3. Their book hit the stands with the big idea of bipolar disorder being the source of a man's superpowers, but in the subsequent issues, they've proven that Polarity is more than just a cute concept. This is a solid book, and with the conclusion looking to be bigger and better than everything that's come before, you should definitely be giving it a look.

If you are looking for a fun, doneinone issue that requires little to no prior knowledge, this book is for you. It's maybe not much of a conclusion for the Power Girl series, but it does an amazing job of capturing the feel of the book, which is worthwhile nonetheless.

Rucka and Checchetto's Punisher is one of the rare comics that demands rereadings to catch everything that's going on. In a time when people often complain about the price of comics (with myself firmly among that group), having a reason to spend more time with one's books is always a good thing. Unlike Blue Beetle, there's nothing simple here. This book has a clear direction that it's headed in, and I can't wait for it all to come together.

I came into this book with the absolute wrong expectations, and it blew me away nonetheless. It may be the first week of January, but I'm prepared to call this a very early contender for issue of the year. Even if you aren't following this series, you should give this issue a look. It'll be well worth you while.

This is a beautiful, well-written, and engaging issue that demonstrates just how well Ruck and Checchetto work together. Rucka's trust in letting Checchetto's pictures tell the story pays off over and over again as the issue progresses. I never thought I could like the Punisher this much, but here we are.

This series continues to deliver and it doesn't look like it'll be slowing down anytime soon.

This issue is kind of the perfect storm for me. I really like Greg Rucka, I really like done-in-one comics, and I really like this iteration of the Punisher. Taken all together, I can't help but ask what's not to love? It's not quite as good as the Ozzy-centric issue, but it still makes for a great read.

Greg Rucka and Marco Checchetto's Punisher has been one of the best books coming out of the Marvel offices this past year. Frank Castle's actions and his world have been depicted through a serious lens that does not ignore the consequences of his deeds, and the story has been better for it. It will be a sad day when Rucka's run on the character ends with the Punisher: War Zone miniseries - a day made all the sadder by Checchetto's absence.

Greg Rucka and Marco Checchetto's work with Punisher has been some of the best stuff to come out this past year, and Punisher #16 is no exception. The issue, like the series as a whole, is built on its terrific character work. Whether it's Frank himself or the people who have found themselves caught in his orbit, this book is all about who these people are and why they do what they do. That's what's made it special, and that's what makes this issue a must read.

It's only one issue, but thus far, Punisher: War Zone doesn't feel quite as strong as before. It might simply be the adjustment to the bigger cast combined with the switch in artist, but Frank Castle's world suddenly seems safer and less dangerous. There are certainly exceptions, but I hope they'll be a little more common in upcoming issues.

Written by Greg RuckaArt by CaPunisher: War Zone hasn't quite been on the same level as Rucka's colonless Punisher, but this concluding issue is the best of the bunch. The writing and art are the best we've seen these past five issues, but there are still a few missteps that hold this conclusion back from being something truly great.rmine Di Giandomenico

Sean Murphy's new Vertigo series is a great success. He's giving readers a multi-faceted story with lots of different moving parts and interesting characters populating the world. Of course, the whole package looks amazing due to Murphy's great drawing talents. Each and every issue will clock in at 32 pages, and it's definitely a nice change of pace to get so much substance in one single comic.

Sean Murphy's Punk Rock Jesus has been a really enjoyable book - especially for one of his first major writing efforts - but the narrative stumbles as it reaches its conclusion. For a book that's been so critical of Christianity and religion in general, Punk Rock Jesus has been awfully preachy, and while that's fine to an extent, this black and white comic could have benefited from a few more shades of grey.

This comic is enjoyable, but unless you're a big Red Sonja fan, it's not quite enjoyable enough. It's nice that Simone and Geovani present Red Sonja as a badass woman warrior who is equal to any man (her bikini armour notwithstanding), but the fact remains that this comic never really differentiates itself from its ilk or offers a reason to come back for more.

Rocket Girl #1 is a really fun piece of comics. It's a semi-lighthearted action-adventure time travel piece with a female, teenaged protagonist, but despite how complex and perhaps even awkward that description may sound here, everything seems to fit in the book itself. Brandon Montclare and Amy Reeder past collaborations and familiarity with one another is abundantly clear, as they've produced an opening issue that aims to please, hits the mark on all counts, and promises more to come. Simply put, it works and you should give it a chance if you haven't already.

I don't think it'll come as much surprise to you to hear that I loved Saga #1. Brian K. Vaughan and Fiona Staples manage to give the reader both an engaging story and a living world for it to take place in over the course of this opener. As I said, this is definitely a love story, but it's also so much more. There's every reason to give this guy a chance, so why don't you?

The creative names on the cover should be more than enough to convince you to pick this up, let alone the great work that they're doing inside the cover. Should you need more coercing, consider that the book is $2.99 for 22 pages of story with NO ADS. None. That's enough to get me to buy most anything, and when it just so happens to be the best new book of the year, that's even better.

Brian K. Vaughan and Fiona Staples' Saga continues to be the best new book of this year. Vaughan is bringing all of his previous experience to bear on this new universe and story that he's telling, and Staples' art continues to be filled with style and panache. Every issue of this series is a joy, and I don't image that will be changing anytime soon.

This series is not losing any of its momentum or quality. It seems to be getting better and better every issue. You should be reading this, and if you've been trade waiting, you're in luck, as the collected trade will be coming out in October while the series takes a short break for Staples to get back up to speed.

Guys, Saga is amazing. You should know this already, but I'll happily continue talking about it just in case you've somehow missed out on the joy that is this book. Don't feel bad if that's you, because it simply means that you get to experience Saga for the first time, something that I'm jealous of you for.

The first issue of Severed is a little hit and miss. The writing leaves something to be desired, while the art is absolutely gorgeous. Snyder, Tuft, and Futaki write at the back of the issue that the series is meant to be a slow burn, so I imagine that things will pick up. However, it is kind of disappointing that the first issue doesn't quite manage to stand on its own.

This comic subscribes to a style of storytelling unlike any mainstream book that's coming out right now. The slow pace could be confused for decompressed storytelling, but unlike those stories, here in Severed every panel and every word is important. Things are building slowly, but there are building towards something big. I'm already getting squeamish reading this title, and things have barely gotten started. I am both excited and reluctant to see what comes next for Jack and Sam.

I'm really happy that I took a chance on his series when it was first announced. While Scott Snyder often gets me on board without too much difficulty, this is quite different from his other works right now. One of the best parts of this series has been reading it as a monthly, as it makes the sometimes unnerving cliffhangers last even longer. Can't wait to see how it all gets tied up next month.

The framing narrative leaves a little to be desired, but the main story fires on all cylinders. Things are brutal, exciting, and the reader is always left guessing as to how everything's going to finish. The underwhelming conclusion certainly doesn't take away from what the team accomplished throughout these seven issues, but it is a little unsatisfying.

I'm glad that Zub and Huang continue to offer others the chance to tell these "Tavern Tales", as they like to call them. It's a fun chance to get some oneoff stories, featuring familiar characters, that have a bit of a different spin to them. I don't know if they'd be able to convince new readers to jump on, but it makes for a fun read nonetheless.

This issue is classic Skullkickers through and through, and I can't wait to have more next month.

Skullkickers is still one of the most fun and entertaining books coming out on a regular basis, and this issue is a particularly strong one from the book's creative team. Zub, Huang, and Coats bust out the big guns, and the end result is a terrific conclusion to what has been an excellent storyline. I can't wait to see what comes next for the book's leads.

Sledgehammer 44 has been an entirely enjoyable look into a heretofore unexplored portion of both the Hellboy universe and Mike Mignola's storytelling. The great focus on science fiction over fantasy (although it does rear its head in this issue) has been a nice change of pace for Mignola and company, with Jason Latour really shinning out as the high point of this particular collaboration. This is easily one of the best two-part comics I've encountered in recent memory. I urge you to give it a look if you haven't already.

As much as I've enjoyed some of Azzarello and Risso's other work, this one is not working for me. Maybe it'll read better in trade, but I'm done for the moment.

Spencer's sense of the characters seems to already be fully developed, and his use of parallelism throughout the comic works really well. Rios's art is simply mind blowing. The layouts she uses in the issue are innovative and equally true to who the characters are (I'm thinking particularly of the first three pages and the twopage spread towards the end). The way they work together makes it feel like they've been collaborating for years and not a single issue. This book should become an ongoing immediately and you owe it to yourself to get in on the ground floor. You won't be disappointed.

This miniseries wasn't bad, but it just didn't have all that much going for it to separate it from all the other books that came out at the same time. If you're looking for a badass female hero who can dish it out with the rest of them, then you'd be wellserved to give this book a look, but if you're hoping to find some quiet character moments along with those action scenes, you'll probably come away a little disappointed.

This issue is fun, but it is just too short to warrant the cover price. There seem to be some fun ideas bubbling just under the surface, perhaps to emerge in a later issue, but that doesn't give any reason to pick up this issue in particular. Should things pick up, waiting for the trade might be a good idea, but I can't see any reason to buy this in single issue.

This might sound silly, but Brian Wood and Carlos D'Anda's Star Wars is a great Star Wars story. But perhaps more importantly, it's also great comics. These two seem to be building some high stakes through the multiple narratives they have on the go, and I can't wait to see what they'll end up with.

Greg Rucka is a writer you can trust, and he proves why that is so once again here with an excellent opening issue that gives a lot of clues of what's yet to come but still leaves you begging for more. Matt Southworth and Rico Renzi do a brilliant job as Rucka's artistic collaborators, giving Stumptown that gritty yet gorgeous look that made it so recognizable last time around. Go out and get this title. You won't regret it.

This second volume of Stumptown is really a whole other beast from the first. But again, that's not a bad thing. Greg Rucka and company are bringing a different vibe to the continuing adventures of Dex Parios, and it's a welcome change. We're getting bits and pieces of a much bigger puzzle here, so each chapter feels like it imparts a little more information for us to understand the mystery, which makes the reading experience that much richer.

This comic is a testament to how words and image can build on each other to create something that truly could not could not exist in any other medium. I had assumed that this would be the final issue of this volume of Stumptown, but the ending makes it pretty clear that that simply isn't the case. I'm thrilled that I was mistaken, because this is an amazing issue, and I'm eager to see what Rucka and Southworth follow it up with.

If you've come this far, you might as well pick up the final issue of the miniseries, but I would not recommend this as an introduction to the world of Stumptown. The story has been a little on the slow side, lacking much in the way of tense moments where one can be genuinely fearful for the characters and their well being, and that doesn't change here. Unfortunately, the art continues to do so, making for another issue that doesn't really fit in with any of the other ones before it.

Suicide Risk #1 is a mighty enjoyable read. Mike Carey and Elena Casagrande combine to give us a brand new world of heroes and villains that feels deep and real, with some mysterious hooks that really grab you. It's also nice to see original content coming from Boom!, which has often been more focused on (admittedly great) licensed content. Here's hoping that future issues live up to the strong start we have here.

When so many of DC's books feel like they're stagnating, it's nice to see something like Suicide Squad #20 upping its game. This issue is a lot of setup, but it promises some mighty interesting moments to come. Ales Kot and Patrick Zircher are creating a well-told cape story, which is always a welcome sight.

It's a little early to make sweeping claims about this title, but The Superior Foes of Spider-Man is off to a great start. This book is a lot of fun, a great look at the other side of the superhero coin, and it looks like it's going to have a lot of heart. I can't wait to see more.

From what I could pick up, things look pretty interesting from a writing perspective, but if you haven't been following the series, it will probably take a while to figure out what's been happening. As great as Scott Snyder is, the real reason to be reading this title is for Francesco Francavilla's amazing art. As per his norm, it's some stunning stuff that really carries the book.

This is a really good comic, which considering that it's being penned by Jeff Lemire, shouldn't come as a huge surprise. However, as I say above, this is also a big departure from what he's been doing thus far in Sweet Tooth, and no matter how good the issue is, it's a little distracting to find a story that has almost no relation to what you've been reading for twentyfive issues. I'm excited for what comes next, but I feel like the transition could have been handled a little better.

Sweet Tooth #27 succeeds in a number of places where American Vampire #20 fell short. A lot of the same things are going on here, but it seems far more relevant and interesting in this book. To be fair, it's worth noting that Lemire actually does seem to be building up to at least a partial explanation of how the virus first began. There are still a few pieces of the puzzle that are yet to be revealed, but it genuinely feels like we're getting somewhere.

The Taxidermist was an excellent side story that ended up adding a lot to the main narrative that Lemire has been slowly developing. After reading this, I cannot wait to get back into the swing of things with Jepperd, Gus, and company. It's going to be something else.

Sweet Tooth #35 is a great addition to the series' overall story, but it's also a really exciting use of the comic book medium. Jeff Lemire's dual-stories could not exist in the same way in any other medium. The fact that he can both add to his own narrative and push the boundaries of comics at the same time is nothing short of extraordinary. You should already be reading this series, but you should definitely be checking out this issue.

Jeff Lemire is really good at this whole comic book thing, and Sweet Tooth continues to prove that on a monthly basis. This issue is jampacked with character and events and explosions, and it's all super well done. More importantly, however, is that Lemire uses all the work that he's done in previous issues to make these things even more exciting and even more meaningful. But if you've been following this series, you should already know that. If you haven't been following it, make sure you follow through on your trade waiting, because Lemire has been killing it on this book.

This is Jeff Lemire's goodbye to Sweet Tooth and its characters in more ways than one. He uses this issue to write a heartfelt farewell to the world that he's created, and in the process, gives readers some amazing insight into how the adventure we've followed has impacted those who lived through them. When so many stories choose instead to leave that to the reader's imaginations, Lemire manages the opposite in a surprisingly satisfying manner that still leaves room for interpretation.

I would urge you to give this book a chance if you haven't already given it a look. The current storyline began in issue #7 and has been incredibly approachable for new readers. Virtually everything Nick Spencer touches these days seems to turn to gold, and T.H.U.N.D.E.R. Agents is one of the best examples of why that's the case. Every issue has made for a great read, and the only thing holding this back from being Must Read is the loss of CAFU and those extra pages.

It's only one issue, but it really feels like Spencer has regained his stride. It picks up exactly where T.H.U.N.D.E.R. Agents #10 left off, but it also feels like the series is getting some real direction again, which is a welcome sight. I can't wait to see what comes next.

I loved Nick Spencer's initial run with these characters, but it feels like he's going through the motions this time around, and the experience isn't terribly enjoyable.

As I think I've made abundantly clear in the words above, there are a lot of problems with this issue - and the series - as a whole. That being said, Nick Spencer's writing in this issue has me interested in what will happen next, which hasn't been been the case for earlier issues. That may be somewhat damning praise, but that's the kind of book T.H.U.N.D.E.R. Agents has been.

This is a story of high adventure, where moral dilemmas are pretty black and white (with that assumption being put into question towards the end of the issue), and it's an awful fun adventure to be on. Knowing that Fracesco Francavilla did every single part of the comic - from writing to art to colours - on his own makes the entire endeavour that much more impressive. The Black Beetle is clearly a labour of love, and it reads that way.

Francavilla has introduced a new superhero character who plays with the tropes of the genre while mixing in those of noir stories that are of such importance to the creator. There's a lot to recommend this book, including the strange and enigmatic villain who seems to be at the centre of everything for reasons that are yet to be explained but appears incredibly intriguing. We'll be incredibly fortunate if the remaining three issues of this mini can maintain the same level of quality that is found in this opener. Black Beetle is clearly a labour of love, and the results are a story that is incredibly enjoyable to read.

The Cape plays with a lot of the tropes we're familiar with from superhero stories, but it continuously turns them on their heads. However, subversion for the sake of subversion can only take you so far, and everyone working on this book seems to recognize this fact, taking it that extra step to make sure they're also telling a worthwhile story. Which they are.

It's tempting to pass over The Creep #0 because it might not be as flashy as other comics on the stands, but this would be a big mistake. While recently John Arcudi has perhaps been better known for his work with Mike Mignola, this comic quashes any doubts people may have had as to whether he can still run a story on his own. He can and he does. The decision to Johnathan Case on board was an inspired one. This guy is something special.

The End Times of Bram and Ben is a lot of fun. The book is steeped in religion and Christianity, but it's not concerned with who's right and who's wrong. Instead, it's content to explore the narrative possibilities and humour in the situation its creators have whipped up. The book is irreverence without reverence, and I can't wait to get my hands on more.

The End Times of Bram & Ben is a heck of a lot of silliness and fun. The book's creators put the Christian apocalypse story to excellent use in their comedic tale of two roommates taking opposite sides on the road to the end of everything. With next issue set to feature Burning Bram, an outdoor concert featuring 66.6 hours of revelry, I imagine things will only be getting better.

Art Baltazar and Franco have combined for one heck of a first issue here, taking the somewhat questionable concept of teenage trillionaires and making it into something worth reading. The cast feels quite complimentary, the book looks great, and the conflict is interesting. This is a great start to a new series, and I'm eager to see where it goes.

Despite my excessive slagging in this week's Previews, The League of Extraordinary Gentlemen: Century 2009 was a lot of fun. I only had time to breeze through it for this review, and while that was far easier to do than I was expecting, I'm also excited to spend some more time with this title to really get at the deeper themes that Moore and O'Neill are getting at. They look to be equally fun (or at least rewarding). This is the kind of story that first got me interested in the League.

There's a few instances where the dialogue feels a little off, but on the whole, this is an excellent first issue that's lots of fun for readers old and new. Just be sure you're ready to deal with gore and violence, because they definitely did not forget to bring that back either.

Brian Wood and Kristian Donaldson put a strong foot forward for the first entry of The Massive. The issue has a nice balance between action and exposition to both grab the reader and explain to them what the hell is going on. There's also a few paratexts at the end of the issue that hints there may be a little more to this environmental group than meets the eye. All in all, I'm quite excited to see where this story goes.

There are some interesting ideas at play here - probably a few too many, to be honest - but none of them get anything near enough space to properly develop into something more than ideas. The end result is a confusing story that doesn't really add up to anything. It also doesn't help that the book is aesthetically took dark for its own good. Considering the creators at work here, The Movement could very well improve, but there simply isn't enough to warrant sticking around to find out.

The story is a little on the short side, but at 99 cents for ten pages of story, it's still a heck of a deal. The whole thing, whether the writing or the art, is deceptively simple, but I think some great things are on the way from October Girl. This issue looks like the start of something exciting, so I'd get in on the ground floor if I were you.

The Private Eye, as the title suggests, is a classic PI story, but at the same time, almost all of the elements feel somewhat out of wack. Nothing quite fits where it should, yet it all feels just right. Vaughan, Martin, and Vicente have come together for an opening chapter that is equal parts mystery, adventure, and societal study, and it looks like their 10-part story is going to be a real humdinger. And again, at pay whatever price you want, there's no reason not to give this one a look.

While not quite as action-packed as the opening issue, the story still continues along at a quick clip, with lots of opportunity to learn more about Patrick Immelmann and the growing mystery he's seemingly gotten himself mixed up with. The writing and art remain so sharp you could bleed, and the cliffhanger they have to close things out is arguably better than last time's.

If you're a Rocketeer fan, you'll probably dig this comic far more than I did. Otherwise, you might be better served looking elsewhere for your comic book adventures. Waid and Samnee do a fine job, but considering their past work and comic book credentials, I feel like this issue could have been a lot better. As it stands, it's a decent begging to the story, but it doesn't distinguish itself from all the other similar books that are also on stands.

There's a lot to like about Rocketeer: Hollywood Horror #1, but unlike the series' titular hero, the story doesn't quite soar. There's a bit of sputtering and stumbling that keeps the comic grounded. That being said, things may yet turn around and this book could still reach new heights.

X-Files Season 10 #1 is a solid opener for Joe Harris and Michael Walsh's run on the book. They throw the reader right into the deep end, with things look grim from page 1. However, they soon offer a life-preserver, pulling back for some background information to help provide some context to the harrowing experience that is the book's first few pages. So by issue's end, all the craziness feels like it makes a bit more sense, but the reader is still surrounded by questions and mystery that will have to be answered in following issues.

X-Files Season 10 #2 keeps the momentum from issue #1 rolling " and then some. The mystery continues to build, but there's a real sense that it's actually building up to something. It's my understanding that Joe Harris and Michael Walsh are going for short, inter-connected arcs, and I'm mighty interested to see how all these pieces end up falling into place.

Theremin is a thinking man's comic. It isn't always easy to read, preferring to challenge the reader, but I must say that, thus far, it's an interesting challenge. Within the prose at the back of the book, Curt Pires writes that he hopes Theremin will find a community of fervent followers who really connect with the book's contents. He admits that he's too close to the product to know if it'll succeed or not. I don't know either, but you can count me in. I want to know where this crazy comic is going, and at only 99 cents for the first issue, it's definitely worth a look to see if you might want to know too.

Time Warp #1 is a little pricey at $7.99 for 72 pages of comics, but it's nice to get so many different stories - especially when they're all so good. No one called it in here, with every creative team doing their utmost to put their best foot forward. This is an excellent example of why I think anthologies are great, because there are lots of fun stories here and they most likely never would have been told if it wasn't for this collection. I hope Vertigo keeps this kind of thing up moving forward.

Uncanny X-Force does not look like it will be a retreading of what Rick Remender did on the book, which is good news. We've already seen what Rick Remender can do, something which Sam Humphries and friends seem to be acutely aware of. There's definitely links between the two series, both tonally and in the characters involved, but it looks like we'll be getting a completely different take here. Fortunately, it looks like it will be just as enjoyable as the last run - just in a different way.

I know it's supposed to be dramatic, but it feels regressive to me.

There are definitely some missteps in this opening issue, but I feel that Whispers #1 was a success in spite of those problems. Luna takes some risks here, and while they don't all pay off, I appreciate that he's trying something different from the norm. It wasn't perfect, but I will give issue #2 a chance.

Wild Blue Yonder is yet another welcome entrant into the many creator owned books we've seen released lately. Mike Raicht and Austin Harrison's setting is wonderful imaginative and they seem to have a narrative up their sleeves that is more than equal to that initial idea, Zach Howard's art and pacing is spot on, and while Nelson Daniel's colours are perhaps a mite darker than necessary, they still make the book sing. You would do well to check out Wild Blue Yonder; it looks like it's going to be something special.

Like many, I saw Winter Soldier #1 as a tryout from Brubaker and Guice to try to sell me on the series as a whole. At issue's end, I'm definitely sold. The story's engaging, the action is thrilling, and the art is perfect. This is a great start, and I will be back to see what comes next.

A book that has the Red Ghost as one of its villains shouldn't be this good, but don't tell Brubaker and Guice, because what they don't know won't stop them from making amazing comics.

This comic really is two incredibly talented creators (and their supporting cast) delivering an extremely well-constructed comic book that is an excellent example of what a gritty, hardboiled story should be. However, with the two being so well-versed in the genre, the entire thing is bordering incredibly closely on being too perfect, too clean. If you're a die-hard Brubaker fan or relatively new to the writer, there's a lot to love in this book. The same holds true if you're especially partial to Bucky and his ongoing adventures. For me, it goes over that edge, and I can't immerse myself in the world they're creating. You might not have the same problem.

It's still a little early, but it certainly appears that Winter Soldier is in capable hands. Jason Latour's story looks to have a good balance of superheroics and character, while Nic Klein's art is off the hook. I'll definitely be back to see how their collaboration evolves.

If you've been looking for a good Wonder Woman book to read heck, even if you haven't been looking for a good Wonder Woman book to read you should give this one a look. While the character is undoubtedly the heroine readers are familiar with, Azzarrello and Chiang have put enough of their own spin on Diana to breath new life into her and her adventures. This book deserves your time and money.

Azzarello continues to bring his A-game, but Wonder Woman suffers without Cliff Chiang's masterful presence. Fortunately, he'll be back next month to pick right up from this suspenseful conclusion. I can't wait.

I'm still thrilled to know that there's a Wonder Woman book on stands that is worth reading, and Azzarello and Chiang do not disappoint in the twelfth issue of their run. There's a new order of things in Diana's world, but things are far from over. As we move into year two, I'm excited to see what comes next, which is definitely a good thing.

Ken Garing's Planetoid is truly something special. Garing is telling an engaging science fiction story of survival and triumphing over adversity, and one of the most exciting parts is how the emphasis of each issue has changed while still remaining true to the wider narrative. Judging by the closing page of the issue, the greatest challenges for this new stage of Silas' life are yet to come, and I'm excited to see what happens. Good on you if you're already reading this. If not, you can buy this fullcolour, adfree, thirty page beauty at your local shop or online at Comixology.

Definitely worth reading if you're a fan of noir and pulp.

This comic was a lot of fun, and I'll definitely be back for part 2. My only complaint is that I had the poor timing to discover the joys of X23 right after its cancellation was announced. Oh well, that's just how things go sometimes. On the plus side, I can happily pick up the remaining issues knowing that I don't have to make a longterm investment in another title for my evergrowing pull list. It's not much in the way of consolation, but you have to take what you can get.

I'm still really enjoying what little time we have left with X-23, but I must admit that, while this is a good issue, it does suffer from minor missteps at various points along the way. It also probably would have been a tad more exciting if Marvel hadn't already told us a million times that Laura is going to join the Avengers Academy, thus rendering this issue's dilemma as entirely moot. Kind of takes some of the mystery out of things.

All things considered, this is a pretty decent introduction to the character and the series. Venditti and Nord really benefit from having 30 pages, as it enables them to take things a little slower than they could have otherwise, while still managing to get all the relevant details in there. I hope they can keep up this kind of pacing, because I found myself really enjoying it. It's a little early to say how this series will be in the long run, but I'm willing to stick around to see for myself.

ust as the story is getting back in gear, Garbett continues to do a great job on art duties since joining the team last issue. His clean lines convey emotion and action with equal aplomb, and I'm eager to see how things go as he becomes more familiar with the characters and universe.

Young Avengers is teeming with energy. Kieron Gillen and Jamie McKelvie are one of the most talented creator teams in comics right now, and it looks like they'll be laying it all down on the page in the issues to come. Add in some of the most genuine characters and inter-character relationships that you'll find in comic books, and it's hard to think of any reason to be missing out on this title.

Young Avengers is a master class in what superhero comics should be. You get the sense that Kieron Gillen and Jamie McKelvie care about these characters, and with all the work they put into this book, it's hard not to feel the same way.

DC's anthology books have often been a source of new creators and new ideas, but you won't find much of either here. To be honest, you won't find much value for money either, as the book's price feels grossly inflated considering the relatively small amount of pages within. You're actually paying more per page here than you would for a regular DC book (16.7 cents a page versus 15 cents a page). Don't even get me started on how this compares to DC's other anthology books.