Batman has been amazing since the I Am Bane arc began. Each issue keeps surpassing the last. King has firmly settled into this gig and delivering outstanding work and Finch is meeting that challenge on each page for a great and all too quick read.

Chip Zdarsky and Joe Quinones make a great team. Not only have they successfully revived a walking punch line but they've done so in hilarious style, their debut as entertaining as it is self assured. Time will tell how well the book's rampant absurdity will hold up, but as far as new debuts go, it's tough to find one more fun than this.

Really, the script as a whole benefits from Wu's gift for subtle nuance. Her facial contortions and physical quirks are fantastic -- you can tell the mood and general demeanor of Kate just by looking at her, no small feat when that mood changes every three panels.

As always, Fraction's timed beats and engaging quirks live and die with artist David Aja. He hasn't disappointed yet and he sure as heck doesn't now, his pages at once brilliant and immersive. The artist has such a keen understanding of what is happening and what needs to happen, his panels numerous but never wasted. He combines with colorist Matt Hollingsworth for some incredible imagery, mixing detailed lines with beautifully simplistic design. The initial arrival of the Tracksuit Draculas is punctuated by the vanishing of a bike and the growing dots of headlights, Aja using little to convey much. And that final page...good luck making it out of that one unscathed.

It's a day we hoped would never come, but Hawkeye's exit proves worthy of everything that's come before. The team of Matt Fraction and David Aja deliver a masterful finale, they, along with Matt Hollingsworth and letterer Chris Eliopoulos, turning in yet another thrilling chapter of character and heart. They don't push too hard or go too big, instead delivering the same understated, excellently plotted storytelling that's helped elevate Hawkeye from afterthought to fan favorite. It's an end to soon, but what a great end indeed. Thanks for the memories, bro.

Issue #9 only raises an already high bar, both artists in top form with their storytelling. The ending is sure to stir up a number of different theories, but one thing is for certain--the finale can't get here soon enough.

Is it perfect? No, but it certainly strives to be, each reveal and character beat delivered with the utmost care. Though a refresher read of previous chapters may be necessary in order to truly appreciate the beauty of The Wake's finale, even someone new to the world would have to acknowledge that we're leaving it all too soon.

Gillen's look at a 455 A.D. Lucifer is a devastating one, the character stretching further and further in refusing to face his own inevitable end. It's a searing and often unsettling portrayal, particularly in how it informs the framework of the present day tale.

It's rare that a one-shot reads as strong or stronger than its flagship title " this one proves the exception.

To say that The Vision #1 was a surprise success is somewhat of an understatement. That's not to discredit the fine work Tom King and Gabriel Hernandez Walta have put out before, but it's unlikely that anyone expected the debut to be the wonder that it was. Well, that surprise is out of the bag now, as issue #2 is every bit as layered and engaging as what came before.

You can't call this book a sleeper anymore. It's a must read.

Taking an aside from the book's current plot, writer Tom King uses issue #7 as a retrospective of sorts, combing through the highs and lows of Vision's romantic past. It's a strong, unnerving bit of work, as King is able to use the past as a way of further informing the character's current state in the present.

This book doesn't just belong on your pull list; it belongs at the top.

The Vision is too good. We've seen arguably lesser characters made great through strong runs before (hello, Hawkeye), but the work Tom King, Gabriel Hernandez Walta and Jordie Bellaire are doing here is Just. Too. Good. And with only one issue to go before King wraps up his run, we're gifted a doozy of a finale lead-in.

It only takes two pages for Glitterbomb #1 to sell itself as something wholly investing. Writer Jim Zub, working on a seedier side of the tracks than what we're accustomed to, pulls no punches in his initial debut, which paints the life of an aging actress in Hollywood in bleak, depressingly honest detail.

Aiding in the book's cold, subdued tone is Ron Garney, the popular artist turning in his first creator owned pages. Much like Aaron, his work is remarkably understated throughout. There are no flashy panels or overly kinetic details, the artist focusing on realism above all else. Even his violence, terrible as it is, shows a level of restraint befitting the book's more subtle edge. Garney's meticulous pencils provide a grounded quality that meshes perfectly with Aaron's sharply written narrative, each page and panel sinking you deeper into the story's ever darkening beats. In the end, Men of Wrath is the kind of book that stares you square in the eye, almost daring you to look away.

Complex, personal, and double sized to boot, this is an excellent start to a promising series.

Spread is a truly scary book, a less than original premise told in a very original way. Justin Jordan ably sets the stage, coupled by the excellent art and colors from Kyle Strahm and Felipe Sobreiro. For a comic, it's pretty good -- for a debut, it's amazing.

The Unbeatable Squirrel Girl is definitely worth your time. It's witty and wise, funny and fast, each page and panel sure to crack even the most stone-faced smile. North and Henderson have a great handle on their boisterous lead, the duo proving as solid a pair as Doreen and Tippy Toe. Read it!

It's tough to say how the book's sporadic structure will hold over time, but as of now the pairing of North and Henderson remains darn near unbeatable.

Batman #32 is a great issue, setting up Zero Year's finale with flair. Snyder and Capullo continue their storytelling mastery, aided again by the surreally brilliant colors of FCO Plascencia. The stakes have never been higher, and anticipation has never been greater.

Batman #41 is different in look and feel, a character driven opening that features just the right amount of action and heart. Snyder and Capullo both acknowledge and embrace the challenges their new direction presents, allowing for a Batman tale that feels decidedly fresh and unique. Though the issue does little in telling us where the arc is set to go, Jim Gordon's time at the helm looks to be a fun one to follow.

The long delay between issues aside, don't let this one leave your pull list.

Silver Surfer is the rare series you can just pick up and go. That's not to discredit the nuance of Dan Slott's long form development " the evolution of Norrin and Dawn's relationship remains the book's highest point " but rather to give credit to the accessibility of his stories.

Silver Surfer continues to be unlike anything else currently on shelves, and it's that assured uniqueness that makes this particular aside so satisfying.

As far as annuals go this one offers up a little bit of everything for everyone. From canon building backstory to amusing what-ifs, the great collection of talent here results in some quality entertainment. Now if only it didn't cost so much.

As far as annuals go you cant get much better than this. The content is varied, the scripting and art strong, and the attention to character pays entertaining and even surprising dividends. Whether you're a fan of the original series or someone just looking to fill the gap between MMPR issues, there's something for everyone here.

A crossover long in the making gets off to a great start in the hands of James Tynion IV and Freddie Willams II. The dynamic duo show a clear knowledge and appreciation of their leads, delivering a debut that succeeds beyond its already brimming promise. There's still room for improvement, but as far as crossovers go you'd be hard pressed to find one quite so giddy giggle inducing as this one.

Everyone expected (or at least hoped) that this crossover would be good. So far, it's been great, Williams' fluid line work meshing perfectly with Tynion's fantastic characterization. This book is truly the best of both worlds, and with some legitimately interesting plot threads now in play, it only looks to get better from here.

We've said it before, we'll say it again"man you should be reading this book.

The penultimate chapter of the series, issue #5 offers the same high level fan service and great art that's been a staple since its debut. Writer Tynion delivers another great batch of pitch perfect crossover moments, his excellent handle of the characters offsetting any narrative quibbles. The lack of further exploration of the Ra's/Shredder dynamic is somewhat disappointing, but the book's ending hook ensures the topic isn't dead so much as pending. The art by Williams and Colwell is again a highlight from start to finish, their strong collaboration lending a welcome sense of anticipation as the series enters its final stretch.

Bitch Planet is a lot of things, but first and foremost it's an excellent comic. The twists found throughout are almost impossible to see coming, a hopeful glimpse of even further madness yet to come. Not only is Bitch Planet one of DeConnick's best issues to date, it also stands out as one of the best new releases of the year.

Though only two issues in, Bitch Planet is already proving an electric force of bare-knuckle beauty.

Seeing as we'd only just begun to tap into the main narrative, it feels a bit early for Bitch Planet to be focusing on character specific offshoots, especially on one so often seen but rarely heard. That said, issue #3 serves to further flesh out DeConnick's increasingly dreary world, in turn adding depth to the previously one note Rolle.

This is a hard tale, one made harder by the message it delivers and the blanks it fills. But it's also a chapter very much reminiscent of the character it follows - strong, unyielding, and defiant to the end.

Bitch Planet #8 is one of those issues that's impossible to unpack over a single read through. Not only is it dense narratively " particularly so given the now expected delay between issues " but also topically, with an added focus put on the treatment of the prison's transgender inmates.

There's no denying this book's impact is best felt in trade, but that doesn't make its return any less welcome.

From the extended delay between issues to its increasingly complex narrative, Bitch Planet is not an easy book to pick up on the fly. Such a long lull would fell a lesser title, but yet again the book manages to overcome any rust by the sheer strength of its content and the vision of its creators.

As intricately crafted as it is downright wild, Black Cloud #1 is the kind of debut you'll want (and need) to read twice.

In the end Gerard Way's turn in mainstream comics is a successful one, he and Jake Wyatt combining for some uniquely cool and original stuff. While there's the definite need for more fleshing out of the premise, we're hopeful that Peni and her SP//dr companion will show up again in the not-so-distant future.

The debut of the new Power Ring has been a long time coming, especially considering the glimpse we got waaaay back in Green Lantern #20 (look it up!). The ring's newest victim, Jessica Cruz, is interesting enough, the brief backstory we get appropriately depressing. Even the meeting at issues end has been seemingly on the books, effectively promising our first real look at what the new Power Ring can do. Johns' Lex holds all the cards at this point, and it'll be interesting to see how Justice League unfolds going forward.

Though mostly set-up to the book's creepy new turn, issue #38 is never anything less than engaging, Johns and Fabok delivering a number of exciting moments and surprising twists. Justice League has shown a real return to form of late, and with the bad getting worse, here's hoping the trend continues.

An entertaining premise and strong character works drives this enjoyable debut. Eric Heisserer turns out a script that remains accessible despite its shared history, his focus on early development making quick stars of his leads. Raul Allen and Patricia Martin provide the book's visual investment, pairing detailed art and creative paneling with evocative color work.

Matt Fraction continues to imbue even the most ridiculous situations with real, genuine weight, resulting in yet another memorable and affecting installment. He and Chip Zdarsky have taken their storytelling craft to an entirely different level so far in the book's second arc, and while the story as a whole remains on the slower side, it's never anything less than compelling.

Fraction and Zdarsky remain the best there is at what they do (no, not that) and what they do remains infinitely compelling.

Not one to play second fiddle (that's not a euphemism) , Zdarsky too ups his game here. The artist understandably gets a lot of attention for his hilarious prop play and general gift for absurdity, but it's his smaller, more emotionally revealing moments that stand out here. He uses expression and shadow to great effect, ably capturing the smallest flicker of mood change from scene to scene. Considering the book's increasingly mature content, such nuance remains as important as ever to the book's overall appeal.

Sex Criminals may wear many of its extremities proudly, but none remain as ever present as its heart.

Matt Fraction and Chip Zdarsky, the wizards that they are, again find the sweet spot between quirky sex comedy and nuanced character study, combining for a read that's as affecting as it is raunchy.

At some point the main story will have to kick back into gear, but so long as the asides remain this brilliant, we're content to sit back and enjoy.

While perhaps not as laugh-out-loud funny as issue's past, this chapter is no less entertaining.

This is the rare book that lets its characters drive the narrative, and it's continually the better for it. No title featuring an ill-phrased ode to hot dogs should be this affecting, but no book is quite like this one.

Aside from having a great name, Dept. H #1 is just a great debut, Matt Kindt rolling out the narrative in a coolly measured, ever escalating manner.

When Ed Brubaker, Sean Phillips and Elizabeth Breitweiser get together, good things happen. Their latest collaboration looks to continue that winning streak, the debut propelled by its unique premise and solid early characterization.

This isn't a book you read quickly, but rather one you pore over and read again. If you doubted this premise had legs, issue #5 will set you right.

While wordy, Brubaker's narration does an excellent job of breaking down the stakes of each player involved, even as he moves others around the periphery of our leads. It's a focused approach that absolutely thrives due to Sean Phillips' rich character work.

Few books play out with as much cinematic grace, and few leave you wanting more like this creative team.

Further bolstered by Daniela Miwa's oppressive color palette, this issue delivers the goods on both a visual and emotional level.

It took a few issues for this series to really get going, but now it's one not to miss.

While not a true conclusion (the book is set to return in 2018), Greg Rucka's latest does a great job of tying up the many plot points and threads set up in his first arc. He does so in gleefully bloody fashion, his script a mix of John Wick-style run-and-gun action and complex character interplay.

Millar is able to do some quality world building this issue, positing a society that's otherworldly yet familiar. Though his pacing at times feels rushed in his hurry to introduce new characters, he once again captures the pulpy sci-fi goodness that's made the series so enjoyable thus far.

Much as he's done all along, Millar imbues his final script with a classicism that gives it an almost timeless quality. While the story beats are undoubtedly familiar, the writer executes them so well that the eventual outcome is one both heartwarming and cheer-worthy.

Furthering this mistrust is artist Phillips. He continues to prove a master of subtlety; each character lives with a false smile at their lips and two fingers twisted behind their back, nothing and no one ever what it appears at the surface. He and colorist Elizabeth Breitweiser combine for a litany of memorable images, using numerous artistic styles to convey Charlie's ever changing mental state. From black and white flashbacks to the war to hazy, blurred attempts at remembrance, each panel tells its own, important story. All said, The Fade Out represents some of comics top talent at their highest form, and it this point it's only getting better.

In the afterward of The Fade Out issue #2, writer Ed Brubaker comments on the first issue's surprising success given the series' less than commercial premise. Reading the issue, it's made abundantly clear that the series doesn't need to be commercial to succeed, so fully committed are Brubaker and collaborator Sean Phillips in delivering the best story possible.

It's some heavy stuff, and when paired with Phillips' perfect sense of setting and excellent character work, it may be the most complete issue thus far.

The Fade Out is far from an easy read, especially on an issue to issue basis, but it's so dang good that it's worth the mental knots it puts you through.

When it comes to Ed Brubaker and Sean Phillips, there's no such thing as a quiet issue. The Fade Out #7 initially appears as such, but even when the tension is light it's never quite gone, always simmering just beneath the surface.

With its compelling narrative and vibrant palette, Afterlife with Archie's return makes for a frighteningly good read.

It may not offer much to the main tale, but it's still very much a worthy aside.

It's hard to say just yet if Airboy is truly great (just how meta is it?), but it's so willfully different that it merits a look.

Overall, Barbara's swan song is fun, surprising and very, very Simone.

With the Hunt for Robin now concluded and Robin Rises: Omega set to begin, it's clear that the fate of Damian Wayne is still very much up for grabs. The surprise reveal comes completely out of left field, but promises big things just around the corner.

It's been said before, but it bears repeating again (and again) -- Patrick Gleason can draw. His mastery of mood and emotion is on full display, particularly in the aforementioned cave scene. The artist adds a certain gravity to his pages, his shadows and angles giving depth to even the most mundane moments. He can also draw some ridiculously cool splash pages -- if you didn't "oooooh" after seeing his final shot of Hellbats soaring towards the Apokopliptian fire pits, you're doing comics wrong.

Art wise, Patrick Gleason continues to dominate the pages. The opening page is a striking precursor of what's to come, Hellbat's imposing shadow streaking towards the Apokoliptian fire pits. It's yet another example of Gleason turning a fairly mundane image into something terrifically exciting, and he does it repeatedly over the course of the issue. His ability to craft big, iconic imagery lends itself perfectly to this particular arc, as Batman is able to cut loose in ways we aren't used to seeing. Inker Mick Gray and colorist John Kalisz also deserve mention, the former's crisp lines and mammoth shadows working in perfect concert with the latter's vibrant, flame-licked palette.

Batman and Robin #37 isn't a perfect comic, but it's still a darn good one, epic both in action and in heart. Peter J. Tomasi does a great job in finding a way to make the Bat family whole, even if that way arguably makes little sense. It's a fun read, one made even better by Gleason's expansive, grandiose stylings. Love him or leave him, Damian's return proves well worth the wait.

A super powered Damian may not be what anyone wanted or expected, but Peter J. Tomasi and Patrick Gleason are certainly getting the most of that current plot point. The book's renewed focus on Bruce and Damian's relationship proves welcome, as does the sudden introduction of the Justice League. Now will someone please tell Shazam that he's cool? Feel bad for the guy.

Told in three separate chapters, each installment focuses on a different woman living within the previously established world, their stories narratively different but thematically similar in their impact. The stories don't play a direct role in anything going on in the primary story, but they do an exceptional job of further establishing the oppressive nature of the shared world.

Colin Lorimer also aids in providing this consistent tone, his heavy shadows and etched faces proving a good fit for the book's escalating subject matter. The former Curse vet is clearly comfortable in his new surroundings, his layouts and backdrops impressive in their vision. His character detail can read a bit sparser in comparison, but he makes up for it in pure gritty tone, as exemplified by his wince worthy opening and equally unnerving climax.

Great galloping gargoyles, Batman, Rod Reis can draw. Every page and panel is worth an extra second's pause, the artist deftly marrying superhero melees with every day police work.

With the book's setup out of the way, Kyle Higgins and Alec Siegel deliver some excellent character work here is issue #2, the world of C.O.W.L. affecting those powered and unpowered alike.

After all the world building done in subsequent issues, issue #3 of C.O.W.L. is more character piece than anything else, writers Kyle Higgins and Alec Siegel directing their attention to the team's lone female member, the telekinetic Radia.

With a new arc soon to come and a trade on the way, it's high time to enlist in C.O.W.L.

Though crafted as a digital read, Bombshell's print transference proves an enjoyable one. Marguerite's Bennett and Sauvage show a keen understanding for the stories they're out to tell, their characters both familiar and decidedly fresh. In a marketplace crowded with male dominated reads, book's like Bombshells stand out.

Remender and Craig appear determined to command your pull list, and at this point you'd be silly to resist them.

Deadly Class #6 is comic booking at its finest, a true marriage between writer and artist that fully stakes its claim as one of the best books on the rack. The wait till September will be a brutal one.

Deadly Class at long last returns from it's agonizing vacation, creators Rick Remender and Wes Craig making it well worth the wait. Their narrative is chock full of the same shockingly pointed dialogue and in-your-face occurrences we've come to expect, somehow finding time to explore complex relationships amidst the copious violence, heavy drug use and deposit filled swirlies.

While not entirely conducive to the book's forward motion, Remender nevertheless crafts yet another riveting read filled with achingly damaged characters.

Rick Remender again finds just the right blend of back-story, character development and forward progression, his plotting somehow both sporadic and meticulous.

Now ten issues in, it's safe to say there's no book quite like Deadly Class. Rick Remender's latest is a hodge-podge of crazy situations and themes, each one messier and more destructive than the last. It's as if he's taken teenage angst, ratcheted it up to 11, and given it a machine gun.

Rick Remender and Wes Craig, no strangers to madcap action and thrilling double crosses thus far, deliver a whole new level of jaw dropping goodness here in issue #13. It's not necessarily what they do but rather how they it, the creators crafting a whole issue of build up that pays off in rather disconcerting ways.

Over the course of the issue Marcus' spiral continues ever downward, Remender giving each angst-filled musing and aggressive lash a dramatic but relatable weight. Its heady stuff, especially so given the writer's full on commitment to his lead's self destructive nature.

This is one class still worth attending.

Ever watch a horror movie where you end up constantly screaming at the main character's increasingly poor decisions? That's Deadly Class #16 in a nutshell. At this point Rick Remender has Marcus so deep in the dumpster fire of his own creation that it's any wonder he's managed to make it this far at all.

For all its frenetic mayhem and constant escalation, in many ways Deadly Class is a book balanced on restraint. Over the course of 19 issues Rick Remender and Wes Craig have done a remarkable job building up and breaking down their eclectic cast. In putting in the time, the duo all but ensures that the events of the book's latest arc land on a much deeper level, as made evident by the brutal clash between side characters Billy and Viktor.

When it comes to sheer page-by-page investment, Die For Me is arguably the strongest arc in Deadly Class' run so far. Coming to a close here in issue #21, Rick Remender and Wes Craig somehow raise their already amped up narrative, delivering a shocking installment that's widespread in its ramifications and devastating for its characters.

Issue #22 is definitely tame by recent standards, but the artist's ever expressive energy and fantastic layouts do more than enough to hype events to come.

With so many interlocking threads, Deadly Class is a book primed for the big payoff. At first glance issue #24 is limited in that area, but the sheer amount of new information gifted here goes a long way in plotting the series' new course.

Nits aside, if you've been reading this series, you can't miss this one.

If you've been reading since page one this is a can't miss"and if not, you'd best get caught up.

Recent issues of Deadly Class have been punctuated by one dramatic, narrative shattering beat after the next, so by comparison issue #28 reads much more measured in its approach. It's a nice change of pace, and Rick Remender uses the slower roll-out to touch base with the majority of the book's sprawling cast.

House of Penance #1, from the creative team of Peter J. Tomasi, Ian Bertram and Dave Stewart, is a debut of immediate and riveting intrigue. Drawing influence from Sarah Winchester's famed Mystery House, Penance #1 offers a dark look at the physical and psychological effects of loss and guilt, as told through the unblinking eyes of the titular structure's warden.

Though Old Loki is conspicuously absent, the book brims with great content, featuring everything from the appearance of a Marvel heavy, an intriguing meeting and a tasty recipe for salmon. A godly union, indeed.

. As far as all-ages goes this one skews inevitably young, but even those old in body will feel young at heart with this title.

Midnighter's Grayson team-up continues here in issue #5, the two furthering their investigation into a pay-for-play monster murder ring. It's a testament to the creative team of Steve Orlando and Stephen Mooney that such setup is the least interesting part of the issue, as the budding bromance between M and Dick continues to take center stage.

Through some excellent pacing, the writer is able to dim the sense of narrative danger, despite the sprinkling of warning signs that appear throughout. At first appearing to be little more than an expansive look at M's protective relationship with Matt, the end game manages to change, well, everything.

It feels strange to call an issue rife with physical and emotional beatdowns a letdown, but such is the case here in Midnighter #7. It's not that the issue is bad " Steve Orlando's script lands a number of punches to the feels and midsection " but given the amount of careful time and plotting spent on getting us to this faceoff, the end result feels almost rushed in its resolution.

Steve Orlando and ACO spin their guest star wheel yet again, this time pitting Midnighter against the controlled crazies of the Suicide Squad. And again, Orlando makes this unique marriage work, combining fantastic action, great character play and narrative altering drama.

Midnighter is a book that will be gone too soon, but at least it appears prepped to go out on top.

To say that Midnighter goes out with a bang is quite the understatement. Steve Orlando stuffs his final issue with action aplenty, delivering an electric battle of computer brains versus buffed-up brawn.

A simple concept done right, Rock Candy Mountain #1 makes for an immediately immersive debut.

A Calvin and Hobbes story gone wrong, Spencer and Locke #1 is a great debut. It manages to be both familiar and fresh, playing off of reader expectations in ways that are dark but entertaining. David Pepose gets a lot of mileage out of his premise from the start, delivering a layered lead in Locke and a standout in Spencer. Jorge Santiago's art strikes a memorable and effective balance, his conflicting structure meshing perfectly with the book's delightfully twisted sense of nostalgia. Those reared on Watterson and Miller will find much to love in this demented take, but even those who weren't will enjoy a darn good comic.

Visually, the debut is handled by a trio of different artists. Dan Schoening gets the bulk of the work, his more animated visuals and kinetic line work proving to be a good fit for many of the more supernatural happenings. While the switch between pencillers is noticeable, it's not horrifically jarring, though one artist would likely benefit the book in creating a more consistent tone. In either case, there's something wonderful in seeing the characters share a page, and it's obvious that all involved share that same gleeful excitement in finally crossing these two franchise streams.

Pairing family fun with seafaring adventure, The Deep #1 is a hit. Tom Taylor's characters are immediately relatable, making it easy to root for their success. James Brouwer creates a similar sense of investment with his animated expression and strong sense of setting, his world one we can't wait to see more of.

Aiding in the book's constant, unnerving tone is the atmospheric line work provided by artist Vanesa R. Del Rey. Her style is quite aggressive, filled with scratchy lines and deep, disquieting shadows. While her character work is solid and expressive, it's actually her set pieces that prove the most transfixing--everything has such a strong undercurrent of realism that it's hard not to let that niggling feeling of uncertainty creep into the back of your head. Colorist Michael Garland completes the effect, his palette one of subdued hues and inky blacks. Say it with me--creepy.

It may seem premature to anoint The Fix as one of the best titles on the shelf after only three issues, but the work Nick Spencer and Steve Lieber are doing here makes it worthy of the praise.

The Fix continues to be the best show on HBO that doesn't exist. The reason for that in large part comes down to its ever delightful cast of characters.

The Fix can be dark, it can be juvenile, but it's never anything less than 100% entertaining.

Comedy and crime is a tough mix in any format, but The Fix has it down pat.

Mac is given a surprisingly meaty role this time around, and one with plenty of emotional layers. Those same layers again highlight the impressive balance of Spencer's scripts. His ability to move from heart wrenching to gut bursting is one of the book's strongest attributes, second only to Steve Lieber's equally nuanced pencils.

Ben Templesmith is proving to be a man of many talents. The Squidder returns, Templesmith ably building off his impressive debut with another gorgeous and expansive installment. Fans have long admired the creator's creepily gnarled and beautifully imagined art, but it's his writing that's stood out this far, his world building engaging and well plotted.

As Sam goes through God Squad orientation, we're treated to a series of flashbacks that explain not only how things are, but how they came to be. It's a bit of an info dump, yet Christopher Sebela's plotting is so well articulated that you're never left scratching your head.

Just when you think a book revolving around a reanimated corpse of patchwork parts can't get any weirder, Mike Mignola finds a way. His latest issue is steeped with creature feature mythology, the writer deftly entwining the Monster's dark past with his own broader universe.

The series' finale brings many of the book's overarching themes " life, death, and that area in between " to a tumultuous head, Mike Mignola and Ben Stenbeck putting a fine capper on their sprawling mini.

Hawkeye #1 hits the ground running and never looks back, the creative team of Kelly Thompson, Leonardo Romero and Jordie Bellaire on target early and often. Their Kate is one immediately believable and root-worthy, her sharp wit and numerous talents put to great use from the start. With fantastic art and some strong early setup, it's easy to get excited by the potential shown here.

Kate Bishop deserves a strong creative team, and thus far Thompson, Romero and Bellaire are delivering.

Though only four issues in, this is a series that very much knows what it is and what makes it work, something we can't wait to see pay further dividends down the line.

With any guest spot, there's always the worry that the guest star may overshadow or unnecessarily undermine the lead character. And thankfully, it's a concern that's unfounded here, as Kelly Thompson is able to construct the perfect vehicle for both Kate Bishop and Jessica Jones to coexist.

With every passing issue it gets more and more apparent that Kelly Thompson is the perfect writer for this series

Super-powered guest spots and rampaging dragon people will always have their place in comics, but the more personal focus to Hawkeye's latest arc looks to be a welcome one.

As creepy as it is fun, this is one one-shot that will leave you hungry for more.

Putting a fresh spin on an age-old myth is no easy feat, but that's exactly what Chris Pasetto and Christian Cantamessa have done with this first issue.

If you're a fan of high concept drama and expansive world building, Lazarus remains a top pick.

Rucka, already proven as a master of scheming, delivers yet again, his pacing deliberate and plotted to the smallest detail. All the world building he's done, both subtle and unsubtle, begins to pay dividends here, the rivalry between the factions reaching a level of intrigue we've yet to see.

Trading bulletproof vests for ball gowns, Michael Lark yet again delivers the good stuff. One has to wonder just how he reacted upon seeing a script filled with pages of dancing and lavish backdrops, but he comes through in every regard, creating a truly immersive experience. His ability to generate mood has proved hugely important to the book's overall proceedings, and with the sudden surprise at issue's end, chances are he'll need those talents now more than ever.

Rucka's writing is as magnetic and terse as ever, yet much of the book's tension comes courtesy of artist Michael Lark. His physical pacing is phenomenal this issue, panels flowing with a cinematic zest befitting the best spy thrillers film has to offer.

While slower story wise save for one sudden swerve, Lark's excellent art drives another excellent issue.

Greg Rucka and Michael Lark have spent a good deal of time building and cultivating their Families and the world they inhabit, and at long last they're ready to set them against each other. Building off the duplicitous events of his Conclave arc, Rucka's latest script brings war, and lots of it.

Michael Lark gets some excellent action sequences to work with, his cinematic eye detailing everything from covert stealth strikes to impressive displays of lethal efficiency. His ability to generate tension sans words continues to be a huge part of Lazarus' visual appeal, as exemplified by the issue's left field ending that'll leave you blinking in disbelief.

Greg Rucka's Lazarus workstation must be a maze of photos and yarn, so complex are the various connections and relationships that inhabit his world. And yet, despite each new layer, each uncovered past or secret motivation, the story never gets so loaded with extraneous detail that comprehension is lost.

In 22 some-odd pages the duo explores a long running reveal, presents a major power shift and introduces a terrifying and brutally effective new foe. And not once does the story feel bloated or unnaturally forced, each new revelation and obstacle feeling organic and earned.

Delays aside, Lazarus continues to be one Image's most consistently top notch titles.

Issue #2 delivers more of the same heft and grit as it's predecessor, setting Earl on a path that seems almost preordained. Jason Aaron continues to weave one doozy of a narrative, Earl continually stuck between what he wants to do, and what he has to do.

Art wise, Latour again matches Aaron blow for blow in terms of tone, his pencils gnarled and angry in their imagining. Much of the issue takes place on the gridiron, Latour using dynamic layouts to emphasize his bone breaking displays of force. More importantly, he balances the savagery of the game with Boss' earnest affection for it, his muddled browns and deep reds highlighting each violent high and emotional low. Issue #7 may not be quite up to the book's gut-punch awesome standards, but it's still a damn fine book from a damn fine team.

It's doubtful that issue #10 will be anyone's favorite of the series, but from strictly a storytelling standpoint it's hard to argue against the sheer power such a hard read generates.

Southern Bastards isn't just a comic, it's an experience, and no amount of wet naps will wash the emotional stains it leaves behind.

Ever since it's first, brilliant issue, each new release of Southern Bastards has carried with it an almost undue level of expectation. And every issue, Jason Aaron and Jason Latour deliver. In a way, issue #13 reads as a culmination of their work.

Aaron's script here is superb " particularly in how he explores the issues of race and gender in a less than accepting society " but its artist Jason Latour who proves to be the driving force of this installment.

All that being said, issue #15 is very much geared to those reared on sports fandom, which runs the risk of limiting the impact from reader to reader. It's there that Jason Latour again proves integral, as whether you're a football fan or not, you'll be hard-pressed to tear your eyes away from his deliciously seedy world.

With much of the last arc focusing on Coach Boss' crumbling football empire, the inevitable crossroads moment was sure to be a doozy. It comes to fruition here, and while the fallout possesses the same myriad layers we've come to expect, it also crosses a line into territory that feels more gratuitous than truly necessary.

Spider-Man/Deadpool has been a consistently strong performer so far in its early run, and while the pairing itself remains a no-brainer, it's nonetheless surprising just how well this book continues to work.

Not only is The Valiant #1 a great jumping on point for new readers, it's also a great comic. Matt Kindt and Jeff Lemire work in perfect sync, their debut further bolstered by Paulo Rivera's immersive art. This is a story that's only just scratched the surface of it's potential, so if you've been looking to get into the universe, don't sleep on this one.

Speaking of the world " what a world it is when drawn by Paolo Rivera. His line work remains absolutely fantastic, filled with big moments and nuanced quirks that give each page that little something more. Whether it's Ninjak ninja-ing quietly out of the snow or the growing nightmare that is Mr. Flay, Rivera's art is so on point that it's worth the cover price alone. Don't miss it.

The duo have somehow become the best part of The Valiant, as Bloodshot works to keep the promise that Gilad never could. Much of their chemistry comes courtesy of artist Paolo Rivera. His monsters and splash pages draw the eye (and his Mr. Flay ensures they'll never close), but it's his expressive storytelling that continues to be the main pull. Bloodshot and Kay bonding over beef jerky is an excellent example, Rivera using slight shifts in body language and expression to convey wary disapproval and guilty satisfaction. If he can make two characters eating beef jerky interesting, who knows what he'll turn out for the finale.

In the Drain he has a villain truly terrifying, able to use man's worst weapon -- their own doubts and fears -- against them. The Drain is so creepy yet convincing and Remender just straight up unleashes him, his revealed truths more pointed than any weapon.

Though some of the moving parts feel a bit too perfectly orchestrated, the finale still offers an exciting and satisfying conclusion, driven by A-plus storytelling and the consistently great art by Roland Boschi.

It's too early to say for sure, but it looks like Valiant may have struck gold with another reinvention of a fan-favorite character.

Given the shocking events of last issue and the subsequent hiatus that followed, no one would have faulted writer Rick Remender had he decided to ease into the book's next arc. Of course, being Remender, issue #7 does the exact opposite, immediately returning his characters to the same high danger, higher stakes adventures we've come to expect.

It's clear that Remender has a clear vision as to where the story is going next, but in order for Black Science to continue its streak of excellence he'll need his remaining cast to step up.

Rick Remender's latest trip through the Onion is a sporadic one, the narrative bouncing around a number of different characters in ways equal parts puzzling and enticing. His tale is so stuffed with big ideas and lofty musings that some of the urgency of recent issues has started to wane.

Despite the frequent squabbling, Matteo Scalera is still given plenty of room to flex his artistic muscles. His pages remain as breathlessly kinetic and expansive as ever, the artist again serving as the book's driving force. He does seem to favor certain poses and expressions, as they tend to repeat throughout, but in terms of sheer motion there are few that can rival his level of investment. Dean White serves as the final cherry to this loaded sundae of a book, his otherworldly colors and subtle shading meshing perfectly with Scalera's meticulously savage pencils.

Art wise, Scalera again gives the book its distinctive edge, his pencils brash and fluid. At times his embellishment goes a bit overboard for the scene at hand, but said flair aids in keeping the quieter scenes visually arresting. The real challenge to the issue is the switch in colorists. Moreno Dinisio does an able job filling Dean White's impressive shoes, but unfortunately the change doesn't entirely escape notice. Dinisio's colors prove a bit muddier than we're used to, his concert with Scalera strong but not quite on the same level as of yet. He does manage to strike the appropriately off kilter alien tone, so in a few issues we could be singing a different tune.

Not to be outdone, artist Scalera turns in a phenomenal issue, deftly managing the script's breakneck pace. His action sequences are always good, but here he delivers a master class in kinetic movement, Grant and Shawn's jetpack escape an exhilarating blend of dynamic angles and fluid design. He and colorist Moreno Dinisio do an equally fine job rendering the issue's quieter moments, showing a soft touch and cool palette when detailing Pia's troubled younger days. The issue's final pages show just how good this duo can be, and also make it clear that we can expect some even darker adventures to come. Bring it on.

It's riveting stuff, especially given the characters involved and the events that precede it, and when all is said and done the damage is all but irrevocable.

While still possessing the usual moments of wild action and creature features (as electrically illustrated by Matteo Scalera), overall there's a much more contemplative feel to this installment then what we've seen previously. That same introspection may hinder new readers " Remender's mythology is itself a labyrinthine maze " but as the kick off to a new story it does a fine job in creating questions we want answered.

By taking time away from the series' running interdimensional strife to focus on Grant's own specific personal hell, the duo have crafted a riveting (and wonderfully bananas) look at how the past informs the present " with puppets!

Black Science has had its ups and downs, but with a truly triumphant finale and one heck of a forward push, this is a book that again belongs at the top of your read pile.

Rick Remender and Matteo Scalera were going to have a hard time topping themselves following last issue's excellent introspective adventure, so it's not a huge surprise that their latest doesn't fully measure up. That said, issue #20 does a solid job of maintaining the momentum said issue generated, Remender taking Grant back to the beginning in a bid to save his family and fix the Onion.

Having spent most of this arc exploring Grant's attempt at redemption, issue #21 further explores the ramifications of Grant's Onion traversing, while also presenting the newly focused Dimensionaut with an opportunity too good to pass up. The sizable gap in issues robs the aforementioned moment of its full impact, but Remender's presenting of it is nonetheless engrossing and oh-so-satisfying.

Black Science is heading back to the beginning, and things are feeling fresher than ever.

There's not an undamaged character in the bunch, and while issue #25 does succeed in laying out further the machinations in play, the bulk of the issue is dedicated to their continued torment. Such a barrage could backfire if handled improperly, but Remender has done such a strong job at building such flawed characters that the constant emotional yo-yo always seemingly fits the subject matter at hand.

Black Science, at least by its usual standards, has been taking it easy of late, Rick Remender more focused on the holes left in the McKay family than those of the realities they plowed through. Issue #26 shakes that sentiment up in a big way, and uses an often seen but rarely utilized character to do so.

Issue #27 is exceptionally varied in its content, each new swerve and sudden entrance seemingly building in visceral pull. If you've been waiting for Black Science to blast back into orbit, you'd best strap in tight.

Ignoring the fact that Remender's roster could carry a book on its own"there is literally nothing cooler than a telepathic anteater"this is just a strong issue, with plenty of dynamic action and strong character development.

A long game that continues to pay off, Black Science's latest direction is shaping to be a doozy.

Constant calamity has been a benchmark for this series since its inception, but it's nonetheless still surprising how far Rick Remender continually manages to turn that dial. Not only is the issue jam-packed with all manner of wild sci-fi goodness, but it also delivers on 30 issues worth of content, with numerous callbacks to villains and characters arcs past.

Few books can rely as heavily on visual storytelling alone as Black Widow, but then again, few collaborations are as strong as the one shared by Mark Waid and Chris Samnee.

As a character, Black Widow is as complex as they come. It's that fact that makes the latest from Chris Samnee and Mark Waid all the more impressive, issue #7 both intricately layered and entirely accessible.

When it comes to wordless storytelling, Chris Samnee may just be the best in the business. He's so good that even in an issue that would be considered "down" when compared to past works, engagement and immersion is never anything less than total.

Having spent the better part of the last arc focusing on various betrayals and hidden secrets, issue #11 lets Natasha do what she does best. The resulting read offers an electric display of the skill set Black Widow is known for, the one-woman army facing off against a bevy of similarly trained foes.

While the amount of wrap-up may confuse new readers looking for a numerical jumping on point, the content here is much needed for anyone following the series in recent months.

Jeff Lemire continues his great work with the Bloodshot character, adding a new layer of depth to the reborn killer. Mico Suayan makes his presence felt with some fantastic art, though Lemire's Bloodsquirt takes some getting used to. If you've been looking for an in to Bloodshot, you've found it.

Aiding Lemire in this slow burn approach is Mico Suayan. The artist again turns in some ridiculously realistic pages, each open pore and tightened tendon on full display. At times said realism leads to some static looking pages, but they're all rendered so gorgeously that it's almost worth the pause in pace. When paired with David Baron's excellent color work, Bloodshot is arguably the best looking book that Valiant is currently putting out.

Bloodshot Reborn is not so quietly taking claim as Valiant's best new title, so best get on it, and quick.

Jeff Lemire has done an excellent job exploring the anti-hero's fractured mind in recent issues, and issue #4 is no different.

All told, as both a continuation and a jumping on point, issue #6 delivers.

Whereas Bloodshot: Reborn's first arc read like a television procedural, its latest is more akin to a horror thriller, each issue further investing us in its characters even as the foreboding sense of tension mounts.

Much like its nanite inhaling lead, Bloodshot: Reborn continues to get stronger with each passing issue. The book has been on quite a tear of late, much of which can be attributed to Jeff Lemire's improved pacing.

Bloodshot's latest presents the perfect on ramp for new readers, as Jeff Lemire and Co. leave the narrative of the present behind in lieu of exploring an all too familiar future. It's tough to read this issue without calling to mind other dystopian fiction " from the obvious Max Max comparison to other heroes-in-a-world-gone-bad tales such as Old Man Logan " but Lemire nonetheless manages to introduce these familiar tropes in a way that's still investing and world specific.

Issue #11 continues to move the story along a well worn path, Lemire again relying on familiar plot beats to advance his unfolding story. Such presentation makes for a somewhat predictable issue, but considering how well it's done that same expectation does nothing to dull the overall enjoyment of the arc.

For as enjoyable as The Analog Man arc has been, there's always been the sense that things are too familiar, too easy to predict. That notion goes out the window here in issue #13 as Jeff Lemire and Lewis Larosa deliver a powerful and emotionally shattering finale.

It's only the first issue, but this Hunger Games-style romp looks to be a potential return to form for this fan favorite series.

While Bloodshot Island definitely fits the bill as another bombastic, action oriented arc, it's Lemire's ability to weave a connected web from story to story that continues to pay dividends.

When compared to recent arcs, Bloodshot Island feels smaller in narrative scope - more summer blockbuster than conspiracy thriller. That being said, it's also one of the more purely entertaining acts Jeff Lemire has put out, driven by its action heavy plot and the consistently fantastic art of Mico Suayan.

Bigger doesn't always equal better, but with this stellar creative team on a roll unlike anything we've seen yet, we're willing to bet that in this case it does.

While the cover price is fairly steep, this issue packs in a pretty sizable helping of Judge Dredd goodness.

Lumberjanes/Gotham Academy #1 works because it offers the best of both worlds. Chynna Clugston Flores shows a clear understanding of her characters and their relationships, something too reflected in Rosemary Valero-O'Connell's picture perfect art. This was a crossover that made too much sense not to happen, but now that it has, it couldn't have gotten off to a better start.

The resulting read isn't as laugh-out-loud-funny as we'd expect from the pairing, but it is quite clever, Clugston-Flores playing the various cast against one another in inventive ways.

Much like its principle cast, Lumberjanes/Gotham Academy has read very much like a book working to come together. With issue #3 is appears the series may have finally done so, Chynna Clugston-Flores and Rosemary Valero-O'Connell at last pulling back the veil on their eclectic tale.

Saga #19 returns to heightened expectations and ably manages them, ushering in the next chapter of Hazel and her star-crossed parents. Also, they bought a walrus.

Saga #20 ups the stakes yet again, effectively marrying familial discord, amazing character work and world shaping violence. In other words, typical Saga through and through!

Saga #21 is an excellent blend of shocking violence, terse drama and all too many feels. The level of balance in this series is sometimes mind boggling, as even the most random, jaw-dropping moments somehow feel right in the overall narrative. Vaughan and Staples again prove a power team in every way, shape and form, and Saga remains a must read.

Vaughn and Staples continue to deliver the gold standard, their latest chock full of great character work and a number of memorable moments. Issue #22 is yet another example of excellent collaboration, art and words in perfect sync. Bring a tissue.

Brian K. Vaughn turns the wheel on his narrative yet again, offering an unexpected twist that's both refreshing and intriguing. He and Fiona Staples combine for some excellent and touching character moments, though the already sparse good times are sure to become even fewer.

Somehow, some way, Vaughn and Staples have done it again, crafting a read that's as surprising as it is completely investing. Issue #24 is as strong a finale as we've seen, hitting a number of notes sure to resonate over the book's long hiatus. With their characters scattered every which way and a host of alliances new and old now in play, the future of the series has never looked brighter. Now where's that emergency pint of Ben and Jerry's...

Saga's latest arc gets off to a solid start, Brian K. Vaughn catching us up to speed as he teases what's to come. Though on the quieter side (for Saga), the issue features the same tense drama, wild action and realized characters we've come to expect, all expertly rendered by artist Fiona Staples.

Though light on plot, Saga #26 still has enough bang for your buck in the character department, Staples and Vaughn fleshing out their characters even as they tear them down. Each story line appears swelled to burst at this point, so here's hoping something pops soon.

Marko has been close to breaking for some time now, and in issue #27 the floodgates open. Vaughn and Staples do an excellent job detailing this break, offering insights both powerful and informative. With some great character work and a few entertaining interactions between Ghus and Prince Robot, Saga's latest has something for everyone.

Saga sweeps the leg in issue #29, Vaughan and Staples shaking up their various storylines in increasingly damaging ways. Vaughan's finely tuned characterization ensures no secondary character falls by the wayside, just as Staples' emotive visuals give them the attention they deserve. Saga is at its best when things are at their worst, and things are mighty bad indeed.

Saga #30 is quieter as far as arc finales go, Vaughan and Staples foregoing any crazy reveals in lieu of wrapping up existing threads. While some of the issue's interactions feel rushed as a result, Staples' fantastic visuals couple well with Vaughan's re-fractured narrative. Rest easy, Saga. We'll be here when you get back.

While not filled with quite the usual wow moments we've come to expect, Saga #33 helps revisit the current plot from a new perspective while returning some familiar characters to the fray. It's a retread to be sure, but there are enough twists and turns, in addition to the typically great art by Staples, to keep things interesting.

Saga's latest arc continues at a simmer as Brian K. Vaughan and Fiona Staples prep their narrative to boil, issue #34 offering the same great characterization and gorgeous visuals even as forward momentum crawls. The increased attention on Hazel makes for added developmental elements, in turn creating a more focused direction.

Saga's many planted seeds begin to take root, Vaughan and Staples making ample use of their extended cast. The book's strong characterization and emotional focus again drives the read, it's balanced narrative allowing for a natural synergy as things come together. With Vaughan again investing us in the world and Staples bringing it further to life, issue #35 successfully ramps up the anticipation as we approach the arc's finale.

Near misses are to Saga as butter is to bread, making the relatively drama free finale to the book's latest arc somewhat of a surprise.

Saga is back, and once again we're better for it. Brian K. Vaughan and Fiona Staples circle back to their first presented conflict, diving further into the divide between Landfall and Wreath. It's a setup issue, but one that effectively lays out both the conflict and those who stand in harms way. As perhaps the most real world arc yet, this issue is a promising first start.

Saga hits the heartstrings yet again as a long time lead pays the ultimate price. Brian K. Vaughan and Fiona Staples combine complex development with forward progression, resulting in a strong, visually arresting chapter with wide reaching repurcussions. As both a family tale and an otherworldly adventure, this book is still firing on all cylinders.

With readers reeling, Brian K. Vaughan and Fiona Staples allow the dust to settle, putting character growth ahead of straight-line progression. While Vaughan's layered look at Hazel again pays dividends, the rest of his moves are more incremental. Still, with another spate of strong visuals and star turns by new players, there's plenty to look forward to going into the next chapter.

Much like its marooned cast, Saga has more or less remained rooted in the same spot since the War for Phang began. Rather than jump-start the narrative in any significant way, issue #40 serves to further maneuver the series' many moving parts ever closer, the building tension culminating in a frightening final sequence.

In regards to sweeping changes or shocking instances, this arc can't touch what's come before. But when it comes to seeing the characters we love fail and hurt and learn and grow, it's up there with the best.

In starting slow and finishing strong, Brian K. Vaughan and Fiona Staples end The War For Phang in heart wrenching fashion. Vaughan's measured approach to character pays off in ways yet seen, with Staples again providing the necessary human element to make us care. This is rare Saga hiatus that's almost welcome, as it's not just the creators who will need to recharge after this one.

Saga #43 makes for an excellent jumping on point for new readers. The opening recap structure allows for easy comprehension, where the back half of the read details the kind of well developed characterization the series is known for. Brian K. Vaughan and Fiona Staples appear set to turn their narrative on its axis yet again, and at the sweet, sweet price of 25 cents, this issue is an easy sell for readers new and old.

Saga's leads keep trudging along in this reflective follow-up. Brian K. Vaughan doesn't allow recent events to bog down his narrative, though he does ensure that the various ramifications linger. Fiona Staples' strong color work and equally expressive character expression seals the deal, her final twist sending the series into further uncharted territory.

Snarling couches, Wizard of Oz references, seafood bisque -- if Silver Surfer goes any further off the beaten path we'll have to send in a rescue team for awesomeness extraction

Dan Slott and Michael Allred have already proven to be masters of mixing the impossible with the mundane, but issue #5 of Silver Surfer may just take the (cosmic) cake as the oddest installment thus far.

In a medium littered with brooding heroes and cataclysmic events that happen every other Tuesday, Silver Surfer remains a cosmic blast of fresh air. It's funny, heartwarming, and gloriously off-kilter, Dan Slott and Michael Allred doing their own thing and doing it well.

Over on art duties, Michael and Laura Allred continue to strut their extraterrestrial stuff, the book's signature uniqueness again on fine display. This is a quieter issue in terms of action, but there are still a number of excellent character beats. Dawn learning to "drive" proves an instant highlight, as does Surfer's continually amusing relationship with Toomie, who at this point is a character all his/her own. Of course, it's the book's last few pages that are sure to excite the most, Slott and Allred teasing a confrontation of truly...galactic...proportions. While not quite on par with recent issues, Silver Surfer remains the best cosmic adventure you've never been on.

It's not bad by any means, but it does lack the charm that usually pervades Slott's finely tuned scripts. Thankfully, any qualms are easily put to rest with every Michael Allred panel.

Now that's more like it. Dan Slott and Michael Allred put the capper on their Galactus saga, ending their so-so arc on a definite high note.

Star Wars #2 takes what worked in the first issue and keeps it going, Jason Aaron and John Cassaday turning in some quality storytelling. These guys know Star Wars, and while there may be some disagreement in how closely it adheres, it's a darn fine book no matter how you lightsaber slice it.

Star Wars #7 is a solid one-off issue that adds some welcome depth to Obi-Wan's hermit lifestyle. It doesn't hit all the right notes, with an uneven use of Luke and a somewhat easy path to self discovery, but it does provide some valuable insight into the character and his motivations. Simone Bianchi likewise turns in some enjoyable pages, his Ben a nice mix of capable and conflicted. It's not the strongest issue thus far, but it's still an enjoyable one.

Star Wars keeps getting better, and with Stuart Immonen now on board it's hard to see that changing anytime soon. Aaron's solid characterization and varied world building again proves engaging, as does the introduction of new faces and locales. Sana's role in things presents the biggest challenge to the ongoing narrative, but she brings a level of creative opportunity that the title hasn't yet seen.

All in all, Storm's first issue proves a welcome return to a fan favorite. Pak and Ibaez appear to have a great handle on the character, seemingly willing to show all of her different sides. Though the book thus far appears lacking in direction, The strong character work and excellent art make it a debut worth checking out.

To put it simply, The Life After is pretty great. Fialkov and Gabo blow away expectation, their debut both unique and resonant. The best part -- if this debut is indicative of what's to come, we ain't seen nothing yet.

Following last month's stellar debut, The Life After returns to decidedly higher expectations. Whether or not those expectations are met is sure to be cause for debate, as issue #2 is noticeably different.

While it's still tough to say just where the series is going, the book's final pages, coupled with the clear vision of the creators, makes for one unique and compelling chapter.

Murdered animal deities, child ninjas, shadowy strangers in well-lit rooms " The Life After is back, and it's weirder than ever.

The United States of Murder Inc. #1 offers an intriguing premise, great art and a bevy of well crafted characters. Though there are a few minor nitpicks, the quality pairing of Bendis and Oeming is sure to bring readers back for more.

Aside from the final pages, issue #2 proves a bit slower than its explosive debut, focusing more on relationships than anything else. Michael Avon Oeming gamely embraces the change in pace, using his great character work and masterful use of shadow to convey the ever changing tone and mood. Considering his relatively simplistic style, it's amazing how much his mobsters look like mobsters. A furrow here, some sunken eyes there--every scene is exactly what you'd picture when reading the spoken words, a true testament to the artists' collaboration. Add in the simple yet effective colors from Taki Soma and you get another stellar issue that would be...unwise to miss.

Art wise, the pages put forth by Michael Avon Oeming are again a treat, his layouts both inventive and visually appealing. His use of shadow is fantastic, using shapes and silhouettes to further bolster his unique stylings. That said, the color work comes off as a bit distracting this time around. Though the garish, monochromatic hues work in making the book decidedly different and most assuredly memorable, it also makes it tough to discern exactly what is going on in certain panels. Minor nits to be sure, but in a book this well constructed even the smallest stand out.

The move to Vegas proves a welcome one, particularly when rendered by Michael Avon Oeming. The artist turns in some excellent pages, everything from the action sequences to the rich locales well constructed and appealing. Add in the best color work we've seen so far and you have one fine looking book.

The problem is that with so many moving parts, it's difficult at times to remember where they all fit, especially when new characters with new histories and motivations are around every corner. It seems silly to fault a book for giving too much, but with such an ever fluid narrative, a little hand holding would be almost welcome.

After a long, long, LONG gap between issues, Brian Michael Bendis and Michael Avon Oeming return to finally finish off their first arc. Bendis manages to squeeze in some history before dealing with the various aftermaths he left behind, and while the break between issues does the book no favors in continuity, it's easy enough to pick back up.

The continued push to introduce new characters could prove problematic long term as we've yet to really get to know many of the others, but in terms of sheer execution and ambitious storytelling, Wic + Dev can't be beat.

The Wicked + The Divine continues to be one beautifully constructed, infinitely complicated beast. It's complex to the point of being downright confusing at times, yet the premise is so darn intriguing that you can't help but want to understand, even if that understanding isn't easily gained.

Whether it's Lucifer coolly lighting a cigarette amidst the burning wreckage or the sudden, awesome appearance of the Morrigan, every panel brims with vivid life. And those final pages? Hoo boy. The wait for next issue is going to be an ungodly one.

Though on the slower side when compared to last issue's explosive finale, The Wicked + The Divine continues to hit a nice balance between external wonderment and internal strife.

The book's second arc is as smart as it is deep, and there's no telling the depths we've yet to go.

Though light on outright progression, issue #8 comes out a win courtesy of the art team. Jamie McKelvie continues to find new and inventive ways to stage the book's various proceedings, ably adapting Gillen's segmented narrative into pointedly visual beats. The recurring 1, 2, 3, 4 that appears throughout is quite unique, McKelvie adding an almost lyrical quality to his presentation. That said, its colorist Matt Wilson who deserves the gold star for this installment. His colors have always been great but here they're flat out fantastic, his electric hues perfecting encapsulating Dionysus magnetic influence. His color work is so strong that the book's final pages feel like a depressing crash from an exhilarating high, Dionysus' final admittance made even more painfully poignant.

All of Gillen and McKelvie's pieces finally appear in play, making The Wicked + The Divine's return one worth looking forward to.

Kieron Gillen and Jamie McKelvie again manage to surprise, toeing the line of expectation once more before thumbing their noses and leaping off it entirely.

It's undeniably jarring to have someone other than Jamie McKelvie at the helm, but Brown's intimate, muted quality fits well with the issue's somber atmosphere.

One month after Kieron Gillen devastated with a pointed look at celebrity pressure and the cruel evil of social anonymity, he offers an equally sharp look at the reverse.

The real depth ends up coming from guest artist Brandon Graham. As far as styles go Graham's is easily one of the more simplistic issues we've seen, but his simplicity actually goes a long way in heightening the book's focus.

Where the series goes from here is anyone's guess, but one thing is certain " this is one show you don't want to miss.

Escalation has been the name of the game so far in Kieron Gillen and Jamie McKelvie's latest arc, and if issue #19 is any indication the fun has only just begun.

While the forward progression stalls, issue #20 is ultimately an excellent installment for those who have been following the series from the beginning, Kieron Gillen and Jamie McKelvie at last delivering on many of the series' most burning unanswered questions.

Kieron Gillen and Co. upped their game with this issue. One can only wonder what comes next.

The Wicked + The Divine is nothing if not unconventional, but even the most familiar fans will admit that issue #23 is a step out of the box. Rather than use the ongoing narrative to explore the aftermath of Ananke's death, Kieron Gillen instead opts for a different and altogether unique format -- the magazine profile.

This is early arc stuff, but with McKelvie back in the saddle and Gillen warming up, we might be back in must-read territory soon enough.

The game may have changed, but the quality of this title certainly hasn't.

Gillen, who has worked so painstakingly to build the rules of his world, at long last allows his characters to break them. The appearance of a threatening and mysterious enemy opens the story to a number of intriguing possibilities, especially with the fractured Pantheon divided in how best to face them.

Throughout this arc Gillen and McKelvie have set up adversaries without and within, and it's that complexity that makes issue #27 so compelling.

Like a rock to a hornet's nest, this recent arc has been all about reaction and escalation. Said themes have been no stranger to Kieron Gillen's tale, but with an oppressive foe on the horizon and the Pantheon's lifetime hourglass trickling ever down, the writer sees fit to give that nest another kick.

The Woods is a hard book to pin down. On the one hand, it's got a serious horror vibe to it, what with the many unexplained events, grisly murders and things that go bump in the night. On the other, it's darn funny, possessing a cheeky wit that doesn't always complement the title's more serious nature.

Now we're getting somewhere. The Woods ended on quite the curious note last issue, and while issue #4 provides little in the way of answers, it does manage to up the intrigue quite considerably.

In fact, the whole issue ends with one big tease, the Girls of Thunder uncovering a seemingly never seen book of tales. Inside we get our first glimpse of the new female Thor, She Who Ignites The Internet, framed by a who's who of Thor's most famous foes. Whether it's just a subtle nod to history or a sign of things to come is unknown, but one thing is for sure " no matter the gender, Thor remains in the best of hands.

Law and Order gets an all Thor unit in this cool procedural take.

With its narrative firmly in play and a great creative team on board, Thors #2 proves that lightning (lowers sunglasses) does strike twice.

Whether intended or not, Aric and his X-O Manowar armor are proving to be the linchpin of the Valiant universe. Much like Unity's first arc, Aric's armor is again the focus of dastardly intent, this time in that it's very existence serves as a beacon to the alien Armor Hunters. There's a lot to digest in this first issue, particularly if you didn't read the book's Free Comic Book Day lead in, yet collaborators Robert Venditti and Doug Braithwaite do their best to make their solid debut accessible to all.

With the premise set and new entrants like Bloodshot set to make some noise, Armor Hunters is off to a great start.

There are still a number of Armor Hunter related tie-ins still to come, Venditti and Braithwaite teasing an assumedly epic confrontation. It's anyone's guess as to whether they can pull it off, but with the fate of the world at stake, we're willing to bet they'll do just fine.

In the end, Armor Hunters is definitely an event that belongs firmly in the win column.

It's a slower issue, yet it doesn't feel that way, CAFU's expert layouts and impressive character work making for a surprisingly captivating affair. Simply put, the future of Valiant looks bright indeed.

Getting a complicated premise off and running is no simple feat, but man do Christopher Sebela and Robert Wilson IV make it look easy. Heartthrob #1 is assured from its opening page, each subsequent flip only furthering the book's clear cut sense of identity.

Though issue #6 is mostly set up for the next arc, writer Kurtis Wiebe yet again manages to deftly marry over-the-top action and depraved hilarity with genuine character beats. On art, Roc Upchurch's kinetic style continues to dazzle, his characterization seemingly better with each panel. Basically, only a Gary would miss this issue.

Rat Queens remains one of the few sure things on the rack today, Wiebe and Upchurch absolutely humming in their collaboration. With the Queens now faced with a real and eerily present threat, there's no telling what manner of mischief they'll be up to next.

It seems like forever and a day since we last saw the Rat Queens, yet once again Kurtis J. Wiebe and Roc Upchurch have made it well worth the wait.

Kurtis J. Wiebe's tale of dame led debauchery makes its roaring return, bolstered by new artist Stjepan Sejic in his series debut. The huge gap between issues makes for a somewhat uphill start, but once the blood and curses begin to fly, it's like we never left

Kurtis Wiebe does a solid job of hitting the requisite beats to this return, the issue as always enlivened by his strong blend of sharply realized character and out-there antics.

With issue #5, Ed Brubaker has thrown down the gauntlet, thumping his chest and daring anyone to challenge the greatness that is Velvet. His conclusion to the book's first arc is terrific, a confident and exciting finale that offers great hope for the series' future.

In all honesty, Epting may be the best period artist currently working in comics, so fully does he capture the book's time and feel. Double O Awesome.

In terms of pure craftsmanship, few books prove as consistently well-constructed as Velvet. Issue #8 is no exception, Ed Brubaker and Steve Epting delivering yet another expertly plotted read that drags us further into the depths of conspiracy and intrigue.

It's been forever and a day since we last got an issue of Velvet, yet the series returns with such assured spy style that it's like it never left.

Ed Brubaker and Steve Epting waste no time delivering on the tense standoff of last issue, the book's opening sequence one immediately engrossing. That said, with such a huge gap between issues, the feeling of urgency to the read feels all but lost, a feeling that conflicts with the book's ever escalating events.

As a collected volume Velvet will likely find a new legion of captivated fans, but as a long awaited capper, issue #15 doesn't live up to its magnetic lead.

Wrath of the Eternal Warrior offers plenty of surprises, the key being the book's unique focus. It's a slower debut, but one that ably crafts investment through its strong character play and gorgeous art. There will come a time where Gilad needs to pick up his ax, but for now we're content to follow him as he wanders through the dark.

Valiant has never steered away from the warrior aspect of Gilad Anni-Padda, but with this series it's Robert Venditti's focus on the eternal part of the title that proves most investing.

When compared to the first few issues, the latest from Robert Venditti and Ral Alln reads as decidedly lighter. However, this is one example where sheer execution trumps an overall lack of substance, as this action heavy piece still manages to be every bit as engrossing as what's come before.

With the bulk of the development laid out in past issues, issue #4 is mostly left in Alln's capable hands. He delivers with an action packed, emotionally charged issue that really drives home the prevailing will and purpose Gilad represents.

At first glance this transition arc reads as little more than an excuse for Gilad to embrace the warrior part of his name, but in typical Venditti fashion the writer layers the issue's gruesome events with some careful development, teasing references to things past and presumably present.

Not only does Venditti put Gilad through the physical wringer, killing him in darn near every way imaginable, but he also showcases the toil Gilad's frequent trips through the afterlife puts on both him and his family. It's a lot to process, visually and emotionally, but Raul Allen and Patricia Martin makes it look easy.

When looked at closely enough, Robert Venditti's Labyrinth storyline more or less follows the same beats as the book's opening arc. What proves the difference, and what ultimately makes this story so compelling, is his increased focus in regards to the opposite end of the eternal spectrum.

It's still a strong visual chapter, with Robert Gill spearheading the complex character action with his emotive depictions. It's just not all that different from what we've already seen from this series, at least as of yet.

One month after critiquing this title for its sameness, Robert Venditti and Robert Gill flip the script, literally, offering a wonderfully unique new direction that immediately rights a seemingly veering ship.

This series has been as strong or stronger than anything Valiant has put out, and Venditti and Gill's finale proves a fitting capper for an excellent tale.

It's a wonderfully absurd start that only gets better the more players that get involved, and Roberts shows a keen understanding of the unique camaraderie and depth the often at-odds companions share.

The success of A&A: The Adventures of Archer and Armstrong's first issue was in large part due to the surprising lunacy of its premise. With the narrative cat out of the bag (or in the bag, as the case may be), issue #2 sees somewhat of a dip in terms of overall engagement.

Giant drunken gods, jealous frat-bros, perpetually un-rushed baristas " A & A's first arc concludes in the same bananas fashion in which it began, Rafer Roberts and David Lafuente again delivering their own brand of methodical madness.

Archer and Armstrong has been a crowd-pleaser from the start, but Rafer Roberts looks to be creating something special as we enter the book's second arc.

Clown cars, Armstrong clones, a talking bear - it's no surprise that the circus proves a perfect fit for Archer and Armstrong's irreverent brand. Perhaps the most impressive aspect of Rafer Roberts' script (beyond, you know, the talking bear) is how well he balances the series' obvious absurdity with well-plotted progression.

As far as bumbling buddy comedies go, A&A continues to be one of the best.

It's that assured tone that prevents the book from ever falling into try-hard territory, making for a reliable constant month in and month out.

Snyder doesn't do a lot to advance the story here, but he does enough, returning THE fan favorite and delivering the Trader ever closer to Pearl and her charges.

With a dazzling, sand-strewn opening that makes a sharknado look like a guppy sprinkle, the latest chapter of American Vampire's Second Cycle is light on plot but heavy on awesome.

With a dazzling, sand-strewn opening that makes a sharknado look like a guppy sprinkle, the latest chapter of American Vampire's Second Cycle is light on plot but heavy on awesome.

Balancing the many spinning plates yet again is artist Albuquerque, his signature style as sharp and kinetic as ever. He and colorist Dave McCaig do a great job in maintaining interest, their historical footnotes every bit as interesting as their vampire melees. The two make great use of space, as even the sparsest of panels enjoy solid color and design. Issue #6 is undoubtedly a setup issue, but when setup is done this well and rendered this beautifully, it's not in a bad way that we say we're left chomping for more.

Though slower compared to recent arcs, there's enough momentum building to expect some full-fanged fun to come.

Scott Snyder lets the fangs out here in issue #8, he and Rafael Albuquerque combining for a nasty affair with no shortage of blood or dismemberment. It's a nice change of pace given the series' recent focus on history and mythology, yet Snyder is careful not to let the rampant action derail the book's narrative drive.

At one point in issue #9, a monologuing ne'er do well catches himself and snarks "But enough history." That statement can be applied to American Vampire's current arc in full, as Scott Snyder's script continues to swell with excessive back-story and unseen links.

Scott Snyder's script, already a powder keg of double crosses and hidden agendas, lights an effective final match, setting up what's sure to be a similarly explosive finale.

Batman '66 Meets The Green Hornet #1 manages to entertain both old and new readers alike, bolstered by the reverence the creators hold for the properties involved. Creators Smith and Garman balance the book with just the right amount of camp, and Ty Templeton's enjoyable art ably returns these pop culture icons to prominence.

Holy perfectly practiced plot lines, Batman! The second installment of this terrific team-up proves just as entertaining as the first, though by issues end it's readily apparent that nostalgia and familiarity are key to the book's long term appeal.

Writers Kevin Smith and Ralph Garman continue to mine the vast wealth of material from the original show, their capers so spot on that you can practically hear the theme song playing. We've stated the importance of nostalgia before, and while it certainly helps, it's not needed in enjoying the sheer exuberance emanating from every page.

Brenden Fletcher's new-look Black Canary has been equal parts style and substance so far, but in issue #3 the split tilts heavily towards the former.

Even with a guest artist Black Canary doesn't miss a beat. Of course, when your guest artist is Pia Guerra it's pretty easy to keep things humming, her clean lines bringing an easy energy and human humor to the proceedings.

If you've never read a Doctor Strange story before, this is a heck of a place to start.

Jason Aaron and Chris Bachalo continue their excellent "Last Days of Magic" arc, diving further into the intense emotional stakes introduced last issue. The most fascinating aspect of this story is just how helpless Strange and his magical cohorts are.

If you weren't a Strange fan before, good luck resisting this spell.

Issue #9 mostly works as setup for the looming showdown between the last purveyors of magic and the Empirikul hunting them, but its setup that comes with its own investment.

There's never been a better time to be a Strange fan, and this book is a great indicator as to why.

Featuring a motley assortment of demonic miscreants, a great use of astral projection/streaking and a Charlie and the Chocolate Factory-esque ride through the intestines, the issue's lack of substance is more than made up for by its consistently entertaining vibe.

If the writers of Doctor Strange's next cinematic venture are looking for inspiration, they need look no further than Jason Aaron's current run.

With this issue, Jason Aaron's grinding gauntlet reaches its action packed conclusion, and it's just as bitingly witty and visually imaginative as we've come to expect.

As uncomfortably creepy as it is downright gorgeous, Frazer's lines pair wonderfully with Aaron's ever shifting tone, making for an engrossing lead in to Strange's next misadventure.

Aaron's Strange again strikes the perfect balance between cocksure braggart and fiercely protective friend, and the somewhat predictable ending does nothing to diminish the layered emotions the writer is able to draw out of his cast. Bachalo brings a similar depth to his pencils.

Issue #20 may mark the end of Jason Aaron and Chris Bachalo's run, but it sure doesn't feel like a finale. If anything, the issue highlights the many unique aspects that made this series so consistently entertaining. It's inventive, character driven, and more than a little weird.

Taking over for an established creative team is tough enough, but doing so amidst an ongoing event certainly doesn't make things any easier.

Extremity #1 is a strong debut, driven by Daniel Warren Johnson's excellent characterization and electric art. Johnson takes a pretty straight forward concept and imbues it with new and exciting layers, making for a character first ensemble that packs plenty of visual punch. The attention to character does leave certain aspects of the narrative feeling a bit undefined as of yet, but overall this book is a bloody ball.

It's still an absurdly pretty book, with the aforementioned Shiloh making one heck of a memorable entrance; it just doesn't register on quite the same emotional level.

It's an interesting exploration of how guilt and anger can warp perception, and one Johnson seems to get a better handle on with each passing issue. Add in another kinetic round of thundering visuals and Extremity continues its hot streak.

There's some intense stuff here (particularly that last page) and though the script can be a mite confusing at times if you don't know the players, Andrews' strong writing and remarkably detailed art drives this one home.

There's a lot going on here, both in terms of plot and character, and though some of the symbolism is a bit too on the nose at times, it succeeds in garnering an emotional response.

Andrews is juggling a ridiculous amount of moving parts here, and while he's proved adept thus far at managing them, there's a definite "style over substance" vibe that negates some of the emotional beats he's striving to hit.

Iron Fist continues to be one of the most maddeningly inconsistent books in Marvel's stable. On the one hand, there's so much to like, Kaare Kyle Andrews again delivering a great blend of high stakes action and intricately constructed visuals. Conversely, he also tends to try to stuff every page and panel with additional gravity and meaning, leading to a revolving carousel of characters and plot points.

After a long, long, long break, Monstress is back. And the good news is, it's as beautiful and bewitching as ever.

With a more focused lens and a strong sense of momentum, Monstress' latest charts an intriguing course.

With the plot ratcheting up and the visuals again superb, Liu and Takeda continue to be a sure bet.

While the actual content - Monstrum betrayal! Blood foxes! Nekomancy! - is fun enough, it's how Liu integrates the various reveals that's most impressive. This is a big world getting ever bigger, yet Liu never allows the widening lens to take away from the more immediate story at hand.

We've all been there -- you're following a story when suddenly things take a sharp and confusing turn, but everything is so pretty and gosh dang exciting that you just kind of roll with it? That's Monstress #12 in a nutshell.

Paper Girls is a great read from top to bottom, driven by the assured characterization of its central leads. Vaughan's pacing allows for immediate investment, something Cliff Chiang and Matt Wilson further with their excellent art. While the book's sci-if leanings aren't yet as strong as the rest of the piece, there's more than enough here to get you excited for what's to come.

Following the double-stuft goodness of its debut issue, Paper Girls #2 isn't able to execute on quite the same levels. That said, what it does do it does well, as Brian K. Vaughan is able to both expand on the book's unfolding dangers while also delivering some solid character work.

Brian K. Vaughan has managed to stuff more what-the-what happenings in the first few issues of Paper Girls than most comics get out of a full arc, and issue #3 is no exception. However, with all the portal hopping dino-riders and technologically advanced mummy ninjas gallivanting about, our paper slinging leads have begun to fall out of focus.

Vaughan's characterization feels especially distinct in this installment, and when coupled with Chiang's expertly expressive physicality and Matt Wilson's subtle yet eye-catching colors, the end result is a quartet we can't wait to see again.

It looks to be a whole new world (literally) when Paper Girls returns and the stakes "not to mention our interest " has never been higher.

Visually the tag team of Cliff Chiang and Matt Wilson remains on point, Wilson's somber palette balanced well against Chiang's excellently realized setting. At times they get to cut loose with out there designs and brilliant colors, but as of now the real fun, and mystery, appears saved for next issue.

Paper Girls has really come together in recent issues. While it still doesn't seek to answer many questions"if anything it adds entirely new ones"issue #8 again lends a welcome sense of direction to what has been a topsy-turvy ride.

This is as complex and beautiful a book as any you'll find on the shelf today, and consistently great work by consistently great creators is the reason why.

It's still as tough as ever to say where this book is going, but it's also just as fun.

In many ways, issue #12 is one of his most complete yet. He advances the narrative through the use of new characters, sheds intriguing new light on some long running mysteries and sets up plenty of unique instances for Cliff Chiang and Matt Wilson to bring to life.

While quieter compared to recent issues, Chiang's excellent expression pairs so well with Vaughan's pinpoint dialogue that even the most basic conversations sparkle.

Where much of Paper Girls' run has read like a series of random dots, recent issues have begun to connect them all together. That proves especially true here in issue #14, Brian K. Vaughan at last reuniting his core quartet.

Just when things looked like they were starting to come together, Paper Girls pulls a, well, Paper Girls.

Seven to Eternity #1 is the kind of book Image Comics was made for. It's unapologetically deep, gorgeously illustrated, and as inviting as it is complex. The brisk pacing and lack of clear cut direction can mar initial comprehension, but the excellent early focus on family, coupled with the ridiculous amount of beautiful imagery, carries it on through. Regardless of your preferred genre flavor, this debut is well worth your money.

This is a tale of two halves. Rick Remender spends the early pages dealing with the aftermath of the book's first arc, and in typical Remender fashion they're heavy in both dialogue and tone.

Lush with vivid greens and frightening foliage, this issue is as unique and complex as anything we've seen thus far, and just as pretty.

Lando wears many hats in this first issue, and Soule ensures each one is a fit. Though largely setup for bigger things, issue #1 has plenty of enjoyable character, as rendered by Alex Maleev. The art style and narrative voice match the titular lead well, though at times the use of darker shadow doesn't mesh as well with the lighter tone. Lando's role in the Star Wars saga is a secondary one, but in the hands of Soule and Maleev he sure is interesting.

Do people still use the word moxie? Because that's something Lando #2 has in spades. Not only have Charles Soule and Alex Maleev managed to build an investing narrative, but they've managed to do so away from the larger Star Wars universe enjoyed by the brand's other titles.

All New Hawkeye is off to a great start thanks to Lemire and Prez' refreshing take. The two show a clear understanding for who Hawkeye is, utilizing beats of humor and heart to showcase his personality. The plot itself is little more than a Team Hawkguy stomping ground, but as far as debuts go, these guys did it right.

Speaking of great stuff--Prez again knocks his pages out of the park, each page loaded with nuance and personality. The artist shows a deft hand in switching from action to humor and back again--one moment Kate is making mince meat out of a full room of assailants, the next Lucky the dog is wagging his tail like it's going out of style. The only misstep comes courtesy of the book's flashback sequences. Though again visually stunning, they don't tie in quite as well as they have before, their wordless inclusion feeling slightly out of place running at the bottom of each page. The end setup makes up for it in terms of progression, but overall the flashback inclusion reads as distracting this time around.

So far the most involving parts of All-New Hawkeye have been those centered on the Barton boys, Clint and Barney. Issue #4 devotes its focus almost entirely to their relationship, Jeff Lemire mostly skirting the present to further flesh out the past. It's a move that mostly works, as we not only see the early evolution of Clint's skill as an archer, but the root of the brothers' strain as well.

As two separate stories each Hawkeye yarn is arrow sharp; it's the melding that hasn't quite found the mark.

It's not a total win, but there's plenty of early promise to suggest more depth beyond these initial waves.

The lack of immediate answers may turn off some, but for us the strong art and compelling emotional core is pull enough.

Batman and Robin: Futures End #1 is a powerful read, even if the majority of the issue proves a brutal slug-fest. Ray Fawkes shows that the ramifications of Damian's death remain wide reaching and raw, his Batman a walking wound waiting to be torn open. Dustin Nguyen's art effectively emphasizes this struggle, his detailed character work selling the tale just as well, if not better, than the words themselves.

Bee and Puppycat is one of those love it or hate it type of books, an incoherent jumble of ridiculousness that somehow manages to be totally enjoyable. Whether or not the comic can maintain the same manic energy of the series remains to be seen, but if you're looking to take a step off the beaten path you can't get much further.

The premise of stealing meta DNA for personal gain is a compelling one, and with high stakes, personal drama and, oh yeah, super heroes, Black Market is a book brimming with promise.

The book's final pages offer the most compelling hook as to what kind of dangers lie ahead, making for an easy in to what is shaping up to be one of Bloodshot's biggest tales.

Those who have been on board since The Valiant will come away impressed with the myriad layers Lemire peels back here, but it's safe to say that the uninitiated will walk away more confused than enthused.

Conan/Red Sonja #1 holds a lot of setup, driving through the final pages in order to prep the rest. That said, it's a down and dirty good time, bolstered by a stellar creative team that appears eager to show us more.

Cyclops may get the title billing, but Corsair is the real draw here. Each scene featuring the rakish rogue is a delight, his effortless swagger bewitching both Scott and readers alike.

Issue #6 brings the series to its adrenaline soaked conclusion, as the ever-brooding Gage inches closer to the vengeance he so desperately seeks. Artist Matteo Scalera saves his best work for last, delivering a finale so explosive that even Michael Bay can't help but nod in approval.

Deadpool's latest offers a fresh look at our mouth merc. Duggan and Hawthorne show a clear direction for the character going forward, tempering his oddity in a way that's accessible to readers new and old. There are some inconsistencies, but overall this a great start for what will hopefully be an equally great series.

Much like last issue, issue #3 is more visual than cerebral, highlighting grand set pieces and action over plot progression.

Given the series' more action oriented elements, the opening pages of Elektra #4 offer a refreshing change of pace, delving not only into the mind of our scarlet assassin but her gluttonous assailant as well.

Elektra's struggle of self continues here, and while that struggle is again voiced and acknowledged, it's resolution lacks any real dramatic impact or resonance as Blackman continues to straddle the character with one foot safely behind the line.

Overall, Gotham Academy stands apart from previous Bat books both in tone and execution. Becky Cloonan and Brenden Fletcher are off to a fine start, though not all of their characters yet feel fully formed. Karl Kerschl proves a great fit for the book's exuberant tone, his stylized visuals sure to garner many return readers.

Though only three issues in, Gotham Academy has already solidified itself as one of the more uniquely investing books on the rack. Its mix of Scooby Doo hijinks and teen-soap drama continues to prove engaging, writers Becky Cloonan and Brenden Fletcher combining for a number of great character moments.

This is the kind of slow burn book that requires a bit of faith on the part of the reader, but with creators like these, we're betting they'll deliver.

As far as slow-burners go, few books simmer better than Grass Kings. Building his story from the characters out, Matt Kindt's latest at last begins to deliver on the complex relationships he's so meticulously crafted.

With a direction that looks to appease fans old and new, Harbinger's return is one worth watching.

Speaking of character work -- Matteo Lolli proves an excellent fit for the mashup, utilizing layouts and themes from both books to great effect. The artist shows a great eye for storytelling, highlighting the various quirks and idiosyncrasies in ways that are continually amusing. While the two heroes don't come to blows this issue (at least not really) it's clear that their continued interactions will lead to some further shenanigans down the road. Can. Not. Wait.

With a great creative team and an even greater cast, Hawkeye vs. Deadpool continues to exceed nearly every expectation faced thus far. Duggan advances his narrative just enough to remind us that it's there, but in the end it's the book's ever present wit and awesome art that will keep us coming back for more.

Whether it's discussing the merits of owning a sky cycle, debating the membership process of the Avengers or agreeing on who may or may not have seen a naked wizard, Hawkeye vs. Deadpool remains an absurdly fun time. Writer Gerry Duggan already has the book's balance down, mixing high octane action with rampant situational humor.

Also a bit confusing is the dual art duties shared by Matteo Lolli and Jacopo Camagni. Characters look almost completely different at times, particularly Black Cat, and the red herring at issues' end is made all the more confusing by an errant color swap. That said, the artists definitely nail the book's wild energy, combining for a number of pages both ridiculous and chuckle worthy. Hawkeye vs. Deadpool may not have been the versus book some may have expected, but as a pure team-up mini it hits pretty darn close to a bull's-eye.

The Princess Bride by way of a table-top game master, this standalone is a hoot.

Imperial is a fun time from start to finish, Seagle and Dos Santos combining for a number of entertaining moments. What's best, the creators appear to know exactly the kind of book they're trying to create, nicely balancing the irreverent with the heartfelt.

Imperium is off to a solid, if murky, start, but we want to know more.

A standout spread featuring floors of rampaging Reavers offers a glimpse of this series' vast potential, making the wait for next month an impatient one.

There's a clear formula to this series " Jean teams up with a guest star, learns from them, and in turn learns something about herself"but that sense of expectation in no way diminishes the series' overall entertainment value.

It's not quite a showstopper yet, but in time we can see it moving up the charts.

Josie and The Pussycats' debut was a somewhat sporadic affair, the pinball narrative making it tough to settle on the book's overall tone. It's only clear after reading issue #2 that the always-forward ebullience of the debut actually IS the tone, and it's that knowledge that makes this read so entertaining.

As wise as it is witty, Bennett, Deordio and Mok continue to hit the right notes.

Marguerite Bennett and Cameron Deordio have no problem balancing pop culture overload with fourth-wall-breaking winks, but it's the book's consistently strong focus on building real and relatable characters that makes it work.

Good natured competition is always fun, and in the Kamandi Challenge DC has a concept that's both inventive and entertaining. The early creative teams do a great job of putting down pieces for the following teams to pick up, with the end page revelations offering equally interesting insight. With 14 creators set to take their turns at the shirtless wheel, this is one challenge you should certainly accept.

Fast, fun, and brimming with creative competition, this series is a true treat.

The book's "wait, there's more!" structure may eventually peter out in the long run, but for at least one more issue the Kamandi Challenge remains a fast and loose good time.

The ever forward nature of this story doesn't allow for many breathers, but as far as pure entertainment goes, this book is an easy sell.

Making full use of its oversized format, Lake of Fire #1 is at once sprawling, immersive debut.

With a cadre of lived-in characters and a host of neon visuals crackling with personality, this is the kind of book that grabs your attention.

The Mighty Morphin Power Rangers appear in good hands with Higgins and Prasetya on board. Their #0 issue finds a good balance between old school nostalgia and a more modernized take, with a solid new mystery developing alongside a familiar story. The issue's limited page count doesn't allow for a full exportation of what's to come, but it definitely does its job in eliciting excitement for the series' upcoming debut.

Mighty Morphin Power Rangers #1 does what it sets out to do, Higgins and Presatya striking a tone that's both appropriately nostalgic and distinctly modern. Higgin's script contains a lot of elements worth exploring, and Pretsaya's detailed visuals, particularly in the Ranger scenes, shine. There aren't quite enough pieces to form a Megazord-worthy read just yet, but it's not a matter of if, but when.

Mighty Morphin Power Rangers #2 continues the series' hot start, combining layered character play with engaging Ranger action. The lulls of the book's main narrative are offset by its great fan service, Kyle Higgins and Hendry Prasetya again doing a fine job in creating a Ranger tale for generations new and old. With a budding character dynamic and some great art, Boom! Studios continues to do the Rangers justice.

Mighty Morphin Power Rangers continues its progression from nostalgia-laden throwback to standalone flagship, Higgins and Prasetya combining Ranger action with strong characterization to great effect. They haven't quite found the successful balance between themes as of yet, with some undercooked characters and a rapidly advanced plot point, but what works, works well, and stands to get even better.

Mighty Morphin' Power Rangers gets a welcome injection of full scale action, Hendry Presetya at last making good on the full potential he's often teased. Kyle Higgins' script still tends to create its own drama at times, but his handle on characters not named Tommy continues to impress. In many ways, issue #4 comes the closest to creating a true Power Rangers experience, and with some solid character dynamics in play and an intriguing hook set, the future of this young title remains bright.

Zach gets the much deserved spotlight in this one-off installment. The character work here doesn't change the character in any monumental way, but it does give him an added depth that's been lacking in past issues. The issue also adds an interesting wrinkle to the Green Ranger mythos, one that may come back to taunt Tommy in some fashion. Art wise, Thony Silas proves a worthy complement to the books artistic style, imbuing the standalone with an energy and character all its own.

While issue #6 is more action oriented than anything else, it does succeed in lending a sense of stakes to a property long devoid of them. In the Black Dragon, Kyle Higgins appears to have a worthy foil, one who knows how to attack both physically and emotionally. His first appearance is made all the imposing thanks to Hendry Presetya's kinetic art, the resulting chapter standing as a visual highlight for the series thus far.

The further Mighty Morphin Power Rangers gets from its source material, the better the book continues to get. It's not that Kyle Higgins is braving entirely new territory - one has only to look to the MMPR feature film to see the Rangers de-powered and Zordon de-tubed - but rather, it's the changing tone that proves the draw.

The dip in pace makes for a quieter issue " as quiet as an issue can be with a 30-foot shark man battling a robot dragon, in space " but ultimately the respite allows for some much needed character focus.

Mighty Morphin Power Rangers #9 is a strong installment, though one can't help but think it could have been stronger. Kyle Higgins dials up the drama to a fever pitch before ultimately taking things in a different direction, resulting in a bit of setup that's as frustrating as it is intriguing. Hendry Presetya makes the most of his pages, but his contribution too falls just short of greatness. With a strong ending hook and even stronger art, this uneven issue is still a worthy read.

Mighty Morphin Power Rangers is quickly becoming the book many hoped it could be, buoyed by a strong creative vision from its team. Kyle Higgins' script combines relatable drama with series-specific action, resulting in a chapter that will land with fans new and old. Hendry Prasetya shows his might with equal force, turning in a tonally strong and visually impressive installment. The needle continues to point up on this title.

Kyle Higgins and Hendry Prasetya open up the toy chest, making great initial use of their alternate reality setup. Higgins uses the extended flashback sequence to shine a different light on the Tommy character, as well as to highlight the many different eras of Ranger lore. Prasetya's epic action and strong sense of tone make for an especially exciting chapter that calls to mind the best aspects of the original source material.

From a tense standoff with a squad of Imperial-esque Ranger-troopers to the proper way of growing a Goldar, this issue has far more hits than misses.

While more of a recap issue than anything else, this chapter succeeds thanks in large part to the vision of its creators. Kyle Higgins manages to catch readers up to speed in a way that also shapes the story going forward, giving further layers to a character long deserving of them. Daniel Bayliss does the rest, his strong imagery lending a welcome sense of weight to the various emotional proceedings. Filler this is not.

Following months of setup, Kyle Higgins and Hendry Prasetya at last bring their Lord Drakkon arc to its dramatic conclusion. The many swirling plot points of the issue threaten to overwhelm at times, but Higgins keeps things intact with a strong and well developed focus on character. Prasetya helps drive the many standout moments home with his great eye for detail and an improved attention to facial nuance. One of the book's stronger arcs to date, the future is bright for this title.

Nailbiter #1 is a riveting debut that gets better with each read. Williamson and Henderson are in strong form, setting a mood and tone that sticks with you long after the final page is turned. Though the titular Nailbiter is more of a secondary character here, his presence nevertheless impacts the book and it's proceedings. This is one not to be missed.

Cinematic would probably be the best way to describe Mike Henderson's striking visuals. His staging of the riveting murder scene locks you in, leaving you just as helpless to turn away as the victim himself. It's this kind of quality storytelling that makes the book so great--it's moody, atmospheric, and feels terrifyingly real. Luckily, the book is filled with such instances, Williamson and Henderson again crafting some bloody good fare. Read at your own peril.

The book's razor sharp narrative doesn't feel quite so tight this go round, killers seemingly popping out of the woodwork at rather opportune times. Nailbiter is still very, very good -- we've just gotten used to it being great.