Lacking a better way to describe it, the most I can say is that first issue is a mess. It's messy in its execution, messy in tone, and worst of all, extremely messy in its characterization. Though delivered by recognizably talented creatives, Harley Quinn and the Gang of Harleys #1 is a profound misstep after a string of witty, low-key satires and adventures starring the Clown Princess of Crime. I wanted to like this book. I wanted to meet this book on its own terms. But, there is only so much a reader can do with a book as ill-conceived as this one. Harley's fans deserve more than this, and more than that, readers in general do, too.

The Squadron Supreme may have been heroes on their own respective worlds but here in this debut, they look and act more like the villains.

Between this and the thudding "Final Days of Superman" crossover, DC Comics clearly has a Superman problem, and it may take Rebirth to truly solve it. Heavily promoted by the man himself, Max Landis' Superman: American Alien doesn't amount to much other than another disposable creative exercise from a famous fan accompanied by another hard to swallow "grounded" take on Superman that either makes him look petulant at best and a super-jerk at the worst. American Alien's Superman isn't a character, he's a collection of super powers posing as a character. Though Superman: American Alien features some of the best artwork and covers that DC has produced this year, its finale reveals the series true form: a story about a Superman that cares little about actually being or becoming Superman.

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.

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.

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.

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.

Generations: Sam Wilson and Steve Rogers #1 won't be for everybody. Hell, it may not be for anybody, but at least now Sam and Steve can dust off their old costumes and see what the future holds for them beyond the Vanishing Points, Secret Empires, and Hydra-Steves of the world.

Half-baked and armed with a weak narrative hook, Legion of Super-Heroes: Millennium #1 is a high-profile dud. One that was surely bound to happen now that Bendis is starting to branch out beyond his little corner of Metropolis. I just wish it didn't have to happen at the Legion's expense.

Dark Horse's Prometheus line has offered up everything from abject horror to tight action, but Life and Death #2 feels too pedestrian to offer up anything nearly as fun as the previous series.

Uncanny X-Men #6 might not be the best entry into this series, but it is still refreshing to see the team's ambition. While not quite the teen adventure of All-New nor the soap opera-esque tale of Extraordinary, Uncanny X-Men occupies its own story space, even though it loses the plot this month. Despite this issue's missteps, there is still plenty of time for Bunn and company to get things back on track for next month. Let us hope that Archangel hasn't totally ruined everything (again) before then.

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.

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.

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.

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.

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.

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 buoyed by Mike Deodato Jr.'s fantastic panel layouts (and a distracting but weirdly hilarious Luke Perry cameo in the form of Tony's disguise) and Frank Martin's evocative copper and gun metal gray color scheme throughout, Invincible Iron Man #10 is too jumbled of a read to really have fun with.

Though graced with a singular art style and occasional interesting sparks, Marvels X #1 starts readers at a deficient. Virtually inaccessible to new readers and presenting little for even longtime Earth X fans to latch onto, Marvels X #1 feels like a baffling way to bring back this well-mined alternate universe.

Though Josh Burncham's colors offer a nice transition between the the past and present, Optimus Prime #2 suffers from trying to do too much in too little time.

You would think a showdown between Captain America and Dracula would be pretty cool, yeah? But "cool" isn't exactly how I would describe Ruins of Ravencroft: Dracula #1.

Starbrand and Nightmask has all the trappings of a classic Marvel story. It has two ultra powerful leads trying to lead a normal life along with their superhero careers, attempting to live and love as they do battle with evil doers. While Greg Weisman taps into some tried-and-true Marvel storytelling beats, the unanchored nature of the plot along with the less-than-stellar artwork makes Starbrand and Nightmask #1 more of a bust and less of a boom. Hopefully further down the line that scale will start to tip more toward the latter.

Max Landis is a divisive character on his best day, but Superman: American Alien #4 isn't going to do much to help his case with his critics. Bloated with side characters and severely lacking in its understanding of Clark Kent as a character, this fourth issue pulls this series into the realm of officially sanctioned fan-fiction. Landis once said that he wanted American Alien to be the opposite of All-Star Superman, and in a dubious manner, he's succeeded. In All-Star Superman, Superman is the lead of the story, but American Alien #4 makes Clark a co-star in his own title, and I can't think of a more opposite approach to take than that.

Though a neat window into Peter Parker's past that fits into established canon, Symbiote Spider-Man #1 stands as an "untold tale" that never really justifies rolling out in the first place. Saddled with a hammy script with at least one questionable moment, not to mention artwork that drags when it really counts, Symbiote Spider-Man #1 should have been left in the past.

DC's Hanna-Barbera experiment has thus far produced some pretty fun and thoughtful comics, and it is a real bummer not being able to count the debut of pop culture's premiere family of the future among them. Armed with almost weaponized averageness, The Jetsons #1 is a sprocket that not even George Jetson can fix.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

. 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.

International Iron Man #1 may look great, but I need just a little more to go on before I can fully endorse its narrative going forward.

Though undeniably one of the most prolific modern writers in recent Marvel Comics history, this last issue shows, yet again, that Bendis still doesn't have a handle on endings, beyond gathering art teams to razzle-dazzle readers with fan service-powered set pieces.

I'm still not sure who to root for in Iron Man 2020 #3, but at least it looks pretty good.

So while it looks beautiful the return of the Legion of Super-Heroes reads pretty thin. All the elements are there and it truly does look fantastic, but there is no spark behind the flight rings. At least right now at the opening. I really want the future to be bright for the Legion, and hopefully in later issues, it will get there again.

Following APEX leader and one of the player's first NPC contacts in Andromeda, Tiran Kandros, writers John Dombrow and Jeremy Barlow shoot the tone and plot mechanics of an undercover cop show into space to show exactly how and why Kandros found himself hundreds of years from home with the Initiative.

Though writer Ed Brisson mines some fun character moments out of the aloof Boom-Boom, the resolution of the plot is far darker that it needed to be, with a button at the end that adds another grim layer to the plot that I'm not sure is precisely necessary here.

“Something good, something bad, or a bit of both?” Old Man Quill #1 winds up being the latter option. Though writer Ethan Sacks gets the tragedy of the line and the character of Quill, the plot of his first issue leaves something to be desired, though the potential could reveal itself in the next issue. Couple that with the dynamic, but distant artwork of Robert Gill and Andres Mossa and, unfortunately, things don’t really pull up too well especially for a first issue. As it stands, Old Man Quill #1 is an “Old Man” tale for completists only.

If Robin: Son of Batman was a book just of Damian being a little snot and kicking people in the face, it would be the comic of the year, but the dizzying continuity Fawkes is trying to build here really hampers the fun book that it truly could be.

Though not the disaster I think many were expecting, Secret Empire #1 is still a hard sell made harder by shoddy art and problematic overtones.

Secret Empire gets weirder, but that doesn't exactly mean better in its second installment.

Though still handled by the slightly cranky yet large-scale tones of its iconic creative team, the overall story of this second issue is a very odd affair.

Spider-Man: The Clone Conspiracy #2 is a beautiful comic, but readers looking for a new explosive installment of this event series will be let down by its cameo packed script. Though he's been preparing for this event for a while now, Dan Slott still has too much narrative ground to cover in the early going to make this the blockbuster it should be. Thankfully the art team makes the most of what they have and provide readers the dynamism that the script lacks. The dead are rising but Spider-Man: The Clone Conspiracy #2 still has a ways to go before it can rise above its own shortcomings.

Not quite a disaster but also not exactly a blockbuster, Mighty Captain Marvel #1 stands somewhere in the middle as a clumsy debut, but one that is still fun in its own way. Margaret Stohl, Ramon Rosanas, and Michael Garland throw a lot of stuff at the wall in this first issue and unfortunately not all of it sticks. That said, their love and respect for the Captain and her cast is there and that, at least, gives me hope that they can rise above their less than auspicious start. The world needs Carol Danvers and hopefully in later issues, this series can truly be called a mighty achievement.

I have been really wanting to fully enjoy X-Men/Fantastic Four, but #3 makes it really difficult to fully get behind. Frustratingly vague and meandering, X-Men/Fantastic Four #3 might not be the blockbuster crossover that "Dawn of X" fans or Marvel wanted.

The silver lining of Xena #1 is that the potential for a great comic is there. The entire creative team knows what kind of book they are working on, and at times, they even nail it. It just needs a bit more personality and a little less reverential adaptation. Hopefully by the next issue things will have livened up a bit.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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

Though a good introduction to new readers into John Constantine, Hellblazer: Rise and Fall #1 is a frustrating read. The potential is there as is the freedom allowed by Black Label, but as an opening issue, Hellblazer: Rise and Fall #1 reads like a weaker tea version of the Vertigo heyday.

Heroes in Crisis #2 isn't great, but at the very least it is something beyond a drab and bloodsoaked mystery box.

Invincible Iron Man #11, as an eventual part of a collection, will stand as a well-produced finale of a complete arc, but as a single issue, it still leaves much to be desired.

Though hampered by some thin flashbacks, John Wick #1 is still a fun time, though not nearly as fun as it should be. Greg Pak, Giovanni Valletta, David Curiel and Inlight Studios really get the tone, visual language, and action beats that make this franchise but their execution could use a bit of work in future issues. Here is hoping that the next time we see John Wick on shelves, he’s back the way he was during the first movie.

Though grandiose and strange as would befit any DC cosmic title, Justice League Odyssey #20 drags a bit in the middle when it should be soaring.

David and Wright give a nice little jolt of action in the interlude as well, cutting a hemisphere away to show a new nuclear-powered robot escaping its enclosure in a big, splashy and largely wordless sequence. But even with that jolt of pep, Metal Men #6 stands largely inert.

Though writers Aaron Gillespie and Scott Snyder introduce some neat ideas in this issue, like the Challengers having to fight through dimensional bleeds and face down their corrupted original counterparts, this issue reads like the series is working on borrowed time.

The way Cafu and Arreola set the table is fun to watch, but Ninjak #22 is still a table setting issue and readers looking for a real sense of where the next arc is going should wait for the trade or until next month, when the Seven Blades come out proper.

Though it doesn't quite pack the punch of the first issue, Reggie and Me #2 still keeps the spark alive for Riverdale's resident misunderstood supervillain.

Riverdale #3 is grasping at the kind of sparks that the show delivered and probably will deliver again once it graces our airwaves once more.

Fingers crossed that this event reveals itself to be much more once the crossover issues start rolling out.

The Secret Six are known for being wild cards, but unfortunately this tenth installment goes off the rails.

While losing a bit of the steam provided by the highly politicized narrative flames Secret Empire provided, Secret Warriors #9 still does right by its cast, but at the expense of its usually sharp plotting. Though it is still early in this new arc and still has plenty of time to pivot, I can't help but be a little let down that post-"Stevil," this title has started to play it safe. All that said, I still enjoy this cast, and I hope Rosenberg and company might find more to say about the state of the Marvel Universe and the world outside our windows in future issues.

Though not exactly a cornerstone of the Civil War II narrative, Spider-Man #10 still provides an interesting, if a bit airy, look into the mind of its leading man. Brian Michael Bendis, the architect behind this latest event craziness, delivers a nice, but inconsequential character study as the war reaches its long coming final stages. Nico Leon, Marte Gracia and Rachelle Rosenberg inject some much needed flair into the proceedings, but keep their work relatively reigned in to match Bendis’ low-key scripting. The human cost of war is always the steepest and Spider-Man #10 shows that Miles Morales may be the one paying it once the bill comes due for the Marvel Universe.

Strange Academy #1 is fun enough and looks great, but it could stand to have a few more components to cast a stronger spell on new readers. Had Skottie Young given his characters a more clear narrative function or maybe spaced out the “first day” of school a bit more, this debut could have stood out all the better. That said, Strange Academy #1 has plenty of flash. Though I’m not sure it will be enough to distract from the lack of substance and breakneck pacing.

Though Task Force X is bringing the heat to the box office, Suicide Squad #1 doesn't quite get past its initial smolder. That said, if we know one thing about these characters, it's that they are great at setting fires, and the spark is there for future issues. With a keen characterization and hints of a thrilling first mission, Rob Williams misses the larger mark as he gets tangled in set-up with little execution. Couple that with the uneven pages from a usually stellar artist, and you have an experience that fails to strike while the iron is hot for a team that is at the peak of their popularity.

The pieces may be in place for the finale of the latest Super Sons adventure, but Superman #38 makes too big a mess in order to get them there.

While the idea of Damian assembling his own version of the Titans is a great hook, Teen Titans: Rebirth #1 unfortunately doesn't give us much sense of what that will look like aside from the unexpected call to arms.

Missteps aside Namor: The Best Defense #1 gives readers a pretty good idea of what Zdarsky's incoming Invaders book will be like, but it could have used a bit more of a concrete direction and a clearer art style.

Visually Man of Steel #4 is a triumph, but it will never be accused of being a substantial reading experience.

While shining a much appreciated spotlight on an often overlooked female lead, The Shadow: The Death of Margo Lane #1 is starting its run with a dull deficit.

While it is cool to see Valiant taking more chances with these standalone genre exercises, much like Britannia and Savage before this, but readers might want to wait until a follow-up issue can fully sell The Visitor better than this debut did.

The embers of a good run are glowing in Titans #1, they only need the fuel to grow into a roaring fire. Dan Abnett, though shot in the foot by his opening recap of events that are widely known at this point, displays a clear understanding of the team's voice along with displaying the intention to provide them all emotional arc and the promise of a worthy first-time foe. Brett Booth, Norm Rapmund and Andrew Dalhouse also render Abnett's script with the kind of energy that is needed for a teen centered book like this, teasing large scale action when things truly kick off. Titans #1 may not be the best opening issue, but it portends great things to come, albeit a bit stuffily.

Though not as ambitious as the previous Turok reboots at Dynamite, this new incarnation is a fun, grounded introduction to the world before the claws really come out.

Though Uncanny Avengers was riding a pretty consistent wave of momentum going into this crossover, you can't help but feel let-down reading this month's installment. While not completely evaporated thanks to Gerry Duggan's firm handle on this team's voice and an art team that can make lemonade out of lemons, that same momentum has been more than a little siphoned thanks to this sojourn into Pleasant Hill. Crossover issues are the nature of the beast this day and age and while it may not be the most exciting team book this month, Uncanny Avengers still stands as an example of what a book can get away with by having a detail-oriented team behind it and having characters you enjoy reading about.

Though it gives little impression of what the actual story is going to be about Vampirella #0 still attempts something new without saying much at all.

Though I appreciate the forward moves of Eddie and Dylan here, Venom #25 sure takes the scenic route to get there.

Its early days for The Wild Storm so growing pains are to be expected, but here's hoping the title finds itself looking and reading smoother next month.

X-O Manowar #47 shows potential, but fails to live up to its own promises.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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

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.

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.

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 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 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.

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

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.

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.

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.

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.

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

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

Though backed by some serious star power both in and out of comics community, Future State: The Next Batman #1 doesn't shine quite as brightly as one would expect. The potential is very much there, that said. The artwork is tremendous and Ridley has some good ideas here, scaffolded to a fun new flavor and voice for Batman. We can only hope that the next issue, with the foundation fully set, Future State: The Next Batman gets to the level we expected it to be at with the opening.

Here's hoping that this isn't the last we see of the Extreme team.

A far cry away from the specificity of the opening. But still, Giant-Man continues to be a fun romp through enemy territory.

Guardians of the Galaxy #2 isn't a bad issue, but it is a frustrating one all the same. At this point, even casual readers can pick up on Brian Michael Bendis' narrative tics and structure down to the scene and Guardians of the Galaxy #2 is another example of his tendency to tell rather than show when it comes to new series. However while Bendis opts to draw things out, artists Valerio Schiti and Richard Isanove opt instead to just draw the hell out of things and deliver some much needed visual flair to the issue. While the Guardians' past may be haunting them, their future looks bright, even despite this second issue stumbling block.

Though Simon Oliver finally gives readers an understanding of the forces John is facing and makes good use of Map, a mainstay of the Vertigo era, the main plot suffers a bit due to his long check ins with the rest of the cast.

Heroes in Crisis continues to be divisive, but Issue #4 at least starts to raise it up beyond the grim and the dark.

While Invincible Iron Man #7 is a clear example of one of Brian Michael Bendis' most frustrating quirks as a writer, there is still a lot of fun to be had with Tony this month. Along with a newly focused Mike Deodato and the rich colors of Frank Martin, Bendis makes this job interview centered issue as fun and quippy as possible as they work toward bigger things. Though Invincible Iron Man may be all about robot fights and replusors most months, it is nice to see that this creative team can deliver a fun and flirty workplace comedy just as well as they can blow up robots and fight ninjas.

Having two kind of dark Iron Fist runs back to back is a bit much for me, especially since I know that Danny Rand can and has done more. That said, Iron Fist #3 is still an entertaining and hard knuckled look into a more visceral side of the Marvel Universe.

Again the mutants have their backs against the wall, but Inhumans vs. X-Men #2 tips the odds in mutantkind’s favor, at least for the time being. Armed with a large cast and two writers that know what to do with them, this second issue doesn’t quite transcend being another event focused on conflict but it at least shows that it has more on its mind than just fights. Couple that with slick and engaging artwork and you have a sophomore issue that lets this event stand on its own two feet.

While it doesn't quite illicit the same belly laughs as the earlier issues, Jughead #8 is still a fine enough ending note for Chip Zdarsky's time with Jughead and company.

In this latest "Legion of Doom" interlude, Tynion takes us all the way back to the very beginning of the Multiverse, detailing main antagonist Perpetua's rise and fall as the "mother of everything." While this captures all the scope and epic scale we have come to expect from this era of Justice League, I worry it might be the wrong place for this particular bit of backstory, especially when Bat-Mite just made the scene in the present-day A-plot.

Though it may not be DC's most engaging read this week, Justice League of America #9 still looks great and sets the title up for an explosive denouement next time it hits shelves.

Legends of Tomorrow may not look anything like its TV counterpart, but that might actually be for the best. Though the Legends of CW TV were threaded into The CW-verse through their respective shows, the Legends here are lesser-known DC staples that are ripe for the kind of resurgence this anthology can offer. Though the weekly format quickly feels boorish and unending, Legends of Tomorrow #1 makes great use of a format that DC could and should be using to its advantage more often. DC has a wealth of characters that are just itching to be made use of and Legends of Tomorrow #1 is a fun step in the right direction for all those lost or forgotten DC heroes of yesteryear.

Fun enough but a little light on actual plot, Loki #1 stands as a funny new introduction to Marvel's "greatest" con man.

Though really fun and armed with heart, The Marvelous Ms. Marvel #1 isn't quite the "moment" that her first #1 issue was. And that's a bummer, honestly. After so many big stories of Kamala Khan joining teams and ending a huge landmark run, you would hope and think that this new creative team would be swinging for the fences and not punching paper-thin baddies in Jersey at the cost of her world's winning characterization. Let's just hope that whatever comes next is worthy of Kamala and her legions of fans.

Marvel Comics Presents hasn't had an "essential" issue just yet, but at least Issue #7 shows that it's willing to try different tacts along with the seralized aspects.

Though it may not reach the grisly heights of previous incarnations, Marvel Zombie #1 is a grimly funny Halloween read.

Though it isn’t exactly as earth-shattering as the monsters that stomp through its pages Monsters Unleashed #1 is still a fun start to what could be the antidote to the recent outbreak of grim and gritty storytelling. Cullen Bunn throws some huge and unexpected foes at the Marvel universe and despite some clunky dialogue, Earth’s protectors come out looking like exactly that. Couple that richly detailed and colored artwork from Steve McNiven, Jay Leisten, and David Curiel and you have a debut that starts this event out on the right gigantic foot.

Though this side-arc has yet to reach the wry heights of the Hickman-penned space comedy, New Mutants #9 gets back to the basics in a fun way.

Giving the team tactile problems to solve is right in Ed Brisson's wheelhouse, and he manages to mine a fair amount of charm and tension out of the action and characters. Unfortunately, while sweet, the cut away to Glob and Magik cooking in the Sextant while the rest of the team operates cuts the energy of the Russian-based scenes a bit.

And so reality is safe once again and Colin King has earned some long overdue vacation time, but how long can it really last for Ninjak? While this finale moves fast and furious, I still found myself quite entertained by the issue's mix of paramilitary action and Dr. Strange-like mysticism. Matt Kindt, Doug Braithwaite and Brian Reber, along with the backup story drawn by Juan Jose Ryp and colored by Ulises Arreola have cornered their odd little slice of the Valiant universe and seem to be having an absolute blast bringing us into this crazy world. Reality may be safe for now, but I'm sure it won't be long before we see Colin King taking up his sword once more and delivering more crazy spy ninja action with aplomb.

Though reader's mileage may vary going into this debut Rise of the Black Panther #1 aims to add historical context to T'Challa's story in the lead up to his big-screen solo debut.

Brutally simple, but just as effective Savage Avengers #1 reads like a lost Marvel Knights eam-up. Only this one is more Ka-Zar and less Kingpin. If that sounds like your kind of book then Gerry Duggan, Mike Deodato Jr., and Frank Martin have a lovely tract of land in Antartica to sell you.

Packed with more blood and action than you can shake a wizard's staff at, Savage Avengers #2 lives up to its title.

Certainly the darkest Spider book to date, Spider-Force #1 is a gloomy, but entertaining side trip in the ongoing Spider-Geddon.

Though not the most auspicious start to the upcoming event, Spider-Geddon #0 is still a fun, heartfelt introduction for the new Spider-Man. Fans of the recent game will find a lot to like here as will people wondering just what all the fuss is about surrounding this new Peter Parker. Light on set-up, but heavy on skillful characterizations and great art, Spider-Geddon #0 is a step in the right direction for this new Spider-Event.

Books with big and largely identical casts can kind of be a crap shoot (see some early Spider-Verse issues for examples), but this art team handles it really, really well, stocking the pages with clear action and wonderful renderings of fan-favorite Spiders.

Even with a limited page count, Robbie Thompson, Jim Campbell, and Nathan Stockman tap back into the kind of frantic, charming energy that their previous efforts sported and funnel it into another fun entry into the canon of young Peter Parker stories. If you like your Peter broke and holding everything together with a joke and some webbing, then Spider-Man: Master Plan #1 is the Spidey story for you.

Though a tripped up by a wordy opening Star Trek/Green Lantern: Stranger Worlds #1 is still worth your attention just for the team-up alone.

Aside from the sluggish plot development, Star Wars #18's character work is still more than worth a passing glance.

While I am all for a little grit in Star Wars stories, I am hoping that after issue #41, we get more of a sense of why this story is dark and not just how it is dark.

Artistic hiccups aside, Star Wars Annual #1 is a nasty little yarn that fits right alongside the wholesale violence of the title's first crossover event.

Though it seems like much less of an 'event' than the first volume opener, Star Wars #1 is still a fun, fast-paced debut for the second round of the company's efforts with this license.

Next month's installment looks to finally deliver on a long promised showdown, but first you'll have to get through a bit of a lull in the form of Darth Vader #18.

Though the idea and concept is strong, Poe Dameron #5 still feels a bit limp.

Thrawn may not have had the most auspicious of openings, but the spark is there, just waiting for the infamous villain to light it.

While not exactly groundbreaking, Strikeforce #1 feels like the start of a new cult hit.

Though it could still use a bit more straightforward plotting, Strikeforce #7 is a fun if a bit head-scratching trip into Marvel's supernatural side.

The same attention to striking detailing and coloring are provided to the “A-listers” as well, but again, it’s all over too quickly to really gain purchase. You wouldn’t think a comic being “too energetic” would be a negative, but Suicide Sqaud #1 will surely leave you wanting more. It has a killer hook, a ruthlessness that hasn’t been seen in recent runs, and fantastic artwork. It just needed just a touch more substance to be truly great.

With a darker look and heady ideas The Superior Octopus #1 is a new kind of Spider for the West Coast. Tying into the threads established by Superior Spider-Man and Spider-Verse, Otto Octavius's new adventures add just enough new wrinkles to the tried and tested superheroics that this series will definitely catch your interest.

Armed with high drama and a lot of heart, Superman #5 is at the very least a great emotional read, if still a bit plodding plot-wise.

Starting from the opening splash page, one that provides a fresh angle on the whole space battle, Reis and the rest of the art team absolutely go for broke with huge, splashy action harkening back to a more classically visual era of Superman. It might be a little too decompressed, but Superman #11 is still a big, fun time.

Big, splashy, but still somehow slower than you would expect Superman #14 might need some energy, but it definitely has promise.

Though the chaotic energy and comedy of Jimmy Olsen is still here, this tenth issue would be better served as a part of a collection.

Neal Adams on anything is worth your attention, but Neal Adams on a super crazymulti-Superman story is doubly worth it, despite its stilted execution. Even with its scripting missteps, Superman: The Coming of the Supermen #1 is a prime example of a passion project that doesn't feel self-indulgent. Neal Adams, Tony Bedard and Alex Sinclair all come together to deliver a gorgeous slice of classic DC strangeness, and feels just as vital now as it would if it was published at the height of Adams' powers. While DC's main legacy title is reveling in the darkness and grit of Batman's darkest era right now, The Coming of the Supermen shows just what you can accomplish just by turning toward the light.

Superman: Up in the Sky #1 is kind of an odd one, but a fun read nonetheless. Though slightly hampered by its format, Tom King, Andy Kubert, Brad Anderson, and Sandra Hope swing for something more ambitious than your standard grocery store digest. Time will tell how this story stands up once completed, but Superman: Up in the Sky #1 heralds a good enough start.

While Sword of Ages #1 is very, very beautiful, I find myself at odds whether or not I can recommend it fully without warning of its purposefully prosaic script. Here is hoping that Issue #2 at least provides some clarity.

Though this has the charming peppiness of an old-school crossover, the script itself is fairly wooden and plodding, just marking time until the cliffhanger.

Though probably best suited for diehard Edgar Rice Burroughs and Apes franchise fans, Tarzan on the Planet of the Apes #1 still stands as an interesting narrative mash up between two unlikely titles.

Packed with interesting Easter eggs but hampered by a worn structure and flat dialogue, The Fall and Rise of Captain Atom #1 is a interesting, if a bit limited, debut issue. Cary Bates and Greg Weisman clearly have plans for their former charge and that plan may put him into the forefront of whatever the future or past of the DC universe looks like now. Along with a grounded and novel approach to the visuals from Will Conrad and Ivan Nunes, The Fall and Rise of Captain Atom #1 might be flawed, but offers a potential too weird and precise to outright ignore.

The Forgotten Queen #1 is a little from Column A and a little from Column B that is 100 percent Tini Howard, a writer whose attitude and attention to character detailing is a real boon for this debut. Pair that attitude with the weathered artwork of Amilcar Pinna and Ulises Arreola and you have a debut that has the potential to add something really neat to the tapestry of the Valiant line. Hopefully by next issue, the scenes in the present will add a lot more to it than they do the first.

Though this issue is graced with beautiful Superman action thanks to the pencils of Steve Rude and Doc Shaner, including a classic tussle with the Toyman and his giant mech, this second installment's script still feels like more setup and no real forward direction.

Which, regrettably, makes The Rise of Ultraman #1 uneven. Though gorgeous throughout and chocked full of charm and weird bits of texture, the story isn't that accessible for those not up to speed on the character.

Though Matt Wagner's blocky, vintage style artwork still impresses, there is something off about his scripting. Chock full of exposition, Wagner can't seem to get out of his own way when it comes to delivering smooth A-to-B plotting.

Though it doesn't pack the punch of the previous issues, Torchwood #3 still keeps the returned team on the clock as best that it can.

Transformers #4 might stand up better during a binge read, but there is still good stuff happening during this "Bold New Era" of IDW Transformers

A fun start for a hopefully fun anniversary crossover.

Though not exactly groundbreaking Transformers/Ghostbusters #5 ends how it began; as a fun, readable crossover lark.

Transformers: Revolution #1 may not be ground-breaking, but it is an entertaining enough jaunt with fun characters and constant action.

While I would have liked just a touch more plot development beyond "Vampirella is Back," Vengeance of Vampirella #1 is vintage horror in all its gory glory.

While other Web of Venom titles opt for more obvious horror, The Good Son #1 takes another less traveled, but just as creepy path. Gifted a truly haunting energy by Zac Thompson and a very capable art team, Web of Venom: The Good Son #1 is the start of a creepy slice of Marvel life that we rarely see in the 616. Even with an early drag in the opening pages, this Web of Venom spin-off shows real promise.

Though still somewhat hampered by the strict serialization of the series, writer Warren Ellis and highly detailed artists Jon-Davis Hunt, Steve Buccellato, and John Kalisz still present us trippy, violent, and immensely clever check ins on our increasing cast.

This series will definitely read better in trade but the things the The Wild Storm #17 portends are still really fun to see pop back up in canon.

It isn’t exactly the “World’s Finest,” but Wonder Woman: Agent of Peace #2 delivers a worthy dynamic duo for it’s follow-up issue. Graced with heart and strength from its two leads and a game creative team Wonder Woman: Agent of Peace makes a strong case for being the 'DC Showcase' of the new digital slate.

Though not pitch-perfect or ambitious, X-Force #1 at the very least is a pretty fun, darkly entertaining opening issue.

X-Force #5 might be the bloodiest offering from the title so far, but it seems Percy and the rest of the creative team have a method behind the bloodshed.

Aiming more for the heart and less for the neck, X-Force #7 keeps the series on steady legs.

While that may be a far cry from the high fantasy antics of X of Swords, X-Force #16 gets the team back into the dirty business of protecting Krakoa from the threats that can't be talked down. While the story this time around feels a little disconnected from the line, Benjamin Percy, Joshua Cassara, Guru-eFX, and their merry band of mutant murderers work to find their feet again in the wake of the latest X-event. Let's hope they survive the experience (except for Quentin Quire, of course).

So, all told, X-Men/Fantastic Four #2 is 1/3rd of a good comic. The emotions and sense emanating from the Doom Island characters is right in Chip Zdarsky’s wheelhouse with an added dash of his tonally sound Marvel 2-In-One run. But the “grown ups” of the series still can’t get out of their own way, further escalating the conflict needlessly. Couple that with the rushed, slightly muddy look of the artwork in patches and you have a good, but not quite great follow up issue.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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 #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.

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

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.

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."

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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 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.

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

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."

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Despite a bit of exposition heavy at the start Flash Gordon: Kings Cross #1 is a fast-paced throwback to the pulps of yesteryear.

Like the rest of these one-shots, The Flash: Rebirth #1 reads more like a zero issue, but that doesn't make it any less fun. Using both the events of the DC Universe: Rebirth #1 and the CW-inspired character dynamics to tip the scales in their favor and provide a strong entry point into the new series, Joshua Williamson, Carmine Di Giandomenico, and Ivan Plascencia assure readers that even after a bumpy finale The Flash is back on track with plenty of action, emotion, and twists in store for readers. Though it will never be accused of being an essential read or a can't miss issue, The Flash: Rebirth #1 is a dynamic look at the coming attractions that will be hitting shelves with Barry's proper #1 issue.

Given even more of a keen geek edge with an intro from Livingston, letters from British scribes like Al Ewing and James Peaty about the game's importance to them, and a wonderfully dorky character sheet variant cover, Freeway Fighter #1 makes for a grand return.

Not all of Spidey’s adventures have to be sprawling epics or have world-ending stakes. And it is that understanding that makes Friendly Neighborhood Spider-Man #1 such a charming read. Tom Taylor, Juann Cabal, and Nolan Woodard zoom in on Peter’s new building and the (relatively) normal people living there to show how Peter keeps being a hero even when Thanos or the Green Goblin isn’t around. A welcome change of pace from the faster-paced, more theatrical main title.

Armed with charm, scale, and engaging characters, the Future Foundation is back in a big way.

Filled with fantastic characterization and classic, momentive artwork Future Foundation #3 gets another high mark.

Though certainly not as flashy as the previous issues, Future Quest #8 still delivers thrills akin to dumping a whole trunk of action figures at your feet and coming up with the biggest, craziest story you can for them.

By being a lot more Mindhunter and a lot less 'Daddy's Little Monster,' Future State: Harley Quinn #1 reminds readers that Harley Quinn is much more than the sum of her parts.

Armed with a powerful new status quo and backed by a sarcastic robot that can turn into a jet, G.I. Joe #1 is a fun humanitarian return to the spotlight for the Real American Heroes. Aubrey Sitterson leaves it all on the table with this debut, both in terms of plot and character, and it pays off big time once readers find themselves catching their breath after the break neck pace of this number one. Keeping pace with detailed pencils and rich colors are Giannis Milonogiannis and Lovern Kindzierski who give this title a vibrant life beyond the drab camo and gun metal greys that usually make up the visual language of this series. Standing as a solidly strange and entertaining new debut G.I. Joe #1 will have readers yelling "YO, JOE" as they march into their local shops.

Melding spycraft and military action in a slickly entertaining package, The Crown Jewel of the Hasbro Universe continues to live up to that lofty title.

Its a two-guitar attack for the heavy metal fun of G.I. Joe #3.

Standing as one of IDW's most consistently entertaining titles, G.I. Joe #7 keeps the team in the win column while keeping things good and complicated for the Joes and their audience.

Armed with a fun script, a trunk full of crazy characters to play with, and dynamic artwork, this tie-in issue hits the sweet spot between breezy side story and capable stand alone story that one always hopes for once event season rolls around. Ilias Kryiazis, Aubrey Sitterson, and Mark Roberts may not be working the main stage of this event as it were, but they are going to play the hell out of their side stage featuring act.

With plenty of gallows humor and a few more of Rook's mystery's coming to light, Generation Zero #4 continues to be a dark treat.

Apparently more Ghostbusters films on the way, but while you wait for those allow Ghostbusters 101 to supply you the purest Ghostbuster experience outside of a cinema.

Armed with a neat adventure hook and fan-favorite Ant-Men in starring roles, Giant-Man #1 is a worthy tie-in title. While a little top-heavy with the opening scene, Leah Williams again impresses in a larger sandbox, bringing her sense of wit and action to the life of Scott Lang and finding it a great match. Marco Castiello and Rachelle Rosenberg are also in on the joke, delivering (literally) towering action and personable artwork. As the War of the Realms rages, Giant-Man #1 delivers big side-story fun.

Though time will tell if "Shattered Grid" will be a boon or or bust for the title, but for now, Go Go Power Rangers stands as a worthy representative for the Power Rangers franchise.

Leave it to Team Grayson to kick "Robin War" into high gear.

As a longtime Nightwing fan, I balked at the announcement of Grayson. Seeing Dick trade in his wings for a drab uniform and a gun rubbed me the wrong way. But the story that Tim Seeley, Tom King, and Mikal Janin told ended up being much more entertaining and much more narratively rich than I gave it credit for, adding up to more than just a new costume, co-stars, and setting. Now with Grayson #20, Jackson Lanzing, Collin Kelly, Roge Antonio and Jeromy Cox deliver a finale that not only stayed true to the spirit of the title that Seeley, King, and Janin started, but also stayed true to Dick Grayson himself.

While a bit less substantial narrative-wise than I would have liked, the finale of “Murder on the Empire Express” stands a breezy and explosive outing for the Emerald Archer and his pretty bird. Benjamin Percy and Juan Ferreyra have hit a nice groove by this point in their working relationship and it comes through in the work. Though not exactly a game-changer when it comes to the overall story, Green Arrow #11 still provides plenty of the heart and action that fans have come to expect from their tenure on “Rebirth.”

Britt Reid may still be missing but the Green Hornet is still alive and well thanks to this new series.

With dynamic action and a set of characters ready made for serialized storytelling Green Hornet: Reign of the Demon #1 is a solidly entertaining throwback to the gilded and gritty age of heroes.

With one foot firmly on the side of noir and the other in classic serial storytelling Green Hornet: Reign of the Demon #2 continues to be a story worthy of the crime comic icons.

We may have hit some valleys in the previous issues but Green Hornet: Reign of the Demon #4 gives us a decent enough peak as it takes its final bow.