Action Comics renaissance in the hands of Greg Pak and Aaron Kuder continues to give readers great work, and it looks like there are big problems coming. Man, it's good to have great Superman stories.

Action Comics by Greg Pak and Aaron Kuder is a must read for any Superman fan, and it's well worth a shot for anyone who stepped away from the character during the New 52. I hope their run is very long, because Superman deserves a book that captures the essence of Superman and delivers it in such a beautiful fashion as this one does.

It's no secret that Superman has struggled since the New 52, but that Greg Pak and Aaron Kuder changed that for good. Action Comics has it all, the over the top crazy action against unbelievable creatures, the fun moments, and the most important aspect of all, a true Superman story, in which the character represents the heroic and hopeful side of us all.

Despite having more flaws than the usual standard for Action Comics, #30 is still a great book worth reading, concluding a powerful storyline that analysed Superman and his actions, here's hoping that continues in Doomed.

Sleep well, Aqua-fans, Aquaman #26 is a great comic book, and for the looks of it, Jeff Parker's run with the character will continue to make Aquaman one of the best books over at DC.

Batman #27 ends the Dark City storyline in Zero Year, and as expected, all roads lead to the Riddler. I'm all on board, wherever Snyder and Capullo take us next, I'm with them. Batman is arguably DC's best book since the New 52 relaunch, and it's thanks to these men unique vision.

While some may take issue with the “ad” aspect of the comic. teasing story beats for other book, it doesn't hurt the story presented here in any way. Batman #28 excellently explores the relationship of Batman and Harper Row, whether through dialogue or art, and it effectively gives us a lot to ask ourselves about, regarding the future of Gotham and the Bat-books, other fan favorite characters also show up here, but again, we'll keep this review spoiler free.

Zero Year now enters its final chapter, Savage City, with four more issues remaining until the end of one of the best takes on Batman's origin yet. We only hope that the quality remains the same.

Matteo Scalera and Dean White are as much to blame about Black Science being so good as Remender is. Their art is fantastic,weird and it keeps us hooked. They bring all of the insane stuff we're witnessing to life, helping us make sense of this story's twisted nature, combined with the vivid colors that are ever present, Black Science remains one of Image Comics' best looking comic books. If you're not reading it, then you're doing it wrong.

Rick Remender continues to be one of today's top writers, specially when dealing with dark adventures featuring broken characters. Black Science is all of that, with other dimensions and crazy aliens involved. Plus, you get beautiful art. What's not to like?

Black Science #5 takes the foot off the gas, but that doesn't mean the quality isn't here. Great reveals with beautiful art, seriously, do you need anything else?

Daredevil #1.5 is an ok comic, there'ssome good andsome bad in it, but not even Mark Waid'sspectacular take on Matt Murdock's upcoming years can make it worth the higher price. The best way to celebrate Daredevil's 50th is to keep going with the current run, and thank God for that, because if all we had was this issue, then The Man Without Fear would have had a lame birthday party – one that was more a look back than a celebration.

Detective Comics #27 is all bat-fans could want, some stories could have gone further, but in the end, this is still an issue with amazing creators doing great work with one of the best, if not the very best, character created in comic book history. It's obvious that everyone here loves Batman, and want to share that love with the world. Frankly, is there much else we could ask?

On the art side, the abstract style remains strong. Characters feel like they're under some kind of wave, which may very well be Ward's intent. There's a big foldout page that is just mind-blowing and the way space is drawn throughout the entire issue is impressive. You've never seen space like this, I promise. The design for the ships and gods is also very unique, and it all adds to the trippy aspect of ODY-C #1. The colors are the big draw, though. The palette is luminous, vivid, psychedelic, bright and, while that may sound redundant, colorful.

Finally, three artists handle the art. Humberto Ramos, who handles the Goblin fight, Javier Rodriguez on the Avengers side, and Marcos Martin on the scenes with Peter. All three do an excellent job of bringing everything to life, Rodriguez and Martin's style have a special chemistry among them, and do a much better job than Ramos when it comes to actual human-looking characters. While most books with multiple artists suffer a bit from that, what breaks the pace here is not the art, but the inconsistent writing from Dan Slott.

Superman #30 lacks a good story progression, feels completely random in its structure and does little to help the book. I admire some of the ideas and premises Lobdell has thrown in his time writing the character, but I can't say I'm looking forward to more.

His work is not so great on the quieter, dialogue-based moments where Id like to see more emotion and reactions come from the characters. Its nothing bad by any stretch of the imagination, but when you open your comic with a powerful double splash of Superman punching a gorilla, Ill set my expectations higher.

It was definitely a bummer to have an issue with no Lex Luthor, specially after we saw how great Snyder's portrayal of the character is, but Superman Unchained #5 is one of the strongest issues in the series, bringing welcome answers to a lot of the questions regarding the new enemies Superman has to face.

The one problem with this issue is that it's getting kinda hard to follow the story, which is weird, since there are not a lot of characters. Velvet got a lead, which led her to the last assignment, in which she went undercover, and that led her here, and once again she goes undercover to get clues. This repetitiveness makes the overall straight forward storytelling somewhat convoluted, we've been here before, so the additional information only gets in the way of the plot's progression. But aside from that, all is good in the neighborhood.

Speaking of killing, it's all brought to life by Jock's superb art. He's at home here, this is the kind of thing you always wanted Jock to draw, and he more than rises to the occasion. The scary visuals are made even more terrifying by his work. It's sort out of place, lacking precision and distorted, which means it perfectly fits this kind of story. I love how his art is Wytches #1's best weapon to make sure you understand Sailor's struggles, and there are subtle choices he makes that transform the panels into windows to the main character's mind. Then there are the big, loud and bloody moments where he just kills it. From page one, Jock creates unforgettable visuals that elevate the dread you feel.

Wytches needed this break. It needed to stop and set things up a bit. Snyder and Jock chose the perfect time for it, as we head for the end of year breaks. By the end of the issue, you'll see that the personal stakes are higher than ever now, and I'm very much looking forward to see what this team has got planned for the book come 2015. A good time for horror fans.

Wytches #4 does have a few problems. It starts the weird passage of time. It is implied that the two present story lines featured in this issue, but Sailor barely seems to move while her dad goes for a big drive and comes back again. Plus, there's a heavy drop of exposition mid-issue. It had to happen eventually, but it still is very much a "hey readers this is it" moment.