"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.

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.

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.

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."

"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.

"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.

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.

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.

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.

"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.

"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.

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.

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.

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.

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.

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.

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.

"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.

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.

"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.

"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.

"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.

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.

"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.

"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.

"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.

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.

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.

"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.

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.

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.

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 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.

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.

"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.

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.

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.

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.

"Bedlam" #1 showcases Spencer's gifts for concept, dialogue and mystery as well as Rossmo's skills with mood and pacing, and it's a promising mix of concept and character, creepy and clever, funny and grotesque.

The biggest danger "Bedlam" faces is that its characters will be overwhelmed by Spencer's greater concept, but "Bedlam" #2 succeeds in opening up the innards of several characters at once, and their collective minds are the real voice of the title, more than Madder Red alone. Events seen and unseen in "Bedlam" #2 are like a half-unfolded fan, laid over a further darkness that draws inexorably and irresistibly nearer.

In the introductory arc for "Bedlam," Fillmore Press has yet to make contact with other killers in his newly-rehabilitated state, and the moment that he meets Eric, and perhaps sees his old self Madder Red in Eric's eyes, is the part of the denouement that I'm looking forward to the most.

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 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.

"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.

"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.

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.

The themes of "Black Magick" are eternally compelling: secrecy, a double life, power, sex, good and evil, life and death. Rucka's fusion of a police procedural and an old occult/religious power struggle feels sharp and well-constructed, and Scott's artwork is a perfect partner to the pacing and character development. If the rest of the opening arc is just as strong, "Black Magick" will easily be one of the best new titles of 2015.

The events of "Black Magick" have been civilized and sedate after the sweat and fire of the first issue. Scott's dramatic talents have been employed mostly in facial expressions and body language, but the ending of "Black Magick" #4 requires a return to action. The last panel's linework is muscular and aggressive. Scott's low perspective and the downward diagonal in the composition hits the reader with exceptional force. The cliffhanger is a delicious shock and caps off an issue with unusual narrative complexity and emotional breadth.

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.

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.

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.

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.

"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.

"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.

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.

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.

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.

"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.

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.

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

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.

"Chew" #28 feels like a transition between larger plot points in the "Space Cakes" arc, with a balance of action and quieter conversational scenes. It's a midpoint of connective tissue rather than significant muscle, but Layman and Guillory fill it with enough ridiculousness and character interaction to whet your appetite for more "Chew" as it resumes a regular monthly timeline.

It's good to see Tony out of the hospital back in the FDA saddle in "Chew" #31. So far, "Bad Apples" doesn't lack for new ideas or action, but its flavors aren't uniformly most complex of Layman and Guillory's oeuvre at first bite. However, with the entire Chu family exhorting Tony to pursue vengeance, chances are that readers can reasonably expect dollops of the higher-stakes, overarching plot involving arch-villain The Vampire in later menus of "Bad Apples."

The last page of "Chew" #33 is a cliffhanger, even though it shouldn't be. It's Layman and Guillory's excellent pacing and framing that make the silent ending panel stark and punchy. What occurs on the final page is inevitable, really; it's just the how and when that's a surprise, and the fatefulness makes the moment no less gratifying or stirring. Regular "Chew" readers won't be disappointed.

It's been a great ride so far to see how "Chew" has evolved to be larger in scope and pathos than I could have imagined, not content to rest on its considerable humor laurels. "Chew" #34 is another winning entre by Layman and Guillory, delectably maintaining the tension of the revenge plot while adding even more richness to the Chew-verse.

"Chew" #37 is another strong issue from Layman and Guillory, which is only more impressive for it being mid-story-arc and several years in. Their storytelling has increased in complexity while always being enjoyable, balancing with light-hearted absurdity with drama.

So much occurs in "Chew" #39 that it's hard to believe that it's only 21 pages. Like most of its predecessors, "Chew" #39 has a self-contained adventure, but also maintains the suspense of the overarching storyline. Layman is comfortable with both the long game and the short game in a way that feels just right for the monthly serial format. The pacing doesn't feel rushed, demonstrating Layman and Guillory's gifts for compressed characterization and plotting. "Chew" is one of the most consistently excellent books on the shelves, and this far in, it's only getting better.

Now the anticipation is even higher for the final showdown. "Chew" #44 proves that Layman and Guillory can still deliver on jokes and characterization, while also serving up an unprecedented level of non-comedic carnage.

"Chew" #45 concludes the weirdly appropriately named "Chicken Tenders" arc. All the drama and heightened emotions have shone an even stronger spotlight on the relationships between the characters. There's been a lot of tenderness within all the meaty developments, and this will only whet readers' appetites for more, even if they haven't yet recovered from the end of this last meal.

"Chew" #46 doesn't suffer even though several major characters are temporarily out of commission, and Layman and Guillory show that they can stick the landing of their most shocking plot twist to date.

"Chew" #50 is an exciting, fast meal, comprised of less filling fare than what Layman and Guillory usually cook up. There's not much to digest afterwards, except for the shock of the epilogue. This isn't their very finest work on "Chew," but it does justice to Tony's strength as well as the Collector's might. There are only ten more issues to go, and the events of "Chew" #50 leave the door wide open to explore wackier settings and ideas, like Toni Chu's current whereabouts and what she foresaw.

I'm pleased Layman and Guillory are running further with the science fiction aspects of "Chew" while keeping its well-developed cast intact. "Chew" #52 has intricate plotting and it builds up suspense and lays more groundwork for the skywriting mystery. It's sad the end of "Chew" is creeping ever closer, but take comfort in how there's no dip in quality from this remarkably reliable creative team, even after the biggest boss battle is over.

As the end of "Chew" approaches, Layman does a great job of catching a lot of the balls he's thrown into the air while still introducing new intrigue. The storytelling is confident and sure-footed, and readers who have followed the title over its long run will find all their confidence is well-placed. The storytelling as a whole is richer than ever before, while the humor maintains its happy zaniness and manic energy throughout.

As Layman and Guillory wrap up the next-to-last story arc for "Chew," the dramedy isn't slowing down in characterization or pacing. Their unusual but strangely harmonious salad of food, law enforcement and superpowers is a delicious dish that has gotten even better with age.

"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.

"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.

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.

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.

"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.

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.

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.

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.

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.

"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.

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.

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.

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.

"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.

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.

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.

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.

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."

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.

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.

"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.

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.

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.

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.

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.

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.

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.

"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.

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.

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.

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.

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

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.

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.

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.

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.

"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.

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.

"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 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 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.

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."

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.

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.

"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, 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.

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.

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.

In Clint's story, Fraction just lets these events and thoughts swirl around, but in Kate's story, Fraction edges a little close to the pitfall of being heavy-handed with the message. He dips into sentimentality before the upbeat and snappy last page. Still, the comic is much more than advertisement or campaign for disaster relief. Not a single arrow is shot in "Hawkeye" #7, but Kate and Clint remain their essential, recognizable selves in "ordinary" adversity, two anchors of a well-structured but delicately gem-like story about people needing each other.

It's a dramatic, well-executed ending for "L.A. Woman," which meets the book's standard of splashy yet casual excellence.

"Hawkeye" #17 is successful in its formal experimentation, and the results serve characterization and suspense. "Winter Friends" is light and absurd and doesn't take itself too seriously, but nevertheless another dog story and Eliopoulos' art further expand the series' emotional and formal range. It's great that Fraction is able to make style into substance this way in offshoot stories, adding to the richness of the world he has built.

"Hawkeye" #19 is likely already a contender for the 2015 Eisners, and for good reason. Fraction and Aja have done it again.

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.

"Help Us! Great Warrior" #1 a great start to an all-ages comic. Its irony and adult-pleasing subversive humor are reminiscent of "Shrek" and other reworked fairy tales, while Great Warrior is cute and heroic enough in her own way to get any reader invested.

"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.

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.

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.

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.

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.

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.

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.

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

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.

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.

"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.

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.

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.

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.

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.

The cliffhanger ending is logical and yet unexpected. Rucka opens a door outwards, pointing to even richer material and greater horizons. Though the holdings of the Carlyle's are rich and vast, they are not the entire world, and although Forever, with her name and abilities, seems unassailable, the world she lives in is dangerous even to her. Rucka's casual reminder of these facts is deft, and overall, "Lazarus" #2 expands and maintains a well-executed, exciting introduction to Forever's story.

In "Lift," Rucka and Lark are serious about telling a story with social implications instead of contenting themselves with entertaining their audience with the labyrinthine maneuvers of intra-family backstabbing and the delights of futuristic weapons and technology. It's the perfect time to examine the effects of greater stratification between the 1% and the rest of us. As Rucka notes in the letters column, Oxfam recently released a report that the top 85 richest people are as wealthy as poorest half of the world. A dystopia in which the world is divided into Family and Waste isn't a stretch, and it's great to see Rucka and Lark engage with the serious meat of socioeconomic themes with all their formidable storytelling skills.

"Lazarus" #8 not only thickens the plot and deepens characterization; it also successfully engages and develops the complexity, scale and scope of Rucka and Lark's ambitious themes.

While it's well-done on many fronts, character development in "Lazarus" #12 is exceptional, particularly because so much of it is through the art. Hock is so gross the fact that his unwanted overture to Forever kicks up more dread than the facts of the cliffhanger. As a prelude to a Hock vs. Carlyle showdown and an opening move, "Lazarus" #12 is great storytelling, notable even considering Rucka and Lark's consistently strong work thus far on the series.

"Lazarus" #16 is an ingeniously constructed, ambitious issue. Sister Bernard's story advances the plot, enriches the world-building, provides a quiet beat in the larger arc and is an almost poetic tale of religious doubt and devotion in a time of war.

All the action in "Lazarus" #18 serves the story, either by moving chess pieces into new places or by providing extra dimension and texture to major and minor characters. Its dominant atmosphere is one of vigilance and restlessness, of quiet striving. It winds the reader up tighter and tighter, building tension for events that are coming into focus on a quickly approaching horizon.

Rucka and Lark save their biggest plot twist in "Lazarus" #21 for the last scene, and it's a game-changer. It was smart of Rucka and Lark to present the scene from Sonja's point-of-view, since her visitor status allows her to share in the reader's shock, though the four-panel reveal is too prolonged and dampens the impact. The twist itself is a staple of science fiction and isn't that surprising, given Carlyle's advanced technology, but I didn't see it coming before this issue. The cliffhanger will leave readers with new questions about where Carlyle will be "sailing next," as Johanna puts it, now that the tide has turned.

"Lazarus" #22 provides interesting insight into Johanna Carlyle and shows that Carlyle's resident femme fatale might still have a heart, posing the intriguing question of whether Johanna can be reformed despite her readiness to betray anyone at the drop of a hat and her heartless treatment of Waste, Serfs and Family alike.

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

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.

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.

Readers who have been following the series won't be disappointed in the well-crafted, intimate "Locke and Key: Omega" #1. New readers should pick up a trade or hardcover the first storyline, "Welcome to Lovecraft," and treat themselves a story by one the best creative teams in comics.

"Locke and Key: Omega" #2 is exceptional comic for being creepy, strange and suspenseful like all horror fiction should be, but also just for being the kind of story that can make a reader want to laugh and cry within only twenty-one pages.

"Locke and Key: Omega" #4 will leave fans feeling unsettled and frustrated, but these effects are the results of its strengths. As "Locke and Key" enters the final act of its final arc, it is still consistently one of the best books on the stands.

"Locke and Key: Omega" #5 is only two issues away from the end of Hill and Rodriguez's epic family horror drama, but it's never too late to get into something this good.

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 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.

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.

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.

For its 32 pages, "Lumberjanes: Beyond Bay Leaf" #1 is a fast read, but its emotional depth makes it memorable.

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.

Wood and Doyle's choices in style and characterization give "Mara" a distinct mood and feel, best described as silence within noise. There's a feeling of realism despite the turns into the fantastic, although this realism is highly stylized. Within the frenzy of media attention and the buzz of violence and scandal, the tone of "Mara" #3 is contemplative and philosophical. It's unlike anything else on the stands, and worth picking up for both the art and the narrative technique.

Secondly, the last five pages are one long surprise. Wood and Doyle successfully expand what would usually be a one-page shocker into an epic build towards a final, brutally simple concluding image. The enjoyable unpredictability of the plot and Wood and Doyle's unusual approach to characterization should make the upcoming sixth and concluding issue a winner as well.

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.

"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.

"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.

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.

Liu continues to avoid information dumps and "Monstress" #2 maintains emotional urgency throughout, even though it remains a denser-than-average read. The final cliffhanger is beautiful and eerie, showcasing Takeda's talents in creating mood and suspense. The story is still hard to follow at times without re-reading, but it rewards those who do with its luxuriant detail and ambitious breadth.

Liu and Takeda are still building a sprawling fantasy epic, but their approach in "Monstress" #4 has already hit a great balance between the personal and the political. Maika's struggle with the Monstrum is both visceral and moral; she is battling for control of both her body and her soul. Artfully, the disagreement between the Queen of Wolves and Alia is also one of both sovereignty and principles. The war between the Cumaea, the Federation and the Arcanic Lands are linked to Maika's quest by themes of identity, trust and compromise, deceit and revenge.

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.

The current opening run of "Moon Knight" has been a critical success, and it's easy to see why. It's a pity that Shavley and Ellis are leaving the series soon, after issue #6, but they've already managed to make what is old new again.

In the final few pages, Bellaire shows wonderful restraint in leaving some of Smallwood's panels colorless, letting his charcoal-like shading and elegant compositions speak for themselves. While it is foreshadowed that Spector's prison isn't normal, Smallwood and Bellaire's artwork make the last page a stunning experience. Even the way that the panels section the page feels daring and right. "Moon Knight" continues to be a successful relaunch under Wood, Smallwood and Bellaire's care.

Warren Ellis and Declan Shalvey's successful run on "Moon Knight" was like fast-paced action film with trappings of detective fiction and the supernatural. Lemire and Smallwood's take on Marc Spector's role in the world is slower, less steady, dreamier and scarier. Together with Bellaire, they've made a very strong impression in only three issues.

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.

This issue is no different from previous installments of "Morning Glories" in that Spencer's plotting raises more questions or mysteries even as he gives us some answers. Although some readers may be frustrated that overarching plot resolution will not arrive until the series' end, accepting that you won't have the whole picture during the ride does allow you to better enjoy it. Not knowing how Spencer and Eisma are going to blow your mind next is all a part of the continuing charm of "Morning Glories."

Spencer and Eisma's "Morning Glories" #21 successfully doubles the size of the core cast while driving up suspense for "The Ceremony" next issue. The Truants won't be a disappointment to continuing "Morning Glories" fans. The only disappointment is how long the wait between issues will feel.

Eisma's facial expressions and the body language of his characters carry the emotional weight of all these interactions, visually defining characters' personalities even more distinctively than Spencer's dialogue. In the melee of bizarre events later in the issue, the visual clarity Eisma contributes is critical. During the climbing of the steps scene, the Eisma's handling of scale and camera angles, aided by Sollazzo's shadowy palette, create an appropriate atmosphere of excitement, mystery and foreboding. Eisma's pacing is also perfectly in tune with Spencer's script, no small feat in for a script that changes direction and location multiple times. At the issue's characteristically mind-blowing last-page, the reader may feel as disoriented and adrenaline-fueled as Hunter, but in a good way.

If "Morning Glories" #23 had a theme, it would be faith. All the characters, especially The Truants, deal with each other variously in good faith, bad faith, broken faith and a shared faith in knowledge, power and destiny. The victims of the Ceremony also each had faith, though their beliefs and understanding differed. I'm looking forward to seeing more of how Spencer's themes of faith and destiny will tie into the long-running religious allusions in "Morning Glories," as well as the recurring, ominous phrases like of "For a Better Future."

It's clear that much of the larger story arc was building towards this climactic scene, and nothing else in "Morning Glories" #24 can match the pathos and horror of its mixture of love, longing and violence. Reading those pages, one can't help be moved and appalled, enthralled with a chapter of "Morning Glories" that is near-perfect in plotting and execution. It's a tale that will reward the faithful.

However, it artfully picks up several loose threads from Season One, and Spencer's tone and themes remain consistent in their exploration of faith, trust, leadership and betrayal. For a mere $1.00, "Morning Glories" #26 is a bargain for long-time monthly readers and may also tempt readers who regularly trade-wait.

Like the series as a whole, "Morning Glories" #30 is well-plotted and drawn, and Irina's story will keep the reader guessing and looking forward to more character spotlights.

In moving away from some of its original strengths in characterization and dialogue, "Morning Glories" is leaning more heavily on its technique and ideas. It's like watching a top-notch science fiction story morph into being an art film, and not all of that change in emphasis is to the good. That said, Spencer and Eisma's storytelling skills are still present, and the further developments are still worth following, although the individual reader's mileage may vary depending on patience and curiosity.

"Morning Glories" only has one jumping-on point, and that's the first issue. I could not recommend "Morning Glories" #45 to a new reader but, for fans who have been following the story all along, it rewards that loyalty with satisfying answers.

"Ms. Marvel" #3 continues to build exposition by showing, not telling, and Wilson and Alphona are laying down a story foundation that is solid ground for future adventures as well as rich in subtlety and detail.

Wilson's "Ms. Marvel" is a classic coming of age story, but everything else about it feels unpredictable and fresh, particularly in the texture of Kamala's background and everyday life and in the charm of her personality. The ease and the sheer pleasure of "Ms. Marvel" makes it one of the best comics Marvel is putting out right now.

"Ms. Marvel" continues to be one of Marvel's best ongoing series for its humor, the strong style of its art team and Wilson's addictively good characterization and dialogue.

Wilson's talents with dialogue and humor continue to make "Ms. Marvel" a star, but Miyazawa and the rest of the team provide the extra wattage to make her shine even more brightly.

It's still one of the best titles on the stands, but the plotting and art are uneven in "Ms. Marvel" #16. Wilson's balance of humor and drama is still a sweet spot, and Kamala hasn't lost her appeal. The focus on community, especially Kamala's family and friends, has always been one of narrative strengths. "Ms. Marvel" #16 imperfectly juggles the personal angle and end of the world.

Wilson's passion and respect for family and faith animates "Last Days" with poignancy and tenderness. Kamala might feel like she's gotten things wrong in the last few weeks, but her priorities and instincts for how to live when the world is ending are just right, and the reader knows it. The ending of "Ms. Marvel" #18 is splendid, surpassing most cliffhangers in its narrative power and showing how love and intimacy can surprise and move a reader more than suspense or fear.

"Ms. Marvel" #1 is trying to go in two or three directions at once, mixing teen romance with image control and a fight for the identity of a neighborhood, and the components aren't sticking together very well yet, despite the common ground of Kamala figuring out what she's about. It's a weaker debut issue than the older "Ms. Marvel" #1 from 2014, but it's still one of the best reads on the stands.

So far, Kamala's new status as an Avenger hasn't added much to her character. With the exception of Wolverine's two-issue cameo in the original ongoing series, her pre-existing social network has been much more fruitful for characterization and chemistry. I'm still not convinced Ms. Marvel needs to be on a superhero team, even though it's fun to see her in other books. That said, Avengers membership is a good launching pad for the themes about growing up, compromises and priorities that Kamala faces in "Army of One."

The various morals of "Army of One" are all forgone conclusions, obvious from the start -- make sure to prioritize the things that really matter and don't be afraid to ask for help -- but it's characteristic of Wilson's writing style that she doesn't want to leave these points unsaid. It's like she doesn't want any readers to get away with missing the message. It's too much hand-holding, but -- sappy as it is -- Kamala's explicit realization about home manages to evoke an emotional response anyway. Wilson's sincerity and light touch are able to make mundane Hallmark-like sentiments feel meaningful again.

Though the other Carol Cadets members are unfortunately pretty flat so far, the last page cliffhanger makes the title feel more personal again. It's smart of Miyazawa to heighten the background detail that reinforces the humanity of the newest "future-criminal" and his connection to Kamala. While the next issue will probably push the moral debate a little further, the story arc feels weaker than most of the non-event-related issues that preceded it. In "Ms. Marvel" #8, "Civil War II" takes panel time away from the personal relationships and humor that make "Ms. Marvel" distinctive.

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.

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.

"Nothing Can Possibly Go Wrong" is a thoroughly enjoyable and satisfying read. It's a great blend of optimism, geek humor and high school drama, and when I put the book down, my first thought was to hope that Shen and Hicks would collaborate again, with similarly successful results.

"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.

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.

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.

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.

"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.

"Prophet" #27 takes some patience and open-mindedness from the reader, but its multitude of ideas and formal experiments are worth the effort.

First and last, "Prophet" is about landscape and history, about a longer epic journey within worlds that are old to John Prophet but new to the reader. The creative team's aesthetic choices make "Prophet" very still, very quiet. A lot of the comic is taken up by text boxes with enigmatic, poetic prose that requires the concentration and listening that poetry usually does. Despite all the action scenes, "Prophet" is not an action book -- it's a story in which action occurs like ripples on the surface of a lake, stretching soundlessly to fill the horizon.

In its ambition and scale, poetic prose, world-building and unpredictable action, imagery and imagination, "Prophet" is one the best, strangest comic books on the market. I'd recommend it to friends who might appreciate its unusual storytelling and mind-bending landscapes, or to readers who are looking for something different and new.

"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.

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.

In "Punk Rock Jesus," Sean Murphy is constructing a big, multifaceted story, a philosophical and political meditation on the uses and abuses of organized religion, touching also on themes of childhood and adolescence, grief, crime and redemption, purity and pollution, freedom and tyranny, conformity and rebellion, spectacle and consumption. Not only does "Punk Rock Jesus" #4 dare to dream, but it succeeds in its ambitions.

Murphy is a credit to skeptics and those who dare to challenge the establishment, religious or otherwise, and more importantly, "Punk Rock Jesus" makes a reader think as well as feel, more than any other comic on the stands.

"Rachel Rising" has just been picked up for a TV series by Alcon Entertainment, with Moore as an executive producer if the series makes it to the small screen. Fortunately, "Rachel Rising" #16 is a great time to get into the Moore's long-form horror story. The series has been around long enough for Moore to take the plot and characters through several fascinating turns. While it's best to start at issue #1, Moore's storytelling is clear and there's more than enough in "Rachel Rising" #16 to convince curious new readers to check out the whole series.

"Rachel Rising" #18 is another excellent chapter in Moore's horror story about good and evil, innocence and guilt, life and death. Since his early work on "Strangers in Paradise," Moore has always handled comedy, body language and facial expressions with enviable ease, but his plotting and characterization were weakened by melodrama and far-fetched plot extensions. In "Rachel Rising" #18, Moore has maintained and refined his emotional and comedic powers, and compared to his earlier work, he has also become far subtler and deliberate in his plotting and more profound in his thematic depth and breadth.

The two scenes with Rachel and Zoe are opposed not only in direction (life vs. death) but also in technique. Both move along quickly, one animated by dialogue and thematic depth, and the other charged with suspense from near-silent action and character development. Moore's breadth of skill and his consistently storytelling makes "Rachel Rising" one of the best long-form stories on the stands.

In Moore's previous stories, the lines between the good vs. bad characters were pretty clean, but the lines are blurring more in "Rachel Rising", particularly with the character of Zoe. "Rachel Rising" #29 revolves around the theme of revenge and how what goes around, comes around. It's strange how delicious and how justified Zoe's and Rachel's violent goals feel. Moore's never had a lack of aggressive, physically dangerous female characters in his comics, but in "Rachel Rising," the violence feels darker because it's less humorous and more bloody. "Rachel Rising" #29 is a strong issue of a strong series. Moore further deepens characterization for two of the main characters, and the plot is freshened by several sharp, small twists.

"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.

The appeal and scope of Kinsley's "Relish" aren't so wide that the book transcends its category. Areader utterly uninterested in nonfiction or in food will probably not be a fan. However, "Relish" is a very enjoyable example of its kind, and is it highly recommended to readers with either an adventurous reading palate or for those who have already developed a taste for such flavors.

Abnett and Lanning never take "Resurrection Man" too seriously, and their offbeat humor further distinguishes this misfit fantasy/scifi/horror title. The "bad" guy gets the best lines, of course, as well as the final word. The demon is still unnamed at the end of "Resurrection Man," even though he is a cunning scene-stealer. His line, "Relax, woman. I just did a bit of demon-y magic stuff" made me laugh aloud, and "Resurrection Man" #0 ends on a perfect, lighthearted note, promising that it is "[Never Ever] The End."

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.

With its verve, underplayed humor and electric visuals, "Rocket Girl" #1 is one of the strongest debuts of the 2013. Here's hoping that future issues have the same light-handed execution and effervescent atmosphere.

It's a pleasure that Montclare largely hasn't been recycling time travel genre stereotypes, but while he's avoided imitation, his plot is noticeably losing steam. Reeder's art still makes "Rocket Girl" #4 worth reading, and one hopes that future issues will revive Montclare's flare for snappy diction and rev up the pace of plot developments.

The revelation itself is very old, seen before in dystopian science fiction in multiple media. Even more broadly, it can be classified as simply an abuse of authority, one so great that there is no further justification needed for rebellion by the narrators or heroes. From "One Flew Over the Cuckoo's Nest" to "Hunger Games," institutional abuse of power provides both a mission and teamwork-glue to the oppressed. Stevenson and Greene are able to give the plot twist an initial jolt of shock, but it quickly wears off, reverting to seeming predictable and derivative afterwards. That's no matter, however; it has served its purpose and the Runaways are off. The highlights of the title remain the humor, dialogue and the team dynamic.

Despite some predictable beats and too many plot points crammed into one issue, "Runaways" #4 is still an engrossing, fun read. Based on what they've been able to accomplish in four issues, Stevenson and Greene should be given the chance to work together again, preferably on an ongoing team comic.

Staples and Vaughn build the world of "Saga" with the same skill that they develop characters. By the end of "Saga" #9, the reader has acquired new information about the setting and peoples of the world and seen some bizarre new sights, but the detail and variety is revealed casually and naturally through the action of the plot instead of shoe-horned or crammed in. Vaughn and Staples' pace of storytelling that advances plot and world-building in a gradual clip, with world-building that is easy to take in because it is neither too slow nor too fast. It hovers between comfortable and exciting, leavening the alien sights with the humanity and likability of the characters. This mixture of familiar and strange makes the world "Saga" a place that readers will look forward to visiting month after month, year after year, until the story reaches its end.

Overall, "Saga" #12 isn't a misstep as part of the huge story that Vaughn and Staples are telling. The events here are a beginning to understanding the enemy, if Prince Robot IV can be called one. However, as a chapter on its own, it lacks some traction because of the nature of the character it follows and in its unhurried pacing.

Vaughan and Staples have taken their characters to a dark place in a psychologically realistic way -- what has happened to Alana and Marko, or even to Dengo or Yuma, are things that happen to ordinary people all the time. The drama is universal, but the pain feels fresh, and this naturalism strengthens the breadth of "Saga" by dwelling on the ways that people can come together and fall apart, both in their relationships and in their own souls.

"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.

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.

Kudos to the editor Emily Shaw, too, because she curated a collection in which all the creative teams were into the concept. All the enthusiasm and effort has paid off with an unusually strong and enjoyable anthology. It's one of the best extras to come out of the "Secret Wars" event.

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.

"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.

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.

The ending scene gets its power from the introduction of family secrets, an old plot device, but Keatinge uses it effectively to shove things into adventure mode. The hook is effective, but the deeper suspense is in wondering what else Keatinge and del Duca have yet to reveal about the details of Kate's world. "Shutter" #1 is a strong debut. The characterization and structure are solid, if nothing radical, but the world-building and visuals are remarkable.

"Shutter" #4 is a little uneven, but the gemlike opening and del Duca's art are more than enough to outweigh the slow pacing.

With the initial expository action out of the way, Keatinge and del Duca can devote more of their skills to characterization and plot structure in "Shutter" #5. The first few issues were beautiful and distinctive, but with "Shutter" #5, the series turns a major corner successfully, sinking its hooks deeper into the reader and becoming an exceptional read.

The direction or flow of the story needs to shift into another gear soon for Kate's journey to have a more meaningful arc, but "Shutter" #7 is worth picking up for dialogue and especially the artwork.

"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.

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.

If the reader is familiar with "Strangers in Paradise," "SIP Kids" #1 will be a deeper, funnier and more bittersweet read. It's not a bad debut issue for newbies, but this is really one for the fans, and it hits the mark.

"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.

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.

"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.

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.

"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.

"Starve" #2 has good ingredients that are overseasoned with didacticism, but if Zezelj and Stewart's art is to the reader's taste, they'll still be hungry for more.

The action drags halfway through, but -- just when the reader is wondering if anything else is going to occur besides fending off rival stringer Tom "Sleaze" Speeziali -- Nick decides to get out of the car. The plot tension spikes, and Greenwood's panel compositions for this shift in pacing are superb all the way to the ending sequence that introduces a mystery and higher stakes. "Stringers" #1 is a solid debut, and I look forward to seeing if it keeps its mix of humor and high speed in later issues.

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.