DC truly saved the best for last with their DCU/Looney Tunes crossover specials. Batman/Elmer Fudd is a gleefully absurd mash-up of the two franchises, one made all the more ridiculous by the fact that it presents itself as a completely serious and gritty noir tale. But as goofy as this comic can be, it also treats its two leads with a huge amount of care and gravitas, resulting in a crossover the delivers on multiple levels and somehow emerges as King's best Batman comic to date.

Harley may have been one of the best things about the other Injustice books, but that appeal is largely lost here.

With last year's Villains Month, Charles Soule's Swamp Thing issue was easily the best of the bunch. And he may very well repeat that achievement this year. Swamp Thing: Futures End #1 is definitely the standout issue in this first week's batch, at any rate.

Tomasi is once again at his best in telling a self-contained adventure that celebrates Damian's impact on the Bat family. The twist this time is that we get a much-needed glimpse of the original Bruce/Dick partnership. It's a reassuring confirmation that the core of the franchise hasn't changed much over the decades, and one that pays homage to a lighter, more fun era for the Dark Knight.

For all the great stories that came out of the New 52, there was always something about this version of the DC Universe that didn't sit right. DC Rebirth manages to break the fourth wall and turn that idea into a story. This one-shot is a wonderful showcase for what this universe can be when it's executed properly. It's both a fitting farewell for Johns and a worthy template for DC's new wave of comics to follow. Reading Rebirth feels like coming home again.

But that aside, I truly enjoyed Moore and O'Neill's latest foray into this fascinating universe. The endless delays were all worth it in the end. If you have no experience wit the League yet, Black Dossier wont exactly welcome you with open arms, but once you've become properly acquainted with the previous volumes I'm sure you'll join me in declaring Black Dossier the clear winner for best original graphic novel of the year.

Gaiman has found an ideal collaborator in J.H. Williams III. Williams' storytelling imagination blends seamlessly with Gaiman's resulting in one lush, intricately rendered page after another. Williams' talent for switching art styles on the fly comes in especially handy. This issue constantly shifts between traditional page layouts, storybook sequences, and ethereal dream structures, with Williams deploying all manner of tricks and different media to achieve the best effect. Coupled with Dave Stewart's lush colors, and the Sandman universe has never looked better.

The long wait is worthwhile for Williams' art alone. Williams has taken his talent for crafting intricate collages and combining a myriad of artistic styles and dialed it up to 11 for Overture. Never has his storytelling approach been more appropriate. He captures the sensation of being inside a dream. Figures are constantly evolving and changing. The eye is drawn all over the page. But far from being messy and disjointed, Williams' work is haunting and evocative. Dave Stewart's colors only further enrich the story. This art team was born to illustrate a Sandman comic.

A fantastical yet intimate story and incredible visuals make Sandman: Overture #5 well worth the wait.

Especially after the relative disappointment that was Before Watchmen, there was a real fear that Sandman: Overture would fail to live up to the legendary standard of the original series. Instead, thanks to Gaiman's sweeping storytelling and Williams' lush, imaginative visuals, Overture has proven to be one of the finest additions to the Sandman mythos yet. Only a handful of issues If this is the last we see of Morpheus and his family, Overture is the parting gift they deserve.

The only bad thing that can be said about this issue is that there isn't more Walking Dead coming from Vaughan and Martin. These two creators prove once again that they're capable of weaving magic in any comic book universe, new or established. This issue is a must-read fro any zombie fan, especially with the "pay what you want" model.

Dark Night might not be the Vertigo-branded Batman book fans have been clamoring for from DC, but it's certainly worth a read for anyone who holds the Caped Crusader near and dear to their heart. It offers a very personal and heartfelt look at how the character helped guide Dini through a terrible time in his life, and it proves all the more that both Dini and Risso are among the most talented storytellers ever to work within Gotham City.

The real draw of this issue is simply Kelly's pitch-perfect portrayal of the World's Finest. Kelly is an excellent writer, and one that doesn't get nearly enough credit for his humorous yet complex portrayals of classic characters. Whereas most issues seem content to while away the page count with endless dual monologues, Kelly dispatches with this tired writing element after the first couple pages. His take on the heroes is much more subtle and endearing than I'm used to from this series. Is it too much to ask for Kelly and Kolins to take over the book permanently? Apparently so, but I'd really like to have something to look forward to between now and next year's annual.

Whether this specific hardcover appeals to you or not, comic readers have one less reason to avoid delving into the world of Hellboy. The Hellboy Library Edition Vol. 1 is a (mostly) well-crafted package that brings together two of the best storylines into one terrific package. Much like the recent Art of Hellboy hardcover, this book is a terrific showcase for one of the best artists working in the medium today. If you feel the need to catch up on Hellboy in preparation for the new movie, I can't imagine a better way to get started.

This is not at all the type of book you might be expecting as marvel works to capitalize on the character's cinematic debut. Less a superhero adventure than a tale of suburban malaise and family strife, this issue sees Vision and his newly constructed family trying to find their place in an illogical human world.

This issue might just offer the biggest emotional gut-punch of the entire series to date. It's very clear by the end of issue #9 that Tom King and Gabriel Hernandez Walta are approaching their endgame. This story isn't necessarily that big in scope, but in terms of tragedy and gravitas it more than delivers.

Not since DC Universe Rebirth #1 has a comic hit me so profoundly in the feels region. This series, always morose even in its most lighthearted moments, becomes even more emotional in the aftermath of Vin's death.

Vision #12 is a terrific series finale, bringing the comic full circle and offering one last, emotionally devastating glimpse of the Vision family in the aftermath of their recent tragedies.

Among the many series finales at Marvel these past few weeks, this easily ranks among the best.

So while Giant-Size Astonishing X-Men isn't the best installment of the series, it's still a satisfying and mostly fantastic conclusion to what may well be the greatest X-Men run ever. I may have a soft spot for Grant Morrison's New X-Men and the Chris Claremont/John Byrne days, but there's only one real candidate for best story in my mind. As far as I'm concerned the series is done now. I'll probably be first in line to snatch up issue #25 this summer, but it won't be the same. Whedon and Cassaday have set the bar astronomically high. Any team that can top them would be astonishing indeed.

Now will someone clean up all this blood on the floor?

The only real complaint worth registering about this issue is that it costs a dollar more than it would to download the three chapters digitally. But to be fair, it does offer at least as much content as any normal $3.99 comic would. Whichever viewing method you choose, this is a series that all Superman lovers need to be reading.

Even if Alien: Covenant fails to live up to its promise, at least fans of the franchise are getting one worthwhile Alien story this spring. Dead Orbit is an excellent throwback to the original film, focusing on claustrophobic horror and dread rather than action and spectacle. This is what happens when you give a talented storyteller the reins of a beloved franchise and simply let them go wild on the page.

This issue as a whole is an eclectic blend of random asides like that and more focused drama. A lot of books would suffer some sort of tonal imbalance as a result, but again, it plays right into the nature of FF. It's great to see the creators emphasize humor and the younger characters and their antics even as they maneuver the adults into the confrontation that's been building for the past year. The only downside is that the growing sense of finality suggests that the Fraction/Allred saga really is going to end soon, even as this issue once again reinforces how vital FF is to Marvel's lineup.

And the art remains as gorgeous and vibrant as ever. Once again, there's a sense that Mike Allred is cutting loose even more than usual and letting the art dictate the flow of the story. This issue has visual cutaways and dimension-hopping galore. Allred's standout pages involve his rendering of Red Ghost's mind-bending time-journey. We wind up with four distinct versions of the character entering and exiting the stage. It's the sort of bizarre sequence that might have been too confusing if not for the clear, engaging way it's rendered.

And one again, the visuals are the prime selling point of the series. Mike Allred doesn't necessarily break the usual mold of superhero page construction as much as he did in the previous couple chapters, but there's still a pervasive sense of energy and whimsy on every page. Sly visual gags like putting Fraction's face on a milk carton ad for missing children only serve to heighten the fun and enjoyment this book provides.

But as much as this series emphasizes playful antics, it never forgets to showcase the adults and their deeper struggles too. This storyline isn't really boiling down to a question of whether the FF can overcome Doom. That's pretty much a given. The emotional heart of this final conflict is how Scott can handle himself against the man who killed his daughter. Will these 16 issues result in redemption for this troubled hero, or colossal failure? That question alone is enough to leave me craving next month's series finale.

Had this issue only included the main story segment, I would have found its Scott and Doom-centric focus a fairly underwhelming end to the series. Luckily, there's a fairly hefty epilogue sequence that brings the entire FF and Fantastic Four casts into the limelight and offers one last hurrah for this era of Marvel's First Family. The writers wrap up various loose ends and remind us how great the many character dynamics in the FF are. And Mike and Laura Allred take the opportunity to bedazzle readers one last time with their art. It's good to know that, even if the FF kids may be taking some time off, at least the artists have found a new home with Silver Surfer. If they can bring the same level of visual fidelity and whimsy to Surfer that they did to FF, that book will automatically rank among Marvel's best.

You can't go wrong with a Brubaker/Phillips collaboration. Even so, Fatale is making a strong case for being the best of their projects. It combines all the familiar elements with a new and distinctly original horror slant.

Sean Phillips is also in fine form with this issue. Brubaker's script allows for a strong sense of variety. The rural setting is a nice change of pace, and the eerie, surreal desert scenes in the flashback and the dark, haunted panels of the opening and closing scenes are an effective contrast. The concept behind this series is a really great one, and that seems to be reflected in the output of both creators as they continue to deliver some of the strongest collaborations yet.

In a lot of ways, this comic is the first true test of DC Rebirth. Can a series truly feel new and different when it retains the same writer from the previous volume? In this case, the answer is a resounding yes. Ben Percy's earlier Green Arrow run was by no means bad, but this issue immediately reaches a new level of quality.

J.M. Ken Niimura really shines this month thanks to a few gorgeous splash pages. As the book grows progressively more dark, Niimura expands his scope and makes it seem as if an epic brawl between girl and giants is finally at hand. Niimura's loose style is occasionally tough to decipher, but generally he makes for an excellent artistic complement to Kelly's writing. I'm anxious to see where the duo is headed with this story in the final two issues. Whether or not Barabara's fantasies are real, this is going to be one fight to remember.

Unlike Barbara, I hope we readers won't have to say goodbye after this mini-series. I'm looking forward to an increased focus of Kelly's Four Eyes, but I also hope we'll see another collaboration from this duo. And whether that collaboration is a Giants sequel or something else entirely, I'm going to be first in line to read it. Sorry Batman, you may be facing more competition in the future.

Regardless of whether you've read Morrison and Mora's previous Klaus work, this standalone issue is well worth the relatively high price of admission. It's a fun, clever take on all sorts of holiday tropes. It looks fantastic, and it taps into many of the same themes that have made Morrison's superhero work so powerful and emotionally resonant.

The only thing new about this series is the status quo. But considering how little time we got to savor Dennis Hopeless and Javier Rodriguez's Spider-Woman before Secret Wars cut things short, and changes to the creative team would be a disappointment. This first issue makes the most of the book's core character dynamics as Jessica grapples with her new life as a superhero mother-to-be. This issue even opens up her world to bigger and crazier conflicts again, promising an exciting road ahead for Spider-Woman.

Hopeless offers a powerful look at Jess' maternal side and the superhuman lengths she'll go to to protect the most important thing in the world to her. The final showdown is a thrill to read, but even that's eclipsed by the comparatively quiet but no less emotional aftermath as Captain Marvel enters the picture again.

This series has only gotten better thanks to the recent relaunch and the advent of Jessica Drew's new status quo as a pregnant, semi-retired hero.

As a whole package, Strange Tales is easily on par with Wednesday Comics. The variety isn't quite what I would have liked. All the stories feature a humor angle, and too many artists gravitate towards the Hulk. But for me there's no question that Strange Tales is the most fun read of the week. As troubled a development phase as this mini-series had, I hope Marvel is already looking into a sequel. This is an anthology book done right.

Hicks' characters are expressive and full of emotion. She's able to convey a great deal of information through body language and facial work. Even the juxtaposition of muted colors with brighter hues in Ellie's daydreams go a long way to bringing this world to life.

This final issue also thrives as much as the previous three have on the strength of Hicks' visuals. Her art style is far removed from the looks of the game, which helps give the comic its own sense of style and identity. Even though her figures carry almost Scott Pilgrim-like levels of exaggeration, the somber, violent nature of this universe is never in doubt. The art once again drives home the notion that it's better to try something different with any adaptation than rigidly adhere to the structures and limitations of the source material.

By and large, League of Extraordinary Gentlemen is in its usual fine form. In and of itself, Century 1910 doesn't offer quite the rousing epic I was expecting, but it does lay seeds for what could easily be the greatest LoEG yet. The series continues to challenge and delight all those readers willing to commit the time and mental energy to fully appreciate it. And as the League moves now into the Swinging '60s and beyond, I can only imagine what craziness Moore has cooking for the next issue.

Dan's Score: 9.3

As long as you don't mind a slow, methodical build-up to an impending disaster, this issue of The Stand won't disappoint.

I had my worries about a project that purported to stay so close to its source material. Fortunately, The Stand: Captain Trips has assuaged my fears at every turn. It doesn't reinvent the wheel. It merely takes one of the better sci-fi horror novels ever written and does it full justice in a new medium. What more could you ask for?

That said, Aguirre-Sacasa deserves a lot of credit for so aptly weaving various chapters together into a cohesive narrative. The writer has covered a lot of ground in a short time, and I'm not sure there has ever been a point where the comic has come up lacking. Marvel certainly picked the right creative team for the job in this case. This adaptation holds no surprises for fans of the novel, but I just don't care. If there's a more faithful literary adaptation out there, I've never seen it. Bring on Part 2, please.

But I did mention a flaw, didn't I? Frankly, I'm beginning to notice that this story isn't especially well suited to the monthly format. The issues tend to just end without much fanfare and then pick right up the next month. This certainly doesn't diminish the many high points of Oz, but I really think the trade will prove to be the ideal reading method for this series. However you decide to read Oz, just make sure you do it.

It's no Eisner, but have another IGN.com Editor's Choice Award. You earned it, guys.

This is one book where I have difficulty finding any fault with. It's just so lovingly crafted it sees wrong to complain. That said, there are a handful of nitpicks to be had with this issue. The script comes to an abrupt halt at the end. This isn't the first time that problem has arisen, either. This story would probably work better as an OGN rather than a segmented mini-series. Also, with some two-thirds of the script being set inside the dark confines of the Emerald palace, Skottie Young's art just isn't allowed enough time to sparkle and shine. Make no mistake, this is still a beautiful comic, but it doesn't quite measure up to the other issues. Still, this issue is a definite favorite of mine for the month. Oz never ceases to put a smile on my face, and I usually hate smiling.

The Wonderful Wizard of Oz is one of the finest comics I've read in a long time. It doesn't matter that it's an adaptation of children's novel or that it doesn't have spandex-clad heroes slapping each other. This series evokes pure joy in the reader. I'm very much looking forward to the next chapter. As long as Shanower and Young are on board, I expect more greatness from Oz.

For whatever complaints I might have, Ultimate Iron Man Vol. 2 is off to a surprisingly good start. The only reason I can imagine someone not wanting to read this issue is if last week's The Ultimates 3 #1 turned that person off from the entire brand (I know I wasn't happy). Consider Ultimate Iron Man Vol. 2 a small bit of redemption for the Ultimate line.

For once I was even left with the impression that the story was actually edited to work as an actual issue. The previous two issues left me feeling Card simply wrote a single graphic novel and Marvel chopped it into four parts. My only complaint now is that the book is almost over. I'll be a sad Ultimate reader indeed if Ultimate Spider-Man is my only outlet for good, progressive storytelling.

This is quickly shaping up to be Dark Horse's best series, and one of the better and more inventive indie comics on the market right now.

This issue is a terrific capsule of the whole project, because it provides everything a reader needs to understand how a young Jewish boy in Poland could grow up to become something as great and terrible as Magneto.

But that's really the only complaint I can muster as I look back at all five issues. Am I bothered that this was a Magneto story in name only? Somewhat. Does that really matter when you consider that Pak - with the help of the crushingly effective art of Carmine di Giandomenico - has turned in one of Marvel's finest mini-series ever? Nope. Magneto Testament is a powerful story that will haunt me for a long time, not unlike a certain rodent-flavored Holocaust comic. Holocaust historians always warn us to never forget. Thanks to books like this, I can't imagine I ever would.

Eventually, this issue picks up on threads from last month's standalone installment involving Prodigy and the mysterious disappearance of Speed. Prodigy quickly finds his niche within the team dynamic, particularly as he butts heads with Loki. There's not much sense as to where this arc is headed at the moment but who cares? The book is even more fun now than it was in the first arc, and the newfound sense of unpredictability only adds to the excitement.

And this issue benefits from the same playful quality that has been a hallmark of Young Avengers since Gillen and Jamie McKelvie started their run. There's humor galore, whether it's Noh-Varr reflecting on his unusual breeding or a brainwashed Captain America encouraging his young allies to look positively on the idea of existence crumbling into darkness and despair. McKelvie's art really shines in terms of the overall design, with some creative page layouts and a title page that mimics those music fan zines the two creators are so fond of. It's a shame this series will be wrapping up soon, because it definitely offers an original voice and sense of style in the Marvel Universe.

Chris Burnham is no stranger to Morrison's Batman run, but this series finally marks the point where Burnham takes full control of the book's visual direction. Burnham hits the ground running in this issue. The similarities to the opening arc of Batman and Robin are as much due to Burnham's pencils as they are to Morrison's writing style. There's a similarly frenetic approach to depicting action and movement. Burnham frequently experiments with layouts and panel construction. These experiments don't always work as well as intended (the page with shots of Batman and Robin projected on the sides of buildings is pretty wonky), but the sheer amount of energy on every page can't be denied. Burnham proves right away he has the creativity, the flair for action, and the dramatic storytelling hops to do justice to Morrison's final Batman adventure.

So the twist is handled well, but I have yet to be convinced it's the best direction for the series to take. It seems to kill a lot of future storytelling potential for the sake of immediate drama. But there are also four issues remaining on this series, and it's probably a safe bet that Morrison has more up his sleeve. After all the excellent stories that have come out of this run in the past seven years, he certainly deserves the benefit of the doubt.

Batman: Last Knight on Earth #1 provides an engrossing look at the end of Batman's long journey.

Batman: Last Knight on Earth #2 isn't quite as strong as the first issue, but it's a must-read for Bat-fans.

Those hoping for a deep, complex narrative may be disappointed with the first issue of Black Widow. But when a comic looks this good and takes such full advantage of the medium's storytelling possibilities, who needs pesky words? This issue will almost certainly be looked to as a teaching tool for up-and-coming comic artists. Not a bad start to this new series.

After only two issues, this series is quickly establishing itself as one of Marvel's best.

If it wasn't obvious that Mark Waid and Chris Samnee are one of the best creative teams working in comics today, this series serves as undeniable proof. Black Widow #4 is yet another showcase for what's possible when two talented creators with a close working relationship join forces.

Every issue to date has been a terrific showcase for Samnee's artistic talents and the finely honed collaboration between he and Mark Waid. Issue #5 is no exception.

Best of all, this issue makes a very substantial leap forward in Nat's ongoing quest to clear her name. Under a lesser creative team, that sudden leap forward might have seemed abrupt and unsatisfying, but Mark Waid and Chris Samnee remain in total control of their story.

Perhaps everything wraps up a little too neatly and quickly in the end, but this issue still offers a satisfying look at a deadly agent trying to atone for the sins of her past.

Suffice it to say that Matt Kindt and David Rubin immediately craft a fantasy world that's both extremely inviting and wholly unique.

Fast-paced and enticing, Far Sector #1 kicks off DC's newest Green Lantern epic in style.

Take this issue, for instance. Dt. Fell jumps at the opportunity to work as a hostage negotiator. The majority of the issue takes place in a dank hallway outside the criminal's apartment door. However, Ellis finds creative ways to show the reader what is happening inside the apartment without actually showing them. It doesn't hurt that Ellsi has Ben Templesmith's art to rely on. I'm sure Templesmith could make just about anything look interesting with his unique watercolor style. This issue only grows more interesting once Fell gains entrance to the apartment and saves the day with his own unique brand of justice. I'm sure it's been said before, but a $2 comic like Fell often feels like it offers more bang for the buck than regular $3 series. If you can't spare the scratch for something this good, maybe you need a new hobby.

If there's any flaw with this issue, it's that the ending is a bit abrupt and the issue as a whole feels annoyingly brief. Luckily, the second and third issues have been solicited, so it appears that Hellboy in Hell will maintain a monthly schedule at least long enough for momentum to build and the overarching conflict to reveal itself more.

As with any Mignola-illustrated comic, the artwork is the main draw. Mignola didn't draw the original story, "Hellboy and the Vampire of Prague." So it's a treat to see him tackle the villain himself. And as always, Mignola is able to use darkness and shadow better than just about any artist in the industry. His Hell is a far cry from traditional depictions of the realm, more dilapidated and isolated and sad than fire and torment. Couple all that with inspired use of snake and bird imagery to depict the suffering souls, and you have another issue showcasing Mignola at the top of his storytelling game.

Any issue illustrated by Mignola is a visual treat, but this one is all the more striking because of the unusual variety to the pages. Mignola and colorist Dave Stewart render Hellboy's visions in a lush, painterly style that contrasts with the somber, colorless scenes of Hell and the more traditional supernatural antics later in the book.

It may be some time before we see the next chapter of the series, but the wait is always well worth it.

The stark underworld imagery, haunting character designs and hard-hitting action all combine to create something distinctly Hellboy.

It's a tragic but fitting conclusion to one of the great sagas of the modern comic book industry.

I think the Oz books will always have an odd quirk or two while broken up into individual issues. So while this may not be the absolute ideal format to experience the story, that doesn't change the fact that The Marvelous land of Oz is equal to or better than it predecessor. It's a visual feast for the eyes and a soothing dose of whimsy for the brain.

Mister Miracle #1 is every bit as good as one would expect from a creative team of this caliber working with such a venerated character. Tom King and Mitch Gerads manage to blend the larger-than-life nature of the Fourth World with a very grounded and emotionally charged story of a hero at his lowest ebb. Regardless of your familiarity with the New Gods, this is a series that absolutely deserves to be on your pull list.

This issue feels like it's missing a certain something, but at least it still works as an effective character study.

Three issues in, Mister Miracle is unquestionably one of the best books DC is currently publishing. This series continues to offer a fascinating glimpse into the mind of one very troubled god. It manages to blend mundane human drama with epic cosmic spectacle and royal family intrigue. This is another beautifully rendered and expertly structured issue. The prospect of nine more is very appealing.

Anyone not following Mister Miracle is missing out on one of the best comics of the DC Rebirth era. This particular issues manages to tell a gripping story despite unfolding almost entirely within a small, confined space and with a limited cast. The bitter rivalry between brothers forms the backbone of a tense, emotionally charged issue. Kudos to Gerads for keeping this issue so visually striking despite the "talking heads" format.

It's fitting that the only series that can rival Batman as DC's best current book is another Tom King-penned epic. Mister Miracle delivers its finest issue yet thanks to this emotionally charged, intimate look at the romance between Scott Free and Barda. It's got humor and sex appeal, but it truly succeeds when it comes to highlighting the enduring appeal of this pairing and their ability to survive the worst the Fourth World can throw at them.

Mister Miracle #12 doesn't provide many answers, but it gives the series the emotionally resonant finish it needed.

This might not be quite the strongest issue of Phonogram 2 yet, as I think others have offered a more consistent overall package, but that hardly matters in the end. This is easily the best book I've read all week. But praise like that should come as no surprise to the Phonogram faithful by now.

In an industry where so many books require months and months before they find their voice, if ever, Rachel Rising has rocketed out of the gate and never looked back. If the book is this good this early on, I eagerly look forward to see what shape it'll take in the coming years.

Personally, the character work in this series has always been strong enough that I couldn't care less about the methodical pacing. But those who have been waiting for Moore to "get to the point" need wait no longer. This series retains its sense of unpredictability and excitement as new revelations are made, which isn't something all horror or fantasy-based stories can boast.

Halloween has just ended, and those craving a horror comic that can both chill and tug at the heartstrings would be hard-pressed to find a better outlet than Rachel Rising. This comic deserves a hell of a lot more readers and attention than it currently receives.

There's a lot of competition out there these days for best horror comic. But Rachel Rising clinches the honor again and again with its trademark blend of simple, effective character dynamics, unsettling imagery, and twisted evil lurking just beneath the surface of mundane small town life.

This series boasts a terrific team-up, both in terms of the characters involved and the creators bringing their misadventures to life. This first issue covers a lot of ground with ease. It offers terrific artwork, ample amounts of humor, surprisingly deep characterization and a conflict that confidently sets the stage for an ongoing Spidey/Deadpool team-up. It's everything a first issue should be. The fact that this issue crams in a reprint of the equally stellar Vision #1 on top of everything else makes it that much more of a no-brainer purchase.

As The Depths comes to an end, I'm fully satisfied with the latest Marvel Knights offering. Milligan told a quality tale with a strong emotional finish. Ribic turned in some of the best work of his career. And I now have another book that will rest of the top of the list when it comes to making recommendations.

The story has just the right blend of fantasy, tragedy and sex appeal to take advantage of Cooke's talents and weave a story that reads like nothing else on the stands.

It's tough to get over the novelty of seeing Gilbert Hernandez and Darwyn Cooke' collaborating on a comic. The pairing has yet to disappoint, as Twilight Children has quickly established itself as the best of a strong crop of new Vertigo titles.

At least Fraction is writing to his full potential. This is one fantastic comic and any self-respecting Thor fan should throw it in their weekly pile. Perhaps it's too early to be thinking about the future of Thor after J. Michael Straczynski leaves. Even so, I now know who I want to replace him.

A.D. is every bit as compelling a comic as one would expect from a Scott Snyder/Jeff Lemire team-up. It's intensely emotional, beautifully rendered and very diverse in its presentation. It does seem like the story would have been better served as a single graphic novel, but at least readers don't have to wait long for the next chapter.

I do wish the creators had emphasized sequential art over illustrated prose a little more with this book, but regardless of approach, A.D. works as a very intimate, very emotional look at a man finally coming to terms with death.

It's a little weird that this issue has no connective threads or build-up to Orginal Sin, especially considering that the first Point One issue teased Original Sin over two years ago. But that aside, this issue is well worth the price of admission, and serves as a strong showcase for Marvel's 2014 lineup.

It just doesn't feel right not having Scott Snyder writing Batman. This series fills the void that's existed since the end of Batman Vol. 2, but more importantly, it shows that Snyder still has plenty of tricks up his sleeve when it comes to the character. Plus, this issue is worth reading solely for the gorgeous visuals provided by John Romita, Jr., Declan Shalvey and the rest of the art team. It's just a shame this is the one Batman comic that isn't twice-monthly.

No matter how many great Batman comics DC publishes, Scott Snyder's work will always stand out. This issue offers a rousing road trip adventure, plenty of impeccably rendered action, dramatic foreshadowing of things to come and a dash of real world allegory to boot. All these ingredients combine to from an eclectic and very enjoyable Batman comic.

Throw in the return of a fan-favorite Batman character and an increased role for Duke, and this issue serves as a new benchmark for the still-young series.

Needless to say, a story that already felt plenty timely is only growing more so in light of recent political developments. But this issue also has plenty of brutal, hard-hitting action to offer as Batman's physical gauntlet grows more harrowing and The Beast re-enters the fray.

The Batman franchise really offers an embarrassment of riches these days. This issue succeeds in revitalizing a villain whose stock had plummeted in recent years, while also serving as a terrific reunion for Scott Snyder and his Detective Comics collaborators. It's just a shame Jock won't be sticking around longer.

If All-Star Batman were nothing more than an excuse for Scott Snyder to work with a who's who lineup of talented artists, the series would be well worth following, This issue offers a gorgeous take on the Batman/Poison Ivy dynamic courtesy of Tula Lotay. But there's plenty of depth to this story, to boot, as All-Star Batman continues to be a showcase for the enduring appeal of Batman's villains.

This issue finds a strong emotional hook in the way it explores themes of anxiety and self-doubt and forces Batman to question even fundamental truths about himself and his past. Giuseppe Camuncoli's art matches the story well, as he's able to transition from a relatively straightforward superhero style to something far more twisted and surreal over the course of this issue.

"Ends of the Earth" wraps with what is easily one of the strongest chapters of All-Star Batman to date. This issue manages to drag the Dark Knight out of his comfort zone even as it offers a powerful meditation on the end of the world and the power the Batman symbol holds to light the way in dark, confusing times.

This issue finally delves into the infamous "Lipstick Incident" and just what drove former power couple Archie Andrews and Betty Cooper apart. Waid deftly blends humor and bittersweet tragedy as he sheds light on the incident.

Batman/Superman #1 is one of the strongest first issues of a DC series in recent memory.

Batman/The Shadow shows every sign of living up to the recent high standard set by crossover comics like Star Trek/Green Lantern and Tarzan on the Planet of the Apes. It cleverly merges the two franchises and explores the enduring legacy of The Shadow in Gotham City, for good and ill. And thanks to Rossmo, the comic looks every bit as good as it reads.

As usual, both tales are endlessly charming and feature gorgeous watercolor artwork from Dustin Nguyen. The Easter tale stands out particularly. The opening sequence with Damian playing a video game boasts some creative pixel art, while scenes set in Mad Hatters nightclub are awash with lush colors. The only complaint to lodge specifically involves this print version. Each digital segment costs 99 cents while each print collection is $2.99. It's hard to justify that extra dollar, particularly when the art is designed for a widescreen tablet format anyway. But whatever format you choose, this is a Bat book every DC fan should be reading.

Batman Lost isn't an absolutely critical tie-in for those Metal readers who are trying to buy as few books as possible. But it does do a lot to enhance and flesh out the events of that crossover. It also works well as a celebration of the long history of Batman himself. And despite the massive creative team, this issue manages to tell a very cohesive, effective story.

This series enjoyed a strong debut in 2015, though its long absence was an unfortunate momentum killer. Luckily, Rucka and artist Nicola Scott hit the ground running with this issue, which is easily their strongest to date.

While not quite as strong as issue #6, Black Magick #7 is an enjoyable read that serves as yet another reminder of how strong the Greg Rucka/Nicola Scott partnership is.

Hawkman #1 is a gem among this week's decidedly mixed crop of Convergence comics. Parker is able to capture all the charm and adventure of the hero's pre-Crisis past

It's too early to tell how The Last of the Innocent will compare to past Criminal stories, but it is clear this tale has potential to outshine them all. Criminal was sometimes guilty of wearing its influences on its sleeve early on. But with this new series, Brubaker and his team are showing themselves to be highly inventive crime storytellers. The least readers can do is make a point of giving The Last of the Innocent a chance in a week when Flashpoint and Fear Itself threaten to bury everything else on the shelves.

Brubaker and Phillips are pushing themselves to tell a very different type of Criminal story arc here, and the results are excellent. Whether you've been following the series from the beginning or have never picked up a Criminal book, make a point of adding Last of the Innocent to your stack.

If you're a fan of Spurrier's distinctive voice and Kelly's artwork, this issue will hook you almost immediately.

With its low cover price and trio of great stories, DC Nation #0 is a win/win for readers.

While the abrupt visual transitions in this issue can be a little annoying, that's a minor concern compared to everything else Dark Days: The Casting does so well. This issue ably picks up where The Forge left off last month, further building excitement for DC's upcoming Batman event and creating all sorts of fascinating new connections in the DCU. This is exactly the sort of ambitious, epic conflict that makes a great event comic.

Dark Nights: Metal just became the event comic to watch thanks to this prologue issue. Scott Snyder and James Tynion weave an engrossing story that manages to feel both adventurous and darkly foreboding. And while the visual tone of the issue isn't as consistent as it could be, it does feature memorable visuals from three of the biggest artists in DC's lineup. It's impossible not to be excited for Metal after this.

This issue represents the best of what Hickman and his collaborators are capable of with this franchise. This issue has drama, but also plenty of heart and humor. Funnily enough, FF has never been stronger than in these last, waning months of Hickman's run.

Marvel's latest volume of Guardians of the Galaxy is a perfect excuse to jump on board the franchise.

Any fan of the ongoing Harley Quinn series would do well to pick up this latest special. Not only does it offer the series' first real interaction between Harley and the Dark Knight, it delivers a wacky romp of a story that consistently entertains and makes great use of the rotating team of artists.

If you're going to build a horror comic around a real-world location, you could do a lot worse than the massive, nonsensical Winchester House. Peter Tomasi and Ian Bertram are making the most of that inspiration, crafting a comic that's propelled by a massive sense of unease and foreboding.

House of X #1 serves as a jolt of adrenaline to the X-Men franchise in a way only Jonathan Hickman can deliver.

House of X #2 is one of the best X-Men comics in years, teasing a bold new direction for the franchise.

House of X #3 takes a traditional X-Men formula and infuses it with both huge stakes and human drama.

House of X #4 ups the stakes even higher and highlights the emotional drama of the X-Men's most important battle.

House of X #6 closes out the series with a bold, heartfelt look to the future of the X-Men.

If you weren't excited for the upcoming Injustice: Year Five, you very well might be after reading this annual. This issue deftly sets up that last major conflict while also delivering a fun but dramatic story centered around a very unlikely hero in the Injustice universe. He and Bruno Redondo continue to weave DC magic together, and it's a shame his return to the Injustice franchise won't last beyond this issue.

King Thor #1 is an epic start to the final leg of Jason Aaron's long Thor saga.

But this series wouldn't achieve its storytelling heights without the assistance of Michael Lark and colorist Santi Arcas. Lark's noir-tinged art is a perfect fit for Rucka's writing despite the heavy sci-fi elements. That's where Arcas' colors come in, bathing the technology in a haunting glow and depicting the stark, washed-out quality of the decaying Colorado wilderness. Lark's depiction of Forever's virtual reality training session in the flashback stands as one of the most engaging action sequences in the series so far. This series is a prime showcase for what a great creative team can accomplish with the freedom that comes from independent comics.

Seeing Brian Azzarello and Eduardo Risso's names on a comic book cover is generally a good indication that the book in question is worth a purchase. This issue certainly bears that out, as it offers an engrossing, tightly plotted introduction to their latest creator-owned saga.

Simpson doesn't reveal too much about his heroine yet, and even less about the strange post-apocalyptic landscape she inhabits. And that may be the only real flaw in this thoroughly enjoyable first chapter. Well, the lettering is pretty lousy, too, and in definite need of some adjustment. But as little as the series reveals of itself, it manages to entice the reader and leave them wanting much more.

The Old Guard features many trappings that will be recognizable to Greg Rucka fans, including a strong but tortured female protagonist and a heavy focus on espionage and black ops. But when combined with the Highlander-esque immortality angle and mixed altogether, the end result is something refreshing and new.

World-building is one of Greg Rucka's particular strengths in his creator-owned comics. Rucka knows how to hook readers with a strong concept and compelling cast of characters without bogging down his story with too much extraneous information. The Old Guard is a testament to this.

One area the book could still use some fine-tuning is the formulaic cliffhangers. Wiebe has a tendency to end each issue with the debut of another familiar Peter Pan character. When working with books like this that take a familiar franchise and morph it into something dramatically new, it's best not to rely overly much on those "Hey, look! It's this person you know, but they're different!" sorts of moments. And generally, the series has done a good job of that. Peter Panzerfaust isn't too beholden to the Peter Pan mythology, and it can easily be enjoyed absent any knowledge of it. But the cliffhangers alone continue to fall back on that approach. But sooner or later that will have to change, as Wiebe will eventually out of iconic Pan characters to induct into the book.

Two things are clear to me after reading this issue. One is that Punisher is suited to done-in-one stories in a way few characters are. The other is that Marvel needs to keep Aaron's name on speed dial for when they need to fill gaps. Aaron has worked some storytelling magic on several characters since coming to Marvel, but I think this Christmas special may be his best effort yet.

Unfortunately, it'll be several months before the next chapter of Rat Queens hits the stands. Take the opportunity to get caught up on this quirky gem if you haven't already.

No, it's not quite Requiem 2, but it's close enough to make me very happy.

In short, this is one more Silver Surfer series you absolutely should be reading. I hate to keep bringing up comparisons to Requiem, but if this series gets much better we'll have to make all our comparisons to In Thy Name instead.

Truly, this mini-series has the sad misfortune of languishing in the shadow of one of the greatest Silver Surfer stories ever told. That's too bad, because In Thy Name still happens to be one of the best in years, just not the best.

Despite my endless praise of this mini-series, I'm sure many of you flat out ignored it. I highly recommend buying the trade once it comes out. Just like Requiem last year, you'll find a transcendant comic book experience that few other recent Marvel works can rival. With any luck, Marvel will bundle both mini-series together in one hardcover. Bundled or separate, you really can't go wrong with In Thy Name.

Give Charles Soule the chance to tell a standalone Swamp Thing adventure, and he'll never disappoint. This annual issue serves as the end-cap to the saga of Capucine, as the immortal warrior faces the end of her 1000-year existence and the return of Etrigan.

This issue may be pricey, but it's a must-read for fans of Swamp Thing.

If you thought Star Trek/Planet of the Apes was a cool crossover, you haven't seen anything yet. This book not only realizes the fun of such an obvious pop culture pairing, it manages to fuse the mythologies together in a way that's both clever and poignant. Thanks to a talented and ambitious creative team, this series is much more than a typical crossover comic.

Jefte Palo puts forth another strong effort as well. Palo deftly handles the many fight scenes as well as the more subtle emotions at play in Taskmaster's journey. Despite the somewhat loose quality of Palo's lines, he manages to convey a great deal through facial expressions and body language. I can only hope Van Lente and Palo are teamed on another similarly zany and ambitious project in the near future. More Taskmaster, perhaps? This mini-series could easily have been a cheap throwaway, but the creators instead chose to deliver one of Marvel's more memorable titles of the year.

I do wish the series was moving a bit more rapidly, but it's tough to complain when the book is this much fun.

Thor God-Size Special #1 may not be quite the best effort from Fraction this year, but it's still a Hel of a read and a great way to cap off a year of terrific stories. I'm extremely interested to learn how Marvel plans to outdo their 2008 Thor output next year.

Some DC Rebirth books are no-brainers because of their talented creative teams. Wonder Woman Rebirth #1 is definitely one of those cases. Greg Rucka and his collaborators waste no time in dusting off the character and setting her on a bold new path. Based on Sharp's few pages, that path is going to look absolutely gorgeous.

Even the meta commentary, which can so often be annoying in superhero comics, works under Busiek's hand. Broken Man's frequent references to the all-seeing Oubor and the need to find heroes who are invisible to its influence could be interpreted as a jab at the New 52. I doubt that was Busiek's intention given how long this series has been in the works, but it's fitting considering how this is exactly the type of fun, charming superhero comic that the New 52 seems to have wiped out of existence.

Brent Anderson expertly captures this blend of the mundane and the superheroic. He shows a strong sense of design as he renders the sci-fi-flavored workplace of the ECL, but the focus is generally on more basic elements like facial work and emotion as Marella explores her new world. At times the script is a slice-of-life drama, and others a superhero slug-fest, and Anderson is equally adept with either.

Brent Anderson more than holds up his end of the issue, as his art is perfectly suited towards capturing that human element of Busiek's writing. His characters are brimming with emotion and varied facial work. Anderson is able to convey the scope of the superhero characters and their battles, but all of that is ultimately just window dressing in service of the more down to earth elements.

As with most anthology issues, the stories included in Batman Annual #1 are fairly uneven in quality. But there's plenty of enjoyment to be had as Batman and friends celebrate the winter season. And with everyone from Tom King to Scott Snyder to Neal Adams pitching in, it's hard to go wrong with this creative lineup.

Some of the best chapters of Tom King's Batman run have dealt with the Batman/Catwoman romance, and this issue continues that trend. It's often a very funny read, but one always anchored by the sad, desperate longing these two character share with one another. This issue also happens to be one of the prettiest additions to King's run, which is no small feat at this point. If you enjoy this particular superhero pairing, this issue is not to be missed.

With a humorous yet heartfelt adventure, Batman Annual #4 is easily one of the best DC Comics releases of 2019.

If you think there's no room left in your life for another superhero comic, Black Hammer #1 might just prove you wrong. This series races right out of the gate, focusing on fleshing out its strong cast rather than becoming fixated on the background and history of the universe. The gloomy art style further establishes this as a very different breed of superhero book.

This series is quickly proving that it's always possible to find a worthy new angle on the superhero genre. Black Hammer succeeds mainly because Jeff Lemire and Dean Ormston are far more concerned with exploring their characters and their respective foibles than trying to shine a spotlight on the larger universe.

Jeff Lemire and Dean Ormston deserve a huge amount of credit for not only finding a compelling new take on the superhero genre, but crafting what has quickly become one of the best superhero books on the stands.

Black Hammer #6 caps off the book's first story arc with new story wrinkles and complications that serve to make these heroes' extended "vacation" that much more unpredictable.

Jeff Lemire and Dean Ormston devote the majority of this issue to fleshing out the background of the fallen Black Hammer and the bond he shared with his daughter. The story is executed well, as usual, with the creators doing an excellent job of making readers care for a hero who had little direct role in the series before now.

Eight issues in, Ormston and Jeff Lemire have allowed readers to care about these fallen heroes as if they're lifelong friends. That, above everything else, is what makes this the best superhero comic on the stands.

This issue takes a step back to explore the original meeting of Colonel Weird and Talky-Walky. That origin story is extremely entertaining, making the most of Jeff Lemire's talent for evoking the feel of classic Silver Age storytelling with a modern, self-aware twist.

This series has both spoofed and paid loving having homage to many eras of the comic book industry. It was only a matter of time before Jeff Lemire and Dean Ormston got around to lampooning the excesses of '90s superhero comics.

It's a satisfying feeling knowing that Black Hammer can now be officially referred to as "The Eisner-winning Black Hammer." And this issue is a good showcase for why the series won that award.

Issue #4 closes out the series' first story arc. Our heroes make a last, desperate stand as they wait for the Pillar to activate. Sacrifices are made, and it's a testament to how quickly and capably Remender has fleshed out his cast that the consequences hit home. By the end of this issue, the overarching conflict of the series becomes more clear. We have our cast of heroes (and sleazeballs), we have our stakes, and the only question is just how strange and surreal the journey will become from here.

Regardless of setting, Matteo Scalera and Dean White keep this book looking awesome. Scalera's work is endlessly dynamic and expressive, offering a grungy sci-fi aesthetic with the hints of darkness and horror inherent to his work. And White seals the deal with his colors, giving every panel a sense of life and vitality amid the grunge and heavy texture of Scalera's pencils. These two are fast becoming one of the more effective art teams in the industry.

There's a sense of the surreal and otherworldly to this story that very much works in its favor. Alongside his penchant for big, weird ideas, Matt Fraction writing stands out because of its economy. Fraction never includes a word balloon or caption that doesn't serve the story in some way. It's a refreshing change of pace after some of the comics I've read this week.

Matt Fraction and Fabio Moon generate plenty of weird, trippy sci-fi goodness in this issue, along with an unexpected but very welcome dose of horror for good measure. If anything, the Lovecraftian hospital sequence suggests that Fraction needs to turn his attention to a creator-owned horror series at some point in the near future.

Back during Ultimatum, Ultimate Spider-Man was far superior to the actual event. While the gulf isn't quite as wide with Cataclysm, there's still a huge difference in quality between Cataclysm #1 and this issue. This issue packs in all key character moments that make readers care about the idea of an impending Ultimate meltdown in the first place.

This issue manages to tell a very simple, genuine tale of a grieving family man even as it works in all manner of strange sights and situations. Those turned off by the psychedelic, stream-of-consciousness approach to Doom Patrol and Shade: The Changing Girl may find this issue a bit more approachable.

This book really is DC's answer to The Venture Bros. in many ways.

Artist Michael Avon Oeming and colorist Nick Filardi becomes the stars of the show even more in this latest issue. If you'll pardon the pun, Cave Carson #4 is a very eye-popping read.

The book deftly straddles the lien between adhering to the tone of previous comics but also reflecting Wood's own voice and storytelling sensibilities. Wood lends the story a surreal, dreamlike quality as Conan becomes enraptured with the legend of Blit. So even if the characters have yet to meet face to face yet, it's already abundantly clear that Wood and Cloonan are building a quality adaptation of a landmark tale.

It's abundantly clear now that a new team and new series were just what the Conan franchise needed. Wood and Cloonan are offering a different sort of Conan that should appeal to fans and newcomers equally well.

The creative team have done a fantastic job so far. The question is whether Conan the Barbarian will lose any momentum as it takes on a new artist and begins exploring less familiar territory and expanding the original story. So far, Wood has given no reason to doubt him.

More worrisome than the new story material was the departure of artist Becky Cloonan. Luckily, James Harren proves to be a very capable replacement. Harren's style falls in line with Cloonan's in terms of offering a more down-to-earth, organic take on the Hyborian Age. However, his figures are more rough-hewn and textured, creating a more sinister tone that suits the growing conflict in Argos. Picture Conan by way of BPRD. What's not to love about that?

This new series is managing to deliver on every level a proper Conan book needs to. It faithfully replicates the tone and style of what is arguably Howard's greatest tale of the Hyborian Age while also boldly charting new territory and daring to push Conan in new and unfamiliar directions. And regardless of whether Cloonan or Harren are at the helm, this might just be the best-looking Conan series Dark Horse has published.

Marvel's latest Daredevil comic is a must-read for anyone who likes their stories dark, beautiful and brooding.

With Rebirth, DC has the market on traditional superhero comics cornered. Doom Patrol marks a crucial foray back into more experimental types of superhero storytelling. This new series may not be for everyone. It may not even necessarily appeal to all Doom Patrol fans. But for those who want to explore the weirder side of the DCU while connecting with some lovable but damaged characters, this series will deliver the goods.

If you like your superhero comics on the weird side, this Doom Patrol relaunch won't disappoint. Gerard Way and Nick Derington have even managed to outdo the classic Grant Morrison run in that regard.

The Young Animal line is a bold, daring alternative to that approach, and Doom Patrol is lighting the way.

The creators aren't just building a new Doom Patrol, they're celebrating the legacy of the team and reminding readers what a shame it's been that they've been out of action for so long. In this era of D Rebirth, it's a very fitting approach.

Doom Patrol is back following a brief hiatus, and the wait was well worth it. This issue manages that delicate task of honoring the franchise's roots while looking ahead to the future.

There's a lot at play in the first issue, and all of it contributing to a series that acts as both a worthwhile companion to Invincible and a genuinely entertaining superhero comic in its own right. Let's hope the name change attracts the book some much-deserved attention.

But as with issue #1, it's Cecil more than anyone who stands out. This is a character I took a long time to warm up to in the main series. But Hester has done solid work with him thus far, and the final few pages of this issue are easily my favorite Cecil material in the history of the franchise. That bodes well as this new series continues to grow and focus on the various other members of the ensemble cast.

Once the dust settles, what's left is a really glimpse into the mind of a lesser-known hero in Invincible Universe. If the goal was to make the reader crave more from Best Tiger in future issues, this was certainly a success.

Writer Ryan Ferrier crafts a tale that works very naturally as a follow-up to the original 1968 film. Normally, I';m not thrilled when crossovers take so long to actually maneuver their two worlds together, but the slow, methodical approach really works here.

The Fantastic Four have been absent for far too long in Marvel's comics. Marvel Two-In-One quickly makes up for lost time as it explores the lasting impact that absence is having on the remaining FF crew. This issue manages to both celebrate the legacy of Marvel's First Family and pave the way for the sort of whimsical adventure that team was always known for. This is exactly the sort of book that was promised when Marvel Legacy was announced.

It may be lacking a few key characters, but in every way that matters, Marvel Two-In-One is the Fantastic Four book fans have been clamoring for.

Even as enjoyable as the Jason Aaron/Chris Bachalo run was, I'm not sure I expected Doctor Strange to emerge as one of the biggest success stories of Marvel Legacy. Yet here we are, with issue #385 providing a satisfying cap to a thoroughly enjoyable debut for the new team.

Shockingly, another Image Comics has debuted another promising new creator-owned series. This creative team already proved themselves on Batgirl, and if anything they feel even more in sync as they begin building this high-stakes new world of underground motorcycle races. If you enjoy cyberpunk futures or stylishly rendered race sequences, Motor Crush won't steer you wrong.

The characters in this oddball world seem to draw equally from the realms of J-pop, Mad Max and The Warriors. Beneath all the colorful trappings, the series also works as a very grounded story of a woman struggling with both addiction and secrets.

As fun and enjoyable as the Cameron Stewart/Brenden Fletcher/Babs Tarr Batgirl run was, the creators seem even more in their element with Motor Crush. Anything goes in the world of drug-fueled, high-stakes, psychedelic motorcycle racing.

This issue shifts the series in a bigger, bolder direction as it shines a light on Domino Swift's past and the real story of how her father came to adopt her. It's fun seeing the book develop a heavier sci-fi angle as time passes, but it's really the character drama that continues to give Motor Crush its strongest hook.

G. Willow Wilson exploits the dynamic between the young, starstruck Kamala and the world-weary Logan to full effect. This is a fairly lighthearted issue, all told, but it still has its fair share of emotion and heart.

Other than an annoyingly vague final page, this is a terrific start to the series' latest story arc.

Kamala's hectic life continues in this issue as she fends off an attack on her school, learns about her Inhuman heritage, deals with her overbearing parents, and tries to take the fight to the Inventor. G. Willow Wilson is able to blend these elements together fairly cohesively, though the transition into the final part of the story is a little abrupt.

This series has begun to emphasize superhero team-ups a bit more than I'd like, but at least G. Willow Wilson is able to handle the various guest stars with both class and humor.

The best I can say for this issue is that the romantic angle proved engrossing enough that I honestly didn't care if Wilson ever transitioned back into superheroics. But she does, and those scenes offer a nice balance to the romantic elements as Kamala continues learning the ropes and making mistakes.

My only concern is the way this issue begins to tie in more heavily with the larger Inhumans franchise. The story takes a fairly abrupt tonal shift in the final pages, and one of the characters makes an equally abrupt shift in personality. Hopefully the final chapter of this arc will justify the about face and avoid spending two much time wading outside of Kamala's own little sphere.

This issue reaches a fittingly bittersweet conclusion, emphasizing both Kamala's heartbreak and the crucial bond she shares with Bruno. As always, elements like that are what truly distinguish this series.

I was a little wary of the idea of this series tying into Secret Wars. Isn't Ms. Marvel better off left to its own devices? Luckily, this "Last Days" storyline meshes nicely with the general direction of the book. G. Willow Wilson has essentially reached the climax of Ms. Marvel Year 1.

This issue achieves a proper balance between humorous and whimsical elements on one hand and respecting the dire scope of the "Last Days" conflict on the other. G. Willow Wilson writes a great dynamic between the two heroes, culminating in a touching scene as Kamala grapples with the fact that she can't save everyone.

The wait for a proper team-up between Kamala Khan and Carol Danvers was long, but well worth it in the end.

This issue makes for a great way to cap off one era in Kamala's life and set the stage for something new.

The art style also suits this light-hearted tone well. Farel Dalrymple isn't a name you usually see on a Marvel comic. This is a very indie comic in every manner of presentation. More importantly, it's a very entertaining read. Because this series acts as a fresh start, you don't need to know a single thing about Omega: The Unknown to hop right in and be carried away. All told, this is a pretty lousy week for Marvel books, so there's no good reason you shouldn't give it a shot.

So far this series succeeds best when it focuses on young Alex and his struggle to adapt to his new family life. I don't care so much about his supposed alter ego, Omega. The series has a very "coming of age" feel, partially because of Farel Dalrymple's art. Every page feels ripped straight from a children's storybook (albeit one filtered through the mind of a cynical adult). It's an effective look all around. If only the story weren't guilty of covering too many bases. Lethem is a talented enough writer that I'm sure he'll have plenty of offers coming his way. There's no need to mold every one of his ideas into one story.

It's hard to find any real, full-blown complaints with this series. The art is perfectly suited to the story, as always. I guess if I had to take issue with anything it would be that Lethem's writing can feel derivative of his novels at times. How many of his stories can feature gangs of dissident children tagging local landmarks with spray paint or "yoking" friendless classmates for their lunch money? Look closely and you might even see some of his other characters in the background of certain shots. I don't know how valid of a complaint that is, however. Though some of the trappings remain the same in every story, Lethem has a real talent for these unorthodox coming-of-age stories, and his writing works just as well on the four-color page as it does anywhere else.

Together, Al Ewing and Adam Gorham ensure that this series is more than just another Rocket Raccoon comic. It offers a very unique take on the furry hero, one that manages to entertain even as it shines a light on Rocket's tragic past and love life. Suddenly, the question isn't "Does Rocket Raccoon actually need his own comic?", but "When can we get the next issue?".

It's been a long time since Rocket has shone this brightly on his own.

Silk's hunt for the mysterious new Goblin King gives the book ample dramatic weight, though it's really the more lighthearted qualities that help it thrive. It's fun to see all the ways Thompson draws parallels between Cindy's life and the early years of Peter Parker while also shaking up the formula quite a bit.

All told, this issue is actually one of the best Marvel has published across all of their Star Wars titles this year.

Soule deserves credit for fleshing out all the members of the cast, not just Lando himself. The clone warriors Aleksin and Pavol stand out especially in this issue as their odd relationship is elaborated upon and tragedy sets in.

If this series proves anything, it's that Marvel needs to give Soule an ongoing Star Wars project sooner rather than later.

At this point it's not entirely clear what the driving conflict of the series is, but right now the characters and setting are more than enough to propel it along.

Initially it seemed the series might suffer from the loss of the Tokyo setting. The blend between the Blade Runner/Akira-esque cyberpunk city and the old-fashioned samurai elements was such a huge draw in the first arc. But Remender and Murphy find new ways to distinguish this world and its colorful inhabitants.

All in all, this easily ranks as one of the strongest debuts for AfterShock Comics.

Beyond that, Lwanga's conflicted nature and desire to do good clash in an interesting way. This series is bloody and visceral, yet also makes a larger political commentary. Consider it the successor to Garth Ennis' Punisher MAX. Regardless of whether this book ends up raking in any "Best Of" awards this year, this is going to be one series to keep an eye on.

Alberto Ponticelli's pencils are still strong and effective at communicating the utter suffering and despair of the characters. I do wish Ponticelli were better at differentiating his figures in terms of size and height. Starved those these Acholi tribesmen may be, it shouldn't be quite so hard to distinguish the children from the adults. On the plus side, Dave Johnson's colors are a great boon to the issue. With the interplay between night and day so vital to the script, it's good to have such a strong, well-defined color scheme throughout.

"Beautiful World" is a fitting title for the arc. Amid all the murder, oppression, and suffering taking place in this series, Dysart finally focuses his attention on some of the gentler, happier elements of Ugandan life and culture. and Couple this script with the always dependable artwork of Alberto Ponticelli, and you have yet another week where Unknown Soldier comes out on top. This issue proves why the series deserved to win our pick for #1 Vertigo book. It's just a shame we only have two more chapters left.

War of Kings has deftly placed Marvel's cosmic lineup back on top of the pack. Given all the developments in this issue, it's safe to say the war is really going to heat up next month.

So while I wish Vulcan wasn't such a putz, almost every other facet of this series has been and continues to be very strong. The art is gorgeous, as always. Paul Pelletier is turning in some of his best work with War of Kings. The characters and conflicts feel real and important. This is a story that could have been simplistic to a fault, but the entire creative team have molded it into something much more. I can't wait for the final chapter. Nor can I wait to learn what comes after.

Consider this one more Secret Wars tie-in to add to the reading pile.

Jason Aaron and Mike Del Mundo do plenty of justice to the barbarian hero Arkon with this book. Like the first, issue #2 is crammed full of outlandish sights and bloody action.

This series may resurrect a lot of familiar elements from earlier in Brubaker's run, but it also manages to blaze its own trail as well. The wait was well worth it.

It doesn't matter how isolated from the rest of the Marvel Universe this series might be. Brubaker's writing recalls the best days of his Captain America run, while the visuals alone are well worth the price of admission. What more could a Marvel fan ask for?

Luckily, the art continues to thrive even if the script underwhelms. The story plays to Butch Guice's strengths almost perfectly. There's plenty of stylish action as Bucky and daredevil dance their deadly ballet. There's ample mood as rain gushes down and light and shadow constantly battle for supremacy. And through it all, Bettie Breitweiser's sublime colors make everything feel rich and vibrant. Readers who pass over Winter Solider really don't know the visual delights they're missing.

I don't mourn the cancellation of this series because I'm worried about Bucky falling off the radar. It's a safe bet Marvel has some sort of relaunch planned to coincide with next year's Captain America sequel. I'm simply disappointed that this creative team wasn't given the chance to delve deeper into Bucky's world. We can only hope they'll be reuniting on a different series soon.

This comic manages to look both gritty and sentimental at the same time. Those few moments of supernatural horror stand out all the more because they're employed so sparingly. In short, this is a series worth following.

Any fan of Superman: Secret Identity would do well to check out Batman: Creature of the Night. This series definitely reads like a sequel in many respects, or at least a riff on a similar theme. As dark as this story is, it's anchored by the very real, genuine bond between a boy and his uncle. Busiek and Leon prove here that's it's always possible to find a fresh new spin on the Batman mythos.

Maybe labeling this issue "giant-sized" is a bit of a stretch, but it does offer a nice, satisfying standalone story that expands on the cast of the main series.

Brian Wood is returning to familiar territory with this new series. Luckily, Black Road recalls the appeal of Northlanders while offering just enough of a new approach to exploring Viking life that it doesn't read like a simple rehash.

Buffy the Vampire Slayer #1 manages to reboot a long-running franchise without losing its core appeal.

Whether you're eager to follow the fallout of Secret Empire or are just ready for Captain America to move on, there's plenty to like in the first chapter of Mar Waid and Chris Samnee's new run. Waid is a seasoned Cap veteran at this point, and he proves that he hasn't lost his touch with the character. Samnee, meanwhile, shows that he's perfectly at home in any corner of the Marvel Universe. This run isn't shaping up to be a particularly groundbreaking, but it tells a good story and tells it well.

This issue offers more insight into what Steve is actually trying to accomplish in his cross-country travels, but for the most part it tells a pretty straightforward story. For now, that's enough.

Artist Chris Samnee makes the most of the premise, creating a dense, unsettling jungle environment and really capturing the scope of Cap's predicament. And while this issue maintains the done-in-one format of Waid and Samnee's issues so far, it does play its part in terms of advancing the overarching narrative

The action and storytelling are as dynamic as ever, but the unusual character designs and world-building result in an issue that stands out in stark contrast to its predecessors. Let;'s hope Waid and Samnee keep taking risks like this.

Most anniversary issues like this are devoted to introducing earth-shattering plot twists and setting the tone for a series going forward. Cap #700 takes a more character-driven approach, using its futuristic setting to test Steve Rogers in compelling new ways and explore the enduring appeal of this character. It serves as a fitting conclusion to Waid and Samnee's latest collaboration.

This issue is a disturbing, violent but darkly entertaining look at Nimble Jack as he bounces between worlds and wreaks all manner of havoc on innocent civilians.

Conan the Barbarian #1 swerves as a mighty debut for the character as he returns to Marvel Comics.

While Deadpool has been well-served these past few years in his ongoing series and various mini-series, some fans will always pine for the days of Cable & Deadpool. Well, that series is back in every way that matters. This mini-series not only reunites the Dynamic Duo, it also brings back writer Fabian Nicieza and artist Reilly Brown.

Deadpool and Cable's string of failed attempts to fix the timeline only wind up worsening the problem, leading to a wildly entertaining Groundhog Day scenario. And the comic only gets weirder from there.

This finale offers precious little of the Wade/Nate dynamic until the end. For the most part it focuses on convoluted time-hopping, which only grows more confusing as the conflict progresses. Still, the humor is enough to offset the clunkiness in the script. Moreover, Nicieza is able to celebrate the bond between these two characters even if they rarely share the page.

If one were to combine Blade Runner, Ghost in the Shell and a few Raymond Chandler novels in a blender, the end result might be something like Empty Zones. Even with all the sci-fi comics Image is currently publishing, this new book has little trouble standing out from the crowd.

If you're not already on the Existence 2.0/3.0 bandwagon, be sure to keep your eyes peeled for the eventual trade. And don't be surprised when this blockbuster movie adventure gets plucked by Hollywood and turned into an actual blockbuster movie.

A lot of DC's recent Hanna-Barbera revamps are more interesting curiosities than must-read stories. But just as he did with The Flintstones, Mark Russell is able to overhaul a cartoon icon in a way that serves as profound commentary on contemporary civilization.

All told, this is a very promising debut for the series.

Yes, $8 is lot to ask for any comic, but Ghosts offers a wealth of content, and quality content at that.

The second year of Go Go Power Rangers ends in an epic and very satisfying special issue.

As much as it succeeds in giving a weight and context to these events, it tends to be too little heavy-handed for its own good.

This is a high fantasy story anchored by very grounded, very human drama. Even as elderly hero Emmett Quinlan defies the gods who want him to hand over his mystical sword, he also has to come to terms with overcoming his Alzheimer's and truly meeting his family for the first time in years. That balance between big and small is the source of this book's appeal.

This issue in particular features some very raw, intense moments that promise to fuel a very dramatic final chapter.

The relaunched Green Arrow has been the most pleasant surprise of DC Rebirth thus far. It's amazing how a little facial hair and left-wing diatribes can do so much to make Oliver Queen feel like his pre-New 52 self again.

Who would have thought that Green Arrow would be the early front-runner for the best DC Rebirth comic?

It seems nothing can slow this book's momentum, not even losing artist Otto Schmidt. Juan Ferreyra brings his own terrific sense of style to the book, a style that's very much in line with Schmidt's but also wholly unique.

As always, the romance between Ollie and Dinah is the driving force of the series. But it's also nice to see that Percy can dabble in the sort of social commentary that defined the Green Arrow/Green Lantern days without being so heavy-handed and while still adding a touch of the absurd.

This issue practically sells itself on the strength of its premise alone. Who doesn't want to read about a team-up between Rocket Raccoon and the Pet Avengers? The results are every bit as wacky and entertaining as you'd expect.

Whether you've been enjoying the main Injustice series or simply crave a more classic take on Lobo and Harley, this is a comic well worth reading.

Justice League #1 gives this iconic franchise the overhaul it's been needing.

Legion of Super Heroes #1 makes a convoluted franchise accessible and inviting again.

Marauders #1 is an entertaining book that fills a necessary void in Marvel's new X-Men line.

If DC's previous attempt at restoring Dick Grayson to his status as Nightwing wasn't entirely successful, this go-round is shaping up to be much better. This issue captures the pure, unfiltered joy of Dick's superhero lifestyle and his interactions with characters like Midnighter and Damian Wayne. It also sets the stage for an intriguing new status quo for our hero, one that should showcase the important role he fills in the larger DC Universe.

Orc Stain isn't the most complex story you'll ever read, but the gorgeous visuals are well worth the price of admission on their own. This is a series with copious amounts of personality, and I'm very eager to see how the saga of One-Eyes unfolds in future issues.

I never felt Emma Rios' manga-esque style meshed particularly well with the Marvel Universe in past projects, but here Rios has made some much-needed adjustments and arrived at a far more effective style. Her work offers all the grimy darkness the script calls for, along with some particularly brutal action during the extended riot sequence. It could be argued that the more iconic cast members don't resemble their usual looks, Osborn included. But that's a minor complaint in a series that keeps delivering the goods every month. It's a pity we only have two issues left.

Emma Rios has clearly found her niche at Marvel, as she channels all the darkness the story demands while also presenting a very understated and unique take on Osborn and friends. This sort of approach might not work so well for a traditional Spider-Man adventure, but there's nothing traditional about Osborn. And that's what makes it so damned enjoyable to read.

My only problem with the script here is one I have with most chapters of these Oz adaptations - the ending is fairly abrupt and awkward. These comics really seem to work better when read in finished, collected form. But that requires waiting all those extra months for the next hardcover,and that's a heavy price to pay for stories as enjoyable and gorgeously rendered as this.

As usual, this issue doesn't conclude so much as hit an abrupt stopping point, but that's a small matter. Marvel's Oz adaptations show no sign of slowing down or losing quality even as the third volume gets underway.

It's a slow week, with only one Secret Invasion tie-in to be found. Take advantage of that and give Patsy Walker: Hellcat a shot.

After devoting quite a bit of time to The Wicked + The Divine, Kieron Gillen and Jamie McKelvie have finally returned to their other creator owned for a third (and apparently final) volume. This issue is as good a place as any to dive into the franchise. There are obvious connections to previous stories, but the focus shifts to a new character named both Emily and Claire (it's complicated).

This series is worth a read solely for the recurring homages to '80s music videos like A-Ha's "Take On Me" and Michael Jackson's Thriller.

Powers fans have reason to celebrate these days. Their beloved series is back, hilarious letter column and all. I wouldn't really recommend new readers make Vol. 3 their point of entry, but they should look at it as incentive to begin catching up. Far from being an old horse at the track, Powers remains Bendis' strongest current book in many respects.

Any fan of Garth Ennis' past Punisher MAX work will want to add The Platoon to their pull list. This first issue proves right away that Ennis and Goran Parlov still have plenty more to say about the character. Nor is this a mere origin story, as the framing sequences and focus on the Viet Cong lend a greater context to Frank's descent from soldier to vigilante. This is already shaping up to be another definitive Punisher tale.

With great art, a great story, and a healthy dose of backup material, this is one Marvel book well worth your $3.99 this week.

The artwork continues to be a major draw with S.H.I.E.L.D. Dustin Weaver embraces the sense of wonder and imagination inherent in the writing and channels it into every page. The mixture of steampunk, science fiction, and pure Jack Kirby fantasy is a captivating one. The colors aren't quite the same in the transition from Christina Strain to Sonia Oback, as they aren't quite as ethereal. Regardless, you'll be hard-pressed to find a better-looking book on the stands this week.

If you crave two meaty, standalone tales set in the landscape Battleworld, this issue will more than satisfy.

Shipwreck #1 doesn't seem to care much if readers understand what's going on within its pages. And why should it? The series' dreamlike mood, unique characters and engrossing visuals are more than enough to hook readers regardless of premise. If you need an extra touch of the surreal in your reading pile, this issue won't steer you wrong.

Basically, if your Image reading list has a Luther Strode-sized hole in it right now, Shirtless Bear-Fighter is the comic for you.

If you're an Axe Cop fan and you've been searching for another comic that can replicate that book's zany, free association approach to storytelling, look no further than Shirtless Bear-Fighter. This book is goofy and dumb in all the right ways.

With the creative team staying the same, it should come as no surprise that the new volume of Silver Surfer is every bit as fun and entertaining as the last one. This issue offers a clean gateway into the franchise and a great showcase for Mike and Laura Allred's art. The story misses some opportunity when it comes to fleshing out the title character, but it's still an enjoyable read.

The book's usual charm is readily apparent, but it's clear the creative team have ambitious plans in mind for the coming months.

Unless you're expecting this anniversary issue to immediately turn the Silver Surfer mythos on its head, you won't be disappointed with what the creative team deliver. It's epic, over-the-top in all the right ways and gorgeous to behold. And there are definite consequences to Surfer's actions here, which promises an interesting few months to come for the cosmic traveler.

The emotional fallout of this issue should give the series the momentum it needs as it moves towards new settings and conflicts.

With a penultimate issue this strong, the finale has a very high bar to meet.

The true gift of Silver Surfer was seeing what's possible when one consistent creative team is allowed to run wild on a property. We can only hope it inspires other books to follow its example.

Silver Surfer: Black is a gorgeously rendered comic with plenty to offer fans of the character and the creative team.

The fact that this series resembles Hawkeye visually doesn't do anything to diminish its appeal. Steve Lieber, who previously illustrated half of the Hurricane Sandy-themed Hawkeye issue, is back to further explore the darkly comic underbelly of Marvel's New York. Lieber's art style is clean and elegant, matching the "less superhero, more crime story" approach Spencer has taken. There's less of an emphasis on creative page construction and the numerous smaller panels of Hawkeye, but in terms of general tone and laid back quality this is very much in the same vein.

And, of course, this issue delivers plenty of funny. The characters are all so pathetic in their own ways you can't help but love them. Simple gags like Luke Cage stealing back the Thunderbolts badge from Shocker give the series that extra spice it needs. And the humor is where artist Steve Lieber is crucial to the book's success. Lieber throws out all manner of clever sight gags and cutaways that highlight the absurdity of the characters and their situations. This book might not be as "in your face" with its design and page construction choices as something like Hawkeye, but it boasts a style all its own and enough creativity for any three superhero comics.

Artist Rich Ellis steps in for this one-off story. His style falls in nicely with the book's Hawkeye-style aesthetic. The overall look is very down-to-earth, which is a sensible choice given the low-key scope and lack of costumed antics. But that doesn't mean Ellis doesn't find opportunity to play around with the format, and he delivers some neat daydream sequences that further heighten the absurd nature of Janice's life. Apart from a few weird art mistakes (a lack of facial outlines here and a misplaced word balloon there), it's another visually pleasing installment of Superior Foes.

But alongside the steady stream of humor is the strong characterization that has defined the series. As much as it's fun to laugh at the bumbling Fred and his crappy luck, Spencer also has us rooting for him in both his romantic and professional struggles. As always, Superior Foes strikes that magic balance between poking fun at these C-List villains and making us care for them.

Brace yourselves for another filler issue without the regular Superior Foes team at the helm. As with issue #10, this standalone issue and its vignettes retain the same general appeal of the series and its focus on lovable, D-List villains.

This easily ranks among the funniest and most entertaining chapters so far as the gang take the fight to Chameleon and Hammerhead struggles to avoid his mafia movie stereotype past.

The series continues to amuse and fire on all cylinders, even if it rarely seems to be in much of a hurry.

It's only fitting that Steve Lieber is on board for this finale, as his art has been as vital in establishing the unique tone and storytelling sensibilities of this series as anything. This is a more subdued issue in many ways. The scope is generally smaller, and many scenes take place in a dimly lit bar as Boomerang wraps up his long-winded story. But through it all, Lieber gives the issue a spark of life and a sense of visual playfulness. It's heartening to know that, even though this series is done, Spencer and Lieber will continue their collaboration on a new project.

If this first issue is any indication, Superman: American Alien will have plenty to add to the now-familiar tale of Superman's origin. This issue doesn't try to cover too much ground, instead offering an engrossing look at a young Clark Kent's early brushes with flight. Between the compelling characterization and the gorgeous art, the series is off to a great start.

This is a somewhat darker issue than the first, but not to the point where the book loses its inherent charm.

Max Landis has certainly earned the benefit of the doubt after the excellent first two chapters of this seires, but even so the premise of issue #3 was a little worrisome. Do we really need to see a comic about a 21-year-old Clark Kent partying it up on Bruce Wayne's pleasure yacht? We do, as a matter of fact.

This comic has no business being as good as it is.

Max Landis is still batting a thousand with this Superman mini-series. Issue #6 packs in more f that now-familiar charm, mixed with just the right amount of pathos and soul-searching as Clark continues defining himself in a world growing accustomed to his presence. Jonathan Case's art is a perfect complement to Landis' script. It's almost a shame that the series will be wrapping up next month.

Superman: American Alien #7 may be the weakest installment of the series, but that doesn't say much considering how terrific this comic has been. While this finale may suffer from a misplaced villain and some muddled action scenes, it still caps off Clark's extended character arc and delivers the final words on the series' overarching themes. Landis can now officially enter the pantheon of great Superman writers.

This issue makes for a moody but powerful start to the new Superman comic. And with Mahnke at the helm, it looks fantastic.

Issue #13 also benefits from the return of Yanick Paquette. It's not often that we receive an issue fully penciled by Paquette, and the results are worth savoring. Paquette delivers more of his trademark horror-tinged imagery, bold, striking page layouts, and intricately detailed character designs. Let's hope the recent time off will allow Paquette to tackle as much of the crossover as possible.

One area issue #18 offers clear and dramatic improvement over last month's installment is the art. Andrew Bellanger's pencil's weren't "bad," merely badly suited for such a dark, horror-tinged storyline. Fortunately, Yanick Paquette is able to rejoin Snyder for one last hurrah with the characters. His moody, lushly detailed panels and striking page design is back in full force, and issue #18 rivals anything else he's delivered on the series. Or in his career to date, for that matter.

Jesus Saiz also makes for a marvelous companion to Soule here. Saiz is able to capture the aesthetic of the main series, rendering both the subtle horrors of the human world and the more overt monstrosities of the Rot. Even the sight of the decrepit Anton languishing in a summer sunlit field is visually arresting. Too many Villains Month comics seem only able to offer a decent story or solid visuals, not both. Swamp Thing #23.1 rises above and beyond the call on both fronts.

Though Swamp Thing routinely bounced between artists, the series has maintained an impressively cohesive visual tone throughout Soule's run. Javier Pina picks up where Jesus Saiz left off last month. Pina is deftly able to follow Soule's eclectic narrative, conveying the comedic and fantastical elements equally well. And Matthew Wilson's rich colors do their part to bring this unusual world to life.

One of the many strengths of Charles Soule's Swamp Thing run is the sense that Soule is blazing new paths and expanding Swamp Thing's world without returning to the same old wells.

All of this fits quite naturally into Soule's ongoing plans for the book. Swamp Thing is forced to confront the consequences of his recent actions in destroying the Parliament of Trees, of which this watery foe is but one. Where exactly Soule's saga is heading isn't exactly clear. But if even a seemingly random crossover like this can prove so entertaining, there's no reason not to be excited for what's coming down the pipeline.

Charles Soule seems to use this issue to set up the latest attempt by a villain to destroy Alec Holland and take over the Green, but there's a welcome twist late in the game that throws the usual formula for a loop.

Javier Pina isn't the strongest of Soule's usual collaborators (that honors goes to Jesus Saiz), but he still delivers excellent work in this issue. Pina's figures are clean, refined, and brimming with emotion in an emotional showdown. The storytelling suffers a bit during a brief clash between Swamp Thing and the Wolf in a hospital - this sequence doesn't have quite the scale or energy I was hoping for - but luckily that's only a relatively minor element of the book.

As the cover suggests, Soule also tackles the long-awaited reunion between Swamp Thing and Abigail Arcane. Here the issue takes on a new level of emotional resonance. Here are two lovers doomed by fate and circumstance to forever remain apart. Soule does a great job of capturing their emotional bond and the sadness that comes from their newfound distance. The blend of fantastical action and mystery with very grounded, human drama gives Swamp Thing its core appeal, and it's something Soule is so frequently able to tap into.

Jesus Saiz pencils this issue, so it goes without saying that it's one of the most impressive-looking comics of the week. Saiz continues bringing an elegant and refined look to Swamp Thing's world, blending detailed, organic elements with cold, efficient robotics. The standout sequence this month comes early on as Saiz renders a silent but grotesque look at Lady Weeds' transformation into the Machine Queen. It's enough to make you wonder if Swamp Thing suddenly became a Vertigo comic again.

It's a dark issue, but little elements like the quirky pop culture references of A Calculus help keep things balanced. And needless to say, Jesus Saiz offers another visually bedazzling effort.

The Grim Knight #1 is a visually stunning and nuanced companion piece to The Batman Who Laughs.

Even if the characters aren't as fully realized as the conflict so far, The Massive #1 is a gripping read that should have no trouble winning over many readers to Wood's newest creator-owned venture. It certainly fills the void left by DMZ. And with any luck, readers are at the beginning of another dramatic, character-driven, multi-year sci-fi saga.

In a period where Wood's name seems to pop up all over the industry, this series has emerged as one of his most ambitious and rewarding so far.

Artist Garry Brown steps in for Kristian Donaldson on this arc. Surprisingly, I found myself enjoying Brown's work more in some ways. His style resembles the likes of John Paul Leon and brings an added sense of grit and texture to the characters. Facial work is expressive when it needs to be, yet it's often body language that conveys the bulk of the emotion in these panels. Meanwhile, Dave Stewart's colors lend a sense of consistency and regularity to the issue.Clearly, Wood has more than one talented artistic collaborator on this book.

Thor is the last character that need sprucing up for the All-New, All-Different Marvel relaunch, so it's nice to see that Marvel didn't attempt to fix what wasn't broken. This issue offers an easy gateway into Aaron's ongoing saga, but it also dives right into the myriad conflicts that were left dangling prior to Secret Wars. Even in this first issue, this is a series that captures both the epic scope and intimate drama that make a good Thor comic.

This issue wraps up a brief interlude story as Loki and Dario Agger bond in the present and Loki regales his new BFF with a tale from he and his brother's distant past. This premise makes for a fun throwback to a simpler, more raucous time in Thor's life, although it doesn't really add anything to the Thor/Loki dynamic we haven't seen many times in the past.

Those hoping for the series to steer right into the heart of the War of Realms conflict might be disappointed, as this issue is more concerned with touching base with an increasingly sick Jane Foster and exploring new tensions between Dario Agger and his billionaire supervillain peers.

This issue provides plenty of hectic fun as Thor and Roz Solomon team up to track down Dario's hidden Roxxon base and rescue a man they'd just as soon see dead. All of this frantic chaos gives Dauterman ample room to show off his storytelling abilities.

What began as a seemingly innocuous story arc bringing together many of the richest supervillains in the Marvel U. has dovetailed into a conflict as boisterous and epic as anything we've seen from Jason Aaron and Russell Dauterman's Thor run.

With Aaron, Dauterman and Wilson at the helm, there's no chance of The Mighty Thor steering readers wrong. This issue serves as a very promising start for "The Asgard/Shi'ar War," one that keeps the focus on Jane Foster's very immediate struggles even as it opens the gates for plenty of cosmic spectacle and epic action. It's exactly the sort of balance a good Thor story needs.

This issues bristles with energy as it chronicles the long-awaited clash between Asgard and the Imperial Guard. Rarely has Russell Dauterman's art looked so epic or featured such a massive sense of scale.

Aside from the sheer, epic insanity that is "The Asgard/Shi'ar War," half the fun with this current storyline is seeing writer Jason Aaron reconnect with so many familiar faces from his Wolverine and the X-Men run.

Jason Aaron's Thor run is known for introducing mysteries that take months or even years to resolve, so it's a refreshing change of pace that this new issue both introduces the new Ultimate Thor and reveals his identity right off the bat.

Readers may be questioning whether this series really needed a third Thor, but this issue makes a pretty strong case for "The War Thor." He's a very different sort of thunder god, one whose worthiness is measured less in valor or noble deeds but in his ability to punish evildoers and draw buckets of blood.

Month in and month out, The Mighty Thor is a clear contender for Marvel's best ongoing series. This issue crams in all the carnage and spectacle one could ask for from a clash between a god and a fire demon, but also plenty of emotional drama to boot. This story arc continues to make a strong case for the existence of three Thors in the Marvel Universe.

Emotionally, this issue makes for a satisfying read, as Aaron digs even deeper to the theme of worthiness and shows how Jane's compassion intersects with Volstagg's boundless rage. But from a plot standpoint, it's hard to say what lasting impact this conflict is meant to have on the larger narrative.

Jason Aaron's Thor saga may be five-years-deep at this point, but it's showing no signs of slowing down or running out of gas. This issue serves as both a celebration of Thor's heroic legacy and a look forward into the dark days lying ahead for the hammer-wielding heroes of the Marvel U. With an all-star cast of artists on board, this oversized issue easily ranks among the best of Aaron's long run.

The Mighty Thor continues to hum along as one of Marvel's best and most consistent ongoing comics. That consistency doesn't vanish even as the series welcomes a guest art team for this issue. James Harren perfectly captures the heavy metal spirit of Jason Aaron's writing. Meanwhile the arrival of Mangog promises to be another crucial development in a saga that's managed to include nearly every major Thor villain so far.

This issue does a terrific job of conveying the overwhelming stakes and never-ending struggles facing our beleaguered heroine. It's a great time for artist Russell Dauterman to be returning to the fold, in other words.

The Mighty Thor continues to make a strong case for it being not just Marvel's best series, but the best ongoing series from any publisher right now. The book remains remarkably consistent as Jason Aaron and Russell Dauterman dig deeper into "the Death of the Mighty Thor." While Marvel is seemingly telegraphing the outcome of this story, that does nothing to diminish its impact as Jane Foster gears up for his last and greatest battle.

This finale issue captures so much of what has made The Mighty Thor Marvel's best ongoing series. It's emotionally rich, beautifully rendered and continues to explore the themes that have defined Aaron's run for years. But as well-crafted as this comic is, the happy ending does seem to work against the grand sacrifice made by Jane Foster in issue #705.

While this issue doesn't further the overarching plot of Multiversity in any tangible way, it serves as a very satisfying showcase for the Society of Super-Heroes. Morrison and Sprouse offer a cohesive, action-packed story that more than justifies the $4.99 cover price. The worst that can be said is that the cliffhanger leaves the reader craving more of a story that may or may not continue elsewhere in the series.

Mike Perkins' art continues to hold up well, in turn. His sequence depicting the spread of the plague in Captain Trips was easily one of the visual highlights, and the script this month allows him to revisit that sequence with a slight twist. Also very effective are his renditions of the prison meeting between Lloyd and Flagg. The only real complaint I have involves Perkins' rendition of Harold. His design seems to forcibly induce hatred of Harold, lending him an almost sinister, evil aura. And while that's not technically inaccurate given Harold's role in the story, I still feel a more even-handed visual approach to the character would have been better. But overall, both Aguirre-Sacasa and Perkins are firing on all cylinders in this series. As long as you don't expect much, if any, deviation form the source, The Stand: American Nightmares continues to please.

Whether you're a fan of both books or have never read a Squirrel Girl comic in your life, this new issue is well worth a look.

This is a great start to a new chapter of a great book.

If this one-shot is any indication, comic-reading WWE fans have a lot to look forward to in 2017. Then. Now. Forever. #1 manages to deliver plenty of fun and zany action, but it also enriches some of the major players and generally celebrates the magic and pageantry of professional wrestling. It's a love letter to wrestling as only comics could provide.

It's been rough going for X-Men fans in recent years. Fortunately, the same writer who's made All-New Wolverine such a consistent treat shows is also capable of building a great ensemble series. X-Men Red #1 is a promising debut for this creative team, one that makes the most of Jean Grey's new, unfettered status quo and grounds the franchise in our chaotic and uncertain world.

If the current incarnation of Amazing Spider-Man isn't floating your boat, maybe Renew Your Vows can do the trick. This new series boasts a terrific creative team exploring a more classically oriented Spider-Man status quo. Luckily, the series doesn't just coast by on nostalgia, as the fact that Peter is now a loving husband and father adds crucial new layers to his story.

Renew Your Vows is so close to a flawlessly executed Spider-Man comic that it's almost frustrating to read because of that.

Naturally, Stegman excels at rendering flexible spider-heroes and massive mole monsters, but the school segments show just how much he can bring to the table even with more relatively mundane material.

This new series does so much right, but it does face a continual uphill battle when it comes to proving that every member of the Parker household really needed super-powers.

The situation becomes less absurd and more desperate this month, as the team struggles to find the mysterious secret weapon of the Phalanx and avoid capture. The latter proves to be especially difficult. I'm also loving Timothy Green's art, even though I still find myself wishing he were a little more diverse in drawing facial expressions. The Kevin Maguire comparisons are never far behind when it comes to Green, but without strong facial work the comparison just doesn't stick. That aside, this continue to be my favorite Conquest book, and I'll be an unhappy camper indeed if I can't have my Rocket Raccoon on a monthly basis from now on.

Here at the end, I'm happy to say Starlord was the best of the four Conquest books. It started out strong, unlike Wraith. It continued strong, unlike Quasar. Most importantly, it finished strong, unlike Nova. I don't know if we'll ever get the chance to read the continued adventures of Peter Quill and friends, but if we do I'll fight tooth and nail to be first in line.

It's been a long time since any hero calling themselves Ant-Man has had a solo comic to call their own. Luckily, this new series shows plenty of staying power. It's funny, emotionally engaging, and easily accessible regardless of your familiarity with the character. This debut issue presents a cohesive, standalone adventure that sets up the hero's new status quo and provides a foundation for the creative team to tell bigger and more unusual stories. Chalk this up as another successful addition to Marvel's growing lineup of quirky, character-driven comics.

In addition to being a fun, accessible gateway into the world of Ant-Man, this series continues to fill the void left by The Superior Foes of Spider-Man. It taps into a similarly fun, blue collar superhero vibe as Scott Lang struggles to make a name for himself in a new city and maintain a relationship with his daughter.

Nick Spencer really seems to have found his niche writing oddball heroes and villains who struggle for success and acceptance. This particular issue takes a slightly more ensemble focus as Scott Lang adds to his growing crew of reformed, D-List villains in a desperate bid to rescue his daughter. Even as the book becomes more urgent and dramatic, it also taps into the same lovable loser vibe that made Superior Foes of Spider-Man such a blast to read.

This issue offers a new take on Bane, one that gives the fearsome villain a campy, luchador-inspired makeover. It works surprisingly well, especially with all the nods to previous Bane stories (the cameos by Bird, Trogg and Zombie are an especially neat touch).

One of DC's longest-running digital-first comics comes to a close with this issue. It's a fitting finale, especially for a franchise that's never been big on continuity or long-form storytelling.

The artwork in this issue is nothing remarkable, with fairly bland page layouts and characters (apart from Penguin himself) that tend to look very similar and interchangeable. The storytelling is competent enough, but this bird might have soared a little higher if the visuals were able to exploit the full depravity of Penguin's world.

It's easy to be disappointed at the prospect of a Batman issue without Scott Snyder and Greg Capullo at the helm. And while this issue doesn't always read like the Batman we know, it doesn't come across as a pointless filler issue either. Between the unique new villain and Scalera's gorgeous imagery, this is still a worthwhile addition to Snyder's overarching saga.

Batman #40 is a satisfying conclusion to Snyder and Capullo's second Joker epic. While the early scenes focused on Batman's other villains and sidekicks are under-cooked, the bulk of the issue and its focus on the Batman/Joker rivalry is an enthralling read. The creators paint an unsettling, bloody and very dramatic picture of two old enemies locked in one last, desperate battle for the fate of Gotham. And the best part is that this issue, rather than merely acting as a finale to one story, only opens the door for new conflicts to come.

After such a big, loud, epic conflict involving the Joker, this series really needed a chance to slow down and take in the changing landscape of Gotham City. That's exactly what "Superheavy" is accomplishing right now. Snyder and Capullo are doing a great job of exploring what makes Gordon a different breed of Batman, but also why he's the only one that could have been the new Batman in the first place. Now if only the limited Bruce Wayne material were so successful.

This issue of Batman doesn't come together as cohesively as most, nor does it place the spotlight on Gordon as much as he deserves. However, there's plenty of good material on tap in issue #43. Capullo's work is as strong as ever, and Snyder's refined dialogue results in a number of standout scenes and moments for heroes and villains alike.

Though this may be an interlude issue, it's not a filler chapter by and stretch. Batman #44 features two talented Batman writers working in sync alongside a very stylish artist, resulting in a very cohesive collaboration. This issue is less about the murder mystery or the origins of Mr. Bloom and more about challenging Batman's world view and place in his own city. In other words, it's a perfect companion to Snyder's ongoing storyline.

This latest issue puts Jim Gordon back in the spotlight, and the results are very enjoyable. Between last month's flashback issue and now this chapter, the tone and direction of Superheavy is beginning to solidify. It makes for a very different type of Batman comic, and certainly an exciting one to read.

The Superheavy storyline continues to move into interesting and unexpected places as Mr. Bloom makes his presence known across Gotham. This issue has its problems, but it offers a great showcase for the three core players in this storyline and the promise of more surprises and drama to come.

"Superheavy" is only getting better as it heads towards its climax. This issue deftly juggles all three lead characters while building up the menace of Mr. Bloom and throwing out some unexpected curve balls for good measure. The last page alone is going to make the wait for issue #48 very painful indeed.

"Superheavy" seems to keep getting better as it goes along. This new issue delivers thrills and character drama in equal measure. Capullo's art shines regardless of subject matter, and Snyder again shows a firm handle on the rivalry between Batman and Joker. Best of all, this issue strongly suggests that life won't simply return to normal in Gotham once this storyline is finished.

Batman #49 is far from being a mere stopgap before the big finale to Superheavy next month. This issue offers a compelling look at Bruce Wayne's return to being Batman and whether the immortality of the Dark Knight is a blessing or a curse. It's a very different comic from the ones that preceded it in both look and feel, and that's part of why this issue is such a great read.

Assuming Batman #51 doesn't turn out to be a disaster of epic proportions, it's safe to say that Snyder and Capullo stuck the landing on their years-long Batman run. This issue is a fitting end-cap not just to "Superheavy," but all 50 issues of the series. It's gorgeously rendered and emotionally stirring, reminding us that a fictional character like Batman can shape and influence the world in very real ways.

It would be silly to expect anything less than greatness from the final chapter of Scott Snyder and Greg Capullo's Batman saga. This issue ties up all remaining loose ends while creating a fitting sense of symmetry with the beginning of the run. It sports more terrific art from Capullo, Miki and Plascencia and offers a powerful meditation on the impact Batman has had on his city. What more could readers ask for?

Batman #52 is a perfectly enjoyable series finale, albeit one that doesn't really measure up to issue #51 when it comes to bidding farewell to the Dark Knight. Taken on its own merits, though, this issue provides a heartwarming look at the bond between Bruce and Alfred and showcases Riley Rossmo's considerable storytelling talents.

Batman: Curse of the White Knight is already shaping up to be a worthy sequel to Batman: White Knight.

Batman: Earth One Vol. 2 is a showcase for the potential this graphic novel imprint still holds. It's not simply about streamlining the character, but making his world more reflective of our own and tracing Bruce Wayne's long, painful road towards truly becoming the Dark Knight. Geoff Johns' writing is adept at fleshing out that journey, while Gary Frank brings this Gotham City to life like only he can.

Silk Spectre arguably had the most potential of the Before Watchmen books, and so far Cooke and Conner are realizing that potential.

Besides the typically bland Crimson Corsair feature, there's really nothing to complain about with Silk Spectre #3. This may be the only Before Watchmen book that leaves me immediately wanting more once it wraps up.

Conner rounds out the series with another fantastic set of pages. More so than the previous three chapters, she largely adheres to the familiar Watchmen grid layouts. Maybe that's intended to be a visual sign of the timeline marching inexorably forward. The facial work is as varied and expressive as ever, and various visual flourishes like the daydream exaggerations further spice up the pages. This book doesn't necessarily leave me wanting more of Silk Spectre's adventures, but it does have me craving the next Amanda Conner book, whatever that might be.

Marco Rudy's vibrant, surreal art style is a perfect fit for such a trippy book. Rudy delivers page after page of mind-bending imagery and intricate panel layouts. It's the sort of style that requires a more methodical read in order to follow the flow of the story, but it's a rewarding read. Only towards the end of the issue does Rudy's work begin to falter. The final couple pages are a little confusing in terms of what Kot and Rudy are trying to convey. But hopefully this is a partnership that will only grow and thrive with time.

The book has both wit and grandeur, and it continues to carve out a niche for itself in Marvel's lineup.

Bullseye #1 won't change the way you look at this bloodthirsty assassin, but it does make the most of having Daredevil's nemesis in the driver's seat. It's fun, violent and brought to life in a very creative and energetic way thanks to artist Guillermo Sanna. Bullseye lovers won't want to pass up this book.

Between the evil people running rampant and the surprising amount of nudity on each page, it's no wonder Fraction turned to Image for a publishing outlet. Even Vertigo or MAX might have issues with the book's content. That said, Casanova is nothing if not a silly, almost light-hearted series. It may not be everyone's cup of tea, but those that push through the burn will find a lot to love.

It's unfortunate that the remaining few pages ruin the effect a bit. I'll admit it's hard to follow along with the ongoing plot at times, and every time Casanova's father appears and Fraction starts throwing acronyms around like party favors my enjoyment starts to lessen. Sometimes Casanova is just more complicated than it needs to be. It's hard to complain too much, though. Fraction is very obviously telling exactly the story he wants to, and, for the most part, it's exactly the kind of story I want to read.

The only trouble with the sparse dialogue and heavy action is that the issue blows by even more quickly than normal. Each issue of Casanova is a mere 16 pages long. Between the low price tag and dense storyline, usually that's plenty. This month... not so much. I just love my Casanova too much to be entirely satisfied with 16 pages of shooting and eye gouging. Hopefully the next issue will have more of a timely arrival.

However, Fraction also layers this issue with a surprisingly profound look at death in a universe where super-science and trans-dimensional travel can render one functionally immortal. This is partially accomplished through a series of poignant flashbacks. It's here that artist Fabio Moon stands out even more than usual. Moon brings back the olive-green tone of the previous arc, Luxuria, and deftly bridges the gap between storylines. As much as I love Fraction's quirky writing, I'd gladly buy a wordless issue of Casanova as long as I could continue to admire Moon's gorgeous drawings. Together, Fraction and Moon make for the sort of indy comics dream team I never knew I wanted but can't imagine going without again.

But Ba will tide me over well enough. I'll miss Casanova while he's gone. I just hope I won't be kept waiting too long before Cass' next adventure. When it comes to Matt Fraction comics, I just can't seem to get enough.

The wait was long, but it was worth it. Gula built up to be something very special over the course of its life, but Avaritia shows plenty of potential to surpass it. If Fraction can conjure up a surprise ending to top that one, I would very much like to see it.

Until now, Casanova: Gula #4 ranked as my favorite issue of the series. Though Avaritia #2 can't rival that one in terms of the twist ending, all of the elements come together to form a superb comic. Any fan of Fraction's mainstream Marvel work who isn't also picking up this series is doing themselves an incredible disservice.

Gabriel Ba is also in fine form with this issue. The imagery is getting progressively more surreal with each new chapter, and that says something coming off of an issue with samurai panda warriors. Cris Peter's colors also bring a lot to the table. Peter frequently shifts from full color to a more old-school Casanova, monotone approach to highlight certain panels. It's no surprise that Peter's work earned the series an Eisner nomination today, although it really deserved more than one.

Green Lantern/Space Ghost sounded promising when it was announced, and the finished product doesn't disappoint. This issue forges a strong bond between the two space cop heroes and manages to tell a poignant story that avoids recycling too many of the usual crossover tropes. And for fans of the 2005 Space Ghost mini-series, it's almost like getting a sequel.