As an opening issue as well as a continuation of Moon Knight's adventures, this book does quite a lot of things right. A rich and mysterious take, a simply superb artistic direction and tons of things for newer and older fans to enjoy, this is a masterful take on the character that should please plenty of people. Heavily recommended.

This series, along with the clever and amazing writing and plots, usually was a visual joy, granting us some great work from Jerome Opena, Esad Ribic and Rafael Alburquerque among others. Phil Noto, with his work on this issue and a good chunk of the Final Execution saga, can proudly stand among them, having done wonders in this issue and the title overall. While this particular issue is mostly people talking, he draws very vivid facial expressions, making us even more invested in what the characters are saying, pinpointing their very emotions with panache.The A very solid ending for an amazing series. Full of emotions and clever development for its characters, this is the ending it deserves.

A wonderful read full of great concepts and context with absolutely amazing art. Seeing this issue makes me know why it is no wonder how I love Hellboy so much.

Mike Mignola still continue to impress with his proper return to writing and drawing Hellboy, giving us an issue full of twists, surprise, action and depth. With his artistic skill on top form and the help of Dave Stewart, he continues to deliver on a big series with utter quality.

The latest chapter of Hellboy's chapter in hell is full of grand myth, great character and absolutely stunning art. Fans of Hellboy shall be utterly pleased, I can assure you.

The excellence of Hellboy in Hell is back in full force, as Mike Mignola tells a really nice story through his excellent art that use a certain economy of space, with some huge help from Dave Stewart. Thoroughly recommended.

East of West is a superb series that only gets better with each issue, with this one not being any exception thanks to superb dialogue, an engaging world and tons of questions that can make people want to invest their time in finding out the details of this world Hickman has created.

East of West has been a beautiful book and this issue is no different, with more of the great world-building, the interesting characters and the superb art. This is a stunning example of originality and creaticity and I strongly urge anyone wishing to read a good story to pick this up.

While it certainly isn't the issue most filled with action, the gravitas around the many revelation and the characters make for a splendid read, which is elevated thanks to the beautiful dialogue and the stunning work from both Dragotta and Martin.

However, it would be an immense disservice to the issue not to mention Frank Martin who really bring the disparate elements together thanks to his color work. While his trinity of color technique is much less used in this issue, there are still a lot of his techniques that makes this worthy of praise. Borrowing a bit from Manhattan Projects, Martin Really play with the contrast between cold and warm colors, using colors like orange and red against several shades of blue in a lot of pages, accentuating the violence or the more important aspects throughout the issue. It's a simple technique, yet one that Martin uses very effectively in this issue, proving that he is a colorist of great talent. Another brilliant issue that showcase the world Hickman has built while propelling the narrative forward. New ideas, new characters and some delightful art from Nick Dragotta and Frank Martin manage to continue the winning streak of issues that constitutes East of West.

The story may have stopped for a spell, but the world-building, characterization along with the strong concepts and utterly impressive art certainly didn't. Another strong effort from Hickman, Dragotta and Martin.

Frank Martin is also utterly excellent here, combining his trinity of colors technique with the scenes featuring Death to much simpler contrasts in some other pages. The cold blue colorization with the president, when faced with the orange and red warmth of the raging crowd is something that is utterly simple, yet striking nonetheless, pushing forth the ideology of the characters very aptly on the pages and panels. The heavy use of black, white and orange in some scenes is also very well placed, with a certain unity of vision for the colors that put the trinity technique to some very good use in some scenes with a good deal of diversity. Frank Martin is also doing some great work here, to the series credit. There might be a scene that doesn't amount to much and some minor elements strangely used, yet the strengths of the themes, of the artistic direction and the world and character-building still manage to make this issue really enjoyable and fully worth the time of readers.

The excellent art and colorization is still present as well as the always interesting world-building, yet there are a couple of slower moments combined with a certain lack of bigger developments that makes this issue not of the same caliber as the previous ones. It's a good read, but not as good as it has been previously.

Combining horror, a sense of child-like wonder with a subtle touch of Mignola's own mythology, this graphic novel simply astounds on many levels, the strongest being the art of Duncan Fegredo and Dave Stewart, which can only be summarized as breathtaking. In simpler terms, it's a beautiful and impossible strong piece of work from everyone involved.

As good as the script is, any comic need to have an artist that can actually pay justice to the strengths of all these elements, which is thankfully what Steve Epting is able to do here. The moody panels are all able to convey a certain sense of mystery and dread thanks to his heavy use of shadows, the seriousness of it all clashing a bit with some of the narration to great effect. The backgrounds, along with the sense of depth, are truly well-done, adding to the general ambience of each panels, which is something that Epting is really able to put to the forefront in here. This ambience is also shared with the characters, as their expressions are minimal in their faces, with close to no exaggeration brought forth in order to sell the readers on their veracity.

This issue delivers some great scenes with the essential Daredevil elements thrown in as it is complimented by rough yet completely satisfying art and colors.

This issue is yet another quality entry in this limited series. With a great script, some good dialogue and an interesting mystery at the heart of it all, it is hard not to recommend this to all Daredevil fans. The art certainly does help a lot too.

Bendis and Mack deepends the mystery while they skilfully add others to the mix as well, creating a stimulating read that long-time fans of Daredevil will no doubt love. Add to that the great mix of Janson, Mack, Maleev and Sienkiewicz on the art team and we can classify this book as a complete winner in most of the terms.

This is a very good chapter in this limited series as we get it all, more questions, some answers, a good action scene and some terrific work from the whole art team. The last issue cannot come soon enough to see how everything ties together.

This is a good conclusion that pays tribute to the fans of Daredevil and that should satisfy about anyone following this series with its clever angle and its stunning art. What Bendis, Mack, Janson, Sienkiewicz and Hollingsworth accomplish here is nothing short of amazing.

The A fantastic issue full of great art, great character moments and cool action. This series has a bright future ahead.

With a brilliant art direction, credible kids character and some surprises here and there, FF continues to impress with its fun and bright look into the other part of the lives of the students and the teachers of the Future Foundation.

Even though the book stumbles in one of its plotlines and create one or two problems of its own in the use of certain characters, it is nonetheless still a fun and engaging ride with its characters, charm and wonderfully apt art and colorization.

With a weird, yet decidedly heartfelt take on its characters, themes and its approach to some real world issues, this issue provide some neat twists on existing characters while providing some excellent art and colorization by the Allreds. A nice issue indeed.

Even though Fraction is gone, the fun still goes on in this title as Lee, Mike and Laura Allred give it their best shot to provide development and silliness in this issue.

The colorization by Laura Allred follow suits as well, with the focalization on cold and almost lifeless colors in the background, like grey, dark and a very light tone of blue to put the emphasis on the characters and their actions. There are many contrasts such as the one using the backgrounds, like how the white uniforms of the students makes their discerning traits all the more visible, or how the Red Ghosts seems to differentiate in term of details when put in comparison to some of the elements in the panels focusing on them. It's almost minimalistic at times, yet Laura Allred does a good job here. The mix between pure entertainment and plot progression, along with the characters full of life makes this issue a joy to read. Those looking for more meat may be a bit disappointed, yet the fun along with the delightful art from the Allreds make this issue works nonetheless.

Chaotic, frenetic and downright mad at times, this issue wastes not a single opportunity to dish out fun as the art, script and colorization work in tandem to give the readers a blast. Worth every single cents.

Hitting close to every notes it needs to as well as some others, this finale delivers on the fun, the action and the general craziness that made this title so enjoyable to begin with. Heartfelt, fun and with killer art to boot, this finale as delivered by Fraction and the Allred family is a shining example on how to close a series.

Justin Ponsor, on his side of the artistic equation, fully delivers as well, providing enhanced effects in many scenes. He is able to switch from the bright and colorful, the dark and moody to the infinite void of space throughout the issue, granting his expertise to the coloring to create something that is stunning to behold. Despite some very minor tumbles here and there, the team of Hickman, Cheung, Ponsor and the army of inkers provide an astounding debut issue that speaks of grand things with a scope that might be very ambitious in the long run. This is a very promising issue that uses the richness of the Marvel universe and its cosmic components very well. I hope that the quality will remain steady. If it does, we're in for quite a ride.

The colorization of Justin Ponsor does work in that respect too, as the explosions, alien beings, powers are just as well done as are the darker aspects of the issue featuring Corvus Glaive and the Inhumans. He is able to bring the high-octane colorization full of warm and bright colors with the political and downright dark moments in tandem, realizing a unification of the whole issue even though the two styles of scenes should not mesh together so well. This take skills, which Ponsor does possess in spades. Continuing the action and the themes brought by the first issue wonderfully, Hickman continues his event comic without a hitch as the cosmic and darker aspects of the script are rendered beautifully by both Opea and Weaver. A worthy continuation of the superb first issue.

Despite some minor quibbles here and there, the action, development and some of the character moments on display here give us readers a reason to continue hoping for a great even comic. If Hickman, Weaver, Opena and Ponsor can continue delivering issues like this one, Infinity could turn out to be very memorable indeed.

Opena fares a bit better on the space front, though, as he is able to mix grandeur with a smaller scale, switching between the two without any problem. The tension in the negotiation and the way Mjolnir fly through space shows a certain restraint, with an emphasis on Thor, the Builder and their surroundings. There is enough visual diversity to allow the tension to rise, which receives help from the expressions of the characters themselves. If there is an area where Opena excels, it's when he draws aliens and with his backgrounds, revelling his part in the issue to the outlandish meeting spot on Hala, the depths of space and the many ships and technology he gets to design. Visually, his parts are quite striking, to say the least.

The colorization of Justin Ponsor is really good, though, as he is able to bring a sense of uniformity to the issue while the strength of both artists are enhanced by his work. He is able to use a technique in two very different ways in terms of colorization, with the Avengers scene featuring wild and alien colors to contrast with the more normalized humans, while the Illuminati scenes do the opposite, with the Illuminati and Thanos being much different than the Earthly backgrounds they are set in. It's a strong technique that really do divide the issue in two without creating a clash between the two in terms of tone. There may be some minor problems with the art here and there as well as in the execution of some of the themes, but there's no denying that the entire package by the creative team of Hickman, Opena, Weaver and Ponsor is exciting and entertaining in the best of ways. A bit flawed, but still a ton of fun.

It isn't a perfect story and conclusion, but the amazing action, lovely art and the whole way it manages to open up new stories while concluding on its own makes the finale of Infinity a blast to read. Jonathan Hickman and the whole slew of collaborators that worked on this deserve all the respect they can get for actually pulling this off.

Presenting a very rich and nuanced world to discover, Greg Pak makes this issue a very worthwhile one thanks to a sense of discovery combined excellent art and good ideas. An excellent jumping-on point indeed.

What's a little bit more disappointing is the colorization of Guy Major, who brings a certain lack of diversity that hurts the book a bit in the visual department. While his shading is subtle and particularly efficient, there is an over-emphasis on brown, grey, beige and a few types of warmer colors that doesn't bring out the best in terms of clear contrasts. While there are some elements like the radioactive reactor and the robots that bring out some more colors to the dullness of Big Town, their presence aren't particularly striking enough to provide that much of a difference. Guy Major is decent here and shows his talent, yet the palette simply doesn't let him impress the readers that much. While not as impressive as the previous issue, this one does keep the readers interest thanks to some good characterization, some great action and enough material to provide more interest in the developing world of Valiant in 4001 AD. Good, though not great.

Bringing in a very well told tale with good characterization, beautiful art and a superb colorization, the creative team behind this series deliver another good issues. If this series can stay at this level of quality, this could very well become one of the better titles Marvel currently publish.

Nemo: Heart of Ice is a terrific book for fans of the series, as it continues Moore's manipulation of literature and adventure, this time focusing on horror and other characters of his fascinating world. Thanks to the lovely art by Kevin O'Neill, Todd Klein and Ben Dimagmaliw, it can stand up to the standard set by other books in the series and sit proudly among the others as a great book. The only downside, though, is that it is not verily accessible to new readers. To those who would love to read this, I urge them to read the whole thing up to the first part of Century (1909) to get up to speed.

This is a comic that surprised me on many level, be it with the concepts and the many ways it plays around with them or the lovely art by Jeff Stokely. Such a daring comic deserves some love and I urge people to try it out.

While the weirdness and the quick pace of the issue may be bothersome for some readers, there is no doubt that the level of craft and the sheer fun of some of its concepts makes Six-Gun Gorilla an interesting book that is worth our time.

The downplay of the sci-fi elements and the overall confusion when it comes to the direction of the series does nothing to reduce the effective social elements, the characterization of Blue and the good work from Stokely and May, making this issue a good effort that could have been perhaps a little bit better. Still, recommended.

While the direction and some of the elements remain mysterious even after more than half of the series is done, Spurrier retains the readers interest with some good concepts, some terrific dialogue and the characterization while Stokely and May bring their talent on the artistic side. It's still weird, but it's also still fun to read.

With a very aptly told and placed lesson, Spurrier is able to bring out a lot of complexity in his story and his characters, which results in a very satisfying read. Combine this with the very strong art of Stokely along the colorization of May and this gives us the best issue of Six-Gun Gorilla yet.

With a big and moving conclusion, Six-Gun Gorilla manage to bring its story to a fitting and beautiful end that makes the most of the talents behind the creative team. Congratulations to Simon Spurrier, Jeff Stokely and Andr May and the rest of the team behind this book for a bizarre, yet thrilling ride.

There may be some liberties taken with continuity and several elements, but the sheer fun, creativity and madness on display in both the script and art makes this annual a very entertaining book nonetheless. Recommended.

The colorization is nice a times, yet a lot of times there is an overwhelm of a particular color, which doesn't help the art in some key pages. The heavy amount of grey, teal and brown in this comic do put upfront the fact that this isn't exactly a beautiful world, yet it does lessen the impact of some of the visuals a bit in the process. There are others elements with different colorization that pops up in some panels to create a certain disparity in the huge presence of some colors, but it doesn't amount to much in the process. There is a bit of a problem with the backgrounds and with the colorization, but the fun and crude setting, combined with the interesting characters and the fun way Wiebe plays with the regular fantasy tropes makes this book worth it. If you enjoy fantasy, role-playing games in general and want an all-female cast, this is the book for you.

Giving humor, action and plenty of fun stuff to follow, this is a great fantasy book. While there may be some problems with the action scenes in terms of pacing and the art, the rest of the book makes up for it in terms of entertainment, resulting in not the best issue, but a fun on nonetheless.

With a very clear and fun identity and a superb balance between the interesting elements that compose this series, this issue brings a great load of entertainment and some solid artwork. In all, it's very good.

While the approach to these characters and the connectivity between the scenes may need some work, Nick Spencer does give us an entertaining villain and underdog story that is fun to read and good to look at thanks to Steve Lieber and Rachelle Rosenberg.

Despite the fact that the art is still finding its footing in some areas, the villainous angle and the many plots provide us a very fun read as we follow the exploits of the likeable losers that are the Sinister Six.

There may be some very minor weakness in the art and colorization in some places, yet this issue delivers plenty of humor, a rather interesting view on the criminal world of the Marvel universe and a balance between absurdity and realism that is really smart, all thanks to Nick Spencer, Steve Lieber and Rachelle Rosenberg.

With some more twists, humor, misery and some surprising depths to his characters, Spencer shows how fun a book about losers and villain can truly be. With some strong effort by Lieber and Rosenberg, it also manage to be good-looking too. A thoroughly nice read.

Bringing in plenty of humor as well as some truly memorable moments with its cast of loser super-villains, Nick Spencer simply brings a lot of entertainment for readers, which is only helped by the brilliant work of Lieber and Rosenberg. This might just be one of the stronger issue of this series so far. More of that please.

Presenting a fun and interesting father/daughter relationship through the themes of the book, this issue manages to be entertaining, but also neatly-written in terms of characterization at the same time. It does have some problems in terms of colorization, but the art makes up for it to produce another satisfactory issue of Superior Foes of Spider-Man.

While not as strong as some previous issues, the little touches of humor, developments and the art in general makes this an enjoyable one nonetheless. They can't be all excellent, but being fun is sometime enough.

While the presentation of its characters, themes and setting is very well done, it's really the art and colorization that makes this issue a very worthwhile read. A thoroughly great issue, yet as a presentation of its concepts, it could have done a bit more.

Some of the themes and the approach may need a little bit more work to become more than identifiable stereotypes, yet the excellence in the artistic direction as well as some of the better concepts makes this issue work very well despite it all. Very nice, yet it could be a true powerhouse if the script matched the quality of the art.

This issue is fantastic thanks to a great lead character, a terrific direction, awesome action and some stupendous art. If you crave for a good title with a female lead written by a female author, I urge you to give this title a try.

This issue shows how fun this book truly is. With the great action, character moments and a plethora of Marvel characters, Kathryn Immonen is making an excellent book with the help of Valerio Schiti and Jordie Bellaire.

The conclusion to the very first arc continues in the same vein as the rest of Kathryn Immonen's take on Journey Into Mystery, as her version of Sif proves that this book can be filled with humor, great action and terrific art. Heavily recommended.

In the coloring department, we still see the overly talented Jordie Bellaire who once more manages to brighten up this gorgeous book with her nuanced, yet wisely chosen colors. Here, there is a predominance of cold colors, as it is a story set during the night. As such, there is a whole plethora of blue, grey, green and other such colder colors set against the warmer colors of some of the characters attire or the low amount of lighting. It does amount to a gorgeous type of contrast that fits the book well. The dissatisfying conclusion set aside, this book still got it as the pinpoint characterization, the use of Norse mythology and the sense of fun is still strong while the art remains consistently excellent.

Even without action or without any big name character, this issue shows you can craft a great issue with good character work and through the exploration of said characters with their interaction through drama and humor. It also does help that both Bellaire and Schitti are doing some great work here as well.

Some stunning artwork and a great handle on characters cannot divert from a lack of clear focus and coherence between the two stories presented here, which bring an entertaining and well-written issue down a little bit.

There are some fun moments and the work by both Valerio Schiti and Jordie Bellaire is spectacular, yet the lack of focus and development on some of its aspects makes the book suffer a bit in its concluding chapter. It's superb visually, yet the book deserved better in the end.

The A kind of confusing read which is mostly setup and teasing with some dark and somber art.

This is everything the first issue should have been. Tense, important and dramatic storytelling combined with dark, yet wonderful art. The true potential of this series has been shown now and I cannot wait for the next issue and to see how this title will connect with Avengers.

This is a big, important book that warrants to be called such. Full of big and bombastic moments, this has set some major pieces in the play that Jonathan Hickman wants to show in his tenure on the Avengers title. With a script like this, good character work and some very good art, it is quite easy to recommend this title.

While not at the same level of the previous issue, Hickman, Epting, Magyar and D'Armata continues to astound with their dark take on one of the best concepts that came out of Bendis run on the Avengers franchise. With more promise of tough moral decisions and huge stakes, this title is well on its way to become a true must-read.

Jonathan Hickman brings even more of his high concepts, great character work and sense of tension and importance into this newer issue of this title, making this yet another must-read. With Steve Epting and Frank D'Armata doing some astounding work on the art, it manages to be even more impressive as it seems this title keeps on getting better with each issue.

While the conclusion of this arc could have been much stronger, It cannot be denied that the continuous world and situation building Hickman does is nothing short of great and it is doubly so thanks to Epting and D'Armata providing the art and colors to suit the scope and tone.

With a focus on the characters and with a plot that deals with many of the fallouts from the previous storyline and others, Hickman gives us a great issue of New Avengers. Mike Deodato, meanwhile, does his part magnificently as he is helped by both Martin and Beredo in the color department.

While there may be a good more deal of teases rather than development, we do get some great character interaction and moments, some curious ideas full of potential and some gorgeous art from Deodato and Martin. Even when it fumbles a little, New Avengers is able to deliver and this issue is no exception.

The pacing may be awkward in some areas and there is perhaps a bit too much set up here and there, yet the action, the ongoing subplots, the characters and the art sell this tie-in to Infinity quite well despite the weaknesses.

Of course, part of the interest comes from the tonally-fitting art of Mike Deodato. His heavy use of shadows combined with his clean lines really bring out the darker aspects of this issue. His characters are also very expressive in their poses and faces, although not all of them are perfects. There are some rare cases of goofy-looking faces in this issue, like Black Bolt in the first few pages, but overall the heaviness of the situation they are in can be clearly seen on the character's face. What is close to being flawless, however, are the backgrounds. There is a level of craft and care that really brings the quality behind them to the forefront, as Deodato shows the richness and mystical aspect of the Marvel universe. The panelling is also quite good, keeping a nice flow without being too experimental for its own good. This is a solid effort from Deodato.

Another area where everything is pretty much solid is the art, with Mike Deodato switching from military angle to end-of-the-world scenario to full cosmic without hurting the visual flow one bit. He is able to switch from action to more character driven-interaction easily, always focusing on the proper poses that would render the script apt on the pages. His characters, backgrounds and general panelling are great too, as nothing is ambiguous in their designs and their focus. Where he's a bit weaker is with the expressions attached to his characters, though, as Deodato seems to have taken the seriousness of this book too much at heart. There isn't a great range of emotions on display here, as the characters all seem to be stuck in some kind of inner conflict, never showing how they might be shocked, fearful or otherwise by what is happening around them. The rest is top-notch, though, as Deodato really succeed in bringing in the right atmosphere.

There are some rather great ideas, some potent characterization and a really strong artistic direction thanks to Mike Deodato and Frank Martin, but the uneven pacing, the heavy emphasis on exposition and the lack of big events set back the issue a bit in terms of quality. Good, but not as great as some previous issues of the series.

Superb ideas and a rather neat presentation of the themes of the series are unfortunately brought down by weak art, a certain lack of accomplishment and some poor execution of some concepts. A nice try, but not exactly the satisfying experience it could have been.

While this arc still continues to be an uneven read, this issue manage to be a bit better than the precedent one thanks to some new ideas and some occasional moments of brilliance from the creative team. Nice, yet not as great as this series was before.

A lot of setup and important and interesting development dragged a little bit down with the inconsistent quality of the arts.

An issue with some great concepts and confrontations that unfortunately don't get all the time they deserve to be fully explored in all the littlest details. Thankfully, this final arc from Remender has some great scenes and some pretty solid artwork.

A good and fitting conclusion to a series that had it rough. Full of potential for other stories and filled with great scenes" Rick Remender, Matteo Scalera and Matthew Wilson did a great job on the title and it is something that deserves to be remembered as the ambitious storyline it was.

What James Roberts, Alex Milne, Brendan Cahill and Josh Burcham have achieved is spectacular: they have made me care about Transformers as a franchise, with their amazing concepts and great character work. This issue is a shining example of what made me like this series so much. Heavily recommended.

This is not on the same level as previous issues, yet it is a fun little issue with one or two interesting tidbits despite the fact that the central character here is a little bit annoying.

This book is still going on very strongly and this issue shows it. With a very good concept at its core, James Roberts bring a lot more of what made this series works as well to begin with as he is helped in his task by the talented Alex Milne and Josh Burcham. This issue, though, is much better if you have read Last Stand Of The Wreckers, but it is still enjoyable nonetheless if you didn't.

This is a powerful and emotional issue that brings the series on another level as it transition to another big arc. While playing with the fallout effectively with its amazing cast, the book also shines in the art section thanks to the great pacing and emotional output of its characters and the good characterization. If you want a great comic, gives this series a try, even if you aren't a Transformers fan. I guarantee you won't be disappointed. I know I wasn't.

Giving us a more even balance between the plot, the character moments and the exploration on the whole concept of the Transformers, James Roberts gives us a very enjoyable issue that brings out the best from this whole series. With Alex Milne and Josh Burcham contributing with some excellent artwork, it also looks quite nice.

As usual, this title continues to impress with its clever additions to the Transformers mythos, its dialogue, the characters and the general direction the story has. With the genuine capability of James Roberts to surprise readers and the good work of Alex Milne, Brian Shearer and Josh Burcham, this title continues its strong run.

With the great pacing an juggling between several plotlines and characters, James Roberts, Alex Milne, Josh Burcham and Brian Shearer provide yet another wholly satisfying issue that provide a deep and analytical view on the Transformers franchise through the interesting characters and the conflict they are in.

However, Josh Burcham really brings his A-game to his issue, as the colorization is especially rich and diverse. Working perfectly with the script, the emotions that are brought to the page are immensely enhanced thanks to his subtle work in the background and on the characters themselves. The low lighting and the focus on clearer details on the characters in the Cyclonus and Tailgate scene really do put the focus on the right place, as does the ominous background colors with the scenes featuring Whirl, Cyclonus and Star Saber. The alien energy, the action and some of the more down-to-Earth moment would be much less effective without Burcham, which makes his work on this issue that more important. Emotional, impressive and downright satisfying, this issue of MTMTE really shows that James Roberts, Alex Milne and Josh Burcham truly knows their stuff when it comes to exciting and fun comics. Here's hoping they stay for as long as they can on this title.

Giving us a light-hearted and fun introspection of his cast, James Roberts delivers a thoroughly enjoyable issue that is accentuated by the visuals of James Raiz and Josh Burcham, despite some very minor problems here and there.

Livio Ramondelli is perhaps the worst in the bunch in terms of disconnection to the overall style. Make no mistake, his art is absolutely superb, yet it doesn't fit at all with either the moodiness of James Raiz or the cartoony approach of Atilio Rojo. While his style fits very well with his low amount of pages set in a dead universe, it's just too different from the rest. Still, his economy of space in his backgrounds create an eerie atmosphere that really cements in the creepiness of the area in which Orion Pax and the others are in. The characters are perhaps a bit suffering in terms of details with his approach, yet they are easily recognizable nonetheless.

Some of the scenes are fun, the dialogue and characterization are pleasant, yet there are simply too many cooks in this kitchen. This has the result of giving an entertaining issue with severe problems in terms of unity and cohesion. A nice effort, but not what it could very well be.

It may not reach the heights the regular team is used to give, yet there is a certain amelioration in terms of humor and entertainment that is rather nice to see. Still a bit chaotic visually in terms of styles, but quite decent nonetheless.

While the great ideas shown through the issue shines, some questionable characterization, the divergent focus on some other elements and the uneven art brings the whole issue down a bit. An acceptable issue, yet one that could have been much better.

Showing a good contrast between the bizarre mutant world and the normal one via the relationship between David and his mother, this issue hits a lot of right notes as it provide emotions, show some great character work and provide some good concepts that allow for the title to breathe some more. This is a gem of an issue plot wise, color wise and art wise to a certain extent. Definitely recommended.

Spurrier gives the readers a healthy dose of great action, good characterization, yet does not deliver much progression as Davidson's and Rosenberg give some quality artwork. A good issue, but not a great one.

It could have been another traditional fighting issue, yet the smart use of this series theme along with the strong voice and identity provided by David Haller makes this issue a surprisingly potent one. With the work of Koi Pham and Rachelle Rosenberg adding to the effect of Simon Spurrier's writing, this issue is very solid.

There is an interesting conflict at the center of this issue, with some terrific dialogue as well as some good characterization and concepts, yet the contrived plot twist along with the weaker art makes the issue suffer a bit as a result. It's interesting, yet it could have been better.

Experimenting a bit with the narrative while moving the book forward, the creative team of Spurrier, Huat, Yeung and Villarrubia manage to give a thoroughly satisfying issue that plays with each of their strengths. A very nice issue overall.

Providing a character-focused issue along with a tightly paced evolution in terms of narrative and development of its theme, Simon Spurrier gives another satisfying entry in this oddball series. With Tan Eng Huat, Craig Yeung and Jose Villarrubia collaborating on this madness, it is simply another pretty great issue of X-Men Legacy.

The colors of Rachelle Rosenberg cannot be described as such, though, as she seems to be fully in control of every aspects of this chaos, which makes the colors in this issue simply delightful at times. The panels in David's head or when he is fighting against the evil Xavier are simply gorgeous thanks to her work, with a certain shading in the backgrounds combined with a rich and diverse selection to the foregrounds, creating multiple contrasts on the same page without destroying the visual cohesion of the issue despite it. The issue does seem to not advance the whole plot against the evil Xavier much, yet the great characterization, excellent color work, good art and amazing concepts makes this a satisfying read despite this little flaw.

There might be some slight problems with the art of Khoi Pham and the general use of some characters, yet the focus on the key themes of the series, the culmination of several plot points and the always sharp characterization of David Haller makes this issue a good read despite all that.

There are small flaws in some of the heavy symbolism and the art here and there, yet the powerful message, the always beautiful characterization and the playfulness of Spurrier with the themes of the series makes for a very potent and beautiful issue nonetheless. With such a climax, I cannot wait for the finale.

Concluding most of everything in ways that resonates with the themes introduced and the readers, the story of David Haller and his attempt at matching the impact of his father comes to a powerful, beautiful, yet rather disheartening end in this issue. Memorable, with a great style in terms of art and colorization, this is the kind of ending any good series should try to match.

While the plot may be a bit standard, Mike Costa, Kris Anka and Jordie Bellaire does give us a nice read thanks to the excellent characterization and the subtle touches in the art and colorization. It's altogether an enjoyable ride.

This annual is a surprisingly dense read jam-packed with action, development and great character moments with some good art and colorization. It is a little bit brought down by the abrupt ending, but it is still vital to the Green Lantern experience and I do recommend reading it.

While the ending was not the most surprising one that Morrison has ever written, the final issue of Happy manages to bring us some neat and fun concepts through his violence, adding some excellent art by Darick Robertson to enhance the whole deal.

The story in itself may not be accomplishing much, yet the characterization, art, colorization and the sheer fun factor makes the second chapter in this big team-up a worthy read nonetheless.

The story may be somewhat ordinary, yet the characterization and strong art makes this annual quite fun despite its few weaknesses. A nice read overall.

Despite a few hiccups in its temporal structure, this issue gives us an amazingly grand tale of divinity with its amazing script and art. This book truly is one of the gems of Marvel Now! and deserves to be read.

This is a good transition issue, giving us some more mystery and foreshadowing while adding to the whole mythos of Gorr the god butcher. The art may not be up to the standard set by Esad Ribic, but it does the job rather well both in the art and writing department.

This is another superb issue by Jason Aaron, Esad Ribic and Ive Svorcina, who manages to craft a tale of high mythology, adventure and grandeur in a tale that mix time travel, divinity and heroism in a small package. This is clearly one of the best, if not the best of the first wave of Marvel Now! I strongly urge everyone to read it.

Another particularly satisfying chapter in this grand saga of god butchers and divine beings. The team of Aaron, Ribic and Svorcina does it again as they crank up the scale and the ideas even further with this issue. Heavily recommended.

While the comic is largely a huge fight scene, it is nonetheless as satisfying as previous issues in the series thanks to the atmosphere of importance given to this battle worthy of an epic. With both the writing and the art, Jason Aaron, Esad Ribic and Ive Svorcina have given us another satisfying entry in one of Marvel Now! greatest title.

Jason Aaron, Esad Ribic and Ive Svorcina continues their epic vision of Thor as they up the ante with their interesting approach toward each character, the way Aaron handle his plot and through the stunning and atmospheric work of Ribic and Svorcina.

While there are some minor stumbles in the art and in the transition and explanations of some scenes, there is no questioning the fact that this is a very strong-looking book in terms of art and story as the conclusion to the god-butcher story brings many points to satisfying ends.

Simply put, a superb issue full of positivism that shows just how Thor deals with the folk in Midgard in a way that makes sense considering how the normal people in the Marvel universe might see godhood. With a powerful artistic direction from Nic Klein, it's just a great issue that I cannot recommend enough.

This latest comment could also be the reality of the artistic presentation of the book, brought by Ron Garney. With this title seeing great artists like Esad Ribic and Nic Klein, Ron Garney comes as a bit of a downgrade to the whole package. Sure enough, he is talented as he clearly shows in the scenes featuring the dark elves in Niffleheim, with Garney showing off the icy realm full of tortured souls and spider with a style that is great to behold, yet those are the best pages visually in the whole issue. The other pages are much more muddled and sketchy in their details, which is a shame as the book always had a strong artistic position. The expressions and many of the background are detailed enough to be discernible for the readers, yet there is a lack of cleanliness in Garney's approach that doesn't let some of the elements come to the forefront of the book like they should.

There are some nice ideas here along with some competent action and plotting. However, competent is the highest praise I can give to this issue with so many elements that are inconsistent in their quality, despite the effort of Aaron, Garney and Svorcina.

There are some good ideas along with some amelioration in terms of execution, yet the slow pacing alongside an uninteresting villain and a weak artistic direction doesn't make for a very satisfying comic.

With some plot twists, some added levity and a slight upgrade in the art, this issue makes for a better case of the talent behind the creative team. Flawed, but still quite fun despite its faults.

The colorization, though, is improved in many ways, with a focus on some elements in favour of others in order to play well with contrasts in several scenes. Thor's cape, the crackling thunder and many other elements are taken to the extreme, playing with white backgrounds and the like to make the other colors pop up on the page, presenting a canvas that is rife with possibility instead of a plethora of chaos. It goes to show that Ive Svorcina can certainly adapt his style to several stories, with this one being a bit more colorful than the first arc on this title. With a few surprises and some rather great development both for the characters and Thor's corner of the Marvel universe, the conclusion to this arc proves to be stronger than its opening issue. Despite the fact that the art might be a tad rushed at times, this issue proves to be an entertaining one nonetheless.

There are a few hiccups in this issue, but the astonishing art and colors of Ribic and Svorcina, combined with a great take on Thor and a new direction that has potential proves that this new arc might elevate this title to the quality it once reached.

If there's one thing that is handled very well throughout the entire issue, it would be the art duty by Daniel Acua, who is a little godsend to this title. His somewhat sketchy, yet incredibly detailed lines and coloring makes for some visually smashing moments, as he handles the action and the heated arguments quite well in this issue, giving this title the quality it deserves. His colorization is also top-notch, as the painting feeling he gives to the whole issue elevates the bigger aspects of the scripts so well. The arrival of Wonder Man, the ship of the Apocalypse twins, the four horsemen of death, each of these big moments are made bigger with his expert hand and the book is better for it. With some big moments, some great character works and some terrifyingly beautiful art, Uncanny Avengers is on the quality level it should always have been. There might be a hiccup or two, but this book is well on its way to becoming another classic that Remender might boast about.

While the overuse of melodrama in the dialogue and in some of the interaction between characters comes as a distraction, the solid plotting, action and character work, combined with the rich art and color work from Acua makes this a god addition to the ongoing saga Remender is building at Marvel.

His colors are also quite superb in the same respect, as it does enhance the general tone of the issue considerably. The use of garish colors for the various energy effects and the heavy lighting done with brighter colors do add to the action and toward the alien setting which is heavily featured in this issue. While there is perhaps an overload of exposition and dialogue in this issue, the concepts brought in some of the scenes and the art by Daniel Acua makes this issue enjoyable despite some of its failings.

The main idea behind the issue and the series remain interesting, as does the conflict presented along with its choice, but the lack of potent development, the bizarre pacing and dialogue choice along with the rather stiff art from Larroca provides a misstep for this series that really need to up its game.

Bringing in some development, neat action and some meaningful character interactions, Remender is upping his game on this title as this issue provide some interesting and exciting prospects for its future. With the return of Acua, it also provides some especially strong art and colorization which really enhance the whole thing to another level. When all is said and done, this is a vast improvement over the latest issue.

The colorization of Laura Martin is really strong, too, with her going in a way that is both methodic and hyperbolized. She works with a good lot of very bright and highly contrasting colors in several scenes, with the dark and somber shades that Daken and Grim Reaper sport that clash with the high energy and definitely more diverse in colors characters that are Wolverine, Sunfire, Scarlet Witch and the others. The colors used in the backgrounds during the action scene are also fairly effective, pinpointing a certain division between cold and warm thanks to the red backgrounds and green grass that really establish a certain tension and chaos, without destroying the alien look of the setting. While the use of several deaths may come as a bit excessive, the tension, drama and chaos of the issue, combined with the rather strong art of Steve McNiven and the colorization or Laura Martin makes this issue really enjoyable.

Thanks to a rather impressive action, some very decent characterization and a good dose of payoffs, the creative team manages to bring one of the best issues of this series yet. A treat for those that were following this series hoping it would get better.

Delivering a tale full of action and excitement with some rather excellent art, the team behind Uncanny Avengers raise the stakes and give readers something that is decidedly a good showcase of what super hero comics can be. A very nice continuation of what has been presented earlier in the series that should please fans.

With a rather effective visual approach, a great balance between action, repercussions and a decidedly unbelievable conclusion, the creative team delivers a surprising and memorable conclusion that is assured to leave readers asking for more. Disconcerting, but fascinating despite it all.

Sam Humphries manages to continue this title in his own manner while respecting what came before, doing so with some good dialogue, a new direction and some good action. While not as strong as Remender, it does a good job of getting the interest of readers thanks to its strong script and the lovely art from Ron Garney and the duo of colorists working their wonders.

This is a nice finale for Brubaker's tenure on the title, with lots of tension and action helped with some atmospheric art and colorization. It is only a little bit sad that the ending of Brubaker adventures with the character ends like this, but it is a testament to how he raised the character from his initial situation.

I urge people to stay on this book to give Jason Latour a chance. With this issue, he has proven that he can write great action, good dialogue and actually gets who Bucky Barnes is. Combine that with the amazing art of Nic Klein and you have a great book here. Heavily recommended.

Although this is a fairly standard plot when it comes to Bucky Barnes as a character, Latour does get us some nice character work there and Nic Klein is absolutely wonderful as an artist. Come for Bucky, stay for the amazing skills of the artist.

While the story comes a little bit to a halt while the author copies a little too much from Brubaker's book, we are still treated to some great art for about two-third of this book. If it weren't for the hologram part, this issue would be close to perfection on the artistic level.

This issue delivers in many ways with a good look on a character that has been teased many issues before, giving us a great origin with some stunning art from Nic Klein. While the next issue will be the last, Latour and Klein seems to be going out of their way to give us one hell of a finale if they can manage to top this.

A stunning conclusion to the title and to the journey of Bucky Barnes in his spying adventures that looks simply marvelous. I applaud both Jason Latour and Nic Klein for giving us something of this caliber and I hope we'll get to see them collaborate one more time.

While there might not be enough Winter Soldier for those looking for more appearances from him, Rick Remender does deliver a fun tale of action and espionage that manage to be a rather good homage to older comics all the same. With a very decent artistic direction thanks to Boschi and Chuckry, it is well worth.

A mildly funny comic with terrific art, surprisingly great action and all the Deadpool shenanigans the fans could ask for. If Brian Posehn and Gerry Duggan improves a little bit with the jokes and continue like this with the rest, we may end up with a truly memorable Deadpool run.

This is a very good Deadpool book, with everything you could ask for. There's good humor, good action and violent yet beautiful art. If you like Deadpool, there is a high chance that you'll love this current iteration of the deranged mercenary found in this volume.

With the conclusion of the zombie president's arc, Duggan and Posehn have shown us mastery in jokes, action and on how to write Deadpool, showing him as a badass, hilarious yet human character. They are greatly helped by Tony Moore here who gives us some of the zaniest art he ever did (on par with that Frankenstein Punisher story), giving us one of the best take on the regenerate degenerate so far.

This issue is both a great parody and great reference to the Bronze Age of comics, laying down the story in ways that remind readers how this era treated their stories and their skills through their serialized graphical art. It's also really funny too, just so you know.

Giving us a bit more plot here to set the second arc starting, Gerry Duggan and Brian Posehn manage to balance out humor and story in a neat way, giving way for more time with the supporting cast and with Deadpool as more of a character and less as a walking punchline. While Mike Hawtorne is not Tony Moore, he does a pretty good job nonetheless thanks to his characters and his background.

While the book does show a too great change in tone after the first half of the book, it would be hard not to like such an earnest attempt at deeper characterization on this title. With Hawtorne and Staples bringing their talent in the mix, it makes it doubly harder not to appreciate what the title is able to show.

While the unbalance between humor and plot and the repetitiveness of its scenes hurt the book, the art and some of its humor saves it from being an unreadable mess. Hopefully, the conclusion will be much stronger.

While not as successful as the other inventory issue as a whole, this issue does create a good parody of the 70′s despite its lack of focus on the plot thanks to the wonderfully chaotic art and the jokes.

The coloring follows suit, as the high diversity in coloring bring in a chaos that is pretty nice to watch. Val Staples does some good work here, as the high number of panels are all full of these explosive colors, creating a sharp contrast on every page that all clash together in an almost cohesive manner. It's big, it's pretty but it's almost confusing to watch at times. Some very solid artwork and colorization cannot save some rather dull conflict and jokes, despite how hard it tries to. It's not a complete miss, but it's far from being a hit.

Jordie Bellaire is no slouch either, as his color work has a sober quality that works quite well with the clean aspect of Shalvey's lines. He use light and darkness in ways that never feel exaggerated or in the way of the story, instead stylizing the art even further for the readers to enjoy. There are, of course, some key moments where he is simply amazing, like the aforementioned two-page spread where he mostly use two colors to create a simple yet absolutely gorgeous contrast between cold and warm that makes it even prettier to look at. It may be a different take on the Merc with a mouth, yet it cannot be said it isn't an effective one as the serious take on the character and his problems makes for a gripping read nonetheless as the writers delve deeper on who the character is while Shalvey and Bellaire bring in some powerful scenes with their art. Unusual for the character, yet recommended.

Jordie Bellaire is worthy of the same praise in this issue, as the dark mood is shown perfectly through her colors. The heavy use of dark shadows and deeper colors tones really make some of the interactions between some characters stand out with their colorization. There are even some moments that stand out, like the page where Kin shows how he has been trained with his powers, which use some very simple colors to provide for a powerful moment in terms of visual storytelling. Bellaire is really good here as well. The dark and much more psychological take on the character may not be for everyone, yet the quality of the script, the action and the art cannot be denied as The good, the bad and the ugly continues its excellent take on the Merc with a Mouth.

While the shifting focus on action rather than the character development and plot progression may be disappointing for some, there is no denying that the enjoyable action and stunning artwork from Shalvey and Bellaire do make this issue rather entertaining. Not on the same level as the other issues in this arc, but fun nonetheless.

The great balance between humor, action and drama along with the clean and deceptively simple work from Bellaire and Shalvey makes this issue a great chapter in this satisfying arc from Duggan and Posehn.

Bringing in a very serious conclusion to their storyline, both Gerry Duggan and Brian Posehn manages to show a particularly thoughtful and evolving side of the Merc with a Mouth. With the excellent artistic direction of both Declan Shalvey and Jordie Bellaire, this is simply excellent all around. Kudos to them.

The colorization really doesn't fare much better, though, as the colorization is much too extravagant and unfocused, leaving a certain ugliness all around that makes this issue visually weaker. While the colorization could certainly go overboard in some issues with Steve Ditko and Jack Kirby, it just comes as a bit too forced and does not make any actual statement beside being rather ugly. The impossibly high diversity, with bright and extreme colors does not make for something pleasant, putting close to no effort for clear contrasts or anything to the like. Val Staples is usually very good, but this direction doesn't do much for this issue in terms of quality. It's not very funny, with most of the jokes missing the mark, with a rushed story and an artistic direction that simply doesn't even come near the potential it has. All in all, this really isn't the best reserve issue or even one of the best issue of Deadpool. Not recommended.

The story is okay, the characterization is solid and the colorization is good, yet the book doesn't do much of anything to be particularly impressive in any other areas. It's a decent book with some strong elements, but doesn't provide the same amount of quality it can delivers.

The whole creative team impress thanks to a fast-paced issue full of action, humor and development that display very well why this current volume of Deadpool is pretty good. With some great art and colorization, it's a solid entry in this series so far.

With a very potent balance between action, humor and characterization as well as a very talented artistic team, this issue shows some of the strengths of this volume. A good conclusion to a good arc.

With some very strong themes, some solid character work, a very great handle on internal continuity and some very good work from Hawthorne and Bellaire, this issue delivers a solid conclusion to an arc and to a phase in Wade Wilson's life. Better than it should be, this volume continues to impress.

While most of what we see is setup and an exploration of the character, leaving the story a bit on the side, this issue nonetheless present us with an interesting world and a character that is definitely more than what she seems. Great art, a good tone and some good action makes this book a winner and a great introduction to just who is Red Sonja.

While there isn't any memorable action scene and that the twist does come out a bit out of left field, this issue still does convince with the art, the setting and some of the key concepts presented with the very twist that propels the title forward.

Where the book shine a bit less would be the colorization, which is done by Adriano Lucas. It is not bad by any mean, as the lighting and some of the environment are especially nice-looking, yet there is a severe lack of diversity in most pages, as brown, white, grey and perhaps a touch of red are the primary colors the readers get to see in a good number of pages. While there are some pages that do try to give some different colors, those used there are different, yet comes with the same problem as it never really pops up. It does its job at depicting a cruel world and a tale that is supposed to be rather sad and brutal, yet it diminishes the effect of the art a bit in result. While the origin of Sonja isn't the most original one created, it is still told in a brutal and competent way, thanks to a focus on Red Sonja and her philosophy, the brutal but honest description of violence and the strong work by Walter Geovani.

While it is only competent in some aspects, this title shine in characterization and in the depiction of its setting. It doesn't pale in the art as well, thanks to Geovani and Lucas. All in all, a nice issue.

The heroine is very interesting, the setting is intriguing and the art and colorization are apt, yet the potential for greatness is pushed back by uninteresting secondary characters and a rather classical plot. It has its moments, yet this take on Red Sonja could be stronger considering the talent behind it.

With a good deal of action, some potent characterization, a great presentation of the themes and tones of the title, some strong art and colorization, this issue proves that this title does possess the capacity to pleasantly surprise. There may be one or two minor weaknesses here and there, but this is a solid effort from Simone, Geovani and Lucas nonetheless.

With some good characterization, a good sense of humor and a rather nice artistic direction, this issue could have been absolutely great if not for a rather unimpressive story and some tiny weaknesses with a few elements of the art. Definitely good, but a bit short of greatness.

It possess some pretty fun action, a good focus on each characters and a good buildup on its conflict, yet the weird pacing, minor weaknesses in the art and weird colorization at times doesn't make the title live up to the same height it had reached in its first issue. Good, but certainly not great.

With a story that manage to explore a character and advance the story quite well while balancing the rest, Matt Kindt impress as his additions to the Valiant universe proves to be very entertaining and well thought-out. With the artistic talent of Doug Braithwaite and the colors of Brian Reber, it also manages to look very good, making this issue an essential read for fans of this universe.

Where it's a bit better, though not in any way that redeems the faults, is with the colorization by Brian Reber. Using a lot of lighting and shading effects, Reber is able to not overdo it in many cases, playing with small touch of obscurity and a nuanced and subtle balance between warm and cold in most places. Using the environment to maximize the contrast and bring an evolving touch from the top of the pages to the very bottom, his work manage to work with the art instead of overshadowing it. This issue delivers a sound conclusion and a good launch pad for the series thanks to some good sequence and some great character work, yet is a bit hampered by some problematic addition, some rushed developments and some small problems with the art. It's good, but not as great as the previous issue.

With a very decent artistic direction along with some new and interesting ideas added to the Valiant Mythos, this issue provide for a fun entry in this ever-growing universe. With a fun cast, some decent concepts and a unique take on things, it is a very competent read that should please fans.

As a first issue, it does a good job at setting a direction, a tone and some nice action. I do believe that Dan Slott and Ryan Stegman can tell some truly terrific stories with Spider-Ock, yet he has a lot of work to do if the main character continues to be so unlikeable.

A great issue with some good and surprising development on the Spider-Ock/Mary-Jane situation and the Peter-as-a-ghost situation. It is helped by some strong art and colorization, even though it did not reach the same level as the first issue. If Dan Slott continues to play this smartly, this will be a run to remember fondly.

This is a really strong issue. It manages to bring us some key development and information on Spider-Ock in the most important ways, while it still delivers in the action and art department. Although this series is with its share of controversy, I can still recommend this issue easily.

This is a nice little issue, but its slower pace and focus on Massacre instead of the regular cast makes it a little bit disappointing, which is not helped by Giusepe Camuncoli's art, which lacks the energy of the previous artist.

This is a really nice issue that brings a lot of new elements to the table, while cementing others. Dan Slott is doing something special here and thanks to the rotating art team he has, Superior Spider-Man could become something quite memorable if he continues to bring issues like this one.

Even with a certain lack in subtlety and some small problem with continuity, Dan Slott manages to continue his streak with Superior Spider-Man, bringing us another issue with good development and great art, thanks to Humberto Ramos, Victor Olazaba and Edgar Delgado.

While there may be some small nitpicky things to pick on, this issue does splendors in term of development, proving once more that Dan Slott is getting even more unpredictable with this concept. With Humberto Ramos and Edgar Delgado bringing their great talents, this issue is a must-read for Spider-Man fans or those who are curious about the whole Spider-Ock deal.

Dan Slott still manages to makes Superior Spider-Man a hit thanks to the good number of development added to the multiple parts of his bigger story. In this issue, we get some good character moment, some great art from Humberto Ramos and the promise of even bigger events down the line. I daresay that this is indeed one of the superior titles that Marvel is publishing right now.

While this may lead to some anger for a lot of fans, it cannot be said that this was not a very well crafted issue. With actions, development, twists, analysis and so much more going on along with the amazing art of Ryan Stegman, this issue misses no beat in making people invested in the conflict shown. I, personally, cannot wait to see where this will lead.

Even though the main plot made close to no progress, Slott still manages to give us a lot of impending plot points that does promise a good future for the series and deals with the repercussions of the last issue, while Ryan Stegman and Edgar Delgado both impress with their work. Overall, a good issue.

Even though a lot of what we see here is setup for the rest of the actions that will unfold through this arc, both Slott and Gage does manage to make it interesting thanks to some good scenes with Otto, while Camuncolli and Delgado renders their vision with talent.

This middle issue of this three-parter gives us a good dose of action and moves its elements in rather interesting areas, yet some of these elements are rather questionable. Still, the art is lovely and the story is exciting enough to makes this a pleasant experience nonetheless.

Despite some minor problems here and there with the pace of the issue and the use of some characters, this issue entertains very well thanks to the character interactions, the action and some of the surprise brought in that makes the future uncertain for our character.

Delivering a surprising issue with plenty of action, ambitious twist on the Spider-Man formula and some delightfully bombastic art, Slott, Ramos, Olazaba and Delgado manage to continue the entertaining adventure of Spider-Ock on a high note.

The plot may be rather light as it does not take full advantage of what happened in the latest issue by creating more setup, but there are some angles covered in this issue that are very entertaining, which are helped by the always energetic art and colorization that has become the norm for this title.

A visually satisfying issue that advances the plot, hints at more things coming and provide some good moments here and there, yet does not do much in terms of actual satisfactory plot development.

While there are some points that are definitely strong here, like the use of Miguel O'Hara and some of the ideas, the general pacing and some minor stumbling in the art and colorization brings the issue down a bit, diminishing what could be a great issue into something that is simply acceptable.

We may have some lovely art by Stegman along with the colorization by Delgado, but the lack of clear direction and focus on a central theme makes the story a bit of a mess here. Some of the developments are interesting, yet it feels like it could have been centered a bit more.

Delivering a great conclusion and its promises, this issue of Superior Spider-Man is a good showcase of the series strength thanks to a playfulness with the lore, but also thanks to the work of Ryan Stegman and Edgar Delgado. A strong issue.

While it may be uneven in terms of scenes and how some of them work, the progression of the plot threads, combined with some fun moments and a pretty great artistic direction makes this issue a pretty good one.

With a good pacing, some neat character moments and evolutions in the cast and the story, this issue provides a neat experience for those looking for a satisfying Spider-Ock read. A nice chapter overall, thanks to the work of Slott on the script along with Camuncoli and Dell on the art.

There may be a few problems with the dialogue and exposition here and there, yet the handling of several subplots and fun elements of this shift in the Spider-Man mythos along with the bombastic art and colors of Ramos, Olazaba and Delgado makes this an enjoyable issue nonetheless.

Giving an issue full of entertaining development, some really great use for the Venom symbiote and some rather impressive art, this issue provide a rather fun experience that should please fans aplenty. A nice chapter before the eventual conclusion of the story.

There are several nice ideas and a great deal of neat twists and turns in this story, yet the constant jumping around, messy and crowded art combined with some questionable elements to the script makes this issue rather disappointing as a whole.

As a whole, this should not work very well, yet the number of interesting developments, the skills of each artists and colorists and the rather good characterization on display makes for something that is somewhat better than it should be. Not quite the best of this series, but far from the worst by a large margin.

With some very good moments and a rise in terms of scales when it comes to conflicts, this opening issue to the final arc works very well. With some great art yet unexceptional colorization, it is an issue with more strengths than weakness, which makes it quite enjoyable despite some of the lower points.

There are some slower moments and the division between some scenes do hurt the book a bit, yet the tone of the issue, the approach to the themes and some of the surprising decisions of the creative team provide for an issue that still enjoyable despite all that. Good, but short of greatness in some accounts.

Superb art and some well-brought exposition saves this issue from being a complete bore, as there is not much happening here. Fans of the Mignolaverse shall find much to like here, but new readers may not necessarily be as enthusiastic.

Even though the direction of this series isn't entirely clear, this issue gives us some very good exploration of how the normal people of the Mignolaverse reacts to the apocalypse while giving us a good lead in Abe Sapien. With the expert art of Sebastian Fiumara and the colors of Dave Stewart, this issue is elevated to another level thanks to their great storytelling as well. Recommended.

While the story could have focused a little bit more on its main character in its presentation, the actual plot and the art are just out of this world. What this team has given us is a title that will no doubt stand up on its own and I cannot wait to see where this is going.

Despite the fact that there is very little happening, the more thoughtful approach to the character, the world and what is happening makes for an amazing read that is only enhanced by the stunning art of Fiumara and Stewart.

Some of the aspects of this issue, like the approach to the death of a character and the mystery behind it, could have been worked much better, yet the beautiful art, colorization and the subtle horror and philosophical approach saves it from being a small dud.

A really good issue art wise, yet there are some missteps in terms of development of story and character that set it down a notch in terms of storytelling. An adequate issue, but certainly not the strongest one in the series.

Dave Stewart, of course, lives up to his talent as he is able to bring out the darkest elements of the plots thanks to a smart choice of palettes. Bringing an unity of themes through a selective diversity, he brings forth the grey, dark blue and greyish green particularly well, setting them up as being much more present. This has the result of making other colors like bright red, beige, yellow and others to have a bigger impact on their respective pages and panels, making them rare in order to give them a higher effect. It's dark, it's subtle, yet Stewart does not let the colorization be dull for one second despite all that. While the story of this flashback issue might be rather simplistic at times, the use of horror, action and ambiance makes for a particularly interesting read nonetheless thanks to the work of everyone involved.

The pacing and fluidity of the plot might be disjointed in quite a few places, but the ambiance, art and general depiction of horror as well as the characterization of Abe makes this issue worth it nonetheless.

There are some slight problems with the pacing, with the division in the book and with some of less interesting characters, yet the strong artistic directions, neat ideas and the charm of Abe Sapien as a lead character manages to make this issue lightly enjoyable nonetheless. It's certainly not the strongest this series has been, but it is still a nice read.

The A book full of great action, art and characterization… It is very surprising to see Steve Rogers look this cool and bad-ass with a beard. I guess most male characters looks intimidating with facial hair. I cannot wait for the next issue.

This issue makes us see some great Cap and Arnim Zola moments in the Dimension Z scenes, but stumbles a little bit in the 30's scene and in the art department.

This bizarre sci-fi adventure is still something that feels at odd with Captain America, which is exactly what the title needs, making for a good book full of surprises. The art does not always follow the quality of the script and story, but it is still good in the key parts, making this new chapter in Steve Roger's adventures a must read.

This issue may be a little bit reduced in the art department in terms of quality; it still brings the good with great concepts and a good story, helping us with more of this exciting sci-fi take on Captain America.

With its sci-fi vibe, the strength of its concepts, its script and its character, this title keeps on convincing us that this new domain is a good fit for Steve Rogers. All it would need is a little more consistency with the whole art team, and this title would become an absolute must-read.

While the whole thing goes from cheesy to overly serious in a way that is ambiguous in its intent, the action and the art more than makes up for it as Steve's adventure to save Ian from the clutches of Arnim Zola continues to be a fun ride.

While there may be some minor weaknesses in terms of artwork in several places and that the overall campiness may not be for everyone, this issue works thanks to the dedication of Remender to his themes, his tone, the sci-fi vibe and the great character work.

If there's perhaps an aspect of the art that is still good-looking, it's the colorization by Dean White, with help from Rachelle Rosenberg this issue. A lot of the colours here are rather one-note, yet there are at least degradation to allow for the illusion of movement in the scenes featuring the vehicles. The strange landscapes are still illustrated with contrasting colors, bringing in grey, red, green and other garish colors to maintain the weirdness. If there's perhaps a sequence of pages that are really great in terms of colors, it would be the final pages once more, as they are truly striking even with the colorization. While there are some interesting developments, some really striking final pages and some scenes that do work, the general pacing and the art by John Romita Jr. and his army of inkers is a poor example of the kind of talent those in the creative team can truly show. Not the best closing issue.

A slow issue that really take its time to show the evolution and the many interactions between some of the key characters. There may not be as much action as the previous issues, yet the introspective look combined with the detailed and evocative art by Pacheco, Janson and White makes for a good reading experience anyway.

With a great artistic direction along with some pretty neat characterization from everyone involved in this issue, this series is getting back on track as Remender might still surprise its readers. It's not perfect, but sometimes being good does the job nicely.

The work of Dean White is also very good here, with a good lot of shading in order to work with several elements of the background, like the fire burning behind the characters. With a balance between the shiny elements like Captain America's shield and the dirty aspects of the background and the violence of the issue, White is able to show the contrast in terms of themes as well as one the panels. The colorful characters are instantly more recognizable and more easily focused-on when put before a snowy background, or against trees and other simple elements. It's a mix between simple and complex techniques that makes this issue stand out in terms of colors. Some elements still come as a bit under-developed and trite, but the action, inclusion of several plot points as well as the work of Carlos Pacheco, Dean White and Mariano Taibo manage to makes this read very much worthwhile. An improvement overall.

With some good handle on characters, a few surprises and some potential shown for the future of the book, Rick Remender shows a certain progress for the series that is welcome. With a rather good visual direction as well, this issue is one worth the time of those interested in the ongoing adventures of Steve Rogers.

Cementing repeatedly the characteristics of Jet Black and presenting once more some of his concepts for the Marvel universe, Remender does not manage to do much beside this in this issue. Combined with somewhat good yet problematic art and colorization, the message is sent, but does not make for a nice introduction to the series, the characters or the themes in way that could be deemed effective. A very mixed bag.

There might be some very talented people bringing up some beautiful visuals thanks to the pencils and the colors, but the rethread of some points and the lack of explanations for some of the newer points does not make for the most interesting of introductions to a new arc. Decent, but not quite up on par with the level of talent here.

The colorization, however, is a bit more subtle than in the usual capes book as there is a heavy used of subdued tones in combination with lighting that produce a duller and less diverse result that do emulate the past quite well, which is fitting considering the characters. It is by no mean an extravaganza of rainbows like other books, nor does it feature some particularly complex coloring techniques, yet it is competent nonetheless. While it may not be the most new-reader friendly and some explanations could have been truly helpful to let some readers appreciate some of the characters completely, Jeff Parker still seems to get who the main characters are as he plays with this modern pulp world with some good art by Marc Laming and some competent colorization by Jordan Boyd.

Despite a rather slow burn in the plot department along with some missed opportunity here and there, this issue still mostly delivers thanks to its level of craft in its pacing, art and colorization. A nice read, yet one that could get better considering the talent of the creative team.

The color work of Jordan Boyd, though, is rather good. While it may not be the most impressive or explosive type of work, Boyd shows a good sense of contrast and a certain amount of diversity with the scenes. Some pages, like those in Africa, aren't particularly impressive in the least, yet those in space and those few opening the issue are rather great, which bright colors that are put against more drab-looking colors, showing the extraordinary in comparison to the ordinary. It's not great as a whole, but it is surely highly competent nonetheless. Upping the antes with plenty of action and some nice revelations, this issue of Kings Watch manage to be a lot of fun while it looks good thanks to Marc Laming and Jordan Boyd. A rather neat game changer altogether.

Presenting a good mix between older sensibilities and newer one for the most part, Jeff Parker presents a good action tale with clear stakes and some fun moments that makes this issue definitely enjoyable. With very competent art, yet a bit of a weak colorization, it makes this a good continuation of the storyline, making the wait for the conclusion an awaited affair.

Secret Avengers starts quite well with an issue that mixes espionage, action and bureaucracy quite well, thanks to the good work of Luke Ross and Matthew Wilson on the art department and Nick Spencer's smart dialogue.

While there may be some work to be done on the characterization of some of the characters here, Nick Spencer still manages to give us a great issue thanks to some great concept, a sense of scope and some lovely art from Luke Ross. Recommended.

While there may be still a lot of work left to be done on some of the characters, Secret Avengers continue to show a good hold on espionage in the Marvel universe thanks to its concepts, its villains and the plot in general. With the help of Matthew Wilson and Luke Ross, it looks quite the part as well.

As the story continues, we are treated to an excellent mix of espionage, politics and action in a way that does justice to the title of this book. With Ross and Wilson on art, it even looks the part too.

Even though there are some parts that are clearly more interesting than some in both plot and character terms, the whole package is still very engaging thanks to the spy mood, some of the character work and the visual treat brought by Guice, Magyar and Wilson.

This effect should also be attributed to Matthew Wilson, who really bring out the warmth and explosiveness of the action scenes in contrast with the colder and much more somber scenes with Maria Hill and Daisy Johnson. He is able to bring out the weirder colors of the cast and mesh them well with the rest without making them seem out of place. Wilson does a lot toward the visual cohesion and the contrast effect, which is commendable. Nick Spencer gives us a very good story with a mix of espionage and action that is smartly drawn by Butch Guice and Steve Epting with the help of Matthew Wilson that allow the readers to see the kind of difficulties of the spy world as well as giving us a good perspective on how S.H.I.E.L.D. has its own problem. Recommended.

Matthew Wilson, all the while, is pretty solid, bringing each individual scenes quite well with his choice of palette for each of them. The high number of colors that clash together in the more cosmic panels featuring Graviton and the ones showcasing the weirder aspects of Mockingbird's history make for a high contrast to the colder and darker aspects of the script. Wilson juggles from one tone to the next without breaking the effect each scenes has, which is easily said but not done, which credits him and his work. While not every scenes connect perfectly with each other, the whole package is still very good as the focus on A.I.M. and its more antagonistic personality gives the readers an inventive issue with some excellent art by both Wilson and Ross.

There are some nice moments in this issue that prove that this series still has plenty in store, yet they don't provide for much materials for this moment. Still, it's a nice issue with a great consistent tone and some overly beautiful colorization from Matthew Wilson.

A very good effort from Luke Ross and Matthew Wilson that isn't followed by Ed Brisson with a plot that is unoriginal and rather rushed in many aspects.

There might be some really great art and colors in this issue and good lead with Sarah Garza, but some big holes in the plot along with a rather weak villain makes this issue disappointing as a whole.

There may be some problems in terms of cohesion and a few characters comes as being a bit annoying, yet the story, art and some of the great ideas and characterizations makes this an enjoyable issue despite some of the minor flaws.

Moment of brilliance are often tempered with duller moments in this issue, creating an uneven read that is saved by the quality of the art and the colorization. A nice read, yet this book could gain a bit more focus and it would be a better experience.

There are some problems with the division of certain scenes and spotlight sharing in the cast of characters, yet most of the ideas on display, the art and the colorization makes this book a solid read despite this.

The colorization of Matthew Wilson is also out-of-this-world as well, with a very rich and calculated approach to very simple contrasts. His heavy use of blue and red to details cold and warm with each action and characters is a thing of beauty, with a very high amount of change and switch to provide just the right sort of attention to help with the crazy action and panels for readers. With a very light touch of shading and lighting, Wilson combines the overly simplistic with the complex, using the themes of this series to the colors advantage with several techniques that allows for an even better simulation of controlled chaos. With a great deal of actions, payoffs and a decidedly gorgeous artistic direction thanks to Luke Ross and Matthew Wilson, this issue serves as a superb climax, setting things up nicely for the upcoming finale. A great read all-around.

While not all scenes and endings are equivalent to each other, the resonance of certain themes as well as the amazing artistic contribution of Luke Ross and Matthew Wilson makes this finale a great read despite some of the few flaws it possess.

What's good as well is Marte Garcia's colorization, who balance the high and bright energy with darker and warmer colors in the background or in the design of several characters. This is a play of extremes that work rather well, as the heavy emphasis on lighting do bring out a lot of the diverse elements in display here, playing with the cartoonish and super heroic tones brought out by Immonen. The second chapter of Battle of the Atom bring in some good ideas and some particularly excellent art and colorization, yet suffer when it comes to actual events and the pacing, which is really slow. A nice chapter, yet not a whole lot of things actually happen.

The pacing and progression may still be off a bit, yet the concepts, characterization combined with the utterly excellent art and colorization makes for a worthwhile issue nonetheless.

While there are still some small problems, Hickman and Spencer does a bit better here by providing us with a smaller amount of teasing and focusing more on Hyperion and his desire to protect the children. With some great effort from Deodato and Martin, it's also quite pretty to look at too.

While there are still some small problems in the juggling of the large cast, this book is going somewhere as Hickman and Spencer starts using some of his build up and ideas in compelling ways while Stefano Caselli and Frank Martin illustrates them wonderfully.

By creating a better division between the mystery, the action and the exposition and by having a better pacing, both Hickman and Spencer elevated the quality of this comic, which is also greatly helped by the terrific work of Stefano Caselli, Edgar Delgado and Frank Martin.

Even though there are still some trouble with the use of certain characters, there is no doubt that Avengers is very close to its potential as we see many plot threads coming together as the book become more expansive and the action even more intense. With Caselli and Martin on the art, the art match the plot in term of ambition, which is all to the benefit of us readers.

While there are some good ideas and some surprises thrown around, the lack of coherence in the art, the constant teasing and the lack of impact involving the 17 issues buildup make for a rather unsatisfying conclusion to the prelude toward the big event. Big setups and small payoffs don't adds up to a pleasant read.

Jonathan Hickman follows-up quite nicely to the introduction of his event comic by playing the cosmic elements quite well, putting a grand conflict that is illustrated with talent by Leinil Francis Yu, Gerry Alanguilan and Sunny Gho. There are some hiccups here and there, yet fans of cosmic stories shall find much to like here.

There may be some rough and questionable spots in Yu's art, but the colorization, the focus on the Avengers, the Builders and the Galactic Council makes this issue a very satisfying read nonetheless, which really enhance the whole picture that is Infinity.

With the space opera themes going on in this title with the Infinity event continuing, this title is really bringing the conflict with the Builders to the forefront thanks to the interesting development and characters Hickman is bringing. A great showcase of Hickman, Yu, Alanguilan and Curiel talents.

Despite some areas in the art that are confusing and some minor problems with the Avengers's presence, this issue still offer a very exciting view on the conflict with the Builders as it showcase some of the stronger concepts of the last few years on the page. It could be great, yet good will have to do.

The great art by Leinil Francis Yu and Gerry Alanguilan, with the colorization of Sunny Gho as well as some small character moments are the very best thing in this rather uneventful issue. A misstep on Jonathan Hickman's part when it comes to Infinity and its progression.

While there are some particularly nice action scenes, a generally strong script and some competent colorization, this issue is unfortunately plagued by rushed art. A lot of smaller qualities are unfortunately balanced by a large weakness, which may give a wavering satisfaction to those enjoying Infinity so far.

It still possess some small problems that are the norm on this run so far, but this issue does manage to spin an exciting tale as it balance levity and a sense of excitement and action that manage to bring out a lot of fun. With some good work from the artists and colorists attached, this issue is a rather fun one that does make the future of this book rather bright for the time being.

Still as it may, the colorization by Frank Martin makes up for it in many regards, with his expert touch enhancing quite a few pages in terms of tone. With a very thorough approach to clear-cut contrasts and a nuanced approach to brightness and shading at times, the colors here are rather evocative, with the more mysterious aspects of the script being set very well against the almost sterile and cold environment of A.I.M. and S.H.I.E.L.D. It's nowhere near as brilliant as some of Frank Martin's previous work, but it is still quite fitting with the themes proposed in this issue, which makes the visuals look quite good thanks to his cooperation. With some rather inventive ideas and a good approach toward exploiting them, this issue provides quite a lot of interesting material for the future of the title. With a solid enough performance by Larroca and Martin, it also manage to look quite decent too.

There are some nice ideas and a certainly nice direction for the future of the title here, yet the rather weak art, slow pacing and some other smaller problems makes this issue less than what it could be. Tolerable, yet ultimately not the best issue this series has seen so far.

While it does have its share of problems concerning some choices in the art and the direction, the approach to the characters, the attempt at difference and some of the finer points of Leonard Kirk, Karl Kesel and Jesus Aburtov does make this opening issue to this new volume more of a success than a failure. It's not a complete triumph, but it's enjoyable nonetheless.

While there are some minor problems in the executions of his concepts, Robinson craft a solid tale of action and chaos along with a his very talented collaborators, Kirk, Kesel and Aburtov. It's not the greatness that this title has reached before, but it's good fun nonetheless.

There may be some missteps here and there with the use of certain elements in the art and the story, yet there is no denying that it is an effective and fun Punisher story, showing what made the character work to begin with. It's entertaining and even gripping at times, yet it could have a better balance some of the various elements. Over all, recommended.

While it isn't the most satisfactory of conclusion, thanks to some of the stronger elements being dropped near the end, there are a lot of elements on display here that do make this story enjoyable, with Mico Suayan art, Sunny Gho's colorization and some of the courtroom moments being the crux of them.

There may be a certain unbalance with exposition and action, but the excitement of this issue, combined with the characterization and the lovely art of J. Bones makes this first issue worth it despite its flaws. Recommended.

The concept is still interesting, the art is still decidedly lovely, yet the effective but also kind-of cheap surprise and the slower progress of Tomas Ramirez as a main character makes for a good issue that is weighted down by some decidedly big faults. It's enjoyable, yet definitely flawed in some aspects.

An issue that boast some really great art and some great ideas, yet lacks a certain unique approach despite all this. A good issue, but not the kind that manages to excite in terms of first issues.

The good approach to the characterization of Smasher, the use of neat ideas from Spencer's previous work and the very nice art hides a tale that doesn't have much surprises and that doesn't progress that much. It's nice, but a bit slow and uneventful.

Those looking for plot progression may be sorely disappointed, but fans of well-drawn, well paced and well-colorized martial art action shall be quite pleased with this attention to Shang-Chi and his kung-fu prowess. Very entertaining in terms of action, it makes for a very worthwhile read.

While the story itself is not exactly the most exciting or important aspect of the book, the issue as a whole is elevated thanks to the art, the characterization and the absurdly good action.

This issue unfortunately fumbles a bit by bringing close to nothing new to the whole crossover event, while it ends up being a tad confusing with what new stuff it actually does bring. The art does save it a little bit, especially the coloring, but it does not save it from being a bit unsatisfactory for those that does follow the crossover event.

While there are some uneven qualities in the scripts, Swierczynski nonetheless brings some very good scenes and development with the titular character, bringing in some surprises and action along with the work of Kitson, Gaudiano and Reber.

A fun team-up book full of great action, characters and some very nice art. I am eager to see how the title will be affected by the other spider-titles and to see just who Spider-Ock will team up with.

This issue has some missteps in the plot and art departments, but it makes up for it with the fun concepts, some of the action and the neat surprises found within. Chris Yost is still doing some good work while he introduces the Spider-Ock concept throughout the Marvel universe and it does deserve some attention. Try it, yes?

While there are some small problems with Thor and his characterization in the first part, the rest is very solid, with some good action, a solid plot and some amazing art and colors that makes this issue really worth it. The team of Yost, Checchetto and Rosenberg can stay as long as they like on this title if they keep on doing issues like these.

While it does not take full advantage of its team-up structure by putting a rather dull introduction to Sleepwalker, this issue still manage to be interesting thanks to amazing art and a rather well thought-out introspection on Otto Octavius.

While it is mostly setup for the next issue, it cannot be said that this issue is uninteresting or badly-written as it provides us with a fun look at the S.H.I.E.L.D organization and its characters. With Checchetto and Rosenberg on the art, it also manages to look very good too.

While the plot does not take advantage of everything it could and the action ends up taking up close to everything in a rather chaotic way, we still manage to get a somewhat decent comic thanks to Checchetto, Rosenberg and some of the humor placed in this issue.

Having some problem juggling with several of the elements of the plots and with weaker colorization than usual, the issue nonetheless has some quality with the art of David Lopez and Chris Yost handle on the Punisher.

This issue showcase a very interesting world along with a story that is ripe with potential for interesting development, yet it is a bit brought down by a rather boring main character and some trouble with the art.

Big action, huge events and just full of plainly cool moments, this is more like the title that made me want to try out Valiant in the first place. If it can keep up this level of quality, we are in for something quite memorable as Planet Death continues.

This book mixes various elements from both Harbinger and Bloodshot to great effect, although it does so without much excitement. It may have a little bit of trouble on the art side of the equation with two styles that don't mesh well together and the plot seems to be starting rather slowly, but we can still see the sheer potential behind the comic when we see all the pieces on display here.

With some bombastic, yet subtle character work and some satisfying action scenes, both Dysart and Swierczynski gives us a pretty terrific second chapter of this first event comic from Valiant. With both Clayton Henry and Brian Reber on the art, it also does manage to look pretty and violent at the same time. Kudos to that.

While it may have some severe pacing issues, this issue nonetheless brings some great characterization, dialogue and a good art team with Henry and Reber doing their stuff quite well in accordance to the tone set by Dysart and Swierczynski.

As much as the action and the use of the setting in order to make it seem exciting is well done, the conclusion and the general build up leading to it weakens the general effect of the story as a lot of elements that made the story great are left unused in favour of others. Strong art, good action, yet a weak plot.

A nice issue that shows some focus on the title characters with some good action and overall strong art.

This is a nice issue with some good characterization and action, with a much-needed focus on Betty Ross as a character. It falters a little bit in the artistic department, but it is nonetheless a good issue worth the time.

While the book could clearly begins to get a better grip and focus on Betty Ross as a character and a driving force for the whole plot, Jeff Parker manages to makes this a good issue with some good actions and some neat concepts, helped in this greatly by the whole team of artists.

This issue is a vast improvement on the previous issues, with some great concepts, good fights and some clean fun as Parker begins to have a tighter grip on his character and his plot. With Pagulayan, Alves and Staples being especially strong here, I hope this is an indicative for the next issues of this series.

While it has some neat concepts and fight sequences, the book is a bit brought down in its repetition in terms of stories and because of the inconsistency with the art team. Good, but not quite on the level we know this team can reach.

While several parts are rushed, this issue still delivers with some good concepts, some good art and a better focus on the titular character.

While the art is as good as it ever was, this issue does not work as well as a finale thanks to the rushed pacing and the fact that it tries to do too many things at once, leaving some elements untouched as a result.

This issue is a showcase of smart pacing that will please old fans and make sure that no new readers will feel left out. What Brian Wood, Carlos D'Anda and Gabe Eltaes are doing there is a big gamble that is so far succeeding.

This issue shows that Brian Wood has a solid hold on who these characters are and why so many fans fell in love with Star Wars to begin with, thanks to his interesting explorations of how they would act and where they would be after the first movie. In this, he is greatly helped by Carlos D'Anda and Gabe Eltaeb in making this title feels like the original movies.

While not every subplot are as interesting as the others, we are still treated to a great Star Wars comic thanks to the respect Brian Wood has to the universe with his ideas and the lovely art by Carlos D'Anda.

While it may suffer a bit from repetition in the visual department in key scenes, this issue still continues to bring some good advancement in the plot while respecting the canon of the main Star Wars universe in an interesting way.

While there are some very strong scenes and development in this issue, Brian Wood would take great benefit in showing rather than telling what is happening in the space battles. Still, the issue is still sound thanks to D'Anda, Eltaeb and the great Han Solo scenes found in the book.

While this issue does some good things in its characterization and in its respect toward the universe it emulates, it is also visually repetitive and slow in story progression, which makes for a rather unimpressive reading experience. Dropped.

While the art and some of the plot may be a tad unspectacular, Dysart still manages to impress thanks to his incredible grip and focus on characterization, making us care about what happens to the renegades and in this title in general.

A stellar art direction and some nice character moments help make this issue a bit more than it really is, as the tie-in to Inhumanity is rather small. A nice read, yet hardly an essential one for fans of Otto and the Marvel universe in general.

The colorization by Matt Milla and Jeromy Cox is quite good with the script, as they essentially shows two eras with their respective palettes. The pages focusing on Floyd Lawton's youth show an abundance of grey, brown with other generally dull and cold colors, bringing in a somewhat ordinary and boring life, one that is certainly accentuated to negativism. All the same, the pages featuring him as Deadshot, feature quite a lot of warm colors, accentuating more on the violence and the rather ludicrous situation the character is in. It's a smart choice in terms of contrast and it serves the art and script quite well. The focus on the psychology of the character coupled with several new elements that play right around it manage to make this issue quite enjoyable despite the rapidity the story switch from one era to another and some of the small missteps in the art. Overall, it's not a bad start for Matt Kindt writing this character.

Presenting a competent approach to the character and to the manner in which he approach his goals, Nathan Edmondson crafts an enjoyable tale that is also rather well illustrated thanks to the talented Mitch Gerads. It isn't the most impressive and explosive of issues, yet it is done with a certain confidence and talent that makes it hard not to enjoy, which bodes well for the series in general.

The characters, the way Frank Castle is written and the art of Mitch Gerads are brought a bit down by the weak cohesion and the pacing of the issue. While it is by no mean a bad issue, it is a tad weaker than the first issue. Enjoyable, but a tad flawed.

The division of scenes makes for a problematic pacing and some of the elements aren't very well integrated to the structure of this issue, yet the good amount of action and the quality work of Mitch Gerads makes this an acceptable and enjoyable reading experience nonetheless.

Rachelle Rosenberg is good here, though, with her style never going overboard as she let the colors flow in the panels without creating chaos or severe clashes. There are always major elements in most panels that create contrasts, like grey robots against red backgrounds, or sunsets set against the Hulk with a grey silo. There isn't a whole diversity of colors, yet the more subdued choice do allow for a stronger focalization on the lower amount of details and elements in most panels. There may be problems with the art and the story may not be the most engaging, yet the dialogue, characterization, fun factor and the colorization manage to bring this whole tale to a rather satisfying, though non-ambitious end.

Their pages are a bit more ambitious in terms of storytelling as well as the attention to details, with the characters and the panel layouts being a bit more expansive and lively there. While both artists haven't the talent in bringing humans emotions to robots like Alex Milne, they do a decent job here in portraying confusion, anger and basic emotions on those robots. Where they are perhaps a bit more successful is in how they draw some of these characters, with a good quantity of them having rather intricate designs. The backgrounds and sceneries are also rather well done, with an emphasis on scope put in some pages, whereas the science-fiction and technological aspects are prevalent in others. Overall, the art by Jimenez and Griffith is rather good-looking, albeit not in ways that is breathtaking.

An issue full of interesting concepts and exposition with a little nice action thrown in. The title characters are not yet fully in, however, which is a shame.

This is a nice issue with some very good concepts and ever-improving art that could manage to get some more focus on the team that is titling the series.

Finally done with much of the buildup, this issue gets better by actually forming the basis of the team while getting us a conflict, thanks to some dense plotting and some terrific art. Hopefully, this means the plotting will now press on the pedals and speed up to some good action that we all know Jeff Parker can deliver.

While this title clearly had some potential, it seems now to just move along as the book focuses a lot more on the world than on the actual titular team. With everything moving into pieces, it is clear Jeff Parker is getting ready for the conclusion, whether it will be big or not.

While it cannot be proclaimed as the perfect finale to a title ever being conceived, Jeff Parker does elevate a lot of the strength of the title with an emphasis on action and several conclusions in big ways as he closes the title and the world he has created.

While there is a lot of setup and that there is some small problems with Rick Jones as a protagonist, the cosmic scale of the story and the stunning artwork from Leonard Kirk and Jesus Aburtov makes this issue quite worthwhile.

However, a lot of the space opera feeling would be lost if it weren't for Jesus Aburtov, who seems to enhance things to a degree that's almost absurd. The explosion of colors in several panels involving vast amount of energy, Galactus and the endless space surrounding such scenes is simply magnificent, showing the chaos and beauty of the universe through panels. After this series, Aburtov needs to do more cosmic. It does have some big ideas and some truly terrific art with some astounding colorization, yet the story is almost absent of any direction and the main character is verging very closely to a degree of annoyance that may hinder the whole thing. A nice issue, yet not a particularly strong one.

While the main protagonists is a bit annoying and some elements aren't handled in the most interesting of ways by the author, the art by Leonard Kirk combined by the colorization of Jesus Aburtov makes for a strong case for this comic, as does the handling of the several cosmic elements.

There are some shining spots here and there, yet the rushed pacing and the rather chaotic art makes for a read that is barely passable. It could have been much better, yet this conclusion could also have been worse.

A rather dull issue with some big missteps in the writing department that is helped a little bit with some good action and some terrific art.

This issue is a vast improvement over the first one, thanks to the humorous dialogue and relation between Shanna and Wolverine and the addition of Amadeus Cho to the mix. It is a book that is both gorgeous and entertaining.

While we see some repetition over in the Wolverine/Shanna scenes, Frank Cho manages to deliver a solid issue thanks to his gorgeous art and the Amadeus Cho scenes.

While there seems to be an uneven division of action and exposition amongst the characters and throughout the book, the action, the concepts themselves and the art more than make up for it, giving us a gorgeous book to look at.

Great art cannot save a book from having a rushed and anticlimactic conclusion. As much as the action is good-looking, it serves close to no purpose if it does not add anything to the plot, which Cho seems to have forgotten.

While it is by no mean subtle in its plot or in its art, there's a lot of energy given in the right place. With Joe Madureira and Steigerwald rocking the art, it is worth the time to see if you like where this action-oriented storyline might go.

While the plot isn't the most original and doesn't take full advantage of his premise, the issue does deliver with some good characterization, some fun action and some pretty great art from Araujo which does warrant a look at the second issue.

The art is beautiful in term of both the colorization and the lines, yet the pacing, connectivity between several scenes and the introduction to several of the concepts is not explored deeply enough, creating a rather unsatisfying read.

Of course, one cannot speak of the art here without at least mentioning Frank D'Armata on colorization, who brings the psychedelics even further through the use of a chaotic combination of very bright warm and cold colors. The Diamond gets even better with the juxtaposition of utter darkness in the background combined with light effects and a trippy palette that just enhance the whole deal. There may be some missteps when it comes to some of the themes and how some characters are portrayed, yet nothing that is related to the Diamond concept is done in a way that doesn'T feel interesting, with some great ideas and some utterly beautiful art from both Andr Lima Araujo and Frank D'Armata.

While the colorization hurt the art a little bit and that the story could have probably been told in a more efficient way, there is no denying the fact that the tighter handle on the characters and the new ideas Soule integrate to this team makes for a satisfying read.

Soule brings some fun interactions, ideas and a good direction for the title, yet is impaired by some missteps from Jefte Palo along the way. It's a rare case of strong story, yet weak art.

What's also nice, but not in an overly abundant manner, is the colorization by Guru eFX. It's nothing that knocks the whole art out of the park, yet it's competently made. The light effects are present, though not in a overwhelming manner, with the shadows and the light of the day being well-represented. There is also a nice amount of degradation in some key areas that does enhance the better aspects of the art, or at least hide the lesser parts well. It's some nice work, yet it doesn't go further than that. There are some problems with Venom's characterization and the art clearly won't be to everyone's taste, but the mix of dark humor combined with the story and its direction makes this issue a nice read nonetheless.

The coloring of Guru eFX, meanwhile, is efficient if nothing else. The palette here does it job at bringing visual diversity to the various scenes, yet not in any way that actually impress or let the art get enhanced by his work. There is a certain over-reliance on cold colors in the backgrounds, be it grey or light blue, which doesn't help put the focus on the violence or the tone of the situation found in each separate panels. It's competent, if nothing else. The character work, some of the concepts along with the humor cannot really divert from the lack of plot focus along with the generally weak art offered. A tolerable read, yet not a particularly thrilling one.

The mix of dark humor, neat characterization and interactions along with a good bit of action makes this book a nice reading experience, despite the quality of the art team. It's an improvement over last month in some respects, but it' still not the hit it could very well be with the right creative team.

Good humor, some nice action along with some interesting character play makes for an interesting issue of Thunderbolts that is unfortunately brought down by a clashing visual style and some unexceptional coloring. It's nice, but it could be much better.

The story may be a little slow and there isn't that much entertaining action this time around, yet the small amount of character development, some of the jokes and the general upgrade in terms of art makes this issue acceptable. Not the best this series has seen, but certainly not the worst.

It isn't the most even of issues in terms of developments and entertainment, yet the dialogue, the characters and some of the basic ideas behind this issue, combined with the mostly successful art and colorization makes this more of a hit than a miss. Not the best, but certainly fun nonetheless.

There might be some small problems with some characters and with some rushed aspects, but the balance between humor, action and development combined with a rather solid artistic display from both Barberi and Silva makes this issue worth it despite its few flaws.

Keith Giffen has the opportunity to write some very good science-fiction here and so far he is succeeding with his great mix of plot and humor, helped by the very competent artists that he has in Tom Raney and Scott Kolins.

The second issue of Threshold impress with its humor, its good use of its concepts and its general actions scenes, even though there seems to be small problems with the pacing and the juggling of its growing cast. The whole thing, though, is enhanced by Tom Raney's art and the fun backup provided with some good art by Scott Kolins.

The moving plot and some of the characters save this issue from being a total loss with the large cast of unexplained characters and the drastic change in artistic style. The Larfleeze backup does help the whole thing as well thanks to the funny script and Scott Kolins art.

Thanks to a better grip on some of the characters and the potential of the whole storyline and cosmic setting, Keith Giffen manages to give us a good issue with both the main feature and the backup. With most artists giving us a strong showing, albeit not in the same consistent way, this title is getting much better as it seems to take advantage of what it could very well be.

While this issue does manage to show off some of the inherent weaknesses of this series, it also does shows the strength of what really works, like some of its characters and the pace of the plot in both the backup and the main feature. While there may be some problem with the art in the main feature with the artist switch-up, it has none in the backup thanks to Kolins and Kalisz.

With a fun little backup and a new focus on Jediah Caul in term of plot progression and catalyst to the events in the story, this title has become a bit better. Even though there is still an uneven division and a clash with the art styles of Raney and Winslade, it is still an enjoyable comic nonetheless.

Although the backup is very solid, the main feature does not shine very brightly thanks to its lack of direction and focus on certain characters, which isn't helped by the severe difference in style between Tom Raney and Phil Winslade.

The metafictional ending to this series is a valiant effort in bringing humor to the cancellation of the title, yet it does nothing in order to provide a true and satisfying conclusion to the multiple plot threads inserted in the book. Add this to a rather chaotic backup and this creates a rather funny, though ultimately unsatisfying conclusion to Threshold.

Having no knowledge prior of anything about this show, I have to say I was pleasantly surprised by the zaniness of this comic. It has originality, it can poke fun at weird concepts and the art really gets good when the most pit scene sets in. If the goal of this comic was to make me want to watch the show, all I can say is: mission accomplished.

With two of its three stories being really entertaining and energetic, this issue still manage to bring the fun for fans of the shows and those who are curious about it. It's certainly worth a try just for the sheer insanity in display here.

With both stories having some major problems along with a case of unconvincing art in the main story, this issue of Regular Show doesn't show any of the strengths and fun of the original television show. Let's hope the next one can rectify this.*

What's less impressive is Aaron's use of thoughts balloon in various instances of this comic. Most of these are completely useless, as the various emotions could be portrayed much more effectively without them if only he had let Nick Bradshaw carry on those scenes without these intruding thought balloons. It shows some kind of laziness and a lack of pacing, as they are kind of annoying. There is a reason why most comics don't use these nowadays and this comic is a good example of that. What's worse is that most of them belong to the Maximilian character, which does not help him be an attaching or original character in any way. Comics are a visual medium, which means you must show, not tell, how your characters feels.The A somewhat bad comic with scenes mostly starring an uninteresting character saved by some great art.

This issue manages to bring the title back on track a bit with some nice actions and the character interactions that had made this series so much fun to begin with. The actual conflict might be a bit dull, but it is a step up from previous issues of this series.

This is a nice stand-alone issue with some fun moments, good art and some nice development. This series is slowly getting back on track and it will return to its greatness if it continues with issues like these.

This series is crawling back slowly to its ancient known quality with an issue showing what made people like it in the first place: good characters, humor and the usual quality art. If Aaron can keep this up, we may have a return to glory for this series.

While this issue feature a character that is inherently silly and unsolicited, it still manages to bring in some fun with the action scenes and some of its concepts. What make this a bit better; however, are Ramon Prez and the very talented Laura Martin on the art.

This is a very rushed issue that has some good stuff, but too many flaws in the execution of its concepts and with its pacing. Even with the help of a good artistic team, this book is just not what it used to be and this issue proves it.

While this arc had its shares of problem, Aaron manages to give us some good character work for the most part as well as a fitting conclusion while Prez and the duo of colorists gives us a great book to look at. While this may be a bit stronger than the last issues of this book, I have no more desire to read a series that cannot maintain a certain modicum of consistent quality. Dropped.

Most of the use of setting and continuity of tone, as a result, is suggested by Jean Franois Beaulieu. With a color scheme presented by the colorist in order to keep a consistency in terms of tone and theme, Beaulieu uses a lot of neat techniques to complement Walker's art in the best way possible. With a good presentation of shading, a great range in terms of diversity and an approach to brightness and darkness that accord itself very well with the characters and the script, there is a certain lack of restraint, but also a certain beauty to the approach with colors in this issue. While it doesn't do the best of jobs at opening up a new series, this issue still manage to bring some enjoyable qualities thanks to the characters and the generally good art that compose it. Not great, but certainly acceptable.

Trying to insert too many elements without developing them enough with both the script and the overall artwork, this comic does not make a fine case for the return of the Super Soldiers. There are a few bright spots here and there, but it's not enough to make it a satisfying read.

This issue is a bit too cartoonish and somewhat unfocused at times, yet there is a sense of fun that permeates it along with two amusing leads and a very decent visual direction. Flawed, yet definitely enjoyable.

Presenting a straightforward tale with quite a lot of British personality put into it, this issue provides for a good continuation of the story and present some good ideas on the table. It may be too subdued in some aspects, yet not so much in the aspects that count for the most. A nice read overall.

While it is clear that the creative team did try to bring a British comic full of its unique kind of humor and action to a new kind of audience, this issue fails in some key areas, providing for a less than ideal reading experience. There are moments where the ideas are neat and the humor funny, but it becomes too muddled up in its execution to be qualified as a success.

There are some nice moments and the art is generally good, yet the pacing and the main identity of the book ends up clashing a bit with the whole crossover. A nice read, but not one that is absolutely great by any means.

Showing a surprisingly apt comparison between two universe along with presenting its basic conflict really well, Joshua Hale Fialkov manages to open this event up rather nicely. With Pierfederici, Suayan, Kirk and Woodard being pretty good as well, this makes for a satisfying prologue to what could be something special. Recommended.

While it is a lot of setup and doesn't strive to surprise its readers, the high amount of action, the showcase of Galactus and the Ultimate universe along with the strong art and colorization makes this first issue a rather successful one. Recommended.

There are some nice ideas and some very nice art in this issue, yet the heavy dialogue, weird pacing and uneventful story makes for a somewhat disappointing read.

The colorization, on the other hand, is rather neat, with Jason Keith bringing his talent to the issue. While not as experimental or minimalist as other colorists, Keith does a fine job with setting an ambiance with his work, playing with lighting, shadows and different shading in order to bring out the destruction and the super science on display on the pages. There is perhaps an abundance of lighting and reflection in his work, but it does work rather well in most scenes as Jason Keith bring the more luminous and downright mad aspects of super heroes quite easily through these effects. There might be a few moments noteworthy with some good art and colorization, yet the very slow development and the unsurprising progression on display does not make for a very satisfying comic.

With nothing much happening, a certain lack of focus on the more interesting aspects of the story and some messy art and colorization, this issue proves to be a misstep for this storyline. Things are set up for the finale, but that's about it.

With the conclusion of this event being somewhat of an entertaining mess, it is still however a huge and rather poorly-made finale that doesn't make the most of what it tries to do and change. It's a pity, but the characters, universe and concepts presented here deserved better.

The first issue of Guardians of the Galaxy is unfortunately a decompressed read where nothing much really happens. We get a pretty good introduction about who Star-Lord is and where the book might be going, but we do so at the detriment of the pacing. Fortunately, there is some good action and some really great art and colorization from Steve McNiven and Justin Ponsor respectively that enhance the whole package to make this first issue a visual feast.

It is by no mean subtle or wholly original and while there are some problems with the characterization of certain characters, it cannot be said that it is not an entertaining comic. It makes up for its faults with good action and some beautiful art from Pichelli and McNiven and with some fun scenes from Bendis.

Some nice action and some excellent artwork cannot amount to much if the story is virtually nonexistent and the direction too mysterious to be specific. It's a nice effort, yet the team of Bendis, Coipel, Pichelli, Morales, Svorcina and Ponsor could have certainly done a better job considering their talents.

An especially strong visual direction from Sara Pichelli, Valerio Schiti and Justin Ponsor along with interesting information on Angela is hampered by slow pacing, shallow characterization and rather forced dialogue. An uneven read to say the least.

Where Francavilla is weaker in this issue is in his colorization, as his style doesn't really add anything to the narrative. It do create an ambiance at times as his technique of mixing warm colors like orange and colder one like teal do make for good contrasts and his use of shadow do work in setting an atmosphere, yet it becomes overwhelming and repetitive rather quickly. It is quite stylish, but it does not amount to much in most scenes. It is different, yet it sometimes it's better to conform a bit more to the norm in order to get the point across. This issue does try to bring point of interests with a sound premise and the art of Francavilla, yet the uneven pacing, weak characterization and the weird colorization makes for a rather disappointing experience as a whole. Dropped.

While I can appreciate some of the concepts and what it is trying to do, the repetitive and shallow humor, the lack of clear balance between the jokes and plot, the chaotic and unfocused art and the heavy dialogue which slows down the whole book makes for a rather dissatisfying read.

With a better handle on the humor and what makes this title unique, Giffen and Dematteis provide a fun little book full of quirkiness with the chaotic yet fitting art by Kolins and Atiyeh. This is something that should please those in need of comedy and cosmic stories quite well.

There may be some problems in terms of pacing along with some very minor one concerning the executions of some concepts, yet Giffen and Dematteis does give readers a fun and exciting issue nonetheless along with some strong work by Kolins and Attiyeh. Flawed, but entertaining nonetheless.

While the art is pretty good and there are some nice ideas thrown, there are too many elements that simply don't work, making for an uneven read that doesn't really satisfy in the best of ways. Not the best issue this series has seen.

An uneven book to say the least. The pacing is strange and far-fetched, the humor feels a bit repetitive and forced, yet there are genuine new ideas and a rather strong artistic direction thanks to Scott Kolins and Mike Atiyeh that makes this book a bit more than a mess. Readable, yet it could certainly be a bit tighter in its direction and its humor.

There are some nice ideas and a good display of artistic talent in this book, yet the repetition of jokes, lack of direction and the duller moments makes this more of a series with full of wasted opportunities than a satisfying read. Dropped.

The stiff dialogue and the rather questionable choice of killing certain characters is balanced with the nice art, decent action and the generally entertaining characterization of Jim Hammond. A nice read, if not a bit safe at times, that manage to be rather enjoyable despite its flaws.

Although it is plagued by many problems, there are some nice concepts and some very decent art at the heart of things that makes this a somewhat acceptable read. It could certainly be better considering the creative team, but future issues might tell if it can reach its potential.

There are some nice ideas, to be sure, yet the weird pacing, uneven art and colorization along with some of the more confusing scenes creates a misstep of an issue for a series that has been otherwise very enjoyable so far. It's a shame, really.

There are some occasional fun moments and the art and colors are generally competent, yet the heavy focus on a rather boring secondary character makes for an uneven reading experience.

Miguel Sepulveda, on the other hand, deals with the much more action-oriented pages. With his dynamic panelling and his talent for poses and sensation of speed and impact, Sepulveda is able to push the urgency of the situation very clearly with his narrative flow and the manner on which he compose his panels. Despite all that, there is a certain lack in terms of details in his panel, either going too far or not far enough, which creates a certain disparity in style with the rest of the issue. It's nothing big, yet it is noticeable.

There are some improvements in terms of characterization and the general artwork, yet the lack of a big threat, credible villain and the lack of diversity in the colorization does not make this a particularly exciting issue. Competent, with some decent level of craft at play, but not as good as it could be.

It succeeds at bringing some excitement for the inhumans franchise, it serves as a good introduction to new readers and the art is generally good, but the lack of an actual plot and a certain problem with the dialogue makes this issue a rather uneven affair. Good, but certainly not great.

This issue does its job, but unfortunately little else as a lot of the more interesting tidbits are left unexplored. A lot of setup, a bit of new concepts wrapped together with an uneven and rather unsatisfying art direction that results in a rather boring read altogether.

There is potential here in terms of themes, characters and action, but the over-emphasis on explaining its premise combined with the rather weak artistic direction makes this book a rather uneven opening to a series.

It could still get a better visual direction and some of the questionable choices in terms of characterization and direction could still be corrected, yet the emphasis on Cable, his mission and the general operations of this team makes for a more enjoyable issue than the first one. Decent, yet not quite on par with what some of the people here can achieve.

Even though there is some lovely art here, this first issue is off to a rocky start, as it does not do much for the old fans and does not show the reasons why this character is so beloved to begin with for new readers. With some questionable choices added in the mythos, it is hard to see whether this will succeeds, even with some nice moments being brought up once in a while.

With the story taking up a bit in pacing and the general feeling of creepiness adding a lot to the book overall, this issue improves the overall quality of the series so far. While Bianchi seems to have some trouble with some of the faces, he still manages to bring a good deal of alien designs to life thanks to his lines and the colors of Ive Svorcina.

While the art team does its very best to liven things up, this vision of Thanos and his progression through life is just uninspired and dulls out one of the better antagonists that Marvel has in his repertory. Let's just say that I won't find out if it gets better next month. Dropped.

There are some strengths to be found here, notably some of the ideas and the art in general, yet the executions of some of them, combined with a certain lack of information creates a very uneven read that is in the middle between satisfying and disappointing. A nice effort, but not something I'd heartily recommend to fans of Gail Simone.

Even though it is a natural expansion on the theme brought by the previous title under Chris Yost and that there is a neat concept to tie things together, the execution fails to bring a good pacing to the story and David Lopez is not up to the level he can very well be. A rather weak beginning to a new title.

Even though the art is lovely in both the lines and the colorization, this issue does not reach any high height as the unpleasant story that adds up to a lot of noise without much substance to it does nothing to truly satisfy readers of both Spider-Ock and Kaine.

The bizarre pacing, the unappealing new character, the lack of focus and the mediocre coloring cannot really bring up some of the action and the small fun moments of this issue. This is just a good example of what readers dislike and fear about tie-ins, which gives the readers an unsatisfying read. Dropped.*

This is a case of not having much direction, as this tale of Harley Quinn goes in two directions without having a focus on what's important: the character and the story. Neil Googe might do his best, yet the mediocre showing of Matt Kindt and Wil Quintana hinders the issue as a whole, creating an unsatisfying reading experience.

Suggesting a mature story rather than telling one, the heavy use of swearing and violence doesn't do much for this issue as the lack of direction and the unsubtle methods of Andrew Hope aren't really helped by the adequate, yet not particularly brilliant work of Lee Loughridge and Shawn Crystal. Not recommended.

This annual has an identity crisis, trying to be both the start of a new series and a worthy addition to the New Guardians title, but it fails on both terms. The art is okay, but it has several flaws that unfortunately bring it a little bit down.

An issue with close to no direction and a good deal of inconsistency with the character continuity and background. The art saves it a little bit, but it is not enough to make it a good read.