In "Constantine" #5, Billy Batson is more sympathetic than Constantine, since he is on the receiving end of that tired excuse, "This is for your own good, kid." Also, Batson actually hasn't done anything wrong with his powers yet. Constantine's pre-emptive strike is based on opportunity and high-handedness. Near the end of "Constantine" #5, Shazam states, in an endearingly straightforward, kid-like way, "You're a real jerk, Constantine. I hope I never see you again." Unfortunately, readers may agree too much with Shazam. "Constantine" presents itself as a magic and character-driven title, but it has yet to deliver characters of any complexity or any new take on what magic means or how it functions in the DCU.

Both as a comic in its own right and as an exercise in bringing back the dead, "Drew Hayes' Poison Elves" #1 fails, which is a shame, because the market could always use more diversity in publishers and genres. Curious readers would do better to pick up trades of the original "Poison Elves" instead.

The team's battle rival isn't announced until the last page. The choice of opponent is out of left field, but that isn't enough of a hook. "Convergence: Plastic Man and the Freedom Fighters" #1 fails in execution because its passive narrative and lack of characterization undermine investment in the plot and premise.

"Earth 2" #0 also falls into the zero-issue pitfall of being disconnected from events and characters in the current storyline. No doubt these characters will eventually converge and the current team will be seeing more of Mr. 8, since Terry Sloan sees something coming that is "an evil far, far greater than the gaudy hordes of Steppenwolf." There is also a cryptic reference to an eighth original teammate who Sloan refuses to name. Readers must hope that these potentially juicy tidbits develop into stories are not executed in the disappointing manner of "Earth 2" #0.

Unfortunately, the selection of gods and Hickman and Costa's delegation of leadership feels arbitrary. "God is Dead" falls flat in living up to the ambition of its themes, or else it's not trying to achieve any commentary on power and religion. There may be stronger mechanics and a more thoughtful treatment of ideas in future issues, but as a debut, "God is Dead" #1 feels crude.

However, Gillen's dialogue and plotting have worked better if Land's work in "Iron Man" #14 wasn't such a terrible counterpart to his storytelling, like a constantly out-of-step dance partner. Land's stiff faces look like masks, and his figures have no feeling of natural movement in the action scenes. Sure, Recorder 451 is an alien, but he is highly anthropomorphic -- barely distinguishable from human in body and facial configuration. His emotions and reactions should feel less plastic. It's even worse with Tony's face, where his grins and smirks feel distracting, inappropriate and off-putting, like a bad actor or poor voice dubbing. The words and images don't fit together, because Land's facial expressions don't do the job of being emotionally in sync with the events.

While the confrontation and battle between Robin and the Sheriff of Nottingham is inevitable, Rodi still fails to build up interest in the characters and tension about the eventual outcome of the story. "Merry Men" #1 relies too much on its concept to generate interest in the plot and the characters.

Geoff Johns was able to give Sinestro some depth, but in "Sinestro" #1, the character feels very limited in emotional range and redeeming qualities, not an auspicious start. It does establish a direction for Sinestro and give him a new raison d'etre in finding the remaining Korugarians and rebuilding his Corps, but the path towards those objectives is mechanical and instrumental.

It's not clear why DC wanted to revive this team for the New 52 Universe, and the creative team fails to make the team's mission necessary or coherent. Unfortunately, "The Green Team: Teen Trillionaires"#2 continues a weak start to this new series.

"Vampire Diaries" #1 isn't a promising start to a spin-off anthology, since it neither significantly enriches the backstory for fans of the show nor tells a story that is memorable for its own merits.

"Aquaman Annual" #2 lacks substance and doesn't give the reader any bang for the buck, but it does close the Giant-born plot thread. This quick dispatching is ultimately a relief due to the thinness of characterization and plotting.

"Astonishing X-Men" has covered a lot of ground this year, yet in this latest installment, the team and even the newlyweds lack chemistry, and thus the story lacks spark.

"Avengers: Millennium" #1 fails to create a good reason for readers to pick it up, despite how it features the same roster of characters as Marvel's next big summer movie.

Layman's humor on "Chew" is reliably wacky and creative, and he's shown before that he can poke fun at his characters while building up the reader's fondness for them. The saving grace of Clayface's story ought to be the humor, but it doesn't quite come off. The big joke hinges mostly on the capacity of the audience to smugly laugh at stupidity. Watching Clayface overreach and fail again is slender satisfaction, since he's never been a villain in the big leagues of Batman's rogues. "Batman: The Dark Knight" #23.3 disappoints by driving home how unworthy of time the main character is, rather than delivering meaning or amusement.

"Batgirl: Convergence" #1 is a conventional story about self-confidence and self-discovery told with an unconventional approach. Kwitney doesn't make it easy for the reader to follow her. She doesn't use any time-stamp indicators, nor does she leave cues or set up a frame that would foreshadow the structure. The offbeat humor clashes with earnest characterization. The forward momentum is poor and the story keeps going off the different directions in order to give the reader a sense of Stephanie's character and where's she's been. It does partially succeed in these goals, but the blurriness of tone and choppiness of action are barriers to entry.

"Justice League: Gods and Monsters " Wonder Woman" #1 squanders the promise of its concept with sloppy plot devices and superficial characterization. I expected more from DeMatteis and Timm.

"Prometheus: Fire and Stone" #1 doesn't stand on its own for readers who aren't invested in the franchise already, and it's also of dubious value as a follow-up to the film or a start to the "Fire and Stone" crossover. It doesn't build horror effectively yet, and the characterization is weak. The only real suspense occurs on the last page, and this is inherited suspense, riding on the coattails of the movie. Familiar readers may soldier on to learn exactly why LV-223 is so changed or simply to see when what happens when things go further south. The final panel isn't a huge surprise, but it does create anticipation, at least for "Aliens" fans, about what happens when that door is opened like Pandora's box.

The reader knows who to like and who to dislike through all the well-worn visual and verbal shorthand. It's efficient, but there are no surprises here, to the point that it's a liability for the story. Every single character in "Reyn" #1 has been endlessly rehashed in the fantasy genre already, and the creative team hasn't added anything new. The world of Fate is built up adequately, but it is also derivative. In the end, the lack of originality in setting, character and dialogue makes "Reyn" feel like old news even though it's a debut.

As the main antagonist in "Adventure Time," Ice King has been overdue for his own miniseries, but unfortunately "Adventure Time: Ice King" #1 is a departure from the high standard set by the cartoon, the ongoing series and previous miniseries and spinoffs.

Overall, "Buffy the Vampire Slayer Season 9" #16 was a haphazard beginning for a new storyline. The story trajectory was muddled by too many intersecting plot points to have a strong core. Some fans may be pleased just to see Buffy and other favorite characters back in the saddle, but overall, it lacks the cohesion and sense of greater purpose of the previous mini-storyline focusing on Billy the Vampire Slayer.

"Cable and X-Force" #3 finally has its team of mutants united under one mission, and the plot is speeding up, but the writing and the art are both pushing more style than substance, and at $3.99 for twenty pages, the mild suspense created may not be enough to keep readers coming back.

It's still easy to see why the Merc with a Mouth became such a hit, but he's overexposed and he's become a thinner version of himself over the years. "Deadpool vs. Thanos" #1 gives the character a new creative team and new concept, but they don't give the character new life, and he needs it.

"Deadpool Vs. X-Force" #1 feels like the beginning of a forgettable miniseries that will add nothing to the characterization or history of X-Force or Deadpool. Fans of late "New Mutants" and '90s-era "X-force" fans can and probably should skip this tangential filler, and that's a problem, because this miniseries is banking on precisely those fans and that nostalgia. Deadpool fans and new readers should graze elsewhere as well.

Even the Medusa's parting shot in the last page cliffhanger leaves behind a bland, generic impression. All the lackluster action has little meaning behind it, except to establish Black Bolt's bonafides as a good leader. "Inhumans: Attilan Rising" #3 is the weakest issue of the series so far, and it's a surprising step backward in Soule's efforts to raise the Inhumans' profile in the Marvel Universe.

Like the first issue, "Letter 44" #2 is marred by clumsy narration and heavy-handed world-building. Further issues might be able to iron this out, but for now, the storytelling poorly executes a promising concept.

"Mighty Morphin Power Rangers: Pink" #1 is aimed squarely at existing fans of the franchise, as Fletcher and Thompson assume previous knowledge of things like Alpha 5, Goldar and Zordon as well as Kimberly's accessories and powers. The storytelling isn't strong enough to stand on its own yet, though the writing is sharper and brighter when Fletcher and Thompson focus on Kim's voice and don't hew quite so closely to the conventions of the original live-action show.

"Southern Cross" had a great concept, but it's not delivering yet. Cloonan and Belanger need to work more on the foundation of the story so that they can build on it.

The re-setting "The Crow" in Japan is a good twist, but must every story set in Japan feature traditional martial arts? Sure, The Crow using katanas will be awesome, but it's also fan service. Shirley's weaving of Shinto motifs with O'Barr's established iconography is more subtle use of his setting. In Japanese mythology, the Yatagarusu, or eight-span Jungle crow, is a sign of the will of Heaven in human affairs. In Shirley's story, the crow is a watchdog and witness as well as a catalyst of resurrection and vengeance. Themes of death and rebirth are also less clear-cut in Shirley's story than in O'Barr's "The Crow." Further issues may show if Shirley will add more substance to this incarnation of the titular anti-hero, but this first issue doesn't deliver much more than homage mixed with existing tropes.

Overall, "Ghostbusters" #1 won't necessarily disappoint long-time readers of the series, but it's a drawn-out, flabby beginning to their newest adventure, even if the characters are their quirky and likable selves.

Fell's artistic skills are obvious in the backgrounds and delicate color work, but his facial expressions and body language -- which are more important in sequential storytelling -- don't adequately support the story, which is weak on plotting and characterization.

In "The Shadow Special" #1, Beatty and Cliquet get the pulpy, retro noir tone right -- not a trivial achievement -- but nailing the look and sound doesn't mean that there's substance beneath the style.

"Voodoo" #0 passes on tying up all loose ends with a "to be continued" cliffhanger ending. The clone story in "Voodoo" relied on shock value more than good character development or dialogue, and series cancellation will upset few readers, but it will be interesting to see what becomes of the character and her clone as they become more of a presence in "Grifter."

It's nice to see Clan Destine again, but in the end, "Wolverine Annual" #1 is totally forgettable. Wolverine gets used a shield and guinea pig (not exactly new roles for him), and Clan Destine gets put back on the shelf in roughly the same shape, if somewhat unsettled or upset by their battle. When Doctor Strange says, "None of us are who we were yesterday," his words are sincere yet strike an ironic note, because this large cast of characters is static. While the stakes were seemingly high and the players were many, everyone walks away and no one truly evolves. For a long 38-page story and $4.99 cover price, "Wolverine Annual" #1 should have done more.

All signs in "X-Men Legacy" #269 indicate that the Phoenix Force will again be too dangerous for the X-Men to contain. I'd like to believe that Gage has some plot twists and subversion of expectations up his sleeves. Like Rogue, I have my doubts but I must hope for the best.

"Agents of S.H.I.E.L.D" #1 doesn't add much yet to the franchise yet, but this debut shows flashes of promise. The plot and action move along predictably, but there is both verbal and visual energy in the pages and the team feels cohesive.

Specials and Annuals have a bad reputation for stories that don't matter and, unfortunately, "Amazing Spider-Man Special" #1 fits that stereotype. The A-list characters stay A-listers and the B-listers don't get reflected glory. The dull plot diminishes the brightness of Loveness' humor and Pizzari's visual energy. Maybe things will get spiced up when Sam Wilson shows up, but the story feels lightweight and minor so far, and the Inhumans don't improve their appeal enough to make them matter to the reader.

Two-Face decides by coin toss to both save Gotham and accept the sponsorship the Crime Syndicate. Naturally, these two decisions are not compatible, but the action-heavy plot conflict is rapidly resolved, and Tomasi has the story arc spin back to have the final page echo the first page. While this is even-handed and conceptually fitting for Two-Face, it also results in "Batman and Robin" #23.1 feeling like a filler issue. Tomasi and March's pacing is suspenseful, but the anticipation they create in "Batman and Robin" #23.1 ultimately falls flat due to the lack of impact.

The identification of the reader with both the nascent hero and with the catalyzing tragedy is crucial for this story to have pathos. It's impossible here, because both Veidt and the person he loses are at best shallow and at worst supremely unlikable. Veidt is god-like, calculated and morally ambiguous. Ozymandias' personality in "Watchmen" was defined by his utter rationality and ability to manipulate. He is motivated by the desire for greatness and also by a terrifying, strict utilitarianism in which noble ends are justified by any means necessary. Wein keeps this harsh persona wholly intact in Veidt's childhood, implying he was hatched with this persona and just had to find an idol and motivation. It's as if a psychopathic child prodigy was slotted into the outlines of a Batman-like origin. Thus, what Wein adds to the Ozymandias mythos manages to be both superfluous and jarring at the same time.

With the convergence complete and Bloodshot semi-functional, future issues of "Bloodshot and H.A.R.D. Corps" #15 need to do more with character development to win readers over to the new lineup.

However, the pretty art and snappy jokes in "Willow Wonderland" #1 are overshadowed by the lack of interesting action or characterization, making for a weak debut.

Bedard and Richards do succeed in giving Aquaman a stage of his own beyond "Convergence's" battle to the death. Nevertheless, the "Convergence" framework is heavily limiting and contrived and they don't overcome it. The story in "Convergence: Aquaman" #1 is struggling against the event limitations, and it shows.

Despite the nod to '90s and a retro vibe, "Deadpool & Cable: Split Second" doesn't read very differently from any other Deadpool miniseries of late, though Nicieza was the writer on the original run of "X-Force" after Rob Liefeld left and has a long history with these characters. Typical for a Deadpool vehicle, the story here is much weaker than Deadpool and Cable's first encounters in the pages of "X-Force," where -- amid all the big guns and gritted teeth -- Nicieza gave both characters a real arc. The jokes here don't mine this material closely enough to trigger deeper nostalgia, and they don't justify the longer page count by themselves.

With characterization and plotting already plodding, it's likely that thematic development in "Debris" will get only the most cursory of treatment. By itself, "Debris" #1 leans on the baggage of its influences as a crutch, rather than unpacking it. Three-quarters of the miniseries remains, though, so perhaps the weaknesses of the story will be remedied later.

Mandatory tie-in issues to line-wide events can feel forced, and this is the case for "Detective Comics" #25. The "Zero Year" tie-in story is heavy-handed and too pat in its fable-like morality and mechanics, especially side by side with a stronger backup story set in the present day.

Judged by itself, "Drive" #1 is a workmanlike translation of the story of Sallis' novel. Unfortunately, compared to the film, it falls short in artistry, style and imagination. This is going to create a divide in the reception of this comic. Readers who saw the film will probably be disappointed, while those who only read the book or are new to the story won't nitpick so much.

"E is for X-Tinction" revisits Morrison's world and creates a disturbing post-apocalyptic mood, but Burnham and Villalobos don't make a strong enough case for the importance of this "What If?" trip down a gritty memory lane yet.

The only reason that this scene has any emotional resonance among all the clichs can be credited to the excellent facial expressions courtesy of the art team. The panel of The Flash's face as he listens to Patty's pain eloquently conveys dismay, shame and acceptance. It's too bad, then, that the writing is less subtle than the art.

The second half of "The Haunted Mansion" #1 falls flat with too much wordy exposition and rushed pacing. Unfortunately, the tie-in elements are the weakest part of the storytelling. The story is all-ages appropriate, but doesn't add anything substantial or new to the media property yet.

The story format and length of annual issues can result in strong, self-contained stories or new directions, but too often they offer more length with less substance. "Indestructible Hulk Annual" #1 is a bland story of the latter type, complete with a disposable villain-of-the-week. It is innocuous, derivative and pleasant enough, but without anything that will stick in the reader's memory or have much impact.

"Legendary Star-Lord" #10 holds up its part of the arc, but "The Black Vortex" event isn't one to remember at this point.

Brisson has proven he can write a tight, twisty plot with previous books like "Sheltered." It's ambitious of him to experiment with the superhero formula. I'm curious to see how the characters, tone and structure will develop in the second issue, but "The Mantle" #1 is a shaky start. Further issues will make or break the title.

The art and the writing are kid-friendly, but unfortunately, they lack the dramatic or comic depth to sustain appeal for teen or adult readers. However, this is only the second issue and that could change if the story shifted to expanding Lunella's ambitions and abilities. The main character still has star power, so she should be front and center.

Punk Mambo was a nice surprise when she first appeared in the pages of "Shadowman" because, as Milligan intended, she wasn't a stereotypical mambo. "Punk Mambo" #0 has smooth storytelling mechanics and superficially fulfills the function of an origin story, but it actually adds almost nothing her characterization.

"Tales From the Darkside" #1 has its high points, namely Hill's ability to develop a character's voice quickly and Rodriguez's smooth transitions and pacing, but "Sleepwalker" prioritizes symbolism and concept too much over plotting and characterization.

"Teenage Mutant Ninja Turtles: Deviations" #1 has a good premise and strong opening scenes, but the weak plotting and lack of deeper characterization keeps it from being a stronger one-shot or memorable "What If?" tale.

"The Cavalry: S.H.I.E.L.D. 50th Anniversary" #1 succeeds at getting the essence of Melinda May across to new readers, but it doesn't make her interesting enough to pull comics readers towards the TV show if they're not watching it already. It also doesn't add anything new to the character for readers who have watched the show.

"The Field" #1 relies too much on shock and the withholding of information to create suspense. Despite the lack of substance, Brisson and Roy provide enough flavor to give the reader an idea of whether the tone of the book is for them. Future issues may round out the plot, but the first issue is too lightweight to sink in any more hooks.

"Will Eisner's The Spirit" #1 is friendly to new readers, but Wagner and Schkade haven't given the Spirit and his supporting cast enough of a fresh spin yet.

"X-Factor" is coasting on the chemistry between its well-established characters and Peter David's writing style. Perhaps the new threats of Morrigan and Jezebel will drive up the suspense level in future issues of this story arc; otherwise, it will continue to suffer from predictability.

Anthologies are always a mixed bag, and unfortunately, Young Romance: A New 52 Valentine's Day Special" #1 doesn't have any standout romances that make the entire collection worth picking up, unless the reader just wants the cards. While the art is often strong, there isn't a single story that moves the reader or is well-structured enough to hold its own, although "Dreamer" is a nice introduction. Considering the character lineup and the cover price, that's a disappointment.

"Birds of Prey" #0 ends with a cliffhanger that makes a lot of sense, but I didn't see it coming and it has me looking forward to the inevitable conflicts and juicy backstory to follow. "Birds of Prey" has had some odd pacing recently, but this Zero Month origin tale unfolded at a normal clip and has me hoping that Swierczynski will play more to his strengths of atmosphere and characterization in future issues.

The action of "Birds of Prey" #10 can seem slow, but this may be related to how Swierczynski's writing emphasizes gradual character development. To that end, perhaps we'll see some villains with sustained depth at some point down the line along with further emotional insights into the team dynamics and each team member.

This issue might turn out to be an unfortunate blip. A new series artist is slated to come on board soon and Swierczynski could still take the story to a lot of interesting places. Still, this issue soured me some on the book. Many of the qualities that made "Birds of Prey" different from the rest of the DC lineup -- Swierczynski's slow, moody pacing and subtle character development, skillful art by Foreman or Saiz " are disappointingly absent in this issue.

The pacing and construction of "All-New X-Men" #3 feels clumsy, too, and an interlude scene with a separate cast of mostly humans is just a cardboard setup for the ending double-page spread, which is sapped of dramatic power by all the filler that preceded it. Bendis' narrative requires that the entire cast will inevitably converge, and when that happens, I hope that "All-New X-Men" finds its sweet spot again.

The last page of "All New X-Men" #11 promises another round of heated verbal and physical arguments between rival superteams. On one hand, I'm looking forward to this match-up, especially because Bendis excels in scenes where the original X-Men interact with modern-day mutants, but on the other hand, I'm starting to worry about the ratio of character mash-ups to actual plot developments for a title that has been out for half a year now. Bendis and Immonen's "All New X-Men" remains a fun read for its energy and character interactions, but beyond its initial twist, the plotting hasn't been as strong.

In addition to this clunky predictability, "Superior Spider-Man" #4 may be verging on introducing too many elements into an already crowded plot. However, it's still a worthwhile read, because the core of the story -- Doc Ock's quest to prove his Spider-Man is superior -- is still both lightly amusing and chilling at once.

Earlier issues of "Superior Spider-Man" were worthwhile in their exploration of Ock's moral journey as he tried to define his version of being a hero. Unfortunately, too much of "Superior Spider-Man" #9 feels like a derivative exercise in stretching out suspense. Now that Slott has finalized this chapter of Doc Ock and Peter Parker's battle, perhaps future issues will show a return to stronger characterization and a lighter tone.

In "The Last of Us: American Dreams" #1, Druckmann and Hicks' dialogue is engaging, their characters are likable and the storytelling flows enjoyably and smoothly. The details add up to a good experience, but thus far, the story isn't memorable or exceptional. That may change in future issues, as the plot comes closer to converging with the unknown, future events of the videogame.

As a video tie-in comic, "The Last of Us: American Dreams" #2 does the job of filling in more of Ellie's backstory for gamers who want more immersion in the world. However, with its decompressed pacing and lack of deeper characterization, it doesn't stand on its own.

The transitions are very smooth for so many changes of setting, and the action of the story is rapid and satisfying across many interconnected subplots: Batgirl and Batman, Jim Gordon, Batman and Falcone, Gotham's criminal world and within the GCPD. Snyder, Tynion and Layman keep all these plot lines strong. "Batman Eternal" #4 feels like a well put-together TV show, and not just in its faster week-to-week pacing. There are many interlocking parts to the plot, and each part holds its own.

"Batman Eternal" #11 has a dramatic change in artwork. Bertram's work is strong and distinctive, and in terms of originality and innovation, he's ahead of his predecessors. However, he's an odd editorial choice. The shift feels abrupt and even distracting, even though Bertram's style adds atmosphere and tone. It's not that Bertram is just wrong for drawing a "Batman" story, but slotting him in like this for a weekly, when his style is not at all interchangeable, is only going to throw off readers who will feel that he is ill-suited to the material because his work viscerally alters the experience of the existing story.

After several strong issues, "Batman Eternal" hits a weak note in an uneven issue with too much connective tissue and exposition, but on the other side, it picks up a dangling plot thread and the tonal shift and the fusion of Arkham and the territory of The Spectre is successful.

"Batman Eternal" is too floppy and formless. The art could be better, but the major problem is that the plot needs some gravity to it. Subplots are all very well if the center is strong, but at this point the writers need to stick to one plot thread for longer than a few pages in order to have enough breathing room to do better work with characterization and suspense. The story feels like it's treading water week to week instead of executing bold strokes in a grand plan.

Ultimately, "Batman Eternal" #39 has better artwork than plot developments, but the confrontation between Batman and the Riddler hits a high true note when they are face-to-face on the mountain.

"100 Bullets: Brother Lono" #1 is a true return to Azzarello and Risso's vivid world, intact in texture and mood. Unfortunately, it also it showboats with attention-hungry, sensationalistic violence. Although I appreciate the irony of a debut in which Lono doesn't do much but wear a Hawaiian shirt and walk around peaceably, the lasting impression of the story is that it has more style than substance.

"47 Ronin" #2 is a worthwhile read, but I have to agree with fellow reviewer Greg McElhatton's observation about "47 Ronin" #1, that the writing (still) needs to catch up to the art.

Like all anthologies, "Adventure Time Annual" #1 is a mixed bag. However, for those who want to see how other creative teams fare with the "Adventure Time" cast and universe, it's definitely worth a look, particularly for Carlson and Nguyen's "No Dogs Allowed" and Bing and Monster's "The Lemon Sea."

In "All-New, All-Different Avengers" #6, Kang is a flimsy villain and his machinations were unraveled too easily. There was little suspense created around his evil plan, and his monologues made a comical rather than awe-inspiring impression. The villain seems beside the point, though. The weight of the events lies in the consequences for specific team members: Kamala's confidence was chipped, but she rebounds thanks to Nova's intervention, while the damage to The Vision is probably longer-lasting and more troubling. "All-New, All-Different Avengers" #6 is uneven, but Waid is doing a good job of slowly building up the bonds within the team, and there are emotionally resonant moments both on and off the battlefield.

"All-New Doop" #2 dips a toe into experimenting with metafiction, but it ends up just being a footnote even for fans who want to relive the convoluted time travel shenanigans of "Battle of the Atom," and the romantic hero role doesn't feel well-structured. Lafuente's and Allred's art is worth taking a look at, but overall, having Doop as a main character hasn't been as satisfying as his previous "marginal" roles.

By comparison, Gage's writing isn't as consistently rewarding or subtle. However, his handling of Faith is excellent and he does build suspense well for the rest of "Family Reunion." Readers will want to pick up the next issue, if only to see what happens to our heroes in Quor'toth.

The last page has an attention-grabbing, asymmetrical panel structure that drops into a clean whiteness that envelops the cliffhanger ending. "Animal Man" #11 is a nicely done -- if unsettling -- issue from the entire creative team.

The exposition in "Another Castle" #1 is heavy-handed, and the feminist slant -- while well-intentioned -- doesn't have strong enough characterization and action to back it up. However, Fosmoth and Gorga are endearing enough that I'd read more issues just to see what Wheeler does with them.

Out of the Zero Month issues I've read, "Batman Incorporated" #0 is the most unfriendly towards new readers. It's still a worthwhile read for the sharp character sketches and Frazer Irving's art, but one's mileage will definitely vary depending on knowledge of Morrison's Batman run and fondness for lesser-known DCU characters.

The ending cliffhanger of "Batwoman" #18 is a nicely done, and will leave readers curious about the new player the D.E.O. is bringing in to make Batwoman's life even more complicated. "Batwoman" #18 is a soft story arc setup, but future issues will probably remedy its most noteworthy misstep in pacing.

"The Big Con Job" #1 is an uneasy mix of contemporary social realism and crime caper. All the characters besides Poach are flat and the heist hasn't begun yet. At this point, it's hard to say whether Palmiotti, Brady and Stanton can make it all come together. The humor and pathos are strong, so hopefully the laughs can be played up while still keeping the reader invested in Poach's life. The second issue, when the heist structure emerges and players take their places, will likely make or break the story.

Swiercynski's plotting is typically slow to build, and six issues in, little is known about Bloodshot's original purpose and his past, but if the cliffhanger ending is any indication, the next issue will hit a payload of narrative revelations as the "Harbinger Wars" crossover event approaches.

"Coffin Hill" #2 gets it right in the dream-like visuals and symbolism, but dialogue, characterization and action will need to become sharper for the story to maintain its grip on the reader's imagination.

"Curb Stomp" #1 relies too much on the all-female-gang factor to make its premise interesting, but the debut issue is still a fun read, particularly for its punk rock energy.

The story flows well, and in its transitions and skeletal structure, it works well enough to keep the reader going. However, "Deadly Class" still has the potential for and needs more than just smooth mechanics. Here's hoping that future issues bring back an emphasis on Marcus' origin story or else do more to shake itself free from stereotypes.

Speaking of themes and devices, the ending cliffhanger features a surprise appearance by a familiar Marvel Universe multiverse character who has a fun whack-a-doodle statement for the final panel. Bunn hints that Deadpool is as much about beginnings as endings. In this and in Espin's art, "Deadpool Kills Deadpool" #1 is an entertaining start to the last of "Killology."

The best parts of "Deadpool's Art of War" are the off-the-wall elements and Wade's bizarre leaps of thought. Koblish's art is also solid, so hopefully in future issues, David can make Loki and Thor's eternal sibling rivalry serve the larger story and themes instead of putting on another tired reenactment of their enmity.

The readers who will get the most out of "Deadpool's Secret Secret Wars" #1 are Deadpool fans who are familiar with the 1984 event. Knowledge of the details will give the reader greater appreciation for the jokes. For readers outside of that subset, this is just a fun, light read.

Despite this criticism, Barbiere and Mooneyham's "Five Ghosts" #1 is a successful debut issue that comfortably draws readers in. Mooneyham's art is skillfully moody, with spacious backgrounds that are easy on the eye. With so much going on, the clarity and dramatic tension of Barbiere and Mooneyham's work is impressive. I just wish the substance was as meaty as the style. Overall, the mythology of Gray's power/affliction is interesting enough that I'm curious to see where "Five Ghosts" goes next.

Overall, none of the nine stories in "Ghosts" #1 are enjoyably frightening or particularly memorable. The $7.99 cover price is a lot to pay, especially since "Ghosts" #1 isn't perfect-bound. Fans of particular creators or completists will enjoy some of these tidbits, but it's a mediocre anthology.

"Goldie Vance" #1 has weak pacing and plot twists, but the exposition avoids information dumps and the characters are engaging enough that I'm still on board for the next adventure, especially if the disappearance of Mr. Ludwig ends up having more surprises and depth than the mystery of the missing necklace.

The cinematic crescendo that leads to the game-changing last page has dramatic impact, even though all its components are derivative. "Hacktivist Volume 2" #1 does a good job presenting a philosophical discourse through fiction, but its characters don't feel fully fleshed out outside their beliefs, so the pathos is limited.

However, despite these strengths, the takeaway from "Harbinger Wars" #3 is an overall impression of a lot of chess pieces being moved onto the big board of Vegas. Despite the skill of the creative team, it still feels messy and more cluttered than epic. The cast fights for air because there are too many major players. On the final page, the cliffhanger shows one last powerhouse character on the cusp of being removed from the bench. Until he is in play, total convergence has not occurred. The remaining suspense of "Harbinger Wars" hinges on this final convergence, and on who will survive. So far, "Harbinger Wars" has been a solid crossover, but it isn't ground-breaking.

Waid has set a high bar for his work with his own oeuvre, especially with the pathos and humor of his work on "Daredevil." His challenge with "Indestructible Hulk" will be to keep his characteristic humor, but to also raise the stakes for a hero who is used to being the smartest or strongest man in the room -- and knows it. Banner is a difficult personality; after all, he's always angry despite his immense educational privilege and his gifts. The teaser for the next issue promises a fun match-up that may be promising ground for characterization as well as trading punches.

Ellis' take on Bond still works well, but the villain's introduction falls flat.

Still, the humor predominates and it's not strong enough to hold up the plot on its own. Zdarsky will need to develop the characters more or ante up the sophistication of the humor to give the story more staying power in its initial arc. As it is, "Kaptara" contains too much mockery of the world it's introducing and too little heart.

It's too easy to ignore the subtext, and many readers will miss it entirely. Despite this focus on entertainment over more memorable substance, "Lady Killer" is an enjoyable and worth picking up for the Jones' art.

"Last Sons of America" #1 has uneven storytelling and the tropes are well-worn. Don Carlo sounds like a stereotypical mob boss and the contrast between the more impulsive Jack and the bookish idealistic Julian is also cookie-cutter (just like the Hardy Boys, actually). Despite this, I'm looking forward to the next issue. The emotions of the characters come across strongly, and the ending cliffhanger -- though predictable in retrospect -- is well-executed enough for the last page reveal to pack some punch.

While "Loki: Agent of Asgard" #3 covers a lot of ground and sets up an intersection between the Loki and his future self, the story loses some humor and lightness of handling when one Loki is in the spotlight instead of the other.

Characters reveal more of their true selves in conflict and crisis. Carter and Lee are two well-off young people with secure jobs and no kids. This isn't to say that they can't have any real problems, but that their inner life is unrevealed. Ergo, the reader's impression of them and their romance is superficial so far. The romance itself will precipitate the true conflict in the story when their attachment deepens. The emotional ride will get rockier when they must start thinking about compromises and sacrifices. "Long Distance" #1 is a pleasant enough start, but the relationship will have to prove itself to both the couple and readers in the next issue.

The resolution is sweet, if predictable, and true to the spirit of the main characters. "Lucky Penny" doesn't dig too deep into its themes of self-doubt and poverty, choosing instead to tread lightly. The story brings out and champions its heroine well, and the result is an enjoyable read.

"Miniature Jesus" #1 feels disorienting and sometimes ugly, but that's probably McKeever's intent. In its favor, it's also memorable and hypnotic in its strangeness. Whether or not one likes it is going to depend heavily on personal taste. It's best summed up as the comics analogue to a garage-made industrial surrealist art film -- conceptually driven and unpolished, but also something striving to be unique, provoking and surprising. Except for Image being the publisher, all of "Miniature Jesus" #1 is McKeever's work, and it may yet succeed on its own terms and find its audience. However, as a debut issue, "Miniature Jesus" #1 is a mixed bag, because McKeever's ambitions and emerging story do not -- yet -- justify all the heavy themes and deliberate opacity.

Strip away esotericism, and "Nameless" follows the usual space horror template. It's more style than substance currently, but the style is engrossing and unusual enough that "Nameless" is worth reading for the texture of Morrison and Burnham's world building and Nameless' dialogue.

The fleshy gore and uncanny ambience of "Nameless" #5 still make it distinctive, but the success of the story as a whole is reduced by its lack of lucid moments and connective tissue. Burnham and Fairbairn's art is effective and there are a lot of interesting ingredients in Morrison's vision, but they aren't coming together to become something more powerful.

With only one issue to go, it's uncertain whether Aaron and Deodato will be able to wrap everything up in a satisfactory finale, with all the questions still in the air. That said, if the reader has come this far, it will be hard to resist picking up the last issue.

Most kids, and let's face it, even most adults, would be tempted to go hog-wild with wishing once they knew what they had. Penny has gone more than 24 hours without wishing for anything that could be considered personal gain. Penny is instantly aware of the creepiness and the immense power of the box, and it freaks her out instead of swelling her sense of power. Her more impulsive and curious friend Elizabeth is more typical. She's Penny's foil and when she fights with Penny, she also provides the first bad consequence of the box being used. In Penny's characterization, Stock's story may be headed in the direction of something new, but it's too early to tell. For now, "Penny Dora and the Wishing Box" #2 is an interesting but uneven reading experience.

Faerber's choice to make the last page silent gives the closing action a great, slowed-down suspense and pace. Despite its uneven plotting and characterization, "Point of Impact" #2 did leave me still curious about the possible conspiracy behind Nicole's death, and how each character fits into the puzzle.

"Protocol: Orphans" #1 is a fun, smooth read due to the creative team's strong technique, but it's also deliberately shallow, guilty of taking too cursory a look at the dynamics it introduces just for kicks.

"Rat Queens" #2 is an easy, enjoyable read. This is partly because Wiebe and Upchurch know their stuff, but it's also because they aren't taking a lot of risks with the storytelling. The dialogue glides on easily with familiar jokes, and the action and characterization are vivid but derivative, offering comforting fun but no surprises. The predictability isn't offensive or lazy, but the creative team plays it so safe that they risk being bland. However, the last page of "Rat Queens" #2 changes the atmosphere and direction with its hints of conspiracy or intrigue, so the story may offer stronger plot twists or develop on more original lines as it progresses further.

"Scarlet Witch" #1 has pretty prose and artwork, but it doesn't create suspense and it also hasn't succeeded in redefining Wanda's new place and role in the Marvel Universe. Future issues, however, may remedy this.

The plot is commonplace, and David also doesn't expend effort on rehashing or extending the 2099 universe. "Secret Wars 2099" #1 is strongly character-driven, and the readers' responses will depend how much they like the characters. None of the Avengers have as much star power as Miguel O'Hara so far, but Captain America 2099 and Hercules 2099 both make an impression.

"Shadowman" #5 ends on a mysterious cliffhanger that introduces a new player. One of the virtues of "Shadowman" is its quick and deft development of its mythology and cast, and I hope that the plotting in future issues will rely less on stale plot elements while continuing to maintain the strong pacing.

"She Wolf" #1 is strong on atmosphere and style, but it will likely fall too hard of the cerebral side for a lot of readers. Tommaso doesn't establish the main character as more than the sum of the terrors that she faces. To the degree to which they can be separated, the art is stronger than the writing in "She Wolf" #1.

Despite this, Harris' structure and plotting for "Snowfall" is strong, and the solid pacing may be even smoother in future issues when the exposition is out of the way.

"Star-Lord and Kitty Pryde" #1 is a charming beginning with strong humor, but future issues will need much more in the way of Kitty's characterization for the central romance to (re)ignite.

The ending cliffhanger promises a new wave in the plot, and overall, "Supurbia" is still a good read, enjoyable like a good TV show while still occasionally showing that deeper layer of social or psychological insight underneath the gloss.

The best parts of the plot are when Guggenheim surprises the reader by subverting expectations. I didn't expect the pocket universe to reference a well-known 1953 lithograph, and the surprise of recognition was delightful. Jonas' progressively ridiculous accomplishments, the dorky way he named his formula "DeathCure" and the offbeat charm of the pawnshop scene are all big plusses. The humor and compact, self-contained structure of "The Infinite Adventures of Jonas Quantum" #1 are enjoyable but, to hook readers for the long haul, either the plotting or the characterization will need to step it up.

"The Last Contract" #1 is fast-paced and enjoyable, but the story hews too closely to convention to make the story stand out among others of its type.

However, it's debatable whether these flaws are truly flaws, since they are a deliberate reproduction or mimicry. Roberson seems to be aiming for a camp aesthetic, poking a little fun, but mostly just enjoying both the ridiculousness and the high spirits of an era of adventure, science fiction and espionage stories, including the "James Bond" and "Indiana Jones". The reader's mileage with "The Mysterious Strangers" #2 will vary widely, depending on how much charm this kind of pop nostalgia appeals to individual tastes.

So far, "The True Lives of the Fabulous Killjoys" feels like a film preview or music video. There are lots of interconnected themes, and Battery City itself is a cocktail of bright images and stylish people, but plotting, dialogue and characterization are neglected in favor of creating mood and atmosphere. It's still a compelling package of ideas and images, but Way, Simon and Cloonan may be relying too heavily on concept and style to carry the weight of narrative.

"Thought Bubble" #3 is a fine read for a good cause, but is a typical anthology in how is an uneven collection of bits and pieces, with a few small gems scattered within.

Despite its predictability, Diggle and Campbell create real, enjoyable suspense in "Uncanny" #1 on the strength of their ability to keep the action tight and vivid. As a debut issue, it does the job of being a teaser and hinting at future potential, and as Weaver's past is gradually revealed, the story can only get more interesting.

Bendis and Bachalo's heavy focus on character in "Uncanny X-Men" #2 sacrifices some forward momentum. While it's a smooth read, it's somewhat unsatisfying. The reader can see Bendis working hard to make the choices and changes in the White Queen and Magneto believable, but the fact that this effort is very noticeable belies the situation -- that some of what's been happening doesn't feel natural. However, like their young students, the new Emma and Erik have much narrative potential, and the events themselves are interesting enough, and "Uncanny X-Men" #2 ends on an excellent cliffhanger. It's an inevitable plot point, but it arrives earlier than expected, and Bachalo's composition for the last page is old-school but effective, stirring up excitement for what is to come.

The contemporary-feeling, technological details are fun and cleverly conceived, especially how the "140" app installs itself onto phones, but so far the introduction of social media and technology hasn't given "Unfollow" any more heft or insight into the world than older dog-eat-dog survival tales. "Unfollow" #1 relies too much on its concept and doesn't make the most of the inherent tension of its premise, but the story still has time to prove itself as the exposition unfolds in the next few issues.

"Welcome Back" #1 is marred by uneven storytelling but, even so, the concept and visual energy are unusually strong and -- with the much of the exposition out of the way -- future issues may offer a smoother read.

"Womanthology: Space" #1 showcases a broad variety of art styles and approaches to the theme of Space, but like most anthologies, the offerings are uneven.

The best moments of "X-Men" #4 are smaller, like when Kitty and Rogue rib Psylocke about her love life, or Shogo's silly baby facial expressions on the beach or in a restaurant. In upcoming issues of "X-Men," Wood will probably return to a story more like tightly-wound action of the first story arc, but it would be good to see more of this kind of grace and humor as part of his characterization strategy.

So far, Wilson's "X-Men" is promising but it doesn't hit the mark. Wilson has successfully made the story more personal by tuning in on Storm's grief and her longtime phobia, and Boschi's strengths are notable enough that I hope he evens out in the future issues so that his strengths can shine more.

The same bodies and faces repeat, but Ryp keeps the action sequences with multiple clones clear and easy to follow. Ryp's visual pacing is also strong, and works well with Schulner's dialogue. Except for wry touches of humor, Schulner's writing is un-flashy, precise and economical, with good rhythm and a refreshing lack of stylistic gloss. Every line of dialogue and every panel in "Clone" #2 directly serves the action of the story. The concluding cliffhanger plot twist is an old standard, but through good writing and art, Schulner and Ryp pull it off.

"Clone" #3 continues on genre-tested lines, but the dialogue, pacing and artwork are well-executed, and I'm interested in how Schulner will further develop Luke, Patrick and the other clones in combination with the themes of identity and kinship.

Geoff Johns, Kurt Busiek and Mark Waid and have all done much to revive classic superhero-ing in comics, bringing the joy back. Their collective enthusiasm and success is proof that bright costumes, a moral code and innocence still work as well as ever in the era after "Watchmen" and "The Dark Knight Returns." Johns in particular has a knack for humanizing very powerful DCU characters while also pitting them against each other. His seemingly effortless humor, combined with the art of Reis and Frank, make "Justice League" #16 a great vehicle for big-time, fun superheroics.

Overall, "Justice League" #17 is a strong finale, with suspense from its emotional punches and serious consequences for Aquaman's immediate future and the roster of the Justice League.

Overall, "Justice League" #20 keeps things moving along. The strong "Shazam!" backup amply justifies its page count, and "Secrets" lays down more than one plotline for the Trinity War and begins to flesh out the new Justice League B-team.

Kudranski creates well-composed single images, but he is over-fond of close-up, cropped images. Individual panels are striking and mysterious, but his panel and page transitions are weak. While his approach assists in producing disorientation suitable for a dystopian landscape, he risks losing the narrative thread too much. Thus, the flow of action is sacrificed in favor of mood and atmosphere. "Justice League" #23.4 is a good twisted mirror to New Earth but a flawed story.

However, despite the strong pacing and Way's tackling the challenge of a team of tight-lipped killers, "Thunderbolts" is still missing something. Aside from Deadpool, the team members barely interact with each other or the oppressed people whose revolution they have co-opted. Despite Way and Dillon's respective skills, "Thunderbolts" has a weird aftertaste because no one in this comic is happy except the perennially cheerful Deadpool. This mood contributes to a Marvel NOW! title that has some chops but is off in tone, showcasing brutality without passion, efficiency without soul.

Soule is still settling into "Thunderbolts," and his approach to damaged, powerful characters shows potential in its psychology and his grasp of pacing and suspense. Only future issues will show if Soule can provide a unifying mission and dynamic for the team.

"Thunderbolts" #13 is a subtler, stronger character study than Soule's Punisher story of the previous issue, making better use of his strengths in characterization, psychological tension and thematic depth. "Thunderbolts" will be an exciting title to follow if Soule continues on these lines as he develops his vision of a team of complex monsters with conflicting codes of ethics.

The team-specific dynamics, like Venom's possible Odd Man Out status, feel like the real meat of "Thunderbolts" #14, and while the "Infinity" crossover may eventually add more interest to a typical mob bust, here's hoping that it doesn't slow down the 'Bolts getting to know each other.

As a writer, Soule has a broad grasp of tone and atmosphere. He can do grim and serious, as his spotlights Mercy and Punisher demonstrated, but given the cast, it's even more remarkable that Soule and Palo's "Thunderbolts" #15 is a fun, lighthearted read.

The artwork doesn't evenly match the Soule's handling of the script, but overall, "Thunderbolts #20.NOW" is a solid introduction to the series and to Soule's deceptively casual and fun vision for the team, and the plot promises to go to even more exciting places next month.

"Thunderbolts" #21 is a transition issue with all the characters in play, and thus it doesn't feel as tightly plotted as some of Soule's more powerful issues, but it's not filler. Soule uses the space to link up hanging plot threads and to make room for Ghost Rider. The art is weaker than the writing, but due to Soule's dialogue and humor, "Thunderbolts" #21 is a solid read.

"Thunderbolts" #24 gets some zing from Soule's facility with creating atmosphere and suspense, but it's a shame that this storyline is light on his other strengths of humor and characterization. Still, the central hook of the story about Deviant script is a strong one, and hopefully the story will expand in tone and surprises now that the exposition is out of the way.

My biggest complaint about "Sword of Sorcery" #1 is that these two strong storylines in "Sword of Sorcery" #1 could easily have taken up a full-size issue by themselves. However, it's a tribute to Marx, Lopresti, Bedard and Saiz that they work so well with the size of the stage they have.

I continue to be impressed with how efficiently Marx, Bedard, Lopresti and Saiz advance plot and characterization within their allotted pages in "Sword of Sorcery" #2, each team succeeding in building a complex world gracefully and fleshing out complex settings and characters through action and dialogue.

Although still dramatically different in appearance and tone, both "Amethyst" and "Beowulf" are derived from previously established narratives, and each story also focuses on family bonds and teenagers finding their place in a world of magic and power. The two storylines continue to have unintentional but nevertheless illuminating similarities and contrasts. In "Sword of Sorcery" #3, "Amethyst" slows and stalls before a DCU crossover, but the world of "Beowulf" feels enlarged by its suddenly revealed DCU connections.

"Vyrian's Tomb" lacks the emotional resonance of previous installments of "Amethyst," and its usual strengths of voice and world-building are diminished by poorly paced action. "Soul to Soul" has excellent pacing and thus becomes the stronger story fragment in "Sword of Sorcery" #5, showing neatly that plot execution can be more crucial than ideas.

Next month's "Sword of Sorcery" #8 will be a 30-page issue devoted solely to the "Amethyst" storyline, allowing Marx enough space to tie up Eclipso's invasion and any other loose ends. I look forward to the finale, while feeling that it's a shame that the sales on "Sword of Sorcery" weren't strong enough to keep the bright, fun world of "Amethyst" on the shelves longer.

"Sword of Sorcery" #8 gets the job done of concluding out the Eclipso storyline and allowing the reader to say goodbye to Gemworld and the characters (for now). There are glimpses of everything that made "Amethyst" fun and different, most of those aspects aren't at their best. Ultimately, it's a bittersweet but still worthwhile read for those who have steadily followed the story, like one last visit to a well-loved but run-down neighborhood before it's torn down.

"Throne of Atlantis" has a lot of strengths as an epic crossover narrative, and it's worth picking up "Justice League" #15 and "Aquaman" #15 for the pacing, dialogue and atmosphere. I hope that as "Throne of Atlantis" further unfolds, the internal and external conflicts will take more surprising turns.

Overall, "Aquaman" #18 is a strong set-up issue, setting up several new stages of conflict for Arthur while dropping none of the existing characters in play or plot threads.

"Aquaman" #22 merely moves things along, but Johns' setup and Pelletier's art promise that the eventual conclusion and fallout from "Death of a King" could be significant for Atlantis and its government by hereditary monarchy.

In "Aquaman" #23.1, Black Manta makes a significant choice along the continuum from villain to potential antihero. Despite the low amount of new data and a superficial treatment of motivation, through St. Aubin's art and Bedard's pacing, the story succeeds at imbuing Black Manta with purpose and dignity and creating sympathy for him.

"Age of Reptiles: Ancient Egyptians" #1 continues Delgado's strong work from previous "Age of Reptiles" series. It's an unorthodox reading experience that comfortably reproduces the rhythms of a wildlife film, but with dinosaurs instead of lions and giraffes. It's worth reading for its unusual balance of serenity and tension as it imagines the passage of time in a prehistoric world.

The cliffhanger at the end of "Alpha: Big Time" #2 promises for interesting developments next issue. Fiakov's script rings true in how it tracks the aftermath of a calamitous mistake, and I look forward to more of Plati's art, as well as what may turn out to be Fiakov's ironically funny but nuanced exploration of whether power will again prove to be too much for Alpha this time.

"Angry Birds" is a successful debut, because it doesn't just count on riding on the success of the games. The comic is suitable for all ages but won't be boring for adults, and existing fans should be pleased. However, it would be interesting for future issues to try for more formal experimentation or tell a longer story, since there is the space to make different kinds of stories possible.

"Archangel" #1 successfully launches a fast-paced science fiction thriller. It's a strong debut in a new medium for veteran science fiction writer William Gibson, but it doesn't do anything new in the genre or the medium yet. The pacing and discipline of the story structure are both impressive, but future issues will need to enlarge the emotional and thematic depth if the entire story is to leave more of a mark.

I enjoyed how Van Lente wove in the classic tale of Gilgamesh into the world of "Archer and Armstrong." It's clear that Van Lente is heavily influenced by Joseph Campbell's theories about mythology and archetype, in particular the idea of the hero's journey. These references enrich "Archer and Armstrong" #0, but ultimately, Van Lente and Henry's origin story for the Anni-Paddas lacks pathos and meaning that transcends its influences.

Still, "Archer and Armstrong" #3 is a compelling comic, with lots of action and rich backstory, and Van Lente's plot twists are refreshingly unpredictable. The final page's cliffhanger prominently displays some familiar and sinister iconography and readers will definitely want to know what happens next.

"Archer and Armstrong" #6 is a new high point for the title. "Wrath of the Eternal Warrior" is shaping up to be an especially rewarding new story arc, broadening the relationships, themes and the breadth of the Valiant Universe without neglecting the regular attractions of action, adventure and buddy comedy.

The twist in the climax of "Archer and Armstrong" #8, when Archer comes face to face with Zorn, is heavily foreshadowed. However, the exact details are still surprising. The last page has an excellent cliffhanger that involves the fate of the Geomancer, and seems to aptly sum up how "Archer and Armstrong" is a consistently entertaining buddy comedy with an unusually fine sense of setting and internal mythology.

"Atomic Robo Presents Real Science Adventures" #9 is a little short on story development, but it's still a worthwhile read for its historical texture, bright tone and consistently solid art.

Clevinger and Wegener's exposition in "Atomic Robo and the Knights of the Golden Circle" #1 is friendly to new readers and uses upbeat action to relay information. The only thing that's missing is a little more depth of characterization to give readers a stake in more than just Robo's fate, but Doc Holliday shows that Clevinger has a handle on this kind of development if future issues have more focus on the cast. It's a strong start and will satisfy both new and longtime readers.

Overall, "BOOM! Box 2014 Mix Tape" has the usual balance of hits and misses but it accurately gives readers the flavor of a large part of BOOM! Box's comics.

Lee's artwork will determine much of the overall impression that "Batman/Superman" #3 leaves in the reader's mind, but the entire creative team deserves a lot of credit for taking risks and creating an unpredictable and distinctive look at two of the DCU's most important superheroes.

The heart of the story is there, just not in the fight scenes, so it's fortunate that these panels and moments are the ones where Tomasi's dialogue and Syaf's art are at their best and in perfect sync. The joyful tone of "Batman and Robin Annual" #1 strikes an unusual but welcome note in Gotham. It is a successful, out-of-season Father's Day story that doesn't take itself too seriously, and that alone makes it a worthwhile read.

"Batman: Black and White" #1 has stronger visuals than scripting overall, but Maris Wicks' comics writing debut and the strength of the artwork make this revived anthology worth a look.

"Batman Black and White" #3 is an excellent showcase of wildly different interpretations of Batman and Gotham from classic mystery to high concept theory. It was excellent idea to revive this Batman anthology concept after its first successful go-around.

The stories in "Batman Black and White" #6 aren't memorable for their plotting or prose, but that's not a surprise given the creative teams, and the Cloonan and Chiang's artwork alone is worth the cover price.

Overall, "Bee and Puppycat" #1 is a debut with great imagination and style. The tone is unusually complex, surreal and tender with hints of joy and grief. While the art taken panel by panel is strong, it ignores the monthly format and the traditional need for the plot to develop more quickly, but this may be less of an issue in subsequent issues.

The suspense and characterization are cookie-cutter at times, but overall, "Black Widow" #2 is a good read. It follows up smoothly on the events of the debut issue, and promises plenty of action and more development of the supporting cast in future issues.

Although Edmondson's narrative approach has drawbacks, it succeeds in its goals. "Bitter Cold" is aptly named, from Noto's white-and-blue color choices to Natasha's words in the last panel that reinforce two losses, from past and present, that make her yet more alone.

"The Bounce" #2 is another solid chapter of an ambitious title. It doesn't quite come together yet, because the characterization and plot logic are shallow at this point, but it's clear that Casey has much more planned out. On the strength of its potential and its distinctive world-building so far, "The Bounce" is worth checking out.

The final two scenes feel inevitable, and yet the twist is still a surprise. Superficially, it's the violence that is shocking but, really, it's how the violence is visually telegraphed as an execution. The resulting moral and emotional significance makes for a powerful ending that does justice to the creative team's vision.

However, he leans too far towards telling the reader what to think, instead of gently leading the reader to form conclusions for themselves about hot-button issues and right vs. wrong. This isn't the place for a philosophical treatise or a political column. The story has to come first, and it's weakened by a lack of moral complexity on the "bad" side. Even with those flaws, though, "Captain America: Sam Wilson" #1 has excellent artwork and it manages to be funny and provocative. I'm looking forward to the match up in the next issue.

"Chew: Demon Chicken Poyo" #1 has a simplistic moral, meant to mimic and mock the Grinch story. However, the pat ending also reinforces the feeling that -- despite its layers of humor and structural complexity -- the total impact on the reader is slight and the satirical bite isn't deep. The humor lacks the insight of truly outstanding parodies. It manages to be very funny, but its cleverness doesn't go beyond being an extended joke. It's also skippable in the sense that it has little bearing on the greater "Chew" story arcs. Nevertheless, most readers will still consider it worth picking up for its uninhibited sense of fun and its reassuring "happy" ending for the beloved break-out character Poyo.

In this debut, Tobin and Ferreyra have established conflict and cast and stirred up curiosity about a supernatural mystery. I have no idea where Tobin and Ferreyra are going with "Colder," but I intend to find out.

Overall, "Colder" #2 stumbles due to its narrative structure, but Tobin and Ferreyra's content is still fresh and unusual. With the information dump out of the way, perhaps the remainder of "Colder" will showcase more of Tobin's characterization and humor strengths while maintaining Ferreyra's artistic atmosphere and detail.

As a stand-alone story, it's not perfect. Like many "Convergence" titles, the nostalgia and retro appeal will be lost on newer fans and the story feels cramped. However, "Convergence: New Teen Titans" #1 does manage to bring back much of what made the original series so beloved, and Wolfman is able to keep the reader from getting bored with the event. As a trip down memory lane, it's a success.

Despite the light tone, "Daredevil" #22 has an ominous undercurrent. Superior Spider-Man struggles to fill a costume that doesn't quite fit him. He dangles dangerously closer to the ever-present precipice of being discovered. This underlying grimness and fear jumps into full view near at end of the issue, with a different character. Foggy reveals something that Daredevil, with all his heightened senses and observant mind, has failed to detect. Thus, closing panel is beautifully poignant, drawing both contrasts and similarities between two troubled friendships, Matt and Foggy vs. Daredevil and Spider-Man.

The path that Soule takes with Elektra is too easy. She's a scene-stealer, but her character doesn't go through any new motions; she's still a tormented, potentially salvageable femme fatale. "Daredevil" #7 just puts her through more trauma, getting almost all of its juice from kicking a damaged soul once again with the overused tropes of brainwashing and trigger phrases. It says a lot of Buffagni's skills that he's able to make the last scene emotionally effective despite Soule's plot trickery with the phone and the mind control. Beyond her personal tragedies, her beauty, her skills and the love/hate chemistry with Daredevil, there's not a whole lot else to Elektra. Soule and Buffagni are able to breathe life into the outlines of an old relationship between Elektra and Daredevil, but they haven't expanded upon it yet.

"Day Men" #1 is a solid beginning in how it sets up the conflict and sketches out the cast and texture of its world, but to further make its mark in the crime genre or vampire fiction, the Gagnon and Nelson's characterization will need to eventually catch up with the strong pacing, lingo and Stelfreeze's visuals.

"Deathmatch" #2 maintains the narrative tension and rapid world-building of the debut issue, and the final matchup inches closer. However, it doesn't actually advance the central mystery of who, how and why very far. This isn't a serious problem for a second issue, but it draws out conflict and raises expectations for the ending. "The Hunger Games" started strong, but its pacing and the tightness of its plotting weakened as the trilogy progressed. Much of the payoff for "Deathmatch" will depend on whether Jenkins and Magno can deliver on motive as well as suspense.

The attempt to dip into a more personal story within the epic framework of "East of West" #5 is only partially successful. Still, the tone, atmosphere and visuals of "East of West" are unlike any other book on the shelves, and it accomplishes more than enough of its ambitions to make it engrossing and worthwhile.

"FF" has been an uneven title, but this last issue plays to its strengths: imagination, light-hearted humor and relationships between family and friends.

Beukes and Miranda scatter in a few visual flashbacks to Rapunzel's old life in the Hidden Kingdom, including a body floating in a lake and a tableau of blood on shattered porcelain. These also promise juicy backstory. The strongest parts of "Fairest" #8 by far are the sequences within Tokyo or those involving Japanese iconography, and while it took a whole issue to get us there, it's good news that the titular Hidden Kingdom and Rapunzel's past are in a place inside Japan.

There is much that is impressive and well-done in "Fairest" #9, in particular Miranda and de la Cruz's imagery and Beukes' allusive world-building, but the narrative flaws in plotting, pacing and characterization keep it from being a comic I would recommend without reservation.

"Fairest" #21 is an enjoyable and visually attractive read, but the story has yet to prove itself. "Of Men and Mice" is still in set-up mode, so it's hard to judge how the mystery and the rest of Andreyko's script will play out, but it's a promising start.

I applaud Asselin for reintroducing romance comics in the U.S. market, especially given the obvious popularity of Shjo and Josei manga here. "Fresh Romance" is a great addition to the shelves and a solid debut overall, especially if the stories deepen and strengthen in future issues.

The last page reveals a surprising alliance that changes the odds again but also adds even more players in the game. However it goes, the rest of this story arc will still be great fun, especially if Tony remains by Dick's side.

Overall, "Grendel vs. The Shadow" #1 is a fine beginning to another "Grendel" miniseries. It's an issue of exposition, but Wagner makes it move quickly and he's able to dispense with information dumps. However, the most interesting part is yet to come. Wagner has said that he uses the character of Grendel to tell stories around the theme of aggression. The Shadow's reaction and methods in reaction to Grendel's opening moves may illuminate more about both characters and their approaches to the art of war.

"Hinterkind" #1 is a strong expository issue, establishing the main characters, central themes and conflicts. It skimps on characterization in favor of action and world-building, but there is still enough to hook readers into picking up the next issue.

At $7.99, the price unfortunately isn't friendly to impulse purchasing, but readers who are existing fans of DeConnick, Graham, Ros or Ludroe will not be disappointed. I'm a fan of the big page count that allows for longer chunks of interrupted story. Each piece in "Island" #1 has a satisfying length and impact.

The cliffhanger has a satisfying punch because Fawkes effectively widens the frame and shifts the genre of the story he's telling in one page. It's a move that's been done before, and the idea of an involuntary audition is also nothing new, but Fawkes and Failla do it well. "Jackpot" #1 was a Sting, and now it's a Conspiracy, complete with sinister surveillance and a war room. Fawkes is aware of all the genre tropes, and he straddles the line between earnest and ironic carefully. His trick on the reader was well-played, but it can only be played once. Further frame and genre shifts wouldn't have the same impact and would feel even more contrived. He needs to have other surprises of a different nature up his sleeve for future issues, or the plot will lose steam. For now, though, "Jackpot" #1 has created a strong hook.

Characterization and the various plot elements are uneven in strength so far but, overall, "Jem and the Holograms" continues to be a great read and an excellent revival of the franchise.

The humorous rescue is light-hearted and faintly ridiculous slapstick. It works fine as connective tissue, but it isn't as strong as the rest of the comic. The biggest weakness in the "Dark Jem" story arc, though, is the origin of the conflict. The unnamed force that has corrupted Synergy isn't a satisfying villain yet, because its limitations and motivations are unclear. What is it? What exactly does it do to people, and why does it want to spread itself like a disease? What does it symbolize, if anything? The answers aren't all there yet, but "Dark Jem" is already a successful arc for its leaps in characterization and visual energy.

"Jem and The Holograms" #15 drags in places due to weak characterization and too much overt exposition, but elsewhere the story still has its usual high points of humor, camaraderie and bright visual energy.

This isn't to entirely discount Millar and Romita's gifts. "Kick-Ass 3" #1 is engaging and remarkably friendly to new readers without resorting to information dumps. Romita's artwork is strong in both action scenes and quieter scenes, and Millar's plotting and prose are distinctive and vivid. It's a safe bet to say that readers who have enjoyed previous installments of "Kick-Ass" will also enjoy this new chapter.

Klaus' eventual victory is, of course, assured, so -- while the smaller gears of the story have some surprises -- the larger arc is predictable, and a showdown between the Baron and Klaus is inevitable. Despite these constraints, Morrison and Mora keep the suspense taut throughout with expert pacing. "Klaus" #2 is a great read, and its skillful reworking of myth is for all seasons.

The cliffhanger in the last page of "Klaus" #4 drips with menace, but the only suspense will be the mechanism of Magnus' undoing. "Klaus" is a fun read, but it's a pity that none of the characters besides Klaus himself are distinctive or memorable.

The strengths of "Lucifer" #1 are Black's prose and Garbett's eye for outlines and texture, and the weaknesses are in expressivity and pacing. It's friendly to new readers while making some nods in the direction of those who have read all of "Sandman" and Carey's "Lucifer." The positives outweigh the negatives, and -- as Lucifer sets off on a new adventure -- I'm looking forward to more.

On the balance, "Lumberjanes" #2 is has less exposition and more action than the debut issue, but it's still episodic, and continues to lack tension or build. However, the visual energy and ridiculous humor compensate for a lot, and the plot shows definite signs of progressing into a larger, overarching arc soon.

Stevenson, Ellis and Allen have introduced and maintained a cute and funny cast and upbeat themes. "Lumberjanes" #8 is a satisfying conclusion for the first story arc. It'll be interesting to see whether the next creative team can build on this solid foundation.

While all the characters are sympathetic, almost none of the plot feels new. Idealistic heroes, star-crossed lovers and oppression are all familiar elements of fairy tales and classic fantasy, and Rios' usage of them is by the book. The obvious moral lessons about bigotry and compassion also don't have any new twists added quite yet. Despite this, "Mirror" #1 still has a lot of emotional power and the art is entrancing.

Keatinge has created an original take on and voice for Morbius, and in "Morbius The Living Vampire" #1, characterization takes precedence over plot. Despite the slow build, it's still a promising beginning if Keatinge and Elson can deliver on suspense and horror themes in further issues.

The story arc pauses at a natural-feeling resting point, with a good exit line delivered by the irrepressibly excitable Pinkie Pie. "My Little Pony: Friendship is Magic" #1 is a strong launch that will please both kids and adult fans of the show, and due to Cook and Price's enthusiasm and skill, it's a lot better than it needs to be for a property with an existing, devoted fanbase.

The surprises are in the details, like the killer's puzzling conversation with a maid. Tobin's script has one twist after another, each of them fanciful and offbeat, but the cost in believability might not be worth the charm and the unpredictability. By the last page, Tobin asks a lot of the reader. The killer's quirks and a zoological phenomenon out of left field require even more suspension of disbelief than Trine's powers. It's uncertain whether the eventual answers in future issues will be satisfying enough to justify these leaps. "Mystery Girl" #1 is uneven debut issue, but its strengths are unusual enough the reader may be hooked nevertheless.

"Oddly Normal" #2 is cute and fun, but falls short on plot progress. Hopefully, in future issues, Frampton can pack in more action while not sacrificing any of the smoothness of his pacing. Oddly does finally enter Fignation, and Frampton has built up enough interest and plot tension that readers who were hooked by the first issue will still be hooked.

The cliffhanger is both surprising and funny, but mostly I look forward to seeing more of these characters. Vaughan and Chiang are a dream team combination, and "Paper Girls" looks like it's going to be another winner for both of them.

Chiang's artwork is still a draw, especially in the dramatic moments that call for some visual spectacle, but "Paper Girls" #5 is showing the strain of a series that has been guilty of focusing too much on concept over emotional depth and characterization. The next arc may be better once the girls must deal with their new setting together.

As mostly a collection of jokes, "Secret Wars Too" feels skippable, especially considering the high cover price, which feels too high for only 33 pages. It's fun to read, and the creative teams seem to have enjoyed themselves, but with the notable exception of "Pizza Quest" the stories and the jokes are forgettable.

"Silk" #1 has strong humor and unusually fine attention to psychological realism. If Thompson and Lee can step it up with the character development in future issues, "Silk" will be a winner.

The reader's mileage will vary depending on how much he or she enjoyed the retro vibe of both the script and the visuals. The gradual introduction of occult forces into Anchor Bay in "Silver Surfer" #4 is the highlight of its efficient exposition for the beginning of another adventure.

Latour is taking a risk. It's a delicate balance right now as Spider-Gwen is getting on her feet in her own title, and the addition of three established, heavyweight characters -- two of which have routinely had their own solo comics -- means that Gwen could be upstaged. If she can hold her own in the next few issues, so much the better. There's much to be excited about in "Spider-Gwen," as long as Gwen's characterization gets steadier over the rest of the first story arc.

The resolution of Miguel's fight with the T.O.T.E.M. agent is also a highlight since it's similarly tidy and funny. Both the character and the plot hold up with compared to the original "Spider-Man 2099" #1 from 1992. It's a solid debut, and will appeal both to existing fans of the character and new readers.

"The Bunker" #1 is strong on suspense and plotting and weaker on characterization, but overall this is a gripping beginning and the unexpected twists will keep readers hooked.

However, the original art style and pleasant prose style of "The Dream Merchant" #2 doesn't entirely excuse its uneven pacing and derivative characterization and plot so far. Perhaps in future issues, these aspects of the writing will catch up to the art.

The twist at the ending is perfunctory and expected. The story's only real twist is that the women are filling their husband's shoes like Rosie the Riveter, but in another kind of war. It's weirdly feminist in that Kath may be capable of being a loan shark, but that doesn't change the right and wrong of her actions. Masters and Doyle have succeeded in creating a vivid setting and strong pacing in "The Kitchen" #1, but only further issues will reveal if the characters and the plot will develop more substance.

The last page is prelude to an epic throw down. Thor's last line of dialogue is surprisingly irreverent and even juvenile, but it also preserves the feeling of Thor as a character of stalwart, clear-cut morality and muscle. By giving this Thor a line that could have been uttered by her predecessor, Aaron makes the point that they're not so different in character, spirit and approach, belying Odin's insistence that Jane Foster is a "False Thor."

In "The Names" #2, Katya searches in a world of light to find the dark truth, a neat and deliberate reversal of the usual metaphor. It's not often that there's a comic on the stands in which the art team is so aware of and so skilled with the use of light, and it's a rare pleasure to read it.

It's likely that the next "Think Tank" issue will reveal more about David's "Godfather" plan and whether he is genius enough to save the girl and his friend while gaining his freedom. "Think Tank" has been a hit and the series has been given the green light to expand to at least ten issues. With this larger canvas, it would be ideal if Hawkins and Ekedal could tone down the information dumps, while keeping the characterization, humor and suspense strong.

"Tuki" #1 flows well both as a whole and page by page due to Smith's comfortable pacing. However, as a debut issue, it doesn't cover quite enough ground to strongly hook the reader on the plot. It does have other attractions, though, since Smith focuses on setting, character and comedy over action. He also seems to be consciously playing with themes of science vs. superstition in an era where the breakthroughs in adaptation and tool-making that will led to even greater divisions between early hominids. The introduction to Tki and his environment is excellent, and Smith's enthusiasm for the time period shows.

The plot and characters of "Uncanny Skullkickers" #1 serve up a nice portion of Zub and Huang's lighthearted but sharp digs at a mix of jungle survival and epic fantasy tropes, as well as indulging deeply in those same enjoyable tropes to advance the story. It's a lot of fun, and it's great to see Zub and Huang's fantasy and parody title still kicking with energy and ideas.

"Wild's End" #1 is entirely exposition, but it's a strong beginning, falling short of being stellar only for its slow characterization work, but it succeeds at piquing the reader's curiosity about its characters' histories and motivations as well as what happens next when the aliens make more contact.

"Wytches" is about the dangers of not knowing the past and the truism that "wherever you go, there you are." In other words, there's no running away. Sailor has realized this quickly, and again, Snyder plays with convention in not stretching this out, letting the creatures show themselves and having Sailor confront them very early in the game. This saps these old twists of some juice, but it's also an indication of Snyder's ambition that he's rearranging a classic plot trajectory into something new and unpredictable.

Parts of "X-Men Legacy" #300 are undeniably sentimental, clichd and predictable in plot. Other passages have a light touch, however, and the writing team is skilled enough that "ForgetMeNot" delivers on emotional impact. It's a fable with a moral, and it's difficult to pull off pathos in this kind of story, but "X-Men Legacy" #300 manages it in the moments when it illuminates the gratitude and humility of the main character. It's worth the reader's time, and the pleasing irony is that it's strong enough to be memorable.

Vine plant Alexander Dorian becomes more of a major player in "X-O Manowar" #6, although his choices and motivations aren't completely explicable yet. My hope is that with ambiguous, engaging characters like Alexander Dorian, Ninjak and Aric himself, Venditti will continue to make the good vs. evil question in this book less simplistic, or dodge it entirely, while continuing to deliver a strong espionage action book with fantasy and science fiction elements.

"Harbinger" is turning into a must-read because of Dysart's exceptional characterization, and the team dynamics coming down the line should be spectacular. If "Harbinger" #4 is any indication, the Valiant Entertainment relaunch is one of the best things to happen to superhero comics for a while.

The dialogue is vivid and fun, and Peter in particular is as cheekily witty as ever, with lines like, "you totally boned the structural integrity of that ceiling." Faith's dialogue is adorably fun and happy, and her exuberant arrival near the end of the issue, followed by a silent, ominous last-page sequence featuring the Bleeding Monk, make for a great one-two punch of dramatic contrast for the end of "Harbinger" #5 and also neatly bookends a strong if fight-heavy issue.

Dysart ends "Harbinger" #6 with Kris, Faith and Peter having a shared renewed purpose, and for the first time, there's a team. Although "Harbinger" is still a plot and character-driven comic, Dysart's focus on the divides between have and have-nots, between corporations and people and between adults and kids, add to the sociological and psychological depth of his story.

The payoff for a character like Torque will be in his future interactions with the rest of the Renegades and what he will do with his powers, and I'm still onboard and eager for more of Dysart's characterization and dialogue in future issues of "Harbinger."

In "Harbinger" #11, the title gets back on track with its strengths. I hope that "The Harbinger Wars" crossover will allow readers to see the characters interact with the larger Valiant Universe, without sidelining the gravity-like idealism and character interactions that tie the Renegades together as a team.

I wasn't eager for another scene from the Harada's past to wrap up "Harbinger" #12, but Dysart ends "Harbinger" #12 with a virtual declaration of war by Harada. Impressively, Dysart pulls off the feat of creating suspense when the reader already knows something of the outcome. The appeal of the cliffhanger panel is like that of Greek tragedy, in which a character's fate is fixed and the audience is mesmerized by the slow-motion fall that leads to moral or physical ruin. I look forward seeing this fall in further issues of Dysart's "Harbinger," as well more of the war zone friendships and rivalries between two groups of damaged, powerful young people.

Thus, while "Harbinger" #15 doesn't lack for punch, it sacrifices too much character development and subtlety to achieve its effects.

However, the back-up stories generally are a great feature of "Adventure Time," and the series as a whole continues to have distinctive, funny dialogue and a variety of engaging characters and unpredictable fantasy adventures.

Both the main story and the backup in "Adventure Time" #19 focus on friendship, but North and Paroline's story is dominated by character complexity and word play, while Hirsch's story is dominated by physical or visual complexity. The two stories pair well, showing off the humor and dense, skillful storytelling that "Adventure Time" consistently features.

"Adventure Time" #50 is a successful one-shot story that makes points about free will and a hero's duty and commitment and honors Finn as part of that tradition. However, Hastings' emphasis on advancing the concept of the Eternal Hero comes with some cost to other characters, who are equally -- if not more -- beloved and iconic.

The only potential issue is that, as the story develops, the limited emotional range of the hero may forestall serious character development and emotional depth. Ellis' run "Moon Knight" was always surprising and visually fascinating, but the main character remained closed off to the reader. In Karnak's case, Coulson's involvement may mitigate that. Whether or not that's the case, "Karnak" #1 still is must-read for its art and sharp wit.

Boschi's exaggerated facial proportions and Cowles' startling use of black-on-white empty word balloons build suspense in the final scene. The twist itself is predictable, given Karnak's abilities, but Boschi and Ellis' pacing is strong enough to make Karnak's words in the last panel stick the landing. Ellis' concepts are ambitious and "Karnak" #3 doesn't always live up to its own conceits, but there's an undeniable fascination to Ellis' take on this character. I'm on board for more, especially if the release schedule gets back on track.

"Karnak" #4 is an uneven and slower issue, but it still contains its fair share of dramatic surprises, and the series remains one of the stranger titles on the shelves -- in a good way.

The exposition in " Supreme: Blue Rose" #1 is gracefully executed with inventive twists, but the action doesn't go quite far enough into Diana's assignment. However, despite the traditional plot structure and looseness of the hook, Lotay's art and Ellis' prose and comic twists are more than are enough reason to pick up " Supreme: Blue Rose" #1 and to be excited for what's coming in issues to come.

"Supreme Blue Rose" #3 continues the trend from issue #2. It's worth picking up for Lotay's art, but the reader doesn't get any solid answers about what's happening from Ellis. There's still plenty of time for explanations and concrete developments in the opening arc, though, and the originality of the storytelling approach may keep readers hooked until the plot gels.

The finale next issue may finally tie some things together, but it probably won't altogether clear up the hazy fog of questions. Ellis' story is too insubstantial in the concrete sense and much too abstruse in its cosmology and the mechanics of its reality, yet it continues to have plenty of urgency and forward motion. Despite its obvious frustrations, "Supreme Blue Rose" is an engrossing read with its own rewards. It has a unique atmosphere and is able to fold both espionage and superpowers into what can only be described as mysticism. If one is able to dispense with conventional expectations, the payoff might be satisfying enough. Even if one gives up on Ellis' reworking of the Supremeverse, Lotay's art is worth the price of admission.

"Thumbprint" #1 is a great beginning. Too little of the story has been told to see if it does justice to its ambitious themes and dark subject matter, but the debut issue is a winner in how it wraps the reader in with its exposition, atmosphere and restrained tension.

"Thumbprint" #2 builds on the foundation of "Thumbprint" #1 instead of adding much action or characterization. It focuses almost exclusively on maintaining atmosphere and suspense. This serves the intended length of a short-story miniseries and it succeeds in producing a closed-world, claustrophobic feeling. It will leave readers impatient for the next and last issue, when Mallory will probably uncover the identity of her tormentor and give readers the conclusion to her confession.

While it's daring and praiseworthy for Ciaramelia and Hill to rework the "Thumbprint" story so extensively for the comics adaptation, the change in the ending makes "Thumbprint" #3 the weakest issue of the mini-series. However, "Thumbprint" as a whole is still worth reading as an example of the art of prose-to-comics adaption.

Taylor successfully funded "A Voice in the Dark" as an independently published miniseries before the title found a new home at Top Cow/Minotaur, and it's easy to see why. His craft lives up to the task of fleshing out his catchy premise.

"A Voice in the Dark" #5 maintains the series' strong plotting and suspense, although the characterization suffers a little in service of the plot.

"Adventure Time 2013 Spooktacular" is an unusually strong anthology and is worth a read by any comics fan, but will be particularly fun for readers who want kid-friendly spooky Halloween stories that will also thrill adults.

"Eye Scream" by Janet Rose and Allison Strejlaw features the largest case of characters from the regular "Adventure Time" roster. It features a plot that, like "Snow Hope" revolves around a case of mistaken assumptions about intention. Strejlaw's panel composition for the action scenes is very strong, and the "snow creature" she draws looks like one of Jeff Smith's rat creatures from "Bone." The goofy food humor of the story ends this solid anthology on a cheerful note.

Despite these verbal and visual strengths, "Adventure Time: The Flip Side" #1 feels a little too episodic and unhurried in pacing, since the yet-to-be-revealed central plot device was played up as more than just a vehicle for character interactions. That said, it's a good debut in that it's a fun read, and it succeeds in creating curiosity about what's next.

"Adventure Time: The Flip Side" #3 is ridiculous fun, building organically on the characters from the parent series while carving out its own off-beat territory. Boom continues to line up consistently strong creative teams for every "Adventure Time" spin-off miniseries. "Adventure Time: The Flip Side" is definitely worth checking out, either as a longtime fan or as a new reader.

Like any anthology, "CBLDF Liberty Annual" #5 has a lot of forgettable pieces, but this year's mix has an unusual number of strong contributions. "Walking Dead" fans will enjoy Kirkman and Adlard's character piece, and Gillen, Bellegarde and Bellaire's "Unleashed" is a quiet gem. "Hunters" has gotten me interested in Robinson and Bone's "The Saviors" project, and Asmus and Miyazawa's superb "Last Rights" by itself makes this anthology something worth reading.

Like any anthology, some stories were stronger than others in "CBLDF Liberty Annual 2014." When a piece fell flat, it was usually because it was too preachy. However, the art was very strong on average, with a great variety of styles that worked, and there are enough hits that's it's an anthology worth picking up, especially since the proceeds go to a great cause.

The resolution of the Millie Jane Cobblepot diary subplot feels rushed, and the truth about Olive's mother is still held back for later in the series. This is a tease, so expectations for the future payoff are now duly raised. The revelation about Arkham was well-timed and fascinating, however, and the teaser scene drawn by Chen at the end is light, bright and full of mischievous promise. In "Gotham Academy" #6, intrigue, mysteries and bonds between friends and enemies all continue to grow in a wonderful new corner of Gotham.

While there's lots of action and the characters are always a joy, the larger story has its weak spots, and the light and dark in the plot don't mix well in "Gotham Academy" #9.

The issue ends on a truly creepy, confusing cliffhanger that appears to be a guilt-induced hallucination in Dane's mind. "Harvest" #1 isn't an evenly strong production, but it has a lot going for it. Given the choice, I'd rather be challenged rather than spoon-fed. Readers who enjoy a good horror story will find enough to whet their taste for blood and suspense.

"Harvest" #3 is an unusual mix of horror, medical, crime and revenge, and it's worth a look for the art and characterization alone. The end of this installment brings the action back to the opening sequence of the first issue, making for a softer cliffhanger than those previous, but the our good doctor has only begun his bloody mission, and I look forward to finding out how far he will go.

Do I know what's going on yet? No, but I know enough to want to see more. "Injection" is more ambitious than the self-contained mysteries of "Moon Knight." It's delivering on art and characters but needs a lot more plot definition by the end of the first arc. Warren, Shalvey and Bellaire still work together as a dream team, though, so chances are it will get there.

"Injection" #4 isn't easy reading and some of the scenes drag a little with exposition, but the frustrations of the storytelling are often tied to its strengths, and Ellis and Shalvey's work is ambitious and skillful enough to reward engagement and commitment.

Half the time I make my way through an issue of "Injection," I end up thinking "What?" or even "Huh?", but it's undeniably a blast to read, like catnip to readers who like wordplay and dark humor.

In "Injection" #8, Ellis indulges himself in his desire to be provocative. Whether he overdoes it may be a matter of taste. Still, his outrageous wit often adds something to his story structures, which are familiar and have a traditional moral compass. In "Injection," it's clear that the smart people that created the problem are going to have to regroup to fight it. Despite an interest in the occult and a love of mythology, Ellis' outlook -- as expressed in "Injection" and other works like "Transmetropolitan" and "Moon Knight" -- is usually grounded in the material world. The world in its gritty excesses and depravity is always a pain, but there are always enough sharp-witted anti-heroes to save it. The line between good and evil is clear. At his best, Ellis is hilarious and sharp but also tells truths about corruption, sacrifice and guilt. "Injection" #8 may be uneven, but the larger story is coming together.

As Scot Kavanaugh says on the next-to-last page, "Okay but not okay, isn't that"human?" The fallout feels perfect for "Locke and Key," which was always an excellent combination of fantastical horror mechanics coupled with raw emotional depth. Hill and Rodriguez don't kid around. The casualties are serious, and on the final page, the reader will feel emotionally exhausted, which is in its way a vindication of the creative team's powers.

This isn't to diminish that this is a fine ending for "Locke and Key," but it is limited in scope, concentrating on closure and "making things right" over realism in order to put all the toys back in their proper places. It's a little too neat, but it's a satisfying issue to consume and finish, and it feels simultaneously good and bad to see such an excellent creator-owned series come to an intentional end.

The laughs and character study of "Sex Criminals" #2 are good world-building, but they don't quite justify the dragging out of suspense at this early point. The withholding of information feels like manipulation rather than suspense-building. Overall, though, "Sex Criminals" continues to be a great read for its unique concept and its breezy handling of its themes and characters.

The funny and ridiculous developments in the plot, such as the blooping "Cumpass," are grounded by the realism of Jon's mental state. In the final panel of "Sex Criminals" #6, Jon's declaration of war on the Sex Police promises another new direction for Fraction and Zdarksky's unpredictable and original story in the next issue.

"Snapshot" #1 is worth picking up just for Jock's art. Only further issues will tell if Diggle's script sustains the narrative excitement, or if the magic will die when the curtain is pulled back. As a debut, though, "Snapshot" #1 begins a thriller that make the reader want to come back for more, even if it's just to get an explanation for a last-page cliffhanger that will puzzle as much as it shocks.

"Snapshot" #3 delivers on plenty of action and answers. It lacks for deeper meaning and narrative resonance beyond the wild ride, and action itself isn't the most original after the mystery is unraveled. However, Diggle's narrative pacing and Jock's stellar artwork bump the miniseries into something still worth checking out.

It's still a mystery why this series is titled "Sandman Overture," since the story isn't musically themed, and the plot seems to be shaped like a pocket off-shoot rather than an introduction to anything. The plot catalyzes on the revival of one of Gaiman's major recurring themes of order vs. chaos, and has already re-launched one of the greatest themes of "Sandman": the tension between free will and fate, and the thin lines between mercy and cowardice, bravery and cruelty.

Despite this, Gaiman's prose and storytelling skill still have a familiar magic to them. At the end of "Sandman Overture," a character is imprisoned within "the event horizon of a dark star." This fanciful plot twist highlights the poetry of the science of astronomy. Williams' art isn't the easiest to follow, but it's undeniably exciting as he tries to balance abstraction and action as he works from a very challenging script. Also, it's commendable that Gaiman isn't playing it safe. Instead of leaving the underpinnings undisturbed as he did for "Endless Nights", he risks probing at and upending the reader's assumptions. "Sandman Overture" #4 is a thought-provoking read for longtime fans of the original series.

"Trees" isn't a simple invasion or horror story in that Ellis is laying ground for commentary about psychology and sociology. The Other is a classic theme of horror and science fiction, and Ellis and Howard already have a distinctive take on it. It remains to be seen whether the story can live up to its ambition, but "Trees" #2 is excellent if slow-paced groundwork.

In "Trees" #5, Ellis and Howard's seeds of world-building and slow intrigue are flowering and bearing fruit. Their risk-taking and ambition continue to flesh out a story that defies expectations and predictability, in a way that will reward readers who can stay committed for what will hopefully be a long haul.

Ellis' script and Howard's artwork are uneven in "Trees" #7. The prose and Howard's still images are still very strong, but the pacing has weakened. As the story has tried to ascend to new levels, the ride has been a little bumpier. That said, "Trees" #7 is still imaginative and ambitious, and the series is still a great read for its global scale and its ironic but serious take on alien invasion.

Brubaker and Epting advance plot, world-building and characterization smoothly and efficiently in "Velvet" #3, solidifying the title as one of the strongest new ongoing series to come out of 2013.

"Velvet" has always had strong plotting, skillful art and an addictive combination of noir darkness and wry humor, but Brubaker and Epting have taken the story to a new level. "Velvet" #5 cracks open the heroine's heart without taking her down.

The final scene promises lots of juicy developments once Velvet's motorbike catches up with the car of the Cornwell Institute. The Mona Lisa smile of the unnamed former agent in the straitjacket is a wonderful bit of storytelling. With one facial expression, Brubaker and Epting indicate that despite what his guards think, he's neither crazy nor catatonic, and that he knows what Velvet's pursuit means. "Velvet" #8 is suspenseful from start to finish due to great creative teamwork between Brubaker's taut prose and plotting and Epting's dynamic and expressive artwork.

Velvet's credibility as a tough, smart operator suffers here from Brubaker's need to keep the action moving forward. While this well-worn plot twist was probably inevitable, given that Lake isn't an open book, it comes too soon. Also, "Velvet" #9 feels more lightweight than many previous issues, since the characterization is focused on Damian more than Velvet or her pursuant agents. The flawed ending is more a blip than a dip in quality, though. "Velvet" remains a gripping, rewarding read for its narrative construction and art.

The title has suffered some delays between issues recently, but "Velvet" #12 is a satisfying issue, up to the usual high standards of the creative team and well worth the wait.

Players at the highest levels of government are revealed and another is brought back into the game, but -- in terms of dramatic impact -- the storytelling in "Velvet" #14 feels like it's treading water.

Soule and Pulido's "She-Hulk" is one of the sunniest and most promising new titles on the stands. It's good to see a lead female who doesn't run on angst or operate in a moral gray zone. More importantly, the story shines due to Soule and Pulido's light humor and casual, deft pacing.

Soule and Pulido's "She-Hulk" is one of the sunniest and most promising new titles on the stands. It's good to see a lead female who doesn't run on angst or operate in a moral gray zone. More importantly, the story shines due to Soule and Pulido's light humor and casual, deft pacing.

As a whole, Wimberly and Renzi's doesn't yet feel as strong or as Pulido and Vicente's work, but it's only their first issue on the title and the high points are promising. "She-Hulk" continues to be a great take on Jennifer Walters and her calling as both lawyer and superhero.

"She-Hulk" #8 is a smooth, very enjoyable opening to a new story arc. This particular creative team is still gelling together beautifully, so one hopes that along with Patsy and Angie, they'll be on the Jen team, so to speak, for a good long stretch.

It's a great pity that Soule and Pulido's take on Jennifer Walters and her law practice and superheroic shenanigans will be coming to an end with the next issue. It's a shame that there won't be more time to develop the fascinating characters and relationships that Soule and Pulido introduced. Their version of Jen Walters gave her keen legal mind as much spotlight as her muscles. Patsy as Jen's investigator will be missed and so will the enigmatic and capable Angie and Hei Hei. Soule and Pulido's run on She-Hulk will be remembered and greatly missed.

The moral of the Blue File case is "don't fake it to make it." Heroes earn their name, work hard and don't kill people. Saccharine, but not bad words to live by, like most classic morals. Soule and Pulido's "She-Hulk" has been all about meaningful work, whether it's in the courtroom or in hand-to-hand combat. The final scene is wonderful for its hyperactive humor, including a bizarre but very funny cameo appearance by Howard the Duck and for the goodbye shot of the team looking out to the Brooklyn Bridge and to the future. Soule, Pulido and Vicente's "She-Hulk" will be remembered and missed.

Brisson and Christmas are mining some fascinating themes here. "Sheltered" revolves around the boundary between Inside and Outside. It touches on community vs. isolation, moral absolutism vs. utilitarianism, peer group hierarchies, and the terrible power of a unifying obsession. A closed world is fascinating, but it will also be rewarding, later on, to see how Safe Haven will fare when it inevitably interfaces again with the outside world. It's not all at clear how things will turn out, and that is one of the primary attractions of "Sheltered." Psychological suspense is potent, and "Sheltered" #2 has plenty of it.

However, despite this unevenness, "Sheltered" #4 is worth reading just for its suspenseful use of sociology, showing how tyranny is threatened by communication, both with the outside world and within the community.

"Sheltered" #7 ends with a one-on-one confrontation that was coming since issue #1. That these two characters would meet again was pretty much mandatory. While it's too early for either to be killed off, it's otherwise uncertain what Brisson has coming next. After this issue, the path of the plot will probably become more difficult to guess. That's the real cliffhanger. The series would benefit from some more character development and thematic development along with the torrent of action in its pages, but it's holding up as strong dystopian suspense story.

The most pathos in "Sheltered" #9 belongs to Cliff, who must kill or be killed. Christmas does great work with his facial expressions; it's painful to look at Cliff's face in any panel he's in, Christmas' art broadcasting his terrible physical and mental pain. Through facial expressions, body language and pacing, Christmas also does a great job of maintaining narrative tension throughout. Shari Chankhamma keeps the color palette mostly grim, but some of the quiet nighttime scenes have beautiful rich greens and blues. """Sheltered" #9 will read better when collected into trade; as a single issue, it's filled out with movements that feel like adjustments to a game board. Many moving parts come together from events set up in earlier issues, but there is no resting place, resolution or a game-changer at the end of the chapter, just a recombination-- though the cliffhanger on the final page indicates that fresh stakes are on the verge of being introduced.

"Sheltered" has been consistently strong and full of surprises, but the last few issues have been a new high watermark. Since its attention-grabbing beginning, Brisson and Christmas pursued its themes and plot possibilities with admirable curiosity and grace.

Finn and Jake are entirely absent from "Adventure Time: Candy Capers" #2, and the overarching frame regarding their whereabouts makes no progress in the plot. It doesn't matter a bit. The frame is just a vehicle for Panagariya, Ota and McGinty to offer the reader neatly self-contained short pieces focusing on character interactions. If the rest of "Adventure Time: Candy Capers" is as good as the first two issues, loyal readers are in for more sweet treats.

"Adventure Time: Candy Capers" is a satisfying ending to another strong "Adventure Time" spin-off miniseries. It's notable for its non-mammalian protagonists and how it deliberately takes Finn and Jake out of the story and successfully directs the spotlight to supporting cast members and their friendships.

"Adventure Time with Fionna and Cake" #1 is hilarious, clever and a great time, and if that isn't enough by itself, I've never seen such a successful example of gender-swapping. After reading it, (dare I say it?) I'm fonder of Fionna and Cake than Finn and Jake, and I didn't expect that to be the case.

I highly recommend "Adventure Time with Fionna and Cake" #3 as being some satisfying and sweet fun, especially but not only if the reader is already a fan of the "Adventure Time" cast.

Since "Adventure Time with Fionna and Cake" #4 is a miniseries, it's a surprise that Allegri would choose to use almost a whole issue for a self-contained detour of a moral fable. However, Lumpy Space Prince is an enjoyable, if limited, source of comic relief, and as a whole, the series remains as good as or better than its predecessor and counterpart, "Adventure Time with Finn and Jake."

"Adventure Time with Fionna and Cake" #5 continues to be a great all-ages title that consistently delivers a great mix of action, character interaction and humor in a very pretty package. It also contains a strong sense of right and wrong, heroism/action/adventure mixed harmoniously with femininity and plenty of strong female characters. Even more impressively, it wears these secondary concerns on its sleeve without ever sacrificing the story or art for a political agenda. Like "Adventure Time with Finn and Jake," "Adventure Time with Fionna and Cake" is smart, whimsical humor that deserves an ever-wider audience.

Still, despite the odd closing note, "Adventure Time with Fionna and Cake" #6 is full of surprises and twists, and it's also a satisfying, strong ending to a distinctive, excellent miniseries.

Alex's life and the space in which he works and lives feels clean and uncluttered, but also lonely, and much of this is due to Luna's spare style. Thus, Ada's presence in "Alex + Ada" feels like a flower blooming, or a blush of heat in a cool room. Luna's interiors have an Edward Hopper-esque feeling of depth. His color palette of pastels and neutrals is pleasantly subdued and balanced, calming to behold like an Agnes Martin painting. One of the great things about "Alex + Ada" is how quiet it feels in the spaces between Luna's shapes, and how the storytelling is within the movements and feelings as well as words. Vaughn and Luna have followed up on a promising debut with an even better second issue.

"Alex + Ada" #4 begins with a mechanical-feeling plot device, and the ending cliffhanger is logical and predictable, if still effective. The meat in the middle has a lot of substance, however. Watching the characters and witnessing the Alex's decision-making process is to delight in visual psychological subtlety. Boy Meets Robot isn't a new story, but "Alex + Ada" is an original take on the idea, and Vaughn and Luna's skill make it one of most attractive and distinctive stories on the shelves right now.

Though it's a color comic, Luna keeps the palette limited to pale neutrals until the bloom of the only slightly more vibrant colors in the concluding cliffhanger scene in the garden out back. The last page is lovely yet ominous, with Ada's wrist that the mark of her stigma in shadow as she looks uncertainly at a friendly neighbor. Luna and Vaughn let Ada's situation speak for itself. She won't be content to be locked in the house like a secret, and the tension between safety and freedom will dominate what comes next. "Alex + Ada" #6 is another excellent issue from Luna and Vaughn, with a strong progression of internal psychology dynamics and tone along with the consistently strong artwork and characterization.

"Alex + Ada" #8 is uneven and misses a step in the dance, but the action turns another major corner. The series as a whole is definitely still worth following to the end.

Most of the unevenness of "Alex + Ada" in recent issues is due to rushed pacing, but the series is still worth picking up for the art and for the scenes in which the moral underpinnings are woven into with the drama.

The plot doesn't have any real surprises, the structure is standard and the major characters retain defining traits, but the creative team makes it all feel fresh, if not new. The reader knows what will happen when a rich girl has to slum it, but how it all happens again will delight. This is how to relaunch a classic. The new "Archie" continues live up to the hype. It's one of the best new titles of 2015.

"Archie" was already an unqualified success for its humor, characterization and art, but "Archie" #5 goes further, achieving a bittersweet profundity without losing its light touch.

Characterization and emotional depth fight with the humor in "Archie" #8. The issue is still an enjoyable installment in a strong relaunch, but the story is not as sharply drawn and written -- or as touching -- as in previous issues.

Graham is a creator with a distinctive narrative style. His work is always original and worth checking out, but one has to either be in the right mood for its lavish, slow pacing or develop an acquired taste for his unconventional alternative storytelling priorities. "8house: Arclight" #1 is another example of jewel-box-like world building.

"Atomic Robo and The Ring of Fire" #1 is up to Clevinger and Wegener's usual high standard, and it's great to see the title return to monthly distribution for this adventure.

If you haven't been picking "Atomic Robo" up, it's definitely worth jumping on this Flying She-Devils story arc or any of the previous six collected miniseries. Each series is standalone and dense with world-building and story, yet they all feel approachable to a newcomer. Fans of "Hellboy" or "Planetary" in particular should try it if they're not already reading it.

"Atomic Robo" is a title that consistently delivers, and in "Atomic Robo and the Flying She-Devils of the Pacific" #5, fans will be pleased by Clevinger and Wegener's handling of this chapter of Robo's life that showcases his stalwart yet unassuming personality.

With Ethan Nicolle's approachable art and the looser story structure, it's easy to jump on the "Axe Cop" wagon at any time in spite of its rapid world-building, expanding cast and all the science fiction space travel and robots. "Axe Cop: President of the World" #2 rises above the usual funny games by its wild inventiveness and enthusiasm, and its lack of limits on where it can go, and by "where it can go," I mean Bouncyworld.

"Batgirl: Endgame" #1 is small-scale done right, a one-shot that hits all of its goals because the scope is narrow and well-defined and the talented creative team delivers on technique and storytelling.

Fletcher's scattered captions of Maeve's thoughts build in rhythm and meaning to a perfect convergence of words and pictures in the final panel, in which Loughridge's spectacular color work brings shock value to an otherwise predictable plot point. The introductory story arc hits new high points in characterization and pacing in "Black Canary" #4.

"Brass Sun" #2 is worth picking up just for the masterful exposition and art. If the rest of Orrery is as well-built as The Keep, readers won't be able to put the series down.

"Casanova: Acedia" is on par with its predecessors, and it's an accessible, rewarding read for both new and returning readers.

"Chew/Revival" delivers on both ends. Fans of both series will enjoy seeing a little bit of each universe seeps into the other one. For fans that only picked this up for one-half of the comic, both stories are well-executed enough that both series may get a few new fans.

Near the end of the issue, in the space of three-fourths of a page, Layman and Guillory give readers the most succinct, most brilliant parody of action movie love affairs I have ever seen. If you think that "barnyard animals falling through the air" and "millisecond-long love affair charged with pathos" don't mix, think again. That page alone is worth the price of the comic. If you enjoy "Chew" regularly, chances are that "Chew: Secret Agent Poyo" will also be to your taste.

Despite the uneven exposition, the hooks in "Clean Room" #1 are very strong. Simone and Davis-Hunt have created a huge amount of suspense, and much will depend on whether the eventual answers can live up to those expectations.

Concrete is a unique hero, and "Concrete: Three Uneasy Pieces" is a collection that shows the Chadwick's range (mystery, travel, domestic suburbia), but also highlights his approach to story. In a review of Ursula K. Le Guin's novels and short stories, Margaret Atwood once wrote, "Sci-fi is sometimes just an excuse for dressed-up swashbuckling and kinky sex, but it can also provide a kit for examining the paradoxes and torments of what was once fondly referred to as the human condition." All the kingdoms and planets in Le Guin's stories are just a way to talk about our own world. Like Le Guin, Chadwick's concerns are anthropological rather than scientific, with a particular focus on individual human actors and their messy motivations. It's a continuous pleasure to see this kind of storytelling in comics.

For fans of Renee Montoya as the Question, fans of Two-Face or readers who are simply interested in a good "Convergence" story, this is a must-read.

For fans of Renee Montoya as the Question, fans of Two-Face or readers who are simply interested in a good "Convergence" story, this is a must-read.

"Copperhead" #4 continues to be a great comic. It successfully combines the genres of space opera, western and mystery, and it pays unusual attention to the inner lives of its characters. Faerber and Godlewski weave into the action observations on tensions between social groups, the desperation that injustice can create and dignity and humanity of all kinds of people.

The ending of "Courtney Crumrin" has a lovely, unlooked-for happiness suffusing it. There's a twist about the narrator that is both surprising and poignant, and it feels like a gift for both Courtney and the reader. Naifeh also flashes briefly into the lives of supporting characters like Alicia and Gareth. Everyone gets their due. Normally, I'd say this magical, mystical wrap-up was too tidy, but the way that Naifeh reveals these twists, it feels perfect. The last five pages are a dazzling compression of time and emotion. It's worth reading or re-reading the whole "Courtney Crumrin" series, just to get the full impact of those moments.

It's a turning point when Quon's face shifts suddenly from fearful to shrewd. It's gratifying to see Quon use his wits to resist Telsa's patronizing scare tactics. In previous scenes, he is still a wreck of a man, and Nguyen conveys this not only through Quon's messy appearance but also by his subordinate posture and defeated body language. Now, in "Descender" #3, Quon shows some of the intellectual muscle of his younger self, before his function as a scientist and his self-confidence were damaged. Although the power differential between him and UGC is by no means leveled, the reader is reminded that this is the man who created Tim. He's no longer just an instrument of the UGC, and so he becomes another player on the board, and there's plenty of suspense about what he might do as the primary human character in future issues.

The teaser for "Dream Thief" #3 shows Lincoln heading to Mississippi for a new adventure of vengeance. Given that the mini-series is only five issues, I'm hoping that the action and new setting slows down enough to give the reader more clues about the mythology of the world and Lincoln's internal state. Overall, though, "Dream Thief" is still a strong, distinctive read and Nitz and Smallwood make the second issue welcoming to new readers.

Brubaker and Phillips' slow burn and mix of horror, history and Lovecraft isn't going to appeal to every reader, but "Fatale" #14 fills in a chapter of the Josephine's past, and maintains the grim, yet lovely, melancholy and the suffusing atmosphere of fate that make this creative team's work so memorable.

In the second half of the story, Jo is responsible for more death and destruction. Brubaker and Phillips put the reader in Nick Lash's mind, and on the final page, his retrieval of a memory ties together past and present, ending "Curse the Demon" on an ominous note. "Fatale" #20 reinforces the paradoxical siren/damsel-in-distress dichotomy of the femme fatale for an issue that is particularly strong on characterization and tone.

"Giant Days" is off to a fantastic start. If the rest of the miniseries is as addictively fun as this debut issue, it'll be a must-read.

"Giant Days" #14 is a great welcome-back for Esther after her flirtation with dropping out in the previous issue. The story is nearly self-contained, too, and thus friendly to new readers. It's a good jumping-on point for those who may hear of the title from its recently announced Eisner nomination.

Despite these criticisms of the conclusion, "Groot" #1 is an overall fantastic debut issue that's worth reading just for the humor. It'll be interesting to see how Loveness and Kesinger handle the next issue and to compare their approach to Skottie Young and Jake Parker's work on "Rocket Raccoon."

If "Happy!" #1 is an example of what readers will be getting more of as Grant Morrison makes an exit from DC, that's good news for this year and onwards.

The art and the tone of "Hellboy in Hell" #3 are grim and beautiful, somber and graceful, with a creepiness from a deep and endless space instead of screams or violence, but Mignola also keeps the humor and offbeat charm of Hellboy himself intact, making for unusual but haunting combination.