Jim Johnson Comic Reviews

When "'68" first began eight years ago, it was among the first comics of the zombie genre to cross-pollenate with other genres come up with something at least a little different. With "'68: Rule of War" #1, the touch of science fiction continues to freshen the series, and it's off to an appropriately and pleasingly grotesque start.

Virella adds little touches that both give a nod to other characters from the Marvel Universe and add to the authenticity of the comic's setting. His style is largely clean but has just enough coarseness to give the art the rough edges it needs to match the dusty, semi-civilized feel of the Old West. His layouts -- also in keeping with the old-timey nature of the story -- are traditional, with the usage of some inset panels that liven up each page but still convey a more old school feel. It's a feeling that's also well-captured by Leonard Kirk on the issue's standard cover, which is a simple but imposing rendering of Steve Rogers and Red Wolf with just enough of Timely's backdrop visible to communicate that, yes, this story really does take place in 1872.

Brisson and Gaydos handle translating the real-time nature of the series the way past creative teams have: they ignore it, knowing that there's no way to capture this hook in a sequential art format. So there are no digital time displays interspersed throughout the story, as they aren't really necessary, and would seem like a contrived annoyance if they were included. The feel of the show is superbly captured as it stands, and "24: Underground" #2 is a great supplement for those who are thrilled that Jack is back on television, but don't find it to be enough.

Like the comic's namesake brew, Floyd, Azzarello and Bisley craft a very unusual but oddly satisfying first: a comic book tie-in to an alcoholic beverage and an origin of sorts for the brewing company's self-professed flagship beer. It's safe to say no other beer has ever had an origin quite like "Alpha King" #1.

"4001 A.D." #1 makes an explosive debut that builds on an existing premise and then doubles down for an especially strong introduction to Valiant's latest event.

Instead, he and Henry deliver great story structure and pacing and eke out a tale of mankind's first -- and perhaps only -- assault on a world-ravaging artificial intelligence. Henry gets plenty of opportunities to deliver clean and stunning visuals, carrying the big-budget vibe throughout the issue. Venditti's script ensures that the story, as well as its attractive artwork, has a purpose beyond just looking great. "4001 A.D.: X-O Manowar" #1 fulfills its intent and doesn't try to be anything more than what it's intended to be and works just fine because of it.

Protecting for the possibility that some old-timers might discover this comic, Langridge provides some initial laughs in the form of a comedic "Men in Black" meets "Laurel and Hardy" mashup with two bumbling "bad guys" who are in pursuit of Claude, or Specimen 486 as they call him. The homage to the classic early 20th Century comedy duo could very well be missed by the comic's target audience but doesn't harm the story in the least, even if the lob does go over younger readers' heads. "Abigail and the Snowman" #1 is exactly the kind of all-ages entertainment anyone familiar with Langridge's work would expect, and even those new to his cartooning will find a delightful and enjoyable comic nonetheless.

Lobdell's story gets points for its accessibility as much as its originality, has an interesting twist, and is visually attractive. "Action Comics Annual" #2 does well for its attention to the fundamentals, and makes a story that could have readily been dismissed a lot better, making for a decent introduction to the next Superman event.

Aaron Kuder and Brown wrap the issue in a catchy cover that's actually enhanced by the lenticular effect on the more expensive 3-D edition of the issue. So while it looks good inside and out, it's nonetheless a disappointing issue that doesn't really try all that hard to improve on a character that didn't really need any tweaking in the first place.

"Action Comics" #43 takes a step towards exploring the new status quo for Clark, albeit a small and tentative one. One need only look across the street rather than up in the sky to catch a glimpse of this Superman, and it's a plausible idea but one that doesn't have much of a charge left.

"Action Comics" #51 has to cram a lot of story into the little space it has, but the issue almost works. Pelletier and Archer's majestic layouts and little details make it enjoyable enough, but -- despite its strengths -- Tomasi's script has to bend the characterization and story elements a little too much to make it truly successful.

The latest issue of "Action Comics" is aptly-named and delivers a fun and exciting story; Jurgens' return to the character is welcomed, and Zircher genuinely makes all elements of the story look super indeed.

"Afterlife With Archie" #2 succeeds not because it just pulls off such a disparate mash up, but because it's actually a brilliantly written and superbly drawn effort, with a too-cool-to-ignore idea that's impossible not to like. Both Aguirre-Sacasa and Francavilla know exactly how to tweak the franchise to make this work in such an enjoyable manner. Anyone who might have dismissed the idea based on a misconception needs to have another look. This could also be the comic for those who've always believed that Archie comics weren't for them.

"Afterlife With Archie" #7 continues and even heightens what it started in issue #1, proving that it's no mere gimmick and is instead a superbly conceived and executed effort that only gets better.

Aguirre-Sacasa works in a bit of a surprise near the end, as well as a poetic use of irony regarding the ever-hungry zombie king, "Jugdead." "Afterlife With Archie" #9 both continues the story and peppers it with unexpected touches that make the series a must-read.

That's the magic of this story's final chapter. The usual arguments can be made about the typical continuity-altering storyline regarding its marketing-driven origins, decompressed manner of storytelling and event-driven vs. character-driven plot. But critical commentary side, Bendis has successfully done what every comic publisher and creator can and should strive for: he has made this story's end plain and simple fun that evokes a kind of child-like wonderment.

"Age of Ultron vs. Marvel Zombies" #1 is more of an artistic success than a scripting one; the artists involved collectively provide a diverse -- if slightly uneven -- look for the comic, even as Robinson struggles with the story.

The first thing readers will see, at least those who purchase the standard cover, is a typically gorgeous cover by David Mack, rendered in his usual watercolor style. Alice Cooper is in washed out greytones, framed by a dark border with characteristically cryptic and abstractly-lettered wording that gives a taste of what's inside, even if the style has nothing in common with Casallos' interiors. In the same kind of amusing vein as the very first "Marvel Comics Super Special" that featured KISS all these years ago, "Alice Cooper" #1 is an enjoyable intro that will be best enjoyed by fans of the tenured rocker, but is plenty readable to others, as well.

After a brief prologue that introduces readers to the series' main protagonist, Wood and Jones structure the opening sequence with a series of horizontal panels that gradually unveil the creator credits but are otherwise wordless, further evoking the opening of the first film. There's also a connection to that film and the franchise's best known heroine, although the relevance of that cameo isn't established in this issue. "Aliens: Defiance" #1 is a slight cut above the usual "Aliens" comic thanks to Wood and Jones, who know when to use what's been seen before and when to change it up.

"Aliens: Fire and Stone" #2 is a decent-enough chapter in both the mini-series and overall event, but it's partially undone by a seemingly deliberate attempt to avoid too many fresh ideas and a vibrant way to illustrate them.

The standard cover by Alex Ross is one of his typically beautiful trademark gatherings of imposing-looking heroes, although not all of them make it inside the issue. Thanks to Waid's careful attention to characterization and both Kubert and Asrar's ability to elicit a range of emotions in readers, "All-New, All-Different Avengers" #1 makes itself out to be the strongest and most enjoyable of the relaunched Avengers titles.

Past Avengers relaunches have largely been intent on making the team bigger and all-encompassing; "All-New, All-Different Avengers" #4 takes the opposite approach. Waid dials back the scope and combines the new and the familiar with a blend that passes the Avengers smell test but freshens it up with new dynamics; the old order changeth, sure, but it's still recognizable and just as fun.

"All-New Captain America" #3 suffers from some over-indulgence on the psychological side, but the issue is salvaged by delivering a welcome look back at Sam's past and some last-minute story progression.

"All-New Hawkeye" #1 is an impressive debut issue; the book is equally impressive for the way it fits in the continuity of such a well-regarded series. Lemire, Prez and Herring demonstrate a remarkable kind of synergy for such an eclectically designed story, and it's the kind of dynamic that is plenty enough to win over existing Hawkguy fans and target a few new ones.

"All-New Inhumans" #3 helps establish the identities of not only the players, but also the team as a whole; it's a work in progress, but so far it's been one worth watching as it grows.

Robinson caps off the issue as the action winds down with a clever validation of the comic's title, but even this feels a little forced. Robinson provides enough strengths to outweigh the weaknesses, and it looks good throughout. "All-New Invaders" #2 is still a fun ride, as long as readers can navigate around a few potholes.

"All-New Invaders" #14 is a nicely balanced story between past and present, action and reflection and a solid bridge between the time-spanning events of the last arc and another follow-up to "Inhumanity."

This title throughout its run has benefitted from Bendis' style of storytelling, where his decompressed progression has allowed for a lot of exploration of the young X-Men's adapting to a strange, future world. That style works fine for an open-ended, ongoing series, but as part of a finite event with a presumed endpoint, Bendis needs to tighten things up, but it just doesn't happen. While "Battle of the Atom" remains an enticing idea, this issue's admittedly adequate but low-key chapter doesn't really do as much as it should to realize it.

Still, it works well enough; the X-Men's teamwork near the end of the issue makes for a satisfying conclusion to the story arc, and the appearance of X-23 makes for some interesting interaction with the rest of the team. "All-New X-Men" #21 doesn't quite stand up to the fun of the past issues, but it's fun enough.

"All-New X-Men" #33 has its faults, but Bendis makes it hard to totally dismiss by throwing in enough characterization to keep it entertaining, and Asrar cleans it all up nicely.

The evolution of young Scott Summers' character is a key moment in both the issue and Hopeless' introductory arc. The moment almost seems overly convenient and sentimental, but it's actually a welcome change of pace from the expected violence. The good guys all win, the bad guys are rounded up and there are no last-minute betrayals or backstabbing in the name of surprise or sensationalism. "All-New X-Men" #3 is a pleasant reminder that the X-Men don't have to be about revolutions and genocidal agendas; Hopeless and Bagley show readers that the X-Men can be fun, too.

Eschewing the title's usual backup feature, this incredibly enjoyable story has the added benefit of clocking in at a full thirty pages. While fans still eagerly await the inevitable meeting between Hex and Gotham's hometown hero, Palmiotti and Gray wisely take their time letting Hex's modern day adventures unfold. This has been one of those arcs that has just been too enjoyable to want it to end.

"All-Star Western" #31 is a worthwhile if surprisingly uneven comic, but one that looks great throughout. With the title reportedly being slated for cancellation, this issue is a pretty good showcase of what existing readers have already been enjoying, and non-readers have been missing.

Farinas' painfully detailed cover is somewhat evocative of the issue's first story, with an obscenely armed robotic construct taking on a Buddha-faced slime alien, and makes the issue almost impossible not to least peek through -- something potential readers can do now that a physical copy of the issue exists. "Amazing Forest" #1 contains a varied assortment of stories, and -- while not all of them will please every reader -- there's enough within to satisfy anyone looking for something well off the beaten path.

At the end of the day, Spidey overcomes all obstacles and once again proves himself the hero, but his accomplishment seems diminished by such lackluster storytelling. "Amazing Spider-Man" #700.2 looks good and offers a non-continuity Peter Parker story, but not much else.

Does the world really need yet another look into Spider-Man's origin? Probably not, but "Amazing Spider-Man" #1.1 makes a good case for it anyway. Slott finds worthy new elements to explore, and Prez brings a kind of retro-cool to the old school. Spidey fans might not need this, but they will certainly want it.

"Amazing Spider-Man" #5 isn't hurt or derailed in the least by tying into "Original Sin," and is actually made stronger by it. Slott and Ramos deliver a fun, brisk and witty story that balances all sorts of action with humor and clever character interaction.

"Amazing Spider-Man" #12 is the perfect drug for those looking to get their Spidey overdose, but those who don't care to double down will probably find themselves overloaded with these not-always-friendly, trans-dimensional Spider-Men.

"Amazing Spider-Man" #1 is packed with enough variety to satisfy practically every Spider-fan, and Slott and Camuncoli's lead story alone is enough to draw them in, making the six dollar cover price a bargain for so much fun.

Slott's textured storyline and Buffagni's execution of it make "Amazing Spider-Man" #7 a typical example of how strong this series has been to date, while its twists make it stand apart from the issues that preceded it. The notion of globalized Spider-Man and CEO Peter Parker might have seemed preposterous six months ago, but it seems all too natural now.

Sadly, the highlight of the issue is W. Scott Forbes' cleanly delineated cover, which refreshingly puts Silk in the forefront despite Spidey's top billing. Thompson does provide a fun (if expected) cliffhanger at the other end of the issue, which gives the future of this miniseries some hope. As it stands now, though, "Amazing Spider-Man & Silk: The Spider(Fly) Effect" #1 isn't really worth the read.

It's no big surprise that the buildup has been leading up to the Parker family swinging back into action. "Amazing Spider-Man: Renew Your Vows" #4 finally pulls the trigger on it in a nicely structured and satisfying lead-in to next issue and presumed final showdown.

Bennett and Doe's mini-story, and Larroca's art in the main, are enough to give "Amazing X-Men Annual" #1 a barely-passing grade. It's by no means essential reading for anyone following this title, or even the X-Men in general, but anyone with five bucks to burn and a half hour to kill could find enough here to entertain.

"American Legends" #1 takes many legendary characters that readers might have thought they didn't care about and puts them into a story that will change that. There won't be a daily dose like in history class, but a weekly fix will deliver the next best thing.

The issue's standard cover by Julian Totino Tedesco is a minimally colored but fitting and eye-catching image of Angela on the queen's throne, laid out similar to one of Jacinto's images inside but with a decidedly darker vibe. "Angela: Queen of Hel" #1 isn't the most easily read series introduction, but it's full of highlights like good characterization and attractive art throughout, which makes it worth picking up.

Spencer and Rosanas, with their goofy supervillains and pulpish Nazi throwback, deliver both a fun-reading and fun-looking story in "Ant-Man" #2. Even those not sold on the contents will be immediately sold on the issue by way of Mark Brooks' kitschy Ant-Man snow globe cover " kitschy, sure, but cool enough to hope that someone actually markets a product like that. Two issues into the series, and Spencer and Rosanas seem to have already found their comfort zone.

With no disrespect intended towards future "Aquaman" writer Jeff Parker, it will be a shame to see Johns leave this series after next issue, as this title was one of the big surprise hits when it was restarted two years ago and has been terrific throughout its run. "Aquaman" #24 is representative of all the things that have made this comic great: terrific storytelling, superb artwork, treating an oft-ridiculed character with respect, and staying true to the character's nature while still freshening things up.

"Aquaman and the Others" #1 is both bold in its confidence as a sister title, and in its simplicity and similarity in style to its companion. While DC has historically struggled to put forth even one successful title, for this month at least, they've pulled off the largely unforeseen task of delivering two competent comics featuring their underwater hero.

"Arcadia" #1 introduces a pair of very different environments, but similar in the regard that neither is a place anyone would want to be a part of. It's a somber but engaging first issue that examines our own world's social ills in unusual ways, with a script that throws in some surprises combined with some darkly fascinating art.

Archie Comics are all-too-often overlooked by readers wrongly expecting humdrum instead of something truly enjoyable, but "Archie" #648 is a great example of the latter. Anyone who used to read Archies as a kid, or has yet to read any, will find this issue a great place to jump on.

The issue also features a nice cross-section of characters from the Archieverse, and is most definitely something different from the norm. "Archie" #653 can be enjoyed by existing fans, as well as skeptics who might think that Archie comics feature nothing more than Archie mindlessly chasing Betty and/or Veronica around Riverdale High School. It's fun, it's a little different, and there's even a thing or two to be learned, for those who are up for it.

"Archie" #662 overall is a funny and festive comic, although it gets a little too linear at times trying to be the former. Nonetheless, its weaknesses don't take away from the fun, but youngsters might be a little more forgiving.

The climax of the story is a slightly manufactured but still fun and star-studded gathering of Archie's supporting cast and, once resolved, DeFalco caps things off with everyone reverting to form, especially Archie himself, who finds himself once again caught in the crossfire of Betty and Veronica's wrath. It's a smart conclusion and denouement by DeFalco, who realizes this isn't really an ending at all, as these characters aren't going away. There's almost a sense of sadness that this will be the final traditional issue of this flagship title and, as a whole, the issue ironically makes a lighthearted and enjoyable case for not revamping the franchise. "Archie" #666 isn't a farewell at all, but rather a tribute to over seventy years' worth of hijinks and tomfoolery, and it's a mainstay that will be missed.

Wu captures a more understated sense of Archie's clumsy obliviousness later on that helps lift the story from the rather somber direction it takes, utilizing a series of classic gags in a cleverly structured page that's both a nod to old school laughs as well as a play on the new look of the franchise. "Archie" #4 continues the success of the title's new look, and its departure from this template shows just how effectively the reimagining lends itself to more modern and varied storytelling techniques.

There has been no shortage of Archie crossovers in recent years to help pump up that franchise and, while this one easily could have been the one to ironically jump the shark, it instead embraces the campiness of the idea and is actually well-suited for it. "Archie vs. Sharknado" does a terrific job of taking the ingredients of a bad story and making it into something entertaining.

"Archie vs. Predator" #3 is the kind of comic that shouldn't work but mostly does, despite readers having to alternate between shielding their eyes in some panels and rolling them in others.

"Armor Hunters" #1 continues a trend that Valiant has been faithfully following since its beginning, by providing exciting and well-drawn stories that are easy for everyone to get into, without being weighed down with any past history. It's an event story for readers who think they hate event stories.

"Avengers Annual" #1 is a very fun, enjoyable and kind-spirited Christmas delight, and not a bad value with a thirty-page story for five bucks. It's a great treat for aficionados of both The Avengers and Christmas stories, delivering excellent examples of both.

"Infinity" has been an unusual event in the sense that the tie-in issues have been just as enjoyable as the main story, if not more so. "Avengers" #22 certainly typifies this, and does its job to enhance and even improve on the overall event.

"Avengers" #32 is typical Hickman, which ambiguously will mean different things to different readers. In absolute terms, though, it's enjoyable enough, as Hickman throws in so many fascinating ideas that the issue is hard not to like, at least somewhat, despite the apparent aimlessness of the story. Yu makes both an alien forest and futuristic spacecraft look amazing, and combined the two creators generate enough of a wow-factor to offset the wha-factor.

"Avengers" #42 is impressive because it doesn't <i>try</i> to be impressive; Hickman is simply using what he's already presented to bring his massive story to a close, and Caselli merely brings it to life. Most remarkable, perhaps, is that Hickman's story still has legs after all this time and, as executed, it remains just as engaging as -- if not more than -- many of the issues leading up to it.

"Avengers & X-Men: AXIS" #2 misfires badly with poor characterization and an emotionless story that's only marginally saved by subpar artwork.

Both Bagley and Spencer play up this clever deception with the introduction of another character, whose seemingly sloppy attempt to conceal his identity is another crafty misdirection that embellishes the issue's eventual payoff. Before the premise can get tiring, Spencer unveils the nature of the Pleasant Hill, partially revealing what has transpired but still leaving plenty to tell. For now, though, Spencer and Bagley have grabbed readers with a familiar premise that's surprisingly fresh and refreshingly surprising in "Avengers Standoff: Welcome to Pleasant Hill" #1.

If graded on its first one hundred pages or so, "Avengers: Endless Wartime" would have gotten near perfect marks. Its ending doesn't deliver, but that's not to say the first eight innings weren't great. If there's ever a follow-up story, one can only hope for a "what really happened"-type re-visitation.

"Back to the Future" #1 is a fun romp, although not quite as much fun as a trip in a time-traveling DeLorean. Gale delivers a mostly faithful tribute to the franchise he co-created, one that's both worthy of purchase and far less dangerous to the fabric of the space-time continuum.

The writers somewhat right the ship before wrapping up the story, and even provide a bit of a surprise to its resolution. Despite a long divergence from what otherwise works fine as Clara's story, "Back to the Future" #5 is still a fun entry in the series as well as a fun extension of the films.

Simone continues her successful run on the title, and although Pasarin and Glapion are the latest in a seeming rotating roster of artists, they are also the latest to make the run look as good as it reads. This comic remains in the top tier of DC's output.

There's an incredible synergy between Simone, Gill and Blond that makes "Batgirl" #27 beautiful, fascinating, refreshing, and disturbing all at once. "Gothtopia" is off to an impressive start, and this decidedly different issue is another amazing story in this superbly written and drawn title.

"Batgirl: Futures End" #1 is an odd and lackluster sendoff for Simone, and is worth picking up solely for all of the other characters calling themselves Batgirl.

Overall, this is the kind of story that's better than those typically seen in annual issues, which often feel like needless filler motivated by an attempt to carry on a beloved summertime comic book tradition. While likeable enough with enough uniqueness to make it feel somewhat different, the final execution just doesn't allow it to be anything that's truly special.

Beyond the cover and a cool idea, "Batman Annual" #4 doesn't have much else going for it. Other than bringing Wayne Manor back to its traditional role in the Bat-mythos, there's really nothing critical or worthy of note contained within.

"Batman" is one of the better offerings among DC's New 52, and this issue is one of the best in the title's run. Snyder and Capullo started strong and have only gotten stronger. Even those who would have been happy to never see another take on Batman's origin will be glad to pick up "Zero Year."

"Batman" #23.2 is a skillfully-built tale that is exemplary of what a standalone comic book story can and should be, all the while playing its part in a larger storyline. Halfway into Villains Month, this so far is one of the best tie-ins to come out of it.

"Batman" #27 is a solid effort by all creators involved, even letter Steve Wands, who likely had to put in some long hours to get this one to the printer. "Zero Year" continues to expand the history behind Batman's origin, as well as that of the supporting cast, and it continues to be a fresh story that surprises.

"Batman" #32 is a superb showcase of collaborative comic book storytelling and an excellent lead-in to the finale of a highly refreshing and imaginative storyline. "Zero Year" has been the standout of all Bat-titles over the past year and this issue is the latest example of why.

Snyder takes his story to the next level in "Batman" #37, which delivers surprises, tension, chills and a lot of extra pages to boot, providing a great story with extra value as a bonus.

Overall, "Endgame" comes across as one of Snyder's stronger arcs in "Batman," which is saying a lot, and "Batman" #40 is a particularly strong chapter. The conclusion is also more satisfying than Snyder's previous Joker story, "Death of the Family," and the ending is an enticing setup for the creative team's next storyline. While it's the apparent end of the game for the main characters in this drama, it isn't for the creators, who are clearly at the top of theirs.

"Batman" #45 continues to shock and surprise. While Snyder seems to reveal that the new baseline won't last long, Capullo and Plascencia continue to awe with a diverse array of settings and moods to make this chapter of the Robo-Bat arc their usual kind of strong.

"Batman" #50 is an excellent farewell of sorts to the character, and another remarkable example of the chemistry between Snyder and Capullo. The uplifting and inspirational message at the issue's core brings their run to a near-close and ends the arc on the highest note possible, shining a bright light on the Dark Knight without betraying the dark nature of the character.

"Batman: Futures End" #1 succeeds the same way some of the better "Elseworlds" comics did back in the day; readers get an intriguing look at mostly familiar characters in an environment that is definitely not so familiar.

"Batman" #1 is well-structured and attractive beginning to the character's next era. This debut issue will appeal to fans of Snyder and Capullo's run as well as those who have been waiting for a return to some of Batman's more basic elements.

"Batman/Superman Annual" #1 is a pricey but worthy issue that carves out a deserved place as part of the series, rather than as an out-of-place contrivance. It's well-packaged and attractively built, but perhaps most importantly, it's fun to read. In a marketplace filled with annuals that seem little more than filler material or tryout issues, this one shows how it should be done.

The last time these two characters met for the first time was shortly after John Byrne's reboot of Superman over twenty five years ago. While this might not be an encounter that needed to be retold, it <i>has</i> been a generation since that last time, and Pak and Lee make it different and exciting enough to be worthwhile.

"Batman/Superman" #15 is a fun and decent looking, if inconsistent, comic that has some interesting character team-ups but doesn't really take full advantage of its potential.

Pak caps off the issue with the appearance of a very familiar but unexpected guest star, which helps shore up the Subterranea storyline for next issue. "Batman/Superman" #23 is a bit slow in advancing the Clark Kent/Jim Gordon relationship, but it's worthwhile mainly for Pak's ability to put readers inside of Clark's head.

Tomasi also avoids the excessive reliance on Harvey's coin that's often overused in many Two-Face stories, getting the reference out of the way early before moving on. "Batman and Two-Face" is an entertaining enough story that's not terribly memorable but gets points for its focus on Dent and careful avoidance of any contact between the two title characters.

"Batman and Robin Eternal" #3 slows the progress of this still-dawning storyline to a crawl, but it's nonetheless a nice-looking package.

Jurgens keeps the surprises coming right up through the very last page, where another familiar -- if older looking -- face makes a welcome appearance, solidifying this incarnation of Batman's place in DC continuity. Jurgens seamlessly blends elements of the Bat-mythos from both present day and the future, setting up a permanent place for this Batman in the DCU proper that has lasting potential, rather than coming across as a gimmicky crossover between two very distinct eras in Bat-history. "Batman Beyond" #1 is an excellent re-introduction to a once largely benign character that makes a convincing case towards a maintaining a regular role in both the Batman cast as well as the larger DC Universe.

"Batman Eternal" #1 is a tremendous start, not just for a weekly series, but for any comic series. There will always be skeptics regarding whether or not such quality can be maintained on a weekly basis, but for now, all involved have done their best and succeeded at quieting that skepticism, at least for this week.

With the series firmly underway, "Batman Eternal" #9 makes a strong case for its existence by continuing to grow the story in a manner that only a weekly would allow, telling a story that's clearly relevant to the other Batman titles. This is one of the series' best issues so far, in large part due to the concentration on specific elements and the surprises contained within.

"Batman Eternal" #19 is the point of the series where readers who have stayed with it are not only rewarded with an enjoyable standalone reading experience, but also get that additional reward of seeing what the writers have laid out start to come together.

"Batman Eternal" #41 is one of the better recent chapters of this title, as it picks some of the series' less utilized characters and gives them a unique dynamic by bringing them together, delivering a clean and attractive looking issue that has some emotional power.

Lengthy closing moments aside, "Batman Eternal" #52 fulfills its promise as a worthwhile conclusion to a sprawling series and as a table setter for the next era of Batman under Snyder. As a bonus, a typically stylish illustration by Jae Lee and June Chung makes for a striking image for the standard cover, even if the largely symbolic piece is more reflective of events in past issues rather than this one. While in past years weekly series have run out of juice long before their final issues, this one only got stronger and retained enough strength to pack a powerful climactic punch.

"Black Market" #2 remains a fun story about how superheroes can change the world in ways they probably never thought of, despite the bumpy chronological path it takes.

This issue typifies the addictively unpredictable feel of the series; there's no way to know where everyone will end up next, what kind of challenges and dangers they will face, or who will start acting up. There's even the introduction of a mysterious new character, although there's a pretty good indication as to who it just might be, which stands to add a whole new dynamic to future issues. "Black Science" #4 delivers what the entire series has so far: surprises and suspense amidst a contemporary take on a classic sci-fi scenario.

"Black Widow" #1 kicks off with a figurative bang, followed shortly thereafter by a literal one. As co-writers, Samnee and Waid demonstrate a slightly different kind of synergy, but it's a strong one that bodes well for the remainder of the series.

Current Bloodshot fans should enjoy this, as will Harbinger fans whose introduction to the character was in the recently-concluded "Harbinger Wars." "Bloodshot" #0 is a solid issue that's a nice addition to the rapidly-expanding retake on the Valiant Universe.

Gage and Dysart in the past have both individually demonstrated their talents for quality storytelling overall, and great characterization and terrific dialogue in particular. In "Bloodshot and H.A.R.D. Corps" #17, this writing duo, like their new superhero team, has officially molded a synergy of its own to quickly make this this comic the latest of Valiant's worth reading.

"Book of Death" #1 is an artistically versatile comic that's passably written and driven largely by one sequence, averaging out to make a more-than-adequate introduction to a future that doesn't seem quite so predictable.

The moments after the final battle are powerful, and Venditti caps off the issue with a hopeful and optimistic dnouement. The lead-up to the issue's confrontations are superbly paced, paving the way for a terrific conclusion that serves as a nice recovery for the series' earlier shortcomings. The second half of "Book of Death" #4 alone is worth the cover price.

"Book of Death: The Fall of Harbinger" #1 is an artistic and literary masterpiece, melding excellent characterization with stunning artwork that provides one possible conclusion to Dysart's ongoing and evolving storyline.

"Book of Death: The Fall of Ninjak" #1 works nicely as a preview of things that might come to pass in the Valiant Universe, but -- as a supposed final fate for Ninjak -- it falls just a little bit short.

"Boonana Tail Halloween Special" is a fun one-shot that younger children will get the most out of, and parents will find mildly entertaining at worst. Save this one with the Halloween decorations, so that kids can enhance their Halloween experience next year.

Each of "Bravest Warriors 2014 Annual" #1 four stories are unique, both script-wise and art-wise, yet fit well together as a whole. It's surprisingly varied for such a group of simple and easy-to-read stories, and entertaining for all. $4.99 is a little steep for such a quickly consumed comic, but it's the kind of thing that young children just might want to read over and over.

With the stage pretty much set by this point, the story charges forward towards a completely unexpected but enticing twist that changes nearly everything."Broken World" #1 is an amazingly strong start to what's slated to be a four-issue miniseries, with a premise that's strong enough on its own but is made even stronger by the surprise cliffhanger.

Overall, Olivetti carries the issue with continuously striking visuals of nature, but the magnificence of his art is significantly offset by a story that doesn't have much to offer. "Brutal Nature" #1 is an easy sell to readers looking for something beautiful to look at, but those wanting a little more substance might find this a little tougher to take.

"Burning Fields" #2 is an immersive second chapter of this eight-issue series, surrounding readers with well-developed characters and submerging them in a very hostile and threatening environment on many levels.

"Crime Story" meets "Astro City" in "C.O.W.L." #4, combining superheroes, politics, social structure and ideological disparities into one very compelling issue with the kind of depth that wouldn't necessarily be expected from such an intriguing but much-simpler sounding premise.

Remender puts forth a brilliantly ironic notion that begs to be explored in future issues: that of a Captain America, famous for spending fifty years in ageless hibernation, has now aged ten years in a seeming instant in Earth time. Hopefully, this <i>will</i> be explored, and immediately; readers who might not have cared for or tired of this arc are left with a fascinating premise that should keep them around. Regardless, this issue both nicely caps off the previous storyline and sets up what's next. Whatever one's opinion of "Dimension Z", this is a good issue to check out.

The issue closes out with a short epilogue that introduces a compelling new mystery and a pair of villains that provide enough of a tease to sell readers on next month's "All-New Captain America" #1. The darker, mysterious nature of this conclusion makes for a different visual color-wise than the rest of the comic, but the layouts and overall style still are in keeping with the previous pages. The shadowy look is fittingly different to serve as the start of an all-new chapter in the life of the all-new Cap. Overall, "Captain America" #25 is a bit of an awkward farewell, but one that at least starts off and finishes strongly enough.

Perhaps the remaining issues will live up to the name of the comic, but so far Granov only makes Captain America <i>look</i> like a living legend; he and Diggle do little to prove it.

As the story comes to a close, Cap makes a statement about how the sum of the team is greater than its parts, but Pilgrim's story does nothing to show that, leaving only the echo of a hollow clich. "Captain America: Road to War" #1 delivers a lightweight, twenty-two-page story plus a reprint of "Tales of Suspense" #58, but the content is just too light to justify the price or time.

Much of the criticism directed at "Captain America: Steve Rogers" #1 seems unfair and off-base, but that's not to say there isn't plenty it deserves. This comic isn't typical of the work normally seen by Spencer or Saiz, but the off-kilter synergy of the pair combined with their own individual misses make this one of the most disappointing issues featuring the original Star-Spangled Avenger in a long time.

"Chin Music" #2 overall is a well-constructed, nicely-executed and much more even effort than the previous issue, and with this issue the series seems to have found its footing.

The art is consistently strong, but "Chrononauts" #4 is still a bit of a misfire, making for a mostly enjoyable but also uneven conclusion to an otherwise thrilling and gripping time-twisting rollercoaster ride.

"Citizen Jack" #1 is a successful start to a story that makes readers pull for an utterly contemptable character, all while establishing a compelling story about a nobody making a bid for president.

"Civil War" #2 is one of the better "Secret Wars" byproducts, and Soule, Yu and Alanguilan all ensure that it's a worthwhile effort, one that's easily followed by those more interested in this story as a sequel-of-sorts to Marvel's nearly decade old event than as part of their current one.

Soule and Yu have ensured that each issue not only advances but amps up the story, and "Civil War" #4 is the best single issue example of that, prepping for what's shaping up to be a bombastic conclusion.

As an unnecessary tie-in to an event that already comes across as manufactured, "Civil War II: Amazing Spider-Man" #1 is about as optional as a comic can get. Those who opt in will find a faulty story wrapped in an attractive package.

The artistic highlight of the issue is David Yardin's beautiful cover, which faithfully captures the likenesses of a dozen or so characters but also symbolizes the divide between the two teams. That's about as good as "Civil War II: X-Men" gets, though, as there's just not enough depth to the basic idea to justify this issue, and the story does nothing to prove otherwise.

"Clockwork Angels" #3 is part of an enticing story developed by Peart that's pleasantly and colorfully brought to life visually by Anderson and Robles. Rush fans will appreciate this interpretation of their most recent album, and those unfamiliar with the band will have no problem getting into or following it.

Brisson adds another successful launch to his diverse resume with "Cluster" #1, incorporating some well-used building blocks to establish a character-driven science fiction story that makes for an entertaining and engaging beginning.

"Convergence" #0 is a weak and faulty introduction wrapped up in a pretty package that reads as though it's cautioning potential readers as much as welcoming them. Even as it tries to sell the idea via broad strokes, the details undermine its own attempt. Readers will have to enter "Convergence" #1 at their own risk.

"Convergence" #4, while still sharing some of the overall series' weaknesses, is nonetheless a noticeable improvement over past issues, enough to give pause to those deciding whether or not to stay with the series. While not a tremendous issue on an absolute scale, it still bodes well for the remainder of the series' run.

"Convergence: Batman and Robin" #2 is sloppily assembled. It's been said many times that every comic book could be someone's first, so it's probably a good thing that this wasn't intended to be such a comic, for -- if it were -- it may also be their last.

If this were just a one-shot resurrection of the old "Shadow of the Bat" title, it would have been a pretty decent nostalgic romp. As a "Convergence" issue, though, it's weakened by the very premise that gave birth to it. As it stands, it can be enjoyed more for what it almost was, rather than what it is.

Attractive colors and decent art aren't enough to carry "Convergence: Green Lantern/Parallax" #1, however, and the issue mainly stands out as one of the symptoms of how badly DC's "Convergence" event has collectively worked out so far.

All's well that ends well in "Convergence: Justice League" #1 as an uneven story concludes on a high note with a moderately enticing cliffhanger. Alluringly consistent art holds it all together, putting this particular tie-in in the middle of this week's pack, being neither as good as some of its companions nor as bad as it could have been.

"Convergence: Justice League of America" #1 isn't the worst of the tie-ins published so far, but that's not saying much.

Jurgens also establishes some nice banter between Clark and Lois, giving the issue a friendly, approachable feel despite its precarious hold on believability. There are multiple reasons why "Convergence: Superman" #1 can't, couldn't or shouldn't work, but Jurgens and Weeks give it even more reasons why it can and does, even if just barely.

"Creeple Peeple" #1's cliffhanger ending holds some promise for a second issue that might be a little more exciting, but this issue as a standalone doesn't really make a case for committing to it.

It's a perfectly readable issue, but like past ones it remains plagued by oddities like the one-dimensional Catholic priest who looks a lot like Jim Gordon and has a manipulative compulsion regarding the new Batman. "Damian: Son of Batman" #3 is a fine example of Kubert's talent as an artist, but it's decidedly mediocre as a story.

The ending of this lengthy saga and its epilogue have swansong written all over it, but that simply isn't so, as Waid is slated to be back for future issues. Closing out many of the subplots from past issues, this issue is an excellent springboard for future storylines, and demonstrates why "Daredevil" remains one of Marvel's best titles.

As one character mentions to Daredevil, "you really lead with your face, don't you?" That has been nature of Waid's Matt Murdock throughout his run, epitomized here in this issue, and that statement is also a stage-setter for the upcoming series. "Daredevil" #36 is not only a superb ending to a storyline, and to the series, but also a fitting example of why Waid's series has been so incredible, with a Matt Murdock who's consistently been heroically bold, brash, and a man who is truly without fear. And that is not a pun.

Before readers see any of these stories, though, they're gobsmacked by Paolo Rivera's stunning cover, serving as the biggest tribute to The Man Without Fear that a single piece of art can allow. There are over a dozen different likeness worked into the cover, all paying tribute to past artists strongly associated with the character like Wally Wood, John Romita, and Frank Miller. The names of every notable creator who contributed to the book over the past fifty years are worked into the art as well. This cover a pretty bow on one incredible birthday present, and "Daredevil" #1.50 is one awesome party, whose biggest shortcoming is that it's simply too short.

Lastly, but seen first, is Chris Samnee and Rodriguez' dense and colorful cover that shows a decidedly unintimidated Daredevil with his back to a spear-ridden bullseye; no, not <i>that</i> Bullseye. The comical touch of a skull atop the target, in turn topped off by a large red apple, is a kind of avatar that forecasts the serious yet happy-go-lucky feel of the story. "Daredevil" #7 may have the distinction of being an "Original Sin" tie-in, but it would still otherwise be another incredible issue of the series.

Waid and Samnee take the opportunity to summarize what his Matt Murdock has been about and cement their era's place in the character's history, one that uniquely and confidently stands alongside the other eras in the half-decade history of the Man Without Fear. "Daredevil" #18 is a fitting sendoff and leaves a clean canvas for the next era of Matt Murdock to begin.

Soule delivers a shock ending that changes the dynamic of the issue and it's a bold move, but he might have sprung this trap a little too early; a few more issues' worth of characterization could have given this surprise a much bigger punch. Nevertheless, "Daredevil" #1 is a nice change of pace with a spiced up been-there-done-that vibe.

This issue is a worthy and satisfying conclusion to a worthwhile story arc, even if it seems to be playing into an ever-darkening trend regarding how Daredevil stories should be told.

"Dark Ages" #1 stands up fine on its own simply as a sci-fi/swordfight mashup, but is elevated by both the mystery behind the aliens' arrival, and the subtle foreshadowing that there could be more behind this still.

"Dark Knight III: The Master Race" #1 defies what both Frank Miller supporters and detractors alike might be expecting. The addition of Azzarello and Kubert smooths out the artistic excesses of Miller's more recent efforts, but also doesn't quite bring the same level of moody ambiance or character depth that was seen in the first "Dark Knight" story. On its own, though, it stands out as a worthy introduction to a compelling Batman story.

Miller, Azzarello, Kubert and Janson all step it up this issue, and both the story and the readers benefit from it. "Dark Knight III: The Master Race" #4 will put to rest any doubts fans had about this series' merits.

The series has truly hit its stride with "Dark Knight III: The Master Race" #5. However, I recommend getting the mini-comic out of the way first, so that the strong main story ends the complete reading experience on a far more satisfying note.

"Dawn of the Planet of the Apes" #1 is a plenty adequate start for this six-issue series that begins to fill the gap between the last two movies. It's not an essential bridge to cross, but it's a journey worthwhile starting for fans of the films.

"Dead Drop" #1 is a refreshing rollercoaster of an introduction, rather than the usual exposition-filled buildup.

Edmondson and Perkins demonstrate a keen understanding of the character's essence, and know exactly what to keep and what to tweak. "Deathlok" #1 is the best take on the property since the original incarnation -- a well-constructed reintroduction of a historically underused property that stands to attract the character's existing fans as well as new ones.

As clues continue to slowly unfold and the story ramps up to its final trimester, "Deathmatch" #8 isn't a slam-dunk, but it is an entertaining thrill that sells readers on picking up the remaining issues.

"Deathmatch" #12 is a disappointing ending to what had been a relatively strong and enjoyable storyline. It kind of has the same vibe as finding out the truth about Santa Claus, only to discover that we wished we hadn't asked.

One of the characters is the kind of misguided backstabber that readers just hope, and know, will get his comeuppance, but when he does it comes just a little too close to a scene from one of the films that this story borrows from. At least the scene is connected to a story advancement that reveals just what happened to the Vanguard in the series' first issue. The character lapses are small enough and therefore forgivable, and largely inconsequential to the overall story. "Deep Gravity" #3 succeeds because it takes everything that's scary about deep space and comfortably fits it into one comic.

Despite relying on an abundance of tried and true archetypes and ending the issue on an ineffective cliffhanger, the entirety of "Deep State" #2 is appealing. Fans who enjoyed any of its influences will probably find something to like here.

"Dept. H" #1 connects not because it's pretty, but because it's uneasy; the ongoing sense of pressure and the implication that at least some barriers are ready to burst set up an atmosphere that is compelling in its discomfort. Knowing there's a mystery yet to solve is the tipping point which will convince readers to pick up the next issue.

This otherwise-impressive character study is blemished by a couple of small but distracting creative blunders, however. Langstrom's overreaction in dispatching a car thief leads into a somewhat forced, albeit brief, confrontation and exchange with Commissioner Gordon that isn't really necessary. Tieri's story is clear on its own and his point is made, without this awkward insertion. And Eaton and Mendoza's Gotham, with its park full of people relaxing and playing chess, doesn't seem all that in character for Gotham on a good day, let alone one that's missing its heroes and is under super-villain occupation. Flaws aside, though, Tieri tells a pretty insightful Man-Bat tale that can set the stage for his next appearance, and Eaton and Mendoza bring all of the ugliness and brutality to life. As Villains Month comes to a close, this comic stands out as one of the better products to come from it.

To round out the page count, there are pinups throughout featuring the work of even more artists like Mike Allred, Kelley Jones, and Graham Nolan. If there's any criticism that can be aimed at this comic at all, it's that it doesn't contain more features from the character's older, classic creators. Regardless, group editor Mike Marts and associate editor Katie Kubert have lined up an amazing array on entries that truly do honor such an enduring franchise, and is well worth the eight dollar price tag. This is one of the best ever anniversary issues of its kind.

With "Batman" nearing the end of "Zero Year" and "Batman Eternal" focusing on several characters in the Batman mythos, "Detective Comics" #33 boldly shines its spotlight on the current day Batman himself. It's faithful to a sometimes-neglected aspect of the character and has a look that's unique but nicely suited to the Dark Knight also provides a story that's a good fit.

Other lapses in the issue include some hokey dialogue in Tomasi's main story and a rather stilted ending that tries too hard to be cute and instead falls flat, despite an attractive story-ending splash by the art team. "Detective Comics" #50 isn't all that much of a landmark issue, and there's certainly no landmark story to support it; its strengths lie in the art, which makes the issue a lot more fun to look at than it is to read.

Jason Fabok and Brad Anderson's detailed and dazzling cover looks even more impressive than Riddler HQ, taking full advantage of the lenticular cover gimmick used on all of this month's "Futures End" one-shots. When put into motion, the image alternates from a Batman solo shot to one with The Riddler at his side and back again, symbolizing their temporary allegiance in this issue. "Detective Comics: Futures End" #1 is one of this week's better tie-ins to the event, telling a future tale without having to really distance itself from the present.

The story contained within "Detective Comics" #935 may have been done before, but Tynion, Barrows, Ferreira and Lucas deftly craft it into one that will invite fans to reread it time and again, even if some parts seem a little familiar.

"Divinity" #1 is a true and worthwhile expansion of Valiant's footprint, both in the publishing world and the fictional world contained within it. The first installment of this four-issue miniseries establishes a unique place for this series in the Valiant universe, putting a new footprint in the sand that doesn't trample on the ones that are already there.

"Divinity II" #1 is a worthwhile continuation of Kindt and Hairsine's concept and a compelling expansion of what they established in the first series. The creators deftly dance around repetitiously retelling the same story with characterization that makes it fresh all over again.

There are few creative synergies that use the potential of comic art with such beauty and effectiveness, but Aaron and Bachalo not only pull it off -- they make it look easy. "Doctor Strange" #3, like the past issues, is a wonderful reminder of how awesome comic books can be.

Perhaps most importantly, he keeps the story moving with a brisk pace and enough surprises to make readers turn the pages all-too-eagerly. Developments are shown that might have no bearing on this issue, but will make readers want to seek out the next. Unlike so many end-of-the-world stories where violence and explosions trump characterization, Byrne's cast of heroes is not merely a group of two-dimensional cutouts indistinguishable from one another; it is these characters, and not the events around them, who make this soot-covered world turn.

"Drifter" #1 is a good selling point for the series, although it waivers after making its pitch. Regardless, both Brandon and Klein give enough reason to return for issue #2.

All creators involved demonstrate a level of quality and attention to detail that is often glossed over in origin stories like these. Comic fans have seen plenty of versions of Batman's origin, but Taylor makes sure that this story is plenty different, and plenty clever. "Earth 2 Annual" #2 establishes Batman's character and place in this world, enabling his main storyline to move ahead. Even those not following the series will find a great example of comic storytelling using an almost-familiar character.

Despite a couple of missteps, Taylor successfully moves Robinson's story along and his direction of the book should placate readers who might have feared a downturn in the quality of the book after his departure. This is helped greatly by the art team staying put and continuing to deliver an attractive looking comic where the heroes appear decidedly heroic, and the villains, and heroes-turned-villains, decidedly villainous. "Earth 2" #18 is another strong issue in the series that satisfyingly examines a rapidly changing part of the DC Comics multiverse.

Any one of these stories on their own could have made for a better issue-filling origin. The highlight of the entire issue is Ken Lashley and Tomeu Morey's bold and dynamic cover showing these five new servants of the Parliament but, unfortunately, that's as good as the issue gets.

As a whole, "Earth 2: Futures End" is a mildly-enjoyable if patience-pushing experience, highlighted by a couple of moderate bombshells and an attractive lenticular cover that combines two nice illustrations featuring Red Tornado by Giuseppe Camuncoli and colorist Pete Pantazis. While not a tremendous story, it's not a wretched one, either; but perhaps most importantly, it's definitely not mandatory.

"Earth 2: World's End" #3 is a perfectly acceptable issue in a perfectly capable storyline, with strong art enhancing a decidedly average story.

Leth furthers the story when Edward makes a discovery that brings forth a new and even darker dynamic for the storyline. It's an almost disturbing addition but one that stands to enhance the mythos where explored further next issue. A generation later, "Edward Scissorhands" #1 is a welcome and respectful return of one of Burton's more beloved creations, and manages to capture the same kind of emotional conflict that the movie did so well.

Albuquerque's rougher, grungy style is well-suited to this story that largely takes place in a primitive and brutal world; not just the Meld, but also the savage prehistoric landscape of this issue's newly introduced storyline. "EI8HT" #2 doesn't quite live up to the promise established in the first issue, but it's nonetheless a more-than-capable chapter in a compelling story.

"Empire: Uprising" #1 is the welcome and triumphant return of a long-missed series that, so far, is every bit the achievement that its predecessor was.

"Evil Empire" #4 contains some notable shortcomings but is bolstered by a bold and engrossing story that largely benefits from its shifty and unpredictable nature.

Despite all of the sunshine and happiness, Houser's story opens up with a darker spin in a sequence that later ties into the psiot's overall situation in the Valiant Universe, keeping Faith's story firmly rooted in the same world she seemingly left, and further ties her story into past events by bringing along one of Faith's fellow former Renegades. "Faith" #1 is a charming continuation of a post-Renegades, post-Unity character who definitely deserved her own series.

The comic still carries its familiar "The World's Greatest Comic Magazine" tagline on the cover, and while that's a questionable claim in the literal sense, it serves a reminder to any writer or artist who touches this series that they have Galactus-sized shoes to fill. In "Fantastic Four" #13, it's clear that the creators of this particular issue have most certainly strived to do their best to live up to it.

Robinson's dialogue is similarly tight, conveying both the frustration of a loving but exasperated parent, and the incredulousness of a despot whose calm demeanor belies his typical nature. "Fantastic Four Annual" #1 emotionally deals with the pain that often comes with parenthood and wraps it in a four-color bow, and its heartbreaking ending punches right through the heart of anyone who can sympathize with the relationship between a parent and an estranged child.

Kirk and colorist Jesus Aburtov's colorful and dynamic cover, featuring Sue Richards facing off against The Hulk with The Avengers ready to intervene, has absolutely nothing to do with the happenings inside, but it's beautiful enough to enjoy regardless. Continuity questions and other blemishes aside, Robinson tells a very sad and disturbing story of betrayal and anger, and the team of artists comes together for a very fitting depiction of it. The primary story of "Fantastic Four" #7 isn't mandatory for "Original Sin" readers, but it fits nicely into Robinson's current run on this title.

"Fantastic Four" #642 begins to gather together all of the past elements of Robinson's run and also picks up speed as it draws closer to its conclusion. The more-is-more approach used by the creative team makes for an incredibly fun and intense issue that easily sells readers on the next one.

If readers can make it through the plodding pace of "Faster Than Light" #1, they might find it provides a semi-capable introduction to a series that has the potential to get better.

"Federal Bureau of Physics" #5 is an atypically slower issue of the series, but there's nothing wrong with that because this issue explores but one of a gazillion different ideas, and but a few of the exponentially more ripple effects they can have on every aspect of living. Oliver shows that he can address human drama and interaction as well as undreamed-of scientific abnormalities, so this issue is representative of a series that could go on for as long as the creators want it to.

A comic featuring an eclectic array of characters like Mrs. Watcher, She-Hulk, the Impossible Man's kid, and alternate versions of familiar heroes and villains can't help but be fun. The interplay between them is more than simple filler but can be enjoyed by anyone not familiar with the backstory, and its part in the overall story makes it work for those who are. "FF" #14 might not make sense to everybody, but it still manages to be amusing.

Another wonderful aspect to the comic is Jenkins' frequent hilarious lines and turns of phrase, like Alice's gang, which includes the Mad Hatter, being named the Tea Party, giving that term yet another disparate meaning. With such a dense and diverse backdrop, Jenkins and Bachs manage to conjure up the same kind of fascination that many had when they first heard these stories. Like Tim Burton did with the holiday-blending "Nightmare Before Christmas," the creators of "Fiction Squad" #1 blend an array of beloved childhood stories, give them a fresh slant with a definitely grown-up feel, and tell a story that's absolutely fantastic.

Despite some recycling of story ideas and a blatant reuse of the iconic "I want you to hit me as hard as you can" line, Palahniuk, Stewart and Stewart compile a strong and fascinating chapter to this "Fight Club" sequel. It's a sequel that few would have thought achievable after the conclusion to Palahniuk's original story, but the writer has found new elements to explore that few had even realized existed.

"Fight Club 2" #5 is the issue that amps up an already engaging and complex story, indicating this sequel just might be on par with the original.

In breaking down the barriers between creator and creation, Palahniuk explains many of the oddities seen throughout the series, like the photographic pills which often obscured Nate Piekos' word balloons. Overall, "Fight Club 2" #10 brings Palahniuk's thought-provoking story to a sufficient close, but what persists is the nagging observation that his story would have been all-but-perfect had he not broken through the fourth wall one last time.

"Five Ghosts" #7 is a pleasantly eclectic and nicely-constructed issue that plays especially to fans of pulpy-style adventures, but can all-too-readily be enjoyed by others, as well. This series has already won awards, and for good reason; great writing, attractive art, an appealing idea and a unique mix of styles make this comic difficult to ignore.

"Five Ghosts" #14 is an amazingly crafted issue that's one of the best examples of creative synergy currently being published. It's also one of the most fun.

Karl Kerschl's standard cover features Barry in a typical but dynamic Flash pose, with nods to other members of the Flash's supporting cast, even though they don't appear in the issue. It's an attractive, attention-grabbing piece, albeit one put together independent of the events occurring within the issue. Instead, Williamson uses "The Flash" #1 to examine how even the self-professed Fastest Man Alive sometimes isn't fast enough.

"The Flash: Rebirth" #1 has the unenviable task of placating multiple audiences, but it manages to satisfy them all. New readers are welcomed and not overwhelmed, current ones are courteously walked through another rebirth and formerly-disgruntled ones are given every reason to come back and stay.

Johns makes sure that "Forever Evil" #3 gives readers their money's worth in the form of an intriguing idea with unexpected surprises amidst a foreboding but darkly fascinating environment. Finch and Friend do their part by making sure that the bad guys look good, and the true villains look threatening on a convincingly ruined and darkened world. Anyone who likes what Johns has done at DC and wants to see a modern-day DC multiverse done right will not want to miss this.

Technique issues aside, "Furious" #1 is a superhero comic that has something to say, and says it enjoyably enough. Interested readers might also want to seek out the prologue to this issue that appeared in "Dark Horse Presents" #31.

"Fury: S.H.I.E.L.D. 50th Anniversary" #1 isn't all that special a celebration, but it's fun enough despite not living up to its potential.

Near the end of the issue, Romero adds a nice surprise with a reveal that ties directly into the original "Night of the Living Dead" film, and then at the very end, throws in a surprising development that makes seeking out the second issue a given. "Empire of the Dead: Act One" #1 is pure Romero, combining what he's best known for with a new medium that works just as well as his best films, and even better than some of lesser ones.

This is the issue that sells readers on the rest of the series, and anyone who might have given up after finding a paranormal presence largely lacking in the previous issues will find what they were looking for in this one.

"Giant Size: Little Marvel: AvX" #1 is far from essential reading, but it's definitely fun. Quoting one of Young's verses early in the issue, "it's quirky, it's silly, a bit insane," and it's all the better because of it. Anyone looking for a different kind of "Secret Wars"-inspired mashup will find an entertaining one here.

"Godzilla: Oblivion" #1 is very close to being Just Another Godzilla Story, despite the fact The Big G himself doesn't even make a direct appearance. Fialkov, though, gives the issue enough oomph to at least tease the promise of something better to come, and Churilla demonstrates that he's equipped to choreograph an epic monster battle.

"Gwenpool Special" #1 isn't taken over by Gwenpool, like Kris Anka's rendering of the character on this comic's cover would indicate, but that's no issue, as the creators involved collectively make Christmastime for Marvel fans a little more enjoyable.

While social revolutions take place very visibly around the world, there is the implied notion here that there could very well be cyber-revolutions taking place very quietly, wirelessly, in conjunction with them. "Hacktivist" #1 is a comic that inspires thought, both wondrous and fearful. Milano's idea is an incredibly important and relevant one that's brilliantly brought to life by all creators involved.

Driven by great characterization, a consistently solid story, and the gripping premise of a bunch of teenagers having to grow up and face some of the world's most powerful beings, this issue typifies why "Harbinger" could be called one of the best superhero comics currently available.

This comic has been consistently good and remains among the best of Valiant's output. Like the cover says, this is indeed the start of a new story and therefore a great place for those who haven't been following this book to start doing so. Just as the cover proclaims, it's a must-read.

The issue ends with a very ominous, foreboding, but ultimately fascinating narrative by the good guys, one that's not only a near-perfect wrap-up for this penultimate chapter but also plays into an earlier and perhaps forgotten flash-forward scene from several issues ago. "Harbinger" #24 is the kind of story that can only be told in a longer arc like this one, and proves that a strong lead-in to a finale doesn't have to have lots of fights and explosions. It's also an excellent example of the best superhero comic that way too few are reading.

There is a genuine change to the status quo in the Valiant Universe at story's end, something that's often promised by publishers prior to these kinds of stories but often not really delivered on. With this issue, Valiant proves that the dreaded crossover event story <i>can</i> be good, and satisfying.

Dysart keeps the issue moving briskly by jumping from scene to scene every couple of pages. "Harbinger: Faith" #0 has the feel of an origin issue, in the sense that it's shows Faith moving into the realm of more responsible adulthood, but it doesn't have the compacted, summarizing vibe of a true origin. Readers who enjoyed Dysart's "Harbinger," the current "Unity" series, or who just love great characterization in comics, will want to pick up this look at a superheroine who is growing up.

"Harbinger: Omegas" #1 is a lower-key issue and a transitory point between the past and future lives of the Renegades and their powerful foe, but is nonetheless an important part of the story's progression.

Paul Pope's opening page shows a Harley who echoes the feelings of those who have longed to attend SDCC. Harley's opening thoughts state, "It's been something I've dreamt about. Many times." Through Harley's trouble-making experiences, readers who share that same sentiment will get a taste of what they long to see, in a story that pokes fun at Comic-Con but is also fun because of it.

Conner and Palmiotti's plot is a little contrived; Harley's burning desire to go out on a date with Bruce comes from seemingly nowhere, and Bruce's willingness to help the two villains who kidnap him seems kind of convenient. Still, it fits within the tone of their lighthearted story, and the feel-good resolution is in better keeping with the holiday embedded in the comic's title than some kind of grim and hurtful ending. "Harley Quinn Valentine's Day Special" #1 is a fun, harmless ode to this day of romance.

The pacing is a little uneven, but the art is far more consistent, making "Harrow County" #1 an enticing enough start that blends a couple of diverse genres with a distinct setting that helps overcome its weak points.

"Hawkeye" #15 isn't just another terrific issue in the series; it's a terrific issue that elevates the threat level. The series has generally been a look at what Clint Barton does when he's not an Avenger, but by raising the stakes, Fraction ends the issue with a statement: the mob has just declared war on an Avenger. It's an agonizing cliffhanger, but it makes for the best testimonial that any single issue of a comic series could have: an equally agonizing wait for the next one.

As a series, "Hawkeye" has been a rare success for a character that's struggled to maintain an ongoing title, and the final issue punctuates the heroic nature of Clint Barton and goes a long way towards establishing a modern-day incarnation of the character that has some real staying power. "Hawkeye" #22 is a wonderful wrap up to a wonderful series that sets the stage for the character's next ongoing series.

"Hit: 1957" #1 doesn't do a lot to stand out from other recent comics in the crime genre, but it's a good start to a new series and a worthy sequel to the previous one.

The issue ends on a high note, with a surprising twist that caps off an introductory chapter which lays out an enticing world and a tense conflict. "House of M" #1 struggles in spots but is a competent kickoff that's just strong enough to sell the next issue.

"House of Penance" #1 excels by presenting a decidedly disturbing mood as a preface to any significant story development. Tomasi and Bertram grab readers by showing them there's something really wrong inside this house of mysteries, even if the precise nature of what that is remains a mystery unto itself for now.

Finally, Zdarsky and Quinones poetically, ironically and comically bring the events of this issue full circle before wrapping up this impressive debut. As a character, Howard the Duck has seen a lot of misfires over the past few decades, but this "Howard the Duck" comic is not one of them.

Young brings it all together nicely at the end, making a light but tight done-in-one that uses the backdrop of "Secret Wars" as an excuse to construct a story that likely never would have come to be otherwise. "Howard the Human" #1 is a strongly assembled comic that serves up all kinds of craziness but doesn't forget storytelling basics.

Despite stumbling out of the gate, and for the first part of the race, Waid delivers an accessible storyline that sets up a new status quo for The Hulk. "Hulk" #1 is a misplaced and misguided relaunch, but it manages to right itself in time to sell readers on issue #2.

Kirk, at least, gives the issue a moderately grandiose feel, highlighted by a large spread of an immensely imposing Galactus that's atypical of the rest of the story. Adi Granov's cover is gorgeous, as his covers always are, but ironically it symbolizes the problem with the story: the best part of the issue is before it even begins. The whole idea of Galactus invading the Ultimate Universe is compelling, but the execution falls woefully short of its promise. Instead of delivering any kind of awe or astonishment, the entire issue is embedded with a detached feeling of emotionlessness; things that should have been awesome simply are not. "Hunger" is aptly named, as anyone who craves intergalactic, multidimensional, cosmic wonder is going to remain hungry.

Colorist Romulo Fajardo Jr.'s work is noticeable, but at times for the wrong reasons, due to some occasional inconsistencies; one of the very first pages is an unwelcome distraction, as Hyperion's civilian work boots change color from one panel to the next. It's a minor and forgivable lapse, but it's indicative of the overall feel of "Hyperion" #1: it reads like a passable filler story, but little else.

Valiant Entertainment once again delivers an incredibly strong first issue of a new series, as it almost always does. "Imperium" #1 will give existing readers everything that they enjoyed in "Harbinger," and new readers will find themselves wanting to stick around.

Like many licensed stories, Gischler is forced to rely on elements already seen in the movie franchise, and the newer elements that are introduced often don't carry the same level of freshness or excitement. The story isn't harmed by relying on these concepts, though, and in fact benefits from being separated from the source material by two decades. "Independence Day" #1 is a tasty little popcorn comic that will satiate fans' appetites and a satisfying introduction that should tide them over until the movie arrives this summer.

"Indestructible Hulk" #14 isn't a literary masterpiece, and it doesn't try to be. Instead, it's a very entertaining popcorn comic, evoking the same kind lightweight fun that Waid does over in "Daredevil." Few currently are making comics as much fun as Waid does, and this one is a good example.

"Infinity" #5 is a great comic for those looking for pure, unfiltered, cosmic space adventure, and nothing but. Such an adventure, though, without sufficient characterization to support it and provide a human connection is like a one-note guitar solo, or a one-ingredient recipe. A cup of sugar might be sweet, but as part of a batch of chocolate chip cookies, it's much better. This is epic space opera that's paired with Cliff's Notes characterization, and because of this comes across much shallower than it should.

Shalvey and Bellaire deliver a grotesque finale, which Ellis complements with a darkly comedic clich that anyone who's ever called tech support has heard before. All of the intriguing art and ethereal verbiage make for a roundabout approach towards asking readers to stick around, but it works well enough. "Injection" #1 is a convincing start to something big, even if it's not readily apparent as to what that exactly is.

As a whole, "Insect Bath" #1 succeeds on two levels; the good outweighs the bad and there is enough worthwhile content to justify its purchase, at least for those who "get" underground comix and are willing to expect the unexpected. It also succeeds in paying homage to all of those old undergrounds, both the good and the bad, warts and all, but does so boldly and with its own voice. It's counter-culture's own box of chocolates; some are great and some are wretched, and the fun is discovering which is which.

"Insufferable" #1 is a strong start to a slightly different kind of superhero story. Waid brings the same kind of adept strength has demonstrated in other works, like the aforementioned "Irredeemable" as well as "Incorruptible" and "Empire." Krause gives it a bold, dynamic look that typifies the genre and, together, comics' own Dynamic Duo proves that there are still good and original superhero stories left to be told.

"Invincible Iron Man" #1 is an attractive and impressive debut that stays true to the nature of Tony Stark while providing a bit of evolution for the character, which brings Tony a little closer to his roots as a hero.

Bendis' usage of a newly-handsome and well-coiffed Victor Von Doom was clever and made for a worthy surprise in earlier issues, but Von Doom's constant stalking of Tony is starting to wear thin. Bendis has already succeeded in establishing doubt regarding Von Doom's apparent reformation, but continuing to do so here is little more than redundant. The whole issue has a feeling of redundancy, and -- coupled with its somewhat stagnant pace -- "Invincible Iron Man" #6 is the most stretched out issue of the new series so far.

Andrews turns in an incredibly strong effort that's worthy of a look. "Iron Fist: The Living Weapon" #2 is a beautifully drawn and accessible issue for those unfamiliar with the character, and is told well enough to even entice readers who never had any prior interest.

Like past issues of this storyline, this issue works better at face value as a moderately entertaining standalone comic, where Tony Stark's dad gets to shoot up a bunch of aliens, than it does as part of a late-coming, grandiose addition to the history of a half-century old character.

Still, Gillen adds some nice touches as well, such as Stark still being in denial regarding the recent revelation about his parents, and also a new development with his step-brother. Gillen also pays some attention to storytelling fundamentals, like reminding readers who all the players are in this issue, that make it surprisingly accessible for the fourth chapter of a five-part story. "Iron Man" #21 is a good comic that could have been better, but manages to stay enjoyable enough.

There are other nods to classic time-travel stories; for instance, Raul Allen's cover, with its circular rings of images from different eras, evokes the opening credits of the nigh-forgotten 1980 TV series "Buck Rogers in the 25th Century" while retaining a unique look by way of its two-tone colors. At the other end of the issue, Van Lente delivers a genuine surprise as the story closes, which opens up questions that will cement readers' decisions to pick up the next issue. "Ivar, Timewalker" #1 isn't a groundbreaking time-travel story, as few are anymore, but all the creators involved add enough touches to make this well-trodden road seem a little less traveled.

"Jughead" #2 is every bit a Jughead story; the new look isn't an overhaul so much as a simple tune-up. While the tweak serves its purpose in welcoming new readers to Riverdale, it also keeps existing ones engaged.

"Jupiter's Circle" #5 is a terrific chapter in what has been a terrific series, adding dimension to the already-completed companion series but also working as a perfectly viable and well-constructed series on its own.

The showdown between the Union and Hobbs is a bit pedestrian with no real tension or surprises, but Millar and Sprouse establish a mood and setting that makes this barely noticeable. "Jupiter's Legacy" #4 is another terrific installment in Millar's story about a group of superheroes who take over, and it's a skillful chapter that plays a role in those future events.

"Jupiter's Legacy" #4 finds something plenty worthwhile to wring out of the traditional superhero idea, and does so by dealing with the very questions brought forth by the notion of conventional superheroics in the modern day. Using the fundamentals of the genre, Millar rearranges them to make something truly fresh.

Millar sets aside the subplots and character nuances of past miniseries and favors a straightforward resumption of the series without any twists or distractions. "Jupiter's Legacy 2" #1 is a simple, action-packed treat for readers who enjoyed the "Jupiter's Circle" prequels but have really been waiting for the primary story to get rolling again.

Ivan Reis, Joe Prado and Rod Reis' cover adds to the Metal Men deceit a little bit, by showing the new team impersonating The Justice League, but it's a nicely constructed piece that's just too cool to care. "Justice League" #29 suffers a little bit for trying to pack in too much and then having to decide what to leave out, but what is presented is plenty enjoyable and actually moves the story along.

"Justice League: Futures End" #1 is a pretty middle-of-the-road effort, best serving completionists and those who bought the first part of the story, but is a decent enough story that JLA fans can also enjoy.

A lot of longtime fans of DC Comics haven't been all that thrilled with the New 52, but "Trinity War" and this issue in particular have a lot of great moments that are evocative of old-school storytelling that old and new fans alike will get a kick out of.

"Justice League of America" #12 is a "Forever Evil" tie-in that has its moments, and ends on a promising note that bodes well for next issue, but also has a lot of soft spots that hold it back from being a truly worthy extension of the overall story. It's the kind of ancillary comic that many might have expected to be a lot worse, but easily could have been so much better.

Despite not being as well-known as a writer, Hitch does an admirable job for the most part; his characters are mostly believable although, his Batman seems to revel all too much in playing the role of Mr. Smarty Pants, and some of the dialogue during the main battle sequence is a little flat. Hitch's script is decent and enjoyable but, ultimately, it's outshined by his dynamic art, which -- in turn -- is strengthened by the team of inkers and the usual bold and vibrant color palette of Alex Sinclair and Jeromy Cox. "Justice League of America" #1 has a few blemishes but it's a strong start to a new and worthwhile companion series to Geoff Johns' "Justice League."

"Justice League of America" #6 has its moments and works better as a part of Hitch's overall story than it does as a single chapter. While Hitch is a capable writer, the issue reminds readers that he's even better as an artist.

"Justice League: Darkseid War Special" #1 comes across as a weaker chapter in Johns' "Darkseid War" event, but that's largely because previous chapters have been so strong. The issue is more-than-capable on its own, and -- although it isn't intended to be read as a standalone -- it holds up pretty well thanks to remarkably consistent art and well-constructed characterization.

KISS has always been a franchise that's been seen as larger than life by their fans, and past comics have always tried to reflect that. But "KISS Kids" is a refreshing, pleasant, and unassuming comic that proves smaller can be better, and readers of all kinds, whether young or old, fans or not, can readily lick it up.

Morrison and Mora cap the issue with a somewhat surprising and rather psychedelic occurrence that presumably kicks off Klaus' journey towards legendary greatness. It's a beautifully illustrated and colored sequence that presents more questions than it answers about the character's origin, but it's only the first of six issues. "Klaus" #1 is an atypical yet wonderful and characteristic take on a beloved and timeless childhood legend. Morrison and Mora have created the beginning of a potential future classic.

"Lantern City" #1 is a fairly simple and somewhat familiar story, but it's dressed to impress and -- because of that -- this very attractive comic most certainly does.

"Lazarus" #13 does the nigh-impossible: makes a great series even better, heightened by a somewhat surprising development at the end of the issue. Many series that start off strong, fail to perpetuate the momentum that Rucka and Lark not only maintain, but escalate.

A flashback sequence telegraphs the identity of a character that Simone saves for the cliffhanger, so the big reveal is anything but and the issue doesn't quite end with the bang that was intended. Still, it doesn't really harm the issue any way, because both creators establish a compelling story long before the issue is over, and each of the story threads all carry enough weight to stand up on their own, making for a strongly compiled introductory issue. "Leaving Megalopolis: Surviving Megalopolis" #1 is worthwhile take on the superheroes-gone-bad motif, and Simone and Calafiore sell the idea both to new readers and those anxious for this sequel.

"Life With Archie" was one of the first attempts to expand the boundaries of the Archie franchise, and "Life With Archie" #36 is the latest to successfully do so with a story device that some might call a gimmick, but is actually a magnificent example of solid storytelling that pushes the limits of the franchise while still remaining faithful to it.

"Loki: Ragnarok and Roll" #1 is the first part of a four issue series, and a strong one it is. It's fun to see a different, lighter take on Norse mythology than most comics fans have gotten used to, and with a different twist thrown in to make it truly unique.

The title "Low" is in reference to the cities mankind has built deep beneath the ocean, but Remender clearly has other meanings in mind, as well. Stel is at an understandably low point in her life, and morale is low in the starving and crime-ridden undersea city. "Low" #2 itself doesn't quite match up to the higher standard set by the first issue, but works well enough as the second chapter to a larger story, and is carried by the stylish and picturesque images.

"Mae" #1 is nicely illustrated and populated with likeable characters, but the momentum of Ha's story is greatly slowed before it's even built up.

The issue holds true to what has historically made the character so interesting; despite his villainous ways, he sees himself as a champion to his cause. "Magneto" #1 isn't any kind of definitive take on the character, nor is it among the best Magneto stories, but it is a strong introduction with a solid premise, and it's enough to pull readers back.

It's rare that an account about such a dark and troubling aspect of American history can be told with such a positive outlook, especially by one who has been victimized by it firsthand. This is an absolutely wonderful story about one man who played a very important role in one of this country's most important social revolutions, and continues to play an important part to this very day.

"Marvel Knights: Spider-Man" #4 kind of stumbles along like it's in a drug-induced haze, but artistically it has an unconventional sort of appeal that makes it difficult to stop reading. It's not for everybody, but it's most attractive to those who are looking for a different kind of Spider-Man story, as this is definitely different.

The intent of the Marvel Knights books has always been to bring top talent to Marvel's superheroes and to in turn bring something different from what's being done in the regular titles. "Marvel Knights: Hulk" #1 succeeds at both goals, and is arguably the best of the three such titles so far.

"Marvel Zombies" #2 works as a well-characterized and skillfully illustrated comic with an engaging story and moments of genuine surprise. Readers who pick this up unaware of what came before or the bigger tapestry of "Secret Wars" will still find a nicely constructed issue.

"Memetic" #1 has a kind of creepy, modern-day "Outer Limits" feel, and is especially unnerving because Tynion recognizes that the scariest threats are the ones that are closest. It's a great start to a story that benefits from its extra length, giving readers something beyond a taste that makes them want more, not unlike that psychedelic sloth contained within.

There's one key element to the show that the silent medium of sequential art cannot capture, and that is the mood setting soundtrack. There's a nod to a Glenn Frey verse that was once featured in the show, but song lyrics scrolled across the top of a panel in a wavy line never really succeed in capturing the same emotion. Still, "Miami Vice Remix" #1 has so much swagger that it establishes a look and vibe all its own, giving the franchise its own unique identity from that of the format that birthed it.

When considered on its own without any of the franchise's history, Bunn and Balden's story is a competently constructed introduction to a sci-fi story. Those familiar with the Micronauts of old, though, will find it lacking; "Micronauts" #1 shows some promise and entertains, but it's akin to seeing one's favorite band well after its most well-regarded members have left.

Lest anyone think that a less complicated Chaykin story means a cleaner one, fear not; there are traces of the usual sordid and smutty elements Chaykin's work is often known for, and it's accompanied with a fair amount of his trademark colorful language. "Midnight of the Soul" #1 is typical Chaykin, but that's not to say it's the same old Chaykin; he manages to incorporate many of his usual touches, but his story remains fresh as he again demonstrates his skills as one of the industry's most unique and long-lasting veterans.

"We're not really Avengers; more of an ad hoc team-up," states one character, which kind of sums up the whole lipstick-on-a-pig idea that this comic pushes. While these characters might be Avengers in name only, that's not to say it isn't a fun and entertaining team book. "Mighty Avengers" #3 shows that Ewing is up to the challenge he has put up for himself, and gives readers something decent to read while he continues to meet it.

The holidays might be over, but the outstanding and accessible yarns presented in the seasonally-themed "Mister X: Razed" #1 overrides the off-kilter timing. After thirty years, Motter's franchise hasn't lost any of its edge and his storytelling excellence from past generations is worthy of being recognized by the current one.

It's a somber and somewhat slow start to the series, but the introspective on a character who's both dead yet escaped death is interesting enough to support the issue. "Monster and Madman" #1 holds promise for the remainder of the series, with an unlikely but original premise that has enough of a hook to keep readers on the lookout for issue #2.

Ellis has delivered the finest run on the character since those Moench days, and Shalvey has made the character a contender for best-dressed superhero. "Moon Knight" #6 is a superbly-done sendoff, and while these creators will be missed, they have infused the character with some new potential for future creators.

Spector only appears as Moon Knight on a couple of pages and, upon his grand entrance, the climax immediately segues into the issue's near-wordless epilogue. There's no battle or climactic throw down and, while it feels as though a page or two might have gone missing, the ploy might be intended as a seed for future storylines by other writers. Seeming omissions aside, "Moon Knight" #12 is a nice sendoff for the series' second arc and an all-around worthy wrap up to the series' first year.

"MPH" #1 doesn't push any storytelling boundaries or make the reader think too hard, so in that regard accomplishes the same kind of thing "Fast and Furious" does, by delivering something fun that's not trying to be philosophical.

"New Avengers" #12 is enjoyable enough, but readers might feel like they were just offered a chance to sit down and rest, only to have the chair kicked out from under them as soon as they did. The wrap-up is fun, but it would have been nice to catch one's breath before being asked to hold it again.

Ewing's story sets the stage for these New Avengers and gives the team a solid place in the new Marvel Universe, but what it fails to do is provide anything more than a threadbare reason as to why this team should even have the word "Avengers" in their name. The practice of putting any given character on the team has long been one that's kept the membership fresh and evolving, but here there's little to justify the name of the title beyond marketing purposes. "New Avengers" #2 is a good comic, but it's not an Avengers comic, no matter what the title says.

Denys Cowan and Bill Sienkiewicz's cover is an almost perfect representation of this gritty, urban story, with an iconic shot of the character in a dark alley. "Nighthawk" #1 provides a compellingly realistic attempt at showing what the Punisher might be like if he had Batman's tech and existed in our world, dealing with everyday issues that might seem a little too mundane for a superhero. There's nothing mundane about Walker and Villalobos' effort, though; they have provided the character a home, and it's one that could use a superhero's touch, albeit a dark and violent one.

Niles doesn't demonstrate the same kind of nail-biting tension that he has in past efforts, but his story still has a higher caliber, refined feel, thankfully lacking any kind of gratuitous shock and bloodshed. "The October Faction" #1 doesn't exactly wow or impress, but it doesn't disappoint, either, and it's just satisfying enough as an intro to give next issue a try.

"Oddly Normal" #3 is largely carried by Frampton's fanciful art, which makes the flaws in his story mostly forgivable. By taking his time to show readers around, story progress is slow, albeit quick enough to convince readers to come back if they like what they've seen.

"Oh, Killstrike" #1 speaks its mind regarding the image (pun intended) of many of the superhero comics from two decades ago, initially with some serious commentary and then with humor that largely succeeds.

"Old Man Logan" #3 benefits from Bendis' decompressed storytelling style, giving sufficient time to explore new landscapes as well as providing Sorrentino and Maiolo the time to render them. It's the kind of issue that takes advantage of the scope of "Secret Wars" and the diverse world that houses it.

"Original Sin" #4 is itself a bit strange, but the fact that Aaron makes a decent story out of such a strange mix is a testimonial to his talent, despite this issue's weaknesses.

Ultimately, the writers rework the nature of the acts committed and the past events driving this story into acts that are more akin to mistakes, albeit huge and costly ones, than actual sins, which makes this story as a whole go down a lot smoother than the past three individual issues did. "Original Sins" #3.4 is a nice save for the series, allowing this story about mistakes from the past to exist without corrupting these characters' futures.

"Orphan Black" #1 is that rare kind of tie-in that probably holds more appeal for those less familiar with a franchise than it does for its loyal followers, but it's nonetheless a worthy if tentative expansion.

As the cover boldly states, hamburgers and dead strippers also figure into the story, but only as part of McKeever's wry and mildly-twisted commentary on the life of this professional comic book creator. "Pencil Head" #1 is the kind of inward examination that will be most appreciated by those who know the industry, but anyone who works for a living can enjoy its observations. McKeever's rough and blocky style won't please all at first blush, but it's a style that's ideally suited to the absurdities that plague both McKeever's world and many others.

"Planet Hulk" #3's biggest misgiving is that it's just too long an issue for the story Humphries has to tell, but at least readers are treated to some dazzling art and coloring throughout.

All creators involved with this issue and this series are very good at what they do, without trying to blind or distract readers with undue flash and pizzazz. They are especially adept at working so well within the confines of an existing franchise, especially one that's been mishandled in the past; all while being sandwiched between a pre-determined starting and finishing point. They even expand upon it with some surprising touches and a deeper look at some of the themes mentioned or touched on in the films. This storytelling in this issue makes "Planet of the Apes" a better place.

The thirty pages of story make the $4.99 cover price worthwhile, at least in comparison to the value of most other comics. Superlatives like "Special" and "Spectacular" make it sound cool, and the #1 on the cover makes it look cool, but it's the story inside that is cool. This one-shot is the long-welcomed next chapter of a great story, and whatever the superlative tacked on to the title of the next episode, here's hoping it'll be seen soon.

Readers might want to have their Google app fired up while reading this comic, so they can look up some of the obscure names and references made throughout by Pires. This doesn't impede the experience, though, as the references aren't critical to understanding the story, but they do give it an avant-garde kind of style. There's nothing manufactured about "POP" #2; its compelling premise, colorful characters and trendy vibe make it worthwhile.

Thies' art also paces Abnett's story nicely, despite the issue's derivative predictability, and David Palumbo's cover beautifully blends a couple of the different franchises together. "Predator: Life and Death" #1 is for those who can't get enough Predator comics in their stack. For all others, though, there will be a nagging sense they've seen this before, because -- for the most part -- they have.

"Prometheus: Fire and Stone" #2 is a better comic than its competent but derivative opening and well-composed but telegraphed ending would indicate. Tobin and Ferreyra have been given a tough task, one that would have been significantly less so with a better scheduling plan, but nonetheless skillfully manage to turn out a worthwhile chapter in this franchise-spanning mega-arc.

"The Punisher" #1 is a worthwhile beginning of a new era for the character, remaining true to his motive and mission, but isn't afraid to let a little light in while doing so.

Cloonan and Dillon's "The Punisher" #1 doesn't raise the bar much, but -- for a character not really known for pushing storytelling boundaries -- that's just fine for anyone needing their Frank Castle fix.

"Ragnark" #4 reads like the kind of comic Simonson was born to create; it's an excellent example of how Simonson, one of comics' most notable and longest-tenured creators, has still got it going on.

This comic would have been entertaining enough as a look at the life of a young, independent creator trying to make it in the industry, but Brunswick throws in a far-reaching surprise at the end of the issue; or at least, it would have been a surprise, had it not been spoiled on the very cover of this comic. This last-minute development is almost a disappointment, as it gives an indication that the comic might shift away from its well-established real-life feel to a larger-than-life one in future issues. Regardless, this issue stands on its own as something that anyone who's tried to make a go of it in the business can relate to, and it provides a big enough shock at the end to make readers see where it goes next.

Riley Rossmo's eye-catching cover grabs readers' attention before they even crack open the comic, and then Williamson, Pizzari, Beredo and Cowles all deliver a lot of straight up fun in "Red Skull" #1, with some cool twists on almost-familiar characters that are part of a punchy introductory chapter.

Churchill delivers a nice cover and some attractive interior pages, but his talents are largely wasted here, and this comic is otherwise pure misery. It wallows amongst the sticky floors, torn upholstery and overall seediness of its grindhouse mentality, flaunting itself yet providing nothing that can't already be found in such films, or other comics. Sex, violence and bad language can be great if served up with a story that requires them. "Revenge" #1 serves up nothing of the kind, and is best left on the shelf.

The flashiness of the wrestling ring is nowhere to be found in "Ringside" #1, which seems to be the whole point of Keatinge and Barber's concept. The events inside the ring may be scripted, sure, but what goes on outside of it is just as unpredictable as anything else in life. There are no gaudy costumes, folding chairs to the head or amped up bravado for the sake of applause in the unseen world behind the show; instead, there are back alley beatings, friends in need and characters trying to make a go of it in a very real world, one far more intimidating than a wrestling ring. Keating and Barber's "Ringside" #1 is a realistic peek behind the scenes and into the lives of several characters connected to a glory-seeking world, but their lives are anything but glorious and that's the compelling hook this issue sells so well.

"Rocket Girl" #2 is a very likeable, accessible, clever and charismatic comic that, above all else, is just plain fun. Montclare serves up a well-traveled idea with a twist, and Reeder embellishes it with a cheerful and upbeat flair that makes it one of the most enjoyable comic books of the year.

"Rowans Ruin" #1 is a rare combination of great characterization and heart-stopping horror that doesn't resort to clichs, instead focusing on the characters and their 21st century influences. It's a strong introduction that's enough to win over wary skeptics who might hesitate to pick up another horror comic.

Horton ensures that Lilly's character continues to stay fresh; her conscience comes into play near the end of the issue, something that makes for another twist that is yet another selling point for issue #2. Dynamic storytelling keeps the comic fresh and unpredictable, with stunningly constructed art to boot. "Satellite Falling" #1 is a genuine example of storytelling excellence in comics, one that uses its influences to create something refreshing.

While not much mention has been made of Fraction; his presence almost seems minimal in comparison to Chaykin's. The strength of the writer's storyline deserves kudos both for its intrigue and period setting, but also for its ability to bring out the absolute best of one of the industry's most talented and innovative artists. By publishing "Satellite Sam", Image Comics showcases an excellent example of its charter by giving the industry's best talent the opportunity to create their best work.

"Satellite Sam" #7 isn't the most accessible for those not up to speed on past issues, but one look at this comic will make readers want to seek them out. Like the rest of the series, this issue is a superb example of what great comics can be like, even without superheroes. Or color.

"Satellite Sam" #11 is at a point in the series where Fraction and Chaykin have perfected their synergy in an issue that smoothly cruises along even as its story ramps up. It's the showcase of a series that has consistently remained among one of Image Comics' best titles.

"Savior" #1 provides great art, great characterization and a unique enough twist on the millennia-old notion of a character who can seemingly perform miracles. The synergy between the writers and the artist is not only based on their collaboration but also on allowing one part of the team to let loose when appropriate, which all involved do confidently.

"Secret Avengers" #13 isn't the easiest comic to grasp without having seen past issues, although the first page recap largely brings readers up to date. Nonetheless, it is most definitely a more down-to-earth Avengers comic for those who might be getting tired of all of the space-faring, epic-scope event stories that have dominated other Avengers comics.

Alex Ross delivers a typically stunning, family portrait-style cover for the issue that visually sums up Doom's relationship to not only Strange, but also Susan Richards and her daughter Valeria. "Secret Wars" #4 impresses, both as part of an evolving storyline and as a standalone character study enhanced with expressive visuals.

The Marvel Universe has been rewritten, and Hickman and Ribic ensure that "Secret Wars" #9 leaves a large and unlimited canvas that allows for those stories to be created. Hickman's grandiose odyssey has come to a close in both a very human and very epic manner.

It's a likely presumption that any creative effort with the word "Battleworld" in the title isn't meant to be high art. "Secret Wars: Battleworld" #1 doesn't try to present itself as anything other than what it is: a fanboy jamboree that's meant to be fun, not logical.

"Shadowman: End Times" #1 is a slow but enticing enough introduction that convincingly indicates that the character is on the verge of something significant. It's a worthwhile and completely accessible comic, even for those who hadn't tried "Shadowman."

"Shaper" #1 is a very strong start to the series with unique twists given to familiar ideas, good characterization and lavish art that makes this world seem a little closer to home. The expository setup is far more enjoyable than many such stories, boding well for next issue.

The series had been coming along okay, but "Sheltered" #6 gives it a shot in the arm that ratchets up the excitement a little bit. It's not quite so insular now and is all the better because of it.

"Shutter" #2 is a seriously delightful fantasy/adventure that's difficult not to like. Del Duca's imaginative art plays incredibly well with Keatinge's whimsical story, and both creators excel at keeping readers guessing and eagerly anticipating next issue.

"Sidekick" #1 is not solely about a has-been wallowing in his past accomplishments; Straczynski throws in a couple of surprises along the way, and one of them is a genuine shock. He's creative enough to realize that there are plenty of modern-day superhero tales to tell, and talented enough to pull one off. This is definitely a comic for people who might have tired of superheroes long ago, but it's also one for those who still dig them.

It doesn't have the feel of anything epic or outrageously unique, but Slott and Allred don't really seem to be aiming that high. Instead, it's a solid attempt at simply putting together something fun, and on that level they succeed. "Silver Surfer" #1 is a nice showcase for both Slott and Allred's talents, and it's also a worthy introduction to a new series that should please Silver Surfer fans.

"Solar: Man of the Atom" #2 is what truly defines this series as a character-driven comic, and under Barbiere and Bennett it stands out as one of the better reinventions of this touch-and-go character. Solar himself has yet to be rigorously explored, but that's just something that makes this comic even more enticing to readers.

Aaron and Latour completely, and wisely, stay away from any racial topics, as their story isn't about race or social issues; it's about attitudes, and how the wrong ones on both the part of the observed and the observers can unfairly and negatively impact an entire region. "Southern Bastards" #1 beautifully shows how ugly such broad and misguided assumptions can be, and it's an increasingly tense and captivating lesson.

Despite not providing much advancement of the series' storyline, "Spawn Resurrection" #1 gives readers their money's worth. It talks too much but delivers exactly the kind of thing that those familiar with Spawn will expect.

"Spider-Gwen Annual" #1 is a rare kind of anthology issue where all of the stories are enjoyable and well-crafted; the issue reads like a roll of assorted Life-Savers with no green or yellow ones inside.

Near the end of the issue, Latour serves up a flashback to Gwen and Peter during her early days as Spider-Woman, which establishes their early relationship and is a nice look at Peter for readers hungry for to learn about his involvement in Spider-Gwen's formative days. Latour continues to explore not only this new character but the differences between her world and the more familiar Earth-616, all while Rodriguez and Renzi attractively execute it. The all-new, all-different "Spider-Gwen" #1 is thankfully not all that new or different, but instead a continuation of what the creators had already nicely established.

"Spider-Gwen" #5 tensely advances Latour's story, and Visions' touch gives it some style; even in the absence of the lead character, the creators know how to keep it moving and entertaining.

"Spider-Man" #1 is an excellent start to a new series, a worthy introduction to a Spidey readers might not be as familiar with and a wonderful continuation for those who are.

For those tired of or uninterested in multiversal Spider-Men swinging across dimensions, "Spidey" #1 scratches that Spidey-itch. Those who do enjoy the other Spider-Man titles will enjoy this, too; this all-ages book will especially appeal to old-school fans who miss the Spider-Man of decades ago.

Guggenheim delivers even more than supervillain battles and super-sex, though, not that there's anything wrong with those. There's palpable tension between team members, as many have their own secret agendas that deepen the story, making it even more engaging than the fooling around and fisticuffs. The various character-driven plot threads give the issue the kind of depth not normally seen in these kinds of event spinoffs, and the strong characterization makes a case for Guggenheim, Pacheco and Taibo's "Squadron Sinister" to stick around even after "Secret Wars" finishes up.

Robinson and Kirk assemble a strong and diverse multiversal roster that is capable of carrying a series in "Squadron Supreme" #1. Despite the wavering tone, it's a strong enough debut to bellwether the upcoming issues of the series.

"Star Wars Annual" #1 evokes a kind of old-school feel, in that the story is slightly different but no less enjoyable than the main series, and -- in many ways -- more so by way of its approach. Gillen, Unzueta, Mounts and Caramagna all ensure this annual is special indeed, and they introduce a new character that begs for further exploration.

"Star Wars" #1 is a fitting and superbly-constructed homecoming, one that is inviting to more casual fans while delivering excellent storytelling that will encourage existing fans to make the jump to lightspeed and travel to the franchise's once and future home.

Jason Aaron, Stuart Immonen and Wade Von Grawbadger's "Star Wars" #9 feels like a very natural extension of the original trilogy, taking baby steps towards expanding the characters and their situations while carefully coloring inside the lines of the movies.

"Star Wars" #16 is worth picking up, both for Terry and Rachel Dodsons' cover and Yu's interiors, as all creators involved get another new story arc off to a nice start.

Aaron's cliffhanger ending again presents another formidable challenge for Vader, putting the Dark Lord in a position he rarely finds himself in, and one that is again captured convincingly by Deodato. Mark Brooks' standard cover is a beautifully faithful and imposing image of Vader that's both iconic yet representative of the happenings inside the issue. For all its bumps and blemishes, "Star Wars: Vader Down" #1 still comes across as remarkably strong, as both writer and artist demonstrate their aptitude for all things "Star Wars."

Readers who miss the emotional magic and wonderful characterization of Robinson and Harris' "Starman" run will find that same magic here. "Star Wars" fans will find a similar kind of wonder as well as they discover that the answer to a comparatively trivial question is far grander than they ever could have imagined. "Star Wars Special: C-3PO" #1 is something special, indeed.

"Chewbacca" #1 is enjoyable enough; Zarro is a likeable character, and Noto's picturesque illustrations go a long way towards making up for where the storytelling falls a little bit short.

"Star Wars: Darth Maul " Son of Dathomir" #2 has a title that takes longer to say than some of its anticipated but flawed showdowns take to read, but faithful characterization in an attractive package make it the kind of story that will be pleasing enough to "Star Wars" fans.

Despite that artistic ambiguity and some characterization that borders on shallow, "Darth Vader" #2 is a very attractive and compelling chapter in Marvel's new "Star Wars" line.

"Darth Vader" #9 doesn't fully do justice to one of cinema's most recognized villains, but Gillen still crafts a moderately engaging story while Larroca and Delgado cleanly and attractively facilitate it.

"Darth Vader" #16 is an approachable and nice looking comic, but it's also one that seems to tread on a lot of traveled ground before taking a shortcut to get where it needs to go. Those who know and love the Dark Lord of the Sith will get exactly what they're expecting here, but still may not feel all that satisfied afterwards.

Shortcomings aside, Ostrander and Duursema remain the strongest and most consistent team to ever touch the franchise in comics, and "Star Wars: Dawn of the Jedi " Force War" #1 is a stellar example of that. The force is indeed strong with this one.

"Star Wars: Lando" #3 is an adequate midpoint for a miniseries that has been well done so far and lays down promise for future issues, despite reading very much like an interlude.

While this issue has some shortcomings, it stands out sufficiently enough as a representative of a new series that shows promise as a deserving entry to the Star Wars expanded universe, and the happenings of this issue are enough to make readers want to stick with it.

"Obi-Wan and Anakin" #1 fulfills its main mission towards establishing just how a pre-war Jedi and Padawan would interact, even if all the trappings are just a benign and murky setting that doesn't really help the story along. Neither, though, do they hurt it too much, as characterization is what carries the issue, not disintegrating spacecraft.

"Star Wars: Poe Dameron" #1 is a conservative but well-executed take on a fan-favorite character from "The Force Awakens." Its faithfulness is enough to win over readers, but its baby steps forward won't scare them away, either.

Rucka and Checchetto finish off "Journey to Star Wars: The Force Awakens - Shattered Empire" #4 pretty well, and -- while it's a little bit clumsy -- it's a fun and scenic journey for any "Star Wars" fan.

"Starbrand & Nightmask" #1 sets up a pretty clever dynamic, but Weisman and Stanton succeed better at the ordinary than the extraordinary. There are a lot of resurrected ideas in the post-"Secret Wars" landscape, and it will take a few issues to see if this one really sticks.

"Sundowners" #1 is a superhero story of sorts, and one with the kind of cast that's been seen many times before, but also one that actually finds something a little different to say.

"Superboy" #25 looks good, but is continuously at odds with itself, working up a sweat trying to make sense of a story that has cut itself into pieces, reaching out to readers half-heartedly and then offering nothing to keep them, and then ignoring a potentially interesting side of the story to instead deliver a far more complex and contrived one. If this is what happens when Krypton returns, it's better off going away again.

Like "All-New" and "Ultimate," "Superior" seems to be the latest darling of Marvel descriptive title adjectives, which apparently is now used to denote a familiar looking character with a darker personality. "Superior Iron Man" #1 plays the game decently enough, with a unique and good-looking spin on an overdone idea.

While not the strongest issue in the generally impressive run of this title to date, the strengths it does have outweigh the weaknesses, and as such is worthy of recommendation to anyone who's been enjoying Slott's stint.

The issue does have its weak moments, though; Ock's unhesitating acceptance of the symbiote plays out too quickly, and the subsequent shift of his mindset from Venom back to dealing with issue's in Peter's life is equally abrupt. Abrupt, but not impossible to accept, as Slott and Gage make the issue so entertaining in large part to the amount of content they cram into it, that such transitions are forgivable. "Superior Spider-Man" #24 featuring the Superior Venom is a very enjoyable and thrilling issue, typifying what Slott has delivered since taking the character into such unexplored territory.

"Superior Spider-Man" #33 is the kind of popcorn comic that's best consumed for what it is, rather than criticized for what it isn't. There's enough characterization and tension to make readers not really care that these normally earthbound and friendly (and not-so-friendly) neighborhood Spider-Men really don't belong swinging around through the multiverse.