Even with the surprisingly textured artwork of Juanan Ramirez and Federico Blee there isn't enough to make Force Works 2020 #1 a highlight of the 2020 checklist.

Though I applaud Valiant's continued insistence on accessibility, that same accessibility proves to be 4001 A.D.'s biggest strength and weakness. Make no mistake however, this debut is bold, stocked with crazy slick visuals, and presents an epic entry point into an universe that is quickly and confidently holding its own against established imprints and household name characters. Minor missteps aside, 4001 A.D. #1 offers an ambitious new title that is tailor made for readers either looking to take a chance on a new imprint or those looking for a respite from the standard tights and fights of a traditional summer crossover event.

Further strengthened by strides in character building, 4001 A.D. #2 establishes the series as arguably the summer's biggest and best event.

While the War Mother doesn't quite earn the obvious comparisons to Imperator Furisosa quite yet, 4001 A.D.: War Mother #1 is a solid debut for Valiant Entertainment's newest heroine.

Though not as explosive or as essential as we were led to believe, 4001 A.D.: X-O Manowar #1 is still a nice bit of gap filling to add context to Valiant's latest event.

Had each of these stories made more of a meal of the eras and specific characterization of Selina they were exploring, it might have read differently, but instead the Catwoman 80th Anniversary 100-Page Super Spectacular simply looks pretty in parts but has nothing really to say about the woman it is supposed to be celebrating.

So while occasionally this annual has a spark of style and fun, The Joker 80th Anniversary 100-Page Super Spectacular #1 largely amounts to no great shakes. Though the novelty of seeing some iconic creators return to DC and Gotham City might be enough for some fans, The Joker 80th Anniversary 100-Page Super Spectacular #1 doesn't hold much that would be of value to casual readers.

Armed with a pervasive sense of dread and fantastic artwork, A Walk Through Hell #1 is a best-case scenario when it comes to a horror debut. Though it holds out deploying overt scares and takes its time getting to the real crux of the plot, Ennis' script, coupled with the emotive pencils and colors of Sudzuka and Svorcina, comes across truly bone chilling thanks to its "mundane until it isn't" tone and sudden turns into visceral gun violence.

As a recent convert from Valiant newbie to full-tilt fan, A&A: The Adventures of Archer and Armstrong #1 is exactly the kind of book I want as a reader. Though the duo have been a staple of Valiant's line for a long while, this new #1 presents them almost as brand new characters, unmoored from their own continuity. Rafer Roberts, David Lafuente, Ryan Winn, and Brian Reber show those unfamiliar with the characters exactly what their world is like and why their dynamic has stood the test of time. Valiant Entertainment may have a slew of heroes under their umbrella, but A&A #1 shows why these two knuckleheads are two of their most popular and entertaining characters.

Though Archer and Armstrong have long been a staple of the Valiant Universe, this new title makes them read, feel, and look better than ever.

Though it is only their first proper date A&A: The Adventures of Archer and Armstrong #5 makes me curious to see what the next one will look like and just how painfully cute this pair can get.

If you like your comic books just slightly, or perhaps way off-center, with plenty of humor to boot, then The Adventures of Archer & Armstrong continues to be the comic for you.

A-Force #2 reads like a Sleater-Kinney song sounds: all confident bravado and a relentless pace. While the original series was inescapably tied to a company wide, Kelly Thompson, G. Willow Wilson, Jorge Molina and Laura Martin quickly cast off those ropes of continuity to let these ladies stand on their own and get down to the important work of punching weird stuff and giving each other sass. Teams are a dime a dozen in comics, but very rarely do you get a team like A-Force; one stocked with fan favorite powerhouses with a creative team with the talent to give them stories worthy of their station. There's the All-New All-Different, the New, and even the Uncanny, but make mine A-Force.

Every team in Marvel's history has had to endure some sort of trial by fire and A-Force #3 is this team's first beautiful crucible.

Though a bit more standard issue superhero fare than the opening, Absolute Carnage #2 shows that there is still some fun to be had in this newest symbiote-centric event.

Big, splashy, but also heartfelt Absolute Carnage #3 continues to keep this event on solid legs.

Separated from his other half and welding borrowed weapons, it’s in Absolute Carnage #4 that Eddie Brock learns what it means to be a hero - assuming that lesson doesn’t kill him first, that is. Graced with heart, theatricality, and intensely creepy artwork, this issue positions this goopy event for a thunderous ending. And the best part is, it could go either way. It could be a legendary showdown between Carnage and Venom for the fate of the world, or it could be another densely-packed emotional catharsis for Eddie and his sphere of influence. Either way, this issue is proof that the suit doesn’t make the man - that Eddie Brock is a worthy hero no matter what he’s wearing.

Perhaps once we get in and out of Ravencroft, Lethal Protectors will start to blossom, but for now, it seems too concerned with the dark and muck of this crossover event.

That isn't nothing, but beyond that, Absolute Carnage: Miles Morales #1 may be for completionists only.

Action Comics #51 throws a lot of stuff at the wall and unfortunately, not much of it sticks.

We are now six issues into the mammoth "Last Days of Superman" crossover and we still don't have much to show for it. While Peter J. Tomasi mines some nice and in character interaction from Superman, Wonder Woman, and Batman, he is still hobbled by having to once again spin the wheels of this plot in order keep the story spread thin across the Superman line.

Despite being a case of too much, too soon with too little real development, Action Comics #957 still offers an interesting first installment for the new era and if it undergoes some streamlining in the later issues could stand as a big win for the Superman line.

That said Action Comics is still in need of either some forward movement on the Clark Kent Mystery or some major housecleaning in order to shake off the doldrums.

With the battle headed toward Clark's home and hearth and a welcome co-starring role for the breakout star of San Deigo Comic Con, Action Comics #960 keeps the spark alive for the floundering Superman title. Dan Jurgens doesn't hit a bullseye with this newest issue, but he comes close, which is much better than his previous, very dry and overcrowded efforts. This new focus and heart coupled with the dynamism of Tyler Kirkham and Ulises Arreola get Action Comics #960 closer to the solid superhero adventure we all know it can and should be.

With its emotional hook and high production values Action Comics #977 doesn't shake the planet, but its aim is true when it comes to heartfelt superhero storytelling. Dan Jurgens, Ian Churchill, and Hi-Fi use the momentum from the recent Superman crossover and capitalize on it well, showing that Action is just as equipped for the kind of character-focused storytelling Superman has been enjoying since "Rebirth". Action Comics isn't essential reading just yet, but #977 shows that it has the potential to be.

While it is always entertaining to see Superman flung through time and subjected to Hi-Fi's beautifully colored double-page splashes of fractured time, it is Action Comics #993's down-to-earth moments that make this issue feel truly like a "Superman Family" book.

While I would have loved a bit more time delving into Lois's investigation into her father's capture, Action Comics #994 still brings the old-school thrills and fun that I really want from a Superman title.

Though not perfect, Action Comics #1011 sets the stage nicely for the incoming event. Brian Micheal Bendis has a lot to prove heading into his first major DC event, but Action Comics proves that he's willing to do the legwork for it.

While this event tie-in could have used a little bit more information to provide context, the Bendis era of Action Comics seems to be continuing to go strong.

It isn't often a comic gets better after scaling down in stakes, but somehow Action Comics continues to do it, even in the shadow of big events.

Though certainly a dip in the energy Action Comics has enjoyed over the past few months, Issue #1014 still has cards to play.

Though it has real heart and keen visual edge in parts, Action Comics #1024 gets tripped up by its own over-explained story threads. Should Bendis and company start to move away from that and cultivate more of the emotions of the Kent Family, then Action Comics could see a real upswing, but for now, #1024 does a lot more telling and not enough feeling.

Action Comics #1028 sets up those stories at the cost of a single issue experience; a somewhat lacking, but decent enough final bow for the Bendis era of Action Comics.

This ninth issue reveals the true horror that lie in the minds and actions of normal people and that could very well prove to be the most terrifying idea of all.

Stories about religion and our relationship with the divine are always a thorny prospect, but I feel Afterlift finds a good balance between entertaining and preachy. Thanks to the droll charm and bold emotions of the script and the consistently impressive artwork this comiXology Original stands as a sweet, effective binge-read for these uncertain times.

As a fan of Marvel's TV efforts from the first season until now, I am fully aware of just how frustrating Coulson's small screen adventures can be. Agents of S.H.I.E.L.D. #1 is bigger, slicker, and finally occupying the large universe that the TV show hints at, but still frustrating all the same. Mark Guggenheim, German Peralta, and Rachelle Rosenberg work with what they are given in the best possible way, but it still feels too similar to what Marvel fans have been trying to connect to for three seasons. While the first S.H.I.E.L.D. title gave us fresh team ups and an episodic feel, Agents of S.H.I.E.L.D. #1 feels and reads like a cover of an already struggling band.

Could this book have used more actual aliens? Absolutely. But fear is and can be more than just monsters, and I believe that as it goes on Aliens: Dead Orbit will prove just that.

While it may have not taken long for the team itself to start splinter, the All-New All-Different creative team is still rock-solid and delivering superb Avengers stories.

Though it took a bit to get there, All-New All-Different Avengers #9 shows not just a team, but a family, thanks to a script that genuinely cares about their connection and an art team that keeps them looking consistently great.

By keeping All-New All-Different away from the looming Civil War II, at least for the time being, Mark Waid, Mahmud Asrar, and Dave McCaig are allowed to focus purely on character, striking a nice balance between team heroics and intimate emotional arcs. Armed with colors that pop off the page, funny in-character banter that allows the team to come across as genuinely caring for one another, and finally a nice bit of trippy transitioning to send us into this month's cliffhanger, All-New All-Different Avengers #10 is an example of what can come of putting strong themes and resonating personal arcs first.

Though this issue stands as a neat look into the Vision's own personal war amid the larger conflict, All-New All-Different Avengers #13 is all set-up and little follow through.

With plenty of shout outs to ships and a heap of good-natured ribbing, All-New All-Different Avengers Annual #1 is a delightful love letter to the new generation of Marvel fans.

The superhero world and the political landscape of the Marvel universe collide to great effect in All-New Inhumans #1.

All-New Inhumans #5 might not gel together completely, but there is still a lot of fun to be had with Attilan's team of ambassadors. By making this fifth issue a solid jumping-on point and anchoring it with solid character work and an accessible plot, James Asmus, Andre Lima Araujo and Andres Mossa have turned what could have been a dry look at superhero politics into a rollicking lesson in aggressive negotiations, starring some of Marvel's newest bit players. We still might not be any closer to understanding the skyspears or why they have shown up now, at this turbulent time in Inhuman history but if this fifth issue is any indication, solving this mystery will be a fun ride regardless.

While the struggle for mutantkind and the ghosts of the past still hang over All-New X-Men #1, the debut issues is a surprisingly character-centric story that allows the teen heroes to be more teen than hero. The lack of a central villain and direction certainly hinder this debut from being a great one, that said, the germ of a great book is still found in Dennis Hopeless' youthful take on the leads. Coupled with some energetic artwork All-New X-Men #1 has the potential to be the fun and breezy teen mutant book that the X-Men line has so sorely needed.

All-New X-Men #11 is still much more vibrant than some of the other dour X-titles at the moment, but this month's installment can't avoid ringing hollow.

Though annuals are sometimes known for flashy theatrical storytelling, All-New X-Men Annual #1 succeeds by aiming for the heart rather than the big action fireworks. Sina Grace and Rex Ogle both delve deep into characters deserving of center stage, but instead of trying to make them superstars, they make them real people with relatable fears and emotions, showing readers new compelling aspects to their lives as X-Men during the M-Pox crisis. This annual also soars thanks to cinematic artwork and full-bodied colors from two art teams that lean into the grounded stories presented. While mutants thrive as a group, All-New X-Men Annual #1 scores by going small.

It's a great time to be a Batman fan because we keep getting books like All-Star Batman #8. Capped off by another moody installment of "The Cursed Wheel" from Snyder and Francesco Francavilla, this latest issue continues the title's offbeat hot streak and stands as a true testament to the thematic and artistic malleability of this series. If you like your Batman comics to be a little more Grant Morrison and a little less Doug Moench, then All-Star Batman #8 is the issue for you.

All-Star Batman continues to surprise as Scott Snyder and company give us a superheroic pirate adventure starring Alfred Pennyworth and yes, you read that correctly.

Though "Venom Inc." has all the makings of a decently entertaining Spider-Man/Venom team up, Amazing Spider-Man #792 makes putting all those makings together a bit of a chore.

Peter Parker may be broke, but that doesn't mean the momentum of the issue has to be, but unfortunately that's exactly how it feels reading Amazing Spider-Man #796.

Amazing Spider-Man got off to a rocky start with its first arc, but issue #10 shows a writer who has gained a real purchase with the character, backed by artists who get the title's visual tone well.

Despite its murderer's row of talent on the credits page, as far as milestone issues go, Amazing Spider-Man #25 doesn't quite deliver the weight its hefty page count might promise.

The new era of 2099 gets off to a surprisingly plotty start in Amazing Spider-Man #33.

While still packing the same day-glo-colored punch with the art, America #3 is still a solid read, though a bit more scattered than I would like.

Though you’ll have to wait until November to fully experience it, know that Vertigo Comics’ crime bonafides are in great condition thanks to the incoming debut of American Carnage. Helmed by a rising star around the DC offices and an art team that has a keen eye for character, violence and mood, this Vertigo debut continues their strong efforts from original, creator-driven series with a bracing dose of socially conscious mayhem.

Though slightly hampered by some flat jokes, Dark Horse Comics has produced something specially singular with Angel Catbird. Margaret Atwood, delving into a new medium with almost reckless abandon, delivers something roughly beautiful, marked with her trademark world building and too-crazy-not-to-love characters. Artists Johnnie Christmas and Tamra Bonvillain make Atwood's words fly with plenty of slick action and eye-popping colors. While the overall story still stands incomplete, Angel Catbird, Vol. 2: To Castle Catula is a worthy return to shelves for the team and their furry companions.

With its subversion of a well-known genre and its powerful female lead, Angel City #1 is a boldly entertaining debut for the new Oni Press title. Janet Harvey, Megan Levens, and Nick Filardi take what readers love most about noir and filter it through an unapologetically feminist lens with fantastic results. Armed with both hard knuckles and soft emotions, Angel City #1 is a noir tailor-made for today's progressive reading audience.

Though a bit slow going in the start Angel City #2 keeps the title deeply rooted in cinema history and the mystery genre.

Though it reads more like a set-up to the incoming Omega issue, Annihilation Scourge: Beta Ray Bill #1 is a fun solo showing for the cult favorite character.

By mixing family drama and high stakes action, Annihilation Scourge: Fantastic Four #1 cuts to the heart of why the Fantastic Four have endured.

Easily one of the more impressive efforts from the crossover Annihilation Scourge: Silver Surfer #1 sets the bar high for the incoming finale.

While the ending is a touch anticlimactic, baldly setting up the finale Omega issue, Rosenberg and artists Ibraim Roberson and Carlos Lopez deliver a fast-paced and darkly funny cosmic adventure, one that provides another angle on the looming Annihilation Scourge.

If you've ever wanted to marry the humor of What We Do In The Shadows with the sexy supernatural intrigue of Anne Rice's Vampire Chronicles, then Anno Dracula #3 is the comic for you.

Unfortunately, Ralph Maccio's script also finds itself stuck in the past, opting to make Scott the joke-a-minute prankster he was when he first donned the cybernetic helmet and turning Janet into a stiff facsimile of herself while they rotely go through the one-shot's plot.

You don’t often hear words like “sexy” or “beautiful” in regards to an Aquaman comic book, but the sheer talent on display in #25 cannot be denied, even by the staunchest of Aquaman haters. Dan Abnett completely tore apart Arthur’s world, and is now showing us just how a hero and king without a throne operates in a world that has seemingly abandoned him. Couple that new, propulsive direction with the smoothly engaging and often vapor-inducing artwork of Stjepan Sejic, and you have a title that has leveled up in a big, big way.

You have to start somewhere when it comes to new arcs, and Aquaman #43 starts this one off on a fun, but scant opening note.

The Kelly Sue DeConnick era of Aquaman still hasn't completely solidified yet, but #51 shows that it is getting there.

So while the "new" Aquaman is still fun as a leading man, Aquaman #59 sails some choppy waters.

Mark Waid once again endears us to Archie as he struggles against his own innate sense of right and wrong and displays that famous Archie clumsiness during a particularly hilarious scene of his short-lived job at the local paper.

Archie #9 is a big turning point for Veronica. Before she was a sassy foil for Betty and very much defined by her relationship with Archie. However, now Mark Waid, Veronica Fish, Andre Szymanowicz, and Jen Vaughn show her in a new and surprisingly flattering light that allows her to stand apart from Archie as her own character, though the ginger did provide a strong push toward the development. Relationships are all about compromise and now with Archie #9, Veronica is finally at a place where she can comfortably do that for the man she loves.

Though relationships are strained in Riverdale, Archie #12 continues the title's commitment to examining these characters with clear and heartfelt eyes.

Riverdale gets its own low-key Freaky Friday in Archie #15. Mark Waid and Lori Matsumoto take a novel approach to the old plot, providing a heartfelt foundation to the humorous circumstances while also taking the time to provide the coolest kids in school with more layers beyond their core identities. Along with finely detailed pencils from Joe Eisma and colors that cultivate the grounded tone of the script from Andre Szymanowicz, Archie #15 is another winning installment from a consistently entertaining book.

When Archie is on, it is really freaking on, and #18 exactly that level of great.

Armed with a tight script and flowing, well rendered visuals Assassin's Creed: Uprising #1 is another formidable debut for Titan Comics and its evolving Assassin's Creed line. Alex Paknadel, Dan Watters, Jose Holder and Marco Lesko leap into the unknown of this new title and despite working without a net this creative team provides a nice balance of new ideas and established continuity culminating in an all around satisfying first volley for this new ongoing series.

Avengers #5 is all killer, no filler, and that was precisely what the A-list title needed. Mark Waid and his characters have a problem to solve, and come hell or high water, they are going to solve it. This narrative focus gives his script a pointed energy and real sense of fun as he barrels from one cliffhanger to the next. Harnessing that energy are Mike Del Mundo and Marco D’Alfonso who compound that fun then project it into impressive visual storytelling. If you like your plots big and your artwork super weird, then Avengers #5 is the book for you.

Avengers #672 is what happens when superheroes stop being polite and start getting real. Fingers crossed they can put aside their differences and have a day unlike any other once again by standing together and facing down whatever else Mark Waid and company plan to throw at them next.

The Avengers and Champions may only have 58 minutes to save the world, but Avengers #674 shows that they only need 21 pages to make you feel.

Avengers #675 gives us more questions than it does answers, but I’ll be damned if it isn’t a good-looking book that keeps its heroes’ characterization intact. In the capable hands of writers like Jim Zub, Al Ewing, and Mark Waid and under the watchful and colorful pencils and brushes of Pepe Larraz and David Curiel, I am confident that “No Surrender” will be a fitting swan song for this era of Earth’s Mightiest Heroes. Let’s just hope that next issue finds more meat on the bones of this story and less coasting on great artwork and characterization.

Moving at a frustrating pace and hampered by start-and-stop character work, Avengers #676 does little to justify its new weekly format and instead feels like more padding, which isn't ideal this early in the story. Though loaded for bear once again with some truly stellar artwork from David Curiel and Pepe Larraz, I sincerely hope Al Ewing, Jim Zub, and Mark Waid's scripting starts to matching pace with the artwork soon because an audience's patience can only go so far.

Avengers may still be finding its feet, but this trip to the dawn of recorded time is exactly the kind of shot in the arm it needed.

Big, strange, and all kinds of fun Avengers #22 starts this new arc on a strange but engaging foot.

Though Jason Aaron's era of Avengers has had its ups and downs, Issue #30 finds it hitting a fine balance between emotions and fun.

The "Age of Khonshu" might be next on the docket, but Avengers #32 sets up some very interesting and potentially destructive things on the horizon for Marvel's A-list.

So while Avengers #33 takes an unexpected track for the opening of “Age of Khonshu” that doesn’t necessarily mean that it’s the most fun to read. Operating with a diminishing burliness and drive, writer Jason Aaron well establishes Moon Knight as a formidable antagonist but then does little else with the rest of the issue. Artists Javier Garron and Jason Keith, ably aided by letterer Cory Petit, inject a little bit of spark into the issue overall, but seeing a good band play the same song over and over is enough to disappoint even the biggest of Moon Knight and Avengers fans. All told Avengers #33 opens big, but doesn’t do terribly much else with it.

While the opening of this Avengers title had a developed strength and sense of wry self-awareness, 39 issues later we find the title losing a lot of its steam. Not exactly the position you want to be in heading into a massive year-ending event, but with Avengers #39, you have to play the cards you are dealt.

Avengers Standoff: Assault on Pleasant Hill Omega #1 has its eyes locked on the future of the Marvel Universe but in doing so, it loses its own plot. Though Nick Spencer took what could have been another run of the mill lead---up to a major event and did some interesting things with it and the characters featured therein, you can't help but feel disappointed at this finale, despite some real surprises. While rendered by two very talented artists that provide a stark contrast in styles for this last issue, Assault on Pleasant Hill Omega doesn't quite stick the landing.

They say big things have small beginnings, and Avengers Standoff: Welcome to Pleasant Hill #1 is proof of that. As Marvel primes for the summer event season, Nick Spencer, Mark Bagley, Scott Hanna and Paul Mounts quietly light the fuse with a weird, Orwellian tale set in a world populated with gods and madmen. This debut issue revels in the unexpected and in a market dominated by sprawling action sequences and a hesitation to color outside the lines in terms of plot, it is a long overdue shift. Welcome to Pleasant Hill, gentle readers, and may you never, ever leave.

No Road Home certainly has the talent, the cast, and the potential to succeed, topped off with a high fantasy hook that is tailor made for serialization. Eyes front, True Believer, because Avengers: No Road Home #1 is Marvel Comics in their purest form.

Avengers: No Road Home #6 could have been a real mess. It could have been a rote team-up, made only to move readers to the new Conan line or to give the series that "Wolverine Bump" just with a Barbarian instead of the Ol' Canucklehead. But the team here really rises to the occasion, for the audience and the story, making Conan's modern Marvel debut feel like the moment it should be. By Crom, I can't wait for more.

No Road Home continues to be a trip worth taking for fans of old-school superhero action.

Weekly series storytelling is a tough needle to thread, but somehow Avengers: No Road Home managed to do it. Though it will surely stand up better as a collected read, each issue of this series has either thrilled, moved, or entertained - and sometimes accomplished all three. I had high hopes for the finale and it more than delivered.

Ushering readers through a very specific time period in a richly historied Europe with a honed understanding of the genre it inhabits, Babylon Berlin is another well executed and beautifully brutal yarn from Hard Case Crime and its comic publishing patron.

I've always said that horror needs more heart and armed with said heart and a sneakily large scale, Babyteeth #1 makes AfterShock Comics two-for-two when it comes to great comics of the spooky variety.

With heart and chutzpah to spare, The Backstagers #1 soars as a sincere love letter to the unsung heroes of the theater world.

Spy stories aren’t exactly a rarity in creator-owned comics, Bang! stands out from the pack. With reverence to the genre, but at the same time a willingness to poke fun at it Matt Kindt, Wilfred Torres, and Nayoung Kim deliver something truly strange and striking. With both a foot in the past of the genre and an eye toward a more forward-thinking future, Bang! portends a new, irreverent era for spy fiction in comics.

Fun, flirty, and armed with fantastic visuals, Barbarella/Dejah Thoris #1 is a far-out winner.

Zine culture and production is a lost art, but Red Stylo Press and a full roster of talented creators aim to change that with a properly weird tribute to the woman behind "Hollywood sadcore."

Though not a complete wash, as it looks appropriately old-school both in its striking layouts and rich artwork, Basketful of Heads #1 is a disappointment.

While the marquee heroes don't make the scene together in this debut Batman '66 Meets Wonder Woman '77 Ch. 1 still shows a lot of promise for fans of both classics. Writers Jeff Parker and Marc Andreyko are having a blast with the retro setting and classic characters while trying to make the most of their limited page count. Helping the pair along is an art team that revels in the optimistic tone and rich colors, delivering another snazzy entry into DC's digital comic canon. Though absent on shelves for the time being, Batman '66 Meets Wonder Woman '77 Chapter 1 is still a debut worth seeking out digitally.

While this may be just an ordinary Tuesday in Gotham City, both Jim Gordon and Bruce Wayne stand at crossroads that are anything but ordinary. The people's Batman may be at death's door thanks to his first proper rogue, while the genuine article stands at the edge of the abyss, willing to dive in once again to save his city and reclaim his crusade no matter what the personal cost. Scott Snyder and his art team, while consistently entertaining, don't rest on their laurels with this eighth part of "Superheavy." They started this arc big and they intend to end it even bigger.

Though the understudy has had his time and the real star of the show has once again graced the stage, Batman #50 is one hell of curtain call for Jim Gordon. While the exploits of Bruce Wayne are mainly wish fulfillment, Scott Snyder, in putting Gordon in the suit even for a little while, gave us a Batman that could be us and in doing so, reminded us why Batman matters. Gordon himself even comes to realization as he faces down the horror of Bloom; "He's the superhero who sees in us the heroes that we can be." Superheavy may be remembered for its fantastic artwork or its terrifying new villain, but for me, it will always be the story that showed that anyone could be Batman, and that is worth its weight in Batmantium.

Though DC as a whole is headed for a Rebirth, Scott Snyder and Greg Capullo can hold their head high after delivering a thematically rich finale to cap off a stellar run with the Dark Knight and his wonderful and terrible city of his birth.

With focused artwork and scripting throughout, Batman #2 finally puts the flagship Bat-title on solid ground. Tom King and his art team have caught their second window, and finally have a compelling Batman as well as a looming threat, giving the title a palpable dread along with their solid characterizations.

As a fan of Tom King's prior work and the "Rebirth" era Batman so far, issue #4 is a real letdown. With its laborious scripting and an ill-conceived turn for Gotham Girl, Batman #4 is the very picture of a misstep for a title that had just started to really shine. Couple that with David Finch's haphazard layouts and you have an experience that is likely to be one of the more disappointing reads this week.

Though the first arc displayed some growing pains, Batman #5 is every inch the blockbuster that this title deserves to be.

Big and new reader friendly, Batman #7 kicks off the “Night of the Monster Men” with a confident start. Tom King and Steve Orlando, two men who have made their homes in Gotham as of late, play their opening gambit smartly by focusing on character and emotion first and building out the action from there. Orlando and King also effectively use artist Riley Rossmo in order to get the most of his style and deliver a satisfyingly different visual style for this crossover. Strange days are ahead for the Bat-family, and Batman #7 gives us a front-row seat to the unfolding madness.

At times the "Rebirth" era of Batman has felt more like an odd Legend of the Dark Knight-like freakout instead of the main Bat solo title, but Batman #17 has finally struck a nicely entertaining balance between the two. Tom King may not take the most direct route with his plots, but always finds a new angle for superhero storytelling stocked with strong evocative characters. David Finch, Danny Miki, and Jordie Bellaire provide another strong showing after their return to the title, but #17 shows another side to Finch that I hope continues throughout this arc. Though it may not be the easiest title to get into at times Batman #17 puts the series back into the win column with a stylishly tense installment.

The current Batman title has been a tough one to champion due to its odd structure, but this chapter shows that payoffs sometimes are worth the wait. Tom King has marched to his own beat from the start of this run, and now with the debut of this newest issue, he's earned back much of the goodwill some of the slower and more esoteric issues of this arc had sapped away.

While a considerably low-key penultimate issue, Batman #22 provides a nice emotional context to this crossover tempered with stylishly restrained superhero action. Tom King and Joshua Williamson have taken what could have been a rote crossover and taken it so many unexpected directions, I am pleasantly in the dark about exactly what the hell this thing will read like once it hits the finale.

Dark in all the best ways and willing to let certain heroes be scary again, Batman #23 is a triumph that could have been a world-class team-up flop. Tom King and Mitch Gerads took what worked from their working relationship and translated it perfectly into the main line of DC Comics and in doing so, delivered what could be one of the better team-ups Batman has been involved with. You don't often associate one-off hero pairings with haunting visuals and uncompromising character moments, but after Batman #23, you just might.

While Batman #26’s big moment will surely be known as the showstopping double-page splash of the entire Batman villain roster taking their respective sides over a marked-up map of Gotham, the character moments sell this comic better than any splash page ever could. With Tom King’s emotional focus on character and mood and Janin and Chung’s precisely bone-chilling artwork, Batman #26 portends the opening salvos of a war that’s as lovely as it is gut-wrenching.

Tom King’s Batman has taken some strange turns, but #27 may be the strangest one yet. But that doesn’t necessarily mean it’s a bad thing! With heavy pathos and a willingness to break out of the mold of everyday, run-of-the-mill superhero storytelling Batman #27 pulls a Smiths, showing that this joke isn’t funny anymore because it hits too close to home and too close to the bone.

With "The War of Jokes and Riddles" still raging, Batman #30 is another weird gut punch of an issue from Tom King. Though the way he structures his stories can comfortably be called "head-scratching," the actual scripts and artwork throughout the arc have been too good to deny and too strange not to experience firsthand. I have no idea how the "Ballad of Kite Man" will end, but for now, it is a journey I am still enjoying.

And so the war looks to end like it began, with three men, alone in a room, and no way the whole mess doesn't end in bloodshed. Though certainly a downgrade in weirdness and ambition, Batman #31 is still a rousing read. That may not be good enough for some, but I have faith this story's last chapter will still fly.

Engagements are tricky to begin with, but Batman #36 shows how superpowers and the "professional" relationship between superheroes complicates matters even further. I mean, it isn't like Clark Kent can just send a bread maker and call it even, right? But Tom King, Clay Mann, Seth Mann and Jordie Bellaire deliver a Batman/Superman story that cuts to the quick of their relationship with plenty of heart, laughs, and a deep respect between the two heroes that neither they " or the comic reading audience " can deny.

Though it would be nice if we got this kind of procedural, crime-busting story throughout a whole arc, I am more than happy taking what I can get if these one-offs continue to be as good as Batman #38 is.

Though I would have liked a bit more meat on the bones of this story, Batman #40 still stands as a gorgeous team-up for some DC's bravest and boldest.

Though it will never be accused of having the most substantial plot, Batman #44 stands as a loving, well-constructed tribute to the Cat, her history, and her mercurial nature - and the outfits aren't bad, either.

Armed with big deal stakes, dynamite visuals, and a portentous voice, Batman #75 is a thrilling jumping-on point for those who may have moved on from Gotham.

Joker War has been looming for awhilenow, from previews to interviews to teasers. But the line between marketing and effective storytelling blurs too much for comfort in Batman #93 " while March and Fernandez deliver some compelling artwork, Tynion has spent six issues spinning his wheels as he reveals this entire arc has been just more stage dressing for 'The Joker War.' Given how in-your-face the upcoming event has been, this sort of reminder is both underwhelming and overkill.

Supported by the unique position allowed as an arc's end and noteworthy issue number, James Tynion IV and company deliver a rousing, well-constructed tribute to the power and timeless nature of solid Batman comics. All while shaking things up for the issues to come and commenting on the ever-evolving 'theory of Batman'. Not too shabby for 100 issues if you ask me.

Armed with a newfound introspection and thrillingly laid out artwork, Batman #101 sets the title up with real room to grow into something fresher. After the bombast of his first arcs, James Tynion IV seems to be settling into a more pared-down, leaner take on the Dark Knight and it couldn't have come at a better time for the book. Couple this new direction with the expressive and smoothly produced artwork of Guillem March and Tomeu Morey and you have a Batman that could rise from the ashes of 'The Joker War' a better title and hero.

It all culminates in yet another resoundingly solid issue of Batman. Though a touch expository in parts, Batman #102 finds James Tynion IV still committing to his 'new' era of the main title, injecting new characters, new perspectives, and new street-level avenues of narrative that were absent in the more baroque and conceptual Tom King Era. Let's just hope Bruce Wayne and his allies survive long enough to enjoy it.Keep up to speed with the Dark Knight with our always-updated list of new Batman comic books, graphic novels, and collections.

Tom King's Batman run has run hot and cold for readers since it started but as Batman Annual #2 proves, there is no denying the very real emotional core that lies at the center of his take on the Dark Knight. Buoyed by his heartfelt, emotional focus on Bruce and Selina's relationship and some fantastically human artwork from Lee Weeks and Michael Lark, Batman Annual #2 continues the series' streak of wearing its dark heart on its sleeve.

Batman purists and casual fans alike will find a lot to love about Batman Annual #3 thanks to its accessibility, its emotion, and its innate understanding of Alfred Pennyworth and his commitment to Bruce Wayne.

Though audiences have had their fill of the versus aspect of Batman and Superman's relationship, Batman/Superman #31 shows that they are at the strongest when they work together.

Though its always a treat to see DC's lesser known worldly superheroes to pop up, there isn't much else to enjoy about Batman/Superman #32, yet another go-nowhere installment in the supposed swan song for the "New 52" Superman.

Made whole with Plascencia's rich colors, the debut of Batman/The Shadow is a moody and engaging trek down the darker path with two of comic's darkest heroes.

With a script that builds well on the debut issue’s character work and artwork befitting of the heroes of the night, Batman/The Shadow #2 uses the tools and visuals of the past to bring new life to a vigilante icon and a vintage edge back to the World’s Greatest Detective. Steve Orlando, Scott Snyder, Riley Rossmo and Ivan Plascencia have tapped into something wonderful, and strange with Batman/The Shadow, and one can only hope they continue this streak to the bitter end.

Armed with drive and sterling characterization Batman the Outsiders #2 deftly avoids the sophomore slump.

Armed with a mystery ripped right out of his Image Comics works and an unexpectedly heartfelt and clear-eyed take on the Alfred and Bruce Wayne dynamic, The Batman's Grave #1 is a big statement of Warren Ellis' intentions for Gotham City. It also doesn't hurt that he's standing shoulder-to-shoulder with a truly activative art team that is moving in lock-step with his take and aiming to make it look as good as they possibly can. Cinematic, well-thought out, and pointedly written, The Batman's Grave #1 is a stellar debut for the reunited creators behind The Authority.

Though we still don't know who is actually digging The Batman's Grave just yet, #6 confidently shows we will have visceral fun continuing to try and find out.

While there's some verbose energy to the characterization, the ill-timed imagery of The Batman's Grave #7 means this issue will probably read better later in trade.

It’s not easy being good in a world gone mad, but one would expect a little bit more fireworks to the inner conflicts that have established Batman: Curse of the White Knight #1. While the return to Sean Murphy’s dark world looks great and opens with a bang, the slow reintroduction of Batman, the Joker, and new wild card Azrael (with a new origin to boot) just doesn’t have the same spark as watching a newly sane Joker cleaning up the city. Despite the mega hit debut that spawned it, the real Curse of the White Knight might foretell a follow-up slump.

Batman: Europa might still be in early days, but even this early, its making a splash that is sure to draw the attention of Bat-fans all over.

You have to take the bad with the good sometimes, and that's very much the experience of Batman: Gotham Nights #3. While it looks great and contains a smattering of good moments, it can’t overcome the problems and implications of its setting and use of indigenous cultures. Perhaps maybe it could have with a defter hand or some judicious edits, but for now Batman: Gotham Nights #3 stands as a weird blip on the DC "Digital First" radar.

Duke's multiple origins, advanced aging, and detached take on the Caped Crusader aside, these creators still deliver a solid opening gambit thanks to compelling vignettes, an engaging antagonist, and a feeling of newness without completely throwing out what worked in the run before. Though it may not tell us much about the story or Bruce's newfound mental state Batman: Rebirth #1 shows and tells us just enough to whet our appetite for just what comes next for Bruce, Duke, and the rest of Gotham, all wrapped in a fun, good looking one-shot.

Handled by a powerhouse group of creatives like Andy Kubert, Mairghread Scott, Steve Orlando, and many more, Secret Files #2 turns the focus on the villains as "City of Bane" comes to the anthology title. And in that focus comes real strength and chilling fun with the Joker, Bane, Hugo Strange, and the Psycho-Pirate all taking center stage in stories that cut right to the core of their villainy and their relationship with the Batman.

Flexing with a Legends of the Dark Knight-like energy and making great use of a uniting theme, Batman: Secret Files #3 is an impressive showing.

Don't let the "grocery store comics" reputation of this issue's first run fool you, Batman Universe #1 is the real deal.

Berserker Unbound #1 is very much a double-edged sword. The good news is it looks tremendous. But if you’ve come in expecting the Barbarian-out-of-water story the cover promises, better luck next month. Let’s pray to Crom that it’s worth the wait.

There is potential in Betty & Veronica #1 thanks to Hughes' beautiful artwork and occasionally solid punchlines, but until he learns to reign in his own ham-fisted "cleverness," Betty & Veronica could be the first misstep of the Archie Comics line.

With a firm understanding of the characters, stylish art, and outlandish plot Big Trouble in Little China/Escape from New York #1 has all the makings of the kind of cult crossover you could only get from comics.

With an eye toward bigger narrative spaces and blood on its knuckles Bitch Planet #9 is a worthy return for the hit series. Kelly Sue DeConnick, Valentine De Lando, and Kelly Fitzpatrick prove that the time between issues hasn't dulled their focus on the cast nor their sharp storytelling. #9 positions the title to go from big to grand as it expands its scope, armed with a diverse compelling cast and Margaret Atwood level satire. The fight for the ACO may be ongoing but Bitch Planet #9 is a decisive victory in the name of non compliance.

Though the Inhuman titles have had a rocky win/loss record as of late, Black Bolt #1 looks to be just the home run they need in order to shift the odds in their favor.

Though not as flashy as some debuts, Black Hammer #1 is still a great debut from a creative team that seems to be in lock step about the kind of story they want to tell. Unhindered by the need to delve into what it means to be a hero or the tendency to poke fun at Silver Age silliness, Jeff Lemire, Dean Ormston and Dave Stewart deliver a debut that is structurally sound and packed with the kind of dark allure that one would expect from Dark Horse Comics. Simply put, Black Hammer #1 isn't blockbuster filmmaking, but the indie drama that stays on your mind long after the credits have rolled.

Though the central mystery of the series is still shrouded, Black Hammer #4 shows that its real strength lies in its characters.

Cross-company titles are always a novelty, but I am hard-pressed to think of one as true to itself and its sources than Black Hammer/Justice League: Hammer of Justice. Leaning into the cinematic weirdness of Black Hammer, which is itself a sort of a love letter to the various subgenres of comics, as well as the mythic stakes of the Justice League, Jeff Lemire and Michael Walsh somehow pay loving tribute to both. All while delivering a welcome entry point for both franchises. Quite literally the best of both worlds (or multiverses?), that's Black Hammer/Justice League: Hammer of Justice #1.

I like Black Panther and the Crew #1. I wish I loved it, but sometimes just liking something is enough. We know what kind of talent Ta-Nehisi Coates is, and while his books may take a while to get well and truly going, that talent is still on display, one way or another. Pair that point of view with an art team who gets this kind of superhero story visually and you have a book that people can like, and perhaps even love eventually. Fingers crossed that Black Panther and the Crew is one of those books.

Marvel has long been know for its more human and relatable heroes and now Black Panther #2 brings one of its most powerful down to the level of a mere man. Ta-Nehisi Coates, Brian Stelfreeze, and Laura Martin deliver a human story of people doing what they think is right in the only way that they know how; through might, grassroots support, and intellect. Black Panther #2 frames this new superhero solo title as a slowly building political thriller as well as a story about a man and king who is losing his grip on who he is and in turn, his throne. Black Panther #2 may not wow readers like the debut issue did, but it continues the series' thematic richness and sets the title up to go to places that superhero comic books are often afraid to go.

With its high-profile writer and talented art team, Black Panther has the potential to be one of the best books that Marvel is putting out right now, but the third issue fails to connect.

While the first act of this sprawling narrative had its ups and downs, Black Panther #5 starts the title's latest arc off strong.

While the opening issues of Black Panther were explosive and kinetic, Black Panther #6 shows that the throne's grip on this story may be slipping a bit.

Though still armed with a sharp script and heavy narrative themes, Black Panther #8 stumbles a bit on its own feet.

Though readers in the loop know where this story ultimately ends, World of Wakanda #4 shows that there are many more tales to be told beyond the throne and the king who occupies it.

Allowing a fine humanity into the usually cold, detached genre of cosmic horror, Black Stars Above #1 is a sterling example of elevated horror in comics. It both delves into the weird, but it’s not afraid to make its characters real people rather than doomed mouthpieces to be dashed into insanity. It doesn’t handwave away the racial politics of the era, nor does it engage in blatant racism like genre’s most prolific contributor. Instead it makes the racial strife at the center of this family text, tempering the insolation and tension of the cosmic horror with timely social horror. Armed with brains, heart, and a dark soul, Black Stars Above #1 is a nightmare well worth having.

Just the right amount of poetic and unsettling, Black Stars Above #2 avoids the sophomore slump.

Instantly accessible but still standing as the latest in a long line of Valiant Entertainment events, Bloodshot U.S.A. #1 is a fiery and grand start to the latest Bloodshot epic.

Though it took a bit to find its feet in the beginning Bloodshot U.S.A. #3 puts the event back in the conversation of how good an event comic can be.

Though it isn't exactly a perfect finale Bloodshot U.S.A #4 stands as a fine example of how big Valiant is willing to go.

Ray Garrison and the cast of the recent Bloodshot arcs get a nicely normal reset in the zero issue of the latest volume of Bloodshot Reborn.

In a landscape dominated by difficult to penetrate ongoing titles, Bloodshot Reborn #11 stands as an entertaining and visually engrossing jumping on point. Jeff Lemire, Brian Reber, and Lewis Larosa take what could have been another grim and gritty tale of revenge and bloodshed and transformed it into a rich yarn that makes the most of Valiant's diverse cast of characters and sheds a new, fresh light on one of its most recognizable leads. Though not without a tired comic trope that desperately should be put to pasture, Bloodshot Reborn #11 seems to be making a real effort to live up to the reborn in its title.

Bloodshot Reborn #13 is not perfect, but what works work and we have a small idea of where its going. Here is hoping that "Bloodshot Island" can allow the title to recover after a lackluster arc finale.

Thanks to the expressive and gory art from Mico Suayan and David Baron, Bloodshot Reborn #14 transcends the deserted island story doldrums with style.

Though this issue might leave readers a bit cold, Lemire and company still make pulling back the curtain on the Bloodshots an intriguing experience.

Bloodshot Reborn Annual 2016 #1 is like reading a beautifully curated intro to Bloodshot's regular title, and stands as yet another example of Valiant Entertainment's dedication to delivering accessible and fun comics.

Though not perfect, Books of Magic #1 is still a solid, tonally sound new effort from the "Sandman Universe," one that brings back a major player in the Vertigo Comics roster and works hard to make his reintroduction instantly accessible for people who may have never heard of Tim Hunter before now.

The opening issue left me a bit cold, but I am warming up to the new era of Books of Magic after its second issue. We have a bit more of an idea of the kind of dangers lurking outside Tim's door as well as his, and Dr. Rose's, capabilities. Second issues are always critical, especially for rebooted series, but Kat Howard, Tom Fowler, and Jordan Boyd take the foundation of their debut and build upward on it nicely, putting Tim and the readers in the thick of this magical mystery that can only get weirder, and hopefully better, from here.

Built up with slender panels and expressive character models, Books of Magic #3 is a fine-looking low point for the new Sandman Universe title.

With a politically-charged energy and earned, sincerely funny edginess, Border Town #1 carries the torch of original Vertigo Comics work into 2018 nicely. Esquivel, Villalobos, and Bonvillian have tapped into a very specific vein of supernatural teen horror with a hefty mixture of cynicism, anger, and wit, and I for one, cannot wait to see where it goes. If Border Town #1 is any indication, Vertigo Comics is coming back in a big way.

Even if you missed the debut series, Britannia: We Who Are About To Die #1 is a wonderfully dark and twisted return to the crime infested pre-fall Rome.

By keeping one foot in classically inspired Roman epics and the other in more pulpy genre affairs, Britannia #1 stands as an wildly entertaining mix of high and low culture. Peter Milligan heaps mood, monsters, history, and blood onto the readers plates and after this sizable first helping, you will be begging for more. Juan Jose Ryp, Jordie Bellaire, Raul Allen and Patricia Martin also go for the gusto with culturally inspired art and a more tactile and focused take on the main pages, keeping very much in line with the high and lowbrow scripting. They say you can’t be all things to all people at once, but Britannia #1 makes a valiant attempt at being precisely that.

Standing as a true family affair, Bug!: The Adventures of Forager #1 is a gleeful simultaneous throwback and modern comic homage to the heyday of Jack Kirby’s comic output bolstered by the indie comic cred of a revered creative team and a white hot imprint for only “the most dangerous humans.” Laura, Mike, and Lee Allred come correct to the New God B-teamer and while the emotional hook associated with the imprint is somewhat lacking here, Bug! #1 is still an experience you would kick yourself for sleeping on.

"All-ages" can be a dirty word to some readers, but Canto #1 takes a number of influences and mixes up a truly entertaining and striking modern fairy tale.

One-off adventures are all well and good, but I think it is time for Steve, and this creative team, to start delivering the big, grand adventures that we want from this new iteration of Captain America.

Though it isn't exactly the blockbuster issue one would expect from such a momentously numbered issue, thanks to Waid's sterling character work and Samnee's gorgeous pages, Captain America #700 is still a fittingly fun and surprisingly science fiction infused tribute to the "First Avenger" and his time-hopping adventures.

Helmed by a steadily-improving writer who has no problems delving into the political ramifications of superheroes and their world and an art team who understands Cap and his dynamic movements, Captain America #1 is a triumph for one of Marvel's A-listers who was in dire need of image rehab. Cap may be unsanctioned (again), but the dream is still alive and in good hands, despite the impossible.

Graced with driving action and well-deployed pathos, Captain America #11 is a winner. Ta-Nehisi Coates is still playing a longer game with “Captain of Nothing,” but the single issues to get there have been a ton more fun to read, thanks to his new pacing and Kubert and Milla’s keen artwork.

If you like your Captain America tales with more period flair and a hefty dose of Nazi-punchin’, then the Captain America Annual #1 is the comic for you. Given a beating heart and fantastic characterization by Tini Howard and classic war comic visuals by a stocked roster of talented artists, inkers, and colorists, this annual cuts right to the core of what makes Captain America such a resonant character both then and now.

Captain America: Sam Wilson #8 isn't the most steady of penultimate issues, but with the end of Standoff in sight, Captain America: Sam Wilson is poised to become a very different title.

While unessential for the ongoing narrative, aside from the tonally incorrect plot exposition, Captain America: Sam Wilson #10's importance as emotional catharsis and an example of the power of POC-led stories cannot be denied. Strides toward more widespread representation have been made in the last few years, but there are still many miles to go for the medium. That said Captain America: Sam Wilson shows that Nick Spencer, Angel Unzueta and Cris Peter are committed to promoting change by delivering heartfelt, respectful stories that add to the ongoing conversation.

While Sam Wilson’s days ahead look tough, Captain America: Sam Wilson #14 provides a springboard for this creative team to achieve greater heights. Nick Spencer continues to take Sam’s story to unexpected places while still keeping the same timeliness that has set this series apart from Steve Rogers’ sister title. On the art front, Paul Renaud and John Rauch deliver the same kind of detail and character moments that have made the Daniel Acuna issues so good-looking, while still providing distinct action and color choices. As #TakeBackTheShield has grown from grassroots outrage to a larger-scale conspiracy, Captain America: Sam Wilson #14 shows that there are still plenty of great stories to be told with Sam behind the shield.

After landing like an atom bomb and sending shockwaves through the comics-reading community, I had to experience Captain America: Steve Rogers #1 for myself and what I found was a lot more interesting than what people were making this debut out to be.

Evil has the upper hand in Captain America: Steve Rogers, and I don't know how the white hats can recover. As Spencer lays out his long-term narrative threads, this second issue's biggest selling point is setting up a huge hurdle for Steve Rogers " we know he will overcome eventually, but breaking free of his newly implanted backstory feels like a challenge worthy of his time, more akin to being trapped in time itself and rather than going back to the old well of having to just punch out a racist. Nick Spencer and Jesus Saiz, though largely occupied by narrative bricklaying, present an epic problem for Cap, and a very interesting discussion about his character as a whole.

Though the eventual face turn was something we were all expecting from the title, Captain America: Steve Rogers #3 adds a few new interesting kinks in Steve's new villainous life.

Though there is some great stuff to be seen in Captain America: Steve Rogers #6, readers will have to sift through the chaff of Marvel's Summer blockbuster in order to get to it. Nick Spencer, Javier Pina, and Rachelle Rosenberg delivered a great looking comic filled with fantastic characterizations that suffers from the scarlet letter that is event tie-in storytelling. It's an stumbling block for sure, but not one that completely hobbles the book for the foreseeable future. While the war drags on, Captain America: Steve Rogers holds the line as best as it can.

And so ends another installment of the Loeb and Sale Color trilogy, but instead of ending with a bang, it ends with a whimper; a beautifully rendered and well written whimper. Jeph Loeb, Tim Sale, and Dave Stewart deliver a gorgeous finale, but ultimately, it feels like a more pedestrian ending than this mini-series deserves. The underwhelming ending coupled with the fact that the series manages to be about yet not about Bucky's death makes it an un-deserving finale for such a deserving creative team. Captain America: White #5 may age better, or even find new energy as a collected volume, but as of now, we just have another beautiful but inconsequential Cap story.

Carol may have a new job, but that doesn't mean that alien weirdness just stopped following her around, but this month, the weirdness is hitting a little closer to home than she might have expected.

As the series celebrates its tenth anniversary this month, Casanova hits shelves again for the first time in 10 months with a meta installment that starts to draw the characters together in a cohesive push toward the endgame with Micheal Chabon following suit with his "Metanauts" back-ups.

While the rest of the imprint's output is more flashy, Cave Carson has a Cybernetic Eye #3 grounds, quite literally, its weirdness with great results.

Though the world is still a bit tough to crack, Cave Carson #5 still has plenty of character to keep it interesting.

Armed with sharp visuals and a deep well of heart, Cave Carson Has An Interstellar Eye #1 is another big win for DC's Young Animal.

Jim Zub, Sean Izaakse, Marclo Menyz, and Erick Arciniega might be dealing with one of the worst things that could happen to a community, but they never let that deter the power of said community and the enduring comfort that can stem from superhero comics.

While this table setting issue is truly gorgeous to look at and contains a few juicy scenes for the major players of the upcoming event, you are better off waiting for the trade to experience Civil War II #0, as I can confidently theorize that you can skip over this installment completely and still experience the latest friend versus friend scrap for the moral high ground without missing a beat.

The leads of Civil War II are barely holding on as sympathetic leads, and aside from a great scene of Medusa and Carol connecting as leaders and women and Bendis' doing his level best to keep Karnak in step with Warren Ellis' take on the character, Civil War II #2 is Earth's Mightiest Heroes at their worst, hiding behind half-baked masks of grief and responsibility.

Though Marquez and Ponsor still prop up this event with soaring and vibrant art, Civil War II #4 is two steps back after last month's bold step forward.

And so, to summarize, Civil War II #8 was basically an episode of Whose Line is it Anyway?: Everything was made up and the stakes didn’t matter, which is something I’m growing weary of in my Marvel event books. Brian Michael Bendis, who has delivered some fantastic events in his long career, limps across the finish line in this eighth issue, employing a hefty bit of deus ex 'Cosmic Power of the Universe' for what can only be described as the opposite of a game changer.

Unconcerned with furthering the larger event story, Civil War II: Amazing Spider-Man #1 is the right kind of use of the tie-in format. While not exactly essential, it still functions as a breezy well developed story that fleshes out characters instead of keeping them in status until the next installment of the main story. Christos Gage, Travel Foreman and Rain Beredo deliver a funny and firmly in character look at some of the event's major players giving them their own arc beyond the battlefield. He may not be the same kid he was the first time around, but this tie-in shows that Peter Parker has the capacity for growth in the face of an ever-changing Marvel Universe.

Though the artwork throughout satisfies, especially the Chris Samnee-esque team of Leonardo Romeo and Miroslav Mrva on Damage Control, Civil War II: Choosing Sides #1 doesn't have enough clout behind it to truly win over anyone but the diehards.

Marvel’s new Conan the Barbarian is the best of both worlds. Not only is it a solidly entertaining introduction of the Cimmerian to a whole new audience of readers, but a reverent adaptation that acknowledges the wealth of material that came before it. Jason Aaron, Mahmud Asrar, and Matthew Wilson keep their eye on the past, but their swords pointed forward in this bloody fun debut issue.

While the script could have been a bit leaner, Conan the Barbarian #6 proves Marvel is still doing right by our favorite Cimmerian.

Armed with a keen drive and high adventure fun, Conan the Barbarian #13 keeps the main Conan title on strong legs.

On paper, you wouldn’t think a book like Conan: Serpent War would work. It could either be a lazy team-up or, worse, a slapdash use of the characters. But thanks to Jim Zub’s clear reverence for the Robert E. Howard canon and research into Conan’s Marvel history, Conan: Serpent War stands as a respectfully entertaining pulp blockbuster, one graced with not one, but two game art teams providing solid cinematic pages. As Marvel’s first modern-era Robert E. Howard canon crossover “event”, Conan: Serpent War #1 sets the bar high.

Though I would have liked a bit more visual consistency between the opening and this issue, aside from the Vanessa R. Del Ray guest spot, Conan: Serpent War #2 is a fun enough follow-up to the dream pulp fiction team-up.

Though the setting up the next "Conan" event adds a head-scratching teaser to the issue, Conan: Serpent War #4 is a broadly entertaining finale.

Conan the Slayer #1 delivers vintage Conan thrills with a script that is respectful to the tone of Robert E. Howard without being slavish along with some thrilling displays of blood letting from a game art team.

While Contagion #1 neatly melds superheroics and horror, one can’t help what a punch it could have brought with a bit more narrative tightening. Bringing a pulpy, street level energy to this limited series, Brisson, Antonio, and Gandini present a big, gross problem and then set to unleashing it on our favorite heroes. This debut isn’t perfect by any means, but if Brisson can make the most out of his page count moving forward, he and his stellar art team could make some real magic happen in future issues.

Cosmic Ghost Rider Destroys Marvel History #1 has one really good joke, but the problem is, it just keeps telling it over and over with just slight variations.

A shaky start, but your comics shelf will be a much better place - not to mention much grittier - now that Criminal is back.

A lot of hype has surrounded Cry Havoc #1 as it approached its release, but after finally being able to read it, I can happily report that it backs up every bit of it.

While the debut issue was all about laying groundwork, Cry Havoc #2 is all about expanding on the groundwork with a funny, blood soaked, and entertaining second issue.

Everything that's old feels new again in Daredevil #3 as it takes inspiration from the Miller era and delivers yet another engaging take on the Devil of Hell's Kitchen.

While not exactly the most explosive of team-ups, Daredevil #9 still manages to shine a new flattering light on one of Marvel's greatest heroic pairings while still staying true to why the two work so well together in the first place. Thanks to Charles Soule's emotional intelligence and sense of pacing, aided by Goran Sudzuka and Matt Milla's knack for simple and stylized artwork, Daredevil #9 mines a bit more out of this team-up than just base level entertainment. There is always fun to be had seeing two heroes taking on rooms full of thugs, but its even better when the creative team presents them as human beings and that is exactly what Daredevil #9 does.

Annuals are usually the place for creators to stretch their legs and try new things, but Daredevil Annual #1 offers nothing new and stands as a fun, but flawed one-shot.

Daredevil #2Written by Chip ZdarskyArt by Marco Checchetto and Sonny GhoLettering by Clayton CowlesPublished by Marvel ComicsReview by Justin Partridge‘Rama Rating: 9 out of 10

It probably didn't need to take five issues to get here, but Daredevil #5 is a brutally entertaining finale for this new volume's first arc.

I will admit a certain apprehension for Zdarsky's take on Daredevil, but the more time he spends with Ol' Hornhead, the better it gets.

Though this run of Daredevil has been steadily improving from the start, #10 shows there might not be a ceiling on just how good it can get.

Down-to-earth and filled with crime drama realness Daredevill #11 keeps this volume firmly on the right track.

With high drama and even higher emotions, Daredevil #18 continues Ol' Hornhead's hot streak.

Another chapter closes for Matt Murdock in Daredevil #20 and it does so in a grand, highly effective fashion. But while this finale is a showy one, Daredevil #20 also brings to the table some great development, both for Matt Murdock and the title as a whole as it prepares to enter its next arc.

The first issue of Metal is still a month away, but Dark Days: The Casting #1 gives us a prelude that really sells the hell out of the upcoming event and gives us juuuuust enough to tide us over until that first issue drops. Batman may have learned to master the dark and instill fear in his foes, but after Dark Days: The Casting, the Caped Crusader may start to fear what lurks in the dark.

The Batman may have some more nasty surprises in his utility belt, and by the looks of things, so does Frank Miller. The debut issue may have left readers cold but Dark Knight III: The Master Race #2 brings the heat back to Miller's Gotham City along with a stocked bench of talent. Miller, Brian Azzarello, Andy Kubert, Klaus Janson, and Brad Anderson have all locked in a quick step with this second issue and deliver an experience that feels rollicking instead of self-important.

Though a bit too focused on the larger picture instead of specific characters, DKIII #6 still sets the series up for a suitably epic and bittersweet finale.

Through all the bluff, bluster, and numerous un-PC gaffs, Miller, Azzarello and a reverently talented creative team have ended this latest opus on an uncharacteristic note, but a powerfully hopeful one; one that shows that one of comic's most controversial creators might just be big ol' superhero-loving softie after all.

Both too strange to live and too rare to die, Dark Knight Returns: The Golden Child #1 is a high point for late period Frank Miller.

Though this one-shot doesn't single-handedly salvage the sluggish main series, Dark Knight Returns: The Last Crusade #1 is an entertaining throwback to the era when comics weren't just for kids anymore. By filling in narrative gaps and focusing not on a sprawling superhero epic but on a singular Batman story instead, Miller, Azzarello, Romita and Steigerwald show that this returned series still has some teeth given the right story direction and focus. Filled with callbacks, both intentional and incidental, and fan pleasing momentum thanks to its direct connection to the 1986 classic, Dark Knight Returns: The Last Crusade #1 makes the vintage, hard-edged Frank Miller style feel vital again.

Brandishing an epic, reality-spanning scope, emotional character moments, and a surprising reader-friendliness to its multiversal yarns, Dark Knights Rising: The Wild Hunt #1 might just be Dark Night: Metal's first truly unmissable tie-in issue.

But like the issue overall, none of it much sticks, and we are left with another goofy cliffhanger to lead into what is presumably another pretty goofy issue of this event. Somehow operating as both silly and self-serious, Dark Nights: Death Metal #2 ends up exemplifying the worst aspects of both as well as failing to raise the bar as a sequel.

Armed with plenty of splashy visuals and a renewed urgency to the narrative, Dark Nights: Death Metal #3 puts the event on solid rails as it barrels toward its surely huge conclusion. Thanks to a keen energy and silly reverence to the weird and wooly world(s) of the DCU, Scott Snyder, Greg Capullo, Jonathan Glapion, and FCO Plascencia deliver just the shot in the arm this event needed as it heads into its operatic endgame.

While the tie-in one-shots of this event have been some of the better material of Dark Nights thus far, Dark Nights: Death Metal - The Last 52: War of the Multiverses #1 can't be fully counted among them. Though armed with fun moments and occasionally impressive artwork, The Last 52 doesn't do much but clutter the stage as Death Metal prepares to take its final bow.

But even with the sudden jolt of absurdist wit at the end of the issue, Dark Nights: Death Metal - Legends of the Dark Knights #1 is largely skippable. Though it bears the name of the iconic anthology series, there is little within the pages of this one-shot to justify calling it essential reading for the ongoing Death Metal saga.

So with a honed irony, tremendous visuals, and truly gonzo scripting Dark Nights: Death Metal - Multiverse's End #1 raises the stakes, emotions, and weirdness of the event and not a moment too soon. If the main series has left you cold, pick up this tie-in and revel in just how crazy (and purposefully cheeky) event comic books can be.

With three gorgeous standalone stories and a strong ongoing thread connecting them, Dark Souls: Legends of the Flame #1 is a strong example of having your cake and eating it, too.

Filled with dread and plenty of recognizable foes from the franchise Dark Souls: Winter's Spite #1 is another gloomy winner from Titan Comics.

Anthologies are a tricky business and adaptations are doubly so, but thankfully, Titan Comics' Dark Souls offerings got gud early on and provided stories that both fans and newbies could enjoy by the warm light of a Blighttown bonfire.

Though I never could have guessed that From Software's dark and broody trilogy would be rife for adaptation, Dark Souls #2 defies expectations and shows that you can take what makes a game great and present it in a new accessible light without losing what made it great in the process.

Once again capturing the mood and tone of the fan favorite game trilogy, Dark Souls #3 is a dark trek into an entertaining world of swords and sorcery.

The table is set and the pieces are moving but in Dark Souls: Winter's Spite #3.3 the winter is anything but a wonderland.

Fans of Lethal Weapon and shows like Life on Mars will find a lot to love about the Green Lantern/Space Ghost Annual. James Tynion IV, Christopher Sebela, and Ariel Olivetti really go for the gusto here and it pays off big time thanks to their tight scripting, snappy banter, and sweeping science fiction visuals. Team-up books like this are usually a mixed bag, but thankfully the Green Lantern/Space Ghost Annual #1 quickly stakes a claim to being the exception to the team-up slump.

DC Universe: Rebirth #1 portends that a clock is ticking across the DCU and for the first time in a long time, I am excited to find out what its counting down to.

Every once in awhile, these DC anthologies will surprise you, and I am glad to see that the DC Nuclear Winter Special #1 rises above it's bleak premise and delivers some truly great holiday superhero stories.

Not a perfect start for the horror epic, but DCeased #2 portends a possible upswing for the series. Now with the stakes and cast fully assembled, the creative team can now start to move forward instead of continuing to move laterally. Here's hoping the third installment can use the potential shown here and put some new energy into the old bones of the "superheroes versus zombies" concept.

Though it's release is oddly timed for a spin-off, that does nothing to lessen the power or fun DCeased: Unkillables. Graced with pathos and grit by Tom Taylor and rendered with stellar artwork from a confident art team, DCeased: Unkillables is a killer debut.

Your mileage will definitely vary when it comes to these kind of superhero horror riffs, but I am happy to say that DCeased: Unkillables #3 plays well just as an example of stirring single-issue comics. Though it can and does get bogged down in the bloody business and dire stakes of zombie stories, DCeased: Unkillables #3 delivers a much-needed catharsis and optimism to its brand of horror; something often cast aside in favor of cheap shocks and thrills. This finale isn’t perfect, but at least it’s hopeful. And sometimes, that’s enough.

Though backed by a truly outstanding creative team Death of X #1 is dead on arrival. With their tonally divergent script and problematic narrative choices, both Jeff Lemire and Charles Soule are functioning way below their usual output and starting this new event on a distasteful note. This first issue also manages to make one the most exciting artists to come out of DC in a long time hard to look at which is the final nail in the coffin. The X-Men and the Inhumans may be headed for blows but Death of X #1 just feels like punching down.

Though certainly not the Marvel UK reboot you would expect, but for certain the most fun, Death's Head #1 is another win for Tini Howard at Marvel. Backed by heavy, but engaging artwork and colors from Kei Zama and Felipe Sobreiro, the team bring Marvel's most posh assassin robot back into the fold in a really funny and narratively promising way. You enjoy cool robots and superhero boyfriends, yes? Then Death's Head #1 has you covered this week.

Back on the beat and settling in a New York groove The Defenders #2 avoids a lot of Bendis’s second issue pitfalls and stands as a solid capitalization on the debut’s bombast. That isn’t to say this issue completely avoids some of Bendis’s tried-and-true (and perhaps even overused) hallmarks, but what it lacks in development it more than makes up for in characterization and gorgeous artwork.

Dynamite Comics made us a promise last year in regards to its top three female characters. With Dejah Thoris #1 hitting the shelves this week, we have yet another example of Dynamite delivering on that promise with a fun, engaging issue from a solid creative team. Frank J. Barbiere, Francesco Manna, and Morgan Hickman are playing with house money with Dejah Thoris but know enough not to over play their hands. Dejah Thoris #1 is another great reintroduction to a character that has always been on the verge of being A-list, even if she has to lose it all to finally become the hero that she has always meant to be.

With blood to spare and a strong human element at its center, Demonic #1 is a winner from start to finish. Christopher Sebela has taken the pilot one-shot and completely ran away with. Running along side him are Niko Walter and Dan Brown who nail the both the horror and mundane elements with equal aplomb, making this debut strong not only narratively, but visually. There are many horror books on shelves right now, but Demonic #1 is one that more than deserves your attention.

Though DC is headed toward a "Rebirth," it is nice to see that the classic titles still have milage left in them.

The League of Shadows may be a myth, but the Bat-Family is finding out just how real and deadly focused they are in Detective Comics #951.

Detective Comics has been a consistently entertaining title since its renumbering, but only time will tell if it can continue to sustain itself through this new "lonely place of living."

Tim Drake might be losing touch and the team may be headed for another breakdown, but Detective Comics #970 keeps the title going strong.

The Bat-Family may be on the ropes, but Detective Comics #980 continues to come out of the corner swinging, thanks to its attention to character and its commitment to heartbreaking set pieces.

The Bat-Family is a collection of special men and women, but this run of Detective Comics and the characters it assembled will always hold a special place in the heart of this era of the DCU.

With an eye on character, a compelling thesis, and a genuine mystery to solve at its core, Detective Comics #983 can comfortably be called a success.

While the introduction of a fan-favorite video game character winds up a surprising fizzle — in that regard, this does have a lot in common with the introduction of Rogol Zaar in Action #1000 — the rest of Detective Comics #1000 is more than worth your time and money. Stocked with all manner of veteran creatives and packed with classic, emotional, and highly entertaining Batman stories, this feels like a fitting celebration to the Caped Crusader. Exploring both the darkness and light of Batman, Detective Comics #1000 has something for every kind of Batman fan.

If you have been wanting a street-level mystery from the new era of Detective Comics, then #1006 will be a breath of fresh air. Not only that, but it serves as a larger-than-life return for the Spectre, one handled by a creative team who understand how fun and weird his inclusion can be. If you have fallen off of Detective Comics here lately, then #1006 is a great place to pick back up.

While I would have liked a bit more headway as to what Luthor's "Offer" really entails, Detective Comics #1008 was a fun side-story as the Year of the Villain starts up in earnest.

And therein lies the real strength of Detective Comics #1027. It's just really damn fun to read. Offering readers a vast range of what Batman and Detective Comics can offer as a title, Detective Comics #1027 stands as a worthy tribute to the issue that launched the Bat dynasty.

Armed with a fun accessibility and dynamic visuals throughout Dick Tracy Forever #1 returns to the streets, ready for action.

A real blast from the past, Dick Tracy: Dead or Alive #1 is a fun and well constructed reintroduction of the crime fighter for a new audience. Backed by the considerable talents of the Allreds and Rich Tommaso's engagingly vintage pencils, this new debut has all the hard-boiled fun of the original strips but with a modern comic sheen.

Chocked full of canny gamer culture in jokes and darkly funny characters, Die #2 levels up the series, providing major buffs to fun and a higher entertainment modifier.

Divinity II #1 puts the drama back into superhero drama in grand fashion. Though packaged as a science fiction yarn with engrossing visuals, Matt Kindt, Trevor Hairsine, Ryan Winn, and David Baron take the genre and warp it to include themes of responsibility to the state, self-actualization, and cold logic in the face of death. Divinity II #1 shows what superhero comic books can be when they are given a chance to be something more than what they are expected to be, much like Valentina Volkov herself. Underestimate this debut at your own peril.

Divnity II #4 shows that in the right hands, comics can do it all. They can, in equal parts, provide thrilling action and heady narrative ideas while also engage in emotional storytelling. Valiant Entertainment has had a great many wins under their belt as of late but Divinity II stands above them all with grace, energy and heart.

Armed with Russian-themed variants of Valiant heroes and a well-researched background, Divinity III continues to show what can happen when event comics have more on their mind then just empty action.

. It isn't the most auspicious of starts for Doc Savage: The Ring of Fire, but the story has enough spark to keep the embers glowing at least until next month.

Standing as probably the strongest case yet for a Pat Savage solo title, Doc Savage: Ring of Fire #3 is the kind of female-focused pulp we need much more of.

The world has grown colder in the wake of Doctor Strange #6, and the embers of magic are quickly dying. While Jason Aaron started this new solo title with a comedic edge, it seems that he is turning a corner with its first major story arc. Aaron has brought Strange as low as he can go in the opening issue and even though we know there has to be a triumph at the end, things look very dire right out of the gate. Armed with an art team that refuses to give anything but their best Doctor Strange #6 is exactly the kind of start you want for your first big major story; one that digs its hooks into readers deep and refuses to let them go.

Doctor Strange #10 puts a bombastic cap on the title's first arc and sets up for very interesting things down the line.

Even if you didn’t catch the epic “Last Days of Magic”, Doctor Strange #11 still offers a fun and engaging entry point into the world of the fallen Sorcerer Supreme. Armed with wit and a magic ball bat, Jason Aaron provides an engaging dual look at the magician and sets the title up to head in more interesting directions after going big and bold with the first arc. Artists Kevin Nowlan and Leonardo Romero, along with Jordie Bellaire, bring Aaron’s double-tracked plot to life with their own stylish duality and sharp color palette. The road ahead will be hard for Stephen Strange, but he still invites us to walk it with him, one spell at a time.

rmed with one of the weirdest cadre of foes in comics and a clever hook Doctor Strange #13 is another strong showing from a consistently strong solo title.

Though the side cast pop a bit more than the leading man, Doctor Strange #1.MU still stands as a fun diversion from the main event.

While this first issue is largely set up for Strange's new depowering and place in the Marvel Universe, Mark Waid does an admirable job of chronicling his fall from grace, delving deep into Strange's melancholy to make up for the lack of forward momentum in the plot department.

Armed with old-school monster fun and surprisingly tight medical drama, Dr. Strange #4 is the best of both weird worlds.

Doctor Strange might not be the first title you think of when you think Mark Waid, but his tenure with the character just continues to improve.

If you were looking for a read appropriate for All Hallow's Eve, you could do worse than Dr. Strange Annual #1.

With its briskly-paced script and beautifully-weird visuals Doctor Strange and the Sorcerers Supreme #1 stands as a magically entertaining debut for Marvel’s newest line of magical defense. Robbie Thompson, Javier Rodriguez, Alvaro Lopez, and Jordie Bellaire all lean into the weirdness of this facet of the Marvel universe to deliver a trippy introduction to a new team while keeping Doctor Strange’s recent change in power set intact. He may not enjoy the same arsenal that he once did nor does he command the same respect in the world of magic as his title demands, but Strange is still in good hands and good company in Doctor Strange and the Sorcerers Supreme #1.

With a lightning-fast pace, an epic scope, and a script that takes full advantage of what makes each modern Doctor fun and compelling, Doctor Who: Supremacy of the Cybermen #1 is the series in its purest and most entertaining form. While I would have loved even the tiniest hint of the Ninth Doctor taking shots at his more foppish regenerations or possibly even finding a kindred spirit in the rough and tumble Twelfth Doctor, the creative team have only just begun, starting this event off with a metric ton of promise. As Titan Comics prepares for its latest Doctor Who Comics Day, they have another crowd-pleaser on their hands with this latest multi-Doctor event series.

Though things look bleak for the Doctors and their companions now, Doctor Who: Supremacy of the Cybermen #4 promises plenty more action and out there science fiction before this series has had its final say.

Armed with plenty of style and fast-paced action, Doctor Who: The Eleventh Doctor #3.1 starts the Doctor and Alice's 2017 off on a high note.

Simply put, Doctor Who: The Eleventh Doctor #2.11 is a treat both narratively and visually, and should be enjoyed by as many people as possible.

The walls are closing in for the Doctor in The Eleventh Doctor #2.14, but rarely has his desperation been this fun to read about.

Doctor Who: The Fourth Doctor may have taken a while to well and truly kick off, but the fourth issue sets up the mini-series for a thrilling conclusion worthy of the classic serials.

By capturing the wit, charm, and high concept storytelling of the Tom Baker era, Doctor Who: The Fourth Doctor #5 ends another worthy chapter in Titan Comics' ever-expanding Who canon.

Standing as a sort of Valiant Entertainment crossover for the Anglophile set, Doctor Who: The Lost Dimension-Alpha is an expansive, charming, and gorgeous opening for the Time Lord's latest epic.

Titan Comics' Ninth Doctor series started off on a slightly stiff note, but the third issue of the ongoing shows that this series can get loose and fun, just like its TV counterpart.

Though we are headed back to the past next issue, Doctor Who: The Ninth Doctor #5 made the most of its time in the present.

By looking to Doctor Who's past to tease its future, The Road to the Thirteenth Doctor #1 is a path well worth taking.

Stacked high with fandom credentials and graced with realistic, but tonally sound and screen accurate pencils and colors, this latest debut issue keeps the company's classic Who win streak alive while staying true to the era it is documenting.

To quote another incarnation of the Doctor, sometimes winning is no fun at all, and this month the Doctor, Gabby, and Cindy all learn that the hard way through great personal loss in the wake of victory. Though darker than previous issues, Doctor Who: The Tenth Doctor #2.12 isn't just grim for the sake of being grim. Writer Nick Abadzis earns this story's darkness and seems to show no plans to just hit the reset button and not allow these characters to work through their grief. Issue #2.12 may have brought our leads low this month, but presents fertile narrative ground for this creative team to till next month and in the months ahead.

While light on plot Doctor Who: The Third Doctor #1 is a tonally perfect and kinetic start to Titan Comics' newest Classic Who series. Paul Cornell adds another incarnation of the famous Time Lord to his growing collection with a fast-paced first issue with huge implications for the rest of the series. Artists Christopher Jones and Hi-Fi keep pace with Cornell, keeping the visuals just as in tone with the classic series as Cornell's script. Though the stars await the Doctor, The Third Doctor #1 shows that there is plenty of adventure to be found on planet Earth.

Though the Third Doctor is best known for things like his hand-to-hand combat and his beloved Bessie, Doctor Who: The Third Doctor #3 shows that the Doctor is still the same compassionate Time Lord we all know and love even when he is chopping necks and giving the Brigadier grief. Paul Cornell, drawing from a vast font of canonical knowledge and emotional intelligence, turns in his most pathos filled issue to date while keeping the fun and action of the series intact. Helping keep that action on point is the art team of Christopher Jones and Hi-Fi who continue to improve with each issue, giving the series a slick vintage look filtered through a vibrant lens. Strengthened by heart and engaging artwork Doctor Who: The Third Doctor #3 is a treat for both the eyes and mind.

While it may not be as witty or as action packed as the previous issues, Doctor Who: The Third Doctor #5 still stands as a confident thesis for the franchise's offbeat yet engaging style of storytelling, and is another strong showing from one of Titan's most consistently cool art teams. As a fan, I have to admit, it is sad seeing Paul Cornell leave the TARDIS and head for other characters and IPs. That said, I am glad to have gotten the stories I got from him and even more so that his last foray stayed true to both the content and tone of the Doctor Who that fans want. So long, Paul Cornell; thanks for all the fun, and for The Third Doctor #5.

As a single entry point into Doctor Who for new readers, this issue misses the mark a bit, but the passion and accuracy of Houser's script and the art team's gorgeously realized artwork makes this at least a fun read with loads of potential.

We might not be getting a TV Christmas Special this year, but The Thirteenth Doctor Holiday Special #1 is a worthy alternative thanks to it's charm, characters, and Christmassy trappings.

Though saddled with a semi-confusing numbering Doctor Who: The Thirteenth Doctor #2.1 is a solid jumping on point for new readers and another wonderful showing from the Titan Comics' ongoing creative team. Delivering a potentially great story stocked with good characterizations, this new issue looks to bring back the timey-wimey charms of a classic era multi-Doctor story, but with all the bells and whistles of the modern TV era. The time vortex will tell if it's a true success, but for now, The Thirteenth Doctor #2.1 is a good start.

We aren't getting a Christmas Special on TV this year, but The Thirteenth Doctor Holiday Special is the next best thing.

Though this final issue would hit a lot better in a binge-read, Doctor Who: The Thirteenth Doctor #2.4 is breezy Multi-Doctor fun.

Though a great example of the kind of serialization afforded by Doctor Who, this seventh installment still offers a great adaptation for those who simply want to see this cast in action again in the wake of their debut season.

Writer George Mann succinctly wraps up the central murder mystery at the heart of the story with a patented Doctor speech, showing once again that he's at least five steps ahead of the side-characters at all times.

With smooth pencils, dynamic character work, and flatted yet evocative colors from colorist Alexandre Siquera, Doctor Who: The Twelfth Doctor #2.9 is a warmly fun return for one of Titan Comics' most consistent Doctor Who artists.

With an intensely fun new companion and smooth new look Doctor Who: The Twelfth Doctor #2.11 starts this new story off on a very strong note.

Frustrated fans and readers can rejoice, for Doom Patrol #4 is the blast of answers that we all desperately needed and wanted. But more than that, Gerard Way, Nick Derington, and Tamra Bonvillain plant a flag for this series being the most emotionally vulnerable and sincere of the Young Animal line, telling a story of self-actualization, goodness, and coping that just happens to have biological Teddy Ruxpin like creatures and sassy robots in it. If you found yourself pushing back from this title during its frustrating genesis then Doom Patrol #4 will welcome you back with strange and weirdly comforting arms.

It would have been better with a bit more connection to the main story, but Doom Patrol #12 is an experience ready-made for the side of a van.

If you have been missing the Doom Patrol in comic book form, then Doom Patrol: Weight of the Worlds #1 will be the welcome return you've been waiting for. Armed with a clear direction, appropriately insane plot, and dynamite visuals, Young Animal's flagship title is back in a big way. Though you'll have to wait until July 3 to get a look at the strangeness yourself, we assure you Doom Patrol: Weight of the Worlds #1 is a re-debut you won't want to miss.

Making good use of his eye for character and development, Geoff Johns slows this mammoth event down in order to flesh out one its main cast members while also adding some much-needed growth to the worlds that he is inhabiting.

Though armed with an undercurrent of old-school DCU pathos and incendiary comic book politics, Doomsday Clock #5 stands as the first true misstep of the series. Well, as much of a misstep as a team like Geoff Johns, Brad Anderson, and Gary Frank can deliver.

Though given some sizzle thanks to its killer worldbuilding and a truly fun Joker, Doomsday Clock #6 feels like this series’ first major swing and a miss. While Geoff Johns’ story doesn’t quite connect here, artists Gary Frank and Brad Anderson deliver some strong work, despite the more intimate and low-key nature of the issue. After five strong issues, it’s perhaps not a surprise to see Doomsday Clock’s luck finally run out — and since we’re at the halfway point of the series, let’s hope this is as bad as it gets.

The Big Blue of Watchmen-Earth has made the scene, and is apparently headed toward some sort of confrontation with our Big Blue, Superman. We don’t know much else, but I at least know that Doomsday Clock #7 is a real shot in the arm for this latest “prestige” event. Geoff Johns kicks it the narrative into gear, getting a real charge out of this installment and the art team. Time will tell if the series capitalizes on this momentum, but a win is still a win for Doomsday Clock #7.

For the life of me, I couldn't tell you what Doomsday Clock is really about just yet, but for better or for worse, this issue might be the most explosive and politically charged installment of the series to date.

Not perfect by a sight, but Doomsday Clock #10 could signal an upswing for the series. By delving deep into DC history and showing some of their cards, Geoff Johns, Gary Frank, and Brad Anderson provide a solid return for the beleaguered limited series — here’s hoping they can only capitalize on it to stick the landing.

And so, it looks like Doomsday Clock is going to die how it lived - explaining its reasons for existing. That may sound harsh, but it might be the best one can get for a comic that is largely, somehow, both recap of itself and exposition. It is almost a feat itself. But that doesn't make Doomsday Clock #11 any less of a bummer.

The legacy of Alan Moore and Dave Gibbons’ Watchmen is undeniable. I wonder now, after today, what the legacy of Doomsday Clock will be. Will it be thought of as wasted potential? An occasionally great, but consistently frustrating cult curiosity? A storyline that reads better in the trade than it did coming out drip by drip? We will just have to see, but for now, I can safely say Doomsday Clock #12 is a heartfelt, but aggressively average finale.

Dragon Age: Magekiller #1 might be the latest installment in a long-running franchise, but thanks to Greg Rucka's grounded and familiar approach to the material, this debut issue feels like it was meant for everybody, not just diehard Dragon Age fans. Along with some no-nonsense artwork from Carmen Carnero, Terry Pallot and Michael Atiyeh, Dragon Age: Magekiller #1 shows that fantasy doesn't have to be all flowing robes and flowery speeches. Thedas is a hard world, and Marius and Tessa are just trying to make a living the only way they know how - with their wits and their swords. Here's hoping that's enough to keep them safe and alive in the heart of a land built by magic.

All and all, Dragon Age: Magekiller #2 continues to be a treat for Bioware fans and for those looking for a grounded fantasy tale.

AfterShock Comics have only been on the scene a short while but with Dreaming Eagles #2 they already seem to be committed to delivering more than just the standard comic book fare month after month. Garth Ennis, Simon Coleby, and John Kalisz don't shy away from the hardships these men had to face in order to protecttheir country, but instead use it as the flaming forge that turned these men from mere citizens into heroes. Dreaming Eagles #2 isn't a political work, but instead a heroic one; a work that the men depicted therein would be proud of.

Capturing the energy of a well plotted campaign is no easy feat but Frost Giant's Fury #1 is so fun you can practically hear the dice roll.

Strange in all the right ways and epic in scope, Electric Warriors #1 is a chance well worth taking this week.

Though a neat slice of comic history repolished for a new series, I don't see Elfquest: Stargazer's Hunt garnering too many new fans along with the diehards.

A treat for longtime fans and new converts Elric: The White Wolf is an all around winner for the infamous elven emperor.

With a foot in Marvel's past but portrayed with modernly cinematic art, Empyre is already off to a pretty good start. Opening with the continuity-laced poetry of Ewing and the intense artwork of Larraz and Gracia, Empyre: Avengers #0 is an overture well worth sitting through.

But even with the jolt of cosmic psychedelia, Empyre #2 loses pace in its sophomore installment. Though handsomely drawn and colored, the lack of the pep in Al Ewing's step leaves the event stumbling right off the starting line.

Even with the grounded charm and solid artwork, Justice League: Endless Winter #1 is a coldly concentrated shot of average to kick off this winter crossover.

Eternity Girl’s frank emotion and dreamlike structure won’t be for everyone, but that doesn’t lessen its power or artistry. Backed by an imprint that thrives on risky, but necessary storytelling and armed with a creative team with genuine heart, skill, and drive, Eternity Girl #1 feels like exactly the kind of comic that this forward-thinking imprint should be doing.

Armed with a monster hook and a sparkling take on Lois Lane, Event Leviathan #1 is a lot of fun - provided you don't mind seeing a lot of people talk in a single location for the duration, that is.

While again fairly plotty for an early issue, Bendis' take on the Question and Plastic Man still entertain, the latter providing some of Bendis' trademark motor-mouthed "dad humor." Bendis' long-time collaborator Alex Maleev is still handling his transition from Marvel to DC well enough, too.

Alas, however, one good splash page does not a satisfying experience make, and that's largely how Event Leviathan feels " unsatisfying. Though armed with a great hook and plenty of fantastic characters, Brian Michael Bendis just can't seem to make it all pop as much as he wants to. Even despite Alex Maleev's best efforts to do so. Somehow both overstuffed and underbaked, Event Leviathan #4 fails to get to the point.

Though set in the Fables world and even featuring the son of Bigby Wolf and Snow White, the spy action tone clashes wildly with the original series and never quite lands.

Though it isn't perfect, Excalibur #1 is a lot of fun, and really commits to fleshing out the new, vastly weird empire of Kraoka. I feel once Tini Howard and company start tending to the Braddock family tree, Excalibur could be a real standout hit for "Dawn of X". One that isn't afraid to walk in weird, mythic territory while seeding Krakoa further. The new rules say the "X Has No Above, No Below." Excalibur looks to set it in stone.

Still standing as a distinctly mythic flavor of Dawn of X, Excalibur #3 continues the series' streak of improvement.

With wit, scope, and strong style, Excalibur #4 keeps the British Champions standing strong amid the Dawn of X.

While a bit lost in the fog of battle this chapter, Excalibur #5 continues to be a worthy tale for the new incarnation of the team.

Still one of the standouts of Dawn of X, Excalibur #6 continues to live up to the legacy.

If you've been wanting a more Marvel U.K. flavor from Dawn of X, Excalibur #7 has you covered.

Bringing the best of multiple worlds Excalibur #10 is another fun "verse" in the myth of the new Captain Britain(s).

Simultaneously delivering a satisfying new entry for longtime readers and a thrilling, important feeling single issue for those wondering what the fuss is about, Excalibur #11 continues the title's Claremont-esque fun, weirdness,and heart.

I will always appreciate when event crossover comic book get weird and Excalibur #14 is certainly that, on top of some fantastic artwork and character beats. That said, it might read a little silly amid the overall high stakes of 'X of Swords.' All we can do is hope that Excalbur #14's changes to the scoreboard matter once the game is done.

Mustering the full powers of the title's cast and creative team, Excalibur #17 brings forth once again the old-school flair and appeal of this team without sacrificing its own feel and look as a 'Dawn of X' highlight. In fact, I would go so far as to say Excalibur #17 could be one of the best issues of the series so far. Equipped with the weird charm of the past and the slick production of the present, Excalibur #17 is a winner.

Exit Stage Left: The Snagglepuss Chronicles #1 isn't nearly as incendiary as Mark Russell's previous cartoon adaptations (yet), but it is still a breath of fresh air for a community that really, really needs it at the moment.

Though nowhere near as clever or humorous as the debut issue Exit Stage Left: The Snagglepuss Chronicles #2 is a solid follow-up for the daringly human Hanna-Barbera adaptation.

Extraordinary X-Men may have started a big heavy-handed, but this arc ends on a high note that shows that the creative team is more than willing to temper its big ideas with even bigger action.

Mileage may vary with audiences and some may just outright disagree, but the artistry and ideas behind Factory #1 cannot be denied, and the best part is, it won't let you deny it. At least not without a fight.

Though Faith and Archer are still recovering after their first fight, Faith #3 puts them back in each other's good graces with a breezy jaunt through the world of comic conventions.

Packed with charm and plenty of tasteful pop culture references, Faith #6 is still one of the most human superhero books on shelves.

Faith Herbert may be one of Valiant's most likable characters, but Faith #7 shows that even the happiest people have demons and sometimes, they aren't just in their head.

Though Valiant Entertainment is mainly known for high-flying action and gritty science fiction, Faith continues to shine by leading with its heart instead of its fists.

2015 was year filled with books aiming to make an impact in terms of representing people of all races and creeds. Now 2016 has Faith #1, and while it may not act and read like an important moment, it most certainly is. Jody Houser could have turned this debut issue into a sort of "lesson of the week" series, making the story insist upon the reader how important it was. Thankfully, she didn't and instead turned in a propulsive, character centric story that gives us enough to leave us wanting to hang out with Faith and her diverse co-stars more. Though the art team stumbles, Faith #1 still soars, both as a story and as an example of the shifting comic book landscape.

Though not as propulsive as the debut issue Faith #2 continues Valiant's most charming title with a fun sophomore effort.

While Faith grabbed all sorts of headlines at the start of her career for Valiant Entertainment, Faith #3 reads like Faith's place in her universe is secured. By connecting her solo outing to larger narrative threads at play in the company, Jody Houser takes this story of a new, fledgling superhero and makes it feel so much larger as it goes into its finale. Along with evocative pencils from a stocked art team, Faith #3 feels like much more than just a simple solo outing. It feels like the start of something much bigger - and deadlier - for Faith and for the Valiant Universe as a whole.

The end is just the beginning for Faith as she is poised to close this chapter and to open a new one as a full fledged leading lady. Though the character made waves as a avatar for under represented fans all over the world, Jody Houser, Francis Portela, Marguerite Sauvage, Andrew Dalhouse and Pete Pantazis transform this final issue into not only a tight wrap-up of her first case, but a love letter to all of those who found strength and a sense of belonging in the pages of comics just like this one. Stories matter to people and even though she may have superpowers and a burgeoning career as a hero, Faith Herbert is still a fan just like we are. Faith #4 is a book for the nerds and a shining example of Valiant Entertainment's continued commitment to character.

Valiant Entertainment delivers another blockbuster in the debut of Fallen World. Standing as both a well-researched sequel to their massive 4001 A.D. AND a reader-friendly standalone event limited series, writer Dan Abnett threads the needle shockingly well.

While it's far from perfect, Fantastic Four #3 is at least on the right track, as Slott and Pichelli put the First Family back on solid ground.

Back planetside with a new home and a thinned-out roster, the Fantastic Four are poised to make their mark again on the 616-Earth. They just plan to do it from an apartment building and not a super high-tech laboratory. They have done it before, they can do it again, right? You have to start somewhere, and Fantastic Four #4 is a step in the right direction.

Spider-Man may not have been able to give his wedding speech but I can confidently call the nuptials of Ben and Alicia, and Fantastic Four #5, a rousing success. Packed to the rafters with charm, heart, and superhero comedy, not to mention some tremendously fun artwork, the Dan Slott era arguably has its best issue to date with #5. I would RSVP as soon as possible.

While it certainly has the action of the F4, Fantastic Four #18 is too hectic to be a winner.

Calling to mind more smaller scale runs like Roberto Aquirre-Sacasa's Marvel Knights run, Fantastic Four: 4 Yancy Street #1 is a satisfying side tale for the Thing and his super-family. Blessed with the wit and heart of Gerry Duggan and a wonderful roster of artists, this one-shot holds the standard of the Richards' family and Yancy Street well, giving us a fun window into their new street and HQ. Proving you don't have to head to the starts to have fun 4 Yancy Street #1 is a block party waiting to happen.

All three tales are charming in their own right (through none reach the heights of a drunk Crystal and She-Hulk smashing "puny self-esteem issues"), taking what could have been a rote anthology into a fun entry into the F4's new canon.

Blessed with the raw energy and wry comedy of old-school comics, Fantastic Four: Grand Design #1 is an entertaining trip down memory lane for Marvel and Scioli.

To call this tonal whiplash would be being kind, but the Secret Empire/Spectacular Spider-Man teaser one-shot does its job well and stands as an interesting slice of current Marvel offerings.

Though Matt Trakker, the Micronauts, and the enigmatic Space Knight are absent during the opening, there is still plenty of fun to be had with First Strike #1. When you think of a Hasbro toys crossover comic book, you probably wouldn't think "political action thriller with themes of paranoid isolationism and paternal honor," but here we are.

First Strike so far as ticked all the boxes for a comic book event; it's had big action, big personalities, and big stakes. And now it is has ticked another one with issue four in that it now has a contained, expository issue where nothing much happens, biding time until the plot's second wind kicks in. First Strike #4 didn't do much this month, but at least it did it with heart.

While the second installment of “The Button” isn’t nearly as (ahem) flashy as the first, but thanks to Joshua Williamson, Howard Porter, and Hi-Fi, this crossover finally feels like it has a plot beyond the titular accessory and the characters it is connected to. By continuing the event’s commitment to teasing the “forgotten” characters scattered across the "Rebirth" era Earth and finally delivering on the promise of two of DC’s greatest detective’s teaming up, The Flash #21 stands as a confident continuation whatever the "Rebirth" era has in store for us before DC’s Doomsday Clock strikes midnight.

The overture is now complete, and we don't really know much else that we didn't already, and that will probably end up being "The Button's" real legacy. Though chock full of mood, great character moments, and wonderful artwork, The Flash #22 stands as a particularly well made example of style over substance at the Multiversal level. Now all we have to do is wait for the clock to tick to Midnight with Doomsday Clock to find out if all this setup was truly worth it.

The wake of crossovers can either sink or buoy a title and thankfully The Flash #23 is more the latter than the former. Though still operating through a thick cloud of guilt, Joshua Williamson’s Flash at least has some real context now and this will only help the title going forward. Ivan Plascencia and Carmine Di Giandomenico also navigate the waves of the post-”Button” surf well, culminating in a solid return to the core story for “Rebirth’s” Team Flash.

Though it seems like the lead up to the war has been going on for ages, The Flash #46 finally finds the title gearing up to be more than just prologue.

The Flash #59 looks great and is super weird, but that might not be enough for certain readers.

While not the most groundbreaking of issues of "The Price," the heart behind The Flash #64 gives this team-up plenty of legs heading into its penultimate issues.

I have some reservations about the way this opening issue of "Flash: Year One" ends " mainly because I am a little over time travel being a central story element to The Flash. But all told, I am very impressed with The Flash #70, both as a "new origin" and as an example of Joshua Williamson's innate understanding of Barry as a character.

Not exactly a snail's pace here, but The Flash #73 does start "Year One" in a slower lane storywise.

While Joshua Williamson and company are gearing up for a full-on "Flash War," they prove that they haven't lost sight of character and emotions in The Flash Annual #1.

The Flash Annual #3 might be a bit more scattered than you would expect a regular one-shot to be, but I think that just adds to its charm. By using elements from two separate ongoings and taking a more unconventional approach to this kind of momentary crossover, Joshua Williamson and the stocked roster of artists give us the best of both titles, while also taking an unexpected approach to how he lays the story out for an extra bit of narrative oomph. Bringing the good out of the bad guys, The Flash Annual #3 is a solid choice this week.

. On the one hand, it aims to be a heart-wrenching tale of a man coming back from horrors. On the other, it's a high-stakes romp through the 52 worlds in order to save it from destruction. But at least it looks fun, right? Here is hoping that the more Flash Forward moves forward that it will find itself along with Wally West's soul.