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.

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.

"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.

Tiwary gives Epstein's final moments an almost Kubrick-esque kind of surreal quality, neither surrounded not with bright colors nor dreary grey, but almost all white, as though to signify that his life is near its end. There is a dream-like, hallucinogenic vibe throughout the sequence, with nothing really to focus on except Epstein and his final thoughts. With all of the extravagance and decadence gone, the end is a genuinely moving moment that perfectly caps off an all-but flawless chronicle of a life's story that is largely unknown. "The Fifth Beatle: The Brian Epstein Story" accomplishes all of its goals: it takes the readers and Beatles fans backstage to get to know the man who made the band into a phenomenon and shows what an accomplished yet lonely man he was; it's captivating, brilliant, funny, and tragic, and it artistically captures every mood and locale associated with this era of Beatlemania. It's a must-have for Beatles fans and fans of great storytelling.

Aaron and Del Mundo conspire to make this issue nothing less than a fantasy lover's dream, with its clearing house of creatures, concepts and clashes that's rife with the rich kind of adventure that fans demand. "Weirdworld" #1 is one of the most fertile and opulent "Secret Wars" tie-ins thus far and a stand out among an already strong line of related miniseries.

As impossible as it may seem, both Aaron's script and Del Mundo's illustrations only get stronger as the issue progresses, culminating in a brilliantly paced and structured lead-in to the arc's literal cliffhanger. Both creators seemingly feed off each other, throughout this issue as well as the series, making for a story that only gets better and better. "Weirdworld" #4 is nothing short of comic book perfection.

Landis, Dragotta and Guimares tell a beautiful and delightful tale about a key segment in the life young Clark Kent. A single illustration by Matthew Clark and Rob Schwager at the end of the issue is ripe with insight into the history of the Kents, which both deserves reader scrutiny and contains some curious oddities that demand future explanation. If you're worried "Superman: American Alien" #1 is just another version of Superman's origin, don't be -- it's even better.

Landis and artist Steve Dillon close out the issue with a straightforward and standalone one-page feature encapsulating the origin of the Parasite. Like every issue thus far, "Superman: American Alien" #4 is a beautifully captivating examination of how the world shapes a young Clark Kent. It's not the origin of Superman at all; it's the story of a young man finding his way, learning that he just might have what it takes to be the world's greatest hero.

"Superman: American Alien" #7 is excellent as both a standalone story and the final chapter of Superman's pre-history, which not only sets up the character's iconic status as an American hero but also the hopeful possibility of a sequel.

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.

"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.

"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.

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.

"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.

"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.

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.

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.

"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.

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.

"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.

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.

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.

"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.

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.

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.

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.

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.

"The Auteur" is not for everyone, but then, alternative offerings never are. Anyone with a disdain for the mainstream, or even those just looking for something totally different, will find satisfaction here. The ongoing series is scheduled to begin next March, but "The Auteur: Premature Release Edition" #1 premieres this weekend at New York Comic-Con.

"The Beauty" #1 is one of the strongest introductions to a series in a long time because of all of the fascinating potential it brings and, in keeping with its theme, it's pretty nice to look at, too. Haun and Hurley have laid out a huge canvas, and there are almost limitless ideas they can put down on it. Like the basic human urge that's at the focal point of this comic, "The Beauty" is a pleasurable experience that fans will want to come back and enjoy again.

Phillips and Breitweiser collaboration creates several, totally different art styles; more photorealistic images and greytones are used to represent photographs, for example, and much darker and appropriately blurrier images portray the vague and fragmented flashes from Charlie's nightmares. The diverse art is symbolic of the eclectically blended story; human drama, strong characterization and an ever-present murder all combine to make "The Fade Out" #4 not only a tremendous issue in the series but a typically stellar example of the kind of synergy Brubaker and Phillips bring to their stories.

"The Fade Out" #9 is an excellent chapter in an excellent series, made so with a well-crafted story by Brubaker and impressive synergy between himself, Phillips and Brettweiser.

Spencer and Lieber push "The Fix" #1 into a unique space, stuffing the comic full of well-characterized crooks and creating a pair of likeable leads who stay just one step ahead of getting what's coming to them. The success of the book lies in making readers hope that the hammer doesn't come down on them too hard.

Bendis keeps his tendency for verbosity in check, mostly, and his story is all that much tighter and all the better for it. "The United States of Murder, Inc." #2 is an excellent noir-ish, alternate-reality, poli-criminal thriller that's thought-provoking and full of superb character drama and interaction.

"The Wake" #7 continues to surprise, just as every issue of the series has done, and it's even more surprising that only three issues remain with so much still to be told. It's equally fascinating, terrifying, and mysterious, a recipe that makes each issue a terrific experience that only makes the wait for the next one all the more agonizing.

"The Wake" #10 goes beyond delivering what was expected, by also delivering plenty more that was not. Snyder and Murphy's finale exceeds expectations that weren't even in place at the beginning of this series, and showcases exactly why this series was deserving of its recent Eisner award.

A fictional discography follows the story and adds both some more insight to the history of Motherfather as well as depth to the group and the issue itself. "This Damned Band" #1 is a triumph and a strong, fascinating introduction.

Anyone who admired the last "Weirdworld" series will relish this one. Conversely, anyone who missed it will find themselves at no disadvantage if they decide to jump on board here. Humphries and Del Mundo know exactly what they need to do to keep readers engaged, and they do an amazing job of it in this introductory issue.

Nonetheless, this is the Superman that fans really wanted at the dawn of the New 52. It's not about what's different about the character or about what continuity is and isn't there; it's about the essence of the character, and everything that makes the Man of Steel great. Free from these distractions, this debut issue really is Superman unchained.

"Superman Unchained" #5 has regained the momentum established in the series' first issue, and truly is a Superman comic that stands out and remains far superior its companion titles.

The conclusion brings symmetry to the nine-issue story, as the explosive ending to the battle recollects the Nagasaki bombing shown in the arc's opening scene in issue #1, and brings The Wraith's involvement in both to a redeeming and positive close. "Superman Unchained" #9 brings the entirety of the series to a positive close, as well; a series that has consistently outshined the other Superman titles during its run.

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.

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.

"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.

Those put off by the far-reaching and dimension-hopping occurrences of previous installments will find "The Multiversity: Mastermen" #1 a far more localized and accessible comic that can be enjoyed just fine as a standalone, independent of the rest of the series. This is a superbly paced and constructed issue, balancing darkness with humor, despair with hope and human drama with high-stakes conflict. Anyone who thought they hated "Multiversity" will want to have a look at this one.

Like its predecessor issue, "The Multiversity: The Society of Super-Heroes: Conquerors of the Counter"World" #1 is a comic that Morrison and Sprouse just make way too fun for readers to do anything but enjoy.

"We Stand On Guard" #3 excels because it's disquieting, yet utterly addictive. Vaughan and Skroce successfully take elements from today's headlines and, with the slightest of nudges, turn them into something decidedly threatening, surprisingly believable and tremendously engaging.

"We Stand on Guard" #6 is a fitting and natural conclusion to Vaughan and Skroce's series, yet one that has its share of surprises and keeps readers thinking even after it's all over.

"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.

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 that 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.

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.

"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.

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.

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.

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.

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.

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.

"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.

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.

"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.

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.

"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.

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.

"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.

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.

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.

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: 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.

"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.

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.

"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.

"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.

"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.

"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.

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.

"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.

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.

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.

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.

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.

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.

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.

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.

"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.

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.

"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.

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 can 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.

"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.

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.

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.

"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.

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.

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 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.

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.

"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.

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.

"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.

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.

"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 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.

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.

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.

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.

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.

"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.

"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.

"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.

"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.

"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.

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-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.

"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.

"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.

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."

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: 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.

"Swamp Thing" #1 isn't a soul-searching, character-driven story, nor does Wein try to make it one. Instead, he goes for straightforward suspense and horror, with a simple approach that introduces a conflict which fits right in with the character's classic vibe. Jones brings Wein's story to life, making the comic a solid example of basic storytelling that relies on nothing besides its premise to make it worthwhile.

The scope of this story is epic, and when it's all over, Starlin makes sure to point out that while everything might still look the same, there are some very subtle differences; differences that play right into Starlin's aforementioned reclamation, but also serving as the groundwork for possible future storylines. "Thanos: The Infinity Revelation" makes great use of its one hundred pages, and is a terrific welcome home for one of comics' first fan-favorite creators.

"The Dying and the Dead" #1 is another compelling start to an enticing series from Hickman, Bodenheim and Garland. Fans who enjoy Hickman's grand landscapes will find plenty of grandeur here.

"The Field" #2 is a terrific, pulpy, and perfectly paced chapter of this far-reaching mystery, and a great example of the capability of a strong synergy between a writer and art team.

"The Massive: Ninth Wave" #1 is a welcome look at a strong cast of characters who are at their peak, rather than suffering through the effects of a world gone mad, which allows them to stand out without the distraction of a pseudo-apocalypse. It doesn't have the hook of the original series, but Wood and Brown prove that this issue doesn't need it.

"Mighty Thor" #3 is indeed all-new and all-different, but the beautiful and intense storytelling is the same.

"The Tithe" #1 is a very well-composed introduction that's both relevant to issues of the day and uses some traditional story elements, which combine to deliver a strong and approachable story with a fresh flavor.

Outside of Syd, Stephenson's characters are well-versed in their abilities and confidently live their lives above the law, without seeming like outright criminals. The subtlety of their natures gives them a sinister edge; much like the way Stephenson is saving the usage of their powers for future issues, he also holds back on revealing their outright personalities. Gane provides a notion with the characters' facial expressions, which may or may not be indicative of what Stephenson has in store, further selling readers on sticking with the series based on this less-is-more approach. "They're Not Like Us" #1 is definitely not like any other teenage mutant comic, and that's what makes Stephenson and Gane's issue so strong.

Dauterman's excels elsewhere, too; his layouts are perfect for the characters' battle that alternates between talking and trouncing. Well-designed perspectives and exquisite facial expressions in close-ups make every panel a treat to peruse. Wilson's colors are vibrant; there's no attempt to subdue anything here. Instead, readers get a superhero smackdown in the kind of four-color splendor that it deserves. "Thor" #4 proves that Aaron remains worthy as the scribe of The God -- or Goddess -- of Thunder, whomever he or she may be.

Sanchez and Echert drop some hazy and elusive clues that show there is some connection between these two realities, but whether one is a dream, hoax, or an imaginary story remains unclear. Nonetheless, it's enough to keep interest high; between the characterization, the questioning of superhero archetypes, and strange and almost surreal connection between two very different worlds, "Translucid" #2 is a remarkably gripping issue, even for those who might have missed #1.

Ellis and Howard successfully keep readers engaged, both with the characters, and the overall threat and deepening mystery of this extraterrestrial presence. "Trees" #4 is the latest excellent issue of an excellent series, but is also the one that pull tentative readers off the fence and into the story.

There's a kind of uncertain demeanor to "The Unbelievable Gwenpool" #1, where Hastings begins to explore his character in earnest while remaining vague about the concept's longterm workability. For now, though, the comic carries a lot of darkly humorous fun and has earned the benefit of any doubt.

The notion of a friendly neighborhood Spider-Man is thrown out the window here -- or, at least, the neighborhood part is. However, "Web Warriors" #1 is just too much fun not to like.

"Weird Detective" #1 impresses overall, as the entire creative team delivers enough twists to easily fill its forty-six pages. This debut issues offers readers an affordable look at a detective who's pleasantly weird, indeed.

The story slows a bit when Hawkins steps away to focus on the assistant of Silva's daughter and his younger teenage sister, which has no seeming relevance to the rest of the story, at least what's presented this issue. Overall, though, "Wildfire" #1 makes an engaging statement on current events, and doesn't really have to reach all that far to explore a seemingly possible and legitimately disturbing consequence.

"Wrath of the Eternal Warrior" #1 provides a compelling and different look at Gilad Anni-Padda, yet one that's distantly familiar and told from a unique artistic viewpoint. The questions -- and the way in which they're asked -- are plenty compelling, encouraging readers to stick with the series to find out the answers.

"Wynonna Earp" #1 is a deliberately well-timed and well-constructed comic. Though its proximity to the anticipated television series is notable, Smith and Innes' debut issue is an excellent example of how great comic book storytelling can impress newcomers and old fans alike.

"Wytches" #3 succeeds on its ability to stroke readers emotions based on their fears, both real-life and imaginary, while further strengthening the story's central characters.

"X-Men: Worst X-Man Ever" #1 has yet to show if young Bailey will eventually fulfill that eponymous role, but -- in the meantime -- the title is one of the better, if more offbeat, X-Men stories amongst the latest relaunches. The character-first, powers-second nature of Bemis' story gives the miniseries a very human quality, even if all of the main players are mutants.

Venditti and Roberto de la Torre wrap up the issue with the picturesque "The Torment," an agreeable pseudo-origin of the Vine and the sentient Shanhara armor, but the four-page story is largely a setup for the upcoming arc in the main series. Nonetheless, "X-O Manowar Annual 2016" #1 delivers a beautiful full-length story plus some nice bonuses; it's a shame that such a comic only comes around once a year.

Venditti leans a little too hard on the whole "Chosen One" motif while wrapping up the issue, but it leads to the introduction of Aric near the end and Cafu and Reber's rendition of him in action with the armor for the first time caps off the story with an epic conclusion. "X-O Manowar: Valiant 25th Anniversary Special" #1 is an essential chapter in the X-O Manowar mythos, both as a key moment in the character's history and as a worthwhile reading experience.

Guggenheim adds some other nice touches, such as a comic nod to the X-Men playing yet another game of pickup baseball, and Wolverine's true feelings about it. Also, some unobtrusive labels for the main characters and their powers is a welcome addition, for those who might not recall or ever read the original "X-Tinction Agenda" story. As lettered and placed by Cory Petit, these labels have minimal impact on Di Giandomenico's layouts but allow readers to focus on the story rather than search their memories (or Google). "X-Tinction Agenda" #1 is what such an event spinoff should be: accessible, enjoyable and able to make readers want more, which all the creators involved do here.

For all of the bleakness and despair, Wood's central character's stubborn refusal to give up on the world gives the comic an underlying feeling of hope. Fighting sickness, a crew filled with discontent and a world gone mad, Israel's renewed belief that the world can fixed, at least to some degree, is just enough to keep this series from drowning in its own darkness. For anyone who gave up on the series, or has yet to give it a try, now's the time.

Wood's post-crash world is still just as big as it was before, and he continues to find intriguing ways to explore it, while building up enough history and characters within the context of the series to keep it exciting. "The Massive" #19 takes full advantage of that history, and because of that remains as interesting as it did when it began.

"The Massive" #25 is a tense and well-constructed beginning for what appears to be an inevitable end. While not intended for new readers, this is the last jumping-on point of the series and is accessible enough as such.

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.

"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.

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.

"The Wicked + The Divine" is a series that started strong and never faltered, becoming even more engaging as the characters continue to be explored.

Although the story progression is slow this time around, it's not without its surprises, as Gillen poses an interesting question near the end that makes readers rethink some of the series' past events. Gillen also succeeds at establishing the Morrigan as a genuinely threatening and menacing character, in turn making the issue succeed with its characterization as much as its storyline. "The Wicked + The Divine" #16 has a different look and flavor than past issues, but it remains a strong and key component of the overall series.

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.

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.

"Unity" #1 for the most part succeeds at what it's meant to do; it's a simple, appealing, and accessible introduction to the Valiant Universe that welcomes new readers while entertaining existing ones, and starts to bring the four corners of this universe together, just as the original event did. It's entertaining enough to pick up the next issue, and even makes a good case for trying out some of Valiant's other titles, some of which are just as good if not better.

Kindt's shortcomings are minor compared to the overall scope of the comic, however, and throughout he does a nice job of recapping the story's past events with a casual, unnoticeable demeanor. "Unity" #6 makes a case for the title to be a legitimate team book for a long time, and in Kindt's hands it has the capability to remain just that. It also serves as a sampler of sorts for Valiant Entertainment's characters; if any potential readers had the urge to give Valiant a try, this would be a good title to start with.

"Unity" #12 is terrific on many fronts; it welcomes readers with open arms, makes them feel comfortable when they get there, and delivers a fun story with nods to the past that fits right in with the present day context of the title.

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.

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.

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.

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.

"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.

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.

"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.

"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.

"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 try 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.

"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.

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.

"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.

"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.

"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.

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.

"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.

"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.

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.

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.

"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.

"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.

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.

"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.

"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.

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.

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.

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.

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.

"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.

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.

"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.

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.

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.

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.

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.

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.

"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.

"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.

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.

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.

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.

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.

"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.

"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.

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.

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.

"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.

"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.

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.

"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.

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.

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.

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.

"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.

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.

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.

"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.

Despite the last-minute undo, the issue remains a fun and unusual look at a familiar character in an unfamiliar role. "Futures End: Superman" #1 also advances the overall "Futures End" storyline, making it one of the better and more essential tie-ins to the event.

He also excels at facial likenesses, which is especially important in a story set against a world of conformism that also requires characterization. Ienco's excellent symbolic cover provides a strong hint at the issue's turning point but gives nothing away before it unfolds naturally during the course of the story. Yes, "Symmetry" #1 is another utopic/dystopic sci-fi premise, but Hawkins skillfully freshens up the idea and Ienco makes it attractive and surprisingly diverse.

"The Dark and Bloody" #1 achieves the most important step of a character-driven story: defining the characters. It missteps a bit beyond that, but nonetheless manages to establish a decently compelling introduction.

"The Infinity Entity" #1 reads like a kind of interlude to Starlin's overall story, but it's got that classic Starlin cosmos-spanning feel and it's given an even more epic texture by Davis and Farmer. It's not great, but it's plenty of fun.

"The Order of the Forge" #1 is largely exposition and ends on a cliffhanger that engages in a bit of repetition, but it's a nice setup that's welcoming enough, even for those who aren't big fans of history.

While the issue has a lot of background to establish and ends up diminishing its presumed lead character, "The Valiant" #1 is still a pretty good lead-in that's setting up a promising and tense confrontation.

"The White Suits" #3 isn't for everyone; it's too violent for some and too ugly for many, but those with a little patience will be rewarded for recognizing Barbiere and Cypress' intent.

What readers will see first, of course, is Ramn K. Prez' equally disturbing and stark tri-color cover, which isn't directly representative of the events inside but still eerily captures the story's mood. "The Woods" #2 stumbles a bit with its characterization, but the tension and fear remain immersive, and Tynion and Dialynas combine for a story that's well worth staying with.

"UFOlogy" #1 is brought down somewhat by its look, but it's carried by Tynion and Yuenkel's characters and setting. Poetically brought to a close by the ending narration, it's a nicely compiled setup overall for the remainder of this six-issue miniseries.

"Winter Soldier: The Bitter March" #1 probably isn't what many are expecting, but the issue is no worse for it. Even without a significant role for the main character, Remender and Boschi build up the start of a decent period piece with a few noticeable but forgivable bumps.

"X-Men" #6 succeeds as both an installment of the regular series and the event that it got dragged into, and while it's not the strongest entry in either, it gets the job done and even shakes things up a little.

Instead, the story cleverly transitions not to present day but to the near future, foreshadowing future events in the series, accompanied by another pair of superb splash pages by Mann, Mann and Fajardo. "X-O Manowar" #0 isn't an essential issue to have, but all creators involved make a great case to pick it up anyway; in the wake of the excellent "Armor Hunters," this issue is a nice bridge between that event and upcoming issues, making this a good place for new readers to take a look, and for existing ones to settle in for what's next.

Like so many individual issues from Valiant Entertainment, "X-O Manowar" #31 is a good place for curious readers to get started. It will also keep existing readers onboard with a strong start to a brand new story arc.

"Zero" #2 is a bit uneven, but it's an unfiltered and unapologetic look at the origin of a boy who becomes the hardened soldier seen in the prior issue. Its nature makes it emotionally difficult to read, but that's a testament to Kot's skill at evoking such sympathy for the character as a boy, and Kot succeeds in stoking interest in future issues that presumably will fill the gaps in the character's life.

One aspect of this comic is that the resurrection of the dead is focused on deceased military members, which might touch a nerve in this modern day where those who serve are rightfully treated with more reverence now than a generation ago. Clearly no disrespect is intended, but that could be missed by those who don't "get" this comic and its deliberate sensationalist, over-the-top approach. "Zombie War" #1 is shallow, sure, but it's also a fun, guilty pleasure that shows what zombies were like before they were cool.

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.

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.

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."

"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.

"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.

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.