Never mind that Ryan Choi gets killed off for nothing more than shock value. This is a badly written and drawn comic, peroid. I've gone on the record as saying that the Titans books are in desperate need of a revamp, but this was not at all what I had in mind. I can't see sales on "Titans" doing anything but sliding dramatically over the next six months if this is what the series will be like.

Ultimately, there's nothing original or of note here. "Flashpoint" has turned out some fun mini-series and one-shots so far, but "Flashpoint: Green Arrow Industries" is not one of them. This is, in many ways, a new definition of a pointless comic.

This is a book I expected a lot from, but with each issue the disappointment has grown. It's rare I'll say this about a comic with only one issue to go, but I won't be back to find out if it can sink any lower.

"Larfleeze" #1 is the sort of comic that makes you wonder why anyone thought there was a need for this to be an ongoing series. I can see an irregular series of one-offs and guest-appearances, certainly. But with a debut as limp and unfunny as this, I can't imagine this series maintaining a readership for long. Sometimes Giffen and DeMatteis knock it out of the park (and I still look forward to "Justice League 3000"), but this is not one of those comics.

The only up point to "Punisher: Butterfly" is Laurence Campbell's art which, along with Lee Loughridge's colors, has some nice work with shadows and negative space. The final panel where the Punisher is a cut-out of darkness (save for his skull shirt) is drawn excellently, for instance, and some of the tight close-ups on people's lips as they whisper a word, or a pair of eyes, come across well. Even then, I wouldn't say to pick up the book if you're a big Campbell fan and want to see more of his art. "Punisher: Butterfly," especially at a cover price of $4.99, only serves to water down and neutralize the strong work done elsewhere with the character. If it comes to one-shots like this or nothing at all outside of the regular series and their creative teams, I'd rather see the latter, please.

If "Rawhide Kid" was written with another minority in the lead and then having every single line of dialogue playing up on bad stereotypes (I'll leave it to the reader to decide some of the more offensive ideas out there), there's no doubt in my mind that Marvel would have declined to publish the comic. I wish the same had been true here. What a waste of Chaykin's talents, and of the reader's time. I won't make this same mistake again.

If I was a betting man, I'd wager that "Titans" is on its end-run, with the current 4-part storyline also culminating with the end of the series at "Titans" #36. Maybe that's wishful thinking? If nothing else, though, I feel like I gave the series a fair second-chance here, trying another issue after reading after the disastrous "Titans: Villains for Hire" special that kicked off this current incarnation almost a year ago. The book is, unfortunately, still at the bottom of the heap and not improved in quality. Enough already.

The sad thing is that a book about a character with multiple personalities could be fun. (Matt Ruff's novel "Set This House in Order" is a prime example of how it can work for a narrative success.) I'm not convinced that "X-Men: Legacy" could ever be that book, though. The character of Legion feels like a bit of a poison pill at this point in time, and while Spurrier and Huat throw in everything but the kitchen sink to try and fix the problem, it feels like too big of a stumbling block for either one to get over. All in all, a disappointment.

I'm glad that "Youngblood" #71 showed up well after "Prophet" and "Glory" were re-launched (the best two of the five titles), because if this had shown up first I might have assumed that all five comics would be business-as-usual. I understand that "Youngblood" is Liefeld's #1 baby and so the chances of it moving too far away from his original comics was slim. Nonetheless, this is still a huge disappointment. Writers like Casey and Moore have shown in the past that there's still something good to be done with "Youngblood," but this is most definitely not it.

"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,

"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 in all, though, this comic is cringe-inducing levels of bad. Characters in comics are often walking exposition factories, but J.T. Krul's script goes even further here. I can't imagine someone, upon being in a tower that's shaking apart, to stop and calmly say, "The last thing we needed was an earthquake right now." (Of course, when you consider that they also were just fighting Terra, it's also a slightly nave comment.) It's sad, because I'm enjoying "Blackest Night," as well as the tie-in issues in "Green Lantern" and "Green Lantern Corps." This comic, though, is tarnishing the crossover by association. Hopefully no one will assume the main story is this bad.

"Convergence: Green Lantern/Parallax" #2 feels like one of the more skippable "Convergence" tie-ins to date. I can't see fans of either Hal Jordan or Kyle Rayner being terribly happy about the events of this comic. I suppose, if nothing else, it does give us the definitive destruction of one of the other cities of "Convergence," but that's hardly reason to pick up this comic. In the end, this feels ill-conceived and a little pointless.

Finally, there's a strange disconnect between "Convergence: World's Finest Comics" #1 and how the other books show us the sequence of events where the domes come down. Here, Telos actually scoops up Sir Justin and Scribbly in his massive hands and places them elsewhere. This feels like a slight glitch, which someone in editorial should have caught because of the huge difference in how this plays out. In the end, the idea behind "Convergence: World's Finest Comics" #1 and the execution is sorely lacking. Maybe the conclusion will play more into the idea behind the comic but, for the moment, this is a big disappointment.

Why is Marvel throwing several metric tons of "Deadpool" comics at readers? After reading this, I feel I can say that the answer is not, "Because they have so many great comics starring the character waiting to be published." This feels like rushing any old comic out to make a quick buck, pure and simple. If this is the best they can do for a special mini-series celebrating the character, it's time to start publishing a whole lot less of "Deadpool."

"Deadpool Kills the Marvel Universe" #1 might have killed off some superheroes, but it also killed my interest in this series. I'll still gleefully read "The Sixth Gun" (a series no stranger to violence) every month, but this comic feels like a misstep from start to finish. This could have been a lot of fun, but the end result is not quite there.

With clunky and unrealistic dialogue and an annoying lead, there's nothing in "Doomed" #1 that makes me want to come back to see if the series turns around next month. With so many strong new series and creative teams at DC Comics this month, it's reasonable to say that there's enough other material that's successfully living up to its potential. In the case of "Doomed," I'm not convinced this first issue is enough to create an audience.

Since Hawk was brought back to life in "Blackest Night," we've seen the duo in "Brightest Day," "Birds of Prey," and now here. And in all three, I've gotten the distinct feeling that no one has the slightest idea what to do with these characters. All of these comics have read like someone was assigned Hank and Dawn, rather than any particular desire to write about them. Perhaps it's time to retire them for a while if this is the best we can get. Sterling Gates have each done much better in their careers, but this isn't something to be proud of.

Last but not least, Samson himself? Not an interesting character. He goes from infant, to gleeful muscleman, to the guy telling his two brand-new slaves, "Silence, chattel," when one tries to introduce himself to Samson. Maybe down the line he'll develop a personality, and perhaps treat his slaves a bit better and free them, but after this wooden first issue, I can't see myself sticking around to find out.

"Mister Terrific" is a gawky-looking, dull-reading comic. We already had an artist change on "Mister Terrific" before the series even debuted, but if this comic is going to stick around, everyone save for cover artist J.G. Jones probably needs to change. This is a creative team that, unfortunately, is misfiring from start to finish.

Even the cliffhanger ending of "Nemesis" #1 is uninteresting. It's the sort of moment that we've seen in countless issues of "Avengers," "Justice League of America," "X-Men," "Batman," "Captain America," and probably even "Firestorm." You should never get to the end of a comic and find yourself thinking, "That's it?" Unfortunately, that's exactly what you'll get. Even our supposedly crafty and clever hero (we're told he is such because that's why Nemesis wants to spar with him) uses such a tired and clichd way to stop people holding up a convenience store that it makes you wonder if the bad guy is targeting the wrong man. I'm not a fan of Millar when his comics turn into a series of increasingly ludicrous moments, but I actually found myself yearning for something crazy in "Nemesis" #1. In-your-face Millar, as it turns out, is preferable to boring Millar.

"Peter Cannon: Thunderbolt" #1 feels like a bad idea for a series; why not just have Darnell and Ross create a brand-new character rather than twisting an old one? Add in a lack of flair or pep and you end up with a swiftly forgettable comic. I'm delighted that Morisi's story finally got to see print (with a nice text introduction from Mark Waid, who had commissioned the story back in the day), but it doesn't make up for everything else included.

There's nothing new brought to the table here. Punches thrown, loud growls, sacrificing one's self to protect innocents, and even a deliberately murky "death" that could just as easily be undone. (In someone else's comic, no less, since it's unresolved here.) Lyons said he's been promised more work at DC. I hope that's true, but only because I want to see something that reminds me of his normally much stronger writing. This is a bad start to a crossover.

I appreciate that Liefeld wanted a historical epic comic book, and it's nice that he, Hovak and Image Comics were willing to give it a try. Unfortunately, their ambition has outreached their skills; it's just not clicking, either in writing or in art. It's a good idea, but the execution sadly lets it down.

"The Tomorrows" #1 has a lot of heart, but it just doesn't quite come together on the page. This is a book that I wanted to enjoy much more than I actually did. It tries but, ultimately, a little too hard to actually succeed.

At first, I started to wonder if I'd set my sights too high with "Time Masters: Vanishing Point." But looking at my bookshelf, I was reminded that you can have tie-in mini-series that still function well on their own. "Villains United" is probably the best example of all, eventually spawning a "Secret Six" mini-series and then ongoing series, probably in part because you didn't need to read "Crisis on Infinite Earths" to enjoy it. "Time Masters: Vanishing Point" might've been all right if it had managed to exist as its own entity. As random pages scattered throughout "Batman: The Return of Bruce Wayne" #2? Not so much.

Claremont and Grummett have both worked on better books in recent days, so "X-Men Forever" is almost bewildering to look at. They're both capable of a lot better, but this book just feels like a mistake on every level. I can't figure out why "X-Men Forever" got green lit; younger X-Men fans probably won't care about a book that follows up on stories from the early '90s, and older X-Men fans have probably moved on. With stories of this caliber, I suspect finding and keeping an audience is going to be difficult at best.

I want to love "Katana," and when Nocenti describes escaping souls smelling of bitterness, mold, and yearning, I'm on board. But those little moments aren't quite enough to hold my attention. If "Katana" doesn't get a sharper edge soon, I might have to set this dulled comic aside.

Add in more heavy-handed nods towards other upcoming issues (if there's one more footnote readers about Jack Ryder's adventures in next month's "Justice League Dark" spotlight on the Creeper, it's going to be maddening) and it all adds up to an issue that is far, far, far less than the sum of its parts. I've tried to give this comic more tries than I should have by now, and with each issue it feels like things have further slid downhill. If a new creative team comes on board, I'll take a look, but otherwise I feel this is a good a jumping-off point as any. Sorry, Katana. You were fun in "Birds of Prey."

"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 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.

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.

This book is a mess. I understand that Adams is a comics legend, and that DC was probably thrilled enough with Adams agreeing to "Batman: Odyssey" that on an editorial level they're trying to keep him happy. But I can't help but wonder that if this is the comic that made it through editorial, what did the first draft look like? If Adams was writing my dialogue, my next sentence would probably be, "Egads!" Which says it all, really.

So many of the revamped Batman line of comics have proven to be a blast ("Detective Comics," "Batman," "Batman Incorporated," "Batgirl") but two issues in, there's nothing new being brought to the table by "Batman: The Dark Knight," save for some increased violence. The plot itself is slightly unoriginal, but even worse it's lethargic in its pace. Add in a slow publication schedule and this is rapidly feeling like a book that needs to be re-thought, editorially. This isn't working.

The story from Wein isn't bad, although it's not that exciting either. Ultimately it takes the extremely limited information we have about Dollar Bill and builds a tale about the lengths someone will go in order to be a star. Aside from a sudden peppering of anti-gay slurs in the middle section said by several different characters regarding the Dollar Bill costume, there's nothing that will jump out at you for good or ill. Will anyone remember "Before Watchmen: Dollar Bill" six months from now? Probably not. But if they do, it will almost certainly be for Rude's gorgeous art.

"Before Watchmen: Moloch" #1 feels like a comic that has no purpose. I'm always in favor of new art from Risso, but that's not enough reason to push this through the publication schedule. There's no hook here, nothing that makes you think, "I can see why they wanted to publish this comic, too." This is for Risso die-hard fans only.

In the end, fans of the artists involved will find "Before Watchmen: Nite Owl" #4 interesting. It's a nice primer on how a comic book inker will approach a page of pencils and keep the overall look the same even while being able to bring their own particular take to the creation. But like almost all of the "Before Watchmen" comics, the story itself is skippable.

I'll admit I picked up this comic because the title made my head slightly explode. The Marvel Girls? Really? Glimpses of future issues make it seem like Black Widow and company will be adults there, so even the name of the comic leaves me cold. This seems like an idea that just didn't go where it was initially planned.

There are a few cute bits. The solarium idea is nice, and when one of the bugs screams, "Amphibapocalypse is upon us!" when the moon frog attacks I laughed. But "Spike" #1 is the sort of comic that doesn't present any hook for the reader to continue, save for perhaps an abiding love for the title character. At this point, I'm not sure that's strong enough for most.

The first 25 issues of "Checkmate" were a little uneven in places, but they had heart, and a real sense of style. There were always hooks for the reader to want to stick around, and Rucka and his co-authors clearly had a definitive goal that the book moved towards. This new era of "Checkmate" feels almost like Jones is stalling for time. Be that cancellation, a different writer, or an idea of what to do with the book, I'm not sure. But this is a colossal disappointment, to put it mildly.

"Convergence: Action Comics" #2 is the sort of comic where the one-sentence pitch sounds reasonable, but there's no energy to make the final comic stand out. That's a shame, especially coming in the final week of "Convergence," where the tie-ins needed to either go big or go home. Here, unfortunately, it didn't go big at all; aside from the great cover from Amanda Conner, there's nothing that will linger in readers' minds for very long.

"Convergence: Crime Syndicate" #1 is ultimately frustrating, because it's put together by three talented creators. In the end, though, it's a reminder that not everyone is right for every project. I'd love to have a different comic with Winslade and Kindzierski collaborating, where the script is more suited to this look and style. In the end, though, this is just a mishmash of creators and genres that don't fit together.

"Convergence: Titans" #2 is ultimately a skippable comic. There's nothing that makes this required reading, not even if you were a big fan of Arsenal. It's nice that someone felt that a better ending was needed (and, to be fair, being in the "Titans: Villains for Hire" era that closed down the series pre-"Flashpoint" was about the worst ending possible for any character to have), but that's not enough to make this comic work.

"Death Head" may very well come together once the remaining issues are published. However, taken solely as a single first issue, it just isn't quite there yet. A few creepy moments aside, there's little lure here to make readers dying to find out what happens next; none of the characters are quite likable or interesting enough, and the villain steps out of the shadows too late to have any proper menace. I hope the comic does well but, for now, it will have to do so without me.

Aside from realigning Deathstroke to look like the younger Manu Bennett that plans the character on "Arrow," I'm not entirely sure what the point of this series is beyond there being something starring Deathstroke. The last page of the comic brings an old face out of mothballs, although honestly that character was such damaged goods in the past it'll take some heavy lifting to bring some interest into that persona. Maybe given time we'll get a stronger purpose brought to Slade Wilson, but for now, I'm not feeling any reason beyond looking at Daniel's pretty art to come back for a third issue. In the end, it commits the cardinal sin of a new series: it's boring.

It's a little ironic that there's an essay by John Ainsworth in the back of the comic talking about how the original "Doctor Who" comics published back in the day had no connection at all to the show that was being aired on the television, because that's equally true here. It's bad enough there's an extremely generic Doctor being written here, but considering that the big focus on "Doctor Who: Prisoners of Time" is supposed to be the companions, their lack of characterization or even focus is a bit odd. This should have been a fun way to celebrate the 50th anniversary of the show, but right now it's off to a leaden start. Great cover by Francesco Francavilla, though. It's almost (but not quite) worth the price of admission.

I'm pretty sure the underlying conclusion of "Doctor Who: Prisoners of Time" #4 wasn't supposed to be, "Companions, eh, who needs them?" but that's where the wheels are falling off a bit. Once again, I want to like this comic more than I actually do. The visuals are pretty fun (and Francesco Francavilla's covers have been outstanding) but there needs to be some real script tightening in this series, and soon.

"Doctor Who: Prisoners of Time" #10 ultimately comes back to the frustrating fact that one wants to like it at a level greater than its actual quality. The core concept isn't bad, and with a strong editorial hand I feel like this could have gone places. In the end, though, it just doesn't quite ever work. Lovely art, though.

"Flashpoint: Legion of Doom" #1 is ultimately a not-impressive start to the mini-series. We've had much better ones already, and if anything this makes me less enthused for Glass's upcoming "Suicide Squad" in September. Maybe the remaining two parts will pick up the quality, but overall it's a rocky first issue. With some minor fixes this could have been much better.

When the main "Flashpoint" series told the readers that Lois Lane was undercover in New Themyscira, I think everyone had a fairly exciting story immediately spring to mind. What we're getting is a comic that spends more depth on a fashion show in Paris than what life in New Themyscira is like, let alone the danger and excitement of being a spy. I'm normally a big fan of Dan Abnett and Andy Lanning, but this is a big disappointment.

I want to like "Hinterkind" but after three issues I'm unable to work up the interest to find out what happens next to all of these characters. You don't have to necessarily like them all, but you at least need to get your attention grabbed enough to invest some sort of desire to follow them month after month. For now, though, I'm in the position where it's actually more dangerous to be bored than to find the book out and out bad. Barring some great word of mouth, I just don't care enough to pick up issue #4.

Most of all? I feel bad for anyone who read the first seven issues of "Infinity Inc." and enjoyed it. This is most certainly not what they signed up for.

It's disappointing that the story is limping forward; the idea of a "Klarion" series is good, and looking at the "Seven Soldiers: Klarion" mini-series from a few years ago is a reminder of how well it could work. If a stronger writer were on board with McCarthy, I'd think this was a real reason to celebrate. It's such a shame, because the potential (and the art!) is there.

Hopefully next month things will snap back into focus; Shooter and Manapul are capable of so much better than this, and up until now I felt like they'd really proven themselves as a strong, interesting "Legion of Super-Heroes" team, the first one since those very early Mark Waid and Barry Kitson issues on this series that have made it fun to read. But this issue? Well, if you haven't been reading "Legion of Super-Heroes", this isn't the time to jump on board. Maybe next time.

On its own and compared to nothing else, this issue is a little flat and uninteresting; as the final part of both a storyline and a series, it's awful. The "Next Issue" box says, "We greatly appreciate the support of our loyal readers!" but as one of those loyal readers, that's not how I ended up feeling at all. What a shame.

"Lone Wolf 2100" #1 feels like an update that didn't need to happen. Aside from aging Daisy up, which could work well down the line, nothing stands out as justifying the reboot. Maybe future issues will bring a strong hook into the property, but -- for now -- it's just not coming together.

"Longshot Saves the Marvel Universe" #2 makes me think that this mini-series is getting rushed out (with a twice-a-month schedule) before retailers and readers have time to stop and digest what's going on here. A new Longshot mini-series isn't a bad idea, but this feels like little more than an attempt to lock in the use-or-lose nature of a trademark. In the end, the only thing that needs saving is this mini-series.

There are cute moments throughout "Muppet Snow White" (the comment about the mahna mahna characters only knowing one song is priceless), but at the end of the day I'm still slightly mystified on why all the various Muppets-in-fairy-tales (and other classic stories) mini-series exist. This just doesn't have the same charm as either the Muppet programs that did similar things ("Muppet Treasure Island," "Muppet Christmas Carol") or the "Muppet Show" comic itself, and I'm afraid that too many ancillary Muppet comics might dilute the brand a bit. It's a nice enough idea, but at the end of the day I think I'll stick to the main title from now on.

Maybe once "Curse of the Mutants" is over, Moore and Olivetti will surprise us and break out into something a bit more interesting. Right now, though, this feels like another failed "Namor" comic just waiting to happen.

With such a strong creative team attached to "New Avengers: Luke Cage," I expected a lot more from this mini-series. Instead, it's an uninteresting script with great art marred by fill-in pages from an artist whose style doesn't mesh with the rest of the book. And at $3.99 an issue, that's a little insulting.

Aside from the art looking very Kirby-esque, though, I'm not sure if there's enough of a hook to read a second issue. Considering that O.M.A.C. doesn't appear to have any personality when powered up, save for following Brother Eye's orders, this has the potential for an incredibly boring protagonist. And with what little we've seen of Kevin Kho when not transformed into O.M.A.C., there's no hook there either. "O.M.A.C." #1 just falls flat, and unless you've got a deep abiding love for Kirby's creations, it's sadly forgettable.

The most frustrating thing about "The Phantom Stranger" #0 is that Corrigan's story doesn't get a real conclusion. It just stops, the character carted off stage for presumably other appearances to come. That's potentially the biggest pitfall for this series; it's going to need a story of its own, not just introductions of other characters. Having a book about Judas wearing Jesus's cloak while unveiling new DC Comics characters may sound like a riot, but in this case it just falls flat. "The Phantom Stranger" needs to bring some mystery back, and quickly.

"Punisher MAX: Get Castle" is lacking just about everything that's needed for a good Punisher story. There's no wit, no cleverness, no real understanding about the character. All we end up with is violence, but that's something that needs to be a result of the other missing elements, not a substitution. Especially now that Jason Aaron and Steve Dillon are doing a sharp job with "Punishermax," there really was no need for this

"Punisher: Nightmare" #1 feels like an odd choice for a five-issue, weekly-release marquee position. There's not enough to recommend this extra-strong push, although it's all the more frustrating because I feel like with a little work this could have been a much stronger debut. Maybe these problems will vanish in later installments, but for now it's just not quite there.

"Red Lanterns" appears to have a distinct destination in mind, but both Milligan and Benes need to step up the excitement or no one's going to be around long enough to see where this is going. The idea of a "Red Lanterns" book is a tough enough sell as is; this book needs to hit the ground running instead of plod forward one step at a time. Milligan's equally slow-paced "Infinity Inc." from a few years ago died a quick death, and it's hard to keep from feeling like this is on the same course right now.

"Reign in Hell" #1 reminds me more than a bit of some of the early Vertigo mini-series back in the day, where anything involving demons or swearing got the logo slapped on it and rushed out the door. Like those attempts, I suspect that "Reign in Hell" will be swiftly forgotten. Let's hope so.

I expected much more from "Robin: Son of Batman" #7; the creators involved are normally much better than this, and this storyline had such a strong opening. Maybe things will right themselves in the big conclusion, but -- for now -- "Robin War" has become a series of diminishing returns.

I wanted to love "S.H.O.O.T. First" #1, and I think the basic idea still holds a ton of potential. Aclin and Selma's comic feels a little too stiff in both script and art, though; if everything could just relax a bit, I think it would be on the right path. For now, there's not enough here to make me come running back for a second installment.

"She-Hulk Sensational" is unfortunately not even remotely sensational. At five dollars, getting an old inventory story and an incomplete reprint taking up 60 of the 80 pages of this comic is an insult, pure and simple. I appreciate that David and Meyers gave it their all, but getting shoehorned into an 80-page story is a big disappointment. Their story on its own would've garnered a higher rating, but it's impossible to ignore its company.

"Venom: Space Knight" #1 is off to a rocky start; it needs a better hook than "Venom is now a hero" or "Venom is in outer space." For the moment, there's nothing else offered as a reason to buy the second issue; this series runs the very dangerous risk of being forgettable. Hopefully, Thompson and Olivetti can come up with a better lure, and quickly.

"Wolverine" #311 has some snazzy visuals courtesy Bianchi; where else can you get Wolverine in the cockpit of a plane while half a dozen Sabretooth arms crash in through the glass around him? In terms of a story with any real substance, though, you'd best look elsewhere.

It's nice for the creators that they're getting some English-language exposure for their work, but "X-Campus" just doesn't have that punch needed to make it rise up above an already expansive sea of other X-Men comics. Right now, I can't see why people would want to read "X-Campus" with watered down X-Men characters when they can just read the actual titles instead.

When Rick Remender turned "Uncanny X-Force" into a tremendous critical success, it made sense that Marvel wanted the title to continue in his absence. But splitting the title into two X-Force comics felt like a bit of a disaster, and I'd hoped that boiling it back down to a single comic would fix the problem. At this point, though, I think "X-Force" is ready to be retired until a better take on the idea comes along. I'd rather see no "X-Force" than a bad "X-Force," and two issues in, I feel that this comic shows few signs of pulling out of its tailspin.

The big problem is, though, the comic is just a one-shot. At the end of the issue we get the note that the story continues in "Battle for the Cowl," but with only one issue to go in that mini-series I can't help but doubt that it's a true statement. So for the time being (and with no word so far on a follow-up anywhere) this feels like a lot of lead-up to absolutely nothing at all. In a word, it's frustrating. Maybe next month, DC's August 2009 solicitations will reveal a new project from Hine that goes forward from here. But for now, it feels like a promising road turned the corner and hit a dead end. It's enough to drive one mad...

"The Network" isn't the worst "Battle for the Cowl" tie-in; in many ways I think it's actually one of the better efforts. But in general, this event feels like a failure, with so many characters and stories scattered far and wide that there's almost no way it can all come back together in the conclusion. Nicieza, Calafiore, and Kramer try their best here, but I think in many ways the biggest problem isn't what they're doing, but the set-up of the event itself. And in the end, that's a shame, because this could have been a lot of fun.

Some pieces do work, though. Calculator's methodical planning and strategies come across really well, for example, and the scenes of him worrying about his daughter in the hospital are beautifully drawn. But every time we have a glimmer of hope, it's followed up by Oracle (computer genius extraordinaire) having no idea who Charles Babbage was. Everyone on this book has produced better comics in the past, so I have no idea what made this one ultimately misfire so badly. It's a shame, because it seemed like it would be so good.

I love "Legion of Super-Heroes," I've enjoyed comics by both Nicieza and Woods over the years, and the idea of "Legion Lost" sounded like a lot of fun. But with a jumbled first issue, a cliffhanger that makes little sense and feels dramatic solely for drama's sake... I am feeling more unenthusiastic about a Legion comic than I have in years. Hopefully the second issue will pull things together, but for now this feels like a book to walk away from.

"Legion Lost" got off to an extremely rocky start, but I'm feeling like the book is finding its way now. Once "The Culling" has wrapped up we'll have a stronger feel for the new direction from DeFalco and Woods, but for now it's piqued my interest in a way that #1 failed to do. Consider me interested in seeing what's in store for the 21st century Legion next and on board for the next couple of months. Well done, DeFalco and Woods.

I'd hoped that "Legion Lost" having a writer shift would fix some of the problems of the series, but that's a hope that is rapidly dwindling. I feel like some of the basic ideas from DeFalco are good, but the execution of them just isn't up to par. This feels like a comic that was written a quarter century ago, not 2012. For now, I'm afraid that "Legion Lost" has most likely lost me, again.

Guinaldo and Irwin turn in perfectly serviceable art, which is the best thing about "Legion Lost" #16. It moves from one image to the next just fine, and everyone looks nice if nothing out of the ordinary. But with leaden dialogue where characters actually say things like, "We can now return to our base in Mongolia" (does everyone refer to the location of their home when they're going there?), it's not enough. For now, "Legion Lost" has come to a close, but with no resolution for its characters one can only hope that eventually someone will save them from simply being forgotten.

I went into "Batman: Battle for the Cowl" with an open mind and high hopes, but everything seems to have fallen apart in short order. The ideas aren't bad, but somewhere along the way it ended up feeling uninspired. Until then, I think I'd rather just re-read the old "No Man's Land" issues for the next month. Hopefully June's relaunch of the Batman family titles will have more spring in their step once "Batman: Battle for the Cowl" has come to an end.

Unfortunately, "Batman: Battle for the Cowl" is forgettable. None of the one-shots have stories that are tied up in the main mini-series (despite closing tag lines telling people to tune in to "Batman: Battle for the Cowl" #3), and the mini-series itself isn't anything out of the ordinary. It's a real shame, because this should have been better. Hopefully it won't sour people on next month's revival of all of the "Batman" family books, because it certainly feels like momentum has been lost.

"Justice League International" has a strong pedigree, but this new incarnation isn't living up to the name. Maybe down the line when the characters are more of a team (and less incompetent) it'll turn into a fun title, but for now this is a poorly written book. Jurgens' recent run on "Booster Gold" was a lot of fun, and that makes his work here that much more disappointing.

"Justice League International" is, right now, easily the weak link of the three "Justice League" titles. I love the idea of the strange mixture of characters that the book promises, and the nod to the earlier, Keith Giffen helmed version of the title with its merging of humor and drama. But right now, "Justice League International" feels like a pale shadow of the original. It's just not quite there. A little more deviation from the standard playbook can only do some good at this point; more originality, please.

"Guardians of the Galaxy" #9 is a big disappointment, and that's even before you realize it's supposed to connect to an event that wrapped up a week ago. Comics like this make me hope that Marvel and DC end their "let's tie anything possible into an event mini-series" policy (even though I know that for sales purposes, they never will); it's ultimately taken a comic where the creative team should give you hope, and instead dragged it down into mediocrity.

"Guardians of the Galaxy" #10 is the sort of comic where you can just examine each page carefully and see all the time, work, and craft that went into every single moment. I'm glad we're getting more comics from Maguire, after his dismissal from "Justice League 3000" before it was even published. But hopefully, we'll see him on a book that has a little more energy in its story before long. This is, unfortunately, another slow slog.

I wish that "Guardians of the Galaxy" #12 and "The Trial of Jean Grey" as a whole was working a bit better. This issue doesn't even have the snappy one-liners that the previous chapter did (I loved Iceman admitting he was talking to Rocket Raccoon because it made him feel like a Disney Princess), so what spark there once was is now curiously vacant. With two chapters to go, I suppose things could turn around, but for now this is a crossover that is all image and no substance. Very pretty image, though.

For people who are fans of the current cast of "Batman and the Outsiders", I can imagine this must be a thrilling series to have all of their favorites gathered into one place. For readers who aren't particularly invested in them, though, it's more than a bit dull -- not the best way to draw in new readers, unfortunately. In the end, it's just not as exciting as it should be.

Honestly, the story about a secret council of bad guys? That isn't enough to make me want to read the next issue, it's just too middle-ground. Tomasi's work on "Green Lantern Corps" and "The Mighty" have both shown his skill as a writer much better than this. But Tomasi's "this is why I chose these characters" bit was interesting enough that I'm willing to give another issue a try and see if things pick up. That's where he's showing his skill, and hopefully now that it's out of the way he can fully focus on everything else in this story.

I wish that Tomasi had written a few shorter stories to introduce his new "The Outsiders" line-up and help people become familiar with his take on the book. This story, I fear, may have become a war of attrition to see who can still hang on to buy another issue. It's strange because Tomasi's work on books like "The Mighty" and "Green Lantern Corps" are a lot of fun, both titles that I look forward to each month. Something just isn't clicking here, though. Maybe it's the never-ending cycle of characters and directions? It could just be that it's time to let "The Outsiders" gracefully retire again.

I feel slightly cheated for having bought this random issue, and I doubt I'll be back while this current creative team is on board. Maybe down the line if someone else takes over it'll be worth another shot. But for now, "Outsiders" feels like little more than another failed team book from DC Comics.

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.

"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.

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.

"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.

"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.

"Batman: The Dark Knight Annual" #1 is a comic that's best aimed at those who haven't read Hurwitz's "Batman: The Dark Knight" before. If you like what you see, you're in luck because a new storyline is just around the corner, kicking off with "Batman: The Dark Knight" #22 in July. For those who have already experienced Hurwitz's run, though? Just look at this as a remix/greatest hits album, and you'll be all right.

I'm willing to cut Andreyko a lot of slack here for what was a bit of a poison pill assignment. There's no way that "Batwoman Annual" #1 would thrill most of those who read "Batwoman" #1-24 by sheer dint of the creative team change. While there were some real rough edges (and they're ones that I feel have gone away in the monthly series, so part of the problem here could just be that it was written fairly early on in the transition), his contributions were ultimately fine. Unfortunately, with McCarthy only drawing half of the issue, it's the other half that drags it down a bit. It's a shame, too; we've seen better from Moritat. In the end, it's not a great conclusion to what Williams and Blackman begun, but it's better than no conclusion at all. With Greg Rucka, Williams, and Blackman having all departed the character of Batwoman with stories involving Alice still dangling, perhaps she should just be retired from this point on. It would probably be a little less stressful.

"Batwoman Annual" #2 feels like it's struggling to the finish line with a conclusion that has lost a lot of its energy and punch. Kudos go to a strong final page script from Andreyko, but it doesn't change the fact that this was a storyline that had slowly picked up some real steam and then lost it all at the conclusion. I'm more than willing to write this off as a problem with the book's cancellation, but it doesn't change the fact that, with the uneven art, it's a disappointing final note for a great character.

"Before Watchmen: Silk Spectre" #1 is the sort of comic that ultimately falls short because of the overall idea of the "Before Watchmen" project; if you don't give anything new to the reader, the project feels unnecessary. And unlike "Before Watchmen: Minutemen" #1, "Before Watchmen: Silk Spectre" #1 doesn't bring anything that interesting to the table that we haven't seen before. The art is excellent, but that's about all that one can recommend for the comic. If Conner had just drawn 23 pages of Silk Spectre pin-ups, I think I'd have been just as happy. Ultimately, "Before Watchmen: Silk Spectre" #1 is exactly what I'd suspected a lot of these comics would be; very pretty, but no real substance behind it.

"Black Science" #8 is a frustrating comic. Will this work better in a few months when the storyline's complete and it exists as "Black Science Volume 2" instead? Almost certainly. But taken just as "Black Science" #8, though, it's just not quite there. In the future, it's be great to see a little more attention on making each issue something worth reading in its own right.

"Blackest Night: Superman" #1 is a bit of a disappointment; a predictable first issue where the journey itself is padded out with b-grade horror movie tactics and aimless ramblings. Both Robinson and Barrows are normally stronger than this. For now, though, it's not off to a promising start.

"Blackest Night: Tales of the Corps" #1 is a lackluster start to this mini-series; hopefully the remaining two issues will have some more meat inside their covers. For an oversized issue, it feels awfully slim.

After reading "Bruce Wayne: The Road Home: Oracle" #1, I have absolutely no interest in reading all of the other one-shots to get the rest of the story. I'm slightly ticked that considering this was labeled as a one-shot, that it most clearly was not. (By way of comparison, things like the "Joker's Asylum" one-shots earlier this year were billed the exact same way, but really were a series of one-shots.) That said? I still got some fun out of Andreyko's script, and I'll keep an eye out for Padilla down the line to see what else he does and how his style matures. There are worse fates.

"CBGB" #3 isn't the strongest issue to date, but even then its backup story ultimately redeems it. I may have never made my own pilgrimage to the real CBGB, so I guess it's apt that my most recent experience with the club is just like my first one, in the pages of a comic book.

I wanted "Captain America: The 1940s Newspaper Strip" to be fun, but it's just slightly annoying from start to finish. (Also, while we're at it? There's no apostrophe in "1940s," in case anyone at Marvel is reading and wants to fix this before the other issues see print.) This is a great idea for a strip, but it feels like it's trying to do a little too much all at once.

When "Incredible Hercules" was initially canceled and replaced with a series of mini-series ("Hercules: Fall of an Avenger," "The Heroic Age: Prince of Power," and "Chaos War") it seemed like a good enough way to continue on the book even in the face of struggling sales. Now, though? It's a sad way to (presumably) see Hercules's series come to a close. Everyone deserves better than this.

Misleading subtitle aside, there is certainly a lot of potential in "Civil War II: Choosing Sides" #1. Unfortunately, however, only one out of three stories is memorable, so future issues will need to produce stronger pieces if readers are going to stick around for all six. In this chapter, Damage Control really performs the cleanup job.

Ultimately, "Civil War II: Gods of War" #1 is a bit of bait-and-switch. There's no real reason for this comic to have such a prominent "Civil War II" title, and it's also not such an amazing comic to deserve the extra boost. This is ultimately a comic that looks nice but has a script that feels a little clunky and just below average thanks to the sheer amount of exposition. Hopefully, other "Civil War II" miniseries will have a stronger reason to be bundled into the event. This issue is for serious "Hercules" fans only.

"Convergence: The Flash" #1 ultimately illustrates the weakest point of the "Convergence" event: the repetitive nature. The more you see the same sequence and setup, the easier it is to spot when things aren't working. In the case of "Convergence: The Flash" #1, it becomes hard to ignore that Abnett and Dallocchio's comic has a dud of a protagonist. That's a shame.

The comic wraps up with the first half of a reprint of "Uncanny X-Men" #159, where Storm is briefly turned into a vampire. Since they've been referencing Storm's relationship with Dracula throughout this crossover, it's a logical story to reprint. It does serve as a reminder, though, on how much more plot Chris Claremont was able to pack into issues of "Uncanny X-Men" back then; it certainly makes all of these stories feel a bit slower by way of comparison. "Curse of the Mutants: X-Men vs. Vampires" is ultimately not a bad comic, but it's not a great one either. We've seen much better in the way of X-Men anthologies before.

"Cyborg" #2 makes me worry about this book retaining readers. I want it to succeed but I can see readers using this issue as a jumping-off point. If Cyborg is going to have his own book for the months and years to come, a stronger hook needs to appear, and quickly.

"Cyborg" #6 is a little worrying. DC Comics clearly wants the character to do well, between this series, his prominent placement in "Justice League" and even his appearance as a launch expansion character for the "Lego Dimensions" video game. Unfortunately, this book doesn't seem to be the right way to raise Cyborg's profile. The supporting cast still feels one-dimensional and this six-issue storyline felt both padded and unsatisfying at its conclusion. The basic concepts feel sound enough, but the execution just isn't bringing it home.

I wanted to love "Daomu" but this first issue isn't doing it too many favors. I suspect "Daomu" reads better in a collected format, if only because we'll get to the heart of the plot much quicker, but even then I found myself hoping to just get a translated novel to read instead. "Daomu" #1 has the best of intentions, but it's not living up to the advance promise.

While I appreciate that Marvel is creating print editions of their online comics, this is one that doesn't translate well art-wise, and it doesn't offer much by way of the plot, either. It's ultimately a bit forgettable, and that's too bad. Considering that the Punisher appears in the second season of "Daredevil," there's a whole new audience who might want to read a "Daredevil/Punisher" miniseries, but this is a little too slight to pull them in.

Every time you turn around these days it looks like there's a new "Deadpool" comic showing up. "Deadpool Team-Up" #899 was a nice idea, but (just like how we had a "Deadpool" #900 last month) it's feeling a bit tired. Maybe Deadpool can go back down to just one comic a month for a while? This feels more like a blatant grab for more sales instead of something that demanded to be published.

"Doctor Solar, Man of the Atom" is off to a lackluster start, and that's a shame. Hiring Shooter to write it and "Magnus, Robot Fighter" felt like a no-brainer, but so far it's not providing the entertainment that was inherently promised. I know that these characters have been around for ages, but that doesn't mean new stories written about them should feel that way, too. Something fresher, please.

"Doctor Who: The Twelfth Doctor" #1 was a slightly audacious move from Titan, to get a full-length comic starring the new TARDIS team up and running so quickly. (At least when "Doctor Who Magazine" does something similar, an 8-page length means that the creative team has a bit more time to get their initial chapters together.) Morrison and Taylor really do the best they can under difficult circumstances, and I'll definitely check in shortly to see how having some more time and reference material has worked in their favor. For now, though, it's probably not going to wow those who are looking for their "Doctor Who" fix.

"Earth 2" isn't off to a bad start, but it does make me wish that we'd had a little less of the history lesson (for characters doomed from the start, no less) and more of the main characters of the title. It's good enough to read a second issue, but hopefully the pace will pick up a bit more there.

The 2 in the title of "Earth 2" #3 feels especially apt this issue. The two halves of this book aren't working well with one another; hopefully future issues can bridge that divide a bit more soon. For now, this is a comic where its disjointed nature is working against it.

"Earth 2" #8 is a comics that I wanted to like, but it feels like a series of bad decisions beyond the initial idea. Another issue like this one and I think it'll be the last for not only me, but other readers as well. Hopefully the introduction of Dr. Fate next month will prove to be a bit more inviting.

"Eerie Comics" #1 is off to a slow start, but there's certainly room for improvement. With a huge backlog of reprints to showcase, plus lots of talented creators out there who could contribute strong new stories, it's not like that should be too hard. For now, though, I'm finding myself not that enthusiastic. More like "Beta-Eden," please, and less like the other three.

"Eternal Warrior" #2 is a book that feels a little out of sorts, but not to the point where it's a deal-killer. Overall, the new Valiant's been doing a good job, so I'm willing to give it a couple more installments to hopefully shake the Eternal Eeyore version of the character. Most likely the second storyline will have Gilad back to his old self, but for now, this doesn't feel that inviting.

Robinson is hardly the first writer to have a problem with writing "Fantastic Four." It's no small coincidence that Matt Fraction's "Fantastic Four" run wasn't half as strong as his "FF" title being published at the same time, certainly. So far, I'm not seeing a reason for this to be a "Fantastic Four" story in particular, and that's a little worrisome. The art is nice from Kirk, but the story definitely needs to catch up and soon.

Licensed comics don't have to be the kiss of death; Joss Whedon and Dark Horse are certainly proving that over on "Buffy the Vampire Slayer: Season Eight." This comic, though, is like too many other failed attempts. It just doesn't seem to hit the level of fun that "Farscape," itself, ever did. Maybe the remaining issues will liven up a little more, in both writing and art. At the moment, though, all I can think is that in six years time, someone else might be writing about this "Farscape" comic and how it was quickly forgotten. I hope that's not the case.

There are some small nuggets of good in the comic's story. I like that McKeever still has Firestar attending university and taking the train to and from the city, and the appearance of Photon was a nice touch. I also appreciated that the person with the drinking problem was a past high school nemesis for Firestar, although it does get dangerously close to "my bitterness is hiding problems." At the end of the day, though, I expected a lot more from McKeever; he's normally better than this. Hopefully this isn't a road Firestar will head down in the upcoming McKeever-written "Young Allies." I think we're all ready to say goodbye to the very special episode, be it television, comics, or any other form of media.

Agustin Padilla's pencils are fine, here; they remind me a lot of early comics from J. Calafiore. I like the way he mixes older and newer popular styles together (a little bit of manga, a little bit of classic comic artists) to provide a clean, angular look. (The panel where Aquaman says, "I do not want this war," in particular, strikes me as a good portrait of the character.) It's easy to follow and pleasant; I'd certainly welcome him on other comics down the line. But hopefully? Something with a little more zing to it. We've had good comics from Abnett and Lanning in the past, but this is one of their less memorable efforts.

"Forever Evil: Rogue's Rebellion" #3 ultimately feels forgettable. It's not bad but it's not anything special, either. In the end, "Forever Evil: Rogue's Rebellion" feels like it's headed into the realm of generic comic event tie-in. Sadly, it'll have a lot of company.

"Gotham City Sirens" should be the hot new book at DC, but this first issue is almost instantly forgettable. Hopefully future issues will have some pep to them. I want to like this book, but I feel like no one involved is giving it their all.

I'm half-tempted to start picking up "Gotham City Sirens" on a regular basis again, but now that I know my issue with the book was down to March, it's a little hard to muster up a lot of enthusiasm. Dini's scripts deserve a strong artist, like he has over in "Batman: Streets of Gotham." Still, it might be worth giving March another try as well. Until then, though, I'll certainly keep an eye open for any additional guest artists to come visit the lovely ladies of Gotham.

Still, there is some small hope. Sodam Yat was a character that Tomasi had done a good job with in "Green Lantern Corps," and his return will hopefully give "Green Lantern: Emerald Warriors" a bit more of the boost it needs into something interesting. (Then again, I'd have thought the addition of a Red Lantern to the cast would have already done so.) Right now, though, it's not quite there.

Each month I hope that "Green Lantern: Emerald Warriors" can bring something new to the table that makes me want to keep reading, but apparently I wouldn't make a good Blue Lantern because that hope is fading fast. At the end of the day, this book is shaping into one that is merely unforgettable. With all the good comics Tomasi's written, that's a real shame.

"War of the Green Lanterns" continues to disappoint, a phrase I'd have found unthinkable a year ago. A strong third act could help matters, but all in all this is not the storyline that seems like a strong lead-up to the "Green Lantern" film this year. Wherever all of these books' energy has gone, someone needs to find it and quickly.

Based solely on this first issue, "Guardians of Infinity" #1 feels as though Marvel is only trying to get the word "Guardians" on as many trade paperbacks as possible. Maybe things will pick up next month and give us something really memorable; right now, with the exception of the appearance of a new Guardians team from 1000 years in the past, there's nothing quite clicking here, and that's a shame. This should have been much more fun.

Hopefully the pace will pick up a bit in future issues of "Guarding the Globe," because the biggest problem with the first issue is how slowly it moves. We've barely met the cast (a lot of them are still yet to appear), and it doesn't feel like the story is going anywhere at all. Boredom is a fast way to lose readers in a comic, and I could already feel it trickling in after this initial installment. Here's to a bit more pep next time around.

"1 Month 2 Live" has potential, especially with the plethora of creators lined up for the issues to come. But the first issue is a rough, slightly below average start, and for a weekly series it's going to need to raise its game fast in order to keep readers on board. I can see burn-out setting in fairly quickly if "1 Month 2 Live" doesn't use its ticking time clock in its favor.

At the end of the day, "Image United" #1 comes across as a little dull more than anything else. Hopefully as the mini-series progresses, things will get rolling a bit more in terms of story. For people who came strictly for the art, there's certainly a lot to enjoy. If you were hoping for anything more than that, though, better luck next month. Writers were never quite as important when Image Comics first began, and Kirkman's contributions are definitely in the back seat for this first issue.

"Inferno" #1 just isn't quite coming together; so far, it's nothing new and exciting, with just some forms of characters getting thrown back into the pot. Maybe future issues will bring something big and exciting to the table, something playing on the themes of corruption in the name of desperation. For now, though, it's a little underwhelming.

The sad thing? There are a couple of good, cute moments. Congo Bill's answer to Starman's, "What are you going to do?" made me smile, and Charity being as flabbergasted as the reader by Bobo Bennetti's dialogue was funny. (Where was Charity for the rest of this comic, though?) But this is still not a very good comic, and it makes me worried for how "Justice League of America" will fare when Robinson takes over in a few months. With its macho blustering of looking for justice, it reminds me of all of the weak points of "Extreme Justice" with none of its good points. That was over a decade ago. Haven't we moved beyond this?

"Kaptara" #3 is a little underwhelming by the end of the issue. There still hasn't been enough of a break-out moment in this series to turn this book into a must-read or even enough to make it stand out in a sea of great comics. "Kaptara" has a lot of potential behind it, and I hope that it eventually rises to the occasion appropriately. For now, "Kaptara" #3 and the series as a whole feel like it isn't quite cutting it.

"Karnak" #2 would have felt disappointing if it had shipped months ago as originally scheduled, and the long wait definitely hasn't helped matters. This is a series that feels a little too full of itself. With such a crazy concept, this seemed like a title worth checking out, but ultimately the only attraction is Zaffino's art. It looks great, but right now, there's nothing to back it up.

I want "Letter 44" to do well, because I've enjoyed a lot of Soule's comics and the premise is strong. For now, though, this is a debut that hasn't hit the ground running. With a $1 introductory price tag, hopefully that's enough to convince readers to give it a second shot next month.

The original "Lobo" mini-series instantly grabbed readers with a perverse charm mixed with ultra-violence, but there's none of that here. This feels like a "Lobo" book that exists for the sake of having a "Lobo" book, not because there was a particularly interesting pitch that came across an editor's desk. I'm happy to see Bunn, Brown and DeCastro getting work, but this just isn't quite there. "Lobo" #1 isn't bad, it's sadly forgettable. Ultimately, that's the more dangerous of the two options in terms of surviving in today's market.

I'm not sure why "M.O.D.O.K.: Assassin" #1 got the proverbial green light from editorial; there isn't a hook that seems strong enough to bring in readers, aside from perhaps co-opting the original "Elektra: Assassin" logo. In the end, that's definitely not enough, not even with a nifty David LaFuente cover to go along with it. There's nothing offensively bad about it, but I can't see this being remembered within six months of its conclusion.

"Men of War" #3 is a bit of a letdown. I'm glad the lackluster back-up from Vankin and Winslade is over, and hopefully we'll get something a bit stronger in its place starting next month. But even the main feature feels like it's losing some focus, and this early in the series that's not a good thing. As one of only four titles at the $3.99 price point, "Man of War" needs to pick up the intensity next month before people start walking away for something stronger and cheaper.

"Mighty Avengers" is all over the place right now. When "Dark Reign" began it was the most promising of the three books, but at the moment it's already in need of a re-focusing. If it can pull everything back together, I think it could be a lot of fun. Right now, though, it's just a little too scattered to quite fall into place.

At the end of the day, I think I expect more from this creative team. They're certainly capable of things more entertaining, both independently and working together. Some issues of "Mighty Avengers" have been enjoyable and clever, but this one just feels like it concluded with a thud. Here's hoping the spark returns next month.

I enjoyed the first issue of "Moon Knight," which had a lot of potential and was taking a distinctly different route than most superhero books. Different setting, a fun twist, and a nice layer of subtlety. "Moon Knight" #2 just feels like an average superhero comic that brings nothing new to the table. If at all possible, let's go back to the former rather than the latter, please.

"Mystery in Space" has a great opening section, but after that the book quickly settles into a bad slump. It's too bad, because a space/science-fiction themed anthology seems like a natural for a lot of strong pieces. In the end, this should have been better than what we actually got, but I'm glad for the stories that did work.

"Never Ending" #1 has some real promise, and I hope that the remaining two issues pull everything together well. But with some strange pacing and uneven art, right now it doesn't feel like it's quite polished. I'll take another glance, but for the moment I feel like this comic won't have the time necessary to hit its full potential.

Unfortunately, "New Avengers" #8 is the weakest issue of the series to date; that's a pity, because new readers might come on board for "Standoff" -- but it's the presence of "Standoff" that makes so much of this issue feel less engaging. Hopefully, once the crossover concludes next month, "New Avengers" can dust off its own storylines without much more disruption, but this definitely feels like a hiccup in a series that is normally much more consistent.

Hopefully future issues will slow down a bit, because this could be a lot of fun. As it is, there are some little moments here and there that show glimmers of the potential of "North 40." I love that the woman doing a deal with the dark powers has to bite the inside of her cheek to draw the blood because she won't use the rusty old scythe and risk lockjaw, for example. It's a funny, clever moment that's punctuated with beautiful art and colors from Staples. Here's to seeing that side of "North 40" in #2.

"Nova" #1 is a rough start to a new series; it feels like many things that worked in the previous series aren't present here, and the ideas that were carried over aren't quite lining up properly. For a legacy character who's really come into his own over the past few years, this comic feels like a bit of a misstep. Hopefully, a course correction will be just around the bend.

Right now, the one amount of consistent storytelling is Olivetti's art, so with that having come to an end, I'm not sure how to feel about "One-Hit Wonder." Maybe things will finally gel with the third issue, and Sapolsky's story will pick one direction and stick with it. If so, this comic could really work. Right now, it's close -- but not quite there.

"Pantheon" is showing some signs of improvement, but my biggest complaint is that it still feels slow. With a slightly faster pace I think some of the other problems might not be as noticeable, and as said before, it's a real improvement over the first issue. Andreyko's delivered the goods in the past, and I'll take a look at the third issue based on how much he's already improved things. But for now, it's not at the level I was hoping it would be.

"Phantom Lady and Doll Man" #1 is an all right comic, but in order to succeed it needs to be better than just all right. This needs to be exciting, fresh, and original if it's going to survive in this difficult marketplace. Right now, unless things pick up hugely in the second issue though, I'm afraid it's not on track to do that.

Maybe the next writer on "The Punisher" (they've lined up three different novelists to each take a crack at the book) will do a better job with the character. Right now, though, it's making the idea of a non-Garth Ennis "The Punisher" from Marvel's MAX imprint seem very bleak, indeed. And not in a good way.

"Revolutionary War: Dark Angel" is a comic that I wanted to like based on the pedigree of the character as well as having Gillen attached to it. But if all of the remaining "Revolutionary War" one-shots are just going to serve as nostalgia tokens rather than engaging comics in their own right, it might not be a bad idea to just stop here. Hopefully that's not the case, but at the moment I'm starting to feel like this is an event where I am not the target audience.

There are some interesting tie-ins here, both to "Superman/Batman" as well as current events in "Justice League" (just in case you hadn't guessed the new line-up), but that's not enough of a lure to read a comic. Tomasi's capable of far better than this, and this feels like a one-shot for the sake of a one-shot. It's nice to have Kubert step in and draw part of the next phase of the search for Damian, but there's far too much padding to make this really sing.

There have been some really fun and inventive comics in "Sensation Comics Featuring Wonder Woman" over the past few months, but the danger of an anthology title is that occasionally some stories just don't quite hit their mark. In the case of "Sensation Comics Featuring Wonder Woman" #6, this print issue has the misfortune of collecting several chapters that all fell into the latter category. If you're interested in picking up a print edition of this digital-first title, this probably isn't the best entry point. Johnson and Snyder's art is really nice but, otherwise, it's ultimately forgettable.

"Shazam!" is, at the end of the day, a bit of a disappointment. It doesn't feel like the right tactic for these characters, and getting a big ol' "To Be Continued" at the end of the issue is slightly annoying. At least the "Wonder Girl" one-shot earlier this month had a conclusion (even though the new character will move on to "Teen Titans" shortly), but this comic in many ways just stops. The finished product is told with skill, but the core concept behind it feels flawed.

"Shotgun Wedding" could very well get stronger in the remaining three issues. The potential is there, but so far it's just not doing anything special. Hopefully Harms has something a little snazzier awaiting readers in the final three issues, but right now it's just not bringing the wow factor.

"Southern Cross" #1 is off to a slightly rough start, and that's a real shame. Cloonan's work on "Gotham Academy" has been a real joy, but "Southern Cross" #1 isn't capturing that same spark of energy. Maybe future issues will pick up the pace and excitement level but, for now, this is a book that is trying to succeed but hasn't quite stuck the landing.

I can understand the need to make the Wildstorm books stand out and be something different, but this doesn't seem like the right way to get there. Sure, they're standing out, but more in a way that lets everyone know to back away slowly. Maybe there's a large post-armageddon readership out there that is eating this up, but despite the talent of the creators on board, it just does nothing for me.

At the end of the day, "Strange Adventures" delivers two great stories, and then a lot of pieces that look good but aren't quite as strong in the writing department. It's a shame, because I'd have cheerfully come on board for an annual 80-page "Strange Adventures" anthology if it had top-notch stories. Based on this outing, though, I'm fine with this being just a one-shot.

In the end, I feel bad for Gates because I think a stronger artist on board this comic might have boosted my overall feeling towards the Annual. Instead, though, it's an unpleasant looking book that is a little embarrassing to read. Maybe in the future Dagnino can draw a book with robots instead, where there won't be the urge to try and sex things up? What could have been great instead feels like a misfire, here.

If "Superman: Last Stand of New Krypton" had been labeled as #3 of 8, this might not have been a letdown. As a conclusion to a month-long mini-series and crossover, though, it doesn't deliver quite what it promises. Woods brings his top game to the story, but it's not a terribly thrilling end to the mini-series overall.

Based on its pedigree of creators, "The Fury of Firestorm: The Nuclear Men" should have been a blast. Instead, it feels like a muddled mess that has lost sight of pacing, and isn't making characters at least interesting to read about, if not actually likable. Fans of Firestorm have been lobbying for a strong book starring Ronnie Raymond ever since the character was killed off in "Identity Crisis." Alas, Raymond fans, it looks like you're going to have to wait a while longer to get that good comic.

"The Fury of Firestorm: The Nuclear Man" #14 is a nice book, which is already an improvement from what came before. It's not yet quite an exciting book, though, which needs to be the next step. Still, stepping forward to a good middle-of-the-road position is the direction this comic needs to head in so that it can survive. Hopefully it's not too little too late.

"The Fury of Firestorm: The Nuclear Man" is a title that's coming to an end shortly, and if #17 is any indication, it's a title that is ready for retirement. With so many creators coming on and off the title over the past year and a half, the only thing that's seemed particularly clear is that a particularly engaging comic starring Firestorm is harder to make than one might think. Until someone can come up with that comic, though, I think Firestorm is best suited to guest-starring in other people's titles.

It's odd, really. Gillen, Milligan, McKeever, and Carey are all capable of writing mystical-themed stories with great success; "Phonogram," "Hellblazer," "Metropol," and "Lucifer" all being prime examples. So why did none of these stories work? Your guess is as good as mine. I have come to one conclusion this year, though; reading "Doctor Strange" comics is always going to spell disappointment sooner or later.

Because this is a book that has involved time travel right from the get-go, it's hard to get too worried about the timeline portrayed in "Futures End." If anything, it all but promises some sort of intervention that wipes out some or all of the events of this comic. Right now, this is a series that could have just as easily been titled, "Fear the Future." If I was a character in the DC Universe, after reading this comic, I know I sure would.

"New 52: Futures End" #10 is a solid issue, and one that shows the level of improvement that the series has gone through. Ultimately, that's a good sign. With this group of creators, I feel like they've found their footing, and made this series one that's starting to provoke some real interest.

Some fans will get a little excited at the glimpses of "Earth 2" characters in the final pages of "New 52: Futures End" but it's not enough of a lure to make this comic come together. Some issues of "New 52: Futures End" I've enjoyed, and others make me wonder why I'm continuing to check in on the series. Sadly, #14 falls into the latter camp.

In the end, we've got some very nice art (having artists like Merino, Cully Hamner and Patrick Zircher draw issues of this series has been a real delight), and a chance to check in on characters that we haven't seen in a bit. But some of these storylines need to wrap up soon, if only so that the remaining ones can start to gain a little strength and momentum. This is no "Countdown to Final Crisis," but it's no "52" or "Trinity" or "Batman Eternal," either. For a series set in the future threatening Armageddon, the lack of urgency is hard to ignore.

"New 52: Futures End" #35 is certainly one of the better issues of the series to date, but with that in mind, it could have been a lot better. Will people looking for a new comic this week find this entrancing enough to stick around for the remainder of the series? It's hard to say. If they're fans of Firestorm, this could be a tipping point. Otherwise, this is for existing readers to enjoy. The good news is that, for them, this is definitely an installment they can get behind.

If I had to describe the general feeling of reading "Secret Service," it's that you're watching an incredibly predictable movie. With movie director Matthew Vaughn (whose credits include adapting Millar's "Kick-Ass" to the big screen) serving as a co-plotter, I can't help but think that it's not a surprise. "Secret Service" all but has the words "film property" stamped all over it, but in this case it's just not a terribly inventive film property. Still, this is a comic without a lot of Millar's normally overused tics, so for now I'll give him a begrudging nod of approval. I appreciate that he's trying something a little different than his regular fare, but it feels like he no longer knows how to get there save by stereotype -- a not-bad stereotype, but this book needs to bring in something a little more unexpected and fun, and soon.

After two issues of the new series of "The Spirit," the only thing that is standing out so far is Moritat's snazzy art. This is a series you want to like more, but it's yet to start firing on all cylinders. Maybe when David Hine takes over the writing position with #4 (plus upcoming back-ups involving creators like Michael Wm. Kaluta, Phil Winslade, and David Lapham), it'll all come together. For now, it's not quite there.

At the end of the day, "Toy Story: Mysterious Stranger" #1 is a lackluster start to the mini-series. I'm hoping the remaining three issues will have some more pep and wonder to them. This unfortunately just didn't hit the high marks that both Pixar and the Boom! Kids line have up until now, but there's still chances for improvement.

After hitting the halfway point, "Ultimate Enemy" seems to have gone nowhere slowly. There's only so much that Bendis' trademark snappy dialogue can cover, unfortunately. With Sandoval's excellent pencils, though, I can understand if you'd want to stick around and see the conclusion. Regardless of the script, Sandoval and Bonet are going to make it look spectacular.

Reading "Unknown Soldier" makes me think less of an ongoing series and more of a mini-series that somehow got expanded into a much larger piece. Each issue of "Unknown Soldier" is good, but as part of a greater whole it's losing impact with each new installment. I hate to say it, but if you skipped some issues between its debut and now, I don't think you'd have missed too much. Dysart and Ponticelli are talented, and they've got a story to tell. But if the pace doesn't pick up soon (and perhaps a change of locale to another conflict elsewhere in the world), I fear that "Unknown Soldier" is going to quietly stumble into an unmarked grave.

At the end of the day, "World War Hulks" #1 is an uneven anthology; there are some good pieces, and also some for which you'll question their inclusion. If you're a die-hard "Hulk" fan you'll probably want to get this, but if you're just a casual reader, don't worry if you skip it. There's nothing so game-changing that you'll end up lost if you just wait for the main storyline issues down the road.

"Worlds' Finest" has an interesting basic idea, and I'd like to see a book like this succeed. But while the flashback sequences feel right on target, the present day portion of the book could use a bit of a boost. This should be fun, but it ends up just a touch dull instead.

It was nice to revisit the series via "Worlds' Finest" #18, if only to see what had happened in my absence. It's not a bad book, but in the end it's still not a book that promises to grab interest and compel readers to find out what happens next. There are some good bits here and there, and I'd love to hear that Levitz is focusing more on Power Girl and Huntress adapting to not being in their own universe and less on random attacker of the week. As it is, this book is just all right, nothing more.

After enjoying the first issue a great deal, this middle slump is a slight disappointment. Hopefully it's just a dip in the road and not a downward slide; with two issues to go, though, I feel like I'm in until the end. And while we're at it, maybe someone could offer Simonson a title she'd be interested in writing? I miss her gift with dialogue. It'd be nice to see her do something new.

I've enjoyed the first two issues of "X-Men" well enough, but after reading this "Curse of the Mutants" one-shot, I'm ready to pass on the others unless I hear great things about them. "Curse of the Mutants: Blade" wasn't bad, but at the end of the day it's an unnecessary comic.

The comic wraps up with the first half of a reprint of "Uncanny X-Men" #159, where Storm is briefly turned into a vampire. Since they've been referencing Storm's relationship with Dracula throughout this crossover, it's a logical story to reprint. It does serve as a reminder, though, on how much more plot Chris Claremont was able to pack into issues of "Uncanny X-Men" back then; it certainly makes all of these stories feel a bit slower by way of comparison. "Curse of the Mutants: X-Men vs. Vampires" is ultimately not a bad comic, but it's not a great one either. We've seen much better in the way of X-Men anthologies before.

"X-Men: Science Club" was a great idea, but these normally fun characters deserved a better solo outing. Maybe once "Second Coming" is over someone else can tackle the group and see what they can do, but for now in an overall good storyline this has felt rather "eh."

"X-Men: Hellbound" is off to a slow start; with just three issues, there isn't too much time left to get to the meat of the matter. With yet another villain returning from the dead for the sake of a shock ending, let's hope there's a little more punch to the remaining chapters that make this worth it.

"Young X-Men" isn't a bad idea. There's certainly potential in the book, and I suspect next issue will be establishing the new status quo for the characters. But right now, it's too flat and lifeless. Guggenheim's normally much better than this (his ensemble-cast comic of "Resurrection" does a great job of touching on lots of characters in a single issue), so hopefully he'll start shedding the large numbers of guest-stars and focus on one or two characters and make us care about them. Right now? It's a big pot of blandness, and that's the worst thing possible. A bored reader will soon become an absent reader, and I'm on the verge of that right now.

If there was ever a moment of, "Why am I still reading this book?" I'm afraid that this was probably it for me. After a lackluster five-part opening story, this two-part follow-up promised to set the book on track and show its new direction and line-up. Unfortunately, I think all that readers ended up with was another slow, dragged-out story. I want this book to succeed, but sometimes what you want and what you get are two different things entirely.

Could this be the turning point for "Teen Titans?" I hope so. I used to really love the "Teen Titans" revamp, and it's starting to feel like a book I want to read. I'll be sticking around for a while longer if McKeever keeps this up.

It's too bad that there's a big crossover with "Titans" and "Vigilante" around the corner, because "Teen Titans" hasn't felt terribly stable for a while now, and this seemed to be the perfect opportunity to gain a new status quo. Hopefully things will calm down soon and we can get a cheerful, fun "Teen Titans" again. There are glimmers of it just lurking below the surface here; only time will tell if that's what we're finally receiving.

Even the back-up feature by Sean McKeever and Yildiray Cinar fails to entertain; if you're coming in late, it's slightly incomprehensible on who's in the hospital and why as a reader we should care. "Teen Titans" #81 was a disappointment from start to finish. This book has lost its way badly enough that if DC announced tomorrow that it was going on hiatus for a year to take the time to find a better direction and creative team, I think most readers would applaud the decision. Oh, how the mighty have fallen.

The one part of the issue that didn't work for me is the new villain, whose motivations in general still feel ill-defined. I'm willing to wait it out and see where this is going, but it's hard to overlook that right now he just feels like a character that they're fighting for the sake of fighting. Still, two issues in, I feel like this is a good start for Krul and Scott, and for readers to take another look at the series again.

"Teen Titans" #99 is quite possibly one of the most skippable comics I've seen in a while. If you aren't reading the series, there's nothing to entice you on board. If you are reading the series, the lack of forward movement will be frustrating. Unless the purpose of "Teen Titans" #99 was to make Titans fans giddy at the idea of this comic getting completely reset with a new creative team and cast, I'm at a loss.

"Brightest Day" #2 is a mish-mash of all sorts of stories, but none of them manage to be particularly engaging. After the huge disappointment that was "Countdown to Final Crisis," I was hoping that more recent faster-than-monthly experiments like "Trinity" and "Wednesday Comics" had shown that DC had fixed the kinks in the system. "Brightest Day," for now, seems awfully dim. Everyone involved is capable of much better than this.

"Brightest Day" has picked up a bit since its debut, but it still doesn't seem to quite work. (And that's not even talking about the "shocking cliffhanger," which at best is an ill-timed fake-out and at worst a real waste of a character.) I understand the love of the weekly or even twice-monthly series, but in this case I feel it isn't doing "Brightest Day" any favors. Just about every creator on this series is capable of something better, and it's a shame to see this not living up to its creative potential.

"Brightest Day" is a frustrating series because for every piece that works in an issue, there's always something else that falls apart. I know it's difficult to juggle as many stories as there are crammed into this mini-series, but regret doesn't result in a better comic. There's a lot of talent packed into "Brightest Day" and I keep hoping it'll better showcase all of their ability. For now, though, it's still wildly uneven.

Topped off with a dramatic cover from David Finch, "Brightest Day" #13 serves as a good halfway point to the series. While all but two pages focuses on a single plotline, it's still a good moment of transition; things are actually happening, resolutions are around the corner, and chances are looking good everyone will come out of the experience with a positive memory of the story. That's about all you can ask for, really.

I appreciate that "Brightest Day" isn't afraid to give almost all of an issue as a spotlight to a single character; it keeps the book from feeling scattershot like those first few issues, and it's found a storytelling rhythm of its own. I just wish that the Martian Manhunter story had moved a bit more quickly and given us some more progression now that we're finally back to the character. Still, the book is maintaining a solid, middle-of-the-pack approach, and there's enough here to sustain interest for another issue.

Fortunately there's still the big conclusion to come in two weeks, because this is an uncharacteristic dip in quality for the series. With elements being hastily yanked back in (hello, Captain Boomerang) and explanations left and right, hopefully that phase is now completed in order to give us a stronger conclusion. Right now, though, it's an underwhelming beginning of the end.

With a slew of "Convergence" tie-ins over the next two months, they look to be the more attractive option for readers dipping their toes in the event. Perhaps "Convergence" #2 will pick up the pace and excitement level next week now that the exposition dump has come to a close. For now, though, this continues the trend from "Convergence" #0 with an underwhelming comic that's should be hooking us as readers.

"Convergence" #5 is a real improvement but, at the same time, the series has a long way to go to pull itself completely out of the hole that the first month dug. Hopefully, this will be a real turn-around, with the final three installments continuing to step up the proverbial game. Overall, the main "Convergence" miniseries has been a bit of a letdown but, if you had to pick the best issue to date, look no further than "Convergence" #5.

"Convergence" #8 achieved its purposes -- both to restore a few earlier eras of DC Comics as well as to give the company a certain amount of breathing room for its now-completed move across the country -- but it's a shame that it couldn't have been stronger. With the amount of time allotted to create "Convergence," this should have been a dynamite comic but, instead, it feels like one that stalled for weeks and then raced to a conclusion, while leaving little threads unresolved. Some of the tie-ins were fantastic and there were some good individual moments within the main comic itself. On the whole, though, it's a below-average two-month experiment that didn't hit the heights that were presumably possible. "Convergence" itself will almost certainly fade into a distant memory with other past events like "Day of Judgment" and "Genesis." Some of the end results may end up proving to be golden but, overall, readers' minds will move forward instead of lingering here.

With all the fun that Fraction and Michael Allred are serving up in "FF," it's a little disappointing to see "Fantastic Four" getting a bit lackluster. There's still a lot of time to turn things around, and I did appreciate the plot starting to move forward. But the writing in general could use a bit more of a burst of energy, and the art even more so. Here's to hoping the fun returns next month in greater numbers.

"Fantastic Four" #6 feels like it's almost there, that the book is coalescing into what it needs to be. For now, though, Fraction and Bagley aren't quite hitting the mark. It's not bad, but once again, it feels like it could be so much better, too.

I want to like "Fantastic Four" much more than I do, with "Fantastic Four" #11 being no exception to that rule. Maybe when Karl Kesel comes on board to help finish out Fraction's run, things will level out a bit. And with the tie-in to "FF" in the form of the future Johnny Storm appearing, it definitely comes across that everything is finally coming to a head. But still, this should be better than what's actually presented, and that's too bad.

"Teen Titans" #3 is showing more than ever this series finding its own voice and tone, and it's a good one. With the promise that next issue should finally pull the team together, I find myself genuinely interested in what happens next in a "Teen Titans" comic. It's been a while since we've had that for the Titans. This is definitely one of the more pleasant surprises of the New 52.

"Teen Titans" isn't a terribly deep book, but it doesn't need to be. It's a fun book overall, and it's got a nice brisk pace; doubly so now that the team (minus Superboy) is all together at last. It's been a while since "Teen Titans" has been readable, so it's a pleasure to be five issues in and still enjoying the title.

"Teen Titans" #8 serves both as primer (for those who haven't read the title before) and teaser (for those who have been reading) and while it's not a bad prelude to the big storyline, it's not as good as the title normally is from month to month. "Teen Titans" has proven itself to be a fun book month in and out, but this one feels like a small misstep off its normal path. Nothing to worry about, but if it wasn't for the hints about future stories, I suspect it would be quickly forgotten in the months to come.

Still, "Teen Titans" #10 is nice. The good parts are what make me want to come back, and I'm glad that things are finally calming down. Now if we can just get some dangling plots resolved faster than they're introduced, well, we'll be golden.

"Teen Titans" #13 could have worked, but the finished product just never quite gels. As a return to the main narrative, it's a bit of a let down.

Ultimately, "Teen Titans" #16 isn't a bad comic, but it's a slightly forgettable one. The stakes never feel high, and even the eventual reveal by the Joker of characters connected to Red Robin and the Red Hood feels curiously muted, perhaps because they aren't ones we've spent any time with in the current continuity. I understand that it can be tough to work with someone else's story, and that's what "Teen Titans" #16 feels like. All parties put in a good enough effort, but the energy from earlier issues isn't here either. As much as I love "Batman" these days, I suspect I won't be the only one glad to see "Teen Titans" clear of this storyline soon.

Ever since "The Culling" storyline it's felt like "Teen Titans" has been grasping for a direction, even as it avoids the most obvious and perhaps easy one. The problem is, in trying to make "Teen Titans" different it feels like Lobdell's thrown out what can make a team work. Namely, having it feel like an actual team of interesting characters. With at least one origin on the horizon, hopefully this is about to change. But all in all, this is a comic that needs to pull itself together quickly, before too much damage is done. Something needs to be done before readers give up.

I expected "Teen Titans" #23.1 to be a fun comic, but there is nothing fun about this issue from start to finish. It's not engaging, it's not interesting, and it's more than a little nasty. I don't consider myself a prude or squeamish, but "Teen Titans" #23.1 is not a comic I would recommend to anyone, ever. This is, in the end, truly pointless. Let's just pretend it never happened.

Lobdell's narration for "Teen Titans" #27 explains the idea of the team early on and then notes, "It can be argued, lately, they've lost the plot." Truer words were never written. This title, pre-"The Harvest," was fun. Hopefully a new creative team can come along later this year and find that once more.

With so many strong talents lined up for "DC Universe Legacies," I wish I liked it more. We've still got issues to come with other big talents like George Perez and Jerry Ordway, after all, and in theory this should be a lot of fun. But even though I came into this comic predisposed tot like it, I'm finding myself bored. That's not a good sign.

"DC Universe Legacies" #5 may not be the most exciting book published this past week, but it is probably one of the prettiest. And with an improving script, it offers up some hope for the second half of the mini-series. If nothing else, it's nice to see DC Comics' big artistic guns all getting some work. Now if Paul Lincoln and company could just stay in the background for the second half, I think we'll be set.

Hopefully the remaining three characters to get their own "The Red Circle" one-shots (Inferno, the Web, and the Shield) will have a little more pizzazz in their introductions. Right now, this first one-shot is an attractive comic but it just isn't hitting the high mark that it needs to for people to get excited, wanting to read more.

Happily, Roger Robinson's pencils look strong here. They remind me a bit of Scott McDaniel's work (and whom ironically pencils the last page as a lead-in to "The Red Circle: The Shield"), with a slightly blocky, iconic look to the visuals. Robinson's best when it comes to perspective and architecture; the look into the Web's lair comes across as a more interesting first glance than it other might have been, and even something as simple as a kitchen looks attractive and inviting. He's good with characters and action too, don't get me wrong, but it's the attention to details that other artists that might have forgotten that make Robinson's art stand out. If anything, Robinson's art is the high point of the issue (although I do love the beautiful Jesus Saiz cover), and the fact that he's also illustrating the monthly series gives me some hope as well. Here's to "The Red Circle" characters breaking out of the standard molds they've been cast in.

"Red Robin" #1 is showing potential, but so far it hasn't quite lived up to it. I'm willing to give Yost and Bachs a little more time, but they need to start playing to their strengths quickly. The Batman family of titles has been through some rough times, and unfortunately a new title can sometimes be used as a jumping-off point. Here's hoping future installments bring back the entertaining character we used to know.

I'll give "Red Robin" another try next month, and hopefully it won't open at such a frantic pace. Still, considering this is all occurring mid-storyline, I suppose I should be glad it made as much sense as it did. Nothing world-shattering here, but it's just strong enough in the second half that the book ends on a positive note, and that counts for a lot.

The only downside to "Shaolin Cowboy" #1 was that things are just finally kicking into high gear when the issue comes to a close, but with more issues around the bend, readers should be in for a fun time. Hopefully sooner or later, we'll also see some collections of the original material -- and if so, I'd like to place my request now for an oversized hardcover edition, please. If there's an artist whose creation deserves to be seen that large, it's Darrow. Until then, though, I'll just keep staring at what we've got. It really is something else.

But still, in terms of selling this as anything but a series of portfolio pages, it's decidedly disappointing. There's no plot here whatsoever, no hook to make you want to keep reading. The mocking nature of the first page having a random pin-up model being drawn in the foreground with the action blasting away behind her felt like another shot across the bow about the lack of plot -- and of course, it just went downhill from there. I'm pretty sure I'm not the only person who turned the page and audibly groaned when discovering that more of the same. If Darrow's goal was to make sure that no one asks for "Shaolin Cowboy" ever again, then I suppose that this comic could be considered a success. Darrow's succeeded in chasing me away from the new "Shaolin Cowboy," even though there's only one issue to go. What a disappointment.

"Constantine" #1 is a book that I think a lot of people were fearing, and understandably so. Now that it's here, though, I feel that those who actually read the book might be surprised. It's not "Hellblazer," but it is off to a good start in its own right. Consider me optimistic for the future of "Constantine."

"Constantine" #4 is exactly what everyone feared a DC Universe replacement for "Hellblazer" would be like. (Well, except he doesn't fight Killer Croc or the Reverse-Flash, so that's some small relief.) This book is already limping, and that's a bad sign. If things don't pick up and quickly, I can't see "Constantine" maintaining a readership.

"Constantine" #16 feels like the series has gone through a lot of improvement over the past year, which is nice to see. At this point, it feels like the overall path of "Constantine" is back on track, and that's good with a new television series just around the corner. If fans of the show decided to pick up the comic, I think they'd find themselves welcomed, and that's a good thing.

"Flashpoint" is going to end up being a curious footnote in DC Comics history. If it wasn't for September's reboot, I have a feeling that it would turn out to be a crossover that was largely forgotten like, say, "Genesis" or "Final Night." Now, it's going to serve as the end of an era. Sadly, it's heading more towards a whimper than a bang.

"Flashpoint" will ultimately be remembered for serving as the prelude to the big relaunch next month. Because when the dust settles, this is a perfectly standard story that perhaps didn't need its own mini-series (save for what it's leading into). It's not bad, but it's nothing more than average.

And so, "Flashpoint" comes to an end. Ultimately, that two-page spread aside, it feels like a Flash storyline on steroids, one that probably didn't deserve all the extra spin-offs and one-shots and even core mini-series. With lower expectations and reach, I think "Flashpoint" might have been a fun little group of issues in "The Flash." (A nice closing moment for Johns, too, considering that he began writing "The Flash" with his alternate-world story "Wonderland.") Alas, this story just doesn't hold up to the expectations placed on its shoulders.

It's a shame, because "JSA" was for years one of my favorite comics thanks to Johns' writing, but "Thy Kingdom Come" in "Justice Society of America" has felt more like a good idea that just never came together. Fortunately Johns still has one more story to go on the title. He's normally much better at the big conclusions, and with luck that's what we'll get.

I'm hoping by the end of this story that Johns and Ordway will have brought at least some level of closure to the character of Black Adam, but I'll certainly settle for it just being a strong re-focusing of his goals and central character. Either way, I'm looking forward to seeing things pick up in the remaining installments. As strange as it may sound, it feels almost like the character has come home again.

I'm hoping that when "Justice Society of America" is split into two books this fall, it helps out with the over-crowded, no-one-does-anything nature of the book at the moment. Until then, though, it's feeling a bit too sluggish for my taste. Hopefully things can pick up a bit sooner. "JSA" was one of my favorite books, but "Justice Society of America" has been struggling for a while now.

What else can I say? "Justice Society of America" has found its voice once more. I, for one, am delighted. Here's hoping other people notice that the book they once loved has returned in full force. This is seriously good fun.

"Justice Society of America" isn't a terribly happy comic right now, but knowing that it's a deliberate sequence of events, I'm still more than ready to stay on board. Since the spinning off of half the team into "JSA All-Stars," I've found "Justice Society of America" to be a book that has clarity and a level of interest about it that have been missing for a while. It's nice to see the book back on stable footing once more.

"Justice Society of America" this month is a lot like Robinson's run on "Justice League of America," with good intentions but coming across slightly uneven and a bit of a muddle to boot. Merino's art is a nice temporary salve to an ultimately unsatisfying issue, but I'd hoped for something stronger here.

In a few months, I can't help but think that readers who weren't thrilled with Bill Willingham and Jesus Merino's run on "Justice Society of America" (which I thought was gaining momentum and worth reading) are going to look back fondly on that earlier creative team. I suppose it's apt that the book involves the team creating a disaster, because "disaster" is exactly the word I'd use to describe this issue.

"Uncanny X-Men" #2 is unfortunately right in line with the overall shift for the X-Men stable of books. For the moment, the direction of this title isn't wowing, and -- while it's competently put together -- there's a real lack of a strong hook to make you want to see what happens next. If the book could focus on a little less failure and a bit more victory, then that would be a good step in the right direction.

The remaining chapters of "Apocalypse Wars" in "Uncanny X-Men" may turn out to be a lot of fun, but this first issue is just too slow. There's still time to turn things around, but -- for the moment -- the sluggish, overly expository nature of this comic keeps it from engaging with readers the way an opening chapter should.

"Uncanny X-Men" #8 is the sort of comic that sounds better in concept. There's something at the heart of this book which holds a lot of promise, but we're just not quite getting it yet. Maybe Bunn and Lashley will pick up the pace in future chapters, but -- right now -- it's a little too sluggish for its own good.

"Deathstroke" #0 is the sort of comic that is forgettable, but by no means awful. Liefeld's done better in the past, but he's also done worse. For a C-list character like Deathstroke, though, his title needs to be dynamite rather than forgettable if it's going to survive. I wish Liefeld well, but based solely on "Deathstroke" #0 it's definitely time for someone else to give the title a whirl. This just isn't fun enough to maintain an audience for long.

"Deathstroke" is a comic that doesn't really work, but it's frustrating because I think it's one step away from truly coming together and nailing its voice. If it can do so, the end result will be a lot of fun. But for now, it's reaching for too much at once and it can't hang onto any of its targets. A little more focus, a little more intensity, and I think "Deathstoke" could shift from a mess to a winner. This issue was an improvement over the last one, if nothing else. Here's hoping third time will be the charm.

"Deathstroke" is a book that I think took a little time to find its way, and it's too bad that it's on the verge of getting retooled. For now, though, I'll enjoy what's left of Higgins' time on the book. It's found its voice, and right now it looks promising that Higgins will give us a strong conclusion. That's definitely better than nothing.

"Deathstroke" #15-16 have me interested in the title again, something that hadn't happened since Kyle Higgins' initial storyline ended. If this is the manner in which Jordan continues to approach the title, we could be well on our way towards providing enough of a hook to keep this series viable. For now, I'll continue to pick up the title. It's a promising outlook for DC's #1 assassin.

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.

"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.

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.)

"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.

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.

"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.

"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.

In the end, "Batman: Cacophony" feels like a massive sine wave of peaks and valleys, never quite succeeding or failing for more than a couple of pages. Hopefully things will level out in the remaining two issues; right now, this is truly an example of the proverbial mixed bag.

"Batwing" started out fun, but this issue feels like everyone is stalling for time. Hopefully the remaining chapters of this initial story will pick the pace back up, but for now what started out strong is now starting to feel average. Here's hoping that slipping quality trend doesn't continue any further down the chain.

"Batwing" isn't a lost cause, but at this point I think the book needs a wrap-up of the story with Massacre and the Kingdom, and more focusing on making Batwing a more robust character. There's potential in him, but he's getting lost in his own title right now. Let's see some more of his present-day personal life, instead of flashbacks that are all starting to blend together. Right now, though, "Batwing" feels like it's going to drop out of the sky if it doesn't start accelerating once more.

If I have one complaint, it's that if I never saw another "the world is now against these heroes that up until now they always liked" story, I would be pleased. I have faith that Simone will turn this into a satisfying story with a strong conclusion, but until then that part of these issues is like a nagging rough edge that just won't go away. Still, overall it's a welcome return for "Birds of Prey," and a good reminder of why Simone is so strongly associated with the title. Good stuff.

Oh, most importantly, Cliff Chiang's cover for "Birds of Prey" this month? Gorgeous. Any time he wants to draw another cover for the comic, I'm all for it. (Hint hint, DC.)

I've enjoyed "Birds of Prey" up until now, but at a point where I think the book could benefit from slowing down a tiny bit and letting the readers relax, it seems to have done the exact opposite. Considering this two-part story seems to be trying

I enjoyed the first four issues of "Birds of Prey," so this two-parter has ultimately been a disappointment. I'm not going to write off the book " this feels like it's the exception to the rule " but I am glad it's over, and starting next month Ardian Syaf comes on board to help the title move forward. This is a comic that we ultimately expect a lot more from.

So farewell, Simone. These 13 issues were a little up and down, but your final two knocked them out of the park. I just wish you'd had an artist worthy of the script drawing the comic, and that we'd gotten to see what you'd planned next. I suspect it would have been a blast.

"Birds of Prey" deserved a slightly stronger ending than this; it just doesn't really ring true as why the team would stop working together, and for long-time readers of the book it certainly can't help but be a little disappointing. It's by no means a bad book (and the main story's conclusion certainly functions well), but I wish there was a bit more punch to the team's end for now.

"Bloodstrike" is a middle-of-the-road comic, but with the backstory out of the way I'm hoping that things will pick up a bit more next month. There are just enough hints of craziness here that I'm willing to come back and take a look to see what Seeley and Gaston have up their sleeves. For now, a decent enough debut, but it could use a little more pep in future installments.

In the end, it's a sad ending for this story. If it had appeared on stands the first week of October, I can't help but think that it might have been a little less disappointing. With the extra-long wait, though, the final result is underwhelming. Whedon, Moline, and Owens are normally so much better than this.

I'm hoping the comic is just going through its "mid-season blahs" because this was a really uninspiring installment. Everyone involved is capable of so much better than what we're seeing, here.

I suspect I'm not the only person who is glad that the comic is getting closer to its conclusion, though. I do feel bad for Petrie, whose script is going to get overlooked because of bad timing. Hopefully if there's a "Buffy the Vampire Slayer: Season Nine" comic, he'll get to tackle something a little earlier in its run.

"Buffy the Vampire Slayer Season Eight" has definitely gone through a slight rough patch as of late, but I'm starting to feel like the light is finally at the end of the tunnel. For writers who can potentially pull the book back up to its former glory, Espenson's on the list. With a nice cliffhanger to the next installment, I'm actually feeling a little excited again about this book.

Hopefully "Buffy the Vampire Slayer: Season Eight" will end with a bang rather than a whimper, and I'm glad that there's still one final story to come after "Twilight" ends. Because right now, I'm finding myself seriously underwhelmed with the title at a moment when I should be excited, and that's not a good thing at all.

I recently re-read the first two collections of "Buffy the Vampire Slayer Season Eight" and they were so much stronger than the last couple of stories that it actually made me a little sad. I'm not sure why the comic has lost its way so badly just in time for the conclusion, and it's a genuine shame. This used to be a great comic, now it's struggling just to even be good.

Whedon has said that when the Season Nine stories begin (later in 2011), that the book will be "a little tighter, a little more concise." I can't help but think that's a good thing. This is a strong ending, but this series in general was drawn out a bit too long to have its proper impact. With a strong conclusion for now, though, at least it's ending on a positive note.

In terms of story, "Buffy the Vampire Slayer: Riley" is a bit dull. Actually, "a bit" is a slight understatement. I think we were all hoping for a little more meat to the story than what we got here. But still, the art is nice, and Espenson's dialogue succeeds where the plot itself fails. As part of a collection of issues, this will come across much better than it does as a singular one-shot. This could have been a lot better, but on the bright side, it also could have been much worse.

There's a lot of little moments in "Captain Britain and the Mighty Defenders" #1 that could have been interesting with more room, but the creative team never has time to explore them here. It's also worth noting that the title is a real misnomer; Faiza is a minor character, the random grouping of characters isn't the Defenders at all and, if anything, the real protagonist is Professor Yinsen. Ewing tries hard and Davis and Farmer at least provide some gorgeous art, but -- in the end -- it would be utterly forgettable if it wasn't such a fine looking comic.

All of the creators involved are clearly giving this their all, but there are just enough rough spots throughout the comic that it ends up balancing out as just average. Considering the slightly unnecessary hand that they were dealt -- the continuation of these characters, with Damian in particular, was more or less unbroken in "Batman and Robin" and "Batman Incorporated" -- but it's still better than one might expect. This is a book that needs a bit more polish to get to where it should be.

"Convergence: Booster Gold" #1 is going to delight a small handful of readers who have been waiting for this moment for quite a while now. For everyone else, though, it's just a completely average book. It's not bad, but it could have been a great deal more engrossing, too.

"Convergence: Green Arrow" #1 is a slightly odd book in that it's taking a character who existed immediately post-"Zero Hour" and giving us a new first meeting with his father in a pre-"Zero Hour" world. There are little touches in Marx's script that have real potential, and the art from Morales and St. Aubin looks great. On the whole, though, the rough spots and the strong aspects even each other out. Hopefully, like with so many of the other "Convergence" tie-ins, the conclusion will take advantage of not needing any more setup to use that space to deliver a slightly stronger conclusion.

"Convergence: Wonder Woman" #1 is definitely one of the stronger "Convergence" tie-ins to date. Hama tries to make his glimpse of Gotham City stand out, and Middleton's art can't help but charm. If you're on the fence on which "Convergence" tie-ins to give a whirl, this is definitely one of your better options.

"Convergence: Wonder Woman" #2 is a big letdown. The story doesn't go anywhere -- unless you've been dying to see Wonder Woman's supporting cast get killed by vampires -- and all of the world building from the first half of the miniseries is completely missing. In the end, this is a comic from "Convergence" that will most likely be forgotten in a matter of months. There's nothing that stands out here, unfortunately.

In many ways, the scene mentioned earlier with the exploding hippo sums up "Dark Engine" #1 in a nutshell. It's strange and eye-catching, but at the same time there's a certain level of befuddlement going on. The image will definitely linger in your head, but the more you think about it, the less you find in terms of a story. With a sharper story flow, "Dark Engine" can go far. Without it -- well, at least we'll always have the hippo.

"Detective Comics Annual" #1 ends Daniel's run on the series as writer on a not great note. It's not a failure, but I wouldn't call it a success either. Daniel's had some much stronger stories starring Batman over the years (his love letter to the "Batman: Year One" and "Batman: The Long Halloween" era of the character in "Batman: Life After Death" is probably his best), and it's too bad to see it end at this point. Hopefully with a little time off and a recharge, his next comic as writer/artist will be back up to his regular strength.

"Detective Comics Annual" #2 is a good approach to how to create an annual; it provides a payoff to both first-time readers as well as those who already pick up the main series, and it's a story that can be enjoyed as an extended one-off, while allowing for follow-ups down the line. This is the sort of comic that's perfect for a five-week month.

As much as I overall applaud the return of the annuals at DC Comics when a five-Wednesday month rolls around, this feels like an addition to the lineup that needed a bit more work. The story just never quite comes together, and some of the pages are drawn in a style pretty far removed from everything else in the comic. In the end, it feels like a little more work needed to be performed in order to pull it all together.

At the end of the day, "Doctor Who Annual 2010" is a middle-of-the-ground comic. Could have been better, but certainly could have been worse. I'd like to see Smith write more stories down the line, if nothing else. And while this didn't make me want to race out and grab all the past issues that I didn't get, there's enough going on here that I'll probably take a look at "Doctor Who" #13 when it's published to see what happens next. All in all, that's not a bad end result for an Annual to achieve.

"Doctor Who: The Ninth Doctor" #1 has promise but, while Scott's writing is moving along nicely, Shedd's part needs to catch up; that's a distinct possibility, as Shedd works with these characters and gets a bit more comfortable. The Ninth Doctor hasn't had a lot of strong media tie-in exposure up until now, so I want to see this comic do well; hopefully, it can be the first in a line of good comics with this group of characters. There's a lot of potential in filling in the time period with the Doctor, Rose and Jack travelling together, and this has real promise to deliver on that front.

"Fanboys vs. Zombies" #1 feels like a generic zombie story with a slightly different window dressing. That places it in the middle of the pack, but in order to read more I'd like to see Humphries and Gaylord use their setting as more of a selling point. This could be a lot of fun, but right now it's just average.

With three issues to go, hopefully "The Flash: Rebirth" will pick up the pace a bit. Johns can write peppy, fun comics, so I'm not entirely sure why this one feels so slow. Right now, the over-twenty-years-in-the-making return of Barry Allen feels woefully anti-climactic.

"Flashpoint: Hal Jordan" is just an all-right opening in terms of script (although hopefully, like so many of the "Flashpoint" mini-series, now that the set-up is over with we'll see a bit more pep in the remaining issues) but those pages from Oliver are top-notch. Come if you like the character, perhaps, but stay for the way in which he's drawn.

Ultimately, "Flashpoint: Hal Jordan" is rapidly falling into the realm of several of the "Flashpoint" mini-series, where it's hard to see why exactly this is being published. Maybe Hal's mission in the final issue will connect with "Flashpoint" itself, but even then I'm not sure we are going to have needed this much back story over how a pilot with a weapon was chosen to lead an attack. With Oliver gone, there's no longer anything driving me to see how this ends. In a serial format, boring can unfortunately be a larger crime than bad. There's nothing particularly wrong here, but there's nothing to keep reader interest going either.

If the entire "Fractured Fables" free comic was at the level of "Red Riding Hood" and "The Real Princess" I'd have been thrilled. Both of those stories stand out and make you want to read more. I'm not convinced, though, that the entire book will be that good based on the other stories chosen to be representative of the final product. There's certainly a strong lineup of talent advertised at the end for the book, and I hope it all comes together. But based on just this Free Comic Book Day offering, I can't see myself rushing back to the story to buy a copy of the book when it comes out. For this, I think I'll wait for word of mouth to let me know how the final product is.

"Gotham by Midnight Annual" #1 feels like a half-finished comic. The conclusion goes back to the same well as several previous issues, which is disappointing in part because it would have been a much more satisfying conclusion if Fawkes and Duce had shown us something involving Drake and Corrigan outwitting the Gentleman Ghost. Instead, the conclusion seems to happen in spite of the duo, rather than because of them. Hopefully, this series can find its way forward again soon, because it started so much stronger than this utterly average version we're getting now. If there's some sort of spell or charm in Precinct 13's arsenal, now is the time to use it.

Perhaps because it's business-as-usual, "Green Lantern Corps" has one of the quieter openings from the re-launch titles to date. It doesn't have any huge impact moments, but it's not bad either. Just a quiet, middle-of-the-road title. I can't see this attracting new readers, but the existing fanbase will be pleased.

"Green Lantern Corps" #21 looks great, but so far the writing hasn't quite caught up to the art. Hopefully in time that'll change; with so many characters available, "Green Lantern Corps" is a title that has a ton of potential. For now, though, it could use a burst of urgency.

"Green Lantern: The Lost Army" #2 drops down to an average comic book now that the mystery of where the team is located has already been solved. It's a shame, too; this originally came across as a way to do something with the Green Lantern characters that could go in completely different directions and really do its own thing. While Bunn and Saiz may very well tell some good stories with this particular setting, it's already somewhat trapped in "Green Lantern" lore. In appealing to one audience, it's less appealing to another.

"Green Lantern: The Lost Army" #4 does its best to start wrapping things up for its readership, although ironically the blunt method in which it does so may actually scare off some of those readers from sticking around for the conclusion. As said earlier, the majority of the problem is not Bunn's or Pina's, as they work with the hand they were dealt. Nonetheless, the result is underwhelming.

"Happy!" is an oddly paced mini-series. One would expect that we'd be a lot further into the story by now; considering we're now only getting the reveal on who the kidnapper is (even though we saw him last month), it feels a bit slow. Now that we've finally got Nick believing, plus us having seen the location of the victim, hopefully the remaining two issues will kick everything into high gear. It's still a nice read, but "Happy!" #2 felt a lot less compelling than that first attention-grabbing issue.

With a stereotypical conclusion and a lackluster epilogue, "Happy!" #4 doesn't even end on a strong note once we've finally reached the conclusion. Morrison and Robertson's creator-owned project started out with a strong first chapter, but it's unfortunately fallen prey to the world of diminishing returns, ones that are even harder to ignore due to the production delays (this issue was supposed to ship two months ago, making the Christmas imagery feel a little out of place now). Robertson's contributions are ultimately the saving grace of "Happy!" and if you're a fan of his art, you'll be pleased. I love the idea of Morrison unleashing a horde of new creator-owned mini-series on the world, but future ones will need to be a bit more cohesive than this.

"Harbinger Wars" #1 isn't a bad start, but it's also not as fun as I would have expected. After all the build-up to this moment, this should've been a huge explosion of energy and action. Instead? It's plodding along in places. This is a comic that had so much good material setting it all up, it's ultimately a little frustrating that it isn't living up to all of that promise and source material.

"Hulk: Let the Battle Begin" has one good script and one good set of finished art, and it's a pity they weren't matched together somehow. Still, it did let me learn that Snider's a writer to keep an eye out for, and while I might have been disappointed at first to find this one-shot was just burning off an inventory story, it's a nice enough comic at the end of the day.

"Incredible Hulk" #9 looks fantastic, but the story doesn't hold up its end of the bargain. With another location jump set up at the end of this issue for #10, I'm hoping that Aaron breaks the pattern before too long. The Banner/Hulk reversal is entertaining, but the situation deserves a plot that isn't locked into a boilerplate so quickly. Let's shake things up a bit, please.

The Forever People's good nature is the other half of what carries the book for now. Giffen and Didio have reinvented five pleasant characters, and that does make a difference. Don't get me wrong, we do need a plot, and soon. But I'm willing to wait a little bit longer. For now, the lack of plot makes this a right-down-the-middle average. Here's to a strong surge forward next month, though.

"Inhuman" #2 is depressingly average. It could be a lot better. It could be a lot worse. Maybe once things settle down and Soule's had time to work with the new artist, things can turn around. He's certainly worked wonders on a lot of other series. But for what's supposed to be the next big thing at Marvel, "Inhuman" #2 is just the next thing.

So, in the end, the "JSA Kingdom Come Special: Magog" misses out in its main story in what is almost certainly a missed opportunity to make readers care about Magog, but succeeds wonderfully with its back-up. That's not how I'd have expected the balance between main story and back-up story to work, but at least one out of two ended up being fun. That's much better than none.

For people who don't mind reading a book where your protagonist is utterly self-centered, is forever making matters worse out of a mixture of arrogance and idiocy, and often bumbles his way through the stories, "Jack of Fables" will certainly be a bit more palatable. Like I said, the ideas are really neat here, and they've kept me reading a book for two and a half years where I really don't like the main character. But honestly, short of some massive changes in Jack himself, after the upcoming crossover with "Fables" itself, it might be time to finally bid adieu to this particular character. A little Jack goes a long way.

The issue concludes with a conversation between Gray, Palmiotti, and feature film director Jimmy Hayward; personally I'd have been happier with additional pages of story. The interview is little more than a fluff piece, unfortunately, although I suppose people interested in influences the comic had on the movie might find it more interesting. At the end of the day, I'm glad that DC thought to link this to the movie-going public (there's even a "Now a major motion picture" slug at the top of the cover) and it's perfectly fine, but it is too bad that it wasn't a real zinger of an issue. Still, at least there's a tie-in and it's not bad. That's a victory in comics these days, unfortunately. Half a loaf is definitely better than none.

"Juice Squeezers" is set up to be a series of mini-series, and if it does indeed return, hopefully it offers a better grasp of the other kids. Lapham's been giving them some scenes and characterization here and there, but nothing's been strong enough to stick for long. If he can do that, well, I think it'll be a winner. As it is, right now it's a fun enough read, but I do wish it was something where I'm itching to find out what happens next.

Wherever "Justice League of America" #3 is headed, I feel like it's going to start doing so with less readers before long. That overall hook isn't there, and that's a shame. I'm not afraid of books with dark characters or themes, but this one feels a bit pointless other than being a dark reflection of "Justice League." As a draw to read more, I'm afraid that it's just not enough for me. I suspect that I won't be alone in that assessment, either.

"Justice League of America" #7.1 works well as a preview for Kindt's taking over of "Suicide Squad" next month; not only does this lead directly into "Suicide Squad" #24, but it also gives me hope that the book will be in good hands. And for that alone, I'd say mission accomplished.

The story itself is standard, with Kid Colt falsely accused of murder and encountering bad guys and bounty hunters left and right. It's not the most inspiring story out here, though, and that is a shame. Marvel, like DC, has a strong legacy of Western characters and it would be fun to see someone really tackle them again. In the end, I'm glad DeFalco and Burchett got to see their story in print as well as online, but I wish for their sakes that it had been in a way that fit the story's format better.

At the end of the day, "New Avengers Annual" #3 is just all right. It's no great shakes one way or the other. But did it need to be an Annual (which meant an extra buck and a few additional pages, many of which are a preview of "Siege")? I don't think so. Doubly so when there's a good chance that "New Avengers" as a monthly book will outsell its Annual. Better luck next time with your Annuals, Marvel.

"New Suicide Squad" #2 is already feeling a little fizzled out; maybe it's the lack of Jeremy Roberts' art in the interiors? (Hopefully he'll be back next issue.) I've enjoyed "Suicide Squad" since the original series' run a whopping quarter century or so ago, and this is a title that I always want to succeed. Hopefully things will pick up next month.

"New Suicide Squad" #4 is another example of a series that hasn't maintained consistency. Ryan definitely has some good ideas here, but they're hampered a bit by some very generic sequences on occasion. When his stories feel more suited to the characters in question -- Waller and Sage this issue, Harley and Joker's Daughter last issue -- everything clicks into place. If story and art could both be less variable, "New Suicide Squad" could really go places. Right now, it's a bit too random and scattered to count on just yet.

"New Suicide Squad" #9 feels like a book that's found its footing; with the setup for this storyline taken care of, it feels like it can start building up some momentum in the chapters to come. For the moment, though, this feels like a good first step.

"Non-Humans" #1 is an odd book. I love the world that Brunswick has created, and that we're learning about it in bits and pieces. Little details like the entertainment media that have vanished or the drugs meant to curb the virus spreading caught my attention instantly, and that's what I want to see more of. With an underwhelming protagonist and art that doesn't feel up to Portacio's full potential, though, it's a series that I can't yet get 100% behind. I'll come back for #2 though, if only to see what problems have been fixed and hopefully get more of what I liked. It's an interesting start, though, and that counts for a lot.

All in all, I'm starting to feel that for fans of the Rucka and Checchetto "Punisher" series, it's best to pretend that the book ended back in September in "Punisher" #16. "Punisher War Zone" isn't a bad comic, but it's one that feels like it's missing its heart. That's a problem that the last series never had.

Overall, "Red Hood and the Outlaws" #2 isn't bad, but we've also seen better. This issue feels like it's treading water, something that's admittedly better than the near-drowning of last month's installment. Next issue needs to settle into an actual stroke and start moving forward, though, or it's going to lose readers and interest at a rapid pace.

"Savage Hulk" #1 is a book that you'll buy for the art, not so much for the story. There's a certain fun thrill to see the team from the end of the original "X-Men" run all together again, but that's not enough to buoy your interest. This is a truly gorgeous comic, one the most beautiful of the week, but I wish the story had the same level of entertainment built into it.

Chances are if you're reading this review, you're not for whom "Secret Origins" is targeting. You already know all of this. But if you know someone else who's interested in superheroes? Well, they might be just who this book is for. If I didn't know better, I would have thought this was DC's Free Comic Book Day issue for 2014. That's not a bad thing at all.

"She-Hulks" #1 is a nice start to the series, although it feels like a lot of set-up. Hopefully with future issues we'll dig a little deeper now that the ground work is complete, but for now it's a strong enough beginning that I think readers should be happy with what they're getting.

"She-Hulks" had three and a half entertaining issues, and a lousy conclusion. Am I glad I read the first three issues? Yep. Do I wish the fourth had held up to that promise? Unfortunately, yes.

"Star Trek: The Next Generation / Doctor Who: Assimilation" #1 is slightly slow, both in story and art, but it's not bad either. It's got some good enough ideas, and I appreciate both the approach and the final page reveal. It's going to need to get a little more energy all around, though, to keep readers beyond the second issue. There's potential here, but we need more than potential to continue much longer.

"Steed and Mrs. Peel" #0 is an all-right introduction to the new series (although I'm not entirely sure why it isn't an issue #1 instead), but there needs to be some more energy and fun for this series to be read month after month. It's got a lot of promise, though, and I'm definitely going to come back to take a look at issue #1. Until then, though, I'm pulling out my DVDs of the black and white Steed and Mrs. Peel episodes. That's exactly what I'm hoping future issues from Waid and Bryant will resemble a bit more in terms of tone. Can we get there? I think so.

I was excited to see the return of "Stumptown," but if I was a new reader and picked this issue up, I might be a little perplexed to see why people have enjoyed this comic up until now. It's not bad, but it's nothing out of the ordinary either. Looking back at the first "Stumptown" mini-series from 2009, that's a comic that started strong right out of the gate and grabbed my attention in a way that didn't let up until the story was over. Right now, I wish this series had a similar hook.

"Superboy" is a title that I've wanted to continue to like, post-Lobdell, but "Superboy" #0 is the most disappointing issue of the series yet. The book is feeling like it's in a standstill more and more, and this lengthy recap with little new material isn't helping shake that problem. If things don't pick up quickly, not even the beautiful art from Silva will be able to keep me around much longer.

Since Lobdell is also writing "Teen Titans," there's a rather large nod toward that series; if nothing else, it certainly explains how Superboy can get from here to there with relative ease. But with Superboy himself a little too much of an enigma, I'm a little worried that the most interesting things are "look at these characters from the previous continuity" (like Dr. Umber's contact in the outside world) rather than what Lobdell is bringing to the table. This is a beautiful book, but the script is feeling mediocre. The story needs merits of its own to get reader interest up.

"Superboy" is the sort of book that I suspect will attract itself more to fans of the character than casual readers, but it's not a bad little book. I do think it needs a stronger hook to bring in those casual readers, and a slightly faster pace could probably do it. Until that happens, though, it's still a good book. Just not great. At least, not yet.

"Superboy" is a fun book, although I'm not convinced that reading it without "Teen Titans" is quite entertaining, as the pair of them are connected fairly closely. But it's a book that I think has defied expectations quite nicely. If it can just fix those rough patches, it'll be a winner.

"Superboy" is, month in and month out, a fun comic and this issue's no exception. This might have been a book that few had high hopes for (since the previous run by Jeff Lemire and Pier Gallo had been enjoyable), but it's turned into a very pleasant surprise. So long as Lobdell and Silva are on board, so am I.

Still, even some of the panels come across a little too busy-looking and having two inkers brings a slight inconsistency from one page to the next. "Superboy" has on the whole been a strong comic, but this issue feels like a bad misstep. This crossover should have been easy to pull off; after all, "Superboy" and "Teen Titans" have been closely connected since day one. But overall? If I was a new reader to these title and decided to start with "The Culling," I doubt I'd return next month.

"Superboy" #20 feels solid, and I feel like this is a building block from which the series can pull itself back together. For now, this is a sense of relief. If you also drifted away from "Superboy," worry not. This has been a change for the better.

"Supergirl" #0 is ultimately running into the problem that so many DC #0 issues this month are; rather than occurring at a natural part in the series narrative it's just randomly getting dropped into the mix. Green, Johnson and Asrar do the best they can with the directive, and the end result is perfectly fine. But it's too bad this couldn't have appeared at a more natural point in the series; this could have been a lot more memorable with the right placement.

"Supergirl" #1 is a solid debut, but I'm curious on where it'll go from here. If it's more of the first half than the second half, I'm sold; sure, punching is good, but telling a story of loneliness and adaptation seems like a much more interesting tactic. For now, though, it's a good enough beginning to stick around for a second issue.