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.

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.

But when he is stretched too thin, as he is now the quality varies wildly from issue to issue in all the books he does. Spider-Man #4feels like it needed another editorial pass, one where someone might have said, “This is all happening too fast, and would benefit from a little more space to motivate character decisions.” To me, Bendis works best when focused on one character, not a team book, and can dive deep into that character's world. Miles is close to his heart, and obviously he has crafted solid issues prior to this, and undoubtedly will in future. But this issue felt like too sloppy to earn the story it wants to tell.

I want to be clear, that I don't think that's what Milligan and Fernandez are intentionally doing. They want Melissa to be a rounded protagonist who may be flawed but is still compelling and three-dimensional. But in this issue at least, she simply isn't. She comes across as no more nuanced than the heroine of a Lifetime movie, and unless the creators can breathe some real life into her, make her feel real and complex and make her journey more compelling and driven by the choices she is making, then all the manipulative sex and weird occult machinations are going to simply become unsavoury.

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 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.

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.

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.

The more of these Rebirth one-shots I read, the more I realize they seem to be stop-gap books, designed to hint at new directions or act as prelude without stealing any thunder from the soon to be relaunched regular titles. And that's fine, though it means that they're largely going to be superfluous. In the case of Superman – Rebirth #1, we get a book that is too convoluted and diffuse to have the impact its reaching for.

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.

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.

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.

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.

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.

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.

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.

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

All in all, for a series about villains, Suicide Squad #1 is too safe an issue. It comes off as a movie tie-in without its own vision behind it. This isn't necessarily a bad thing on its face, but the split nature of the book means that there simply isn't enough room to hook you in or expand the concept. I have faith in the talent involved that there's something more on the way, but they need to move quickly past introducing the concept in order to make this book more than just a recreation of a movie we've already seen.

I wish I liked The Family Trade #1 a lot more. It's hard to read a book with as much originality on display as this issue does and still have so many problems evident. At the end of the day, I wish the creative team had given me more to latch onto in terms of meat and potatoes character and structural work so that I could look forward to the next issue. It's tricky for any creators, even very good ones, to keep their excitement for their ideas from overwhelming the rather boring job of story construction. In the case of The Family Trade #1, written by Justin Jordan and Nikki Ryan with art by Morgan Beem, it definitely feels as if the team has committed this creative error.

It's not like I don't think The Troop has potential, or that there aren't thing to like about it. The characters could still coalesce into an interesting dynamic to become more rounded and engaging. For me, Torrence has the best shot at becoming the standout so far. But if you're hanging your hat on the realism of your approach, then it's even more important to ensure your characters are more than simple archetypes. Here's hoping that The Troop succeeds in bringing the Troop to life sooner rather than later.

The art is okay. I can see some solid talent in Kris Anka, and his manga-influenced style here is pretty interesting, but it is also pretty inconsistent, with some odd layouts and empty backgrounds. Might just be an off issue for him.

So, while this issue was an enjoyable read, the fuzzy lack of direction and lack of a unique take on what could be a very interesting alteration to Cyclops continues to let down the series. Bachalos art is, while not a style that I have ever been partial to, done extremely well here. The colours pop and the layouts are very nice.

So, if you're a fan of Scott Summers, I can without reservation tell you to pick up Cyclops. It's got beautiful art, solid sci-fi action and a complex and emotional central relationship at its core. I just wish we saw this care with character taken throughout the Marvel Universe.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

At the end of the day, though I didn't feel that this issue achieved the celebratory air it aspires to, the Porter art, combined with the fun moments in its fight scenes, manages to ensure the issue is still enjoyable.

The Greatest Adventure #1 is flawed on a structural level, with too much exposition that overwhelms any energy its great concept needs to hook readers. You can't fault the creative team for its ambitions, and there is stuff here to enjoy, but in the end what we get here is enough story for two issues crammed into one, the result being a debut issue that feels like a giant info dump of backstory, without any emotional attachment or character focus applied.

Nostalgia for the TV series and a serviceably crafted story can't save The Six Million Dollar Man - Fall of Man #1 from a derivative plot that sees Steve Austin go rogue after uncovering revelations about his bionics.

Under - Scourge of the Sewer #1 utilizes aspects of the classic creature feature, but melds them together with a more overtly gory and explicitly scary sensibility. While I enjoyed the story that writer Christophe Bec and artist Stefano Raffaele gave me on those terms, the simplistic, familiar characters and densely overstuffed panel structure of the issue detracted from what was otherwise a fun spooky tale.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.=

Having said all that, Katie Cook's story is so different and fun and off-beat that it works, and it compliments perfectly the interstitial little one-page stories Dan Slott provides in between each of the main features. These little stories are the best parts of the book, as the event crosses over into versions of Spidey that will be hilariously familiar to any long-time comic book reader. They are tiny slices of meta-fictional heaven, and along with Katie Cook's story they save the book from being totally familiar and irrelevant.

While I enjoyed this issue, I do think that if this origin tale is going to hit all the typical beats, it might struggle to elevate the character beyond standard fare. However, its energy and sense of derring-do is a big selling point, and should satisfy fans of the character.

Though Super Powers #1 contains a fun, anarchic energy and some great jokes that will appeal to youngsters, its focus on some pretty continuity-heavy details result in an issue too expository and divergent from the tried and true Superman origins. The result is an issue that, while still enjoyable, has some pretty clunky moments as it tries to get readers up to speed.

While Turok #1 does a good job in establishing its compelling central character, its prison break/infiltration plot is too familiar. Writer Chuck Wendig does succeed, however, in establishing Turok as a compelling and effective lead for the story. Even if we know little about him, this issue tells us that he's smart, he's tough, and he's a relentless badass. All good things to quickly establish in an adventure comic. The art by Alvaro Sarraseca works in tandem with Wendig's script, asSarraseca always frames Turok in the boldest and coolest way, using every opportunity to show the reader how relentless and capable and cool the character is. If these characters and this setting get paired with plots that feel more unique then this title could have lots to offer.

While Wonder Woman Annual #1 features some enjoyable moments that speak to the heart of the character, it's also unavoidable that it winds up being a mixed bag; pleasant overall, but hardly essential. The issue offers a fairly innocuous and charming quartet of stories that fans of the character can enjoy, even if none of them ever rise that high above serviceable (with the possible exception of the second story). If DC was hoping this would act as a doorway for new readers, I think the anthology approach is the wrong one to take. None of the stories here try to do too much to define the character beyond exemplifying some basic attributes. If you're looking to show a curious newbie why you love Diana, Wonder Woman Annual #1 isn't the one I'd pick, though it remains a fun and diverting, though hardly memorable, collection of stories.

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.

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.

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.

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.

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.

And Nick Pitarras art continues to be exceptional. He manages to keep the tone light even while depicting scenes of truly incredible violence, and Jordie Bellaires superb use of colors are an integral part of the style of the book in a way that few other books take advantage of. Its a book not for everyones taste, but if you can let go and just enjoy the craziness, its a hell of a fun book.

So, its a filler issue, and while its still beautiful to look at, and none of what is there is done badly, I just wish that we had more of an advancement of a plot that seems to be heading to an interesting place.

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.

If the rest of the series is as engrossing and creepy as this first, then we're in for an unsettling, horrific treat.

Next issue I'm sure things are going to head off into unexpected directions, as we end this issue on a beat that feels eerie and surprising. It may have been a conventional issue, but now that it's over we can allow the story to head into the darkness.

Still, having said that, it's still creepy as hell, and Niles knows all the right buttons to push in that regard. Mitten crafts images that will stay with you during a long night, and if they manage to pay off all this set-up with what comes next, then these prolonged mood-pieces will have all been worth it.

The Disciples was a disappointment to me, populated with non-characters and wasting the initial world-building that promised an unsettling space-horror story, going instead for a routine campfire ghost tale sketch.

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.

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.

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.

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.

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.

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.

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.

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.

In closing, I in no way want to suggest that you wouldn't enjoy reading this book. It's a fun issue, that sets up a great story to come, and the small moments are lovely and funny. But, I just wish there was bit more distance between Slott's output and his inspiration for me, because when the book stands on its own, it works wonderfully.

While Poe Dameron #1 may suffer from the limitations of being a licensed property more heavily than the other Marvel Star Wars books, it has enough going for it to be an entertaining, if slight, first issue.

Supergirl - Rebirth #1 provides a steady, solid launch for Supergirl, one that isn't going to reinvent any wheels or blow any minds, but one that nicely sets up what I presume is a new status quo for the Girl of Steel. Great art and a classical vibe permeate an issue whose narrative may be conventional and familiar but promises old school super-heroics to come.

Despite a somewhat murky opening act, the rest of The Mummy #1 moves along nicely, delivering old school thrills and chills in the classic Hammer style. With strong central character and a well-defined narrative, its somewhat old-fashioned style winds up being engaging and entertaining.

The art is more of a mixed bag. Ron Ackins seems to be a relative newcomer to comics, and there's an issue with consistency here, though I can't quite tell if it's down to Ackins, or the three different inkers on this book. There are some great pages here, and I like Ackins' work with facial expressions. The action scenes are choreographed cleanly and clearly. However, the backgrounds vary wildly. There's some pages where there's beautiful touches like having band aids hold down some cables on a spaceship or Benjamin subtly growing a goatee when he meets Iron Man. But there's also panels with either a lot of big blank empty rooms or no background at all. What I will say is that this is clearly an early work, but it shows a whole ton of promise, and Ackins has got some game that with a few more books under his belt, will prove him to be a solid talent.

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.

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.

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.

Id score the book way higher if I were just going on story alone. As I said, Azzarello is really kicking ass. Its just not a solid Wonder Woman issue, and its not the first.

Cliff Chiang is on art this issue, and Holy Smokes, what can I say about his work that hasn't been said? Superb lines, great sense of movement and a real flair for layouts and panel progression. Just awesome work.

Wonder Woman continues to improve with each issue, remaining one of the top-tier of all of the books in DCs line.

With new stakes introduced, an action-packed plot, new character developments, and a huge decision by Diana at its centre, Azzarello and Chiang show us all how you kick off an epic climax to a big arc. Take note, this is how its done, folks.

As we head into the final act of this run, I've no doubt that this era will later be looked on as one of the definitive runs in Wonder Woman's history. Here's hoping that this creative team can stick the landing.

Part of these problems stem from the art, normally a huge bright spot in this series, but there's so much going on in this issue that things get muddied. There's a battle scene where the First Born shows up out of nowhere and it could have been executed much more clearly with greater impact. If DC wants my advice (and hey, why wouldn't they?) I'd give the closing issues of the arc a higher page count, let the art team give it a chance to breathe and not have to sacrifice clarity just to get all the story beats in. It's still a gorgeous book to look at, though, and special mention has to go to colorist Matthew Wilson, who just kills it this ish.

I'll tune in for a few more issues, hopefully this is just a rocky start, but if this is the direction they're going in, I can't see myself sticking around for long.

All in all, the series has improved, but the way they're handling the central dilemma of Wonder Woman still needs lots of work to feel true to the character that has been established elsewhere in New 52, and more importantly to reach the level that DC's most important female character deserves.

Based on this team's first issue, I never thought I'd see it improve this fast. I think it has a ways to go before I'd say it was consistent enough to be a great book, but I'm more hopeful.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Slam! #1 shows a lot of promise. Though it's not without a couple minor flaws, the joy it exhibits, its winning characters, and its focus on one of the few sports dominated and defined by women, makes its sense of fun infectious.

Spell on Wheels #1 is a debut issue that features female protagonists that are relatable, multidimensional and warm, even while it credibly sets up an intriguing mystery and threat at its centre. With a great, fun, art style on display, there's more than enough to suggest Dark Horse has a charming and unconventional series to offer people looking for a spooky road trip this Halloween.

Spider-Man 2099 #1 may not reinvent the wheel, but for fans it'll be an enjoyable new era for the character, while new readers won't be confused and should be able to jump on board with no confusion.

All in all, Spider-Man 2099 continues to be a solid and emotionally resonant series, if a bit low-key. But by keeping the focus on the emotion of Miguel O'Hara, David and Sliney should more than please fans of the character.

If the plan with Xena: Warrior Princess #1 is to introduce the character and her world to a new collection of readers, then I think it does its job well. Finch and Cifuentes have delivered an issue that is just plain and simple fun, a nice action-heavy issue with a wink to the adventures to come starring characters we already like.

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.

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.

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.

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.

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.

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.

Trinity #1 is too subdued a start to make you excited about where the book is going. It's long on character, but really short on narrative and incident, so that contemplative tone feels a little low energy for a debut. There's a tremendous amount of warmth, feeling and sincerity to the book that I appreciated. But I have to question the wisdom of opening this issue with what essentially boils down to a dinner party.

After a first issue I didn't love, Trinity #2 is superb, dialling up the mystery, intrigue and jeopardy while continuing to nail the disparate voices and personalities of the three main characters. Manapul clearly understands how these characters work, and how they work in relation to each other, the result being an issue that builds upon the considerable promise the first issue showed in this regard, even as the plot has become more compelling and mysterious. Throw in some beautiful art and you've got a stellar issue.

Trinity #3 sees writer Francis Manapul continue to demonstrate his skill at constructing a solidly iconic and emotionally honest relationship between DC's three signature characters. Though the issue has more heart than action overall, and though it continues to introduce more mysteries than it solves, the result is still satisfying and classic in tone. Clay Mann's bold and skillful art is a highlight and fits in with Manapul's work on the other issues. A solidly entertaining read.

Trinity #4 is a great issue, and even if the series remains a bit low-key and introspective, it offers solid examinations of its icons while still maintaining an intriguing and engaging mystery at its core.

This seriously curtailed my enjoyment of the issue for me. Heres hoping that the regular team is back in place for the finale, because a book this good deserves to have one of the major components for its success front and centre.

This series has been a sleeper hit for Marvel, and Gillen and McKelvie and Wilson really captured the head-space you have when youre not a teen anymore but certainly not an adult. These last two issues, set during a party, perfectly encapsulate that very singular time in your life. Rarely does a book have as personal and cohesive a vision, from the writing to the art, and even more rare is the fact that for 15 issues it was successful in keeping that high standard. Its one of the most satisfying runs in years. Im excited to see what each of these creators does next, and I hope its not too long before they get the band back together again.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

"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.

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.

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.

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.

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.

"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.

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

With its charmingly roguish protagonist, sun-drenched tone and vibrant supporting cast, Slots #1 has more than enough to offer any fan of stories of losers and desperate rogues getting by on their wits, toughness and above all luck. The premise of the series is classic, and I guess you could call it familiar if you've read a lot of crime stories. But writer/artist Dan Panosian does a such a great job imbuing the issue with a unique charm and vibe, as well as giving us a roguishly engaging main character, that any fan of seedy crime tales of crafty crooks scraping by will find it easy to double down on Slots #1.

If you're someone who feel that the more established super-hero universes out there are too deep into continuity to be accessible, then I could see The Sovereigns #1 serving as an appealing jumping-on point. But while the approach taken by the creative teams have the benefit of making this new universe feel rich and complex so that it already has a lived-in feel, that density may require new readers to have faith that all will be explained. If the series can continue to be this confident and well-crafted, I see no reason why it shouldn't attract its own fan-base in no time.

Superman #8 has the feel of a modern reimagining of classic Silver Age adventures that usually unfurled on just the right side of ridiculous to wind up being rousing adventures. Writers Peter J. Tomasi and Patrick Gleason capture the light-hearted and overtly fantastic tone of those kinds of stories while merging them with modern sensibilities enough so that the overall feeling of the book is one of fun without being silly. And Doug Mahnke delivers the goods on the art side.

Superman #15 is yet another example of how well DC, and this creative team in particular, is handling the character right now. After the last lacklustre few years, it finally feels like Superman is connecting with readers and going on the kinds of adventures worthy of his iconic stature. This issue, despite its cosmically high stakes and serious tone, feels like an adventure that we can have fun reading, with a hero at the center that lives up to the name Superman.

With Superman #18, the creative team delivers an opening issue that intrigues and engages even as it is filled with a palpable sense of dread. For the first time since before the New 52, it feels like DC has a handle on Superman, and I know I'm not alone in hoping this turns into a classic arc that cements this version of the Kents in the DC Universe, rather than throwing it aside. As an opener to the "Superman: Reborn" arc, this issue delivers a lot of promise as the heartbreaking events Superman faces here allow for no opportunity to punch, fly or heat vision his way out, putting him in an interesting place to move onto the next chapter, with a huge motivation.

Adapting James Ellroy's classic noir novel, Matz, David Fincher and Miles Hyman's The Black Dahlia is a dark and unsettling fever-dream descent into obsession and the dangers of inner demons that lives up to the pedigree of the source material.

I enjoyed the premiere issue of this supernatural horror/hero mashup from storytellers Philip Tan and Justin Jordan. Evoking the kind of genre-bending that flourished in the Bronze Age, but giving the story a totally contemporary spin and an earnest compassion for its characters, Tan and Jordan deliver a low-key but enjoyable debut with a lot of promise.

With co-creator Alan Martin handling the writing duties and Brett Parson on art, The Wonderful World of Tank Girl #1 is just as much insane, vulgar and gleefully provocative fun as the character has always been. Look, there's no point in really talking too much about narrative and plot when it comes to Tank Girl. This world has never been about conventional structure. Rather it's about energy and non-conformity and embracing a stream of consciousness style of mayhem. Things aren't supposed to be conventional. And though I wouldn't put this issue near the top end of Tank Girl's craziest and most unhinged tales, it does embrace a balls-to-the-wall sense of energy and total disregard for anything other than hi-jinks and taking the piss out of anything nearby.

I like Ron Garneys art, typically, but theres been something off with his run in this book. Im tempted to say its Svorcinas colours, which may diffuse Garneys usual cleanly defined lines, though it could just as easily be Garney experimenting with his own style. Still, its not doing much for me, and is a bit of a let down.

I loved this series, and though the finale is uneven, I also enjoyed this issue as a kind of act break before the news series begins and takes us in a different direction. I sincerely hope we don't entirely lose the structure of Young Thor/Modern Thor/King Thor, as I think there's more that could be explored with that set up. But I'm intrigued by the glimpses Aaron has shown me of the future, and I'm very optimistic that he can take Thor in a different direction and still tell some great stories. And even if he can't, I'll still have 25 issues of Thor – God of Thunder to read and enjoy.

With Wonder Woman '77 Meets the Bionic Woman #1, writer Andy Mangels and Judit Tondora have created a debut issue that nails the fun tone of these two properties at their best, even as the issue doesn't shy away from telling an action-packed and exciting story that feels thoroughly contemporary.

While Wonder Woman '77 Meets the Bionic Woman #2 is a fun and well-constructed action-packed exercise in both nostalgia and in straight-ahead adventure, there are times in the issue when the plot revolves around elements which casual or new audiences to these properties are given no real introduction to, and that hurt my enjoyment of the book a bit. Despite this, I continue to enjoy the infectious sense of fun that permeates the issue.

Wonder Woman '77 Meets the Bionic Woman #6 displays the same charm, heart and earnest sense of fun that enlivened this miniseries from the beginning.Is this seriesgoing to change comics forever? No, but then it was never trying to in the first place. Is it a perfectly enjoyable adventure executed with love and charm? Most definitely. And for fans of either property or just good old fashioned fun, you'll get what you're looking for fromWonder Woman '77 Meets the Bionic Woman #6.

At the end of the day, X'ed is a solid and exciting debut issue for fans of science-fiction techno-thrillers with a healthy dash of weird psychology. The art is just strange enough to believably depict a mindscape, but grounded enough to effectively handle the action and atmosphere of the real world side of things. It's a winner of a debut, and I'll be checking out the next one.

Despite a plot that I found pretty familiar, I really enjoyed X-O Manowar #1. Its grim tone, strong characterization and gripping setting overcame the fact that the arc of the issue was a story we've seen before. The art is superb and Kindt really seems to have a strong vision of where he wants to take his protagonist, and it might not be anywhere good in terms of Aric's conscience. However, as a successor to one of the most acclaimed runs on one of Valiant's signature characters, X-O Manowar #1 is off to a hell of a start.

Writer Matt Kindt and artist Ryan Bodenheim have crafted an issue that is heavy on action and intrigue that stems from the past year's worth of stories they've been telling in Valiant's flagship title, but the issue itself is hugely accessible to new readers, providing an enjoyable and surprisingly rich issue for readers both long-term and brand new. With flawed but well-meaning characters at its core, the palace intrigue and conspiracies on display are compelling. The character-driven stuff is nicely balanced out with solid and well-crafted action and the issue moves with a lightning pace.

Will Slott and company manage to pull off the classic Spidey epic? Time will tell, but with this opener, Im settling in for a solid conclusion to the Superior era.

All in all, the arc is shaping up well, and if it feels like a typical Spider-Man epic, thats not a bad thing by any means.

The art continues to work well for me. Camuncoli does some very nice, detailed work, and he knows when to fill and empty his backgrounds for dramatic effect. Hes got a lot of big action to draw this arc, and thats often where we can see a lot less detail, but his stuff still looks alive and keeps a sense of drama.

The next issue is the conclusion, and if its as incredible as this issue was, then Slott will have pulled off a feat that seemed impossible when the book began. He will have made a series about Dr. Octopus taking over Peter Parkers body and posing as Spider-Man one of the great Spider-Man stories.

All in all, this issue and the one before it really only have to build anticipation for the event, which it does. But it does so skillfully by giving us not just plot but character development. This willmakeus care about, and identify with, both heroes and villains far more once Spider-Verse does kick off. So, while it doesn't re-invent the wheel, it does its job and then some.

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.

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.

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.

Super Sons #1 winds up being exactly the kind of bickering fun you'd come to expect from the pairing of Bruce Wayne's arrogant son Damian and Clark Kent's earnest son Jon. While the issue doesn't exactly deliver on innovation or surprises, it does exactly what it sets out to do well enough to recommend it as a charmingly fun example of the benefits of DC's company-wide lighter touch these days.

Super Sons #2 is at its best when it uses Robin and Superboy's different approaches to super-heroics to throw into sharp relief their personal differences. The issue clicks when it shows the two title characters barely restrained from coming to blows as they irritate each other and try to outwit a nearly as annoyed Lex Luthor. With expressive and detailed art on display, a strong central relationship at its heart, and a compelling narrative developing, its easy to see how Super Sons could capture a following.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

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.

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.

For me, of all the books in Marvel's Star Wars line, this series has been the one that has been the most consistently enjoyable. Darth Vader #20 resolves some plot threads in a compelling way while giving the series a new direction to move in going ahead.

Buy this book; itll make your day better.

Its just such a fun book. As anyone who is reading DC right now can tell you, creating a book that is just simply fun is much harder than it looks. If youre not reading this book, do yourself a favour and pick it up. Itll brighten up your Wednesdays.

Rich Ellis takes over for regular artist Steve Lieber, and while his style is definitely less refined, its scratchy vibe is solidly in the same wheelhouse, with a classic retro feel that works well with the flashback story.

If theres anything that drops this book below the series average its that it somehow is little less amazing than the other issues, but thats not much of a complaint.

Judging by the credits the art this issue is the work of many hands, but the style still feels consistent throughout. There are less of the amazing layouts and stylized touches than there have been in past issues, but the ones that are included are really funny. This remains a book that makes you love comics every time you read an issue.

At the end of the day, the issue is missing the deft touch and loving characterization that Spencer excels at. Yes, he depicts these characters as petty, selfish and a little dim, but you feel that he also loves them and feels that in their own way, they are good at their jobs. Its a series about people who are mediocre trying for more, and we can all identify with that. This issue feels like a lot of the jokes are at the expense of the Sinister Six, with their idiotic plan to rob this bar. Once again, the issue is funny, and theres stuff to enjoy here, but it also throws into relief how its the skills and viewpoints of Spencer and Lieber that elevate this series beyond a joke book. And that makes me hungry to return to the main storyline and regular team.

There's not many other ways I can say this book's incredible. Look at my past reviews. All I can say is you can either be the person who reads this in a trade and says, “How did I miss this?” and yearn for more, or you can jump on now and maybe help it have the long run it deserves. C'mon, do it for loser super villains everywhere.

All in all, Man of Steel #1 should thrill and entertain readers new to the character (if those exist) and fans of the Man of STeeel. Bendis had high expectations for the kick off of his run, but he and his collaborators deliver.

DC's New Age of Heroes Initiative delivers a winner with The Silencer #1. Creators John Romita Jr and Dan Abnett deliver a brand-new character that is immediately engaging and cool, using a strong if familiar central concept that effectively ties her in to the DC Universe in a believable and exciting way. The trickiest thing in super-hero comics is trying to make a new character captivating to a fan base that really truthfully usually prefers the same characters they've been reading for decades, so you've got to admire how Honor Guest already feels like a character I can see popping up and integrating into the DCU proper. It's a bit odd that an initiative entitled "The New Age of Heroes" should so far center around concepts in which we're all so well-versed. But unlike "Damage" The Silencer #1 feels like DC's take on a classic, and it's a eminently readable one buoyed by top notch work form creators who know what they want to deliver and how to make it feel fresh.

Victor LaValle's Destroyer #1, a contemporary continuation of the "Frankenstein" story, offers a bold look at contemporary culture through the eyes of yet another gifted scientist who challenges the laws of nature to create life. It's a debut with a lot of promise and an interesting concept at its heart, even as structurally it takes a bit to get going. Despite that, Destroyer #1 is a thought-provoking and smart debut that still brings the scares and big ideas, living up to the legacy of "Frankenstein."

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.

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.