From bad characterizations to dialogue that thinks it's more clever than it is, there's just not anything to stay around for.

Overall, this"this is not a great story. If you feel the need to see what it would look like if some of your favorite Marvel heroes die " even then, it lets you down, as most of the big names from this issue were killed off screen, and others get little more than a panel's depiction. To reiterate an earlier point: This book is just unnecessary and ugly. There's really just nothing here for readers above the age of 12. If you like violence you'll be disappointed. If you like compelling stories you'll be disappointed. If you like superhero fights you'll be disappointed. I'd avoid this book if at all possible.

Pretty hard to recommend this one. I love the pitch that Leah Williams put out there, I just don't see any of it in the book on shelves. Maybe this series will blossom into the rose we all want it to, or maybe this is Age of X-Man's Factor-X after all.

In the end, this was an interesting premise that tried too hard to be something it's not. The cartoonish art style and underwhelming dialogue were a poor fit for an area of fiction that is very clearly defined by its verbiage and aesthetic. Hopefully Lunacek and his partner Nejc Juren can hammer out their characters' voices and take the series down more interesting avenues.

Despite its flaws, X-Men Gold is still a fun read. As a huge X-Men fan I feel like I may be more harsh on the book because I want it to be great. There's potential here, but I feel like the creative team would do better trying to create something new, rather than relying on familiarity to tell their story. It feels like a book built on safe choices (particularly that last panel "surprise return") rather than a series built on a good idea for the future, but hopefully with some space to breathe Guggenheim can bring something unique and different to X-Men Gold.

It's unfortunate, but I feel like this opening arc is going to be a total dud. The art is weak, the writing feels a little haphazard and though I can definitely see the influence of Claremont on the book's direction, it's not the good Claremont that's coming through. Hopefully with a new penciller and new focus, the second arc will right this ship.

In every sense of the word, this opening arc of X-Men: Gold was a colossal misfire.

Overall, this is so much better than the first arc, but that's a low bar to cross.

Overall, this is a strong issue despite some challenging scripting. Guggenheim has shown promise recently, but Silva's the star of this show.

It's a move in the right direction, but Guggenheim needs to get a handle on his shortfalls.

Nostalgia alone can't sell this book. You need compelling stories that understand and humanize your characters. This...this isn't that.

There's so much craziness in the premise that the fact this book makes sense and isn't patently terrible is a victory.

Though it's readable, the book doesn't stand up to scrutiny. The quicker we move past the Omega Red arc, the better.

I kind of don't understand what the goal of this issue was. It didn't set anything up, arguably answered questions that no one was asking, and tried to add depth to an evil giant lizard man by making him a parent-murdering space Nazi. Another miss for the Gold team.

An okay outing for the Gold Team, which (given it's track record) makes this like the third best issue of the series. There are some art issues here and some silly character moments, but overall this issue is fine.

A healthy mix of ups and downs, but the quality of Marc Laming's pencils helps save this book. The action is fun, if flawed, and I like the character models - even if they're a touch off from where they should be. Before I talk myself into not liking this book, I'm going to give it a C grade and keep moving.

Classic Guggs. Bad plotting, uninspired artwork and some of the worst dialogue in comics. No more Mojo crossovers!

Par for the course. Guggenheim want's to say something important but can't get it in there. Questionable character designs distract from how good the art is. The story may be an improvement over the dreck with Mojo, but that's a crazy low bar.

No, not really. It's not the worst that the series has been, but issue 18 is just lazy and uninspired. I know this can't logistically be possible, but it feels like Guggenheim is making this story up as he goes along. If Kologoth's whole goal was to revive his stupid full body Zardoz god then that is tremendously underwhelming. Or it would be if I expected quality from this book. You get the idea.

Mostly, sure. There are still plenty of logical lapses and set pieces that make no sense, the plot is resolved by multiple crazy coincidences and a few deus ex machinas, and the art depicts barrel chested men with lil baby arms, but this is an enjoyable end to what has probably been Gold's best arc in its 30-issue run.

No, not really. Guggenheim is going for some emotional heft with both the lingering fate of Brian Morrison and the doctor's face turn, but he does nothing to earn either. Instead we're left with a rushed effort to cram unsatisfying finishes for three different stories into a shakily drawn and poorly scripted book that leaves reader with a poor taste in your mouth. Classic Guggz indeed.

Though it has it's problems, this issue does a decent job of setting up the series arc. With this twisted version of Queen as his first target, I wonder if we'll see Mike go up against any other big name heroes from the proper DC universe. That hook is enough to bring me back for issue #2, so mission accomplished, gang!

I like the concept of Deathblow taking out evil versions of famous heroes, but there are a lot of flaws in the execution. I'm still charmed enough to enjoy the book, but I think the story could use some room to breath, and Hill needs to learn how to develop his visual storytelling.

A cool premise can't make up for bad artwork. I really wanted to like this series, but the shoddy pencils are hard to get past. Once evil Batman shows up, I may drop the book if I'm honest.

No. The art is bad, as is the setup for the newly evil Telly Savalas-looking Constantine. There's not a lot to enjoy in this book. The developments of whatever it is that is in Cray's brain that's giving him superpowers as a malevolent force is kind of interesting, but there's no development there. Frankly, there's not a lot to like here.

In ways, sure. It's not that this is a bad book, it's just overly familiar which doesn't help the book stand out on the shelf amid stronger or more interesting series.

All in all, Alpha King #3 is consistent with the series' humor and art style, and should suit fans just fine. If you haven't enjoyed previous issues, there's not a lot here to change your mind.

Still, G.I. Joe books are rarely geared at the casual fan, and those who've followed the most recent series of IDW's "Crown Jewel of the Hasbro Universe" should be able to get in to this. Hopefully the following issues remain character-centric and don't get mired in the lore of a universe shared with the likes of The Transformers and He-Man.

Overall this book has its strengths but just feels lazy. Sitterson shows promise but is hobbled by the artwork, some poor choices and what is likely corporate mandate. Hopefully the series can gain some steam as it explores new storylines.

It's more like it's not bad. Most of my complaints are very nitpicky, but the lack of originality in both premise and presentation leaves a lot to be desired. Moreover, the page layouts and art choices all feel very pedestrian, resulting in a book that, while not bad, just doesn't have a lot going for it. Hopefully Duggan and co. can turn things around in coming issues, but this is a tepid intro to say the least.

Yeah, it's not bad. It still feels a bit familiar, but if Duggan can keep this thing fun, we might just have a winner on our hands.

It's harmless fun for serious fans of the series, but it lacks the originality or depth needed to hook new readers.

Still, nitpicking aside, the Green Hornet: Reign of the Demon does show some promise. Most readers will come away from the first issue with theories as to the true identity of the Demon, as well as the Swashbuckler, which is a good hook to start a series from. Hopefully the rest of the series will learn from a handful of stumbles in the first issue and pick up steam moving forward.

This is an involved read that not everyone is going to get. It's not unlike the band itself: complex and with flashes of brilliance, but only for hardcore fans of its particular genre.

It's fine and fun, but there's not a ton of substance to work with here. Claremont's section had heart (and ghosts), Guggenheim's had a bit of fun (but bad writing) and Thompson's had personality (but nothing of note happens). It's an okay aside on the march down the aisle.

Overall the book is off to a bit of a rocky start. Hopefully the creative team will discover their voice and take the story in a unique direction. Otherwise this series will just be yet another directionless superhero punch up between two popular teams.

Overall Justice League Vs. Suicide Squad #2 is a flawed book. The art has its moments, but curious scripting and weak dialogue prevent the book from really getting out of first gear.

Still, now that the actual action of the story is set in motion (and the thin pretext needed to get the two super teams to work together has already been established) things are progressing in a decent enough direction. Hopefully things will pick up after the slow start.

Still, overall this is a decent outing for the book, with character moments (Deadshot's "Damn Batman" is particularly great), story progression and consistent artwork. It's a shame it took this many issues to get there, but finally the book is hitting it's stride.

This, the penultimate issue of a series that's struggled to find its footing, is a backslide from the highs of Justice League vs. Suicide Squad #4. We'll see if they can go out on a high note or it'll all end in disappointment.

Still, while this issue has it's pluses, so many of the negatives that have defined this series remain. Characters are underdeveloped, the pacing is uneven, the action is a little undefined and everything resolves in a cliche manner that leaves readers unsatisfied. Thankfully, both teams currently have books that are more enthralling than their joint venture proved to be.

The artwork is the saving grace of this first issue - hopefully the writing can catch up.

This is a decent outing for fans of the Tekken games, but isn't going to do much for casuals looking for a good read.

Overall, the book is flawed but has potential. The humor is hit or miss and I'm not sure if the similarity to Bob's Burgers art style will be enough to maintain goodwill throughout. So far, it's a fun ride, but one has to hope they either get the story moving or find their comedic voice in the coming issues or the premise will wear thin.

A little bit of a let down, but altogether a decent read. Hopefully there will be a more interesting payoff coming further down the line.

Sure, it's fine. This arc isn't going to set the world on fire, but it's not bad. It has interesting characterizations, some mild action, and feels like a Logan story. Hopefully the next arc is a bit more adventurous.

This isn't a bad outing, but it doesn't really kick the door down like you'd expect creators of this caliber to do. This feels a bit like straight-A students turning in a B paper. The pacing is wonky, the tropes are familiar and the design of the primary monsters are a touch derivative. It's not that it's bad at all, it's just rather forgettable.

In the end, Justice League #12 is a great tie-in (prequel really) to the Justice League Vs. Suicide Squad series. If anything, it shows that I'd prefer this creative team be handling the book.

This issue could potentially have made things work for a troubled crossover, but it instead leaves a lot to be desired. There's little getting around the fact that – despite the carnage wrought throughout – this feels like a throwaway issue that won't have much impact on anything long term.

A decent second outing, despite some hiccups here and there. Interested to see where this story with Xavier goes, and hope to see more of the Gambit-Fantomex dynamic.

Putting a talented artist on the book really heightens the strong writing of Charles Soule. Hopefully they can keep the momentum going on this one!

Much like last month, issue #4 has a superstar artist lined up this month in Carlos Pacheco. I've always been a fan of his and this month's issue, though not exactly a standout, was another good outing for the Spanish artist. Logan's skirmishes with Psylocke, Bishop and the MRD are strong action sequences, and the more tender scenes between the four characters on the astral plane do a decent job of accentuating their more traditionally desirable traits.

This issue is fine, honestly. The art is fine, the story is fine, it's all fine. There's just not a lot to actually get excited about here and a few logical lapses/storytelling issues that don't do the book any favors. If you weren't already going to pick up this book, there's nothing here to win you over.

Though this outing isn't as emotionally poignant as earlier issues, there are a number of good sequences that should keep readers invested in Young and Buccellato's redneck pseudo zombie horror adventure.

Overall, this is decent issue with a few points that provoke a considerable raise of the eyebrow.

A decent issue that creates several conflicts for future issues but runs a little dry because of its tightened focus.

A bit of a deflating end to the second arc, this issue sort of meanders through the aftermath of the previous book and sets up the next. Thankfully, the artwork of Matias Bergara helps the issue rise above the story's shortcomings.

Still, the issue stands out on the rack, creating realistic danger for our heroes, strong action pieces to set the tone for next chapter, and a menacing villain that seems all but unstoppable by the end of the issue. It's everything you want from an Avengers book!

Uncanny Avengers continues to be a bright spot in the Marvel landscape – ironic because the story has been a bit of a downer. Still, you have to set dire stakes to earn a meaningful payoff, and Gerry Duggan is doing a great job of getting readers excited to see what happens next.

Overall it's a good book. It's got decent action, moves at a steady pace and leaves the reader in a position for more interesting things to happen. Sure it may feel like the middle section of a more interesting story, but it's loaded with action and humor, and sometimes that's enough.

This is a bit of a bland issue. I'm not terribly fond of the character development on Rogue or the regression of the others, and could care less about Wonder Man's return. The bits with Rogers and the Skull are interesting enough and the art " like always " is top notch, but this felt like padding the story rather than adding anything meaningful to it.

This is a decent enough issue, but a forgettable tie-in all the same.

An entirely forgettable book brings this needless tie-in to an end. At least we get some cool moments with Shocker and Scorpia.

Some questionable story beats are offset by strong artwork. Not an ideal continuation of the series, but there's promise here.

It's not the most consequential story and the representation of Graviton's powers could have been beefed up considerably, but this is a pretty good issue. Izaakse's art is a high point, and the action is mostly good.

I love the Juggernaut as a one-off baddie and Izaakse's art is stellar as always. If he needs a backing artist, maybe be a touch more selective with who you choose as a secondary penciller.

Heading into a new arc, things should pick up quite a bit for the family that slays together. For now, though, issue 10 is a bit of a dud.

Still, minor quibbles aside, this is a solid issue – and with the final sequence revealing that there's some sort of Deathstroke copycat vigilante out there, it looks like the next arc should be an interesting one.

Still, it's a decent read. Next issue's faceoff with The Raptor should be a good one, and this being the start of a new arc, we'll likely see a more defined path for each character.

An action-heavy but clumsily paced book, Deathstroke #13 reveals a challenge facing the writers of this series: pacing. There's a lot of story to tell and three unique protagonists to follow through different stories. Though they sometimes nail the delicate balance required to spin so many plates at the same time, this issue kind of collapses under its own weight. They even made the effort to pare down the go-nowhere story following Ravager, but there was just too much to pay attention to in this one. With it looking as if Jericho and Slade's stories may now become one, hopefully things will improve.

Thunderbolts #8 moves at a decent clip and provides a decent jaunt to get us back to the status quo of Bucky leading the T.Bolts all while giving Songbird (and to a lesser degree Atlas) a chance to shine.

A ton of fun but light on substance, Old Man Jack is a great ersatz sequel to an '80s cult classic. Looking forward to seeing where this goes next.

Overall, there's not really a ton to say about the book one way or the other. It's very much a middle chapter of a larger story, and short of the fight with Azrael, it doesn't have a ton for new readers to latch on to. That being said, invested readers should have a good time and will find enough action to keep them interested and enough intrigue to bring them back for another issue.

A Young Adult series that still feels like an Iron Fist book. It's a fun adventure piece, even though it may at times skew more toward the 'Adult' half of YA literature.

Still there's enough promise in this brief issue to give the series a shot, as it'll be interesting to see how this creative team handles it when they get to stretch their legs.

All in all, this is a strong opening shot for this book, providing readers with great art, a compelling story and a mystery creating final scene that will bring readers back for more.

It may not reach the highs and promise of the first issue, but when does that ever happen in a second issue? The end of the book sets up what I assume will be a defining conflict for the rest of the series: Adam's attempts to get back to the 90s. Hopefully not by wearing JNCO jeans and listening to Korn.

Overall, this is a solid mid-point for the character. Unlike many of the other Rebirth titles coming out recently, The Fall and Rise of Captain Atom seems a lot more character driven, which is a welcome change and sheds light on the book's historically bland protagonist. Check it out if you have any interest in fleshing out your opinions of the Captain.

This is a good, if a little dull, issue.

Overall, this is still a strong book, even if I am somewhat worried about the direction of the main character's disposition. Bates and Conrad haven't given me a lot of reason to doubt that they've got this thing covered, but as a critic, I'd be lying if I said I wasn't just a little worried. Knock it out of the park, fellas.

Bates and company built a pretty interesting series around a character that has always been a bit bland. I guess there's little helping the fact that even his best stories tend toward the more mundane.

The art has highs and lows, as does the story, but this is a decent outing for a tertiary X-book trying to establish its place in the world.

This issue lays the ground for what will seemingly be the book's modus operandi: Interesting characters in relatively mundane situations.

Still, this was a good issue. It had strong development for a main character, reintroduced a familiar threat and created a lot of opportunities for conflicts throughout the central cast. Hopefully they build to something worthy of this build.

As a standalone issue, this is an okay outing. It gives Eye Boy more shine but leaves Nature Girl in the doldrums. Looking forward to the storyline coming back into play.

Despite a series of weak artists, Christina Strain continues to craft a compelling character piece with some of the X-Men's c-listers. Really looking forward to next month's X-heist!

From the quieter elements to the supervillain weapons auction, this is an excellently scripted book.

Overall, this is a strong first outing. It pays reverence to the characters' histories, which should be pleasing to the die hards, but isn't beholden to them–meaning new readers don't have to spend two days on Wikipedia trying to understand the complex Kherubim/Daemonite dynamic.

This issue does a lot to lay the ground for the world of The Wild Storm; hopefully that world grows at a reasonable rate and doesn't try to burn its audience out on canon. Still, a strong read from Ellis with good plotting from Davis-Hunt.

Recently it's felt a bit like starting a show midseason and trying to figure out what you missed. Still, the art is great, the story is engrossing and the cliffhanger leaves you wondering what will happen next, which is an important part of a serialized story.

The Wild Storm continues to be a twisty, turny tapestry of half explained concepts from the source material's former canon and cool super-spy updates of simpler concepts that don't need much explanation. It's fun, and if you can keep up, it's an interesting ride, but the further the story goes the more evident it becomes that this is not a 'light read' or for casuals.

A good look at some previously underdeveloped characters, The Wild Storm keeps growing with issue #5.

This issue adds to the rich tapestry of the story and finally provides background on the mysterious organizations that are at the heart of this book.

This issue has the best action sequence of this series thus far AND manages to advance several storylines even as it creates new mysteries. Why aren't more of you reading this book?

Though it is essential reading for anyone hoping to make sense of the series, this isn't the team's best work. The art team gets to show off some inventive tricks, and the writing maintains the lighter tone of the book despite the deep sci-fi concepts it explores, but after the action-heavy journey we've been on thus far, issue #8 feels a little tepid by comparison.

There are some cool bits of world building and character development here, but not enough motion in the main story. Fortunately, the samurai fight is too badass to mind, proving just what kind of oomph Davis-Hunt brings to this title.

There's a lot to dig about The Wild Storm, but it's hard to single out particular chapter that stands out. Every issue is so dense with mystery and development at the same time that it can all blend together, barring the occasional Bourne-style action sequence. Still, if you can wade through the waters, this is a really strong series that's worth sticking with.

The series continues to grow, with this week focussing on lore rather than character roster. I'm really looking forward to seeing where the bits with Zealot and Bendix are going, and hope that tag team of Shen and Jen get more to do in coming weeks.

I've enjoyed all the character and story development we've had thus far, but now it looks like we're heading into serious conflict and I'm super excited for more action-oriented issues in the months to come!

This is a fun issue where we get a bit of development on the background of some characters, see the emergence of Lynch's character into the central narrative, have a bit of mystery built around the looming Daemonite threat and see the conflict between IO and Skywatch escalate. You can tell it's an interesting series when a plan for the literal destruction of human society is one of the least interesting elements of the book.

Yeah, man. The Wild Storm is hella consistent. This issue expands on and advances several stories, provides us with one kick ass action sequence, and creates yet another central mystery about the mission at hand.

Look if you're not on the Wild Storm train yet, you're doing yourself a disservice. It's an ornate and dense read at times, but this is one of (if not the) best written and drawn series out there today. Issue #16 does a great job of adding to that tapestry, continuing to create intrigue for a series that has offered more questions than answers.

It's windy and mysterious and features some of the most coherent madness of any sci-fi book on the market today. This issue is a little heavy on exposition without providing much in the way of story progression, but I'd be lying if I said it isn't a big part of what I like about this book.

Yeah, it's as good as it ever was. I'm glad to get some answers and see a bit of a method to the madness. That being said, bring on the Kherabim/Daemonite war!

It's great to have answers, and they were definitely needed this late in the game. There's little getting around the feeling, however, that this was a (much needed) info dump. I enjoyed the story and the unique artwork, but this information may have been better spread out rather than all shared across the span of eight pages. Still, the worst day with the Wild Storm is better than most books on the shelf, and this is an important part of the larger storyline Ellis is telling.

Yeah. To be honest, The Wild Storm is never NOT good, so these reviews all tend to be comparing a single stitch to a tapestry. This week's action-heavy outing is fun and welcome after the super dense exposition of issue #19, but it's also not up there with the series' best to date. As this story comes to an end, I look forward to the team resuming their well preserved balance between Davis-Hunt's exhilarating action sequences and Ellis' compelling narrative.

Yeah, it's still really good. Developing the character of both Jenny Sparks and Lauren Pennington is a welcome sight, even this late in the series. Shoot, we even got a bit of a look into the secret life of IO Assassin Ben Santini. That all being said, I want to see this conflict get rolling, solve a few mysteries, and build to an end worthy of the world that Ellis and Davis-Hunt have built to this point.

Nearing the end game, The Wild Storm remains a fun, strong read that provides plenty of twists and turns, as well as the best action sequences on the shelf.

Overall, this is a fine, mostly necessary entry into the larger Wild Storm universe. Character motivations were aligned, intrigue was created, and now we have a reason for (most of) our heroes to band together and do some superheroics. There are a few hiccups here and there, but nobody's perfect. As we head toward the end game of the series, it's hard not to feel like we're missing out on bits of storyline. Though many of those grey areas may be addressed in the recently announced sister series, it would be nice to get some closure on the Wild Storm Universe. Still, that's all speculation on my part, and the series continues to be an enjoyably wild ride. If issue 24 is to be the series' swansong, I really look forward to seeing how this all shapes up

Yeah, man. It's pretty effin' good. Great art, stunning character moments, new mysteries for the sister series, old storylines successfully wrapped and an exiting new status quo for what comes next. This is a finale done right.

The Walking Dead is on fire lately, and this issue is going to be a pivotal moment in what looks to be the book's best run since the time-skip.

This is an issue fans will be talking about for years to come.

Overall this is a decent middle chapter. The stuff with Carl (and a brief scene with Jesus) provide some great character moments, and the promise of meeting Eugene's long-distance girlfriend has led the story in an interesting direction. Add to it the simmering conflicts between Maggie and Negan, as well as Dwight and Rick, and you've set the stage for some interesting developments in the coming months.

A solid issue, though a little lacking in new development, The Walking Dead #170 is a fine stop on the road to something more interesting. Let's just try and get to that finish line a little quicker.

Time will tell if Princess will be a worthwhile addition to the series or if she'll die on the way back to her home planet.

For a book that was originally viewed as a "horror story without an end" the Walking Dead has emerged as a stellar depiction of human emotion in the face of trying circumstance. This issue may not be as widely celebrated as more action-oriented pieces, but from a character standpoint, it stands as one of the best scripts the book has produced in years.

Yeah, totally. The artwork is great, and the story is fun. There are some wonky choices here and there, but nobody is perfect. This should do the job of getting you hyped for the Hunt for Wolverine.

A haunting take on gender, sexual identity, the nature of colonialism and more, House of Women is a book that should be taught to would-be auteurs looking to get into the business.

Overall, if you missed the 4 issue run of Loose Ends when it first came out in 2011 (which you almost assuredly did), do yourself the favor and check it out this time. If the first issue is any indication, you'll like the ride it takes you on.

I just wish we had more time with it.

It's impossible for me not to gush about this book. This series shows just what kind of contributions artwork can make to a story, and should be taught to aspiring illustrators as an example of what pencils and colors can do.

An overall great story finishes with a spectacular if somewhat disappointing issue that's high on visuals, but a little rushed as a story

This book, available in hardcover from Dark Horse, is a worthy addition to any bookshelf, even one that doesn't have bound editions of the X-Men Omnibus series on it. It won't get you an A on that essay for Mr. Kirkley's class, but it may change people's opinions of the original story for the better.