Duggan's script possesses many of the requisite Western tropes"the solo lawman, the self serving mayor, the more-than-he-seems-drunkard"and populates it with a number of Marvel standouts. It's familiar with a capital F, but it's also well executed and engaging.

Whether or not there's more to the character beyond her seeming one-off usage, artist Tomas Giorello does well in putting her to use. His strong sense of movement, particularly when combined with Brian Reber's vibrant backdrops, establishes Ana as a tactile and formidable combatant, and one we hope to see more of in the future, hers and ours.

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.

The first issue of A-Force provided a fine mix of boisterous action and engaging character work, all of which effectively tied into the larger Battleworld picture. Issue #2 offers much of the same, C. Willow Wilson and Marguerite Bennett both focusing the direction of the main narrative as they expand their characters place within it.

There's still a lot of potential here, we just need a bit more event book freedom to see it realized.

A-Force had one of the tougher transitions to make from its Secret Wars beginnings, and that difficulty shows in this first issue. G. Willow Wilson has a clear handle on her cast, but by making Singularity the narrative glue, the rest of the read doesn't have a whole lot of room to breathe. The art by Jorge Molina and Laura Martin does its part, but we're definitely hoping for a more pronounced return to form come next issue.

When combined with another round of action packed visuals and pitch perfect humor, you get an issue much closer to the original series' spirit.

Bucking the usual slow roll-out most super team books enjoy, A-Force's latest is again a high energy affair. Where last issue saw Kelly Thompson and G. Willow Wilson provide a welcome jump in character development and explored relationship dynamics, issue #3 offers a more action oriented focus.

With the roster firmly entrenched and an old name made new again, A-Force appears prepped to put your pull-list on notice.

When it comes to A-Force, the team's chemistry goes hand in hand with its success. Case in point " issue #6 is a solid, if unspectacular affair, with a familiar villain and a by the numbers plot. What makes the issue click is its fantastic characterization, writer Kelly Thompson continuing to build off of the great chemistry generated in the book's first arc.

Paulo Siqueira makes his mark as the new series artist, but ultimately this tie-in isn't quite possessing of the same charisma the series is known for.

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.

Creators Christopher Sebela and Ariel Olivetti unleash a veritable host of horrors upon their unsuspecting cast, delivering a tense debut that unfortunately suffers from continuity baggage. For a first issue there's an almost crippling amount of unspoken back-story to the narrative, requiring at least a general knowledge of Dark Horse's shared universe or the celluloid monsters within.

All-New All-Different Avengers #1 takes the tried and true route to start, and the result is a solid and engaging issue that never quite gets going. Mark Waid shows a clear understanding of his characters and the universe they inhabit, but doesn't give them much to do at the onset. Thus far it's more same-old same-old than all-new all-different, but there's enough here to expect even better yet to come.

Reading more like an issue #1.5 than a true follow up to the series debut, All-New All-Different Avengers sees Mark Waid finish getting the band back together as he pushes forward with the book's presumed all new, all different direction. That same direction still doesn't feel all that new, but Waid nonetheless delivers a solid dose of enjoyable superhero action.

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.

Team Hawkeye get their second #1 of the year, but luckily the change in numbering doesn't affect the ongoing work of Jeff Lemire and Ramon Perez. If anything, the step back allows for a pointed change in direction, as Lemire really hones in on the expanding rift between Clint and Kate. The result is a surprisingly serious debut, as we see the inevitable fallout and future repercussions play out hand in hand.

Considering that All-New Hawkeye is pretty much a direct continuation of his first crack at the character, its impressive just how new Jeff Lemire's latest run feels.

It's not a bad start to an arc, but it's ultimately not a memorable one either.

All-New Hawkeye's three tiered story structure " past, present and future " has been hit or miss thus far, and that same feeling holds true here in issue #5.

It's not necessarily a disappointing end, but it's definitely a quiet one.

The new breed of Inhumans have mostly failed to make an impact thus far, but All-New Inhumans looks like the book to buck that trend. The strong characterization and global premise provides a welcome hook, as does the inviting art by Caselli and Mossa. New readers may find the overall navigation a bit muddy, but overall this title does a nice job in distinguishing itself as a worthy Inhumans solo.

All-New Inhumans may lack the overall star power of its Uncanny cousin, but when it comes to story its sure putting up a good fight.

All-New Inhumans is an ambitious title. James Asmus and Charles Soule have (mostly) ignored the usual action heavy instances first arcs like these are usually known for, instead choosing to focus mainly on the personal and political ramifications the Inhumans' mission creates. Issue #3 offers much of the same, and then some, the writers again working hard at fleshing out their expanding cast even as they navigate the book's underlying conflict.

While still finding its footing on a narrative level, All-New Inhuman' strong team element and great art teases a book on the rise.

James Asmus takes over sole scripting duties with All-New Inhumans' latest arc, and it's not long before his comedic impact is felt. Whereas the first arc felt a bit bogged down by drawn out politics and needless asides, issue #5 is noticeably lighter in tone.

When the plot catches up to character, this book might move from good to great.

Already on its third arc, All-New Inhumans continues to feel sporadic in its focus. Issue #7 furthers that trend, the book's latest direction almost completely separated from the events that came before.

Though nine issues in this is still a new team, and while the combined efforts of Asmus and Caselli haven't fully solidified the new recruits as Marvel members in their own right, they get closer with each passing issue.

As is often the case with a series cancelled barely out of its infancy, All-New Inhumans reaches its end just as it's starting to get better. While not an actual finale (that would be issue #11) the latest still serves as a solid wrap-up to James Asmus' final arc, one that saw his focused attention to character finally pay off.

Amilcar Pinna also experiences a bit of a down issue, the artist delivering a solid if not particularly noteworthy installment. Though the action is clean and tight, it lacks any real 'wow' moments, ultimately making this issue of All-New Ultimates a tad lackluster as a whole.

Visually, the book's painterly art is provided by the appropriately named Studio Hive. A group effort will undoubtedly have its faults, yet those involved do a solid job of generating a mostly consistent visual quality. Unfortunately, the same cannot be said of the characters themselves, faces and likenesses changing noticeably from page to page. Much like the writing, the art tends to even out the further in you get, but again, it may be too little too late.

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.

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

Archie #1 is just a fun read. Waid and Staples show a clear appreciation for the character and his history, his new look still maintaining a distinctly classic feel. Waid's great characterization and effortless dialogue makes for easy enjoyment, and Staples' emotive art is both affecting and warm. Whether you're a fan new or old, there's something for everyone.

Issue #2 proves that initial magic was no fluke, the creators turning in another delightfully offbeat, remarkably layered installment.

Archie wouldn't be Archie without the Archie/Betty/Veronica triangle, making Veronica's role in the proceedings an expected one. What's unexpected, however, is the way Mark Waid and Fiona Staples portray the haughty heiress.

Now five issues in, it's tough to really call Archie's continued excellence a surprise. And yet, considering the series' early artistic carousel, it's amazing how each new issue manages to find new ways of further enhancing and enriching Riverdale's eclectic cast with nary a blip in quality.

So far one of the more enjoyable aspects to Archie's new look has been the depth given to the book's extensive cast. Mark Waid has done an excellent job in crafting unique, multidimensional characters thus far, and in issue #6 he uses the partial absence of the book's title lead to advance other players, such as Reggie and Veronica, even further.

While not the strongest issue in the series, it's nonetheless an entertaining one.

Archie continues to be the gold standard when it comes to updates, and in the ever confident hands of Waid and Fish that doesn't look to change any time soon.

The amazing thing about Mark Waid's Archie run is that he's not reinventing the wheel. He's not even reinventing the characters. He's just taking the property's long-running themes and character quirks and giving them a modern air.

It's still far and away a good comic, just not quite so good as what we've come to expect.

Issue #12 is itself a great example of Waid's range. The various events range from slapstick funny to relatable to downright affecting, culminating in an end that very cleverly opens the door for new characters to join the fray.

Another month, another hit for this Archie team.

We've talked time and again of Mark Waid's ability to pair the humorous with the heartfelt, but what else is there to discuss when it's consistently done so well? Issue #14 is a perfect showcase of that balance.

From the inimitable Archie/Jughead bromance to the deliciously diabolical Veronica/Cheryl pairing, Eisma clearly gets what best exemplifies each, making for yet another excellent chapter.

For being one of Riverdale's better known supporting characters, Dilton Doiley has been criminally underutilized so far in this Archie run. While issue #16 seeks to correct that, it does so at the cost of a more compelling narrative " Cheryl Blossom's arrival at Riverdale High.

While the extended bout of courtship has its amusing moments"Jug Handle is as perfect a Blossomization as could be"the initial lack of teeth leaves the read feeling light, right up until the book's final page.

Pete Woods continues to prove a solid fit on art, his loose style playing particularly well with the comedic physicality of Waid's script.

The drawn out nature of the read delays the true payoff to next issue, but it's nonetheless an emotionally resonant chapter.

Archie vs. Sharknado is a loopy smoothie of wholesome goodness and unnatural destruction, a blend that somehow goes down smooth. It's not the best of stories, but it doesn't aim to be, Anthony C. Ferrante and Dan Parent working hard to ensure that the "R" on Archie's Letterman jacket stands for "ridiculous." Those not gaga for the cultural juggernaut that is Sharknado may leave wanting, but there are enough fun set pieces and shark vs. teen shenanigans to leave even the most hardened grump with a grudging smile.

Archie vs. Predator may seem like the most random pairing ever to share a page, but in the hands of Alex de Campi and Fernando Ruiz, it's a pairing we're glad to have. Predator's inclusion to the Riverdale world comes off without a hitch, the story as funny as it is biting. Whether you like Archie, Predator, or both, this one is worth checking out simply to see two worlds collide.

As mentioned, much of the read comes off as classic Archie, something wholly attributed to artist Ruiz. His characterization and world building is spot on, unnervingly so given the rather gruesome subject matter that ramps up throughout. At one point a supporting character takes a laser shot to the face, his exploding noggin' staining the childhoods of those reared on Double Digests. This is an Archie tale unlike any other, and while at times the characters don't quite seem as wholesome as you remember (do you really need to eat that cake now, Jughead?!), de Kampi and Ruiz ensure its an offshoot you won't forget.

Much of the enjoyment of this series has come from Alex de Campi's balance of gruesome gore and biting humor, and unfortunately the latter falls off a bit here in issue #3.

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.

Armor Hunters: Bloodshot #1 isn't quite on par with the other books in its name, with very little tying in to the event's larger scope. Harris and Hairsine appear prepped to change that quite soon, however, their final pages setting up a standoff of assumedly grave importance.

At this point it's safe to say that Armor Hunters has begun to suffer from tie-in syndrome, the book's secondary titles failing to capture the same gripping stakes as their flagship series. Armor Hunters: Bloodshot #2 is a prime example of this, the issue revolving entirely around the nano-bot fueled assassin's battle with the alien Hunter, Lilt.

Nick Spencer and Ramon Rosanas turn in their second #1 of the year, their easy humor and great characterization very much intact. Their latest debut has a lot to offer, both in terms of entertainment value and as a solid lead in for new readers, but it also feels somewhat flat in areas.

Ultron is King of the Mountain in this solid but underdeveloped tale.

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

With a mythology as complex as the one Mike Mignola has constructed over the years, it's hard to consider any book a true jumping-on point. And yet, that's exactly what Baltimore: The Red Kingdom #1 offers " a new reader-friendly continuation of an ongoing story.

The creative team here is top notch--they've just yet to fully deliver on their immense potential.

The book's newest arc proves a decent jumping on point, though new readers will likely struggle a bit in placing characters and motives. Simone's Batgirl is never better than when she or a loved one are threatened, and issue #32 sees her personal life begin to crumble yet again as Knightfall increases her stranglehold on the city and its inhabitants named Ricky.

Gail Simone brings her run on Batgirl to a close, offering a fitting, if not slightly convenient, finale. She manages to tie up a number of loose ends, and while not everyone gets a chance to shine, her portrayal of Barbara remains as engaging as ever, leaving behind a high bar indeed.

Batgirl #35 is decidedly fresh in feel, but the verdict is still out as to whether or not that's a good thing. There's promise to be sure, but as of now the character's departure feels more sensational than earned.

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

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.

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.

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.

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.

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.

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.

Orlando does a solid job of advancing the main narrative, setting up a number of soon to be explored threads while adding some welcome characterization. Unfortunately, issue #4 also offers up some inconsistencies, as for the first time the writer/artist carousel makes itself noticeably obvious.

It's too early to say just how Batman and Robin Eternal will eventually compare to its weekly predecessor, but as of now the early returns are mixed.

The return of James Tynion IV and Tony Daniel also means a return to form for this series. Tynion grabs many of the freewheeling threads of past issues and mostly ties them together, resulting in an issue that serves to both advance the narrative and the characters within it.

Following last issue's flashback heavy focus, scripter Genevieve Valentine allows the team a chance to regroup, reassess, and refocus. It's a move that leads to some emotional, if forced, exchanges, Valentine using the aside to explore the team's shared legacy and the overall weight of the cowl. Exploring the various personalities of each Robin has been part of the fun so far in this Eternal run, yet the look we get here does feel shoehorned to fit the eventual turnaround.

As a standalone issue #24 isn't the most essential of installments, but as a stepping stone to bigger things it does its job.

Despite the wide net the series encompasses, the actual impact of the series remains limited to a few choice characters. As such, issue #25 at times feels like filler in the same way issue #24 did. The difference here is that the filler mostly works, with Steve Orlando utilizing the vast supporting cast in a way that both highlights the varied members while also reinforcing the book's core drama.

Artist Chang also does a fine job overall, his Tim noticeably fleet of foot and agile. There are a few oddly choreographed panels here and there, but by and large he does a nice job bringing Tim and his new world to crumbling, dilapidated life. The success of the read depends on Tim's current fish-out-of-time feel, so here's hoping his current predicament allows for plenty of further exploration of that nature.

The art is great and the story is solid, but for a standalone Bat tale there's not much that screams "must read."

Batman Beyond still very much feels like a read that hasn't entirely found its footing, and it's any wonder what kind of book we'll be left with when it does.

Batman Eternal is starting to feel a bit like Game of Thrones. Each week offers a snapshot view of a few characters, only to switch to a different set the following week.

Ultimately, issue #11 feels like filler--good filler, sure, but filler nonetheless.

The last few issues of Batman Eternal have been high in content but low in forward momentum -- issue #12 fixes that, writer James Tynion IV giving traction to a number of stalled story lines.

Fawkes really drives home the fanatical fervor from which he speaks, introducing a true supernatural threat amidst the many loonies already on the streets. Artist Dustin Nguyen attacks the supernatural angle with obvious glee, his shadows deep and menacing and his baddies suitably grotesque.

Of course, the main talking point of the issue is easily the book's final pages. Stephanie Brown has been flitting in and out of the series for a while now, and while it was always assumed she'd be taking back the Spoiler mantle, we've still been waiting for it to actually happen. Well, happen it has, Seeley scripting the scene in a way that fits the story and serves the character well. Batman Eternal has been gaining momentum for a while now, and if the issues to come feature more arcs like this one, we're looking at some good stuff ahead.

Batman Eternal continues it's unfortunate pattern of setting up big events and then ignoring them, the latest arc yet another example of the series spinning its collective Bat-rimmed wheels.

While there's still the sense that there's almost too much going on at any given time, Fawkes does a great job of hitting his beats and moving on, the book's pacing surprisingly smooth given the numerous events unfolding.

Handling art duties once again is Jason Fabok, his detailed lines and excellent choreography again on fine display. Obviously the book's weekly pace makes it impossible to lock down one specific artist, but Fabok needs to be in the rotation as often as possible. His work lends an added gravity to the proceedings, each punch and scowl loaded with a real and visceral weight. If you passed on this weekly in the beginning, now is a heck of a time to start.

As the stakes have raised so too has the book's quality, Hush's sinister and expansive machinations making for one of the more involving arcs we've seen thus far.

Focusing mainly on the rampant nano-bot infection tearing through Gotham's young and restless, Higgins deftly explores the changing dynamic between Harper and the Bat family, intoning that with great costumes and great abs comes great responsibility. This focus on choice is given further gravity as the book's events spiral out of their control, leading to Harper finally committing to the cause in grand, Bat-garbed fashion. It's fun stuff, made even better by Joe Quinones' emotive art.

Steve Epting's art is as gorgeous and well constructed as ever, but with so little context his characters read as more stock than anything else.

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.

Adam Hughes has a bit of an uphill climb ahead, his debut overstuffed and undercooked in some key areas. His fun, expressive art is continually overrun by the book's non-stop consciousness, resulting in a cluttered read that's tough to get into. Nevertheless, there are enough solid character beats and entertaining exchanges to hope for better down the road, making Betty & Veronica a book to keep an eye on as the Archie machine continues to roll.

Betty & Veronica is a book you want to like. It's funny in places, gorgeously illustrated and is clever enough to catch you off guard a time or two. And yet, for all the things that work, there's still so much that doesn't.

It's unfortunate that it took three issues for this book to realize its full potential, but this capper is nonetheless a satisfying one.

Birthright #1 is what every debut hopes to be; expertly plotted, infinitely interesting and just plain cool. Billed as what happens when one story ends, the book's final page makes it abundantly clear that our journey has only just begun.

If you're a fan of high concept fantasy and, y'know, awesome, this is a book you need to be reading.

Birthright continues to stake its claim as one of the best new books on the block, marrying inventive fantasy with compelling drama. Add it to your pile.

With its setup firmly out of the way and its characters on the move, Birthright's latest eases off the flaming swords and fisticuffs in lieu of some welcome familial development.

Andrei Bressan is again a powerhouse force of fantasy goodness, his storytelling enjoyably large and finely detailed. Not to be outdone, Adriano Lucas turns in some of his best color work to date, nailing everything from blood soaked battles to serene swamps.

When not content to simply let his art team run free, Williamson does a solid job checking in with the more Earth based members of his expansive tale. There's a nice bit between the Rhodes' parental units that stands out, but by and large the fun of the book revolves around Mikey and Brennan making up for lost bro time. It's here that the book's character work, particularly Mikey's, proves a bit divisive. It's tough to gauge in what light we're meant to view him"troubled solider, possessed lackey, returning hero"and as such some of his bits don't fully register. Add in the fact that Brennan's wait-a-minute" light bulb continues to be slow illuminating and you get an issue that's fun, but incomplete.

I'm not quite sure where it happened, but somewhere along the line adult Mikey's tale became the least interesting thing in Birthright. Thankfully, Joshua Williamson and Andrei Bressan have stepped things up in other areas, especially in regards to the increasingly blurred lines between Mikey's two worlds.

After a few maddening issues wherein Mikey's characterization seemed to continually dip, dive and dodge, Joshua Williamson at last drops the hammer with some "ooooh" inspiring reveals. It's a welcome leap that pays off in uniquely investing ways, and it serves to knock the ongoing narrative into completely uncharted territory.

While the oversized issue leads to many visually arresting fantasy moments " which Andrei Bressan absolutely kills, per usual " even the lurch in time does little for Mikey's overall development.

It's taken a while, but the many freewheeling threads that make up Birthright have begun to feel cohesive. Joshua Williamson has done a great job crafting a solid sense of direction over the last few issues, focusing less on the then and more on the here and now.

The last issue of Birthright did well in moving the overarching story back in the right direction, but the overall sense of narrative momentum remains a work in progress.

It's been a while since Birthright quite matched the magical heights of its earlier installments, but the changes made here offer definite promise for the series going forward.

Artist Andrei Bressan, mostly limited to talking heads here, shines with that final page, proving that while the magic has dimmed a bit on this series, it's still capable of delivering when it counts.

Birthright has had its issues, but damn if it can't sell its big moments. The somewhat slogging adventure gets a much needed shot in the Nevermind-infested arm, as at last we get some honest to goodness advancement.

It's still as strong a fantasy epic as you could hope for "it's just one that'll keep you waiting.

Birthright still has its bumps, but payoff such as that found here makes them worthwhile.

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.

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.

Issue #2 may struggle a bit to consistently maintain it's all ages appeal, but nevertheless the read am not a lot of fun.

If you weren't a fan before this issue isn't likely to change your mind, but in a landscape overcrowded with dark and dour, Bizarro provides a welcome splash of light.

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.

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

Black Magick has all the makings of a good book, starting with the stellar talent behind it. Greg Rucka appears to have another engaging lead on hand, and Nicola Scott's art is as immersive as it is gorgeous. There's just not a whole lot to go on in this first issue, and while the ending hook certainly makes things interesting, it's not yet enough to fully entice with its spell.

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.

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.

Alien parasites, street level heroes, nineties names like Loose Cannon and Ballistic; the original Bloodlines had it all, and reflected the more ridiculous aspects of the era. And maybe that's what's missing in Bloodline's #1. It follows the same basic path of the original, with the appearance of an alien threat assumedly leading to a new brand of heroes, but where the nineties version had moxie to spare, this new incarnation feels hollow by comparison.

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.

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.

All told the annual offers a different and mostly entertaining look at everyone's favorite albino samurai, even if the quality of the book's extended page count doesn't entirely match its higher price tag.

If you're buying this book chances are that you're a fan already, but those new to the concept may come out wanting.

Bob's Burgers remains a tough piece of beef to crack. On the one hand, the various writer/artist teams again do a great job of capturing the feel and tone of the show, using various in-jokes and character specific traits to bring the Belcher family to life. While that works to an extent (Tina's tale is spot on and hilarious), there are definitely some show specific quirks that don't translate quite so well in written form.

Book of Death #2 is a prime example of a book managing to remain thoroughly entertaining even as the narrative mostly stands still.

With one issue left, the action continues to flow throughout The Book of Death, even as the story moves at more of a trickle.

The best thing about the Book of Death #4 is its focus. Most event books tend to throw everything but the kitchen sink at their finales, but Robert Venditti wisely chooses to keep the action limited to Gilad and Tama.

Robert Venditti brings the life and times of Aric of Dacia full circle, culminating in a tantalizing, if convenient, look at the legacy he's left behind.

With the Book of Death threatening widespread curtain calls across the Valiant U, the latest batch of Valiant one-shots show us how exactly our favorite characters are set to go. Bloodshot is the first to draw the short straw, and initially the promise of a suitable finale feels unlikely given the book's single issue limitations.

While not without their moments, thus far Valiant's run of The Book of Death finales have been more miss than hit, often feeling rushed in their push to deliver a solid end to their franchise leads. It's fitting then that they've saved the best for last, as Joshua Dysart and Kano's The Book of Death: Fall of Harbinger #1 is easily the most complete of the bunch.

Much like Bloodshot's recent fade to black, Book of Death: The Fall of Ninjak is a book that never quite consummates on its intended promise. Matt Kindt gives Colin King's exit plenty of interesting moments, from robot vs ninja battles to plummeting space real estate, but the overarching sum of these moments fail to fully capture.

At first glance the book appears more typical in its Roman fare, with ample bouts of bloodletting, copulation and political scheming. However, as the book goes on and the horrors mount, it becomes clear that Peter Milligan has a different sort of story in mind, one that borrows from a number of physical and psychological influences intended to assail its steadfast hero.

Sweet Kirby goodness! Continuing their eclectic trek through DC's history, the team of Lee Allred, Michael Allred and Laura Allred again deliver an adventure as zany as it is downright gorgeous.

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.

On art, David Lopez yet again infuses his simplistic style with heart and weight, his use of expression and body language ably complimenting the scenes at hand. Much of the book places Carol in the role of ambassador, and the artist really nails the divide between Carol and the citizens of Torfa. He imbues Carol with just the right amount of wide eyed navet and steely self assurance, and his panel work features a number of dramatic angles and mood shaping close ups. Colorist Lee Loughridge completes the effect, the book's warm hues becoming noticeably bleaker as the pages tick by.

Considering the somewhat melancholy end to last issue, Captain Marvel's latest outing is actually quite a bit of fun. Kelly Sue DeConnick continues to hit the right balance of humor and heart, her Carol determined to prove that her aid in Torfa's plight is a boon, not a hindrance.

Kelly Sue DeConnick brings Captain Marvel's first arc to a close, the Avenger squaring off against Emperor J'son and his Spartax army. DeConnick has done a great job throughout the series establishing Torfa and it's citizens, making their final stand engaging and cheer-worthy.

Though technically still in its first arc, the latest from Kelly Sue DeConnick reads more like a transition piece to the next chapter than a true conclusion to the first. It's a solid move, but when considering the numerous high stakes adventures we've seen recently, issue #7 comes off as quieter and more bizarre by comparison.

It's a silly and at times unnecessary aside to be sure, but it also proves that even an off issue of Captain Marvel is still pretty darn great.

With so much emphasis on the words, artist David Lopez is tasked with keeping everything together, and he does so in his usual expressive fashion. Carol is a woman of many mohawked hats, and Lopez ably captures all of them, from the diplomat and warrior to the inner-screaming fangirl. Likewise, colorist Lee Loughridge gets the chance to strut his stuff, the book's more ridiculous moments allowing for a similarly heightened color palette. Issue #9's rhyming nature may not be for everyone, but there's no denying that DeConnick, Lopez and Loughridge make for one "marvelous" team.

Much like the narrative itself, the book's art duties are split between a trio of artists, led by series' regular David Lopez. Though different in visual style, each artist ably maintains the same warm and welcoming tone from one to the next, the book's outlandish events never detracting from its heart-on-its-sleeve message. Issue #10 may not do much to advance the character or her galactic adventures, but it doesn't have to, DeConnick and Co. content to let us simply bask in their appreciation for the character. Time will tell whether or not a second part to the story is truly merited, but as a standalone installment it's one no Carol fan should miss.

Carol Danvers returns for the second installment of her Christmas themed two-shot, writer Kelly Sue DeConnick ably building off of the many inspirational vibes that came before. While the necessity of said issue is easily debated, the resulting finale is nonetheless a fun and joyful romp that brims with holiday spirit.

David Lopez does a nice job creating vested interest in Carol's somewhat solo tale, his character work and expression again on point. There are a few confusing sequences in terms of choreography, but overall he does a solid job in getting Captain Marvel's latest adventures off the ground.

At this point, Kelly Sue DeConnick has established herself as the preeminent voice of all things Captain Marvel. Her Carol is brash and funny, smart and loyal, able to turn the most ridiculous of events into the most unlikely of victories. That being said, the book's overall flow has begun to feel a bit detached lately, the narrative direction as adrift as her oft damaged space ship.

The issue as a whole offers little to the Black Vortex event at large, but the creative team does a nice job in ensuring that Carol's solid characterization remains on point.

Kelly Sue DeConnick's Captain Marvel run left quite the red boots to fill, yet only two issues in it appears that the creative team of Michelle Fazekas, Tara Butters and Kris Anka are up to the task.

Its premise is familiar (Captain Marvel teams up with a wisecracking super team and has wacky space adventures) but that doesn't make Carol's latest any less refreshing. Not only are writers Michelle Fazekas and Tara Butters mining a different side of Carol " one physically weakened and emotionally compromised " but they also continue to make the most of the book's supporting cast.

There are a lot of moving parts to Captain Marvel's first arc, from alien assailants to space subterfuge and everything in between. It's strange then that even with everything going on, issue #4 feels somewhat disconnected.

Starting point or not, the team of Fazekas and Butters, along with artists Kris Anka and Felipe Smith, are clearly a good fit for this title, and the series' upcoming Civil War II focus presents a great opportunity to further prove it.

Considering Carol's role in the Civil War II title proper, it comes as somewhat of a surprise just how little her core title dips into the conflict.

As perhaps the single most important character in Civil War II, the spotlight on Carol Danvers has never been brighter. At this point the character's pro-Ulysses beliefs are nothing new, but Ruth Fletcher Gage and Christos Gage really do an excellent job here of highlighting the tenuous position Carol's challenging stance presents.

Given the pre-set parameters set by Civil War II, Ruth Fletcher Gage and Christos Gage have done an admirable job of creating a Carol both steadfast and sympathetic. That said, for as much as the character seems aware of the slippery slope she's currently sliding down, she still more or less ignores any sense of uncertainty in lieu of unwavering conviction.

The fun and energy of DeConnick's initial run carries over into the Carol Corp, each wisecracking member at once appealing and familiar.

It's nice to see a book actually focusing on the world left behind in the wake of Secret Wars, with characters questioning Doom and the supposed realities he's set forth. That being said, it's tough to say where this book is really looking to go, issue #2 hardly moving save for a sudden swerve you see coming from miles away.

Compared to most Secret Wars tie-ins, Captain Marvel and the Carol Corps reads like a book very much beholden to its event mothership. Even when things are happening, such as here in issue #3, the book never really feels like its gaining any sort of momentum.

It's the kind of read that gets you fired up, inspired, so intent are DeConnick, Thompson and Braga to leave everything on the final page.

It takes a while for Carnage #1 to get going, but once it does both the book's quality and its engagement takes a jump. Writer Conway has smartly tucked his villain away in the shadows, allowing artist Perkins to work with the unease of the unknown. A strong premise doesn't always translate to a great series, but there's enough moody pull here to make it appear worth the descent.

The real surprise is the art generated by Derek Charm -- not only does he bring each respective character to vividly accurate life, but he does so solo, lending a strange sense of continuity to the proceedings. Each scene and set piece is rendered with loving accuracy, something sure to be appreciated by those long enamored with the characters involved. With a hodgepodge of famed characters still to enter the fold, Super Crisis Secret War is go!

There's fun to be had here, no doubt, but when all is said and done Super Secret Crisis War could stand to be a bit more super.

What is easy to enjoy is Murphy's gorgeous art. There's detail, and then there's Murphy detail"each page and panel offers a ridiculous amount of eye candy, from distinct large scale battles to hilariously inappropriate dude-bro jokes. So much of the read depends on Murphy's uniquely timed characterization and expansive world building, and it's by and large the main component that will keep readers coming back.

It's not without its entertainment value; it's just not yet clear whom this book is for.

Civil War reaches its penultimate issue and, much like the previous chapters, the results are mixed.

Gail Simone is no stranger to the wild and weird, so its saying something that Clean Room #1 may be her strangest yet.

What a difference an issue makes. Following a rushed debut, Gail Simone turns in an excellent, meticulously paced follow-up that's high on frights and even higher on intrigue.

All told, issue #3 is Simone and Davis-Hunt at their unhinged best.

The book's end pages do well in setting up a real, and potentially present, conflict, but until the narrative catches up to it's obvious spectacle, this book will fall just short.

Clean Room is at once maddening and enticing. The series is plagued with inconsistent pacing, strange narrative interjections and a plot that appears to get muddier with each new installment. It's also insanely gripping, completely terrifying and awesomely illustrated, making for a truly divisive read.

The frights here range from borderline creepy to downright terrifying, making each turn of the page a risk in and of itself.

Jon Davis-Hunt is a star. Such has been the case from the beginning, but issue #10 is a prime example of the kind of versatility the artist brings to the read.

An excellent blend of deviance, humor and horror, Clean Room continues to thrill.

Clean Room is the kind of book you can't look away from for even a second. It's not just the horrifying imagery - something issue #16 churns out with extra relish - but also its pinpoint use of language, both subtle and otherwise.

Clean Room is a scary book, that much we know. What makes this book so consistently unsettling is in how the book scares you, as Gail Simone's horrors never come from the same place twice. Issue #17 is an excellent example of that uncertainty.

The book's finale delivers on most, if not quite all, of the book's presumed promises. The resolution, while quick, is nevertheless effective, Simone bringing her expansive cast together in ways that fit well within the preexisting confines set by the story.

Magic or not, four issues is a short time to tell a story, yet Monroe and Navarro appear fully equipped to pull a winner out of the hat.

The latest from Memetic creators James Tynion IV and Eryk Donovan, Cognetic #1 shares more than a few similarities with their prior apocalyptic tale. The unexplained phenomenon, the rampant violence, the talk-through-text aesthetic; at first glance, Cognetic is a few wrong turns away from a rehash. As the story progresses, however, the real intricacy of what Tynion and Donovan have created comes to play.

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.

Richards also does a fine job elevating the read, his line work clean, if not a bit simple. There's not a lot of movement to the issue beyond the last few pages, the panels mostly similar in style and direction, but there's enough moxie to Deathblow's explosive appearance to expect greater things from their eventual showdown. Here's hoping this team delivers.

Catwoman's Convergence tale is kind of a weird read. On the one hand, it definitely appeals to those who grew up reading comics in the 90's, the familiar purple jumpsuit and ridiculous bullwhip at once familiar and fun. On the other, it's tough to make out what kind of Catwoman Justin Gray wants us to see.

Having already done a great job in introducing the book's cast last issue, Spurrier is able to further flesh out the eclectic band, with solid attention given to lead, Lou. There's some great character work at play here, particularly so given the leaps in time, and Spurrier's consistently strong dialogue goes a long way in crafting a distinct, immediate tone.

Cry Havoc may not always be the easiest read to follow, but it's certainly one of the prettiest.

f you were looking for answers pertaining to Cry Havoc's many threads, consider the floodgates opened. Issue #6 is a deluge of wrap-up and advancement, Simon Spurrier providing seeming ends to darn near every plot point in motion.

In Curse Words #1, Charles Soule and Ryan Browne have conjured up one heck of a fun yarn. It's not always a pretty tale, with some rushed pacing and an overstuffed structure, but what it does hit it hits hard and with plenty of energy. Soule's Wizord, a Merlin for the hipster generation, is an enjoyably murky lead, and with Browne on hand to deliver his many misadventures with kinetic glee, we don't expect the magic of this first issue to dim any time soon.

Soule takes his script to some pretty out there places, and Browne brings an excellent sense of energy to each dangerous situation and humorous set piece.

The setup and humor here hits the mark, just not on quite the same level as issues past.

The finale to Curse Words' first arc ends much like it began, with plenty of magical mischief and gonzo spectacle.

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 #5 isn't the most memorable of finales, with the arc's primary villain falling as little more than an eviscerated afterthought, but the issue does do well in further solidifying the promise of this new direction.

Elektra makes for a fine guest star and looks to be a solid focal point to this new arc, but her usage here is more perplexing than engaging.

Charles Soule does his best to get the most out of this particular team-up, adding Peter Parker to the mix as Matt Murdock continues to put his unseen plan into play. The resulting issue has its fair share of web-slinging and baton tossing, but it's the strong character elements that prove the most investing

With some welcome personality and an eerie and engaging hook, this might be the most promising issue of this still young series.

With an unnerving and mysterious villain in Muse and a political backdrop complicated in both morality and scope, this latest arc gives us our best look yet at what this creative team has to offer.

Charles Soule has really rounded into form. That's not to say his earlier Daredevil work was poor, but rather that his new arc is just that much better.

Capping off the series' strongest arc to date, Charles Soule delivers a gripping finale with issue #14.

With an assured tone and a great ending hook, this arc is off to an excellent start.

Soule clearly has more designs for this particular tale, having spent 17 odd issues planting its seeds. But he does provide a strong sense of direction buoyed by an even stronger emotional core.

While the book's ending does seem to tip its hand as to where things are potentially going, this is nonetheless a fun romp that utilizes the character's long and complicated history to creative effect.

Having finally explained the nature of Matt Murdock's sudden clean slate, Charles Soule continues to put that premise to immediate use. His latest does a great job of combining two of his strengths " dynamic superhero action and engrossing legal dialogue " into one efficient package.

Capturing the many nuances of such a complex character is no easy feat, but this issue proves that Soule and Sudzuka have it down pat.

All told, while it's nice to see these characters back in the pages, this annual doesn't make for required reading.

There's still not much new to chew on, but it has its moments.

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.

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.

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.

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.

No one was likely clamoring for more of Deadpool's motley crew, but Bunn and Espin put them to good use in this first installment. Espin's clean character work and expressive lines go well with Bunn's easy moving script, the two combining for an enjoyable read that has promise for greater things. It's a familiar read, but not a bad one.

Deadpool and the Mercs For Money isn't out to reinvent the wheel, but rather appears intent to give it a good spin. Bunn's utilization of his full cast makes for big laughs, and the art by Salva Espin is both well constructed and full of character. Eventually the seeming lack of substance may set the series back, but as of now it has style to spare.

We mentioned last issue that the seeming lack of substance could eventually trump the book's obvious style, and that's unfortunately the case here.

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.

Art wise, artist Pepe Larraz and colorist Nolan Woodward prove a solid team, combining for some excellent action sequences and humorous character beats. Wade's assault of the British army is a definite highlight, the character as cool as he is ridiculous -- his gun is even named Kingslayer! Deadpool vs. X-Force #1 is pretty much what you'd expect for a book featuring a time traveling 'Pool, and that's not a bad thing. Swierczynski and Co. have a fine handle on the character, making his continued historical misadventures something worth reading.

Writer Duane Swierczynski uses the 'alternate history as result of time stream tweaking' to great effect, his version of events decidedly one-sided. Though the resulting shenanigans are fairly standard for a series such as this, they're still undoubtedly fun, the writer mining Deadpool's self awareness for a number of great bits.

There are still some hiccups to be found, namely Cable's overly obtrusive exposition and the obvious lack of interest in the remaining X-Force members, but overall this is just a fun book that refuses to take itself too seriously.

In the end the series hits the notes it needs to hit, and though it may not be as memorable in the long run, it's still undeniably entertaining.

Luckily, Scott Koblish proves the book's saving grace, the artist on hand to render Wade's various exploits once more. Combined with the muted colors provided by Val Staples, Koblish's art has an almost antiquated look to it, his sharp lines and detailed backdrops right at home with David's time-warped subject matter. The artist also proves adept at filling a page, many sequences requiring an impressive amount of fully realized (and colorfully dressed) characters.

Whether a victim of expectation or execution, Deadpool's Art of War remains more miss than hit.

Deadpool's stab at changing history mostly proves a success, Bunn and Lolli delivering a tale both entertaining and amusing. While Deadpool himself can at times overrun the narrative, the issue's overall enjoyment hinges on the book's chuckle worthy script and great art.

Whereas issue #1 effectively balanced familiarity with accessibility in a way that worked for everyone, issue #2 is much more of a direct Secret Wars parody. As such, the uninitiated will likely be left scratching their heads through much of the narrative as it ducks, dips and dodges from one time to the next.

Deadpool the Duck #1 won't be for everyone, but it's not just for Deadpool fans either. Stuart Moore and Jacopo Camagni take the best parts of both characters and find a way to use them in unison, culminating in a surprisingly strong and easily enjoyable debut. Some pacing issues prevent it from being and out and out hit, but with a strong premise and great, character driven art, it's certainly a fun one.

Deadpool the Duck is a book that defies expectation. Whether or not you find that to be a good thing will depend on that same expectation, but Stuart Moore is definitely delivering something different.

It's too early to say if it's too soon for another Deadpool title, but credit the creative team for going full-tilt out of the gate.

Initial opinion of Deathstroke #1 will vary based on what you're seeking. If you're looking for great action and detailed art, then Tony Daniel has you covered. If you're looking for an in depth exploration and recreation of a fan favorite, issue #1 will leave you wanting more.

We're still left with more questions than answers, but thus far the ride proves worth the hurdles.

For all his seeming popularity, Deathstroke is a tough character to get right. And to his credit, Christopher Priest seems to acknowledge that fact in his initial take. Rather than focus his story on Deathstroke the assassin, the bulk of this Rebirth issue looks at Slade the man, and how his actions affect those around him.

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.

Descender #1 marks an excellent debut from two equally excellent creators, their world at once dangerous and enthralling. Lemire's strong script makes TIM-21 someone to root for, with Nguyen's art giving the book a visual presence that's beautiful in execution and scope. More, please.

Dustin Nguyen's painterly visuals are again a draw, the artist using a fine blend of washes and colors to generate mood and tone. His alien designs and robotic creations continue to impress, though it's the subtle humanity in his robot lead that give Descender that something more.

With a true conflict at last in play, Descender remains a book on the rise.

Jeff Lemire builds off of the limb lending events of last issue, using a flashback structure as a way of fleshing out the less than fleshy origins of his robotic world. While the overall impact of these reveals is yet to be known, with hinted allusions to events past and possibly coming, the issue does a solid job in furthering Quon's layered history with robots in general.

Descender's first arc wasn't without its pacing wrinkles, but issue #7 offers a darn near perfect example on how to get a new story off and running.

With such constant calamity of late, Tim-21 and company were due for an issue off. Issue #9 offers one such reprieve, Jeff Lemire dialing down the book's recent action heavy leanings and instead focusing on further exploring his unique characters and the world they inhabit. There's plenty of advancement to be found here, but the real treat of the issue ends up being the very human focus on the book's non-human leads

Keeping in line with the more tempered approach to last issue, Descender #10 offers a nice mix of character development and narrative maneuvering.

As a chapter in a trade, issue #11 will likely tie in well. As an establishing issue set to draw us back, it's not quite there.

This issue doesn't get us anywhere new, but the emphasis on character proves the difference.

We've trust enough in Nguyen and Jeff Lemire to right the ship, but for any new readers looking to hop aboard, this arc does not represent Descender at its best.

Descender #14 may just be the most maddening issue of the series' run. It's an absolutely beautiful chapter, detailing the end days of Tim-21's mining camp as seen through the eyes of rover-dog, Bandit. It's also a largely empty read, serving as little more than extended setup for a reveal that still fails to elicit any sense of forward momentum.

Rather than focus on one particular tale, Lemire instead opts to jump-start three at once, using a triple-screen structure to update a slew of stalled plotlines. And yet, even with the wider focus there's still the sense that very little actually happens, the end page lacking in impact when considering the drawn out path it took to get there.

For a series that's largely lived and died on Dustin Nguyen's lush paints, it's refreshing to have the story back up to par.

It's one step forward, two steps back for this series. Following last issue's seeming return to form, the latest from Jeff Lemire and Dustin Nguyen again finds itself marred by strange plotting choices and uneven character work.

It's not always the most consistent read, but issues like this remind us why we stick around.

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.

Now three issues in, we're still waiting to see what separates this version of Drax from the angry, literal, Thanos-murdery copies that have come before. It's a frustrating wait at this point, as from a visual perspective this series is quite entertaining, Scott Hepburn again showing a great flair for kinetic storytelling and physical comedy.

It's not a bad book, but it's also not a particularly memorable one.

Grant Morrison's New X-Men run was as different an X-book as you'd x-pect when it first debuted, and in many ways the Secret Wars offshoot it inspires feels much the same. Chris Burnham and Dennis Culver pair a familiar feel with a fresh spin, utilizing their introduced old school/new school divide to great effect.

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 book's final pages are more strange than intriguing, but there's enough mystery to the debut to merit a return look.

Much of the book's investing quality comes from his fantastic characterization, his use of facial expression, coupled with subtle mannerisms, making for an immediately relatable tone. If the creators can maintain that investment while also ratcheting up the mystery, Effigy may just surprise.

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.

Mark Millar's ability to write entertaining fare is largely unquestioned, but the latest issue of Empress does make one wonder just how far the book can go on sheer entertainment alone.

Opting more for show than tell, this debut issue from Sarah Vaughn and Jonathan Luna is a slow burn. While this initial issue sets the conceit well enough " a mysterious woman in the present toils under the regime of a cruel Empress shaped by the past " there are more perplexing questions than enticing teases.

More effective is the art by Nord. What his panels lack in clarity he makes up for in design, his layouts unique and appealing. The Eternal Warrior is known for smashing heads and cleaving bodies, and Nord renders the book's violence well, his Gilad appropriately fierce and convincing in his prowess. Brian Reber adds to the book's tone, mixing muted, hazy colors with more intense and vibrant hues to create the sense of days long past.

Gilad Anni-Padda's adventures come to a close here in issue #3, the fate of his moon-marked charges seemingly all but certain. It comes as a pleasant surprise then that writer Milligan manages to circumvent said expectation, crafting a finale that hits the mark in unexpected ways.

Extraordinary X-Men #1 is a perfectly passable first issue, but given the talent within its pages we're ultimately left wanting. Jeff Lemire gives us some solid character play and a nifty new roster, but there's little in the way of initial investment. That leaves Humberto Ramos to carry the load, which he mostly does with his excellent art. Hopefully with the team now in play we can expect something a bit more extraordinary going forward.

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 are plenty of fun books out there, but few can match Faith when it comes to easy endearment. There's just something eminently likable and relatable to the character, a trait Jody Houser puts on full display with her latest.

It's tough to scoff at 48 pages for cover price, but this chapter nonetheless feels like a strong idea not quite executed to its full potential.

While it's always refreshing to see our heroes take the path less traveled, this one comes off as forced.

What really works is Houser's characterization here. Much like Faith we're not entirely sure what's real at this point, and while certain moments are definitely played up past the point that is necessary, Faith's uncertainty and lack of, yes, faith, rings clear and true.

On a purely narrative level, issue #8 is a bit flat. The cliffhanger from last month ultimately proves unimportant, and the move to a familiar foil doesn't initially offer much. Where issue #8 succeeds is in its examination of character, both with Faith herself and in the importance she places on the expectations of others.

The issue itself is a bit of a throwaway, with its only real conflict coming from an unexpected and easily dispatched adversary, but the sentiment is so strong and Kate Niemczyk's art so sharp that it works on quality of substance alone.

The issue is billed as a jumping-on point, and in that spirit writer Jody Houser does a solid job of reestablishing many of the characters, namely villains, we've previously seen over the course of the series.

A nice blend of character and spectacle, this arc continues its strong run

With Faith set to headline her own summer event book in the coming months, it makes sense for Jody Houser to conclude her latest arc with as few lingering strings possible. Unfortunately, the brisk wrap up makes for an unsatisfying end to The Faithless' first super-villain team-up.

Faith is the latest Valiant mini to get off to a good start, Houser and Co. making great initial use of the fan favorite character. The plot is a bit threadbare as of yet, but the strong characterization and referential air, paired with the enjoyable art of Portela and Sauvage, go a long way in earning return readership.

As a character study Faith #2 is a welcome read, though its impact on the series as a whole is limited.

It's tough to carry a book on likability alone, but three issues in it's a trick that Faith continues to pull off. It's not that the story isn't good " it just seems like it's still trying to get going, despite the various stop-starts and last second reveals. And considering the book's mini-series nature, that puts a sizable amount of pressure on the finale to pull things together.

The speed and convenience in which the book's threat is introduced and summarily dispatched is again noticeable, but the character put forth by Jody Houser, Francis Portella and Marguerite Sauvage is so strong that it's easy to overlook.

While there's the sense that it's yet to fully hit its stride, this remains one of Rebirth's more promising titles.

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.

Frostbite #1 is a familiar tale, but it's not a bad one, and ultimately it's the quality of work that will keep readers coming back. Joshua Williamson has a clear handle on his characters and his world, his many twists offsetting the equally numerous tropes. Jason Shawn Alexander and Luis NCT combine for a one-two punch of atmosphere and mood, their bleak setting and strong character work immediately engrossing. It's not a runaway hit, but it's a pretty cool read.

There's an undoubtedly interesting dynamic in play, what with Keaton needing Victoria to help cure her of her illness, while also harboring the secret of Victoria's murdered father. And yet, Williamson's dialogue is so on-the-nose in presenting those connections that it almost ruins seeing them play out.

Any book that sees a woman uppercut a bear deserves a strong look, and it's ultimately Alexander's strong visuals that make us most excited for the final act.

For a finale, Frosbite #6 is perfectly serviceable. It wraps up the book's signature focus well, brings its character arcs full circle, and even squeezes in a tantalizing promise of future issues down the pike. That said, Joshua Williamson's capper can't help but feel a bit bland when all is said and done.

Focusing more on splashy guest stars than establishing its title lead, this first issue remains stuck in neutral. Felipe Smith's script has its moments, but the odd plotting and lack of personality hinder any initial investment. Danilo Beyruth gets a few moments to play, but by and large the art never really takes hold. Given what we've seen from the character before this book still holds promise, but this initial chapter does little to prove it.

Of course, that's not to say he slouches in the art department. Not only is his expressively cartoony style as enjoyable as ever, but he also utilizes physical comedy quite well. These moments, such as Rogue always being on her cell phone (even in battle) or Daredevil's hilarious directional challenges, are great, Young's youthful spirit adding giant size fun to this giant size read.

When the book's script and art come together like this, Giant Size Little Marvel is nothing short of a delight.

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.

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.

Writer King shows a great mind for pacing here, the book's tone subtly shifting from light hearted romp to mind bending thriller in a way that leaves you just as disoriented as the book's eponymous lead.

With so much emotional kindling we expected Grayson's return to be good, but by hitting the heartstrings and advancing the plot, King and Seeley have delivered something special. With new wheels in motion and the Bat family at long last repaired (sort of), Grayson continues to be just as surprising and entertaining as its eponymous lead.

It was going to be tough to top last month's wonderful, reunion centric issue, and thus it comes as no surprise that Grayson's latest entrant feels a bit lacking by comparison. That said, Tim Seeley does a solid job of getting the book's primary narrative back on track, turning Dick's focus towards the recently revealed Agent Zero.

It's always a crapshoot whenever an existing series is forced to bend its narrative to fit a larger event book, but Grayson's Robin War tie-in is a surprisingly seamless affair.

It's not a total loss " there's some solid action to be had and a well placed, if slightly confusing cliffhanger " it's just not quite of the quality we've come to expect.

The narrative acrobatics may eventually culminate in a stuck landing, but as of now this book is swinging without a net.

. Ultimately, it's not the plot that makes issue #20 a winner, but rather the clear sense of character that's consistent throughout.

Grayson's latest annual is a solid affair, Seeley and Martinez gifting some fun moments of humor and super action. At times the characters don't quite seem themselves, but the team does a nice job creating a story in which Dick and Clark would feasibly share time. While it would have been nice to see a few themes further explored (such as Dick's grappling with the newly-amnesiac Batman), there's enough strong art to carry you through.

Visually, Daniel Sampere uses the team-up premise to nice effect, ably mixing the more fantastical power set of Green Lantern with Green Arrow's more real-world abilities. The "Lantern" arrow is a definite highlight, though it is interesting that the same shot achieves an entirely different result on the second try. Comic physics maybe? Despite some weird angles, Sampere's facial work is noticeably improved this go round, the artist effectively capturing the character's various emotions. His King is still more a figurehead than anything else, but his look is still evil enough to know he means business. The new Green Arrow remains a work in progress, but with Ollie seemingly having FAILED HIS CITY, the book's stakes appear prepped to raise even higher.

Green Arrow continues its everything-but-the-kitchen-sink approach, Andrew Kreisberg and Ben Sokolowski building towards the finale of their first arc. The various escalating events do well in creating interest for what's to come, but it also leaves issue #39 feeling a bit forced as a result.

While the annual is far from required reading, it does serve to fill in some notable blanks.

For a book supposedly outside of the main Lantern universe, The Lost Army sure has a lot of connection to it. That's not necessarily a bad thing, but after a bright start the series is veering dangerously close to rehash territory.

At this point, the rainbow corps are a familiar trip to the well, which makes the initial introduction of the Phantom Lantern feel somewhat ho-hum. What ultimately proves the difference here is Sam Humphries' layered characterization, the writer imbuing glory-hound Frank with just enough earnest passion to keep him relatable.

While issue #12 reads as a bit of a rehash in regards to the Phantom Lantern's psyche, there's enough new insight gained to make up for any perceived stalling.