Greg McElhatton Comic Reviews

"100th Anniversary Special: X-Men" (and the line of these "anniversary specials" in general) must have sounded great in the initial editorial pitch meeting. But after reading "100th Anniversary Special: X-Men" I have absolutely no interest in reading any of the others. It's a reverse "What If...?" comic, where readers are given an alternate ending to a story where we'll never get the original version -- and without a strong story, it's not fun at all.

I wanted to like "47 Ronin" #1 more than I did, but the writing needs to catch up to the art. It's not bad, but it needs to be a little more engaging to the reader. Right now, it feels like the visuals are doing all the work to bring people back for a second issue. This could be a lot better, and hopefully we'll get that soon.

After two issues of "5 Ronin," I can't figure out what the point of this series is, except perhaps to provide a venue for David Aja's gorgeous covers. I wish there was something more being offered up, but with "5 Ronin" it appears to be all about the art. Considering Milligan's has some great comics under his belt both past and present, this is a bit of a disappointment overall.

"A-Force" #1 is a triumph, taking a concept that could have simply been dashed off and then ignored and turning it into a book that I'd cheerfully read every month. Even if "Secret Wars" itself is unappealing, this book muscles its way into your heart through sheer quality. If there are any books that somehow survive the end of "Secret Wars," I'd love for this to be one. "A-Force" is an A-Plus.

"A-Force" #4 is in the tough situation of having to deliver a lot of plot in order to ramp up for a conclusion. I'm still eager to see an "A-Force" ongoing series, if only because Bennett, Wilson and Molina certainly dazzled me with the early issues. Hopefully, they'll get an opportunity to play to their strengths there; with "Secret Wars" miniseries all starting to wind down, though, the sudden conclusion looming around the corner does "A-Force" no favors. In the end, a great miniseries has ended up with an average installment here.

Ultimately, I wish the narration from Singularity had been dropped entirely from "A-Force" #1. You can still understand what's going on without it, and the disparate clash of her thoughts and dialogue would have never happened. Hopefully, they will get smoothed out a bit in future issues, but -- for now -- this issue is only alright. In order to stand out as an ongoing series, the writing needs to step up to the plate a bit more.

After a rocky start to the ongoing series, "A-Force" #3 settles in much better now and provides more of a reason to read the comic than just fond feelings for last year's miniseries. When the book debuted, I was less than enthusiastic, but I'm now firmly on board. All in all, a nice recovery.

If "A-Force" #5 is any indication, the series is in good hands. Thompson, Caldwell and Herring's first issue together is fun and exciting, even as there are strong character and plot hooks to keep readers coming back for more. I'm firmly on board.

In terms of story, "Abe Sapien" still feels like it's catering to the Mignola-verse completists. So long as that's enough to bring in the sales, fair enough. The big reason to read the title right now, though, is Fiumara's art, which is guaranteed to knock your socks off. If he and brother Max Fiumara keep trading story arcs as the main artist, nothing could happen for months on end and I'd stick around. If a Fiumara brother draws it, I'll read it. These two artists are just that good.

"Abe Sapien" #10 is a good issue, and more importantly it helps solidify the purpose of this series and where it's going. For a book with a protagonist that I've never cared that much about, "Abe Sapien" is rapidly becoming an enthralling read. The future of the world may still look awful in this fictional universe, but it's nice to see Abe making his way across it one town at a time.

"Abe Sapien" #13 is a good example of how this title has shaped up into something interesting and intriguing. At this point, I think it's safe to say that it's justified its existence. "Abe Sapien" is another strong monthly dose of horror, and now's a great time to find out for yourself.

Fiumara's art is the real attraction for "Abe Sapien" #17, at the end of the day. With a five-part story kicking off next month, hopefully the book will find some of its drive once more; doubly so with a spotlight on Grace just around the corner. This book has its ups and downs, but on the bright side, there's always something to make tuning in worth it. Still, I'd rather the book be great all around month-after-month; hopefully this was just a temporary lack of drive.

"Abe Sapien" has been a slow moving book for quite some time, but there's usually been some sort of character work to keep interest high. With even the characters at a standstill this issue, though, it's the art that pushes the title along. Hopefully some of those revelations are just around the corner because, while I can look at Fiumara's art and feel like I've received my money's worth, there does come a point where those answers need to be revealed before readers give up and move on. At the moment, "Abe Sapien" appears to be inching towards that point.

"Abe Sapien" #31 could have easily been a bit of a flop with its detour away from its main character, but Mignola, Allie and Fiumara instead present us with a dark and dangerous ride through a realm of evil. It's not something they could get away with every month, but it's positioned at just the right time and place to succeed. Where we go from here? Somewhere bad for Abe Sapien, but good for readers, that's for certain.

Still, things are definitely rolling ahead towards the big conclusion. Big turning points are hit here, and it's hard to not get a little excited about what's next in "New Krypton." There are numerous ways that I can see this story going, and I appreciate the fact that Johns and company have kept me from pointing at one and saying, "Yes, this is how it will all end." In many ways, "New Krypton" is to the Superman group of books what "Sinestro Corps War" was to Green Lantern's two comics; a creative kick in the pants that brings out the best in all comics involved. "Action Comics" #872 is easily the weakest installment of this story to date, but when your weakest is still a good (if not great) comic, that's a good sign indeed.

In the end, "New Krypton" succeeds as a good story, but it definitely lost a little bit of its punch towards the end; one or two less installments and I think it would have been fantastic from start to finish. As it is, it's still very good and I'm glad I read it, but that wow factor from the first few issues just couldn't make it to the conclusion. Then again, with all sorts of new wow events just around the corner as shown here, well, the good times are clearly going to keep on coming. With Johns taking some time off of "Action Comics" for the upcoming "Superman: Secret Origin" series, hopefully it won't be long before we see the follow through.

A year with no Superman in "Action Comics" or "Superman" is a risky move, but so far I'm really enjoying the new directions for these books and the Superman line in general. It's definitely an entertaining read, and there's enough to bring readers back for another installment. That's all you can really ask for, in the end.

At the end of the day, "Action Comics" #884 may be getting close to the end of the story of Nightwing and Flamebird, but I feel like it's a slightly missed opportunity. Continually shifting artists and crossovers certainly didn't help the title, and I feel like we're going to leave them knowing little more than we did at the start. Ah well.

Lex's specific quest for power might seem odd initially, but Cornell justifies it in such a way that it feels natural by the end of the issue. And with a passel of villains just waiting to tangle with Lex in the issues to come of "Action Comics," well, this run up to "Action Comics" #900 promises to be a blast. Cornell and Woods are working together like they've done so for years. Villainy has never been so much fun.

"Superman" might be having problems with fill-in writers and additional scripters getting added to the mix these days, but "Action Comics" is on fire. If you haven't already, check it out; this is a great place to start as "The Black Ring" enters its second half. Here's to Cornell and Woods being around for "Action Comics" #900 and beyond, because this pair have a great synergy going on here.

When "Action Comics" was announced as going Superman-less for ten issues, I think most people wrote the book off. What we're getting, though, is a continuing dose of fun each month. (And if "Secret Six" and "Action Comics" each somehow get a continuing sales boost out of this crossover, I'll be pleased as punch.) Another solid, entertaining issue from all parties involved.

With all of the eleventh hour revelations this issue, it feels a bit like all the pieces are being hastily shoved together, but even with that sudden high speed nature it's still enjoyable. What could have been a mild disaster (Lex Luthor taking over "Action Comics" for ten months) has turned out to be a book to look forward to. Kudos to Cornell and Woods, and here's to their run lasting for a great deal to come.

I've greatly enjoyed most of the Cornell and Woods run on "Action Comics," but this chapter feels like a misstep. I appreciate what Cornell and Merino were trying to accomplish here, but it doesn't quite hit the mark. Here's to next month's conclusion being up to the normally higher standards of this run.

Like so many anniversary issues, "Action Comics" #900 is a mixed bag. Cornell and Woods together provide the best material, while Doomsday drags the comic down, and the other contributions hover at various points in the middle. It's not a bad way to celebrate the anniversary, but with a little more of just the strong material, it could have gone from a good comic to a great comic.

After an overall strong run on "Action Comics" over the last year, it's disappointing to see it collapse so badly here. Everything that made the book fun is gone, and what's replacing it feels like a dud. At this point, I'm willing to just wait until September when a new storyline begins. This was just painful.

Morrison ends the comic on a strong note -- if nothing else there's a moment there where I realized that I, at least, got faked out on where one story was heading -- and with each new issue I'm dying to see the next one that much more. This is easily my favorite issue of the three to date, and I'm going to hazard a guess that I'm not alone. "Action Comics" is knocking it out of the park, and it's great to see such a strong Superman comic on the stands again.

On the surface, "Action Comics" #5 veering away from the title's regular storyline sounds disappointing. But reading this comic, one thing is quickly clear; if you need to postpone a story for a couple of months, "Action Comics" #5 provides an excellent template on how to do so.

"Action Comics" #7 is a good comic, but in some ways it feels like the story relies a bit on having just read the events of "Action Comics" #4. Still, as said before, it's going to work much better in the collected edition. By the end of the issue, we're all well-primed for what's to come in the next. The new "Superman" creative team gets to prove itself later this month, but regardless, I'm overall pleased with what Morrison and Morales are doing with Superman here.

Initially I was a tiny bit disappointed that we'd once again zoomed away from the main narrative in "Action Comics," but this issue was enough fun that by the end of the lead story I didn't mind any more. I am ready, though, to see the back-up stories dropped (and perhaps the page count and price along with them). They're starting to distract now and while Fisch and company have turned out some nice enough pieces before, I'd rather see them on a different project.

"Action Comics" #10 is a good comic, but we're going to need to see how this plays out in #11-12 to get a better understanding on if it's a great comic. Standing on its own, it works well enough, but it's clearly the first act in a three-act story, and where we go from here is just as important as this issue's starting point.

There are some great bits here and there that have me still interested in what's to come. The final pages set up the next storylines with an almost gleeful menace, and there's at least one revelation in the last couple pages so surprising that I almost cheered. Still, "Action Comics" #12 is a comic where the sum of its parts is weaker than each individual moment. Ultimately, this feels like a rare misstep from all parties involved.

Wrapped in what is quite possibly the most unattractive Bryan Hitch cover I've ever seen (if it wasn't for the outfit I wouldn't have even guessed it was Superman), "Action Comics" #13 just never comes together. There are good ideas and some fun moments, but this feels like a comic that could have used some revisions on both the script and the art. It's frustrating, too; this is a comic that is 80% of the way towards being great, but the parts that don't work drag it down to below average. This should have been a 4 or 4.5 star comic, and you can see pieces of it that qualify, but it stumbles one too many times.

Some parts of Morrison's "Action Comics" run have been stronger than others, but it feels right now like he's been saving the best for last. "Action Comics" #15 is promising to end the run on a high note, but even if it slips a bit, we still got this great installment. Definitely take a look.

Morrison's run on "Action Comics" has had some real gems (including one in this storyline!), but it's just as often crashed and burned. I'm glad "Batman Incorporated" still has a few more issues to go, because hopefully Morrison can go out on a high note there. This issue, unfortunately, is mostly disappointing.

"Action Comics" #26 is only Pak and Kuder's second issue, but this book has already shifted into "must read" status for me. It's a real joy to sit down with a copy, and I appreciate that they've turned in a nice cliffhanger to make me want to find out what happens next. Here's hoping the duo continues to work together for a while, because they're off to a great start.

"Action Comics" #28 has quickly cemented this title as my favorite Superman title right now; I feel like Pak and Kuder have found a strong voice that also fits the character. With "Superman Unchained" set to wrap up later this year and Geoff Johns and John Romita Jr. taking over "Superman," there are some changes coming to the Superman creative stable. Here's hoping "Action Comics" remains untouched, because this is a creative team that works, and then some.

I'll admit that I was a little worried when I heard that Doomsday was coming back (and that storyline is kicked off at the start of this issue), but if Pak and Kuder are involved, at this point I'm willing to feel a bit safer about the prospect. This has been a fun storyline overall, and I feel like "Action Comics" is in good hands.

"Action Comics" #36 is a good comic, and it also serves as a good jumping on point. Pak and Kuder's run on the title over the last year has been strong, and with the disruptions for an overly long crossover at a close, it's nice to see the duo back to what they've done best here: creating a strong Superman title. If you haven't seen what they've done with the character, this is as good a time as any to rectify the situation.

There's a lot to love about "Action Comics" #38, from the creepy art (Kuder's tentacle-drawing skills are dynamite) to the nature of the creatures that they're fighting. If you haven't checked out Pak and Kuder's take on Superman, this is as great a time as any to start.

As a primer/refresher for who Bizarro is, "Action Comics" #40 succeeds. However, reading this comic, I don't feel a huge burning desire to pick up "Bizarro" in June, and that's frustrating. The humor isn't present nearly enough to compensate from the lack of anything out of the ordinary. It's perfectly average once you factor in the art, but that's not the note that I wanted "Action Comics" to go out on for a few months until "Convergence" comes to a close.

"Action Comics" #41 knocks it out of the park, and it's a joy to see Pak and Kuder returning in a sea of new creative teams on other titles. This is a book that has its own voice while working well with others; that's a creative team to celebrate. If you haven't read the Pak and Kuder's run on "Action Comics" yet, this is a fantastic place to begin.

"Action Comics" #44 has taken the overall "Truth" idea and integrated it well into the book, able to tell stories like this and play off of the basic idea of Superman's outed identity while still touching on the themes that Pak and Kuder clearly enjoy exploring. All in all, another solid issue.

"Action Comics" #45 is a real mixed bag. There are some strong elements working alongside other ones that have taken a big stumble, and I'm not sure this issue is a cohesive unit. "Action Comics" is usually the strongest of the Superman comics from DC, but it looks like that position will be temporarily vacated to one of the other titles this month, An unfortunate slight misfire from a book that normally gives us much, much more.

I'm sad to see Pak (and possibly Kuder, although that hasn't been confirmed) is off "Action Comics" after #50; the book has been a joy to read ever since his arrival two years ago, and it would have been nice to see them tackle a repowered Superman once "Savage Dawn" wraps up. Even here, though, it's nice to be reminded what good hands the title's been in since their arrival.

"Action Comics" #50 is a strong issue -- probably one of the best Superman chapters post-"Convergence" -- and it feels like this comic is going to make a lot of readers feel much better about Superman's year-long depowered story arc. With two final chapters to go, we've gotten a great setup for those remaining pieces. Nice job.

So what does "Action Comics" #52 accomplish? Mainly, it's there to introduce the continued existence of pre-New 52 Superman to Batman, Wonder Woman and anyone who hasn't been reading, "Superman: Lois and Clark." Other than that, it's really just a chance to get ready for another confrontation and enjoy some good-looking artwork. I wish there was a little more to this comic, though, especially since those earlier chapters were so gripping. The final chapters might hopefully get back up to that level, but -- for the moment -- this issue is decidedly middle-of-the-road.

"Action Comics: Futures End" #1 isn't a bad comic, but it doesn't stand out either. It doesn't add much to "Futures End" (other than giving a tiny bit more back story to Superman), but it doesn't take away from the series either. It is worth noting, though, that this feels like a story that could have just as easily been told in the present day. Once you notice that, the comic suffers a bit more. Without that little glitch, this would have been a completely average, down-the-middle comic. Missing the whole point of tying into the timeline of "Futures End," though, feels like a wasted opportunity. A slight stumble for a comic that was already otherwise average.

Ultimately, Zircher's art is the big winner of "Action Comics" #957. It's a handsome look for the title, and I'll be glad to see more of it before long. Jurgens' story needs to find some new ground to cover, though, even amidst a back-to-basics setup. On the bright side, now that "Action Comics" is on a twice-a-month publishing schedule, he has the opportunity to advance the writing at a much faster pace. Once some more issues are released, "Action Comics" may very well turn into a properly intriguing comic, but -- at least for now -- the best part of this new structure (Superman's family) is the least present element, and that's a shame.

For a dollar? I think it's a comic with money well spent.

All in all, a fun and strong debut for the book.

With so many hints of stories that were to come, it's hard to not get slightly disheartened as you read "Adventure Comics" #3. Simon Valentine's story seems to be in such early stages that I doubt we'll get much more of what Johns had in store for him and his relationship to Superboy, certainly. The further hints of what the missing members of the Legion of Super-Heroes are doing in the 21st century are wonderfully tantalizing, even as sharp-eyed readers can try and pick up the locations of those characters. Even Johns and Shoemaker's Legion stories are heading towards somewhere that I fear won't be met during Johns' final three issues. (Doubly so since the lead feature of the next two issues is taken up by Superboy Prime and the Black Lanterns.) Still, I'll enjoy this ride while it lasts, and here's hoping Levitz and company are able to make "Adventure Comics" as thoroughly enjoyable as this creative team has.

In the end, it's the second feature and Ordway's pencils that make me interested in seeing "Adventure Comics" #5. And who knows, maybe the character of Superboy-Prime will finally get retired at that point. I don't hate the character, but I do think it's a joke that needs to be put away for good.

Farewell, Johns and Manapul. I was hoping for a long and fulfilling run on "Adventure Comics" from the two of you, but what little we got was still a lot of fun. It's a high caliber to follow, that's for certain. And if nothing else, I'm convinced that I need to read "The Flash" when you bring it back later this year. I just wish you could've had a little more time to properly wrap things up, that's all. Still, not bad.

At the end of the day, it's a so-so wrap up to Mon-El and the 21st century Legion. It's a little rushed in places, and some plot threads seem to have fallen away entirely. (Did anyone else notice that on the hidden Legion members in the 21st century that we never did get appearances of Dream Girl or Tyroc? Oops. Hopefully, Paul Levitz will fix that.) "Adventure Comics" seems to be the poster child for having stories derailed these days, but with Levitz on board starting next month let's hope it's the start of some stability.

I'm hoping with time Sharpe's finer details pick up; he's listed as the artist for the next couple of issues of "Adventure Comics" so clearly it's a "wait and see" proposition. And of course, we do need to see a little more in the way of an actual plot here from Levitz. But as a flashback to yesteryear, it's not bad. But to keep readers coming back, we need something a little more proactively good, and soon.

"Adventure Time" in both comic and cartoon form is the sort of creation that appeals to all ages; I actually know far more adults into "Adventure Time" than kids, after all. If you've never watched the television show, don't let that keep you away from the comic. As someone who came into it via this format, trust me: it's a lot of fun. Great stuff all around.

The primary "Adventure Time" is the sort of comic that I'll recommend to anyone, regardless of age or how much/little they've seen of "Adventure Time" the show. It's a book that appeals to just about anyone, and if you aren't already reading it, give it a try. "Adventure Time: Marceline and the Scream Queens" #2, however, is a book that feels like it's intended more for only the "Adventure Time" completest. Ultimately, that universal appeal just isn't present.

"Adventures of Supergirl" #2 is a fun issue, and this tie-in series feels strongly on course. This is a book I would definitely recommend to fans of the show. "Adventures of Supergirl" is a good way to tide viewers over until the show returns, then keep them hooked enough to read some more.

"Adventure Comics" is already on the road to improvement, but I do wish we'd had a little less "Green Lantern Idol" and a little more plot development. Still, I'm excited about "Adventure Comics" again, something I haven't felt in months, so hurrah to Levitz and Borges for making the book fun once more.

As an introduction to "Legion Academy," "Adventure Comics" #523 is a solid first issue. And of course, the teaser for next month's issue promises more excitement to come. But for now, this is fun stuff.

"Adventure Comics" is doing well with its new Legion Academy feature, and even if it ends up being a limited run in "Adventure Comics," hopefully it'll show its face again before too long. This is a fun, easily-accessible gateway into the 31st century.

It's actually the non-origin parts of the issue that I found myself enjoying, like Comet Queen and Glorith's growing relationship, or watching the Academy kids go through a training exercise. Some of them (Dragonwing, Variable Lad, and Gravity Kid in particular) still feel like they could use a spotlight or two to flesh them out, but with just two issues left before DC's reboot in September, I suspect we're rapidly running out of time in that regard. Still, it's been a fun little series, and I'm going to miss it once it's gone. Hopefully something similar is still store for us come September. The Legion Academy in "Adventure Comics" has been a treat.

"Adventure Comics" was never going to break any barriers in storytelling (although those early Phil Jiminez pencils for "Legion Academy" were lovely), but it's been a consistently fun comic. Like so many of the other titles going away after August, I'll miss it. Here's hoping to see a lot of its faces in the main title, come the fall.

My only complaint about "Age of Bronze" would have to be that I wish we had more issues on a regular basis. And clearly, the best way for that to happen would be if everyone started buying "Age of Bronze" as well. It's a fantastic series, and with three collected editions on sale, now is the perfect time to try it out for yourself. You won't regret it.

Perhaps the most impressive thing about "Age of Bronze" #32 is that it's been two years since the last issue and I never felt lost or confused or out of touch. "Age of Bronze" is an amazing series that every comic book reader should be buying. It's got drama, adventure, betrayal, humor and everything else that an epic should contain. Even when the book is downright depressing, the level of craft here is so strong that it's still ultimately a joy to read. Check it out.

"Age of Heroes" #2 is a little disappointing. I'd expected a lot more bang for my buck, and while the Gravity story was entertaining, the rest is easy to miss. I wish we'd had more complete stories in this issue, because I think that might've turned the tide. "Young Allies" fans should definitely check out this issue, but otherwise, there's not too much to entice one in.

"Age of Ultron" #3 feels like it's sealing the fate of this miniseries. There's no sign of the pace approaching something that can grab your attention, and the idea of seven more issues of this can't help but invoke a vague sense of dread. "Age of Ultron" right now feels like a failure; after building a lot of buzz in "Avengers vs. X-Men," this feels like a complete reversal of fortune. Maybe we'll all be proven wrong and later issues will show us otherwise, but for now,

"Agents of Atlas" #3 is a surprisingly good book, proving once again that there are no such thing as bad characters. It's all in how you handle them, and Parker's made these cast-off characters from the 1950s vastly entertaining. I'll definitely keep reading so long as he keeps writing them.

The strange thing is that I don't hate "Air" by any stretch of the imagination. I'm actually disappointed more than anything else. I wanted to like "Air" very much, and there's certainly a lot of potential here. But it feels like the wrong publishing strategy is being used on "Air," or at least the wrong approach taken to a serialized comic. I'll certainly check back in on later issues of "Air" because I'm hoping the advance praise (including a quote from Neil Gaiman, who seems to have also read multiple issues beforehand) bears out and things rapidly improve. But right now? It feels like a book that is determined to scare off its readers as quickly as possible. A false start can doom a new title from Vertigo; I think Mike Carey and Jim Fern's "Crossing Midnight" fell into that same trap, and by the time things picked up and really got rolling, no one was left to notice. The symbolism of "Air" opening with an airplane plunging to its destruction was not lost on me, not one bit.

"Alabaster: Wolves" #2 is just as good... actually, strike that. "Alabaster: Wolves" #2 is even better than the first issue. Kiernan and Lieber are a natural pairing of creative talent, and I hope this mini-series is the first of many from the pair. "Alabaster: Wolves" is officially my favorite southern supernatural horror series. Lots more, please.

"Alabaster: Wolves" was an introduction to the character of Dancy Flammarion to me, as well as a re-introduction to Kiernan's writing. The teaming up of Kiernan and Lieber was a great choice; the pair play off of each other's strengths and they've made "Alabaster: Wolves" a strong debut for the character that makes me desperate to read more. Hopefully we'll get that soon. If you didn't read "Alabaster: Wolves" you've missed out on one of the creepier mini-series of the year.

"Alex + Ada" #5 continues a quiet but enthralling series. Luna and Vaughn aren't going for big flashy stories but they don't need to, here. Instead it's thoughtful and intriguing, and I'm in for the long haul at this point. This might be a low-key series, but "Alex + Ada" is a winner.

"Alex + Ada" is still chugging along in a solid, enjoyable manner. With the sky the limit for future stories (even as they're being set up here), this is the sort of book that could just as easily run for years as it could also move towards a specific climax. Either way, I feel like I'm on board to find out. If you haven't read "Alex + Ada" up until now, the first ten issues form a perfect piece of material with which to enjoy, have a satisfying conclusion -- and then find yourself wanting more.

"Aliens: Fire and Stone" #1 is an above-average start to the revitalization of the "Aliens" license, one that has me interested in the nasty little xenomorphs for the first time in quite a while. If Roberson and Reynolds can keep this up, I'll be quite pleased. And heck, it's made me interested enough to check out all of the other "Fire and Stone" mini-series also en route. That's not bad for a single issue. Not bad at all.

"All-New, All-Different Avengers" #2 is riding on characterization rather than plotting, and -- for the moment -- the characterization is strong enough that it's a good call. Eventually, it will need to find a better balance, but I'm willing to let that slide because this is such an oft-repeated moment of the Avengers re-forming in the face of disaster. For now, it's a pleasant continuation of the series and the tradition.

"All-New, All-Different Avengers" #3 checks in as average, but it should really be much stronger. The pedigree of this creative team promises much more, and the Avengers are the cornerstone of the company's comics more than ever thanks to the two massively successful films. Maybe future issues will have a little more spring in their step now that the opening story arc has completed, but -- for the moment -- this is a book in need of more excitement.

"All-New, All-Different Avengers" #7 is a fun issue that comes in and achieves its goal quickly and efficiently. I think even readers who aren't picking up the crossover will have a lot of fun with this; I know I did. It's a strong job from all parties involved. I wish all crossovers were handled as well as "All-New, All-Different Avengers" #7.

"All-New, All-Different Avengers" #9 is a lot of fun and sets up multiple story threads (the new Wasp, the Vision's plans, Nova's upcoming journey into space) without feeling overcrowded. "All-New, All-Different Avengers" #9 is a good opportunity to check out the series if you haven't been reading it up until now, even as it gives existing readers a lot to enjoy. This is good old-fashioned superheroes served up in a way that will entertain modern readers. No complaints here.

"All-New, All-Different Avengers" #11 is fun, with just enough to bring readers back for the conclusion in the next issue. If you're going to plunge the characters into outer space and alien dimensions for a couple of issues, this is a nice way to get it done.

"All-New Ghost Rider" #2 is a good comic. Eventually we're going to need answers, but until then, it doesn't matter. Smith and Moore have cooked up a new take on Ghost Rider, one that feels a little more modern but doesn't lose sight of the old character concept. If you're going to revamp a character for the modern era, this is a great template on how to do succeed.

In the end, it's hard to keep from feeling like a comic set firmly in the past with the Barton brothers as children would be a great thing from this creative team. Since we probably won't get that, this is the next best thing. For a series that could have been creatively dead on arrival following Matt Fraction, David Aja and Annie Wu's time on "Hawkeye," what we have instead is a book that's definitely worth reading on its own merits. Sometimes lightning -- admittedly very different bolts of lightning -- really can strike twice.

I'm really going to miss "All-New Hawkeye," and -- considering this was a series many fans once thought unnecessary -- that's a huge achievement. Lemire, Perez and Herring brought a strong authorial voice to this series, just like the previous "Hawkeye" series from Fraction, Aja and Wu, and they go out on a high note with a strong conclusion. Just be warned; once you read "All-New Hawkeye" #6, you'll want to sit down and read all eleven comics back-to-back -- but there are worse fates in life.

I wish "All-New Miracleman Annual" #1 was better, but if anything, it's just a sharp reminder that Gaiman's success writing "Miracleman" post-Alan Moore is that much more of an impressive feat. It looks gorgeous but, considering the "All-New" part of the title, these stories have scripts that feel old and somewhat stale.

"All-New Wolverine" #2 is fun, pure and simple. X-23 was often characterized by the doom and gloom followed her, so it's nice to see that she can still deal with heady subjects while having a bit of cheer and a spring in her step as Wolverine. The death of Wolverine may have come across as a bit gimmicky, but -- with Laura as the new Wolverine -- it was clearly all worth it. I'll be back for more.

With art that bolsters the story and a story that brings the art to life, Taylor, Lopez and Navarrot deliver another fun comic that could have so easily been forgettable. "All-New Wolverine" #4 feels fresh and fun, and that's exactly what will keep readers coming back every month.

"All-New Wolverine" #7 is a much quieter issue than the previous six, and it proves that the potential range for the series is much more than just action-adventure romps. Taylor and Takara's story may have a strong component of silliness in its makeup, but there's a good core about Laura and relationships that buoys it forward in a pleasing way. With the book about to get dragged into "Civil War II" next month, this breather is just what readers needed.

"All-New Wolverine" #9 ultimately seems to have one purpose, and that's to put Laura and this future Logan in the same room together. It's clearly part of the setup for the next storyline, and hopefully there will be a bit more pep to those issues. In the end, though, it's too bad that the journey to get these characters together wasn't a little more exciting.

"X-Factor" had a slightly troubled final year as David started to wrap up plotlines, but I was hoping that "All-New X-Factor" #1 would be a fresh start for the title, free of backstory and moving forward in a smart new direction. And while I give David and Di Giandomenico credit for presenting a brand-new beginning, here, "All-New X-Factor" #1 comes across as a problematic-at-best relaunch. Ultimately, a big disappointment.

"All-New X-Men" #1 is a nice enough start, even as it ends up being a bit too familiar. Still, there's certainly a lot of set-up here for the main push of the series, and with the second issue on sale in just two weeks it will help with the pacing a bit. Still, "All-New X-Men" #1 could benefit from a little more energy and new ideas in the issues to come. How that pans out, only time will tell.

As slow as "All-New X-Men" #9 feels, it is nice to at least get a little forward movement. The three different groups of mutants (the All-New X-Men, the Uncanny X-Men, and the Brotherhood of Mutants) are all inching closer and closer together, and the next conflict between them all is just around the corner. I'd like to see things move a little speedier in the future, though. At $3.99 a pop, we need to head out of the comfort food zone and into something a bit more memorable.

"All-New X-Men" #13 is a book published on a pretty frequent basis, and considering how slow it moves, that's a good thing, because I shudder to think of this was a once-a-month book. Still, a slightly faster pace would be greatly appreciated. This is entertaining enough, but it could be a lot more fun with a bit of pep added into the mix.

"All-New X-Men" #15 is a pleasant comic, and it's great that Lafuente got to take a crack at this series. But at this point, there's a sneaking suspicion that some readers are going to use the conclusion of "Battle for the Atom" as a jumping-off point for "All-New X-Men" unless things pick up quickly. There's still a distinct lack of substance in "All-New X-Men," and there's only so long that readers are going to be willing to wait for it.

"All-New X-Men" is a book that, even more than most comics written by Bendis, is clearly paced for greater enjoyment in a collected format. There's no doubt that I'll enjoy this a great deal more when paired with all of the other issues around it. But as a single issue, it's just all right, primarily because of the stunning art from Immonen and Von Grawbadger. I appreciate what Bendis is trying to accomplish here, but 18 issues into the series, at some point the pace needs to pick up a bit.

If "All-New X-Men" #28 was the benchmark that all future issues made sure to reach, I'd be delighted. It's fun, it fills in details, it gives you your money's worth and then some. This comic can move slowly at times, but this is an example of how sometimes it finds just the right pace. Nicely done.

At its heart, "All-New X-Men" #30 shows that the title is now more than ever nothing more than a second issue of "Uncanny X-Men" on any given month. It feels like storylines that solely belong to this title are being given short shrift, in favor of those with the parent title. That's probably not bad for someone who's reading all of the X-Men titles, but if you're only picking up "All-New X-Men," that's a bit of a problem. There can be a way to tie all of the books together while still making them each separate and unique (the "triangle numbering" era of the "Superman" family of books in the early '90s is a fantastic example), but so far it's not quite here. That's a shame. "All-New X-Men" has a great core concept, good artists, a fun cast -- it would be nice if it could just focus on its own storylines.

In the end, "All-New X-Men" #40 is a nice looking book with a few character beats that aren't bad but also aren't the most riveting for a book that's about to go on hiatus. The cover-teased plot involving the Utopians is relegated to a few pages at the beginning and end of the comic; otherwise, it feels like a series of character beats all getting thrown in before the proverbial timer hits zero. The ideas here are intriguing, but it's a shame that they didn't have a little more time to properly play out instead of getting dumped onto the reader right before the buzzer.

"All-New X-Men" #1 feels like its priorities are misplaced. This isn't a very riveting first issue; if this was a brand new cast of characters, it might be more understandable, but it's really just business as usual. Right now, "All-New X-Men" #1 feels like it's coasting on good will to have readers come back. There have been enough other X-Men titles cancelled in recent years, though, that it's a dangerous assumption. Here's hoping for something with a little more pep next issue.

"All-New X-Men" #5 has good intentions but an execution that never quite comes together. The basic plotting sounds good, but -- for the moment -- it's a bit clumsy and brash in the actual writing. It looks good, though, and hopefully future installments will take their time a bit more and bring something a bit more refined.

"All-New X-Men" #7 gets a lot of credit for really trying to go in a direction different than characters beating each other up, similar to the way Blob had to point out to the X-Men that they were the ones causing the ruckus, not him. This is a comic that feels like it needs another draft; there needs to be less coincidence or confusion on the story's part for there to be stronger roadblocks. Not bad, but this had the potential to be so much better.

I've been hoping to see "All-New X-Men" up its game, and "All-New X-Men" #9 feels like a step in that direction. The rest of "Apocalypse Wars" is full of possibilities, and -- with such a strong character portrait of Evan -- it looks like Hopeless, Bagley and Hennessy are heading down the right path.

"Free Comic Book Day 2015: Avengers" hits the mark with its Avengers story; there's a little something for old and new readers alike, and I'm looking forward to seeing Waid and Asrar's new series when it kicks off later this year. While the backup Inhumans feature isn't quite as attention-grabbing, it does serve as a reasonable introduction to the idea of the Inhumans; if Marvel's going to make their upcoming film a success, they could use boosts like this to make them more center stage. As a free comic book given away to a wide audience, this offering is most definitely a success.

"All-Star Western" is two for two issues, now. And if you're thinking that you don't like westerns, just stop and think about it for a minute; this is a comic with the Crime Bible from Greg Rucka's Question stories, and with demonic zombies. This isn't just cowboys and yeehaws, if that's what you're thinking all westerns are about. Palmiotti, Gray, Moritat, and Bernet are creating a western comic for the modern era here. Saddle up and get on board before it's too late.

"All-Star Western" #9 is nice book, but those picking it up for "Night of the Owls" are going to miss out on the rest of the comic, which is far more interesting. Palmiotti, Gray and Moritat's Jonah Hex story has been consistently strong, and that's the real reason to check this series out. So buy it, but look at everything else that's going on and you'll be much happier.

"Alone Forever" is perfectly timed to give to your loved one, or your perpetually single friend, or perhaps just yourself (regardless of if you're single or not) -- it's a Valentine's Day gift for people of all walks of life, really. Leave "Alone Forever" on your coffee table and I promise you, before long you'll hear chuckles and groans of recognition as your guests start leafing through it. Good stuff.

"Alpha Flight" has been a great deal of fun, and as the mini-series gets closer to its conclusion with #8, it pains me a little bit to know that not enough people were reading it so that we could get a #9. Still, we're getting a fun comic out of the deal that could have just as easily not existed. It's been a good ride, and I'm glad we've still got two more to go.

In the end, "Amazing Spider-Man Annual" #1 is just a little too rushed and too plain to intrigue. (And before you ask, I have no idea why this annual was renumbered #1 when the regular series itself isn't renumbered. The fact that there's also a #35 on the cover just makes me all the more confused, to be honest.)

All in all, "Amazing Spider-Man" #2 was a fun read, enough to make me want to come back for more. Slott has a lot of balls up in the air, and provided they keep moving forward, I think we're good. I'll come back for a third issue next month, certainly.

"Amazing Spider-Man" #6 is enjoyable, but with a little more care it could be so much better. The ideas are strong here, but the execution needs a little more polish. This should be a flagship title for Marvel, and if that's the case, let's see it shift back up from good to great.

"Amazing Spider-Man" #2 is a real pleasure, one that can have a character concerned for his own well-being while making sure that unconscious bad guys get rescued from a base that's going to be destroyed. Slott has been writing "Amazing Spider-Man" for a while now, and this issue is a reminder not to take his presence here for granted. "Amazing Spider-Man" #2 is a strong issue that's a good jumping on point for those who have been holding back.

"Amazing Spider-Man" #4 is another great installment in a fun series. It's nice to see the character handled with respect and inventiveness; hopefully, this new direction for Spider-Man will last a long time. Spider-Man is in great hands with Slott, Camuncoli and Smith.

"Amazing Spider-Man" #8 is amazingly fun. Slott and Buffagni wrap up "The Dark Kingdom" in a satisfying way, taking some elements from the first story arc but not relying too heavily on them in order to get this three-parter off the ground. Thanks to a fun story, handsome art and some good colors from Marte Gracia, we've got a winner. Spider-Man should be presented one of Marvel's marquee characters, and "Amazing Spider-Man" #8 does just that.

"Amazing Spider-Man" #11 is another great installment in a must-read series; Slott, Camuncoli and Smith give us a fun new take on Peter Parker and company that reminds us yet again that you can change the character's overall status quo without losing drama or a good storytelling hook. As long as the stories are this good, I'll happily remain on board. Good stuff.

"Amazing Spider-Man" #13 is a painful issue to read. Though things may turn around quickly, "Amazing Spider-Man" feels like it's shedding everything that made the first eleven issues so much fun.

Having enjoyed "Wolverine and the X-Men" the past few years under Aaron's stewardship, I'm not worried about the slightly slow start to "Amazing X-Men" #1. It's still a very pleasant read, but I do wish that it had come out of the gate a little faster and a little stronger. Aaron seems to be banking on the return of Nightcrawler and the art from McGuinness and Vines to be enough of a draw to stick around for "Amazing X-Men" #2, and on some level I can't help but think that he's right. That is all it will take for most readers to come back. I'll be one of them, but hopefully Aaron's script for next month's installment will have just a bit more spring in its step, too. After all, this isn't supposed to be "Pretty Good X-Men." I look forward to the shift up to amazing status.

"Amazing X-Men" #4 is going to please a lot of McGuinness fans, and with good reason. It's a beautiful comic, and the sequences with Nightcrawler himself are written well and give a fun little bonus in character backstory for him and Beast. But overall, this is a book that depends on the art, because the story just hasn't been cutting it.

It's a shame that Aaron is gone so soon on this title. With Nightcrawler back and Firestar on the team, whatever plans he had for them -- and other characters -- will eventually only appear in interviews, if even that. This is a slightly lackluster way to wrap things up for Aaron. When Craig Kyle and Chris Yost take over with "Amazing X-Men" #8, here's hoping they'll handle some of the elements that were left behind.

"Amazing X-Men" #7 makes me wonder more than anything else why Immonen doesn't have her own regular series, at Marvel or anywhere else for that matter. This issue is an example of how a fill-in should work; entertaining, doesn't upset the apple cart, and makes you want to see more from the creative team. I know I certainly wouldn't complain.

"Amazing X-Men" #9 is a disappointing second issue for Yost and Kyle, and not a great debut on the book for Barberi. Maybe things will turn around, but in a book that's shuffling through creators left and right, this title needs some consistency in the quality.

"Amazing X-Men" #12 marks a moment where, in just twelve issues, this title has made itself irrelevant once again. With a fill-in and then an "AXIS" tie-in scheduled to round out the rest of the year, I'm not sure that status will change any time soon. What first felt like a great opportunity is now a title quietly limping towards what one can only expect will be a stealth cancellation. If this is the best that "Amazing X-Men" can do, maybe it's time for one less X-Men title until there's a proper reason to revive it.

I like the character of the Juggernaut, and the first issue of this storyline showed some real promise. Now that we're into the second installment, it feels like this book is back to its old tricks and that's not a good thing.

I'm enthralled with "American Vampire" and I'm pleased to see that the first issue's strong debut wasn't just a fluke. "American Vampire" might be getting some initial attention because of King's involvement in the first five issues of the series, but I think if it had just been Snyder and Albuquerque it would be picking up strong word of mouth praise based on their contributions. (That said, I'd love to see King come back with some more prequel back-up stories down the line.) Definitely check out "American Vampire" if you haven't already. This is a fantastic new series that demands your attention

Vertigo's had some great new titles debut over the course of the last year or so, and "American Vampire" is definitely part of that crowd. I'll miss King after next month's conclusion of his story, but Snyder and Albuquerque will be just fine on their own. It's easy to see why DC's supposedly tapping Snyder for more work down the line; he's a real find.

"American Vampire" continues to move from one strength to the next, and this issue is no exception. Hurry up and read this book, already. You're missing out on the next big thing.

Thirteen may normally be an unlucky number, but that's not the case here. This is a strong start to both a new storyline and its second year in general, even as it provides a strong introduction for any new readers interested. "American Vampire" sucks you dry every month, and then has you coming back for more.

"American Vampire" is a continually solid and strong comic, but that doesn't mean it's ever predictable. It is, as always, a joy to read, with just enough storytelling tweaks and surprises to keep you on your toes. It's no small wonder that "American Vampire" just won an Eisner award, because it's well deserved. Good stuff.

"American Vampire" is consistently strong, month after month, so it's with that already in mind that I say that this is probably my favorite issue to date. There's something about that retelling of the Lewis and Clark expedition into "American Vampire" lore that makes it extra entrancing. Whatever that is, I'm not complaining. You don't get much better than this.

There's an epilogue in "American Vampire" #25 shifting location but also tying into all the ideas we'd seen in this issue. As a result, it works both as epilogue and prologue for what's to come; that earlier mention of change being in the air is especially true here and it's a strong springboard for the next 25 issues and beyond. As long as Snyder and Albuquerque are around, so am I.

"American Vampire" is going to be missed during its (hopefully brief!) hiatus but issues like this will just make its return that much more welcome. Snyder and Albuquerque, as always, don't disappoint. Until the book returns, "The Blacklist" is a great way to leave the series on a high.

"American Vampire: Lord of Nightmares" #1 is another strong "American Vampire" comic, and one that is living up to the need for it being its own mini-series. If you haven't read "American Vampire" up until now, this is a good a place as any to jump in and see what you think. For readers who are already familiar with the series, though, it's a crucial new chapter that fits in well with everything else that we've seen so far. All in all, a win-win for everyone involved.

"American Vampire: Second Cycle" #2 keeps the returned series moving at a strong clip. With a mixture of horror, adventure, and even sociology, Snyder and Albuquerque are reminding us all over again what a great series this is. Check it out.

Add in a little touch of humor throughout "American Vampire: Second Cycle" #9 (the "Goodbye, Felicia" moment made me laugh out loud) and this is a solid, enjoyable comic. I feel like it's trying to whet my appetite but, fortunately, it's for the next issue and not human blood. I'll be sad to see "American Vampire: Second Cycle" eventually come to a close but, with the glimpses of modern-day Las Vegas at the start of this issue, it's coming with a bang, both figuratively and literally. Here's to the ride towards the conclusion.

Palmiotti and Gray do a nice job of bringing the story of "Ame-Comi: Wonder Woman" to life as well; it's easy to follow, it's suitable for just about everyone and most importantly it's a lot of fun. My only big complaint so far is that it's just a three-issue mini-series, because Palmiotti and Gray clearly have a strong handle on the character. (Presumably she'll be showing up in the upcoming "Ame-Comi" ongoing series too.) It's a shame that "Ame-Comi: Wonder Woman" is saddled with such an ungainly name (and not one that I think has any real name recognition to at least offset it), because this deserves more attention than I think it will get. It's fun, it's well-crafted, and at just a dollar it's cheap to boot. Definitely check it out.

"Angel & Faith Season 10" #2 makes me feel like the series is on the right track. The previous volume was so much fun that it's a relief to find it still moving in a good direction. So far, so good.

It's great to see both Buffyverse series on track, rather than playing the "which is the good series this time?" game. Gischler's moving the book alone well, and the next time Santacruz needs to step in for guest pencils, I'm game. If you haven't picked up the new "Angel & Faith Season 10" series, this is as good a place as any to give a sample and see for yourself what's inside.

Even with everything slowing down a bit this month, "Angel & Faith Season 10" #12 is still a good comic. Now that the necessary exposition is over, I'm looking forward to the series hitting the ground running again next month to boot. All in all, this is a comic which could have easily crashed and burned with a new creative team but has instead been a pleasure to read month after month.

"Angel & Faith: Season 10" #18 is definitely one of the better issues in the series, and I feel like the book is now on track to barrel towards its (eventual) conclusion. The villain is well established, the cast is works well together and the utter absence of Angel this month is barely even felt. All in all, a thumbs up.

While I worry about the series' conclusion, if only because Archaeus is also the main villain of "Buffy the Vampire: Slayer Season 10," the comic has been on track enough that I'm hopeful the series will end on a strong note, regardless of what still has to happen in the parent title. If Gischler and Conrad team up for more comics down the line (either "Angel & Faith: Season 11" or something entirely different), I'll certainly pick up a copy. They've done a nice job with this series, and I'm genuinely eager to see how they wrap things up. Good job.

It's a real pleasure to see the creative team work so well on this title, and I'd certainly welcome them back for a potential Season 11 run. Even with the hazard of sharing a "Big Bad" with another comic, the series has worked out well. Big thumbs up here, and -- barring disaster in next month's conclusion -- a job well done.

Gage and Isaacs whip up a particularly delicious conclusion to "Angel & Faith" #6; it's a moment that in retrospect we should have seen coming, even as it reveals itself on the final page with a bit of surprise. It's a clever development, one that will excite a lot of readers. It's a good usage of the comic book serial format, and all in all wraps up another strong issue. If you were a fan of the television show or even just the "Angel: After the Fall" comic, definitely check out "Angel & Faith." So far, it hasn't disappointed.

If you aren't reading "Angel & Faith" but were a fan of the "Buffyverse" over the years, this is the perfect introduction to the comic series. It gives you everything you need to know about what came before, as well as where the book is going; more importantly, it gives you a wonderfully written and drawn issue. Licensed sequels in comic form can be a difficult creation, but Gage and Samnee make it look easy. Joss Whedon fans, you need this comic.

"Angel & Faith" #13 is another solid chapter in a series that has rapidly eclipsed its parent title. Gage and Isaacs are taking a slightly strange odd couple of the "Buffy the Vampire Slayer" universe and making it compelling and inviting reading. This is how a media-tie-in comic series should be handled. Good show, Gage and Isaacs.

It feels like "Angel & Faith" is coming close to an end, and that'll be a shame if only because of how much fun it's been. "Angel & Faith" #18 is a perfect example of that entertainment; Gage and Isaacs have turned out not just a good media tie-in comic, but a good comic, period. Its parent title might run a little hot and cold, but "Angel & Faith" has been consistently strong. If Gage and Isaacs work together on another comic once this is over, I know I'll stick around to read it, too. Another good show from this duo.

"Angel & Faith" #22 is another in a long line of good comics from Gage and Isaacs. Fans of the stars of this comic should definitely be buying these; definitely one of the best licensed books I've read in a while. I've said it before and I'll say it again: if Gage and Isaacs work on a comic together, I'll buy it, no questions asked. As always, good times.

"Angel & Faith" #25 was a great conclusion to a series that will be genuinely missed. All of the other "Buffyverse" comics over the years have had ups and downs, but credit to Gage and Isaacs: this has been a remarkably consistent and good comic. I wish all licensed books took this much care. In the meantime, next time Gage and Isaacs work on a comic, I'll be first in line to buy it, no questions asked. Gage and Isaacs have created a comic that all future "Buffy" creators should use as a model. Well done.

After three issues of great art but a somewhat aimless story, though, I'm increasingly convinced that the sole purpose of "Angela: Asgard's Assassin" #3 is simply to have a series starring Angela, rather than any particular desire or hook that someone came up with for this comic. Everyone involved is doing their best to make it work, and there's a lot of talent on the title. If there's some sort of inner core idea driving the book, it's curiously absent in the final product. This book is gorgeous, but that's not enough to pull me back for any more.

Readers of "Animal Man" right now will probably fixate the most on Jacob's two-page vision of the future, moments that are even in the future of "Animal Man." It's a rather horrific end to a lot of heroes, and Animal Man himself appears for an enigmatic warning about the Rot and what it will do to his own family. It's a message that is hard to ignore, and hints at bad times in the months to come for "Animal Man." Regardless, though, "Animal Man Annual" #1 is not only a good way to help fill this fifth week of the month for DC Comics, it's a good comic, period. This is a good reminder of how Annuals used to be, and hopefully we'll be getting this level of quality in the ones to come.

The art might be uneven in "Animal Man" #1, but the script is dynamite. Lemire's been a rising star at DC Comics lately, and the "Animal Man" re-launch shows that their trust is not misplaced. (Now can we just get the old outfit back? I always liked it much more than the blue and white number.)

"Animal Man Annual" #2 works as a stand-alone, longer-than-normal issue of the series; it's something that feeds into the main run but at the same time could be easily understood if you'd never experienced it before. It's nice to see Lemire and Foreman back together once more, and readers get their money's worth.

"Animal Man" has been good month after month, but this latest installment (even with the slightly weak final line to lead into an eventual cross-over) helps solidify everything we've seen up until this point. "Animal Man" may have looked like an underdog, but it's definitely one of the top books at DC Comics now.

"Animal Man" #7 is another strong installment from all parties involved and it's refreshing to see readers have quickly figured out this is a book to watch. Each issue makes you anxious to see what's next for "Animal Man." Knowing that there's an upcoming crossover with "Swamp Thing" is just the icing on the proverbial cake. If you're not reading "Animal Man" yet, this is a great place to try and see for yourself.

"Rotworld" is off to a solid start here, and knowing that "Swamp Thing" #12 (wrapping up the prologue) is also published the same week makes the chunk of exposition here feel a bit more reasonable. At this point, my biggest complaint is only that next month's issue #0s means that we'll have to wait an extra month for "Rotworld" to kick in to high gear. All in all, not a bad opening.

I must admit with this title in particular, I'm already eager to see what "Animal Man" will serve up post-"Rotworld." It's nice to know this story (which has built up since the series' debut) is heading towards a conclusion. Even a slightly lacking issue of "Animal Man" is ultimately still worth reading.

"Animal Man" #18 feels satisfying to me; it's been a big build-up after all, and Lemire couldn't have a story that lasted so long feel rushed or simple when the final piece was put into place. I think he's succeeded admirably here, and I'm already looking forward to whatever Lemire and Pugh do in the pages of "Animal Man" next. It's a sad conclusion, but one that will play out with good dramatic effect in the months to come.

If I hadn't ever read "Animal Man" #6, I suspect I would be more entranced with the end result of this comic. For readers who have been around since the beginning, though, "Animal Man" #20 feels more than a little disappointing. With the book going through so many twists and turns in the last couple of months, this comes across as a fill-in rather than an important part of the overall "Animal Man" saga. The final two pages (with art from Timothy Green II and Joseph Silver) show some promise, but right now my enthusiasm has been temporarily shot.

"Animal Man" #21 has the book back in fine form, and I'm completely enthused about the title once more. Lemire, Pugh, and Portela's kick-off of a new storyline is strong and interesting, and wherever we go from here, I feel like I'm on board for the ride. "Animal Man" #21 is the sort of superhero comic that makes me continue to enjoy the genre.

While I'll be eagerly awaiting Albuquerque's return to "American Vampire" next year (and Lemire sneaks in a fun reference to said comic here), him teaming up with Lemire in the meantime feels like a great usage of his talents. Lemire and Albuquerque work well together, and this is a good way to pick up the pace now that the hiatus due to Villains' Month at DC Comics is over. Welcome back, "Animal Man."

"Animal Man" #28 is another solid issue, and while I'm sad to see the series about to wrap up, it is good to know that Lemire will continue to write Animal Man's adventures beyond the conclusion of this comic. Hopefully, if nothing else, it'll draw some attention to the collected editions of "Animal Man," because it's been a fun ride.

"Annihilator" #1 looks fantastic, and Irving's already bringing his A-game to the comic. Will the story catch up? I suspect so. I'm not worried about Morrison easing us into the mini-series, since these days it's become a more and more standard operating procedure of his. There's enough to hook you for "Annihilator" #2, but it's also not a full "wow" script just yet. Are we going to get there? There's one way to find out.

"Annihilators" is a book I should have loved unreservedly. Instead, it feels like no one involved has their heart in it, save for Green's funky, jagged art style for the back-up feature. This should be a bundle of energy, but right now it feels like no one knew it was show time.

"Aquaman Annual" #1 ultimately gives me hope that if there is a title starring the Others, that Ostrander will be on board and continue to build and flesh out these characters. If it does happen, though, can someone come up with a better name for these characters and their potential comic? The Outsiders would fit quite well. Hopefully between now and then, someone will find one that sings. At any rate, this comic isn't bad, but I did find myself wishing that it was a little better.

"Aquaman" #3 is good, and I don't feel like it's being dragged out at all, but at the same time I found myself wishing that it felt a little longer. Overall it's a good issue, though, and Johns and Reis are definitely making "Aquaman" a compelling read. With the lead-in to what we should be seeing next issue, it looks like everything's about to get even crazier next month. I'm looking forward to it.

Overall, though, the re-launch of "Aquaman" feels like a resounding success. The comic is fun, it's creepy, and Aquaman himself isn't the sad sack that so many writers have seemed determined to portray him as over the past few years. So far, so good.

"Aquaman" #6 isn't a bad issue, but it's awfully predictable and feels dumbed down in places. The first incident feels ridiculous, and the second one has an ending you'll see coming a mile away. I like the idea of Mera getting a solo outing here and the flashback moments we get are by far and away the best part of the issue. Overall, I expected a lot more from this issue than what we actually good. Not bad, but it could have been better, too.

"Aquaman" #8 is ultimately a nice issue and while I'd like the pace to pick up a little bit more, for now the book is working. One gets the feeling that Johns and Reis have carefully mapped out both the future and past of "Aquaman" in great detail; in doing so, they've certainly created a route that everyone is eager to follow. For now, that's enough.

It's nice to have "Aquaman" fun again; "Aquaman" #14 reminded me why Johns and Ivan Reis launching the series last year caused so much excitement. If you fell to the wayside recently, "Aquaman" #14 feels like a strong jumping-on point to help give it another try.

If nothing else, "Aquaman" #20 makes me more than ever wish that we had Ostrander on a monthly series at DC Comics. He clearly plays well in a joint sandbox, and he's a good writer to boot. Until then, though, I'll just keep my eyes open for moments like this. And if nothing else, if you are going to substitute in a last-minute fill-in comic? Well, if they were all this fun, I don't think people would mind quite so much.

"Aquaman" #23's not a bad conclusion to the second year's worth of stories for this title, but it's definitely one of the weaker issues to date. Johns normally writes a more powerful conclusion, and in the end I'm willing to wrap it up to the sudden need for a fill-in issue that shortened this story overall. (On the bright side, it was a fun fill-in.) With all that behind us now, I look forward to year three kicking off next month. We've been given a good launching point into that third year, and it should be fun to watch it play out. Not bad, but I wish it was better.

"Aquaman" #25 is a satisfying conclusion to a storyline and a particular era in the character's history. I've enjoyed Parker's writing on other titles and I'm looking forward to seeing what he can do with the character. "Aquaman" has proven to be one of the big successes from the New 52, and hopefully that will continue into the 2014. Until then, though, this has been a revitalization of a character that has been fun to swim alongside.

"Aquaman" #26 is absolutely middle of the road. I'd have been more happy if Parker's first issue had a bit more punch, especially because I worry that with Johns gone some of the readership will leave without even trying out Parker's stories. His writing has been strong enough on other titles that I'll certainly stick around for a few months and see what happens once he's had a chance to settle in. But for now, the end result is totally average.

"Aquaman" #30 does a nice job of wrapping up the Hercules storyline, even as it also opens the door for a follow-up. But more importantly, I like how Parker is letting this book connect a bit with "Wonder Woman." It's easy for a title like "Aquaman" to feel like it's playing on the fringes of the DC Universe, unconnected to the other books (the earlier crossover with "Justice League" being an exception). This makes it feel part of a greater whole, without at the same time tangling itself too tightly with other story threads. It's a nice touch, and the sort of continuity that works well. All in all, this was fun.

"Aquaman" #32 feels as dependable as ever, as it solidly trucks along. It's a good, solid, enjoyable book. Hopefully the crossover with "Swamp Thing" brought some new readers here (and vice versa), because I'd like to see this creative team continue with their overall plans. It's not reinventing the wheel or making me gasp in shock, but it doesn't need to either.

"Aquaman" #34 satisfies as it wraps up Chimera's story, and that's something that month in and month out this title's been doing. With little subplots happily blooming and a new rogue's gallery slowly being built up, "Aquaman" is the little book that could. It might not make your head explode with each new issue, but it doesn't need to; it's fun and it gets the job done.

"Aquaman" #36 is another dependable issue from an equally dependable creative team. It's not reinventing the form but it doesn't need (or aim) to. If you're looking for a solid, reliable superhero comic, you'll do well with "Aquaman."

Parker and Pelletier's time on "Aquaman" has been fun, and it's sad to see it conclude here. Hopefully, the duo has some collaborations in the future lined up, because they definitely work well together. Until then, this is a satisfying conclusion to go out on and a perfect way for the title to take a breather before the new creative team shows up in June.

There's some interesting plotting and ideas here, from some supporting characters not being as supporting as you might have first thought to the fact that both Aquaman and Black Manta are trying to spread their conflicting messages to the land-based media assembled for the opening of Spindrift. I'm curious to see where this will go, and how much or little the overall diplomatic mission will remain center stage now that the attack has occurred. While the ideas are good, however, the execution isn't quite up to stuff; things need to sharpen up a bit if "Aquaman" wants to stay afloat with readers.

"Aquaman and the Others" #4 is a great example of a middle-of-the-road comic. It's not bad, but there's nothing that makes you think, "I must find out what happens next," either. I'm not convinced that the idea of having a book starring these characters is a bad idea -- Ostrander's stop-overs with them were a little stronger -- but the execution of this one lacks any strong reason to care, unfortunately. If things don't pick up quickly, the comic with the awkward title will probably be just a distant memory by this time next year.

"Archer & Armstrong" #1 gives us an extremely strong debut for the series; it's funny, it's got action and there's even a fun new spin on the ultra-rich "1%" powerbrokers and what they'd do with a superhuman weapon in order to control the economy. In short, it's exactly how a series from twenty years ago should be updated for a relaunch today. I'm sold on the new "Archer & Armstrong." If you were a fan twenty years ago, definitely take a look. If you've only heard about how fun the original was, this is a good way to get a sample of what you were missing. It's not the same as the Windsor-Smith issues, but it's still quite enjoyable in its own right.

"Archer & Armstrong" #5 continues another installment in a strong title for the company. This is a creative team who understands the strength of the buddy comedy genre and how to make it work. To borrow a phrase, you'll laugh, you'll cry, you'll eagerly await the next issue. That's exactly what you should want from a monthly comic.

"Archer & Armstrong" #7 is another satisfying chapter in a comic that a year ago I would have thought to be near-impossible to revive. If you've been resisting giving the new "Archer & Armstrong" a try, I think this issue is a good example of the way that this series -- and the re-launched Valiant in general -- operates. That's a good thing.

"Archer and Armstrong" continues to roll along as a fun title. It's not perfect, but it's still pleasant and the strengths outweigh the weaknesses. If you were only going to try one Valiant title, "Archer and Armstrong" is the comic you need make sure to read. Definitely take a look.

It's worth pointing out that a sub-par issue of "Archer & Armstrong" is still a fun comic; it's just not quite as good as what's been seen up until now. At the end of the day, it'll bring a smile to your face and you'll want to read more. But if this is your first issue, just understand this: it's normally even better. Just get yourself ready for the fun that's in store.

"Archer & Armstrong" #13 ends on a strong cliffhanger, thanks to Ivar's addition into the mix. The sky's always been the limit for this series (in either incarnation) and I'm glad to see that Van Lente and Perez aren't afraid to continue in that vein. This is, month in and month out, an entertaining comic. For those not reading, maybe it's time to jump on board yourself, especially with a new storyline kicking off in October.

There's a lot going on here for a book that could have been dismissed as fluff. Ivar's instability, Archer's continued rage, Armstrong's sadness over losing his friend. It's another solid, entertaining comic, and I have to say I appreciate that I can always depend on this book being fun.

"Archie" #9 reminds us why this title has transformed from something that most readers would easily dismiss into a must-read each issue. Following a great closing scene to remind us of Betty's place in Archie's life, I'm itching to read the next issue. If you haven't been reading "Archie" yet, give it a whirl, but be warned: you'll get hooked awfully fast, and that's a good thing.

"8house: Arclight" #2 continues to intrigue, even as I find it slightly frustrating to know that the remaining two chapters of "Arclight" won't be for a while, as the other "8house" stories step up to their time at bat. Graham and Churchland have created a gorgeous world, and I'm dying to see what happens next. Fortunately, if the other "8house" books are as fun, it'll be an enjoyable time to see what else is in store. "8house: Arclight" makes fantasy truly fantastical again.

With beautiful, Italian-inspired art (having been to Venice, the amount of reference material that Amano uses must be massive), "Aria" is a real joy to read from start to finish. So what if very little happens? It doesn't matter, this book is like going on the best vacation you can ever imagine. If there was ever a way to really move to Aqua, based on Amano's books I'd sign up in an instant.

"Arkham Manor" #1 is a reasonable enough start to the series. With the setup presumably complete, the second issue will make or break the comic. For now, though, I'm pleased enough to want to see what happens next. If the pace picks up a bit, we'll have a real winner. For now, I'm optimistic. Not bad at all.

I'm still enjoying "Arkham Manor" enough to stick around to its conclusion, but at the same time I'm also not quite so disappointed to hear that the book is ending with #6. As a mini-series, that means that Duggan and Crystal are heading towards the slightly limited shelf-life that it seemed headed towards. I'd much rather have a book get in and out with the appropriate amount of time than to overstay its welcome.

"The Astonishing Ant-Man" may exist because of this year's "Ant-Man" movie, but -- if that's how it got the green light -- there's another reason to be happy about that quirky film. "The Astonishing Ant-Man" is a ridiculous amount of fun; if you haven't read the series up until now, this issue works well as an introduction to what you've been missing.

"Astonishing Ant-Man" #5 has it all: it's funny, it's serious, it's touching, it's ridiculous -- and all of those elements show up at just the right times. I really want this book to stick around for a long time, because it's one of the best ongoing series at Marvel right now. Seriously, if you aren't reading it, give it a shot. I bet you'll love it.

"Astonishing Ant-Man" #7 is another installment in a series that everyone should be reading. It's got humor, it's got drama, it's got superheroes and supervillains fighting one another -- what more could you possibly want? Well, if the answer is an incredibly likable main character to tie it all together, don't worry, because Spencer and Rosanas give us that too. This is a great point to give this title a whirl; trust me, you need to jump on board. This book is too good to let slip away.

Paul O'Brien's sales chart analysis of the last "Marvel Comics Presents" that ended in August 2008 showed the book shedding 70% of its sales over those 12 months. I'm a little surprised that Marvel's giving the ongoing anthology title format yet another try, and so quickly at that. If this is the best that Marvel's going to offer up, I suspect that "Astonishing Tales" will not astonish anyone with a swift cancellation. This is a book that felt like it was full of old inventory stories, and that's not going to end up being much of a draw for anyone.

"Astonishing Thor" is, at its core, not astonishing. In a market glutted with Thor comics left and right in preparation for the upcoming movie, this feels like another pitch that got greenlit for no other reason than to have another collection on bookshelves later this year. This is disappointing at best.

Maybe next issue Bianchi will pick up some strength and be fully recharged, because Ellis certainly has adapted quickly to the title. For what's supposed to be the flagship title of the X-Men franchise, "Astonishing X-Men" seems to be suffering from one creator not quite hitting the mark. Is it too much to ask that next month we get an A-game from both? Let's hope not.

Maybe with Phil Jimenez on board for the next story, we'll see a more regular release schedule for "Astonishing X-Men" and that will help matters out. While I don't mind waiting extra for something that's really good, when the title feels below average the long publishing gaps make the comic feel a bit more of a letdown. And in the end, letdown is exactly how I'd describe "Astonishing X-Men" #30, after all that promise earlier on.

I feel bad for Ellis and Jimenez, because what could have been a "big" story is now yesterday's news. If the two stick around after this story is over, hopefully the book will be back in sync with the rest of the X-books. For now, though, it feels like little more than a harmless diversion. Fun, sure, but three steps behind everyone else.

Here's the thing about "Astonishing X-Men" though: Average story and great art isn't a bad combination, but I'm not convinced it belongs on what's supposed to be a marquee book. If this story was running in "X-Men" or "Uncanny X-Men" (or any of the other X-Books right now) I don't think I'd have batted an eye. But for the title that's supposed to be the big wowie, zowie comic? It's playing it safe. Way and Pearson may still have a trick or two up their sleeves for us but for now, this is just all right. I'd like to see something bigger and bolder from them if they stick around.

I hate to say it, but this story is helping diminish the "Astonishing" brand at Marvel from its intended marquee of big-name, high-quality creative teams. And at an extra dollar an issue, the insult is a little higher. This is a big disappointment; I can't see myself reading the other "Meanwhile" issues here.

"Astonishing X-Men" needs a strong focus, considering it's the one of the four X-Men titles that appears to be largely forgotten these days. Can Liu and Perkins provide a purpose for the book? Right now, it remains to be seen. The first half of the issue gives me hope that it's possible. The second half -- well, let's hope things get a little livelier next month.

I wanted "Astonishing X-Men" #50 to be a great comic; I'd have settled for a good comic, but the result is just disappointing.

"Astonishing X-Men" has had some rough spots here and there, and I've felt like it's floundered a bunch. At the same time, though, I've been coming back every few months because I keep feeling like there's real potential. With this current storyline, "Astonishing X-Men" has reached that potential. Liu and Walta's story is going in a good direction, and as long as issues like this keep showing up, I'll keep reading.

"Astonishing X-Men: Xenogenesis" #2 isn't bad, but it's moving at a slightly slow and overly deliberate pace. I'd have liked to see some more plot progression here, considering this is only a five issue story. Still, as a strange side-step from the rest of the X-books, "Astonishing X-Men: Xenogenesis" is a nice way to take a break from the doom and gloom of "Second Coming" and relish in the weirdness.

I really would love to see some more "Villain House" stories, be they in "Dark Horse Presents," another one-shot, or any other medium. Once you read these stories, I'm pretty sure you'd agree. Wheeler's "Astounding Villain House" is a brilliant bite of dark superheroics, and if we're lucky it will be the first of many. Scoop up a copy, and I bet you'll be singing his praises before long too.

It's nice to see "Astro City" #1 return with such a strong comic right out of the gate. I also appreciate that "Through Open Doors (Part One)" is set up in a way that the next issue could be the next installment, or it could be several months until we return to this narrative. Either way, I'm pleased with the end result. Busiek's slight experiment with storytelling worked well, and there's a lot given to us here that could be used for dozens of stories down the line. In other words, just like a good "Astro City" comic should be. "Astro City" #1 reminds readers just how much fun Busiek and Anderson's series can be. It was absolutely worth the wait.

It's a real pleasure to have "Astro City" back on the stands once more. Busiek and Anderson continue to charm readers with their stories of heroism and sacrifice. But of course, that doesn't just apply to those wearing a costume and using a codename. With a comic like "Astro City," it's a reminder that the superhero genre isn't dead. You just need the right creative team telling the stories.

Busiek promises in the letter column that these story fragments are eventually leading somewhere, and that the Broken Man's strange map of thumbtacks, yarn, and artifacts all really do connect into a larger map. But even if it didn't, I'd be happy with this issue. It's different and quirky, and while it's not something that could be done every month on a successful level, as a little detour it's fun. With next month's issue serving as a follow-up to the current series' debut, there should even be a bit more traditional storytelling ahead for those craving it after this diversion. Any time Busiek and Anderson want to play with traditional storytelling, I'm in.

"Astro City" #8 continues a strong and engaging storyline, and I appreciate the fact that how it will end is anyone's guess. It's topical and exciting, and it makes me all the more happy that "Astro City" is back.

"Astro City" #11 -- and the series in general -- is a real joy. Dependably strong once again, this comic has a wide appeal. Everyone from "Doctor Strange" fans to just those who like a good character study should check this comic out. Once again, Busiek and Anderson have crafted a winner.

The new series of "Astro City" has given readers a lot of great comics, and this one is no exception. What Busiek and Anderson do here isn't something that should be replicated down the line, but it doesn't need to be either. They've taken a charming story and made it that much more so; the fantastical mixed with the mundane, and the biggest conflicts being over the little things in life. I've been thrilled with the return of "Astro City" for the past year, and this is no exception. Highly recommended.

"Astro City" #15 isn't a bad issue, but it's just a solid average, and that's surprising for a book normally as fantastic as this one. I'll still take an average "Astro City" over a lot of other comics on the market, mind you, and I hope I'm not the only one. If this is the weakest a book can get, you're ultimately in very good shape. I know I'll be back for the next issue in October.

"Astro City" #17's heart is in the right place, but this isn't one of its more shining moments. With a larger four-part story focusing on Crackerjack and Quarrel starting in December, things look a bit more promising. But this feels like another faltering moment for a series that used to be impervious; considering how great Busiek and Benjamin Dewey's "Tooth & Claw" #1 was this month, it's a bit of a let down.

"Astro City" makes you fall in love with characters you've only just met. That's very much the case here, thanks to Busiek and Anderson taking just the right amount of time to unspool Quarrel's story. Told as a single-issue story, this wouldn't have worked at all, but this story arc comes across perfectly paced and always provides more than enough to make us come back for the next installment. If you haven't read "Astro City" in a while, come and take a look at this story arc. Stories like this will make you a fan of "Astro City" all over again.

"Astro City" #23 looks great, and the story itself is even better. Hopefully the rest of this story arc will prove to be just as strong. Comics like "Sticks" are a good reminder of why "Astro City" has well-earned its beloved reputation, and Issue #23 is a huge success from Busiek and Anderson, as they give us your new favorite gorilla.

"Astro City" #26 is a pleasant way to celebrate the series' twentieth anniversary and, as I said before, I want a follow-up down the line to see if Samaritan was able to take what he learned here and really apply it to his life. Surprise bad-guy portion aside (and one that admittedly isn't the bigger solution), this is a solid exploration of what it means to be the world's greatest hero, for good or for ill.

"Astro City" #28 is a fun, if not quite groundbreaking, comic; it's got familiar beats, but Busiek still handles them well and crafts an entertaining story. This month, though, it's Chaloner and Von Grawbadger who steal the show and push this up from above average to full-on great. Once again, "Astro City" delivers the goods.

"Astro City" #29 is another strong, fun issue from a fairly consistent series. I love how Busiek and Anderson don't shy away from stories that don't have easy, simple answers, and this one is no exception. I'm looking forward to see what happens next in December; if you haven't read "Astro City" in a while, this is a good place to check it out for yourself.

"Astro City" #31 is a fun little issue, and one that I hope gets followed up before too long. It's another reminder why this series is dependably worth buying and is able to use different viewpoints and perceptions in ways that stand out. Busiek and Merino's comic takes a familiar face and gives us a nice twist.

"Astro City" #32 is a strong opening to a new storyline, one that I hope continues for at least several months. Busiek and Anderson's sequel to "Tarnished Angel" is off to a strong start; super-powered crime noir is a strange and specialized genre, but they turn out a real winner. Until the next chapter hits in March, I know what I'll be doing: re-reading the original storyline. This is a real winner, folks.

Busiek and Randall round out "Astro City" #35 with a mystery about the Weirdies, Mister Drama, the Landlord and the various Jack-in-the-Box heroes that continues to unfold. Add that to the story of being a legacy, and you get a comic that feels densely plotted and more than your money's worth. "Astro City" #35 is a reminder that the superhero genre can give us rich, interesting characters and plots, so long as talented creators like Busiek and Randall are at the helm.

While I'm enjoying "Astro City: The Dark Age," reading "Astro City: Astra Special" #1 is a good reminder that "Astro City" has its share of fun along with, well, dark. It's a great reunion for readers and Astra, and we've still got a second issue to read a month from now. For "Astro City" fans who have missed some of the lighter-hearted stories, come back! It's what you've been waiting for.

In many ways, "Astro City: The Dark Age: Book Three" #1 is set-up for the remaining issues of this story, but I'm good with that. This is just the right way for the comic to come back after a bit of an absence, and by the end of the issue things are definitely rolling full speed ahead. It may sound odd to say, "Bring on the dark ages!" but this latest "Astro City" mini-series evokes that exact reaction. It's nice to see it return.

But after enjoying the two-part "Astra Special" and getting reminded how much lighter and fun an "Astro City" story can be, I think I'd ready for "The Dark Age" to come to a conclusion. While I'm not against multi-part stories in "Astro City" ("The Confessor" showed that there's absolutely a place for that kind of thing), I'm looking forward to more one- and two-part stories down the line, and hopefully with a cheerier tone in places. "Astro City" should never be quite so dark for this long a time period.

"Avengers" is normally a bit more fun than this, but everyone involved already seems tired of the current story. That's not a good sign. Neither is the fact that a reprint of the recent "Heroes for Hire" #1 in the back is far more interesting than the main feature. "Avengers" needs some more energy, and fast.

With all but two pages being splashes, this comic feels like it ends before it's even getting started; in general this story has felt slightly rushed, but this issue even more than before. And as for the surprise final page? Well, let's hope that it's at least in part a trick; I'd hate to see the most recent storyline involving that character to be undone so casually. After a strong opening, the current "Avengers" storyline has been running out of steam, and this issue is no exception. I want to like this story, but each new chapter is a little less than the one before.

"Avengers" #3 is a satisfying (if slightly speedy thanks to one character in particular) conclusion to the initial story arc, and so far it's a very good comic. Over time, there's no doubt in my mind that it has the potential to be great. For now, though, it's already good enough that I'm willing to call this a big success. In terms of the Marvel NOW! revamps at the company, this is one of the big winners, easily.

As for the big surprise at the end, older comic fans will see the significance and gasp a little, but there's enough information here so people who don't get the reference will still understand that something big is happening. It's a sharp, neat little twist and in hindsight it fits in well with what was already presented in "Avengers" #1-3. Hickman does a great job here, and he and Kubert turn a quiet story into one that's still captivating. I've never been a big "Avengers" reader in the past, but comics like this continue to make me a fan. Well done.

"Avengers" #9 is an odd duck. I want to love it as much as I have some past issues, but once again this is a comic where it doesn't work as a single issue. Add in that this is also an issue of "Avengers" where the Avengers themselves do almost nothing, and you end up with a book where the stars appear to be the supporting cast, not the heroes themselves. Like before, I'm sure that the next issue will come down the pike and instantly suck me back in to being a full-speed cheerleader of the title. But for now, this installment feels like a bit of a letdown. A lot of the winning components are there, but it's missing a few vital pieces to jump into the realm of great.

It almost goes without saying that "Avengers" #11 is, like every other issue these days, also a little slow paced. Sometimes that pacing works well, sometimes it feels like "Avengers" is being dragged out a great deal. This time it falls into the middle of those two positions; it's still slow, but moments like Sam and Bobby parting with AIM Agents give it a certain pep that otherwise wouldn't be there. I'm still enjoying "Avengers," but I am starting to wonder just how long things are going to build. It's still good, but a tiny bit of enthusiasm is starting to chip away the longer that we get that climactic moment delayed.

"Avengers" #14 feels like it's suddenly back on track again, and I'm always in favor of that. How this ties into "Infinity" or where it will end is anyone's guess. For now, though, it feels like business-as-usual, and that's the best result you can hope for when you see a crossover banner on a title you read. Fear not! Crossover-itis hasn't set in just yet.

"Avengers" #16 is fun, but it's hard to keep from feeling like the best parts of the issue are too short and the most average parts are too long. Still, even with the balance a bit off, it's an enjoyable read. I still have no idea what "Infinity" will be, and I don't care, so long as Hickman and company get to keep telling their "Avengers" saga. Avengers assemble, indeed.

"Avengers" #18 survives on the art, but as the first main tie-in to "Infinity" it's a bit of a disappointment. Hopefully future installments are going to pick up the pace and turn out something a bit more exciting, because otherwise I don't see any real need to buy "Avengers" for the next few months. Regular "Avengers" readers deserve something more entertaining than this.

I've never been a serious "Avengers" fan; I'll read the occasional title here and there, but I don't get super-excited because a new issue of one of them came out. (Well, except for "Young Avengers." That's an entirely different beast.) In the case of "Avengers Academy," though, I've found my book to hook me. This is great stuff.

Still, a sub-par issue of "Avengers Academy" is still better than a good issue of many other books. After the high standards set by the previous four issues, this one is just a slight disappointment. Hopefully Mike McKone will be back on pencils next month, presumably just in time for a spotlight on Reptil. Here's to being back to its strengths next month.

"Avengers Academy" has finished introducing its six main characters, and I'm interested to see just Gage and company have in store for us next. This has been a remarkably successful launch of a new series, and I'm jazzed to keep reading.

"Avengers Academy" continues to be a solid, entertaining book month in and month out; for a comic anchored by six brand-new (or relatively new) characters, that's not an easy feat. Hopefully class will stay in session for some time.

Do people even still scream "Food fight!" and shove a slice of cake in someone else's cake? Like so much in this comic, it feels forced and from a different genre entirely. "Avengers Academy" from the previous twelve issues? Come back, you're missed. This issue felt like a refugee from a different comic entirely.

All in all, a satisfying issue, one that sums up the series as a whole and is entertaining for both long-time readers and those giving the comic a whirl for the first time. Gage and Chen take a slightly silly concept and turn it into one of the stronger issues of the series to date. This is another pleasant reminder why "Avengers Academy" is one of Marvel's better series right now. Ignore the general silliness of a "point one" issue and check it out for yourself.

Don't let the "Fear Itself" banner scare you away; this is turning out to be a pivotal story for "Avengers Academy," and easy to understand even if you aren't reading the "Fear Itself" mini-series. For those wondering when the proverbial shoe was going to drop ever since the first issue? It looks like it's just around the corner.

"Avengers Academy" has, post-"Fear Itself," picked up the pace and become a strong, tightly focused book. (It was good before, but this feels like a real shot in the arm.) Hopefully it will get the attention it deserves; Gage, Raney, and Hanna are turning out a fun and consistent comic here. I'm more than happy to stay enrolled with them as the deans of the school, thank you very much.

"Avengers Academy" #25 isn't the final issue in this storyline, with an epilogue around the corner. Hopefully it will push the comic back up to the higher levels I've come to expect. This issue isn't bad, but I expect great from this title, not just good. With any luck, great will be back in our next installment.

Despite the strange plotting of "Avengers Academy" #28, I do think Gage clearly gets the Runaways cast and if a new "The Runaways" comic ever started I'd be pleased if Gage was in charge. It's a nice glimpse into what these characters have been up to as well as an opportunity for them to appear again before long. I don't know if it'll happen or not, but I'd welcome them in this book's pages again.

"Avengers Academy" #29 is fine but not great; it feels like a bit of a mixed bag as it zooms off on a strange tangent before pulling back into the main story. Ultimately it's the sort of crossover issue that ends up being inoffensive; it doesn't disrupt "Avengers Academy" but it's certainly not critical reading in the slightest. Maybe #30 will change things, but for now it's entertaining if not terribly important.

"Avengers Academy" #32 is a comic that is good, but it's frustrating to see these additional elements pushed into a story that would be better without it. If you are an "Avengers vs. X-Men" reader who is thinking about picking up "Avengers Academy" #32, definitely do so. It'll give you an idea of what the book's about and the kind of stories it tells. Just make sure to stick around once the crossover has concluded. I'll bet that what we get next will turn out to be even better.

"Avengers Academy" #34 feels like it could be the start of the end of the series; if it wasn't for the October solicitations showing at least one more issue beyond the end of "Final Exam," I'd be worried. Still, that's a good sign for us as readers; it says that "Final Exam" genuinely feels like a game changer. Here's to the next three chapters not proving us wrong.

"Avengers Academy" has been a fun series, and it's sad that it's not only coming to a conclusion but is doing so in what feels like a slightly rushed and accelerated manner. Still, there's more than enough for fans of the series to enjoy here; the ending's going to be bittersweet, but we'll have fun getting there.

"Avengers Arena" #1 right now feels decidedly average. For a book that promised a lot of controversy and shock, so far it hasn't delivered on either. Over time this could still easily shift in either direction, but for now it fails to stand out among the pack of other Marvel NOW! titles.

"Avengers Arena" #5 still hasn't quite come together, but Hopeless and Walker are certainly trying to make it work. For now it's not bad, though, and as the numbers presumably dwindle we'll hopefully start to get some more characters to care about as they rise up through the chaff. With so many strong "Avengers" titles in general, though, I think "Avengers Arena" might end up suffering in comparison, so it needs to up its game and soon.

With the death of a well-loved character this issue, "Avengers Arena" #10 is hitting the point where I think readers will need to decide if they're sticking around or not. If teenagers fighting to death is your sort of thing (and with the success of properties like "The Hunger Games" and "Battle Royale" it clearly is for a lot of people), "Avengers Arena" is probably hitting its stride quite nicely right now. For those who are reading "Avengers Arena" because they were big fans of books like "Avengers Academy" and "The Runaways," on the other hand... I can't help but think that this storyline might be changing their minds.

"Avengers Arena" #14 in many ways sums up the series in general: there are little bits that fire off perfectly, but then larger issues that are harder to ignore pull the overall feel down a bit. Of course, if you're wondering why there's no mention of the surprise final page from "Avengers Arena" #12, that's because it isn't. Hopefully, there won't be long to wait until the final issue to see that resolved. In the meantime, "Avengers Arena" trudges on, full of good intentions, but never quite where it promises to be in terms of quality.

"Avengers Arena" #17 feels like the book is on track for a strong finale. While I don't think it's going to be the bloodbath that the comic promised for so long, it's certainly going to be violent and tense. Who knows? If nothing else, there are enough original characters created for "Avengers Arena" that the massacre could still happen. Honestly, though, I think that Hopeless has hit the point where there's not a need for character deaths to satisfy the audience. (I'd actually be more pleased if they didn't all die.) It's a little too late at this point, but "Avengers Arena" has definitely found its voice.

"Avengers Assemble" #10 (as well as #9 before it) has been a pleasant and rewarding surprise. There are a lot of "Avengers" titles right now, but make sure that you don't miss "Avengers Assemble" in the mix. "Avengers Assemble" has become a must-read superhero comic; all comics should be this much fun.

Once the initial strike is over, "Avengers Assemble" #14AU calms down a bit. The immediate grieving for those who were lost is affecting, and one that pays off from the introductions performed earlier by Ewing and Guice. It's not quite as interesting at that point as Black Widow scrambles to survive, but it's still a good story. At the end of the day, the lack of a script from Kelly Sue DeConnick was no longer an issue; Ewing, Guice and Palmer had turned in a good and pleasing comic. "Age of Ultron" has been a big bust up until now, but this has been one of the bright spots of the entire event.

Even the slightly-too-chatty nature of the characters in "Avengers Prime" (there are several moments where you might want to strangle Tony Stark just to shut him up) can't detract much from the overall fun and joy that goes through "Avengers Prime." There's a twist or two revealed at the end of this issue, and I suspect before it's all over those twists might get another layer pulled off to show that we still didn't know what's really going on. I'm more than happy to settle in for the ride. This is a big heap of fun.

"Avengers Undercover" #2 is another good issue, and so far it's taking the "What happens next?" hook and running with it in a way that should not only appeal to the readers of "Avengers Arena" but also hopefully bring in some new readers. This is a book that's on the right track.

"Avengers vs. the Pet Avengers" is hardly high art, but it's thoroughly entertaining. If you aren't reading these comics yet, buy the whole lot, settle down in front of the fireplace with a mug of spiced cider, and have a great winter evening reading them all. What started out as a joke as turned into a book to look forward to.

"Avengers vs. X-Men" #3 is a nice looking comic that ultimately serves as little more than set-up for future fight scenes. If you're interested in the threat of the Phoenix, I suspect you're going to have to wait a while. Perhaps tune back in around issue #10? At this point, though, I think most readers are prepared for lots of fight scenes within a larger framework. If that's what you're looking for, you're most definitely in luck.

"Avengers vs. X-Men" #7 is full of sound and fury, but unlike "Macbeth" I wouldn't say it's signifying nothing. Rather, it's the soundtrack to the latest surround sound, IMAX, mega action flick. If you know what it is going in, you'll find something to enjoy. If you're looking for a thoughtful insight into the differences between the two teams and their methods, though, that's for a different comic.

The basic plot of "Avengers vs. X-Men" as a whole isn't that bad. It's even slightly fun. But with eleven issues published, there's simply no way that there's been eleven issues worth of plot here. It's not even close. In extending the story to twelve issues, Marvel's gotten more sales, but sacrificed some storytelling to do so. Financially it's a great decision for the company, but in the long run I can't help but think that a more streamlined "Avengers vs. X-Men" could have bought far more goodwill for Marvel instead.

"Avengers World" #2 is fun and inventive, and it's got a proverbial spring in its step as it moves forward. I was a little wary about yet another Avengers title debuting, but Hickman, Spencer and Caselli are making it so enjoyable that I just can't complain. This is a nice addition to the Avengers family.

"Avengers World" #3 has some of Hickman's strengths and weaknesses on display when it comes to the Avengers. He's coming up with huge, brilliant ideas... and then putting them partially or entirely on hold for strange detours. There's a balance between characters and plotlines that it feels like Hickman still hasn't quite mastered, and "Avengers World" #3 shows the end result. This would have been a great half-issue's worth of plot, but without anything else to balance it out, there isn't quite enough to boost the issue overall.

"Avengers World" #7 is a book with an apt title. It has a great global mandate, and seeing it touch in with all parts of the shared universe is fun. But hopefully, the title doesn't also mean that that it will take a full year for "Avengers World" to complete something. I'd prefer the title to wrap things up before the planet moves entirely around the sun. Any chance of at least one thread to get tied off soon, please?

This is a comic that quotes "Back to the Future" twice, and both times the line is wonderfully accurate. What's not to love? This issue might feel like a bit of a trifle in spots, but it's so much fun as it luxuriates in everything about it -- I bet you'll love it too.

Considering that all of the "Avengers World" plot lines still seem wildly up in the air, I'm a bit hesitant about the promise that this massive story will be concluded next issue. Hopefully it will flow smoothly and we'll get a satisfying wrap-up. But if not, well, it's hard to wonder if having two issues in a row spend a lot of time introducing new generic characters from other parts of the globe was such a smart choice.

Then there's that ending. It's fairly problematic. I get why it exists, to bring back a character who's going to be in the supporting cast for a new series in 2015. But considering this character was killed off by the creative team who had transformed her from a random background face into a major character, it's hard to keep from feeling like this character maybe should have stayed away. The proof will be, of course, in what happens with the character moving forward; for all we know it'll be utterly brilliant. But looking solely at "Avengers World" #16, this feels nonsensical and more than a little out of the blue. Then again, it's hardly the only problem with this issue. This is not a shining moment for a normally more interesting series.

Still, it's great to see the characters back, and hopefully starting next month we'll see some of the characters that fell into the background here (Patriot, Hawkeye, and the Vision in particular). All in all? It's great to be home again.

"Avengers: Ultron Forever" #1 is a solid start to this particular storyline. The story is a good opening chapter, and the art and coloring looks extremely attractive. My only real complaint is that, even with the battles at the end of the comic, Ultron coasts more on reputation than actually evoking any fear. We're told how dangerous the Ultron Singularity is but, for whatever reason, he's not coming across as truly deadly. Hopefully, that will be a bit more in the foreground as the Avengers get closer to the killer robot itself. Based on what we get here, though, I think most readers would want to see the next installment. Mission accomplished.

"Avengers: X-Sanction" needs to rally a great deal if it's going to end on a high note. This should be getting readers excited for "Avengers vs. X-Men" and asking retailers to reserve them a copy. If that's going to succeed, Loeb needs to pull a new plot point out of his hat. Right now, it's losing ground.

"Avenging Spider-Man" #2 is nice, but it's also the sort of comic that you'll read at a rather rapid pace. It has some beautiful art, but I wish that Wells had stepped up the plotting to go with it. Wells has shown on other books that he's capable of long-term, fuller plotting; hopefully we can get some here before long. At $3.99 an issue, pretty art or not, I'd like a story that's a little more substantial.

With four more issues to go, of course, "AvX: Consequences" could easily zoom off in a different direction. With this strong first issue, though, it feels like a project that's on track for a strong finish. With a strong focus and momentum already moving forward, this feels in some ways to have the drive that the parent series could have benefited from, too.

"AvX: Consequences" shouldn't have worked half as well as it did, but it's much to everyone's credit that it opened and closed a success. Gillen and Walta (plus the artists from the first four issues) have turned out a fun mini-series that provided exactly what it promised: consequences. Add in a great last word from Cyclops, and it makes me genuinely interested in where these characters will turn up next. I'll be ready to read that comic, whatever it might be. Well done.

The one big down side to "Azrael" #1, though, is the art. After having Frazer Irving, J. Calafiore, and Tom Mandrake draw Nicieza's Azrael stories up until now, Ramon Bachs was already at a disadvantage. But even without that pedigree of talent having led the way, I think Bachs is still the wrong choice of artist for "Azrael." Bachs's art is blocky and rough, in an almost primitive manner. While I don't mind a rough art style, there's something about Bachs' art that misses what I think "Azrael" needs most. There isn't a dark, gloomy look about the way Bachs draws the book, and it was that special mood that Irving, Calafiore, and Mandrake all evoked quite well. As strange as it sounds, "Azrael" looks a tiny bit too cheerful, despite the grim events it's depicting. "Azrael" could actually be an excellent book, but someone more suited to the scripts than Bachs would have to come on in order for that to happen. Still, the script for "Azrael" #1 was strong enough that I want to read more. T

"Azrael" as a title is unfortunately saddled with memories of some of the worst excesses of the '90s, and that's a shame. This new "Azrael" is a different beast entirely, and hopefully Nicieza will get to continue to tell stories of this nature. "Azrael" is far more interesting than it deserves to be, and that's a good thing.

"B.P.R.D.: The Dead Remembered" is a fun start to a flashback mini-series. It's a little surprising the book hasn't done more up until now with the Salem witch trials, but perhaps it was just an ace up a sleeve waiting for the right moment. I'm still eager to find out how the cliffhanger of last month's book gets resolved, but until then this is a fun way to spend a few issues.

In the letters column for "B.P.R.D. Hell on Earth" #104, it's mentioned that Harren's next "B.P.R.D. Hell on Earth" comic will "satisfy everyone who's had complaints about the direction of the book." That actually gives me hope, if only because it recognizes that for many readers the book's started to wander afield a bit too much as of late. So while the bad news is that "B.P.R.D. Hell on Earth" #104 is one of those issues that does just that, the good news is that this comic looks gorgeous and that it'll be getting fixed sooner or later. In the meantime, though, with a surprisingly lackluster and out-of-the-blue ending, this issue of "B.P.R.D. Hell on Earth" feels like it's aimed at die-hard fans only.

"B.P.R.D. Hell on Earth" #111 feels like the series is heading in a good direction; plots are building and the danger is increasing. With three more parts in "Lake of Fire" to go (to say nothing of whatever comes next), I feel like anything could happen courtesy Arcudi, Mignola, and Crook. Whatever that destination, I'm eagerly awaiting our arrival. "B.P.R.D. Hell on Earth" brings the creepiness every month, and this issue is no exception.

The absolute basic idea behind "B.P.R.D. Hell on Earth" #122 isn't bad, but why is it that Mignola and Arcudi couldn't have done it with a bit more of the regular cast? Johann Kraus' cameo aside (hopefully he'll have a more substantial role next month), it's a little odd to not see any of them in a story that's supposed to introduce people to the title. The execution of this issue is so close, and yet so far.

"B.P.R.D. Hell on Earth: Exorcism" #2 is a perfectly reasonable conclusion to the mini-series, although I'm still not entirely sure if it had a greater point of existence than, "This might be fun." Ultimately it's nice enough for a little diversion in the "B.P.R.D. Hell on Earth" realm, and that's good enough for now.

"B.P.R.D. Hell on Earth: Gods" #1 is another strong issue for the comic, and hopefully some new readers will be willing to take a chance. (Who knows, maybe the beautiful Ryan Sook cover will lure people on board.) This is too much fun to go unnoticed.

"B.P.R.D. Hell on Earth" is an interesting new direction for the B.P.R.D. books in general, and I keep hoping the new name might help draw in brand new readers willing to give it a shot. If you like creepy horror, this really is the best time to jump on board and see for yourself. 75 issues of a series is no small feat these days, and "B.P.R.D." has well earned that high count. Check it out.

"B.P.R.D. Hell on Earth: Monsters" #1 is a comic where you might come for the arrival of Crook as artist, but you'll stay for the way that Mignola, Arcudi, and Crook tell their story. Eighty issues in, and "B.P.R.D." is still going strong.

"B.P.R.D.: Hell on Earth: New World" includes in the inside front cover a set of brief character blurbs, a nice way to help out people who haven't read all previous 68 "B.P.R.D." issues. "B.P.R.D.: Hell on Earth" hasn't justified its new subtitle just yet, but hopefully we'll see that shortly. This wasn't a bad debut issue for the new direction, but it could have been a bit stronger, too.

All in all, "B.P.R.D.: Hell on Earth: New World" has served well as a new jumping-on point for the book. It sets up some new conflicts, and reminds us of some old ones. Best of all, I still have no idea whose side Panya is on. Or, for that matter, almost all the members of the B.P.R.D. right now. It's hard to believe this is the 73rd issue of the various "B.P.R.D." comics, but it's to Arcudi, Mignola, and Davis' credit that it still feels fresh and exciting. At the rate they're going, I can see it going well beyond its 100th issue without missing a beat. Good stuff.

"B.P.R.D. Hell on Earth: Russia" is the comic equivalent of a close friend that you know, month after month, will be there and be just what you need. Hopefully your close friends won't get possessed by demons and try to destroy the planet, mind you. As always, dependably good.

"B.P.R.D. Hell on Earth: The Devil's Engine" #1 is another strong "B.P.R.D." comic in general, but it also feels like a good a place as any to check out the series if you aren't already. "B.P.R.D. Hell on Earth" is a tense little horror comic, and this new installment lives up to that reputation. Good stuff.

"B.P.R.D. Hell on Earth: The Devil's Engine" #3 has a strong wrap-up to this story, even as groundwork is laid for "B.P.R.D. Hell on Earth: Return of the Master." (Let's just say that things don't look good for our heroes.) With the shift from "B.P.R.D." to "B.P.R.D. Hell on Earth," I've been a little afraid that people are taking these comics for granted, or perhaps tuning them out. That would be a shame; they're as good as ever, if not even more so.

"B.P.R.D. Hell on Earth: The Long Death" #3 is probably not the best introduction to the series if you haven't read any of it to date. It's not only the conclusion to a mini-series, but to a story that's been running throughout the comics for years. For those who are familiar with the "B.P.R.D." world, though, I think they'll find "B.P.R.D. Hell on Earth: The Long Death" #3 quite satisfying. It's about as good of a conclusion to this little chunk of the "B.P.R.D." universe that we could get.

"B.P.R.D. Hell on Earth: The Pickens County Horror" was a fun two-issue sideline and I'd like to see more of these stories in the months to come. As much as I enjoy the regular cast, it's a nice reminder that other people work at the Bureau too. And with a story this creepy, well, there's certainly nothing to complain about. A good job from all parties involved. "The Pickens County Horror" was aptly named; as a character you'll want to steer clear of Pickens County, but as a reader it's a trip you'll definitely want to take.

"B.P.R.D. Hell on Earth: The Return of the Master" #2 is another typical issue of "B.P.R.D. Hell on Earth," and by typical I mean strong and entertaining. Arcudi, Mignola, and Crook are turning out strong comic after strong comic, and this issue is no exception. With #100 just around the corner, this mini-series is as good a chance as any to say, "I was reading it back in the day, before it hit the triple digits." Fun stuff.

"Baltimore: The Plague Ships" #1 looks beautiful, but at least for this new reader, the writing isn't quite up to par from Mignola and Golden. I'm generally fond enough of Mignola's comics that I'll give it another shot next month, but I expected a lot better from this creative team.

"Bandette" #6 is a treasure. Quite frankly, Tobin and Coover make the world of "Bandette" one that you'd want to live in. When the girls in Gaspard's pool let Monsieur steal a painting thanks to a jaunty wave, for instance, it feels like a lighter, more entertaining place to be. In the end, "Bandette" is a joy from start to finish, time and time again. And at just 99 cents an issue? This is a steal that Bandette would approve of, whole-heartedly.

When I read "Batgirl" #1, I wasn't interested in giving the series another shot. After seeing Phil Noto's covers over the past few issues, though, I found myself curious enough to take a second look. (Proof, I guess, that a good cover artist can pull in additional readers!) I'm glad I did; Miller and Garbett are improving with each issue, something you don't see often in comics. They may not be quite there just yet, but they're getting closer and within reach. I'll definitely take another look soon.

"Batgirl" has quietly turned into a solid, dependable-looking book, I had my doubts before on it as a series, but I think Miller's figured it out and moved it in the right direction. Fans of the character are definitely getting a book worth their time, and I appreciate that Miller isn't afraid to tell single-issue, classic stories here. I'll definitely dip in and take another look on a slow month. It's a nice surprise to find a book where it's been improving over time.

"Batgirl" continues to turn out entertaining issues; in an industry full of doom and gloom, "Batgirl" will brighten your day. If you're looking for a little light fun in your reading pile, you should definitely give this book a try.

Still, at the end of the day this issue of "Batgirl" is lacking the normally strong punch that each issue provides. I suppose in the long run every series has its share of just all right issues. But as someone who loved that "Seven Soldiers" mini-series, I do find it to be a pity that it had to be this month's that just turned out to be all right.

Overall, though, it's another entertaining issue of "Batgirl," the little comic that could. It may just keep plugging away in the corner, doing its own thing, but overall that seems to be working to its advantage. Fun stuff.

Hopefully, Miller has some post-September work lined up at DC which just hasn't been announced yet, because his run on "Batgirl" has been one of those rare titles which got more entertaining every month. I'd never had much of an opinion on the character of Stephanie Brown before the current "Batgirl" series began, but he's made me a convert, and I'll miss Miller's outings with the character once the summer is over. Until then, though, we've got a few more fun issues to go.

As for that earlier mentioned cliffhanger? Half of it makes me quite eager to see what happens next, as we delve into Barbara's head. The other half, with the reaction from a bystander? I have to admit it feels a little clich for superhero comics; here's hoping the book doesn't quickly go down the "misunderstood hero" road. Still, the parts that do work are strong enough to make me want to read a second issue. I'll miss the character of Oracle, but I'm willing to learn to love this latest Batgirl, too.

There are some parts of "Batgirl Annual" #2 which feel a little too pat and predictable, like the community garden with Alysia and Barbara, but at the same time it works so well with the rest of the story that ultimately it's hard to complain. All in all, this is a lot of fun; I haven't been reading "Batgirl" for a while (there are only so many hours in the day) but after this annual, consider me back on the "Batgirl" bandwagon. Nicely played.

"Batgirl Annual" #3 hits all of its marks well; it has solid story, good art and takes advantage of the longer format. I wish all five week months ended with annuals of this caliber. Once again, "Batgirl" is right on track.

I want to like "Batgirl." I saw a lot of potential in the first issue, but there's a spark that was present in Simone's original "Birds of Prey" run that just hasn't made an appearance. I love the gorgeous Adam Hughes covers, but at the moment it's hard to be excited about this series.

"Batgirl" #35 is a great new beginning for the series, so much that I actually found myself wishing that DC had taken a nod from Marvel and renumbered the series as to get additional attention paid to this debut. I love everything new that Fletcher, Stewart, and Tarr bring to the series, and the two faces from beforehand that appear to be sticking around are also a good nod to those who enjoyed the last three years' worth of comics. Expectations were high for "Batgirl" #35, and I feel like this creative team has actually managed to exceed them. Nicely done, all involved.

It's nice to see some of the plot threads (the destruction of Dinah's possessions as well as the loss of Barbara's thesis project) starting to weave back in, especially when it comes to the cliffhanger at the end of the issue. Stewart and Fletcher have laid enough hints at this point to give us a good idea of what's happening even as I'm eager to see how their first multi-part story plays out next month. "Batgirl" #38 is, once again, a winner.

Fletcher, Stewart and Tarr set up lots of things to come in "Batgirl" #40. Not only do we get some more meat in Batgirl's relationship with Burnside's law enforcement (and one police officer in particular), but we have the official launching point for June's "Black Canary" #1 as well as what appears to be the setup for an all-new Oracle to be working with Batgirl. I'm already eager to see what's next and you should be, too. "Batgirl" #40 delivers a great comic by a great group of creators. Superhero comics don't get much better than this.

"Batgirl" #41 is probably the slowest-moving issue with the current creative team to date, but it's also understandable with so much to deal with in order to move forward. Now that we're eased back into the thick of it, hopefully future issues will go back to the peppier pace that we had in their first six issues. Overall, it's not bad at all, but it's not up there with the sheer fun that we saw earlier.

"Batgirl" #43 is another fun installment of a strong series. Fletcher and Stewart continue to surprise with the book's plots and supporting cast, and Tarr and company delight as the action bursts onto the page. If you're not reading "Batgirl" yet, this is as good a chance as any to fix that error.

"Batgirl" #46 works nicely, and I appreciate the wrap up of the issue, which shows us not everything can be neatly tied up with a bow. The dangling plot thread from earlier in the issue comes back with a vengeance, and it will be fun to see how the most realistic aspect of the comic is so far the hardest one to solve. As always, I'm already eager for next month.

"Batgirl" #47 is a fun issue in a story that continues to build in the background. Stewart and Fletcher's story is intriguing, and the guest art from Carlini and Moritat works well enough as a stand-in for regular contributor Babs Tarr. (It helps that Serge Lapointe colors the entire issue, providing a bit of consistency.) All in all, a good way to shift into the next phase of this story.

I'm looking forward to seeing Fletcher and Carlini's work on the final two issues of the series, but -- if "Batgirl" had ended with #50 -- I would have still been happy with where it concluded. This is a strong wrap-up of the creative team's era on the character, and -- while I would have loved to see even more Batgirl stories from Stewart, Fletcher and Tarr -- both the new incoming team and <a href="http://www.comicbookresources.com/article/image-expo-stewart-fletcher-tarr-announce-sci-fi-action-series-motor-crush">this trio's own creator-owned series</a> show a lot of promise. Stewart, Fletcher and Tarr have ended their "Batgirl" run on a high note.

"Batgirl" #52 is a so-so finale to a series that was typically so much better. Having to wind things down without most of the regular creative team must have been deflating, because it certainly comes across that way. This past run of "Batgirl" was exciting and innovative, but this issue just lacks that energy and fun. It's really just average, and readers have come to expect a bit more than that.

"Batman" under Morrison has been a strange hodgepodge of old elements from the book over the years. The International Club of Heroes, the three imposter Batmen, Damian al Ghul, even the strange phrase "Zur-En-Arrh" are all call-backs to much earlier stories in "Batman". At the same time, though, I don't feel like I'm missing anything by having not read those earlier comics. This is what I expected a Morrison "Batman" to read like; fun, and crazy, and unpredictable. I've got my own theories about the Black Glove (who doesn't?) but somehow I suspect that Morrison's ending will have its own surprises. And that's the way I like it.

I'm actually looking forward to seeing Winick team up with Mark Bagley next month, and I think I'm just going to pretend that "Batman" #688 is the real start to Winick's return to the title. This just wasn't fair to everyone involved, unfortunately.

I'm assuming Winick still has next month's issue to conclude his run (although some sources have -" hopefully incorrectly -" said that Tony Daniel takes over as writer next issue), but I'm finding myself sorry to see it end. Things were starting to just click into place, and it would have been nice to see him get some more time to take his scripts further. Hopefully Daniel, free of "Batman R.I.P." constraints, will surprise us all as well.

In the end, "Batman" is an uneven book, although one that shows potential. For every surprise character appearance that pleased me in "Batman" #692 there's another one that I made a face towards. I think with time Daniel can grow into the book, but we'll see what happens. With creative teams coming and going so quickly these days, anything's possible. For now, though, it's a step up from "Batman: Battle for the Cowl," and for that alone, I tip my hat towards Daniel. It's a start.

Credit has to go where it's due; Daniel's doing a good job on "Batman," in making it his own book. This is a strong first story, and based on what he's doing here I'll be happy to see him stick around for a while. For those looking for a classic Batman story, you've found a winner here.

With the return of Bruce Wayne on the horizon, I hope that Daniel sticks around on "Batman" to give us his take on the original Batman as well. Regardless, though, I think it's safe to say by now that even when part of the issue doesn't interest me, Daniel's still performing a solid enough job on "Batman" that I'm eager for the next issue. That's always a good sign.

I never thought I'd say this, but here we go: if March needs to step in to help out Daniel on the art again, I'd welcome his presence. Daniel and March work well together, and it's nice to see each of them providing a satisfying read. Daniel's run on "Batman" was one of the big surprises for me in the last year, but March's art improving so much is now high on the list as well. Good stuff.

Six months ago, the idea of a two-part "R.I.P. The Missing Chapter" would've been nonsensical. Now? I'm surprised at how much I enjoyed this. Bring on the second half.

Daniel wrote eight issues of "Batman" (and drew six of them) before stepping aside for four months while Bruce Wayne came back into town, and I'm glad to see him back. But with that time away, some aspects of the book feel slightly rough. Hopefully now that he's back for good, with time those rough edges will get a bit more polish. Daniel succeeded in that before, there's no reason to think he won't do so again. Still, "Batman" #704 has some good parts going for it right now, and it bodes well for the months to come.

"Batman" isn't getting as much attention as some of the other, newer books in the Bat-stable, and that's a pity. "Batman" continues to be a solid, entertaining book thanks to Tony Daniel. At the end of the day, this book is just plain fun, and that's all I'm asking for here.

The latest "Batman" has it all; secret histories of characters, fights, ambushes, and of course the set-up for next month's conclusion. The tone picked for "Batman" is fun, pure and simple, and this comic delivers it in spades.

Not getting a team-up between Daniel and Clarke was reason enough for disappointment, but this issue felt lifeless in the story department. There's nothing here that entices me to pick up issues of "Red Robin" and "Gotham City Sirens" to find out what happens next, much less next month's issue of "Batman." Fans of March's art will want to check this comic out, but otherwise I'm all right with waiting until May for my next issue of "Batman."

Overall, this is one of the less successful issues of "Batman" under Daniel's tenure. None of the pieces of this issue feel like they're quite coming together, and that in general it's struggling to get to its destination. Hopefully later chapters will pull together a bit more. After being usurped for two months for a crossover with other titles by a guest creative team, this "Batman" is a bit disappointing.

I'm still looking forward to Daniel taking over "Detective Comics," but it's because of his work on earlier storylines, not because of this one. Trust me, Daniel's done a lot better in the past. I suspect that we've got a lot better to come starting this fall, too.

"Batman" #713 could have been a nice way to wrap up the series, one big final blow-out issue. (Maybe even a final, "And this is how Bruce took back being the sole Batman" moment, although I suppose that might be getting saved for "Batman Incorporated: Leviathan.") Instead, though, with Tony Daniel already gone to work on "Detective Comics," this final issue of "Batman" is left to be a conclusion that no one will remember six months down the line. Not bad, but still disappointing.

"Batman" after the relaunch has been a strong series, and this issue is no exception. It's a good time to be a Batman fan.

"Batman" #7 is a great conclusion to the first portion of the Owl storyline, serving as a launching point for what's still to come. I'll admit I'm a little uneasy about the upcoming crossover/tie-ins with the other Bat-family titles, but this issue of "Batman" was so strong, I feel like even if the other books don't quite mesh I'll still get a strong story here. For those of you who are waiting for the collection that this issue concludes, you've got quite a treat ahead of you.

"The Fall of the House of Wayne" helps boost what becomes (overall) a slightly sagging middle of "Batman" #9; add it to the great first two-thirds of the issue and we end up with a strong addition to both "Night of the Owls" and the Snyder and Capullo "Batman" series in general. Another excellent chapter in a continually strong comic.

"Batman" #12 is a strong wrap-up for the first year of the re-launched title. It's been one of the best "New 52" series for DC Comics, and it's nice to see that strength continuing from one month to the next. As much as I've liked Capullo on board "Batman" the previous 11 months, any time Snyder and Cloonan can work together again is just fine by me.

The re-launch of "Batman" has been strong since day one, but "Death of the Family" is rapidly shaping up to be an extremely memorable story. If Snyder and Capullo can keep this up, we're in for a great ride ahead of us. This is the sort of story that the Joker should be saved for.

"Batman" #18 ends on one of those moments that doesn't quite have the bang I expected, but I'm not sure why. I like what Snyder and Tynion are building to, and the idea of that final word put in place sounds nice. But it's only good, not great; it doesn't crash into place with the force that I think it was meant to. Ultimately, that's how I feel about "Batman" #18. It's good, there's no question about that, but it's not great. It probably doesn't help that Snyder, Tynion and company are ultimately writing a comic that reacts to something that happened elsewhere, so a certain amount of lead-up is missing as a result. Still, I think they do well with the directive they're given, and I like that they manage to make it also work with pre-existing "Batman" storylines and move them forward as well. Ultimately, I enjoyed "Batman" #18, but I think it's the next few issues that I'm looking forward to more with the title moving under its own steam once more.

"Batman" #19 is probably one of my favorite issues of this series to date; I like the smaller scale and the using of familiar faces while adding their own extra pieces of plot. I'm looking forward to the upcoming "Zero Year" (which eagle-eyed readers will catch a reference to here, meaning it's more than just a story title about when it takes place), but when it's over I'd love to see Snyder and Capullo turn out some more smaller stories like this one. They're good at the epics, but I think this is a reminder that they're good with a smaller scale, too.

In the end, "Batman" #21 is pretty good. People who are already prejudiced against "Zero Year" for merely existing probably won't agree, and while I see where they're coming from, I don't see why you can't simultaneously love "Year One" and appreciate "Zero Year" for what it is, at least so far. It's a good first chapter, and it holds a lot of promise for the next ten installments to come. If nothing else, I feel I got my money's worth in the first five pages. Snyder and Capullo's vision of "Zero Year" feels large and compelling right off the bat, and it makes you want to read more. This is how I want all of my epics to begin.

It's a shame "Batman" #23.3 crashes so badly, because the first half of the comic made me think, "This is working out quite well." In many ways, it's almost more disappointing than having the entire book at a lower level, because when the fall happens, it's from a greater height. Sorry, Penguin.

There's still so much up in the air with "Batman" #25 that it's almost a relief to know that anything can happen. With unexplained elements like the "holy door in the floor" still floating around (and which is especially attention-grabbing thanks to the way that Capullo draws it being opened up), to say nothing of Rene bearing down on Gotham City and the Riddler still at large, there's a lot that remains to be seen. With each new chapter, "Zero Year" feels like a story that will best be appreciated once it's complete. It's already a lot of fun, but watching all the pieces snap into place should prove to be that much more rewarding.

"Zero Year" has been enjoyable up until now, but "Batman" #30 feels like we've shifted out of a fast jog and moved into the sprint. Everything's come together, and Batman's moving into position to save his city feels epic. Snyder, Capullo and Miki have turned in a strong first chapter of "Savage City," and at this point readers just need to hold on to best enjoy the wild ride towards the conclusion.

"Batman" #33 gives a very strong conclusion to "Zero Year," and all parties involved should be pleased with the end result. Was it worth the wait as the story moved through its three different phases? I'd say so. Snyder, Capullo, Miki, and FCO Plascencia delivered a great final piece to the puzzle of the dreaded "Zero Year."

"Batman" #34 makes me hopeful for "Arkham Manor" later this year; Duggan's got some good ideas, and I like this way for him to get introduced to the "Batman" family of readers. Regardless of the new series, though, this issue works well. It's a nice way to give Snyder and Capullo a bit of a break, and I don't think readers will be disappointed with this guest creative team.

"Batman" #36 is a fun comic, and those who enjoyed the first chapter of "Endgame" will find a lot to like in the second. It's easy to see why DC Comics was trying to keep a lid on the contents of this issue prior to release; it's an excellent comic, and Snyder and Capullo's reveals are best left unspoiled. That said, even if you know what's coming, it's still a strong and well-composed comic. This is more than just surprises lurking in the corner, and that's the sign of strong craft. Wherever "Batman" goes next month, I'll be ready and waiting.

"Batman" #41 is a good start to this new storyline, although it's worth noting that -- in many ways -- things are just getting going. There are still a lot of questions to be answered -- the fate of Bruce Wayne, the force behind this issue's attacker, the attempted balance between vigilante and law enforcement -- and we're only one chapter into the story. It's a great first step, though, the sort of story where each new piece has the opportunity to build on what we've seen so far. While there's no doubt that Bruce Wayne will eventually reclaim his cowl (as he always does), this is a great opportunity and it feels like Snyder, Capullo and Miki are taking full advantage of it. "Batman" is definitely on the right track, and it's as strong as ever in a post-"Convergence" lineup.

"Batman" #44 ties carefully into the current storyline running in the series; this isn't merely a flashback for the heck of it. Mr. Bloom's earliest moves are part of this story, and you see just how long he's been working on his transformative seeds. Even more importantly, it's an indirect look at the state of present-day Bruce Wayne as he volunteers with disadvantaged youths, drawing a comparison to the Bruce Wayne moving through this story. There's a strong connection between them, with the current Bruce understanding how to help in a way that Batman was unable to do so in this time period. Snyder, Azzarello, Jock and Loughridge should be proud of what they've done here. What could have been a throwaway issue turns out to be the cornerstone of not only the current storyline, but Snyder's "Batman" run to date. Every extra page in this issue is used with great effect; this is how you pull off an over-sized issue. Very well done.

As much as Snyder has made us care about Jim and Duke in this storyline, it's Bruce who truly takes center stage this issue. The confrontation in the subway tunnel is a huge turning point for the new Bruce Wayne, and the comment about the negative space in his history will make some readers cheer. With that in mind, it's also the one part of the story where the final page pulls out the one true, dangerous, genuine shock moment. While it fits in with everything else that's happened in Snyder's "Batman" run to date, there's also no denying everything in this storyline has just been scattered and the remaining pieces are in desperate need of picking up. All of the readers who were cheering a few pages earlier? They're now shrieking, because that's how you create a cliffhanger. Well done, Snyder, Capullo and Miki. You got us, and you got us good. Here's to 2016 so we can see what happens next.

"Batman" #48 features the moment Batman fans have been waiting for, but Snyder, Capullo, Miki and Plascencia make the journey there just as exciting and gripping. It would have been easy to rush through these post-"Endgame" issues of "Batman," but this careful buildup has turned out to be far more iconic and attention-grabbing than a quick reversion to the status quo. Once again, nicely done.

"Batman" #52 is an apt conclusion to this series. Tynion, Rossmo, Level, Plascencia and Boyd deliver a good mix of emotional and plot beats here; this is a Batman who will forever be driven, but without being consumed by gloom. I'm eager to see what Tynion does next over on "Detective Comics," and hopefully the art team will stop in for a visit as well. This was a pleasant surprise for what could have just as easily been a fill-in story, and I hope that quality continues into next month and beyond.

"Batman/Superman" #2 is a fun sophomore issue, and it bodes well for the Pak, Lee and Chung creative team. This isn't a ground-breaking story, but it's such well-done material that it still succeeds impressively. With this creative team in place, I'm definitely in for the long haul.

All in all, while "Batman/Superman" #4 is a bit of a soft landing, it's still a good enough conclusion for the first storyline. Hopefully Lee will be back for future storylines, although Brett Booth stepping up to the plate next month shows that DC isn't afraid to put some of their top-tier artists on this title. Not the most riveting of conclusions, but it's pleasant enough that it's safe to say "Batman/Superman" is a critical success.

"Batman/Superman" #5 is unfortunately the weakest issue in the series to date. It looks like the next issue holds some more promise, but for now this feels like a real fumble after a strong opening storyline with Jae Lee on board for the art. It's not at a "call it quits" level of disappointment, but I'll be a little more wary when "Batman/Superman" #6 hits stores next week.

"Batman/Superman" #8 is a good start to a crossover, and it's also a pleasure to see Pak and Lee reunited here. After the videogame/Mongul storyline, this is much more what I'm looking for. All in all, a fun time.

"Batman/Superman" #10 seemed like it could be a lot of fun, and maybe for die-hard fans of Ray Palmer it's reason to cheer. But otherwise, save for a final tag about S.H.A.D.E.'s attempted reach, there's little to latch onto. Kerschl's art is nice, but it's not reason enough to jump in.

"Batman/Superman" #25 has some strong elements, like members of the Batman Family instead of Batman and Richards' art, but others --such as Vandal Savage -- don't work so well; it's the proverbial mixed bag. Hopefully, Pak can use Vandal Savage in a slightly more interesting manner as this storyline progresses, especially since we've already seen him depicted in a much more interesting way in the New 52. In the end, the positives and negatives balance each other out almost exactly. I wish this issue was a little stronger, but -- on the plus side -- it hasn't swung too far into the minus column, either.

Ultimately, "Batman/Superman" #26 is the very model of an average comic. In a crowded marketplace, though, that's dangerous. Average can quickly become forgettable, and -- if things don't pick up -- readers might wander off in search of something with a bit more sparkle. Just two chapters in, this storyline is unfortunately flat. There's still time for things to turn around, but it needs to happen sooner rather than later.

"Batman/Superman" #31 moves this last big "New 52" Superman story forward in a positive way, even as it reassures readers that the first chapter wasn't a fluke. The "Superman" titles are going out swinging for the fences, and Tomasi, Mahnke, Mendoza and Quintana continue to succeed in "Batman/Superman" #31.

It's great to see Morrison and Quitely working together in such fine form; their 12-issue "All-Star Superman" was a comic for the ages, but I think everyone's going to talk about their "Batman and Robin" with some reverent words as well. This is, in a nutshell, how all superhero books should get approached by their creative teams. Great work all around.

The moment of "Batman and Robin" #6 that gave me a lot of hope, though? It's the final fate of Scarlet. It's a touching end to her story, and while the art slightly lets down what really happens (a moment where the narration is critical to explain what's happening), it's a strong conclusion to her story arc. "He told me to run, but Scarlet never made it out of Gotham," is, to me, a reminder of why Morrison is one of the big names in comics. And you know what? It made me excited about seeing "Batman and Robin" #7, doubly so knowing that Cameron Stewart is on board for three issues as artist. I can't wait.

With "Batman and Robin" #12, I suspect a lot of this book's audience is going to drag out their Morrison Bat-book runs to date and re-read them to see just how many of these moments were telegraphed over the last several years. I actually feel bad for anyone who's only reading "Batman and Robin" in a collected format; they're going to have to wait at least six months after getting to this cliffhanger to see what happens next. The rest of us? It looks like we're in for the ride of our lives. "Batman and Robin" is a perfect example of how to make reading a monthly comic an absolutely necessary event.

The best thing about "Batman and Robin" #14? It feels like anything can happen. Sure, we all know that Dick and Damian will live to fight another day, but in the back of your head Morrison manages to plant a seed of doubt that this has gotten too out of control for even our heroes. That's the kind of storytelling I like. I'm sad that Morrison only has two more issues of "Batman and Robin" left, but he's knocking this last big story out of the park.

"Batman and Robin" #17 is a book that doesn't quite match up to the strengths of its creative personnel. There's a lot of promise here, and it's understandably a fill-in on short notice, but in a month of some top-notch Bat-books, it doesn't quite hit the target. The first page's repeated chant of, "What are we missing?" was eerily prophetic. Here's hoping those missing pieces are found next month.

So what's next? Hopefully with time Tomasi and Gleason will grow into the title. Of course, it's only an assumption at this point that Tomasi and Gleason are still scheduled to be the regular creative team, as originally announced. "Batman and Robin" #23-25 is running a story by Judd Winick, Guillem March, and Greg Tocchini, so it's anyone's guess at this point what lies ahead for "Batman and Robin." Maybe they'll be back, maybe "Batman and Robin" is the new "Batman Confidential" (which of course was the new "Legends of the Dark Knight"). For now, based strictly on their "Green Lantern Corps" work, I'm hoping Tomasi and Gleason will return with a more distinctive take on the title. For now, though, this is a comic that is perfectly fine, but still in danger of getting lost in the shuffle.

With "Batman and Robin" looking like it's turned into the new "Legends of the Dark Knight" with rotating creative teams, "Batman and Robin" #23 isn't off to a bad start. It's taken a character I loathe, and made me mildly interested in what happens to him next. So hats off to Winick, March, and Bressan, because that's such an impossible feat that, well, who knows what's next?

"Batman and Robin Annual" #2 continues a strong, enjoyable trend for this series. Tomasi and Gleason have been working together very well for some time here, and it's nice to see Mahnke enter that mix with ease. If Gleason needs a break down the line for a few months, Mahnke would certainly be a nice substitute. All in all, another good installment for "Batman and Robin."

"Batman and Robin" is a pleasant middle-ground Bat-comic, one that stakes itself out in the center of the Bat-spectrum. There's always room for a comic like "Batman and Robin," and it's nice to see Tomasi and Gleason doing such a good job on the book.

"Batman and Robin" continues to turn in pleasant, enjoyable issues; Tomasi and Gleason have a firm grasp on their cast, the plot moves well, and the pages are some of the best of Gleason's career. "Batman and Robin" briefly looked to be losing its way after Morrison finished up his 16-issue run, but the title is clearly in good hands once more.

"Batman and Robin" #9 is a comic that starts off good, but it's just unable to maintain that early mood through either the script or the art. Ultimately it feels like it's just missing the mark a bit; not bad, but should have been a whole lot better than the final product. Still, for that two-page spread from Tomasi and Clarke alone, I thank them. More like that, please.

"Batman and Robin" #10 feels like nothing has quite set the way it's supposed to; all the components are present, but everything could have used just a bit more polish. It's not a bad issue, but I feel like with a bit more attention it could have also been a lot better, too.

"Batman and Batgirl" #21 is an uneven but not bad comic. It's definitely one that focus more on Batgirl than its co-lead, and the art varies from unimpressive to good. Ultimately the good parts more than outweigh the lesser ones, but I'll be glad when Patrick Gleason presumably returns next month. The next stage is depression, and with Catwoman getting the co-star position, there's a lot of potential ahead.

For a comic in which not a lot actually happens, "Batman and Robin" #23.3 feels well-paced and interesting from start to finish. I'd love to see Haun on a monthly title again, and if Tynion happens to write it, we know they work well together. This comic could have easily been a snooze-fest, but this duo makes it work.

"Batman and Two-Face" #26 is a fun comic, and so far this slight revising of Two-Face's origin has felt fairly entertaining. Tomasi, Gleason, and Gray continue to work well together, and I'm looking forward to seeing Aquaman hop on board next. When Robin died, this book could have easily lost its way, but it's nice to see it working so well.

This is a good enough start to the search for Robin storyline, and now that things are moving again I expect the intensity to pick back up a bit. As an opening salvo, it does what it needs to do. With Wonder Woman next up in the co-pilot seat, the next issue promises to be entertaining.

And then, the final page hits -- and it's a great "gotcha" moment. It's out of the blue, even as it seizes your attention. Weren't interested in "Robin Rises: Omega" yet? I bet you are now. It's another strong usage of the cliffhanger format of a serialized comic, and all parties involve know just what they're doing. Good stuff.

"Batman and Robin" #35 is giving us the sort of storyline where it's almost in your best interest to not look ahead in the solicitations to see just how far it's running. Tomasi ups the ante at the end of this issue by making Batman's mission more than just a personal one, and it will be fun to see just how far it goes (both in threat level and just in terms of chapters) before it comes to a conclusion. Right now, though, just sit back, relax and watch the mayhem begin.

All in all, though, "Batman and Robin Eternal" #1 is off to a good start. The re-introduction of an old face teases us with just enough information to make old fans cheer and new fans intrigued, and the notion that anyone and everyone can be an enemy provides an instant sense of danger to the proceedings. Lightning doesn't often strike twice but, so far, this new weekly series seems to be doing its best to keep the "Batman Eternal"-level of quality alive and well. "Batman and Robin Eternal" #1 is off to a strong start thanks to Tynion, Snyder, Daniel and Florea, and readers will be glad they only have to wait one week for the next issue.

The final page holds a big surprise about how far Mother's reach goes, and hopefully it will kick things back into high gear for the second month of "Batman and Robin Eternal." For now, though, this is a competent issue that never quite clears the bar of being average.

"Batman and Robin Eternal" #11 is a satisfying comic without needing to stand out. There isn't a huge cliffhanger, but it moves at an even keel. Those who have been reading up until now will have no reason not to return next week, even as Cassandra Cain fans will rejoice in her continued repositioning as part of the Batman line's future. No complaints here.