This is a terrific first issue, one that indicated that the rest of the miniseries could be a top-notch release from Black Mask Studios.

4 Kids Walk into a Bank #2 confirms the promise of the debut issue by delivering another issue filled with great comedy, heartfelt coming-of-age storytelling, and thrilling crime atmosphere. If you have ever wondered what it would look like if Elmore Leonard wrote Stand By Me, here's your answer. It's a treat, and I'm giving it a 9/10.

In the final analysis, A-Force is a refreshing and enjoyable debut for a concept that is long overdue and is executed in the perfect way to feel refreshing and bold and yet still undeniably a super-team in the classic Marvel style.

Other than the awkward fit of the style of the series and its aim of introducing a new ongoing within the framework of a tie-in, A-Force continues to be a fun, exciting and action-packed story with an intriguing central mystery to explore. It's more than good enough to shut up any detractors that an all female team wouldn't work. Here's hoping A-Force is here to stay.

A-Force continues to be one of the best tie-in books to Secret Wars, and a concept that clearly has life beyond this event.

Look, I've liked A-Force a lot so far, and I like the cliffhanger this issue closes on, but this issue overall was really a miss for me due to a mind-boggingly predictable reveal.

For a while now I've felt that the Superman titles suffer from continually feeling swamped byoverlapping crossovers that drainthe narratives of his individual titles of momentum. It feels like we just got done with that Vandal Savage crossover, which felt like it started not too long after the Doomsday crossover. As a result, where's the opportunity for a single brilliant storyline to crystallize the New 52-era Superman like Snyder and Capello's Batman, or the Geoff Johns Aquaman stuff, or Azzarello and Chiang's Wonder Woman? If these mega-arcs had all taken place in one title with a single team, maybe we'd have a stronger more cohesive story to look back on. But, at this point, I'm worried this crossover willbe just as uneven and episodic as the ones that came before.

Action Comics #958 demonstrates the strengths of having the pre-Flashpoint Superman as its star, showcasing an engaging tone and continuing to intrigue with sharp character relationships and captivating mysteries. However, its all-action narrative relying on Doomsday feel familiar and less effective, and aren't elevated by the issue's problematic art. There's enough positives here, however, that I'm giving it a qualified 7/10.

Action Comics #959 may not be the most revolutionary or brilliant comic, but the creative team absolutely nails the classic Superman adventure vibe it's clearly going for. Even with its flaws, and even with a plot that feels more familiar than innovative, it's still a perfectly fun and exciting read that lives up to the series' title of "Action Comics." That is why I'm giving the issue a 8/10.

I still think Action Comics is on the path to being a really solid book, and overall the tone of all the Superman titles have vastly improved since bringing back the pre-New 52 Superman, but at this point, the storyline needs to stop treading narrative water and begin resolving some of the plot points it has introduced, or at the very least inject some twists into these events. That looks like it's in the cards, and I'm hopeful that next issue will see things moving forward.

Writer Dan Jurgens' obvious ease and facility with both Superman and Booster Gold is the best part of the issue, with the writer effortlessly creating believable and enjoyable interpretations of the characters and their dynamic. That's a good thing, too, as there are other elements in the issue that feel fairly by-the-numbers and a b-plot that fails to pass scrutiny.

If you are a fan of comic book super heroes, then you owe everything to Superman. Now, in the character's 80th year of continual publication, DC Comics is celebrating him with Action Comics #1000, crafted by a roster of all-time comic greats. As with any anthology issue, the result is variable, but if you've been a comic book reader all your life as I have, there's no denying this is something special, and more than a few of the stories within rise to the occasion.

That familiarity is comforting and enjoyable, but I do wish that the plots would start to become more audacious and innovative. Delving deeper into the Vision's seeming trip to the dark side may be exactly the big compelling threat the book is missing. As it is, when the issue focuses on the team, it's a treat to read and I can only hope having a threat to match will allow this book to reach its potential.

It's a solid debut for this new Hawkeye book, one that proves tofans they have nothing to worry about and leaves you excited for more.

I'm continuing to love the direction of the book. Even if the main plot seems to not move hugely forward here, it allows the flashback section its proper place, and it further shows that Lemire and Perez are taking the book deeper inside Clint, and that's looking to be a rewarding journey.

All-New Hawkeye continues to be an exemplar of Marvel's style with solo books at this time; distinctive, character-driven and innovative without being pretentious or sacrificing thrills and adventure. If you want a fun and well-constructed super-hero book with unconventional leads, you can't ask for a better book.

It's a great issue, one that celebrates and distills Clint's character, and one that uses the art and the scripting to equally impressive effect. Hawkeye continues to be one of the most consistently thrilling, innovative, and affecting books Marvel is putting out.

Lemire and Perez end the issue with a surprise twist, going in a direction I never would have expected. It's a great ending to a great arc, one that feels complete and essential to the character while still setting up another story for the series. Hawkeye remains among the best Marvel books on the stands.

It may be a bit too classical in its style, coming across as old-fashioned, but that can be a strength too, if you can let it be as a reader. And while it perhaps has bit too much incident, it's all still balanced enough that none of the scenes feel abbreviated or cut short. Overall, the creative team has created a solid issue that reinforces their attempt to cement a team that are examined well enough to have readers connect with.

All-Star Batman #1 is a fun and exciting opening chapter that also pushes some structural envelopes, feeling like classic Batman even as it tries to take the Dark Knight out of his comfort zone and pits him against one of his greatest foes with unexpected enemies on all sides.

All-Star Batman #4 finds the characters continuing to run a gauntlet. And they've been doing that for four issues now. Despite some brilliant over the top action, the little tidbits of story progression that we're being fed should start to feel meatier soon. Or else what started off as so refreshing an approach is going to feel stale and stalled.

Like many great, bold, experiments, All-Star Batman #6 doesn't always succeed. But its ambition is a sight to see. However, I was strangely disconnected from the story by the end of the issue. I didn't really understand Batman's plan except in the broadest strokes and the sketchy dream-like and subjective quality of the storytelling meant that things came off as kind of undefined.

The good news is the art by Moritat continues to be spectacular. Hes one of the best detail artists today, and theres a terrific splash page in this issue that is pure moody, atmospheric and detailed perfection. He also succeeds in making Constantine look like the Constantine we all know and love, a feat that we havent seen since he came to the New 52.

Heres hoping this team finds its mojo and gets back to telling the types of stories that make this title unique.

I have a feeling this issue might be a bit of an aberration, and I'm looking forward to seeing Hex and Black get back on track.

But Peter Parker is back in fine form, and thats reason enough to celebrate. I think Slott and company have set a lot of plates spinning and itll be fun to see how long they can keep them in the air.

In the end, all of this stuff winds up being kind of the problem with the issue. There's just too much happening here. I get that Slott is clearing the decks in order to put the focus of the series on moving forward rather than cleaning up after Otto, but maybe the second issue is a little too quick to just burn through all this stuff.

I hope Slott and company can move past this Black Cat plot quickly or in a surprising way, because it's not working for me, even if the rest of the story lines are.

I have hopes that Slott and the rest of the team can turn it around, because normally I like his work a lot, particularly with Spidey. I think he just needs to tighten the focus and let some plot strands dangle for an issue here and there, and the book will read much better.

I really hope this Black Cat storyline is wrapped up quickly, and we can move forward, because it's hampering my enjoyment of what is usually a great book.

So, it's a slight issue overall, but it's one that is enjoyable, and I'm looking forward to more shenanigans with Spidey and Ms.Marvel next issue.

Even with my reservations, the cliffhanger we're left on is pretty thrilling, and I have no doubt that Slott and company are going to kick things into high gear pretty quickly. I'm very excited to see an army of Spider-people face off against this threat, and they've certainly done their job in communicating just how huge a threat Peter's up against. This issue might have felt familiar, but I can't wait to see where we go from here.

If a little more variety is what's next, then this event will continue to be the success it's been so far.

All in all, it's an issue that kicks this event into high gear, letting the reader know things are about to hurtle toward a conclusion. If Slott can keep up the pace and keep things moving, we'll have the epic Spider-event Marvel is hoping for.

This event has been fun from start to finish, if a little drawn out, but as we move into the climax, I'm excited to see the battle royal that will ensue, and enjoying most of all the love letter this has been to all Spider-Men (And Women. And pigs. And Monkeys. And Giant Robots) everywhere.

All in all, the issue was enjoyable enough, and it did its job, but it never really rises above accomplishing its goals to becoming fully satisfying.

As for the main story, it set up a new arc well enough. The idea of Peter Parker being the target of a super-villian, not Spidey, is always a refreshing change of pace. Overall, this feels like a classic Spider-Man opening chapter. It's a little familiar is some ways, but I'm interested to see how it progresses, and having hubris hobble Peter's ambitions always makes for a good read.

All in all, it's very nice to see such a skilled and justly legendary creator back on a signature character, and firing on all cylinders.

All in all, this is a solid issue more for the foundations it lays than for the main plot, but you'll certainly find plenty to enjoy.

Still, while this probably won't be on anyone's top ten Spider-Man stories ever, its confident well-executed story is a ton of fun to read, and I'll be excited to get my mitts on part three.

It remains to be seen how we'll return to these plot-threads following Secret Wars, but I think we will in some way see a resolution. In any case, while this issue isn't going to knock your socks off, it's more than enjoyable enough for fans of the friendly neighbourhood Spider-Man.

The Amazing Spider-Man #1 is, like the other books in Marvel's latest initiative, focused on being as fun, fast-paced and engaging as possible. And in that, it completely succeeds.

I'm really enjoying the new tone and direction of the Spider-Man universe, and though I'd never call this issue bold or ground-breaking, it does succeed in being hugely entertaining and satisfying.

Slott and Camuncoli continue to craft a fun and engaging new direction for Spider-Man, and though I think it may be time to merge the adventure with a little emanation of the main character, it's hard to argue with the amount of fun on display.

This isn't a classic Spidey issue, but it does generate all the crazy thrills and chills you want from our friendly Neighborhood hero.

Amazing Spider-Man #16 is a solid issue that sets up the motivation and mysteries for the coming event effectively, and if it doesn't blow the doors off the place, it does provide a great cliffhanger and a foreboding tone.

At the end of the day, the issue is an uneven start, but one that I enjoyed, mostly for the ideas within and the heart of the story.

This is has been one of the most enjoyable of the Secret Wars tie-ins so far, and it's because it stands completely on its own as both an emotional, singular story and as an interesting study of the qualities that make up the central character. This may or may not become a classic, but as a self-contained Spider-Man story, it works very well.

The best thing about this issue still remains its handling of the Parker family, and their devotion to each other. I still prefer an unmarried Spider-Man, but it's nice to see Peter and MJ acting as a team one last time. The way things are set up, I'm hopeful we'll get a solid and satisfying conclusion to what has been a fun series so far, even if this issue was a bit of a stumble.

Though maybe not for everyone's taste, Angelic #1 is also really wonderful, and you feel throughout that you are diving into a truly unique and hugely imaginative world with lots of secrets and bizarre details and a real sense of fun. Its boldness and original vision makes it the most enjoyable post-apocalyptic cybernetic sci-fi fairy tale/animal fable/religious allegory/feminist adventure you or your kids will read this year.

Im sad to see this series end, but with the set up put forward in this issue, its clear were going to have Lemire firing on all cylinders for the climax to this era in Animal Man.

American Vampire's Albuquerque is a perfect fit with this series. His scratchy but expressive style meshes perfectly with the book, and his experience with horror styles is a great fit with this most, shall we say, squishy of DC books. Here's hoping the rest of this arc is as satisfying as the first issue.

I was disappointed, however, by Albuquerques art, which is usually superb. The lack of backgrounds throughout the book really hurt the story. The final battle is happening in the Red, which would be a golden opportunity for some really bizarre and beautiful backgrounds and instead we get no backgrounds at all for a whole slew of pages. Its odd, and I dont know if it was a choice, but it makes the book feel rushed. Its a sizeable let down for what is otherwise a celebration of a strong run for the character.

And with her tale, Maxine helps her father come to terms with the loss of his son. We get a final moment where Buddy shows the way he chooses to honor Cliff, and then its over. While Im a little sad we didnt get more issues of Lemires vision for Buddy, Im consoled by the fact that Buddy will be heading over to Lemires Justice League book, and itll be interesting to see him continue the story of the Bakers. Lemires left enough loose ends while still providing us with a sweet and touching end to the series.

This issue is an aberration from a team that has been taking the title in a solid and interesting direction, and there's some of that on display here that is intriguing, here's hoping the next issue finds them integrating all this stuff into a more cohesive whole.

All in all, Aquaman #23 is a very strong opening chapter to what feels like an arc that will have consequences moving forward even as it uses the opportunity to comment on our own times and dig a little deeper than your typical super-hero slugfest.

Capturing the classic vibe of the franchise with a modern approach, Archie #19 is the best of both worlds, both funny and light-hearted even as it manages to be insightful about its characters. The humor is character based and peppered with snarky one-liners and well-executed sarcasm. And while all the characters are still recognizably Archie and the gang, Mark Waid and Pete Woods deepen their interactions with more specific and nuanced dialogue. Archie #19 is still an Archie Comic; it's never going to be "Maus," but it never should try to be. What it should be is engaging and fun melodrama for teens and those who remember their teens, and in that way, it's perfectly fun.

If this issue feels a little clunky, there's still enough to recommend readers stick with the book and give it another issue, there's a lot of heart and fun in Astonishing Ant-Man #1.

There's still a ton of threads that seem to be just hanging out there (What's up with Nightmask and Starbrand? Will we ever spend more than three panels with Shang-Chi? Is Hyperion more or less problematic than the Sentry?) though, and it's just as likely that this conflict will simply be added to the pile.

Babyteeth #1 is an evocative, creepy and assured debut for a horror series about the possible coming of the Antichrist, written by Donny Cates ("God Country") with art by Garry Brown ("The Massive"). The team sets up its central concept effectively and with a good sense of dread and foreboding, but don't forget to put real and engaging characters at the heart of the story, so we're involved beyond the concept itself. The art team delivers a striking issue that melds its real-world elements with both its supernatural and even emotional ones. If you're looking for horror with heart, Babyteeth #1 delivers.

The Backstagers #1 is a pleasant enough experience, but it feels a bit too reminiscent of other, better sources to chart its own course, while never equaling the success of its inspirations.

Batgirl #13 acts as a bit of a breather before a new arc kicks in next issue, but it also serves as a nice jumping-on point for any readers out there curious about giving writer Hope Larson's celebrated take on the character a try. Is it a fun and sweet done-in-one adventure that shows the love for the classic super-hero caper? You betcha. It's a pleasant and fun read that has a great shape to it and certainly would make any new reader more than willing to join Batgirl and her creative team on their next adventure.

Perfectly capturing the campy and witty tone of the respective source materials' Batman '66 Meets Steed and Mrs. Peel #1 may be light on original plotting, but heavy on a sense of tongue-in-cheek fun.

Seriously, if you aren't reading Batman right now.hell, you'll read it in trade. Now, two months from now, five years from now, this run will be one of the greats for the character, of this I've got no doubt.

I'm excited to see what the team does next with this book. It's hard to think of where they could go from here that could equal this, but even if they don't manage to hit this height again, having one of the definitive Batman origin arcs in your body of work is certainly nothing to sneeze at.

The art is by Matteo Scalera, who has been just killing it on Image's Black Science book. Batman is a good fit for him. The best description I cam give you is that it's as if Batman the Animated Series suddenly became a Vertigo book. IfI have a complaint it's that the art is perhaps a touch graphic for such a mainstream book. Kids read Batman, and showing the corpses of women being buried is maybe a touch too far. I'm not squeamish at all, but keeping the audience in mind is important. It's a beautiful issue, nonetheless.

The end result is a beginning that doesn't flow nearly as well as it wants to, with too much information being introduced that doesn't pay off. As part of a larger whole I'm sure this will make sense, and it's a relatively small part of what is by and large a very enjoyable well-crafted issue, but it was a bit of a rough take-off for me. I have no doubt this team can right itself and stick the landing.

This issue is an epic culmination for this team, and if it continues to be a good as this issue, it won't disappoint and Bat-fan, and may become another indispensable arc by the Snyder/Capullo team.

“Endgame” continues to feel like it has all the makings of a classic, and even if the strangeness of this issue felt a little off, I'm not yet sure it wasn't supposed to have that effect. Can't wait for the next one.

So, I'm eager to see this arc play out. I do think this is a storyline that will play out amazingly in trade as a cohesive whole, where this amount of exposition won't have as big an impact. But even from issue to issue, it's a great time to be a Batman fan.

“Endgame” and Batman continue to be the best thing DC Comics is putting out, bar none.

At the end of the day, even with the shortcomings in the first quarter of the book, the conclusion is so strong that I think this could work as the final Batman story a reader could read, and they would be immensely satisfied.

If Snyder deals with these questions, then maybe we'll have something great. But if he doesn't, then we'll have your standard story that everybody (except Grant Morrison) has done whenever Bruce gives up the mantle. And I'm not sure I'll buy Gordon, the archetypal working stiff cop in comics, as the new Dark Knight.

This is a stellar piece of work, inside a run that is already becoming definitive. Pick it up.

Batman continues to be perhaps the best book DC is putting out, and Snyder and Capullo continue to be the best creative, most creative, most energized creative team at the company.

It's another great issue, another building block in an era that will undoubtedly stand the test of time as an important part of the mythos of this character.

Even with my very minor qualms, this is an excellent issue, well in keeping with the fantastic work this team has done on Batman since the very beginning.

There's no denying we'll miss this team on this book, that Snyder and Capullo have defined Batman for the next few years, creating a high-water mark that will be hard to match. But as an ending, Batman #51 gives you everything you want from a farewell.

In truth, I'd have to say the biggest sin of the issue is that it feels inconsequentialin every way. It's an issue that in the final analysis is simply serviceable and totally ordinary. And those happen from time to time and usually aren't a huge sin. But coming at the end of a seminal run before the book is rebooted, a finale like Batman #52makes one wonder why DC instead on publishing it at all.

Still, as far as debut issues go, Batman #1 certainly kicks things off with a bang. It's an easy book for readers with even the most basic Bat-knowledge to understand, and its narrative simplicity is a strength that allows the action and beautifully simple shape of the issue to come to the fore. King even ends the issue with an intriguing cliffhanger that definitely leaves you hungry for more.

All in all, the creative team continues to impress with Batman #2. It's a solid Batman story that has mystery to it and doesn't fall all over itself trying to make Batman cool every second. King's got a real person at its centre, and Batman's doubts serve as a good backdrop to a story that is already intriguing.

Batman #8 may not be the best chapter of the "Night of the Monster Men" arc, as the bulk of the issue features Batman and Co fighting monster, which they've been doing for a while already. But with great art, solid thrills and solid character work, it sets up the climax to come well, which promises more twists and turns. The story looks to be heading to an interesting and fun conclusion that will solidify further this new era's Bat-Family as a cohesive unit.

Batman #9 uses skillful art and lean, mean and just-twisted-enough writing to deliver a really enjoyable opening chapter to its "I Am Suicide" arc. Though its narrative of Batman selecting a team of villains for a mission may be familiar, the stellar execution results in a creepy and tense issue that gets the reader excited for the story to come.

Batman #10 finds the creative team delivering a seriously flawed issue that finds the creative team trying for something ambitious or unusual but not pulling it off at all. The issue feels artificial and unformed, with ideas that sound cool but don't come across as such, but rather make Batman seem insane and his plan seem pretty dodgy. The previous issue had the makings of a lean, mean, man on a mission vibe that really could have been compelling, but this issue squanders that momentum.

With Batman #13, the "I Am Suicide" arc comes to its ambitious, inconsistent and ultimately unsatisfying conclusion. The creative team tries to bring a lot to the table, but having so much going on means the plot loses focus. Do I think that this issue, and the arc as a whole, would have been more effective if it had been more focused on simply delivering a compelling and twisty adventure? Sure. Do I love a lot of what they put into this arc, though? You betcha.

In the final analysis, Batman #16 is a terrific book, one that effortlessly moves between action and thrills and a feeling of dread into a lighter tone without ever losing a sense of jeopardy and foreboding. The structure of the issue doesn't ever cause the narrative to lose momentum, and King and Finch never forget how many subplots and different strands they've got going. This is certainly is among my favorite issues of this creative team's run thus far.

Batman #21 is hampered by the fact that there are certain perfect and indelible works of art that should never be touched or embellished upon. And though writer Tom King and artist Jason Fabok have crafted a fairly entertaining, well-structured and finely executed opener, the simple truth remains; this is a bad idea. It's just nearly impossible to imagine lightning striking twice in such a powerful way as it did when "Watchmen" came to be regarded as one of the seminal works of an entire medium. And therefore, despite the skill and craftsmanship on display in a perfectly serviceable issue, it's hard to dissuade yourself from the feeling that this will likely disappoint.

Batman #23 is just a fantastic, emotional and inspired issue, and once again shows you don't need four or six issues to tell a story that will be completely satisfying. The issue masterfully takes both characters on a journey, and the result is an affecting tale that distills substantial differences between each of them. And because it's such a well-constructed story with a definite and powerful arc, Batman #23 once again proves that the skillfully executed and affecting done-in-one comic book tale is really a delicate and rare art.

If you liked issue #25's opening chapter to "The War of Jokes and Riddles," then you're going to enjoy Batman #26, which does it job in raising the stakes of the conflict and effectively framing this flashback tale of Batman's greatest failure. Bolstered by King's penetrating and fresh take on its two central villains, and featuring absolutely gorgeous art by Mikel Janin, Batman #26 offered further evidence that we might be seeing King's definitive Batman story.

With Batman #36, writer Tom King and company continue to deliver one of the most involving super-hero titles on the stands right now with a funny, warm and surprisingly affecting examination of the World's Finest team, Superman and Batman.

King's run on the character continues to surprise and thrill in equal measure, even as it presents a warmer version of Batman than we've seen in some time without sacrificing all the noir badassary fans have come to expect.

Batman Annual #1 is a solid anthology book, which features one great story as an opener and a succession of stories that are all enjoyable though more variable. Considering its cover price, you could be excused for thinking this issue a bit too disposable, but with King and Finch's really great tale, plus Orlando's jarring but enticing lead in for things to come and Snyder and Shalvey's slight but warm tale, you'll find it impossible to not enjoy the book as a whole.

Batman/The Shadow #1 proves that the creative team of Scott Snyder, Steve Orlando and Rily Rossmo know what has made these two properties so resonant with fans for nearly a century; the issue is long on atmosphere, noir touches and dark, pulpy mystery. I will say that the story, while intriguing and compelling, is very simplistic in its structure. It's effective in how it establishes its central mystery and in how it draws the reader in, but in terms of its narrative, it follows a pretty predictable pattern for a debut issue. But what it lacks in surprises it more than makes up for in atmosphere, so the issue is still a fun read. As such, it should please fans of both the Caped Crusader and the pulp and radio character who directly inspired him.

With Batman Lost #1, Scott Snyder and his co-writers James Tynion IV and Joshua Williamson, along with a trio of artists, might have delivered the strongest component of the event to date. I don't want to spoil any more, except to say that the story is strange, dark and very personal. Its placement at the centre of the "Metal" event is appropriate, as it puts the character's inner life front and centre among all the cosmic shenanigans, evil doppelgngers and world-shattering realignments of epic mythology. In an event that keeps getting better, Batman Lost #1 is among the strongest instalments yet.

If there's a flaw in Batman – Rebirth #1, it's in that it doesn't explode out of the gate. It feels like a typical Batman story, and aside from introducing the Duke/Bruce partnership, it doesn't really give the reader an idea of what is going to set the King era apart. It's entirely likely that the creative team is saving that for the first issue of the new Batman ongoing. Though I'd say that the issue is enjoyable and well-done, its low-key nature makes it come across as subdued, and I was hoping that I'd end this book feeling psyched for the new creative team. As it is, I'm optimistic, but think that we have yet to see what King really wants to do with the title.

The tie-ins for "Dark Nights- Metal" have been superb, and Batman: The Merciless is no exception. Writer Peter J Tomasi and artist Francis Manapaul deliver a solid issue, and like the other tie-ins it's an experience that both thrills with the artistry on display even as the darkness of the tale provides a feeling of dread. Batman: The Merciless is another stellar and thoroughly enjoyable tie-in to what is shaping up to be an unconventional and original major DC event.

Writer/artist Sean Murphy's ("The Wake," "Punk Rock Jesus") take on Batman, his role in a more realistic society, and his complex relationship with the Joker, form the heart of the engrossing and intriguing Batman - White Knight #1. Using the Batman/Joker dynamic to get the reader to question what our feelings about heroes like Batman are really all about, Murphy gives us a fresh look at the concept of Batman and his greatest foe.

Though Battlestar Galactica #1 doesn't reinvent the wheel, it does provide a strong opening issue for the series, eschewing the cheesiness of the 1970's show by giving it a contemporary feel without losing the charm of the source material.Writer Cullen Bunn opts to get the ball rolling right away and though it remains to be seen whether or not the various mysteries he sets up will tie together, for a first issue it does the job of hooking you in.

When Battlestar Galactica #2 focuses on new elements we get a spooky issue filled with menace. But when it performs a deep dive into a series that I vaguely remember at best, there are elements introduced that left me thinking, "Nope, have no idea who that person is or what they're talking about." And that baffling continuity aspect really hurt the issue's readability for new or casual fans.

While Bitch Planet # 8 continues to provide a spotlight for a powerful feminist message too little seen in comics, it's also a brilliantly well-crafted issue that highlights the power of simple, old-fashioned, well-crafted comic book storytelling. It's a great issue.

After years of disputes between DC and the creator, Black Lightning: Cold Dead Hands #1 sees writer Tony Isabella return to the character he devised. With him comes a sharp contemporary political focus, an expected facility with the main character, and a familiar if solidly entertaining return to form for a character ready for the spotlight. The issue isn't going to break any new ground, but it may just remind everyone why Black Lightning has garnered and retained his fans over the years as well as confront some relevant issues. With Isabella and artist Clayton Henry at the helm and giving it their all, the character's got his best shot in years. Here's hoping lightning strikes twice.

All in all, Black Panther #1 is a premiere issue that is packed with a lot of ideas, concepts and scene-setting. It may have a little too much stuffed in there, but what does come across is a unique vision that will definitely take the character and the title in a more complex and hopefully entertaining direction as his profile increases.

There are times when you feel as if the book is perhaps a little too smart for the reader, that the imagery and poetics almost touch on pretension. I don't think it ever tips over into pretense at all, but other readers amy disagree. At the end of the day, Black Panther #3 feels like a masterpiece in the making, a definitive take on a character that has had a few definitive takes already in his history. On the evidence of this issue and the ones before it, Coates and Stelfreeze will deserve to be in that company.

Black Road #2 features some great, atmospheric art and nice relationship building, but its narrative feels slight and thin, reemphasizing things better communicated in more subtle ways in the first issue.

Black Science continues to be a weird and surprising trip through different dimensions and one man's flawed personality, and even though it has some flaws here and there, if you can embrace its own special flavor, it's a rewarding ride.

Black Science continues to be a series that is worthy of patience, one that feels as if we'll only truly be able to judge its success when it wraps up. ButBlack Science #21has to stand out as one of the most enjoyable single issues of the book's run.

Black Science has always been weird, and this issue certainly is. But it's a series that has become totally flexible and fluid, anchored by a tale of possible redemption that we can all relate to. As such, Black Science #23 gives us the strongest proof yet that this is a series that only keeps getting stronger.

Black Science #30 is another top notch issue, leading into what may be the ultimate threat Grant must face. Reminder and Scalera's impressive ability to invent new and more apocalyptic situations to thrill readers is matched only by their laser-sharp focus on examining the choices, mistakes and motivations of their deeply flawed if ultimately heroic protagonist.

This run of Black Widow has made the character, whom I always liked, into one of my favorite in the Marvel Universe right now. Here's hoping the current creative team stays for a long time, and that they keep putting Natasha through her paces.

Now, maybe the next storyline in the series, The Last Days of Black Widow, will be so good that I'll be able to shake the feeling that this issue resolved her storyline too abruptly. This creative team certainly is capable of crafting a perfect final Black Widow story. But even though I consider this issue slightly too abrupt to resolve the ongoing story line, Edmondson and Noto have still created a thrilling and compelling issue that lives up to the stellar ones that preceded.

When all's said and done, I have a feeling their run on Black Widow is going to be one of the most satisfying and complete runs in recent years.

This has been a great series since issue one. Filled with beautiful, stylish, evocative art and held together by a razor sharp focus on revealing and exploring its central character. I'll miss it, and when people ask me to recommend a solid comic book series featuring a female protagonist, I will recommend these brilliant, self-contained 20 issues. Here's hoping we see this team on another book really soon.

At this point,if you can't get behind this title, with creators at their absolute peak, an intriguing set-up, and a main character that has never been more interesting or cool, then you're just not getting enough excitement in show business. Some might complain that this issue is all action and no story, but I think it's deliberate. This is meant to rocket this series out of the gate, and intrigue you enough to buy issue two. If the series remains this action-heavy, that could become a flaw, but at this point I can't see that happening. If there is a flaw, it's only in that this is just the first issue, and it remains to be seen if the quality can continue to be this high. But with this team, chances are you're about to get another classic run.

Bloodshot U.S.A. #1 is a great example of all the things that have made the Valiant line so great over the last few years. Lemire and Braithwaite set up the event with such skill and lean action that I can't imagine anyone not wanting to pick up #2 to see what comes next. It proves that, once again, Valiant might be setting up the most exciting and refreshing new super-hero comic universe in comics right now.

Bloodshot U.S.A. has been a lean and exciting thriller that more events could learn from. The action throughout is top notch, with each set piece elevating the story and making sure things go from bad to worse, leading to an ending that will definitely bring you back for the third issue. Bloodshot U.S.A. #2 builds upon its impressive previous issue, continuing to prove that Valiant is constructing some of the best super-stories around these days.

Bloodshot's Day Off #1 is effective in how the story is executed, not in anything particularly bold or innovative it offers. But the skillful way that writer Eliot Rahal and artist Khari Evans evoke the stories of two soldiers who gave up a lot to a larger cause results in a story that is surprisingly affecting.It may be an example of a story that we've seen before, but it's a very strong execution of that kind of story. Even if you've never read a Bloodshot story before, or never seen these characters before, the creative team utilizes this somewhat familiar story to solid success, resulting in an issue that is quietly touching.

Bloodshot: Salvation #1 is another high point for the franchise, and if the ongoing series that follows this debut issue can keep up this level of quality, then the character's renaissance will continue. More than anything it ably demonstrates the confidence and deft handle Jeff Lemire has on the character, and even if the story is a bit predictable, that doesn't make the execution any less compelling and exciting. With a great alternating art team handling different settings, the book looks great as well. You can feel that this going to go somewhere interesting already, and fans of Bloodshot will find plenty to enjoy.

Blue Beetle #1 feels like it's all over the place. There's a lot of disparate elements going on in the issue that separately are interesting, but when combined into one book, result in a diffuse mishmash of plot points that never settle into one narrative, and a central relationship that winds up more irritating than engaging. There's potential to the concept behind the book, but it needs a tighter focus on defining the central relationship better if it's going to work.

Though Blue Beetle - Rebirth #1 is well-executed by all involved, the narrative is much too familiar to offer anything new. It does succeed in grounding the upcoming series in a compelling central relationship with the fraught partnership of Jaime Reyes and Ted Kord.

Britannia #1 is an unconventional and ambitious debut issue, of that there's no doubt. Writer Peter Milligan tries to marry pseudo-historical political intrigue with police procedural and then mix in supernatural, primeval horror to the narrative. The result is an issue that occasionally feels a tad overstuffed and wild, but is always surprising and in the end a creepily enjoyable read. Now that all the set-up is over with, I can imagine that the remaining three issues could wind up being a scary, compelling and refreshingly unconventional read.

Bug! The Adventures of Forager #1 is a really weird and fun book, sending Bug on a multiverse-spanning mission that brings him back from death into worlds both real and imagined, dream and reality. With Lee, Michael and Laura Allred as the creative team, the result is a dream team of creators working without restraint on a character and concept that matches their ambitions. If you enjoy weird, over-the-top bombast that later Jack Kirby specialized in, then you've come to the right place.

like the issues that preceded it, Bug! - The Adventures of Forager #3 totally embraces zany, and we're all the better for it, as we're treated to a fun, mind-blowing and gorgeous issue that works despite never coming close to realism. The Allreds have made Bug! into a title that celebrates and glorifies that kind of the over the top storytelling, and if you can give yourself over to its tone, it is a ton of fun.

On the whole, Im eager to see the resolution of the arc. Though I can clearly see how that resolutions going to go, Im enjoying the ride.

The issue is a nice mash-up of the different styles of Remender himself, too. There's the solid action and skill with putting his protagonists through personal hells that he showed in X-Force. There's also some of his nutty sic-fi and sociopolitical commentary that you find in something like Black Science. The result is old school super-hero bonkers action with a modern twist. That's not for everybody, but this reader finds himself enjoying the ride. If there's a downfall to a more classical approach, it's predictability, but this issue mostly dodges that bullet. The final page shows where this story is going to go, and while I think it's maybe a little too silly, it also brings into the story a threat that is maybe one of the top four or five classic comic book threats. I laughed when I saw it, but the laughter for me was not without warmth. I look forward to see how this all going to turn out.

If this is a hint as to the style of the Sam Wilson Captain America, then we're in for a very nice run of stories.

But then the new Captain America is revealed, and it's great. There's a nice joke about the announcement lacking dramatic tension that is very meta, but it works. And with that, I'm excited for this new era. I know it won't last. I know Steve will eventually be forced to come back and pick up the shield. But if we get a year or two of good stories with this new cap, then surely that's no bad thing. I'll stick with the series into the new era, and hope this admitted gimmick allows for a deserving character to get a spotlight that is richly deserved.

Despite an action plot that feels familiar, Spencer and Saiz have crafted an exciting debut issue that, even if you aren't loving the twist at the end, definitely intrigues and engages the reader, and accomplishes the difficult task of making a character that we all know so well into someone to look at with fresh eyes. Hopefully, the follow-through manages to justifythe boldness of the twist.

As a single issue, Steve Rogers " Captain America #2 may feel a bit wordy, but it will certainly read well as part of the eventual trade, and as an important stage-setter for the upcoming drama of this initial arc, it's probably indispensable at this point. The fact that it's such an enjoyable read is a testament to the creative team's skill and investment in the concept.

All in all, I'd never call this a bad issue. It's a well-construcred, affecting issue that still left me cold, but I can absolutely see how other readers would love it. It's just that I think the choice to combine modern-day character based examination with the Golden Age style of heroics is an uneasy fit. I'll still be reading further issues, because Loeb and Sale are too good to not surprise me by turning it around, but I'd still call this a debut a bit of a disappointment.

Civil War‘s second issue builds upon the first, wisely moving the concept of the original series further along to deal more with the effects of long-term war, giving this series more thematic punch than simply exploring an alternate reality. It does suffer from feeling like, due to the temporary nature of the event, the outcome is inconsequential, but it's a fascinating exploration of extreme versions of two of Marvel's signature characters.

With a gigantic battle on the horizon, and a conspiracy to be revealed, the next issue looks to capitalize on the large stakes set up in this issue.

All in all, Civil War II #0 does it job well, and even though the issue doesn't shake the idea of this series being Minority Report within the Marvel Universe, it also shows why that could wind up being a pretty fun and interesting read.

In the end, while it works as a first issue, Civil War II #1 also makes me concerned that we're going to get heroes making choices that aren't worthy of them, and aren't well orchestrated enough, in order to fit a narrative that sells books. And that's fine, but it's that kind of storytelling that keeps an event book from rising above being simply spectacle into storytelling.

Even the superb art of David Marquez can't save the issue from being just irritating. The worst thing is that I can easily see a few tweaks to make me care so much more about the central dilemma, and to make the actions of the characters more well-defined and better motivated, one that carries with it emotional heft of friendships betrayed and genuine idealogical differences. For all its flaws, the first Civil War series did have those qualities. But Civil War II #2 is ultimately sound and fury, and it signifies nothing but spectacle for its own sake.

Civil War II #3 compounds the flaws of the series thus far, and I sadly don't see things improving anytime soon.

I know it seems like I didn't think Civil War II – The Accused #1 is good, but it's more that I think it's sadly stuck with foundational flaws introduced over in the main title. Guggenheim manages to deepen the central ideas quite a bit here, and when he isn't focusing on those flawed aspects and is telling his own story, then the issue is very good, and overall, it winds up being a far more affecting and effective experience than I've had reading any of the main series. It lifts the tie-in easily onto the positive side, and I think it actually helps deepen the argument of the core series somewhat.

Still, the issue is a solid set up with sharp characterization, one that looks to examine some of the ideas important to the event from a different angle.

Though the structure and narrative of the opening issue is familiar to any Conan fan, the execution is solid enough that Conan the Slayer #1 is an enjoyable read, with a fresh enough take on Conan to give the character a bit more depth and humanize him a touch more than he often has been. As a debut, it sets up enough intriguing ideas and concepts to bring you back for more.

Conan the Slayer #3 may be the best issue of the series yet, a gory, rollicking, spooky, adventure full of monsters and scheming. Cullen Bunn and Sergio Davila nail the best qualities of the title character, and evoke his literary legacy while crafting a really fun comic. If you like Sword and Sorcery, grim-visaged mercenaries and bloody sword action, you'll find lots to love here.

Even if you aren't as committed to animal rights as Miner is, the book has the stones to ask why aren't you? And if you agree that animals have rights, then how far should we go to protect them? If you believe that they do, can you ever go too far in saving them?

In any event, it does mean the issue is more mixed for me than the last two, which both were very satisfying. But I'm still on board for the series, and the things that were good, such as the main plot set in the present, continue to be suspenseful and intense and feel very much based in a real-world. It's an uneven issue, but the things that I liked outweighed its drawbacks.

A book about a magical antihero isn't new under the sun, but the wit and black comedy of Curse Words #1 feels fresh and loaded with enough charm to give it a distinct feel. It's a book both funny and yet one that doesn't treat its character as a joke. With a protagonist this intriguing, a concept this well executed, and a sense of humor this enjoyable, Curse Words #1 is bound to be among the most fun and compelling first issues you'll find.

Curse Words #4 continues to prove that writer Charles Soule and artist Ryan Browne have one of the most consistently funny and irreverent titles on the stands right now, but this latest issue doesn't just rest on its laurels. Soule and Browne take their monumentally selfish but somewhat good-intentioned anti-hero on a journey this issue, which sees him alternate between moments of genuine heroism and complete douchebaggery to hilarious degree as he searches for points of magic on Earth. With tons of funny moments, some solid magical action, and a lot narrative momentum, Curse Words #4 delivers.

In the final analysis, I have faith in what Semper and Pelletier will do with the Cyborg series, but I felt that Cyborg: Rebirth #1 tried to do a little too much and strayed away from its more interesting aspects into a cul de sac of backstory and slugfests.

Russell Dauterman delivers some incredible art here, with Chris Sotomayor handling the colors. The art is gorgeous, top-notch sci-fi derring-do, with colours that pop and several panels and pages that just kill. I hope this team stays on the book for a good long time, it's a ice fit with the material.

Hopefully, this series maintains this high level of quality, and fans enjoy this direction. It's already the best place to go to for anyone who loves the character.

Cyclops. Seriously, it's probably the best solo X-Book on the stands.

It's becoming clear to me that the direction of the book is implying that Corsair's influence may allow Scott to become less repressed, more able to experience joy and let things go. It'll be fascinating if the long-term plan for the series is to show that a life spent following Xavier's dream may not have been the best thing for Scott, that the one we've been reading for years has been so consumed with duty, so unwilling to allow himself to be happy, that his only salvation may be a do-over with his scoundrel father as his guide.

Javier Garron's art is beautiful too, and initially I didn't like his gawky, awkward Scott Summers. But then I realized, teenagers ARE gawky and awkward, and now I love that he looks like he's got some growing up to do. And the colors are superb, as you would expect from Chris Sotomayor.

I'd never say the issue was bad at all. It's still a very enjoyable issue, and I continue to be excited to pick up each issue of Cyclops with anticipation. It's just that this storyline has yet to break any new ground. It's just a classic story, well told. That's not anything bad at all, but I'm hoping in the next issue we get to see something beside the predictable crisis of conscience and betrayal that these undercover stories always end with.

The art by Javier Garron is so, so pretty, and perfectly captures the tone. His layouts and the choreography of his figures, combined with just a touch of humour, keeps the swash in this series' buckle, and his design of the ships and aliens are varied and beautiful. Combined with Chris Sotomayor's vibrant colors, you've got one beautiful book.

It's too bad, because as the opening title of DC's New Age of Heroes, Damage #1 feels like a pale variation of a lot of other things that have come before and been done better rather than anything new. But, if you like some truly great art and don't care about the story, then you'll get your wish here.

I don't give out perfect scores very often, but this is a book without a single drawback, one that rewards the reader with plot and story, art and character.

Dark Days - The Forge #1 is the prequel that kicks off DC's summer event to come, and though there's plenty here to intrigue, drawing from crumbs dropped throughout Snyder's long tenure as Bat-writer, the issue is also pretty darn dense. As part of a larger whole, Dark Days - The Forge #1 may wind up being a perfect fit, but as a stand alone introduction to a story yet to be revealed, it's perhaps too dense and vague for its own good.

I can't say it's sea-change kind of story the original Dark Knight was, but frankly that's an unfair and impossible challenge for this book to meet. What I can say is that the issue showcases all of the strengths of the creators, and none of the weaknesses, and the result is an issue that leaves the reader eager to dive back into the universe Frank Miller created all those years ago.

This nightmarish and at times almost abstract epic is constructed with an over the top exuberance and chaotic cyclone of disparate elements that surely is the result of co-writer Grant Morrison's input. And, if you enjoy Morrison's skill at taking crazy concepts, nutty characters and whipping together with high cosmic stakes that are nearly surreal, then you'll love this issue. If you just think Morrison's stuff is crazy and impossible to follow, well, you'll find that there too.

Dark Nights - Metal #1, by Batman superstars Scott Snyder and Greg Capullo, is the issue that made it clear to me that I am afflicted. I have CBEF Syndrome. If you're unfamiliar with CBEF, it stands for Continuity-Based Event Fatigue. And with its incredibly dense narrative, tons of elements barely sketched out, and huge reliance on readers knowing a ton about everything happening in the Bat-universe and the DCU at large, Dark Nights - Metal #1 brought on a big case of CBEF for me. The result was a first issue that was more irritating than intriguing, though one that held the promise of a compelling concept at its core. In the end, my lack of investment in its mysteries made it more a chore than a pleasure to get through, even if the great art and hints of promise remained.

The best moments in the DC Holiday Special #1 are the ones that either successfully tug at your heart or acknowledge in the meta-textual way the absurdity of a Holiday issue. The other stories in the issue come off less well. I will say that none of them struck me as bad, but a few felt slight or run of the mill, missing a spark. I'm not sure the book as a whole wouldn't have been better with less content rather than the slew of stuff we get here that feels like filler, especially when considering the $10 price.

But on the whole, DC Universe – Rebirth #1, if it's followed up on with the same care and skill in which it was created, could signal a new era at DC, one that merges the contemporary feel of the New 52 with the spirit that had long given DC its unique and inspiring feel.

Dead Inside #1 is an excellent addition to the genre of hard-boiled crime comics, and there's tough competition in that category. Arcudi and Fezjula use the unconventional setting to their advantage, crafting a gripping set-up for a mystery and constructing a believable protagonist to lead us through it while the art accentuates the suspenseful and gruesome aspects of the story.

Deadman #1 feels much more like the Neal Adams of "Batman: Odyssey" than the original Deadman run. It's a first issue that features deeply clunky dialogue, confusing characterization and convoluted plotting. And yet, you can't deny that there's something underneath all the flaws that could be good. There's no denying that Deadman #1 is deeply, deeply flawed. But there's also no denying that a book with Adams' name on it will never be totally without value.

Deathbed #1, written by Joshua Williamson with art by Riley Rossmo, has a lot going for it. The biggest plus is the wildly unhinged exuberant tone, a feature of Williamson's script that is matched to perfection by Rossmo's bold, atmospheric and uninhibited art. I love the central idea of a writer teaming with a lifelong secret adventurer to tell his life story too. So why did I find myself struggling to like Deathbed #1? Its clunky narration and a protagonist that is murkily defined held it back for me.

With its ruthless efficiency, complex non-linear structure and compellingly amoral protagonist, Deathstroke #1 provides thrills and action in spades, setting up a solid direction for the series moving forward.

In his anticipated return to a big two title, Priest crafts a lean, stripped down narrative that works perfectly for readers new to the bloody adventures of anti-hero Slade Wilson, the Deathstroke. This one-shot boasts a bloody great future for the new series.

While Delete #1's conspiracy narrative may be familiar, the high-tech concepts that drive it are intriguing and well-integrated into the story, alongside engaging central characters that clearly have more to them than meets the eye. John Timms' art is both stylish and effective, and writers Justin Palmiotti and Jimmy Gray have constructed a solid debut issue that entices the reader to come back for a second one, with plenty of mysteries to solve and places to go.

Detective Comics #935 continues to craft a cast of characters whose struggles and personalities readers can get behind while using an admittedly conventional plot to showcase the interpersonal dynamics and ratchet up the threat level of the still mysterious baddies waiting in the wings. Like a lot of DC books post Rebirth, the focus is on making the book a fun read with more compelling characters, and its success at that is why I'm giving the issue an 8/10.

Detective Comics #941 is a thrilling and unsettling issue that works. It advances the plot and ups the stake with energy and efficiency, without forgetting to do a little character work, and manages to be surprisingly gory and creepy, though not inappropriately so. While the idea of Batman vs giant monsters is kind of silly, it's a kind of silly that is familiar and acceptable to anyone who reads comics on a regular basis, and winds up working as a result.

Detective Comics #942 was a disappointment to me, as I was looking forward to another Silver Age slugfest with monsters and a definitive battle against a sneering bad guy. Instead we got tedious psychobabble used to set up resolutions that weren't as clear as they needed to be or as dramatic as we wanted them to be.

Detective Comics #943 is an enjoyable read that kicks off a spooky arc and introduces creepy new antagonists for our team of heroes while deepening the characters of each of the protagonists. While its energy stumbles a bit during a long party scene, robbing the issue of some momentum while it introduces a character, that's not a fatal flaw. It also continues to refine the group of characters at the book's heart into more multi-dimensional people that are starting to feel like a compelling team we could enjoy following and rooting for.

The problem with Detective Comics #946 is that, for much of the issue, things are neither revealed nor escalated. For the fourth part of what feels like a five or six part storyline, there's remarkably little tension or suspense. At this point, the First Victim is little more than a cool idea and a great visual, with the main antagonist's motivation maddeningly obscured, resulting in a villain that isn't as compelling or formidable as the concept promised initially.

This issue is a solid, if a little low-key, start to what has the potential to become a fun and definitive run on a character in need of some TLC.

It's long been said that every writer, when pitching to Marvel, pitches a Doctor Strange idea. Aaron's pitch works so wellfor me because it's simultaneously the most grounded and human interpretation of the character I've seen in a while, and still one of the most bizarre in terms of how it depicts the world in which he operates. With issues like these, and his own movie soon to hit theatres, it's easy to see Doctor Strange becoming one of Marvel's A-List characters once more.

The end of this issue presents us with a Marvel Universe that is changed, albeit in a way that few in that Universe will recognize. But it's a great ending, one that serves a springboard for this book to embark upon another captivatingly weird and fun and thrilling arc. Doctor Streange continues to be among the most enjoyable books Marvel's putting out.

“The Last Days of Magic” continues to be a thrilling and epic arc that does its job in giving this series a defining storyline that promises to remind readers why Doctor Strange was once one of the jewels in Marvel's crown.

While the is merely the beginning, it does feel like we're bout to embark on an epic story, one that will justify having the Doctors meet and work together. Now we'll have to see if the rest of the series delivers on that sense of promise.

Four Doctors continues to be worthy of the Event status Titan has given it, and for fans of the series, it's sure to be everything you hope for from a series like this.

Four Doctors remains fun, thrilling and surprising in equal measures, sure to be just what any fan wants from a Doctor Who event.

If Cornell and Edwards can stick the landing (and why the hell shouldn't they, given how good the first four issues were), then this will wind up being the crown jewel of Titan's already stellar Doctor Who line.

All in all, Four Doctors has been a huge success, managing to capture exactly the best aspects of a multi-Doctor story. I wouldn't call this issue the best of the series, but fans of the show and of action-packed science-fiction should find more than enough to enjoyand close off the story in a satisfying way.

Doctor Who - The Twelfth Doctor: Ghost Stories #1 kicks the mini series off with economy and energy, propelling the Doctor and the Ghost into an adventure that, while it may feel familiar to long-time superhero comic readers, stills serves as an exciting opening chapter for the miniseries. It's a steady and well-executed opening chapter that holds a lot of promise and offers a fun mash-up of two great genres.

It's yet another top notch book from Titan, and if this mini continues to deliver, then any Eighth Doctor fans out there will find more than enough to enjoy, and hopefully he'll gain some new fans as well.

In the end, it's not that I think Mann couldn't have come up with an intriguing story using what he establishes here, the widowed reflections and the character of Silversmith prove that he's got talent and ingenuity. However, sticking with the “done-in-one” quest format just didn't give him enough space to make this tale more than a typical runaround.

If you were like me and you're a Doctor Who fan who stayed away from the comics, then I urge you to reverse that and give this issue a try. I can't think of when I've enjoyed a debut issue more in a long while.

But its all over before you know it, and its fun enough. However, I would say its time for Ewing and Company to take advantage of the serialized format of comics and start telling larger and longer stories. This is a really great team, and I really want to see them cut loose with a story that has more scope and scale. One issue may be enough to tell story, for sure, and tell it well, but it does require less complicated stories in order to work. Theres clearly a mystery building in the background, maybe its time to spend a few issues advancing that, or at the very least, give us a longer story with a little more heft.

The issue makes for enjoyable reading, and Williams and company still have an ear for making their stories seem completely in sync with the televised adventures of this Doctor. I'm really enjoying Titan's series, and this creative team keeps on impressing.

I'm looking forward to the next issue, and to how it's going to fit in to the larger picture of the series overall.

Titan's line, and this series in particular, have managed to make me a firm believer in Doctor Who comics. If you haven't dived in, pick it up; you won't be sorry.

Fraser and Caldwell work together well, with Cladwell's colours brining a beautiful vibrancy to Fraser's exaggerated but still charming pencils. Lovely stuff, as always.

All in all, it's a perfectly suitable adventure to open a new arc, and the issue puts forward some good ideas. None of them are particularly novel or bold, but it does feel like an episode of Doctor Who, one that won't be your favourite, but is still fun.

The Eleventh Doctor - Year Three #1 finds Titan continuing its run of interesting and exciting "Doctor Who" titles that capture the feel of the series while still taking advantage of the unlimited boundaries comics can provide. With a strong handle on its tone, and a surplus of big ideas, even this packed to bursting and slightly unwieldily first issue comes off as a strange, scary and exciting success.

I did wind up liking Doctor Who - The Eleventh Doctor Year Three #2, despite featuring a resolution that relies far too heavily on a whopping great deus ex machina, even for "Doctor Who." While I wish the issue had been more imaginative in its resolution, there's certainly enough here to recommend it to any fan of the property. And the things that are well done are done well enough to demonstrate the imagination and strengths of the creative team.

Doctor Who - The Eleventh Doctor Year Two #14 is a fever dream-like spectacular, with some bold and unsettlingly strange visuals that push the boundaries of how disturbing this title can be. It ties up a lot of loose ends and offers revelations, but it doesn't do so in a orderly, laid out fashion. It all happens in a rush of action and conflict, and therefore it occasionally gets away from the creative team. However, strong visuals and bold ideas win out over this, and the result is a fun, albeit weird, issue.

Scott and Shedd have crafted a first issue that meets the standard set by Titan's other Doctor Who series. It's a shame that this is only a limited series, but if you're a fan who yearns for more adventures with the Ninth Doctor, then your wish couldn't be better answered than this.

So, it's a bit of a let down from the previous issue, but there's still plenty here to keep any Whovian interested.

While I wouldn't call the series groundbreaking or a classic so far, it does provide a fun and engaging read that should more than please fans of the series.

It's very solid debut for Titan, one that they can be proud of. As a proud Whovian, I can wholeheartedly recommend the issue for those of us counting the moments until the series returns.

I still very much enjoyed the issue, it's just a tad clunky in its handling of a lot of info. The ideas at the core are very good, and the series remains perfectly in sync with the era of the television show it's celebrating. If you're a fan of Tenth Doctor, this remains the best way to get your fix.

While I'd like to see the exposition handled a little more tightly, Titan still has a cracker of a series on it hands, one that will more than satisfy any fan of the series or of a good science-fiction tale.

If there's a downside to the issue it's that it's still a little talky. I know the Tenth Doctor is the one with a gob on him, for sure, but there's a couple pages where it dragged for me with a ton of both the Doctor's babbling and Gabby's narration. But that's a minor quibble in an otherwise stellar issue that has me eager to see the next installment.

At the end of the issue, we see that the Doctor and his companion will be together for a while, and also learn that there is likely more to her than meets the eye. Frankly, I get why this mystery was introduced and its done well, but I'm a little tired of the “mysterious companion” thing, having just gone through a season of that on the TV show. As always, though, it's what you do with it, and with how good the series has been so far, I'm content to see what's in store.

Still, the story is definitely atmospheric and intriguing, and there's more than enough to keep me excited to see where it goes next.

All in all, I liked the issue, maybe a less than previous ones, but I think the story is entertaining enough and there are plenty of great elements that elevate it above its simplistic plotting.

It's just that the issue feels a bit like we're wheel-spinning, trying to come up with stuff to fill the page count. I'm all for the scariness of being hunted by the Angels, but the fundamental problem is that, at this point in the show's continuity, they can't do more than pop out and grab you, so each issue is basically about the Angels chasingthe Doctor and friends while they run away. Morrison does what he can, giving the story enough character moments to be interesting, but at the end of the day, there's just not enough here to really make for a satisfying storyline.

Chalk up yet another great issue from Titan's Doctor Who range, proving that they know how to pick the right creative teams to craft fun and cool stories for Doctor Who fans.

The issue winds up being uneven and a bit rote in places, but it has just enough originality and heart in how Abadzids approaches its central character to make it an enjoyable read.

All in all, while it's a bit of a rockier start than the the other two books, it also has a way harder job to do, and the plot of the issue is exciting and engaging enough to make me look forward to the next issue, and 100% positive that the rough patches will get smoothed out over time. Like every Titan Doctor Who book so far, it's well worth it for fans of the series.

So, it's a solid resolution to the opening story, and though I think there's room for improvement moving forward, at lot of the shortcomings aren't the fault of the team itself, and there's enough talent and potential on display to warrant sticking around for the next arc or two.

Doctor Who - The Twelfth Doctor Year Three #1 should please all fans of the venerable TV series with its engaging story that recalls the best aspects of many iterations of the series. If the creative team can deliver on the promise of this mysterious and creepy opening chapter, it'll be another success

Despite some great art and nice character work, Doctor Who - The Twelfth Doctor Year Three #2 is a perfectly ordinary and unmemorable issue that is bafflingly unrelated to the main arc begun one issue prior. There is the possibility that this story will somehow fit in with the larger arc, but if that's the case then surely they could something to make it feel more essential.The story itself is only sketchily defined, with a resolution that is frustratingly vague and easy. The issue comes across as an odd diversion from the main story, and one that is a pretty ordinary one at that, therefore winding up as a totally disposable issue.

The whole issue does feel like the opening episode of one of a enjoyably scary story, and if it does come off as a spooky scene-setter and nothing more, the arc's overall effectiveness will be determined by future issues that establish what the scene is being set for. But for an opener, it's a ton of fun.

There's a metatextual element to The Twelfth Doctor Year Two #14, and though I appreciated the boldness of attempting that kind of commentary, the result is a bit hit and miss for me. The story's characterization of the Twelfth Doctor also doesn't quite feel accurate or specific enough to evoke the character we've seen on screen. That being said, the supporting characters are well-defined and interesting and once the plot kicks in, things become much more engaging.

I really want to see these characters, who are interesting by and large, get a story in which they resonate enough to take purchase, but so far they're coming with too ugh clunky baggage to really grab my interest. If the series is going to succeed, the creative team needs to streamline, simplify and focus on introducing the characters and concepts much more effectively.

Hey, Marvel? If you and this team put out a book called Gwen Stacy, Spider-Woman, you'd have my money forever. Get to it.

Weaver's art is exceptional throughout though, and his Spider-suit design is downright spectacular. Hopefully we get some resolution to all that was set up here, and hopefully that resolution is better than this issue.

But, we do get some great last few pages when a particular version of Spidey from an alternate reality shows up, and it's definitely awesome. The book comes alive and it's too bad it's just for a few pages, because it doesn't save the issue as a whole. At the end of the day, the concept of Peni feels half-formed, like someone pitched a mecha-Spidey and pretty much stopped there. The reason why the Spider-Gwen story worked so well is that it felt like a fully-developed idea, setting and character that we got a snapshot view of in media res. In this issue writer Gerard Way is trying for a similar effect but the core concepts are left too undefined, and with such a departure from the core Spider-Man ideas, readers need a little more to hang on to in order to care. At the end of these issues, if the alternate Spideys are going to play a larger role in the Spider-Verse event, I really have to care about what they do next.

Eternity Girl #1 is another stunning and unconventional first issue for DC's acclaimed Young Animal imprint. Written by Magdalene Visaggio, with art by Sonny Liew, the debut issue of this six-part series is a gorgeous, melancholy, weird but ultimately affecting story that works a bunch of levels and may be one of the most timely books out there. I loved the unique quality of Eternity Girl #1, the way the text and subtext are perfectly balanced to deliver a hugely affecting issue with a sympathetic and relatable character at it heart, going through a journey that needs to be talked about more, and talked about this well. Eternity Girl #1 may not be everyone's cup of tea, but this kind of personal, bold and unique work is exactly what mainstream comics needs to be doing today. A true work of art.

Combining apocalyptic horror, body horror and an atmosphere of dread, Evolution #1 combines the darkest versions of science with a shadowy, sinister suggestion of the supernatural. The result is a top-notch and unsettling debut boasting a solid structure, good characterization, and evocative, organic art. Like the best horror, the issue takes a strong theme and explores it viscerally, in this case positing a world in which the normal rate of evolution itself has begun to spiral dangerously out of control. But the skill of the creators at melding that concept with engaging characters takes the issue from simply an intriguing debut to a compelling opening chapter for a squishy horror epic with a lot of promise.

Extraordinary X-Men # 9 isn't a bad book by any means, but it does feel kind of inconsequential, the type of issue that could really be just as, if not more, effective with half the page count, or would have been much better if they used the space to cover less geographical ground and more introspective, character-driven ground.

Faith and the Future Force #1 uses the tropes of time travel stories to charming effect, promising a series that will be fun & thrilling in equal measure. And while the tone of the issue is mostly light, once things get serious the reader understands how momentous this event is going to be, as all of reality could hang in the balance, with Faith's personal fate playing a large role in the outcome. As long as it keeps its heart in the right place, and its brain cooking up interesting paradoxes, the rest of the series should offer a lot for fans of Faith or time travels stories in general.

New costumes aside, of course. I see no purpose to the redesign whatsoever, and the new colour scheme just looks wrong. The blue and black worked, as did the blue and white. And Hickmans white suits looked great. But these look off. Leonard Kirks art is variable throughout. Lets take Johnny for instance. In some panels he looks like a skinny teenager, but in the final few panels, he looks like his most recent mid-twenties self. Itll settle down as the series continues, I have no doubt. Heres hoping the story rises above its well-trodden path.

Written by Gordon Rennie with art by Duke Mighten, Fighting American #1 is a quirky, dynamic hoot of a first issue, easily justifying its existence and offering readers a funny skewering of jingoism and our own modern age. The result is a fun and exciting comic for people who like comics. Its tongue-in-cheek approach and sense of energy enliven a familiar set-up to bring us something that promises to be an enjoyable adventure.

The art is great, but it is very jarringly split between two pencillers. Chris Sprouse and Francis Manapul are both amazing, yes, but they have totally different and incompatible styles, and the switch mid-issue happens is so clunky that it really detracts from the story. They might have been better off having a different artist finish the book (Im assuming it was Sprouse who couldnt get his pages done, though thats just a guess on my part) that was more in keeping with Sprouses style.

It's a strong issue through and through, with Zircher's atmospheric art lending the issue a darker sense of mood that Manapul never could have communicated. I wasn't familiar with his work before this book, and personally I think he'd be a great choice to anchor one of the darker books in DC's line.

It's exciting to see a big story arc heating up on the Flash book, and if it continues as it has begun, we'll be seeing a very good story unfold over the coming issues.

I'm still genuinely loving the direction this title's taking, and it feels like classic super-hero stuff, which is no bad thing at all, and perhaps more rare these days than we'd like. If you're looking for a DC hero book to pick up, you could do much worse than the Flash.

But the break in the weapons case is intriguing, and the future Flash part of the story is once again very good. I would say it's quickly becoming past time we kick the time travel story into gear and start advancing that plot, but I have a feeling we'll see that next issue. I'm still a fan of the overall direction of the series, this just feels like a bit of a misstep.

Unfortunately, we get more scenes with the Future Flash. I liked the first few scenes, a few issues back, showing him moving backwards through time, correcting “mistakes.” But by now I get what he's doing, and every scene with him just makes me want him to get back to Barry and start this conflict between them, already. There's a difference between setting the stage and spinning your wheels, and the Future Flash stuff is feeling more and more like wheel-spinning to me. At this point, it's time to bring this plot point centre stage. By all accounts that's what going to happen very soon, and I say it's about time.

I liked the previous creative team on the series, but while the art was spectacular and the individual issues were solid enough, the direction of the over-arching storyline didnt grab me. This does. Theres a huge amount of mystery set up here, with enough conflict and intriguing plot points set up to make the reader excited to see where its all going. The idea of showing a future Barry so devastated, so changed, serves to make the present-day Barry more interesting as a counter-point. It retroactively applies depth to the character. The introduction of Wally is a nice touch, and the close of this issue does leave me eager to see this arc in full. In short, if the annual was intended to whet the readers appetite for the new direction of the book, its a resounding success.

One area which modern comics has difficulty embracing is how much fun a kind of silly and openly pulpy adventure can be. Flash Gordon - Kings Cross #1 has no such difficulty.It's not going to smash convention or break any molds, but it is a lot of fun, even if it isn't the most original issue you'll read this year. It's self-aware and deliberate in its aims, and those aims are to give you an old fashioned adventure in the pulp tradition, and that's no bad thing.

Overall, while I look forward to the series to come, The Flash – Rebirth #1suffers from the same feeling of superfluity that afflicts the other Rebirth one-shots, and the issue's his points probably would work better as part of a #1 issue that more decisively kicks off a new era.

All in all, I think this story tries to take on two pretty big narrative challenges, and in not landing one side subtly enough, the other side that does work suffers.

I picked up Gasolina #1 with absolutely no idea what I was in for. And though this debut issue occasionally has a little too much going on, being stuffed with cool and intriguing elements just begging for more detail and space is a pretty awesome problem to have. It may be a bit dense, but Gasolina #1 is a creepily effective mixture of gritty crime thriller and gory body horror. It's a distinct story, that's for sure, and that unique quality, combined with the skill on display, overcomes a slightly overstuffed opening chapter. If you're looking for a gritty and dark tale with a lot of promise, pick it up.

There are creative teams that just seem to click, generating a special chemistry that always results in something special. Writer Jeff Lemire and artist Andrea Sorrentino are one of those teams, and if Gideon Falls #1 is any indication, we might be getting their boldest, richest and most enjoyable collaboration yet. There's no doubt this issue feels more dense and rich than the duo's earlier collaborations, and to some the focus on the atmospheric and esoteric may come across as a bit perplexing, but although you do have to read Gideon Falls #1 more closely than your average super-hero slugfest, the issue is no way baffling. Rather, it shows how you can retain ambiguity and mystery and hook a reader by revealing character through atmosphere and dialogue as opposed to exposition. 

As I said, I'm not sure Godkiller is in my personal wheelhouse, but I can certainly appreciate the skill, originality, and boldness of the creative team in crafting something that I can honestly say you can't see anywhere else.

I don't want to imply that I hated Golem, I didn't at all. It's the product of an inspired and gorgeously detailed vision. And if you like Manga-inspired books, this will be right up your alley. Its flaw is that there's a lot more crammed into this book than the page count can hold, and I wish it had been given room to expand into something more balanced. As a work of visual art, it's amazing. As a work of storytelling, it's a flawed but fascinating piece.

Gotham Academy Annual #1 is a funny, exciting and delightful adventure story that takes the structure of Scooby Doo, places it in the world of Batman and then adds the best elements of characterization from modern-day YA novels. As such, it works brilliantly to introduce new readers to the concept and characters of the series while giving its fans something to tide them over until school's back in session next month.

James Robinson and Tom Feister's Grand Passion #1 is an effective opening that sets the stage for the outsized emotions and gripping crime thrills we're going to hopefully get from the series. If you're a fan of movies like "True Romance" or "The Getaway," you'll have no trouble embracing the heightened passions and hard-boiled action of this issue.

James Robinson and Tom Feister continue their romantic crime series with Grand Passion #2, and find surprising success mixing a grandiose vision of love with a hard-boiled crime thriller. Though it features a somewhat familiar plot, the approach has resulted in a series that so far feels different than a lot of crime comics in its touches of earnest romance. That mix of bullets and valentines makes the book enjoyable and fresh.

If you can get behind the tone and style of Grand Passion #3 and the series as whole, then there's refreshing adult feel to the book. It's an issue that avoids what could have been the mid-series doldrums by deepening the connection between the protagonists, which will create a foundation to hang the coming climax of the series upon. The result is an issue that is a sexy and stylish crime-romance for grown-ups.

Gravetrancers #1 is a trippy exercise in gruelling and gory horror, boosted by interesting characters, a unique central concept, and disturbing imagery. Gravetrancers #1, in how far it's willing to go to be both weird and gross, does evoke the glory days of the 1980s, when kids went to gas station video rental racks and gleefully took home cheap and grimy grind house flicks. With terrific art, a cool central concept, some genuinely disturbing scares, and top notch character work, horror fans will find lots to love here.

Gravetrancers #2 hits the shelves today from Black Mask, and I'm happy to say that writer M.L. Miller and artist James Michael Whynot have delivered a follow-up that is just as grimy, weird and intriguing as the first issue. This second issue still does an effective job at threading the needle between establishing a disturbing world, a rich and unique backstory, and interesting characters with depicting scary but bold visuals. If you're looking for a gruelling horror story that feels both classically entertaining but with a unique concept at its heart, then pick it up!

If I felt that Gravetrancers #3 was a bit weaker than its previous issues, it's only because I think this story could support another issue to really build and establish its separate elements a bit more organically and with more breathing room. I still had to admire the total commitment the creators have to constructing a grimy and pungent grotesquerie that revels in being both gruellingly horrific and gonzo in its sensibilities.

Peepland #1 is a grim and grimy setting for a grim and grimy story, and the issue acts like the opening chapter of a solid noir novel. Writers Christa Faust and Gary Philips, along with artist Andrea Camerini, have created a tough, no holds barred opening chapter that plunges the reader into a bleaker era populated by tough survivors doing what they can to get by.

This book so far has been a little diamond in the rough, and if you aren't reading it, I heartily encourage you to pick it up. It's not the most innovative or ground-breaking book, but so far it's been a story well told, with compelling central characters, a refreshing sense of humor, and more than enough to keep you coming back for more.

For a gory horror book about an out-sized killer shark, ruthless Navy SEALS, and profane scientists, there's something endearing about Hook Jaw #1, written by Si Spurrier with art by Conor Boyle. It's a great debut; a scary and quirky fish tale you should sink your teeth into before it sinks its teeth into you.

Horizon #1 is a great debut issue, with a main character that immediately captivates, and a point of view that feels contemporary and original. There's more than enough here to ensure a reader will come back for more, and I am looking forward to following Zhia on her mission. Down with Earth!

I'll admit it is kind of novel for a book featuring such an omnipotent main character to take a subdued, down to earth approach. But as a premiere issue, the tack they're trying seems to scuttle a great opportunityto get new readers excited about Hyperion. If they want to keep the book going, the creative team is going to have to find a more compelling hook to hang the series on, or put more effort into defining Marc as an engaging central protagonist.

I haven't read the series this mini is the prequel to, so I can't say how this relates to that earlier story. I could see this becoming a reasonably entertaining action movie in the style of Cannon Films from the 1980s and 1990s. But Cannon Films weren't exactly A-list. And while this has some bright spots, and is enjoyable, it's got to start rising above familiar action movie tropes to become anything more than just a shoot-‘em-up story.

A first issue needs to hook you in and intrigue enough to get you invested, and this issue certainly did that, but more than that, it also managed to take an interesting approach to the somewhat tired utopian vs dystopian trope that we've seen all too often in super-hero comics.

Valiant continues to have a winner on its hands with Imperium, and if it can continue to take a familiar story in this more nuanced and original direction, then it'll be one to watch for sure.

This is Imperium's strongest, most heartfelt issue yet, and it's clear that Valiant and Dysart have an epic story they're telling that is willing to go interesting places and create compelling characters.

Imperium #4 is another great issue in a series that I'm absolutely loving and totally hooked on.

Imperium continues to be a smart, tough and exciting series that knows that being “mature” can also mean including complex and nuanced characters with interesting points of view alongside the action and real-world violence. I continue to really love this book.

Still, this book continues to be one of the most engrossing and consistently enjoyable titles Valiant is putting out, and the creative team deserves a ton of accolades for creating such an interesting storyline chock full of captivating and complex characters.

Imperium continues to be an engrossing series that moves from strength to strength.

Those looking for high-class hijinks of Tony and Victor in a James Bond kind of vibe won't find that here, but what they will get is an intriguing first issue that sets up a lot for the arc moving forward and reveals an aspect of the main character that has been surprisingly neglected in his history.

This is a solidly entertaining first issue that doesn't rewrite the character, break any molds or go anywhere terribly innovating, but what it does do is create an accessible, entertaining, fun read that makes you recall with fondness the continuity-light, thrill-ride focused stories of the old days. And that's no bad thing.

In the end, the problems with the issue are outweighed by the positive qualities. The parts that are enjoyable are really, really enjoyable. It's still a fun, exciting, enjoyable issue that is worth your coin, though I sincerely hope that the next few issues see some more incident occur in order to pick up the pace.

I am not a fan of Joe Bennetts art in this issue. I thought it was fine in the previous one, but here theres a lot of blank backgrounds and a few repeated panels. Theres flatness to the art that Im not a fan of, it seems lacking in a dynamic quality. But as I said, I though his previous one was much better, so hopefully this is an aberration.

I still dont think Im ever going to become a Joe Bennett fan, but his art is much better here than last issue. His work is solid, and his layouts and backgrounds are improved from the mess I thought last issue was, but his styles not to my taste. Still, good to see it back up to his usual standard.

All in all, this one uneven issue. Victor's story is interesting (even if a twist at the end feels pretty forced), and Gillencontinues to craft some interesting characters for the news Hosts of the Ten Rings. But there's a lot here that just falls flat. Agustin Padilla provides the pencils here, and though I like his style, the overall whole of the book is as uneven as the story. There's some nice work, but his panel layout and choreography of fight scenes is unclear and unfocused. There's a critical plot point involving some cocoonswhere Padilla's layout doesn't actually show clearly what is going on. So, it's an offissue for Iron Man,but one that has at least some nuggets of goodness.

On the plus side, Bennetts art has really grown on me. I still think theres some trouble with choreography action in a clear way, but that aside, things look really nice and his layout have improved.

In the final analysis, it's hard for me to get into this arc. I do think this is the best issue of the bunch so far, with some nice character moments for Tony that show how formidable he can be when he drops his smarmy and sarcastic facade. But I'm still anxious for the storyline to come back to Earth and move forward.

Warren Ellis and 007 seem like a match made in heaven, but James Bond #8's solid if unremarkable plot sinks under a bland, stripped-down approach that saps the character of the lethal opulence that made James Bond one of the defining symbols of a certain kind of suave, lethal elegance. Without that, we're left with a bog standard action thriller without much of the Bond flavour that can make even 007's less engrossing plots enjoyable.

The creative team has really hit James Bond - Hammerhead #3 out of the park, and anyone who loves any iteration of 007 will be immensely satisfied with this series as whole so far. With a smart and lethal Bond in the driver's seat, up against a compelling threat, "Hammerhead" is a story blessed with great writing and top notch art that has earned its license to kill.

James Bond - Hammerhead #4 continues to cement my opinion that this is the best 007 book on the stands right now, with the creative team succeeding in escalating the already high stakes of the story while simultaneously adding twists and turns that serve the world's greatest secret agent as well as he deserves.

The James Bond: Service one-shot, by writer Keiron Gillen and artist Antonio Fuso effectively captures the cold ruthlessness of the world's greatest secret agent, even as the story is more comfortable with having a sense of humor than other titles. However, the limited page count that comes with a one-shot means that the story itself is a fairly predictable and simplistic plot without a tone of twists or surprises. Gillen and Fuso do make up for this by injecting a timely social commentary element to the story, but even this inspiration isn't enough to make the story feel anything more than serviceable.

With James Bond - The Body #1, writer Ales Kot and Luca Casalanguida take that depiction of 007 and place it within a surprisingly introspective and rich examination of Bond, utilizing a truly ingenious and compelling framework for the narrative. The result is one of the most unusual and surprisingly effective 007 stories Dynamite's done yet.

Dynamite's John Carter - The End #1 seeks to redeem the legendary character's reputation with a grim and stripped-down opening chapter that intrigues and engages by not trying to take on too much other than establishing a tone and the central characters. It may be a quiet and moody opening issue, but its grounded tone and focus on the personal serves to breathe more nuanced life into the adventures of the classic pulp hero.

Josie and the Pussycats #1 is another hands-down success for Archie Comics, who continues to be in the midst of a creative renaissance. Not content to cruise on a wave of nostalgia, the issue feels vital, witty and packed with enough charm to bring anyone on board. Its characters feel contemporary and nuanced without losing the simple whimsical charms of the original strip.

Joyride #2 is a fun issue, and it really doesn't try to be anything more than an exciting classic space opera set in an irreverent vision of outer space. With engaging central characters and a charming and witty take on space adventures, you could do a lot worse when trying to find a comic to read for the simple old-school, gee-whizz fun of it.

Johns clearly is energized by this arc and by the idea of putting Luthor on the League, and the result is a book that finally, at long last, seems to be the kind of Justice League book we all dreamed we'd be getting from him all along. If DC can just let the book go along for a while without wrapping it into other events, then we could get our first classic arc of this run. It's now a book that's on the top of my pile.

The story that kicks into gear here promises to be just as exciting and large scale as a Justice League story should be, and with the new team dynamic begin so fraught with intrigue, Johns finally has his Justice League run feel in hand, with so much potential that it's at last rocketed to the top tier of DC's output in terms of quality, not just sales.

In the end Justice League #2 continues to find the definitive super-team living up to its reputation, facing big threats and dealing with even bigger personalities to result in an issue that serves the accolade of epic.

Bryan Hitch's Justice League #20 takes on the fun and mind-bending time-paradox story, and though this opening instalment of the "Endless" arc does at time suffer from clunky story progression, ultimately the issue winds up being an intriguing stab at this kind story with a lot of promise. With Hitch's customary strong grass of large scale action, he remains a solid fit for the League as an artists, and his willingness to take on big ideas and concepts that ask fundamental questions about the team smooths over any occasional structural problems.

As a continuation, this is another solid issue with a lot going for it. As a premiere issue, it's going to confuse any new reader who picks it up. But I urge those new readers to stay with it, as you'll get maybe the most surprising re-examination of DC's big icons around.

It's clear that this issue is leading into a gigantic final showdown, and if Hitch's remit on this series was to tell giant stories with massive stakes on a huge canvass, you definitely feel him reaching for that, even if it does feel a bit bogged down by all the info it needs to get across.

In the end, Justice League of America #8 is a satisfying and action-packed conclusion that effectively uses an epic tone to remind us that at its best, no one beats the League.

Whether it's the Atom's lack of confidence, the Ray's shaky sense of self, or Lobo's homicidal tendencies, Justice League of America #1 feels more interesting and unpredictable. And that's what you want in a team. This "Batman and the Outsiders" version of the Justice League succeeds because the creative team has obviously thought about the personalities and flaws that will pay off each other in interesting ways rather than mandating that the team just include a set of powers and costumes.

Justice League of America #10, the opening instalment of the "Curse of the KingButcher" arc, isn't any less uneven an issue than the ones that preceded it, although it does succeed when it focuses on its characters. With a somewhat nebulous threat posed by a fairly generic villain, the shortcomings of this issue, and the title, remain its uninspired plots, while the line up continues to hold all the interest.But I remain frustrated that this League's adventures simply aren't grabbing me in the way they should be. I hold out hope that this arc will develop in ways that will prove me wrong, but as it stands, Justice League of America #10 has all the strengths and weaknesses that have been featured in this title from the beginning.

For a one-shot designed to introduce a member of a soon-to-be assembled team, Justice League of America Rebirth - The Ray #1 really succeeds at its job. I like Ray Terrill, his origin is interesting and mysterious and well-handled, and it even establishes a tough-city setting and possible supporting cast and threat effectively. Like the other one-shots that preceded it, this issue makes me increasingly optimistic for the coming JLA series, and in that way the issue succeeds perfectly.

Atom - Rebirth #1 has enough quirky humor and solid character work to accomplish its goal of getting the reader eager to follow Ryan over to the new JLA series. But more than that, it also cleans up a tangled continuity and establishes a new status quo that manages to serve two sets of fandom while laying the foundation for new directions for the Atom. If the issue is perhaps a bit low-key and more solid than spectacular, that still doesn't affect how pleasantly enjoyable it is.

"Justice League vs Suicide Squad" promised to be a high-octane slugfest between two of DC's hottest properties, and in that sense, the second issue doesn't disappoint at all. With quips and punches galore, it's old-fashioned team-up even goodness, even if there are some uneven moments. But if you're looking for action, and can appreciate an event series seemingly unwilling to allow its wheels to spin fro even a second, then Justice League vs. Suicide Squad #2 won't disappoint.

With Justice League: No Justice #1, writers Scott Snyder, Joshua Williamson, and James Tynion IV, alongside artist Francis Manapul and colorist Hi-Fi, deliver a compelling and classically entertaining opening chapter that satisfies any reader looking for spectacle, thrills and solid character interactions. In short, this might be the most promising premiere chapter to an event in some time, sure to please all super-hero fans with its effortlessly pleasing set-up of heroes and villains arranged against an implacably imposing comic threat.

On the whole, there's enough here to kick this issue onto the positive side, mostly in how well it informs the reader as to what Hitch's book is going to feel like, and hopefully foreshadows his strengths.So I'm going to just call this issue, where he is lifting so nakedly from other sources, an experiment in form that absolutely doesn't work for me and leave it at that.Picasso is supposed to have said, “Good artists copy. Great ones steal.” But if Hitch is going to continue to follow Pablo's example, let's hope he does so with more subtlety in future.

The thing that makes The Kamandi Challenge #1 interesting from an artistic standpoint is its method of creation. 14 different creative teams will work on the series in a round-robin format, with each team writing an issue and ending it on a cliff-hanger that the next team, with no creative indication beyond the script, will have to resolve over the course of an issue before leaving another cliff-hanger for the next team to tackle. As a tribute to Jack Kirby, the issue is weird, dynamic, hilarious, a little goofy, thrilling, and completely irresistible. Much like the King himself.

The Kamandi Challenge #2 is a hard book to review in a way, as I've wound up evaluating the conceptual rewards of the book rather than the issue itself. But this is an issue with different aim than most books. The process IS the point in many ways here, and what matters is how inventive and bold the creators can be in kicking the ball down the field. In that regard, writer Peter J. Tomasi and artist Neal Adams do an admirable job.

It's hard to see how Karnak #3 could be any better. As a series, Karnak continues to be a singular treat, and Ellis continues to redefine a character that had always been vaguely examined at best, creating what will no doubt become the indispensable version moving forward, and resulting hopefully in a classic run that will be hard to top.

Kill or be Killed #1 is a perfect debut issue, presenting a compelling and timely protagonist whose mindset is unsettling and troubling even as the reader understands the source of his anger. Filled with ambiguity, great art and grittily tough thrills, it promises to deliver yet more essential reading from the Brubaker/Phillips team.

Kingsway West #1 expertly mixes the seemingly irreconcilable qualities that make for good Westerns and good fantasy, with six-guns and laconic dialogue complimenting winged soldiers, weird beasts and dragons. Does it feel weird and bizarre? Yes, but in the best way. That unconventional vision and freshness is what makes the book work so well.

Pak and Colak have pulled together a complex and well-realized world that feels iconic and resonates with archetypes of both the Western and Fantasy genres. It's a mashup that works, but would largely wind up being solely an intellectual exercise were it not for the fact that Pak anchors the story on Kingsway.

I enjoyed Kiss #1 way more than I thought I would. It doesn't reinvent the wheel in any way, but actually did mange to set up an interesting world and mystery that has a lot of potential to be as fun and odd and theatrical as Kiss deserves. It may not be the most original or inspired issue, but for fans of the band, or fans of old school over the top sci-fi, Kiss #1 delivers.

For a concept that could have been played for laughs or simple thrills, Kong on the Planet of the Apes #1 is a surprisingly serious and compelling opening issue, tackling some big ideas even as it delivers some effective intrigue and action.

It's promising opening chapter, and I hope the creative team can deliver upon it. It may not be the most innovative issue in the world, but it is a satisfying read, and one of the better tie-ins.

As an opening chapter, Last Song #1 sparkles when it focuses on the relationship at its heart and its earnest belief in the power of creativity. Despite following a familiar story of a band's rise and fall, the issue is infectious and heartfelt fun for anyone who's ever fallen in love with, or started, a struggling band. This is an earnest piece of work about a subject which the creative team obviously has a passion for. The series will be released quarterly, which means a wait between instalments, but if the subsequent chapters are as engaging as this one, thence'll get a series with thriving and pumping Rock and Roll heart.

I could go into to how great the art is on this book, but stating that its Michael Lark can simply cover anything I have to say. Its a beautiful book.

Michael Lark handles the art for this book, and his deceptively simple style is just beautiful. He can do so much with expression and his choice of layout. Rucka wisely doesnt overwrite his script, giving Lark plenty of opportunities to communicate volumes with a close-up or particular expression or angle. Really nice stuff.

If you have kids, or know of kids who want to get into comics, but don't know where to start, this is a perfect place. And if you're a grown-up, pick it up, it's one of those rare books that are just as rewarding for all age groups.

Despite being reminiscent of other classic sci-fi AI stories, Magnus #1 takes on big ideas, crafts compelling central protagonist and benefits from a unique and refreshing take on its robotically augmented world. Writer Kyle Higgins and artist Jorge Fornes deliver very good work that holds much promise for the series to come.

Masked: Anomalies #1 is an intriguing first issue, with a strong central concept supported by a ton of additional mysteries and threads that are yet to be revealed. The compelling characters and effective structure of the issue serve to entice readers back for more, and if the issue at times feels like it's a bit too dense, it never becomes so much that you're frustrated, rather the reader is eager to stick around for more to be revealed. A winning debut.

DC Comics has been absolutely killing it with their Jack Kirby tributes this year, but none get off to a more auspicious and brilliant beginning as Mister Miracle #1, written by Tom King with art by Mitch Gerads. Put simply, this is a brilliant and instantly compelling debut issue for Kirby's legendary master escape artist/neo-Jesus analogue, one that sees Scott Free embark upon his greatest challenge ever while questioning his own grasp on reality itself. Mister Miracle #1 asks big questions and wonders about the merits of fleeing from a reality that disturbs and disorients on a daily basis. A gem.

Writer Tom King and artist Mitch Gerads scored a major critical and popular hit with the debut issue of this mini-series, and so expectation for Mister Miracle #2 were understandably high. So, does the second issue live up to the debut? Good news, faithful readers, King and Gerads continue to deliver one of the best books of the year with Mister Miracle #2. It's rich, funny and bold, as well as a perfect example of the kind of story you can only get in comics. A must-read.

It's kind of hard to review a book like Mister Miracle #6. I mean, how many ways can you say it's brilliant? This is one of my favorite super-hero comics of the last bunch of years without a doubt. Tom King and Mitch Gerads continue to create something special, something that makes you want to buy an extra copy, find a stranger, and just give it to them as an example of what mainstream super-hero comics can do with a truly gifted creative team working at the peak of their powers and unafraid to unleash a unique vision.

And, hey, any book that features a nearly all-female creative team deserves a look and this issue doesn't disappoint, bringing a fresh and interesting tone to a character that needs an approach like this to differentiate her from the copious other lady super-spies out there.

All in all, I was disappointed to see the second issue wander so far away from the narrative of the first into seemingly unrelated territory, and I'm hoping this is blip before returning to the narrative drive that energized that first issue so well.

Though the issue suffers just the tiniest bit from the at this point familiar tactic of exploiting Moon Knight's questionable mental health, Lemire has written a captivating enough story to bring you back for more, and if you aren't checking this issue out for the art alone, you're cheating yourself.

Moon Knight #4 takes an already enjoyable story about subjective reality and cranks the dial, resulting in an issue that, by its close, will leave youanxiously waiting for the next instalment.

Moon Knight #5 is a tiny gem of an issue, fitting in perfectly in a series that takes the reader on a surprising and captivating journey that is impossible to predict.

Motherlands #1, created by writer Simon Spurrier and artist Rachael Stott, definitely knows what it wants to be. Spurrier and Stott create a bawdy, unhinged satire of celebrity culture and meld it with a story of a dysfunctional family and cyberpunk tech into something you can genuinely say you haven't really seen before. Though I thought the anarchic, unrestrained tone occasionally felt more forced than natural, there's no denying the acerbic wit, original concept and stellar art made Motherlands #1 an enjoyable and unique read.

Myopia #1 is a true piece of science fiction, a well-constructed, complex and personal vision of the future that speaks to and illuminates aspects of our current society. Though the world-building gets a little too dense at points, overwhelming the pace and clarity of the narrative, whenever the issue houses on simply existing in this fascinating future and telling the narrative, it's compelling and enjoyable stuff.

With Myopia - The Rise of the Domes #1, Dynamite Entertainment resumes publishing the steampunk-flavoured dystopian thriller from writer Richard Dent and artists Patrick Berkenkotter and Ronilson Freire. With crisp, detailed art and intriguing characters and an action-packed story, the result is a satisfying and exciting experience for fans of speculative fiction looking for something bold and original.

Namesake #1 succeeds based on the unique and compelling world it creates, the complicated character at its heart, and effectiveness of its classical quest narrative. The combination of the innovative and the familiar means that there's more than enough here to bring you back for issue #2, and promises a lot to come.

Unless Ewing unifies his approach and works on his group dynamics and puts some laser-focus onto characterization, I can't see me or anyone else sticking around to see if this group ever gels into a team worthy of the name Avengers.

I still wouldn't call New Avengers a perfect book by any means, but this issue finds its feet and delivers a solid story that I enjoyed and provided a glimmer of moving in the right direction.

Though everyone involved in The New Gods Special #1 tries their best to deliver an issue that glorifies Kirby's most significant DC Comics creations, it does wind up reminding you why there really hasn't been anyone since who can equal the crazy, unfettered bombastic over-the-top creativity of the King.=

For all its minor flaws, New Talent Showcase #1 succeeds admirably in providing exposure for a new crop of talent. Each of these writers acquit themselves very well, and I'd be interested in seeing what each of them come up with, and a few I'm genuinely excited about seeing what's next. On the art side, it's really great to see such a varied set of styles and approaches on display as well. Not every book has to follow a certain look, and indeed if this kind of variety represents the new art direction for DC, then at the last we'll be getting some books with individuality.

A book with the title "Rebirth" should have had a more forward-looking and scene-setting focus to it, and the lack of that really sank Nightwing - Rebirth #1 for me. By spending most of its time resolving plot points from the "Grayson" and "Batman and Robin Eternal" series, it completely fails to be the effective jumping-on point that the "Rebirth" title suggests, leaving a new reader with an incoherent experience. That's why I can only give it a 4/10.

At the end of the day, this is a solid first issue. I would say that it all winds up feeling a little unremarkable. Ninjak's obvious component parts, combined with an entertaining if familiar plot, keeps this issue from packing enough of a punch to make me have to read issue two, though. I enjoyed it, and if you're a Ninjak fan, I suspect it's a pretty fun read, with the art being a highlight. But as a neophyte, it didn't convert me.

This issue is most definitely an improvement on the debut, and I do like where the story is heading, especially a cliffhanger that is well-executed, but the central character still feels like little more than a concept. I hope Kindt's continuing exploration of his back story serves to remedy that, but I'd love to see more of a real person in the present day stuff as well.

Despite some aspects that feel overly familiar to anyone who has seen or read a story about a strong woman fighting off a supernatural threat, No Angel #1 is executed strongly enough by its creative team to engage readers with its interesting protagonist and well-structured thrills and chills.

I totally get what creator Stan Silas is going for with Norman - The First Slash #1, and while I think in the original French he probably nails the Charles Addams meets Charles Schultz while in South Park vibe of the issue, I can't help but feel there's just something missing here. I found myself saying, "Well, that's clever," more than I actually laughed or chuckled.

There's a lot to like about Normandy Gold #1. It certainly doesn't pull any punches, fitting in perfectly with Hard Case's grittier and pulpier house vibe and delivering an adult crime thriller. Normandy is a compelling central character, even if she does belong squarely in the "troubled but tough detective" trope. Despite some structural problems which you can lay at the feet of kicking the story off quickly, Normandy Gold #1 is a satisfying pulpy debut and fans of seedier crime thrillers will find plenty to get them to stick around for next issue.

With the ethos of the gritty films of the 1970s hardwired into its DNA, Normandy Gold #2 ups the ante on its troubled protagonist and sleazy subject matter to craft an issue that is tough, well-structured and endearingly grimy. Despite a few narrative shortcuts, the pace of the story never slackens and the plot is well-advanced. If you love the kind of tough, grimy crime story where you feel the sweatiness of a coke-fueled disco and peer into the shadows of a back alley, then Normandy Gold remains a top notch example of the genre.

At the end of the day, I think that the good things about this issue are really, really great. It will be fun to see how a Logan shaped by a different life of tragedy will fit into a new world and to see if the chance at avoiding that tragedy will make him more a monster, or more a hero? Does Wolverine only become a hero if he's trying to atone? And if he's not trying to atone for his sins but prevent pain, what kind of person will he become? It's an interesting idea, and if the series can minimize the overused Wolverine tropes and maximize this approach, then we could get a classic story here.

Still, Old Man Logan #3 remains a compelling instalment in an emotional journey for a character that was in need of freshening up.

On the art side, I think Mike Deodato delivers the finest work I've ever seen by him. Seriously, this is a gorgeous book, with stellar lighting choices and great layouts and angles. It's really, really nice.

I'm hoping that Aaron has a few twists and turns up his sleeve to keep the mystery alive. I feel that he does, but at this point I'm really hoping the thrust of the plot doesn't get stalled by these “sins” being revealed.

So, this is a solid issue, with a nice suspenseful tone and a plot that is loaded with intriguing complications. The last panel of this issue certainly makes me want to come back next week. Let's hope Aaron and company can tie off all the loose ends within a satisfying back half.

As I've said before, if the series can keep from being overwhelmed by the “secret histories” and stick to the actual plot of the murder of the Watcher, it'll keep on being Marvel's most satisfying event in years. This issue treads a fine line, but so far stays on the right side. Here's hoping it keeps moving in the right direction for the climax.

Here's hoping that the resolution to the central mystery of the series offsets the familiar event shenanigans I expect we're about to see.

I know that this issue is largely to provide some ‘splosions and the requisite battle. The battle in question is written and drawn well, too. Aaron's done a very good job satisfying all those demands while still crafting a compelling story that keeps the reader guessing. I think, when all's said and done it may have been better if it was an issue shorter and more intimate in its scope, but otherwise, this remains one of the best Marvel events in years.

Mike Deodato's art is the saving grace of the issue. There's just some spectacular stuff here, and he has, with this one series, made me love his work more than I ever have in the past. It's too bad that it's in service of one of the most unsatisfying conclusions to a series I can recall.

"Power Lines #1" is a super-hero origin story that benefits form the timeliness of its exploration of race in America, giving us a protagonist from a segment of society that tis underrepresented in super-hero comics, even while delivering compelling concepts and classic super-hero thrills.

I have no idea how this matches up with past adventures of the duo, but to this first-time reader, thiswas lot of fun.

As a debut issue, Quantum Teens Are Go #1 is a terrific, rebellious, crackling read. Set within a world not entirely unlike our own, if mad super-science straight out of pulp stories and b-movies existed in our world and had been embraced by a generation of punks, weirdos and outcasts, the issue is grounded by smart, original characters and boasts a ton of potential.

Redlands #1 is an assured and compelling debut issue, despite the fact that the issue serves more as cold open or prologue to the story to come, I think. It's a bold way to begin the story to be sure, but Redlands #1 winds up being one of the most intense and effective openings to a horror series in recent memory despite a couple of minor flaws.

Despite some minor flaws, Regression #1 succeeds in being the chilling and disturbing opening chapter to what could be another horrific success for writer Cullen Bunn. The story uses unsettling and grisly imagery to support its well-constructed narrative, and asks interesting thematic questions abut our intrinsic fear of exploring the darkest corners of our own minds. But, at its heart, it's mostly a scary introduction to a nightmarish tale.

Robin – Son of Batman has all the makings of a fun, resonant adventure story with a compelling central character, here's hoping it gets a little more accessible to the new readers who deserve to discover this pint-sized hero.

There is a drawback to the book, but it's pretty spoilery. Let me just say that, when I was presented with the villains' motivations, I was let down. I won't spoil it here, but I'm really hoping their reason for going after Rocket is more than what's first said in the last page of this issue, because otherwise it's a trope that could be seen as a little sexist. I'm confident that Young's a strong enough writer to avoid this, though, and it certainly won't stop me from continuing to read what is an otherwise stellar book

And the art. Sweet fancy Moses, the art. There are layouts here that could go up in a frame on a wall. Young has merged Looney Tunes, Heavy Metal and Mad Magazine with a Marvel Cosmic story to come up with a book that looks totally insane but never less than charming and with an irresistible sense of fun. There are a myriad of little jokes within captions and sound effects that add so much to the book. Anyone who reads comics or loved the movie should do themselves a favour and check this book out. It'll knock your socks off. This is what comics are for. It's so good, it's the first book I've ever given a perfect score to. It's earned it.

Having said that, the book remains wildly inventive and one of the most joyous on the shelves. There's also a touching moment at the end of the issue that may make you think you've got a little something in your eye, followed by a reveal of big doings for future arcs. There may have been elements that troubled me, but I'm still on board for the future.

Look, it's a perfect little issue. Just go buy it. I'm giving it a perfect score, what more can I say?

This particular issue may be less bold in its execution than other issues, but it's just as assured and the book remains one of the best Marvel is putting out.

Rose #1, from writer Meredith Finch and artist Ig Guara, benefits from establishing a world that is both distinctive and well-realized, with interesting characters at its center. If the story beats of Rose #1 feel familiar, I'd argue that they are more mythic than rote, and if you are a person who enjoys these kinds of magical stories, then these kinds of touchstones are to be expected. The art by Guara is appropriately lush and executed with a painterly approach that is pretty effective for the genre, but it also retains a feeling of jeopardy and a visceral tone that permits for moments that come across with more impact. Overall, for lovers of the fantasy genre there's plenty here to enjoy, with solid characters and a firm and specific handle on the world-building.

Though Rose #5 embraces the tropes of the fantasy genre that could make the story beats and relationships come across as familiar, it's all executed so well that you're too busy enjoying the issue to mind. Rose #5 is another great example of a solidly enjoyable fantasy-adventure, executed by a creative team dedicated to delivering engaging characters in a fast-paced story.

Rose # 6 is a bit of a low key end to the series' first arc, which could have benefitted from a big action set piece, and it also feels a bit familiar in its story beats. However, its focus on establishing new relationships and fresh jeopardy means Rose #6 is still a satisfying read for fans of the series. Where this issue stumbles just a bit is in its emphasis on the characters discussing their dilemmas as opposed to the actions they take to solve them. Still, even with my desire for a little less conversation and a little more action, Rose #6 is by no means a bad or unenjoyable issue.

After taking a brief hiatus, writer Meredith Finch and artist Ig Guara return to the land of Ttereve with Rose #7, and on every level, the break has yielded one of the strongest issues of the fantasy series to date. With new plot elements that up the level of intrigue and set up new stakes and goals, the best art on the series to date, and solid character development, this might be the series' best issue so far.

Rose #8 sees the creative team stumble by  rushing significant elements in each of their plot lines, both of which deserve an issue of their own to land as completely as they should. The result is an issue that, although the ideas underpinning things are strong and interesting, come across as too pat and rushed. The problems that marred Rose #8 for me were all structural, and if the creators had decided to stretch the events of this single issue across two different ones, I think they would have solved them all. Still, this feels like a minor bump, and the art continues to become stronger and more accomplished with each issue.

After a lacklustre issue that tried to pack too much into its page count, Rose #9 returns to form with an issue that uses a strong structure and is full of interesting developments that propel the story forward. It's another good instalment in the series, as this second arc continues to move the story forward at a fun and brisk clip without forgetting to reveal more about the characters. The series felt very much like a classic fantasy story when it kicked off, but by this point the creators have really given the series its own feel and built a world interesting enough that new characters and new developments are as involving as its original concept. For fans of fantasy, Rose continues to deliver.

Writer John Arcudi returns with a second volume of Rumble, this time joined by artist David Rubin, and the result is just as much pedal to the metal, absurd mayhem as the first volume proved to be. Rumble #1 isn't a book for every taste, as it's truthfully pretty weird. But I can honestly say you won't see much like it on the stands right now, and it boasts amazing art, rich colors and a truly unique story. Put simply, it's good to have Rathraq back.

Savage Things #1 wants to merge the horror genre with the espionage genre, which is actually a really cool idea. And the idea of serial killers working as covert agents is interesting, to be sure. But I had more than a few issues with the execution, which is problematic both in its depiction of mental illness and in its lack of relatable characters.

It may sound like I hated this more than I did. I do think there's lots of potential here for a fun, exciting series with a compelling concept and a solid and unusual lead character. As I say, the art is superb and almost worth the cover price on its own. But, the writing needs to be sharpened, and the tone needs to be fine tuned to decide whether this is going to be a sharp and sophisticated adventure with a positive lead character, or a fun and sexy mash-up of two contrasting worlds. Because right now, by trying to be both, it's not entirely succeeding at either

The art team on the book, as led by Butch Guice, is a perfect match for the tone of the series, creating a taut, moody atmosphere complimented by rich detail. It really couldnt be a more perfect match. Lets hope the upward trend of the series continues.

Cramming more incident into this first issue than some events do in six, Hickman and Ribic have created a must-read book for those interested in where Marvel is heading. Even if its denseness may be a challenge to new readers, there's still so much promise that we could be in for something special. Now they have seven more issues (and endless tie-ins) to try and keep the ball in the air. At this point, I can't wait to see what happens next.

This second issue, with all of the world-building and introductions, feels like the true first issue of the series, and presents a ton of fascinating corners to explore while still keeping the overriding narrative interesting and moving forward. Secret Wars continues to be Marvel's best even in years, and I can't wait for things to heat up.

So many events have one good issue of set-up, followed by a few issues of wheel-spinning, then resolutions crammed and rushed into their final issue. It's refreshing to read an event that's had as good a shape as this one, and if Hickman and company can deliver an issue this good as the end of the first half, I can't wait to see what they'll do for the climax.

Usually, event books don't rank very high when discussing definitive visions of certain characters. But if Hickman and company keep handling Victor Von Doom as well as he was in this issue, Secret Wars might wind up among the definitive stories about everyone's favorite Latverian dictator.

In the end, Secret Wars benefits from its continued focus on the internal lives of its characters, and their manipulative struggles, even as it loses some of the plot when introducing new developments. I think the resolution of Secret Wars could actually result in that rarest of birds; the emotionally satisfying event book.

The impact of the story may be dulled somewhat by the fact that the era that Secret Wars is supposed to have set up is already well under way, but I'd argue that this series was never about twists or shocks. It was about creation, and about an examination of one of the central relationships in this Marvel Universe. And as a result, when someone picks up this series in a collected edition ten years from now, it will retain its considerable impact.

Seven to Eternity #6 fits right in with the stellar run of issues that preceded it. The issue uses a creepy and unsettling plot to provide the impetus for a new phase of the story, one that drips with forbidding and menace. The issue is another great instalment on this epic adventure, but it's also a standout in how rich its character work is and in how the issue takes the narrative of the overarching story into a new and even more fraught direction.

In the end, this issue, and Sex Criminals as whole, probably, exploresthe idea that there isn't such a thing as normal or deviant. That we're all deviants because no one is the same, and therefore “normal” in terms of sexuality or gender or identification has no meaning. And yet, as I said, balls-deep funny. Hey, guys, don't stay away for four months again. Or do. It's your book.

With Shadows on the Grave #1, legendary creator Richard Corben once again proves his unique skills and unmistakable talent as a visual storyteller. Even if the horror anthology approach is somewhat old-fashioned, that's precisely the point, and you won't find better campfire stories, or more gorgeous art, anywhere else.

With a surreal and bizarre tone and a compelling character, She Wolf #1 uses its stripped-down debut issue to hook you with its weird and unsettling take on the Werewolf story

There's more than a few things to enjoy about Sideways #1, but there's no denying that artist Kenneth Rocafort and writers Dan DiDio and Justin Jordan have mined a ton of very familiar and well-worn tropes here, and never do anything with those tropes that are fresh, new or possessed of a unique point of view. As a result, the issue never comes alive, but feels like a checklist of attributes and elements designed to get the origin going and establish a new super hero. Maybe that's enough for some readers, and maybe future issues will reveal something distinct, but based on this issue it's not enough for me to really feel a burning to desire to follow Sideways on further adventures.

Dont get me wrong, Slott does write a good story here. Its got some intrigue, and I like Dawn and the concept of the Imperion. I like that the way he writes the Surfer is in character to past appearances, but less stuffy and stilted than he tends to be. I just cant shake the feeling that I was about to start reading something that is so similar to something else I already like. Im hopeful that the series will differentiate itself as it goes on, but right now, I feel like Im watching Marvels attempt to cash in on traveling in the TARDIS.

The story doesnt really advance too much here, and Id like to have seen a better confrontation between the Surfer and the Never Queen, but if you like old school Marvel space stores tinged with a modern sense of the bizarre, then theres much to enjoy. I just hope it continues to establish its own identity and flies off in a more original direction, because Im still having some trouble seeing past its influences.

And the art by the Allreds is just insane. The radiant colors combined with the beautifully detailed art is just amazing. I could go on, but almost every page is frame worthy, and it's not just beautiful, either. There's an inventive use layout and the Surfer's reflective body. It all works, and this kind of art is what you read comics for. It's nice for me to see the writing hitting the same level as the art. This book is like nothing else Marvel puts out, and that alone means you should take a look.

Frankly, the only reason this issue didn't get a perfect 10 was the ham-fisted and unnecessary Guardians cameo. I really hope they have some sort of role in the plot of this arc, because if it's what it seems (a meaningless appearance to help remind us that they've got a movie coming out) it's the only thing that mars this fantastic issue.

The tag line of this book is “Anywhere and Everywhere – Hang On!” So far, it lives up to that.

Still, the issue is an enjoyable first part to what was an inevitable story, and I'm looking forward to see where it goes, especially based on its final page.