Whether you're a closet Avenger, a Spidey fan or a mutant lover, Age of Ultron #1 is a must read.

Age of Ultron isn't much in itself, but it sets up a very interesting future for the event. If it gets us out of the resistance movement with all the moping heroes, it will be a step in the right direction. Enough setup. Enough talk. Let's get to the action.

If you were nonplussed by the slow start to this event, Age of Ultron #4 will put your fears to rest. The heroes are done moping. Now, they're ready to fight back.

Age of Ultron #5 still takes it time with the storytelling, but now that the world has been set up, Brian Michael Bendis is off to the races with his narrative. Act 3 of the story jumps forward in time for Age of Ultron #6.

Age of Ultron #6 makes it worth the trip getting here. This is a series that will probably read better in a collection, but if you've come this far, it's simply too good to stop now.

Brian Michael Bendis has found his footing with Age of Ultron #7. So long as Pacheco and Peterson " or whoever else takes on the art " can keep up, this event is only going to get better.

All-New X-Men is quickly becoming a must-read. It's smart, funny, powerful and original.

The young X-Men are still confused by their new world, and with shapeshifter Mystique set to join the story in the next issue, matters are about to get a lot more complicated.

All-New X-Men #7 proves that sometimes, the quiet comic moments can be the best ones.

Young and old, the All-New X-Men are a crew you've got to love reading, and a crew you'd love to hang out with.

This is a team of raw kids, and they're all pulling in different directions. The glorious thing about it is Bendis doesn't pick one character to follow: he gives enough from everyone to make each character arc fascinating.

All-New X-Men #10 is a dense character issue that will leave you doubting and guessing all the way to the end as everyone mulls over Scott's offer.

All-New X-Men #11 comes in with momentum and rolls out with speed in a new direction. Bendis hits some important character notes in this issue while getting some key story points out of the way as well.

And fun is the operative word here. The characters deserve a little fun and you, dear reader, certainly do too. Not a lot happens in terms of plot, but that's okay. Pick up All-New X-Men #15 and have a good time with it.

If it were any artist other than Immonen, All-New X-Men #17 might've stuttered through a confusing bit of storytelling. Instead, this is one of the most visually stunning issues of Battle of the Atom, and it finishes by bringing the true future X-Men to the present to set up the final act of this event.

ll-New X-Men #28 makes a proper enemy of Charles Xavier Jr. and his team. And while the Battle of the Atom event may have been a bit disappointing, Bendis looks like he's got this series ready to dovetail nicely with the events of Marvel's big Original Sin event.

Amazing Spider-Man #700 is remarkable more for its character implications than for its actual execution, but there are some strong moments here that aptly reflect on the long and colorful history of Peter Parker.

With great visuals, exciting plot points and some great character dynamics, Aquaman #16 is a must-read for lovers of the DCU.

The Avengers #1 is everything a fan could hope for, and a perfect beginning for any newcomer. It's got impeccable delivery, a clear long-term plan and a storyline that promises plenty of popular faces answering the call to assemble. Spider-Man, Wolverine, and Captain Marvel, among others, are poised to join the fray, so pick this issue up and don't miss the next one.

The traditional Avengers cast is still wrapped up on Mars, but Hickman's storytelling loses none of its power by relying on secondary Avengers. This comic is, in itself, a well-oiled machine: every component serves its purpose to produce something greater than the sum of its parts.

Jonathan Hickman and Jerome Opena bring all the tools to make to make this series a great comic, and while they falter here, there's still every indication they can right the ship going forward.

Those hoping for a return to the energy of the first storyline will be disappointed. Avengers #4 is part epilogue for Ex-Nihilo, part prologue for Hyperion. It's a lot of narrative heavy lifting without a lot of payoff.

Avengers #5 is a tightly-plotted, well-drawn story that turns the obscure character Smasher into a person you care about.

If you need a reason to care about these mostly unfamiliar characters, you're quickly going to feel like Sonic the Hedgehog, tapping your foot and waiting for the action to start.

With DeConnick at the helm, you can bet this will be a funny, heartfelt and human event that will have a lasting effect on Carol Danvers. What more could you ask for out of a crossover event?

With Barbara Gordon back in costume and the Joker back in Gotham, this is the story that had to be written, and Gail Simone absolutely does it justice.

Batgirl #16 is worth it for Gail Simone's finish, but the art definitely hurts the experience.

They can be strong, they can be smart, and they can inspire, too.

Batman #14 is King Lear in a Bat cowl. Scott Snyder flips over another card in his Joker deck with this issue, but you can't help wondering what else he's got in his hand.

It's becoming a familiar refrain with this new Joker, but no one does him better than Capullo. Batman briefly battles Joker at the beginning of this issue, and the combat brings out even more hideous expressions for Capullo to draw. There's one punch that peels part of the face off, and Joker twists it into a stomach-turning frown. It's truly terrifying.

The electrifying cliffhanger on the final page will leave you dying for next month's finale when Joker finally puts together his long-expected dinner party. Alfred will be waiting.

Batman #17 is a must have for your collection, and the collected Death of the Family will doubtless become mandatory reading for all fans of comics. Scott Snyder's work has jumped into the same conversation as Alan Moore's seminal The Killing Joke story in terms of Joker tales. This is one for the ages.

If you're worried about moving on from Damian so soon, don't worry: by the end of this story, you'll want to give Harper Row a big, warm hug.

Batman #19 simply has too many chefs in the kitchen. Harper Row is nowhere to be seen, and it's going to take another issue for Snyder to get out of this Clayface muck. Grit your teeth and plow through it, or take two issues off and come back for Zero Year in June. You won't miss much.

This two-part Clayface story has been overburdened with the influences of the broader Batman universe, but Scott Snyder will be taking the character back to basics for what promises to be a fantastic Batman #21 next month.

All the groundwork is there for Batman, and the fun is going to be seeing how Snyder assembles the pieces.

Scott Snyder and Greg Capullo are building a Batman we've never seen before. He's very much rooted in the disguise-heavy Sherlock Holmes tradition, and he's fascinating in a way Batman has never been before. Batman #22 is poured in a different mould from anything you've ever read.

Snyder is always engaging to read, so while this doesn't quite hit the heights he usually reaches, the story is still well-told. Capullo hits all the notes he's been so good with thusfar: great Red Hood, good battered Bruce, awesome batcave.

Clarke's pencils bring out the drawn, skeletal nature of the Joker, especially in the many childhood flashbacks we get. Kubert gets it here too, as he writes a Joker who is sentimental for all the wrong reasons. That insane sentimentality is what drives this story, and what makes the payoff so fun. Though not a flagship-type story, Joker #1 is worth the read.

But make no mistake: Riddler #1 is all about the mind, not the image. It's a fun heist-type story and, while it doesn't deliver much in terms of its Zero Year tie-in promise, it is a worthwhile read nonetheless.

Snyder has already taken on Batman: Year One by redoing Bruce Wayne's formative bat moment, but Batman #26 is great because instead of redoing what's been done, it strikes out into new territory.

Batman #28 is a must-read. If you had any doubt about Batman Eternal, this will allay your fears and have you eagerly anticipating its April 9th release.

It's an oversized issue, crammed with the finale of the Zero Year 'Dark City' storyline, but that's not what makes it powerful. It's the first four pages. It's the two parents, the one child, and the horrible knowledge of what happens next.

The purple-and-green puzzler may be the final baddie of Scott Snyder and Greg Capullo's brilliant Zero Year arc, but he's really just the spark that lets the true stars " Bruce, Alfred, and most importantly, Gotham City " shine through.

Batman Annual #2 opens new doors at Arkham Asylum and shows an unexplored side of Batman's world.

It's great to see Batman and Robin drag itself out of the zombie/Halloween fare of the last few issues and get back into some character-driven storytelling. Batman and Robin #15 leverages Death of the Family to produce a strong solo outing for Damian Wayne.

Writer Peter J. Tomasi has really hit his stride again after his zombie stumbles from Halloween. He's got Batman and Robin #16 honed to a perfect edge. He put Damian through the Joker's bug trap in issue #15; now, Tomasi gives the young killer-turned hero his greatest challenge.

A fantastic dream tale in the bizarre style of Winsor McCay's old Dreams of the Rarebit Fiend strip.

It's a gut-wrenching Requiem not only for a sidekick, but for a son. Words can't capture the feel entirely; you'll have to read it for yourself.

Frankenstein is an entirely unexpected but entirely welcome addition to this comic, and his sober second thought to Batman's bullish mission plays well throughout the story. He also proves to be a boon visually, as Pat Gleason's normally clean lines get rougher and grittier when he's drawing Frankenstein. Even the panels look good, as Gleason turns a two-page, even-sized panel spread into one completely stitched together a la Frankenstein.

Batman and Nightwing #23 gives Damian the emotional send-off he deserves.

Batman and Robin Annual #1 is Ferris Bueller's Day Off in a Bat cowl, but it's not nearly as fun.

The superbly-written Batman Incorporated #10 breaks up Bruce Wayne's pity party and paints a target on Leviathan. Batman Incorporated is wounded, but in this case, a wounded animal looks to be far more dangerous.

Batman Incorporated #11 is inconsequential to Batman's fight against Leviathan, but it's a decent stand-alone adventure for the rarely-used Batman of Japan.

Batman Incorporated #12 is equal parts setup and payoff, as Batman takes his revenge on the clone while Talia puts Gotham on the brink of destruction.

It's a lucky thing this series ships weekly, because at the slow pace of the narrative, DC would probably lose readers with month-long gaps in between.

Batman Eternal #21 pivots well off the conflicts we've seen in the last 20 issues and sets up the next leg of this journey as a must-read.

Next issue promises to be a Christmas special of sorts, and the second to last story in this Scarecrow arc. Scarecrow's got a city-wide nightmare before Christmas planned. If anything, it'll be worth it for all the ghoulish Santas and reindeer.

Gregg Hurwitz races through everything and turns two issues worth of material into a lackluster sprint to the finish that cuts the legs out from under this otherwise decent Scarecrow arc.

This baby's going nowhere but down.

Between the front cover and the back, Gail Simone turned a character I didn't know about into a character I'm afraid of. That's doing something right.

Williams and Blackman are going to keep our heroine hanging – in mid-air – for one more month.

Batwoman #16 goes big, but gets all the little things right, and that's where it goes from good to great.

Batwoman #18 is an excellent jumping on point in terms of story, but when that story isn't paired with Williams' peerless pencils, it can't be a true sample of how great this comic can be.

In terms of story, much of this issue consists of character-driven one-on-ones. Williams and Blackman explore the various relationships in the world their building, all the while bringing the story along bit by bit toward Beth's reintroduction.

Batwoman #21 is the best interlude issue this series has seen yet. The art is magnificent, the writing is true, and the story fits in, even if it's pausing the major plot arc.

It's awful to see this run end, but as far as unintentional final pages go, Williams and Blackman could do much worse. The story ends with Batman saying, "Kate" stop," and Kate replying, "No," while grabbing Batman's throat. Defiant. Determined. Uncompromising. A perfect ending to an equally defiant, determined and uncompromising run.

This is not a good start.

Fans of Flash Gordon-type science fiction will find something to like here in all the giant needle genetics, teeth-gnashing baddies and alien landscapes this series appears to have in store. If you want some home-spun, World War II-esque plotlines, you won't find them here.

It's unclear whether this is the second half of a two-story adventure at sea or if it's leading into something bigger. Does it really have to go any bigger than this, though? Captain Marvel smashes an airplane robot, and it's a thrill to read.

If you love great dialogue and superheroes having fun, Captain Marvel #9 is a must.

Captain Marvel #10 is equal parts humour and heartbreak, but fantastic throughout.

With a triumphant final scene for Carol Danvers and a Mr. Pinstripe reveal teased for next issue, Captain Marvel #11 proves that while its hero is grounded, there's no stopping this title from flying high every month.

Captain Marvel #12 is witty and energetic, gorgeous and badass. It's everything great about this character, and while it's Filipe Andrade's swansong on the series, Captain Marvel writer Kelly Sue DeConnick is about to launch Carol into the stratosphere with Avengers: The Enemy Within #1.

As the one constant on this series, DeConnick has made it consistently strong, and she continues to do so under tie-in pressure.

Kubert sets up this four-issue miniseries as a test of conscience for not-so-young Damian. Will he dish out justice his way by killing, or will he adopt the no killing code he struggled to accept for so many years? Kubert doesn't offer any easy answers. He actually raises more questions with the last panel as Bruce Wayne seemingly returns from the dead to discover that his son has been a bad, bad boy in his absence.

Klaus Janson's pencils continue to layer on the filth of this grimy, dystopian future. He does another busy two-page spread of the streets similar to last issue, and you'll surely find yourself scanning the rooftops for the Man Without Fear.

Issue #5 builds on all the elements that make this dark, haunting comic so great. The writing is nuanced and superbly positioned from Ben Urich's perspective, and the art is spot-on for the mature tone of the story.

Daredevil: End of Days #6 is building to something supremely special. With two issues to go, Bendis and Mack don't give anything away easy. Good old fashioned attention to detail will sort this story out.

Brian Michael Bendis and David Mack expertly guide Daredevil: End of Days #7 toward an explosive finale in issue #8, and Klaus Janson and Bill Sienkiewicz prove to be the perfect pairing to bring this tale to life.

Daredevil: End of Days #8 is absolutely masterful, though probably read better in quick succession after issue #7.

Layman and Fabok prove themselves capable of keeping Poison Ivy's characterization under control. Ivy is an easy character to overdo, either by hypersexualizing her or by leaning too heavily on her plant love and making her an eco-psycho. Layman's writing and Fabok's art are in step with making Pamela Isley a worthy antagonist for Batman. Ivy definitely has some alluring looks, but she's not a leaf-clad nude spouting love cliches. This Ivy has a black catsuit on under her vines and a somewhat sane head on her shoulders " sexy without being slutty, earth-loving without being weepy.

The next issue will either bring this story to a new level or drop it off a cliff; there are only so many turns a plot can take before it gets too convoluted. If Layman can keep a steady hand and work with what he's set up, it should be worth it.

Given that the pre-crossover story has been relegated to the back-up issue, Layman has a long way to go to get this title back on track.

Ultimately, Batman: Detective Comics #17 addresses most of the problems with issue #16 and provides a solid, well-assembled look at the Joker's legacy with the ne'er do wells of Batman's kingdom.

Batman: Detective Comics #18 does away with a lot of the noise created by Death of the Family and refocuses Batman on the murderous gangster elements of Gotham City.

If you follow this series, you'll be hopelessly lost without this book. Even if you don't, it's a fun, more or less self-contained Man-Bat arc mixed with a great Bane story and some interesting art throughout. Batman: Detective Comics #19 is a bat smorgasbord.

Harley Quinn #1 is not a bad book. It's not a hamfisted story by any means. Kindt can write, certainly, and he tries for something fresh here. For the most part, he misses the mark, but there's still one moment where he catches the spark of Harley's fun.

There's a definite Gangs of New York feel going on here, and Scarecrow is right in the center. For a taste of the day-to-day life of a Gotham without superheroes, Scarecrow #1 is the comic to read.

Forever Evil #1 is bursting with evil costumes and colour that we typically don't see all at once, making it a visual treat as much as it is a well-written event opener.

Johns is a master at juggling the larger DC Universe, and his skill is on full display in Forever Evil #2. Johns lays down plenty of plot threads that promise short and long term payoffs for this six-issue event, while artist David Finch renders a suitably dark, dirty world ruled over by the evil Crime Syndicate. I'm loving this event.

Forever Evil #4 gets a lot done in its couple dozen pages. If the release schedule has killed some of this event's momentum, it picks right back up after this.

It's the second-last issue of Forever Evil, and that means it's payoff time.

And especially with Earth-Three's destroyer, Darkseid the Anti-Monitor, coming for this world next.

Grayson #1 is admirable if only because it takes DC's most-developed character and develops him even more. It's easy to tell DC has a lot plotted out for this character in the future, and while this first issue doesn't wow, it does suggest plenty of layers that we'll get to see peeled back in issues to come.

Guardians of the Galaxy #1 is a crash course in intergalactic awesome, written with a Star Wars spirit and perfectly welcoming to first time readers.

Guardians of the Galaxy #2 is a great summer popcorn movie on paper: action-packed, visually dynamic, and so much fun you'll be dying for a sequel.

Guardians of the Galaxy #5 is wild fun and only getting better.

The trial of Jean Grey is next, and while Guardians of the Galaxy #10 doesn't help set that story up, it's still worth reading because it's just so damn fun.

Guardians of the Galaxy is beautifully drawn and maintains it's humour and charm as it takes on it's first big crossover event. This is a joy to read.

Harley Quinn #1 doesn't have the fun, much as it tries to bring it. It all comes across as desperately trying to impress you, the reader, with any of a dozen different ideas crammed into one comic.

Hawkeye #7 is a compelling fiction based on real events. It's worth it for the story alone, but know that when you buy this comic, all of Matt Fraction's royalties are going straight to Hurricane Sandy relief.

Hawkeye #8 is a can't-miss comic and an easy jumping on point for people who haven't picked up the most enjoyable comic at Marvel today.

Hawkeye #9 is another bang-on issue showing Clint Barton's life beyond the Avengers. If you've ever had trouble juggling multiple dames in your life, your heart will go out to poor, poor Hawkguy.

Hawkeye #10 is a more serious, contemplative issue than what we've seen in the past, but Francavilla's art allows Fraction to tell a different kind of story this time out. This comic is demented, but it works.

Hawkeye #11 is a hell of a lot of fun, and Marvel deserves a lot of credit for letting Fraction and Aja devote a whole issue to a one-eyed mutt who can't talk or fly (sorry, Krypto the Super-dog). Whether you're a Hawkeye lover, a dog lover or a pizza lover, Hawkeye #11 is a fantastic one-of-a"kind read.

There really is no dropoff with these Kate Bishop stories, and that's a fantastic thing to see. They have a similar Average Joe Superhero tone, but Kate has a very different personality from Clint Barton, and her head-on approach is a lot of fun to read. I could read a whole series just with her.

This issue is everything we've come to love about Hawkeye. It's got humour, drama and heartbreak, all told with Fraction's trademark wit and Aja's amazing pencils. This title kind of sidetracked itself in the last four or five issues, but Hawkeye #15 puts it right back on track.

This comic is a great take on the character for any hardcore Hulk fan, and a perfect jumping-on point for newcomers still green behind the ears.

Waid holds Bruce Banner's renewed enthusiasm for invention up against the richest, smartest inventor in the Marvel universe, Tony Stark. One man is trying to make a new name for himself; the other is worried about getting knocked off the top. The result is another well-written, well-drawn comic from the team of Mark Waid and artist Leinil Yu.

Justice League #16 continues a very solid Aquaman storyline by upping the ante and promising an expanded cast and higher stakes for the issues to come.

Throne of Atlantis has been a strong Aquaman storyline, and while it doesn't quite stick the landing at the end, it nevertheless has some wide-ranging implications. It even dovetails into Justice League of America #1 while simultaneously teasing a supervillain team being assembled in the shadows.

If you've avoided the spoilers on this, congratulations, you win the Invisible Medal for Self-Control. But whether or not you know what happens, and whether or not you've read the earlier entries in Trinity War, this issue is a must-have as a setup for September's Villains Month at DC.

It's no big name villain title like Zod or Joker, but make no mistake: Secret Society #1 is one of this month's most important books in the Forever Evil event. Co-written by Geoff Johns and Sterling Gates, Secret Society #1 is a quick and dirty backstory setting up Earth-3"s Owlman and his trusty partner in crime, Alfred Pennyworth.

The early parts of Justice League #24 essentially write themselves if you invert the typical Superman origin, but Johns brings enough originality and the right measure of mystery to the remainder of the issue to make this comics a worthwhile read.

Justice League #26 is non-essential reading, but it's a nice background supplement for the Crime Syndicate. If you're into this event, you'll appreciate Justice League #26.

He's suffered enough. Time to make the bad guys hurt for a change.

Justice League of America looks like it will be a hard-nosed title that's absolutely worth reading – though probably not worth buying all 52 variant covers.

At the top of that alien organization is the Thanagarian Byth Rok, who's got space conquest (or something) on his mind. No doubt this series will get interstellar in a hurry, but for the first issue at least, the real locations and grounded tone simply make for a stellar book.

On the whole, Ms. Marvel #1 is unflinching in its portrayal of a Muslim girl destined to become a superhero. There's plenty to draw you in and plenty to alienate you. If you want a challenging read, this is for you.

The Will, Gwendolyn and the Slave Girl are the center figures of this issue, but don't think for a second the story is all about them; Brian K. Vaughn is too good for that, and with a deft little twist of the story, he brings it all around to Alana and Marko. The connection is imaginative and perfectly executed.

Saga is a series that gets better with every page turn " especially when it comes to its characters. Eleven issues in, nobody feels like a clear cut bad guy. This series is filled with aliens, ghosts, TV-headed men and mercenaries, but they all feel more human than anything you'll read in a Marvel or DC book.

Brian K. Vaughn starts to bring his disparate plot threads together and Fiona Staples draws some cute fuzzy otter creatures – and some other, more controversial things – in Saga #12, another solid installment in the lives of Alana, Marko, and baby Hazel.

This is a decent Death of the Family tie-in but it fails to challenge the status quo in any way.

There's still some unresolved Peter Parker influence hanging around, and lots of potential for amazing stories ahead.

Out of the regular timeline, unfortunately still in Otto Octavius continuity and as dour as you can get without a body count, Superior Spider-Man #6 is certainly no peach. Christos Gage ruins the Peter Parker illusion and then puts Spidey right back where he found him, leaving the Age of Ultron storyline no further along and ultimately doing nothing at all for Spider-Man himself.

After taking a huge risk by "killing off" Peter Parker and replacing him with Otto, Slott and company have built a complex, truly compelling anti-hero over these 30 issues. There's been no status quo, no comfort zone. So to see Slott suddenly leap back to the familiar as quickly as he does here is an injustice to the work he's done until this point.

Scott Snyder and Jim Lee prove with Superman Unchained #3 that this title is the flagship Superman series of the New 52.

Thanos Rising #1 promises to be a typical good boy turned bad man story. It's well-written and decently-drawn, but it certainly doesn't reach for the stars or challenge preconceptions about the character.

Simply put, if you're a fan of alternate realities and strange twists on familiar characters, then this is worth it. If you're looking for grounded and gritty storytelling, this won't be your cup of tea.

Overall, the Sword in the Stone setup with Mjolnir is fun, and Aaron takes male Thor in a compelling direction before he introduces the female Thor. Cast your bets on her identity now, and let's see how long Aaron keeps it a secret.

Uncanny X-Men delivers on the revolutionary feel of Cyclops' X-Men and sticks to its promise of recruiting new mutants from around the globe. For now, they are not looking to cross paths with Wolverine's school.

Uncanny X-Men #2 is a strong second step into new territory, with an expletive-inducing last page that will doubtless bring readers back for issue #3.

Bendis has spent just the right amount of time letting us get to know this new team. Finally, he's taking them out into the world, first to encounter the Avengers, and, soon, to battle a team they know only too well.

Uncanny X-Men #4 is a great supplement for its companion title All-New X-Men #10. It strengthens the existing story more than it progresses it, but it's still a well-written, superbly-drawn experience.

Uncanny X-Men #5 explores the impact of the Phoenix on Magik's powers, but her struggle is overshadowed by the creative difficulties. The art and the writing feel like they're wandering in uncomfortable territory, and with both elements set to intensify next issue, it's tough to believe those problems will go away.

This comic is straight up Wonder Woman facing danger, and it's totally worth the read. Azarello is building up to a great heavenly confrontation. The payoff certainly looks promising.

This series just keeps getting better. If you haven't jumped on board, do it now. Azarello's work is some of the best DC Comics has to offer these days.

Another great installment from a great partnership.

Character design troubles aside, Wonder Woman #17 is still a well-executed comic that clips along with witty dialogue and good plot progression.

Brian Azarello writes an action-packed, charming and exciting climax to this storyline, and all the artists are paddling in the same direction to deliver a thoroughly entertaining Wonder Woman #18.

Brian Azarello writes these characters so, so well, and imagines Diana's mythological world so, so well, that no matter what the story, it's just worth it to hang out in this world for a couple dozen pages.

Wonder Woman #20 does its own thing " outside DC continuity " and it does it well. Nobody takes an issue off on this title.

If you're not on board Wonder Woman yet, now's a great time to get hitched.

Wonder Woman #23 continues to propel Azzarello's story forward and refuses to settle into a status quo. There's more tragedy, more responsibility and more unknowns in this issue, making it yet another fantastic installment in the New 52 Wonder Woman.

X-Men #1 is good enough to deserve an adjective. I'm going to call it "Superb."