Justice Inc. #1 lays the groundwork for a potentially intriguing story, but doesn't delve any deeper than the surface. This is an introductory issue and therefore is bound to have the usual explanatory stuff, something that goes with the territory for a #1 issue. The story never strays outside of a basic constricting narrative box that defines it as "let's lay the groundwork". It didn't show me anything I haven't seen before. Perhaps the story will get better and bolder as the series goes on, but it is not looking good so far.

One Hit Wonder should have been a no-brainer win for this comic-loving cinephile to love, but issue #1 missed the mark. Sopolsky and Olivetti are just getting started, and perhaps the potential that I do see in this first issue will come into bloom in succeeding issues, I can play the eternal optimist with the best of 'em (something that annoys my wife a-plenty) and therefore, I have higher hopes for issue #2. I mean really, how can the combo of crime comic and cinematic street cred not be something to look forward to?

What really keeps this issue from being typical filler is Matteo Scalera's wonderfully visceral artwork. Bringing the sharp ramshackle style we have come to know and love in Rick Remender's Black Science over at Image Comics. Scalera's Batman, and his Gotham City, is a thing to behold, indeed. In fact, as much as I love Capullo's Batman, I would be more than okay with Scalera sticking around a bit longer. But Capullo's art and Scott Snyder's words will be back after next month's Future's End sideline, for a brand new adventure. But in the meantime, Batman #34 is a solid bridge to the future of the title.

But this is not a time to mourn the loss of a great Marvel title (one of many out of the House of Ideas), especially since there'll be a brand new one on comic stands March 19th, and by the same creative team at that. What this is, is a time to celebrate all that is Daredevil. Mark Waid and Chris Samnee have contributed well to the mythos that is Daredevil, and they have ended this run with a sturdy but expectant finale. Now we and they both move on to a brand new era for the Man Without Fear, for this is not the end, but just a new beginning.

What Justice League United #2 give us is a brand new Justice League, but with a more refreshing, outgoing demeanor. Serio-comedic in his endeavor, Jeff Lemire hands us, maybe not the deepest of superhero tales, but most definitely one of the most fun comics to come out of DC since the New 52 began. Lemire teams together Animal Man and Green Arrow, a pair of characters the writer has an intimate knowledge with of late, and gives them a more flippant, free-wheeling attitude than they have in their solo titles, along with newbie Adam Strange, and the father/daughter-esque combo of Martian Manhunter and Stargirl (a relationship that I, for one, cannot wait to see explored more). He even has Hawkman and Supergirl jumping into the fray on this new team. With all this going on, Justice League United looks is certainly a keeper and happy new resident on my pull list.

It is this very art work by Damien Worm that makes Monster and Madman #1 stand out for this reviewer. Sure, Steve Niles' writing is solid and the premise intrigues me, but I don't think it would be as great a tale if it were not for the gorgeous art that frames his story. As long as we keep getting Damien Worm's succulent art, does the story even matter? That's hyperbole, of course, but you get my drift. Monster and Madman will only be around for two more issues, so grab it while you can. The art work alone is worth the cover price in this reviewer's opinion.

Swamp Thing #28 helps wrap up all those loose bits floating around at the end of the Battle for the Green and gives Alec Holland some so-called breathing room in a fun stand-alone issue. The issue also works as a stepping stone to the next arc, as well as hinting around at certain things that will inevitably and ultimately become a veritable thorn in the new Avatar's green, moss-covered side. I know that I, for one, am excited to see what Soule does with this iconic character in the future.

Written by Joshua Hale Fialkov (Echoes for Top Cow/Image and I, Vampire for DC are among his more impressive works) with art by Mario Guevara and Tom Grummett, and colors by Rachelle Rosenberg, this first issue of Ultimate FF leapfrogs us, with its lack of boring old set-up, smack dab into the middle of the story. This is a style I have always preferred.

All-New X-Men #25 with its impressive array of artistic talent would be a good jumping on point for new readers. The issue explains, albeit briefly, why these five teenage X-Men are stuck here in the present day Marvel Universe. Along the way we get a lot of great artistic renderings of these iconic characters " and not just of the first class crew, but of Colossus and Kitty, Magik and Emma, and Wolverine too. If you've managed to skip this series so far, this would be a good issue to give a try.

Captain America and the Mighty Avengers #1 may at first seem like nothing more than an inversion-induced reboot of the previous series, but writer Al Ewing weaves an intriguing tale of danger and deception, of which this critic is excited to see what comes of such a setting. Artist Luke Ross lends his solid penciling talents (and his inking talents, as well as a gorgeous cover to boot) to the whole shebang, and this kick-off first issue, with its magically-fed fascism and backwards day new Captain America, may be a strange narrative choice, but I for one, am looking forward to what comes next, even if it doesn't necessarily jibe up with the continuity of the new Captain's new solo series.

I've been a fan of Carol Danvers for a long time, but when the character was given over to DeConnick, fandom went through the roof. Her 2012 series gave Danvers an ironically down-to-Earth persona " but still kept her usual kick-ass attitude intact. Now DeConnick is breathing yet more new life into the character with a new Captain Marvel #1. The art by David Lopez is solid enough as well, and Carol's new costume looks great. Plus we get the added bonus of the disappearance of that ridiculous looking helmet thing the character has been wearing in recent issues of The Avengers. Seriously, what was up with that? All-in-all, with Kelly Sue behind the wheel, things should work out. Only time will tell of course, but this opening issue seems to be heading in a damn fine direction.

This latest issue of Coffin Hill is yet another powerful work of sequential art from the fine folks over at Vertigo Comics. Kittridge's skills as a storyteller (mostly known for her dark urban fantasy novels, she cites Raymond Chandler, H.P. Lovecraft, and Neil Gaiman as her biggest influences) and Miranda's slick, gorgeous artwork, as well as more spectacular cover art from cover artist extraordinaire Dave 'The Reverend' Johnson, come together to do exactly what they have done in the previous four issues " make Coffin Hill #5 an extremely fun read from start to finish. This is a series I can't wait for each and every month.

Michael Alan Nelson's writing is dead on here, giving his leading lady a cocksure attitude and the charm of your classic rogue-ish anti-hero, as well as setting up some very intriguing foreshadowing elements. Mora's art, with some really fun supernatural-esqe moments, does work well here, and he could catch on with the comic book world, the same way that Rios did after the first Hexed. Right now, I am just looking forward to what we are to be given in issue #2.

Madame Frankenstein #1 looks to be the beginning of a solid seven issues of mythic storytelling from Jamie S. Rich and Megan Levens (with cover art by the always breathtaking Joelle Jones), and yet another great title from the fine folks over at Image Comics. Sure, we are given classic archetypes that have been done to so-called death in books and movies lo these past hundred years or so, but with Rich's stoic storytelling and Levens classic style pencils, we the readers, cannot go wrong with this modern day Prometheus.

Wonder Woman #35, with Azzarello's skewed yet sweeping words and Chiang's glossy, classically-inspired pencils, finishes the long-range story of Diana of Paradise Island, newly minted God of War, and a whole new direction for the character. With the next issue of the title, the new husband/wife creative team of David and Meredith Finch will be bringing the character back into the fold, so to speak, of general DC continuity (and I wish them well), but here we get one last look at the Azzarello/Chiang Wonder Woman, in what could be the best run on the character since George Perez and Len Wein had hold of the Amazing Amazon back in the late 1980's.

Every issue manages to top the one before it, and even when you think that is nigh impossible, the next issue does just that. Issue #5 has done it again, and I am sure, as unbelievable as it may sound, issue six will again top this one. Granted, this may already be nothing more than a mush letter disguising itself as a comic book review, but I do want to leave you with one truly bold statement. There are many great comic books out there on the shelves these days, from personal favorites Sex Criminals to Black Science to Hawkeye, but I have got to say that Afterlife with Archie, in my not-so-humble opinion, is the best damn one of 'em all. So there.

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The interactions between Deadpool and pretty much everyone he comes in contact with are a thing of bantering beauty in his regular series and Hastings keeps the so-called ball rolling in this Mighty Marvel Team-Up. He keeps the character just as gleefully annoying, as wonderfully insufferable as ever. Have I mentioned how much I love anything Deadpool? I did? Oh, okay. So there ya have it.

Simply put, what Moon Knight #1 appears to be is very possibly the best new comic Marvel has put out since Hawkeye got his own title, written by Matt Fraction, back in 2012. Granted, a series can always go down in quality after a big first issue kick-off, but between Warren Ellis' intriguing narrative and Declan Shalvey & Jordie Bellaire's breathtaking art (the way Moon Knight's sketchy white-hued persona pops from the more realistic-looking backgrounds is quite a remarkable thing), one could almost guarantee this is going to be one fantastic series. I'm looking forward to one hell of a ride.

With the movie coming out on August 1st, Marvel is really pushing their Guardians of the Galaxy franchise this Summer, as both Star Lord and Rocket Raccoon get their own solo titles. I'm not here to talk about Star Lord, but as for Rocket Raccoon #1, Skottie Young hands us one heck of a fun time. Nothing too deep here, but in both its jaunty and askew story and its light and airy art, this brand new Rocket series is off to a rip-roaring good start. And with the frisky Rocket in the lead, and the equally frisky Skottie Young at the helm, issues two and beyond should keep that rip-roaring good time hopping and bopping along. I know I've fallen in love upon first sight.

Sex Criminals #5, with its back and forth storytelling (Fraction does such in all of his books), doesn't necessarily move the story forward in the way the first four issues have, but it is this non-linear narrative that I love so much about Fraction's work.

In sum, Silver Surfer #1 is a whole new direction for The Sentinel of the Spaceways. Gone are the long ago days of a brooding lonely figure on a board, slicing through the dark, empty environs of space, and in its place is a fun and heady trip through the seemingly psychedelic coastal highways and byways of outer space. Dan Slot's writing and Mike and Laura Allred's art bring that vision to light and life with a brilliance both verbal and visual, that is not seen all that much in mainstream comics these days " at least not on this giddy level. Marvel Comics has been sending their heroes into outer space a lot lately, but this is the first time where outer space looks like a pretty cool place to be. Sign me up for issue #2.

Superman #32 may not be anything groundbreaking in the history of the Man of Steel, but it may end up being an important and integral issue in years to come (take note collectors). With Johns' wry writing, which includes the introduction of a brand new character to the DC Universe, as well as a unique juxtaposition between Clark Kent and his super alter ego, and Romita, Jr.'s classical artistic swoop (I loved the way Romita, Jr. draws Clark turning into Superman), this may be just the new direction that this seemingly tired franchise needs. I know I'm sticking around to see what happens.

One could say that my love for this book is merely a swirling of newfound emotions for the Valiant Universe I have immersed myself in these past few days, but I'm here to tell ya this is honest to goodness quality comic booking right here. End of story"or actually, just the beginning.