Spider-Man #21 wraps up Miles' identity quest with a heartwarming reminder that his family is what makes him special. It's a story that reestablishes Miles' past and has some unexpected hints at the future. Now bring on Marvel Legacy.

Spider-Men II #3 is another failure to make the Other Miles Morales mystery meaningful. It's also an undoubtedly entertaining one-off crime story told by creators who excel in the genre.

Spider-Man #20 isn't substantially different from the rest of the series, but shows how drastically a change of scenery and a little narrative momentum can improve the formula. This is the most promising the series has felt since before Secret Wars.

Spider-Men II #2 fumbles a reveal five years in the making with a dull and contrived answer. Even brilliant artwork from Sara Pichelli can't save this issue.

With Spider-Man #19, the series continues to struggle to progress in meaningful ways but reaches one of its (admittedly low) highs by delivering on wonderful characterization in a handful of a great scenes.

Dan Abnett's core idea for the book continues to be enough to propel this book, but it's starting to suffer from story slowdown and artistic problems.

It's hard to argue that Civil War II: Kingpin amounts to much more than crime movie formula thrown into the world of superheroes. It's also hard to argue that that's a bad thing when it's done this well.

This issue mixes all the best elements of blockbuster movie thrill rides or TV show season finales into comic book form.

While difficult to pick a best Remender book, Low is often the most emotionally rewarding.

Moon Knight #5 makes it clear how this volume is going to be definitively different than any other Moon Knight series - it's never coming back down for its dizzying heights.

Just because the book changed title from "Grayson" to "Nightwing" doesn't mean that the content within has changed. Nightwing is every bit the continuation you would want as a fan of Grayson, with some slight spy vs. superhero cosmetic changes.

The events of Superman #4 are so breathtakingly, dizzyingly hectic that taken on their own they might have represented one big mess of an issue. But, in the context of a series that's worn its heart on its sleeve and made you fall in love with this version of the Superman Family, it's a triumphant turning point of an issue

Sheriff will be ending its "first season" at #12, but the stakes have already ratcheted up to season finale level.

The return of Greg Land's overly posed figures doesn't help bring any life to a book that just feels vacant.

. Hopefully this arc can finish as well as it started, but this middle issue feels like it was thrown together just to stretch out the arc.

It's a fun close to a short and sweet arc.

This issue spends too much time trying to explain something that no longer needs explaining.

By passing its second month with flying colors, Detective Comics is working its way up the Rebirth power rankings.

Ms. Marvel is succeeding in ways that few other tie-ins are.

The breathtaking, mesmerizing art makes this book one of Marvel's most exciting.

Titans #1 isn't a debut issue that's going to blow the doors off, but it's certainly a pleasant one.

The story is good and is getting more intriguing as it goes, but the art is on a whole other level.

A&A #5 is probably the sweetest, cutest book you'll read this week regardless of whether or not you've ever even read a Valiant comic before.

Who knew Aquaman: Political Drama could be such a thrilling series idea?

Remember all the fun you had reading last issue's goofy Ocean Eleven antics? Well, hopefully you don't, because that will make this issue much more refreshing as it is essentially that same issue over again but with some minor tweaks.

This book continues to roll along at its usual great pace.

The story is moving along nicely, and Ferreyra is almost equally as breathtaking as Schmidt - but the editorial choice in artistic change draws too much attention to itself and makes the overall product weaker on both sides of the art change.

Despite the art, Green Lanterns continues to be a surprisingly strong story.

The up and down pace may not always please everyone, but Lazarus is going places, and we can't wait to see where it ends up.

This issue did excitement well, but the series has been best when commenting on today's issues and would be best served getting back to that.

Gerry Duggan and Scott Koblish have done so many of these period piece Deadpool issues at this point, that you'd think Koblish's artistic range would start to lose its novelty at some point. But nope, seeing his pseudo-'60s style now is just as thrilling as any of the other decades he has emulated.

Writer/artist Colin Lorimer's The Hunt is a modern take on some classic Irish mythology. Interestingly, it's the art rather the story that really is the most impressive part of Lorimer's efforts in this debut.

For such an eventful concluding chapter, Uncanny X-Men #10 feels hauntingly empty.

There's a sense of inevitability to all the events that occur in this finale, and it's not even a "tragic" or "beautiful" kind of inevitable but a more or less boring one.

It's a pretty bombastic issue with plenty of fist-pumping moments.

Overall, Horizon #1 is a quiet and ponderous start to a series that is more promising in setup than execution.

New Avengers #13 is one of the most exciting issues of the series to date, and it has a lot to do with that breakneck pace.

Old Man Logan #8 is a sweet, but ultimately unnecessary, one-off comic

Power Man and Iron Fist #6 is a Civil War II tie-in, and it's probably one of the least important Civil War II tie-ins as it doesn't have any direct impact on that story. But, this almost completely unimportant Civil War II tie-in, is also one of the books that best sells the events of that story

After nine straight issues of searing drama, Silk #10 comes as a bit of a disappointment. With so much backstabbing, uncertainty, and tension - this final issue wraps things up a bit too cleanly.

The Wicked + The Divine #21 is the last thing I ever expected to see out of this series - nonstop action and chaos with no mind for character. That probably all sounds like an insult, but Kieron Gillen and Jamie McKelvie have earned this moment through their steady buildup over the earlier parts of this arc.

Scott's renderings in this story are a special thing to behold. This is such an emotional issue, and as much credit should go to Greg Rucka's understated parallel storyline of Diana and Steve Trevor's origins, you get the feeling that the story wouldn't be nearly what it is without Scott's art.

The "new" that this story promises will largely have to wait for the future, but this is still a fun issue in itself and is promising for the series overall.

Black Science had 21 great issues before this, but this is the perhaps the most exciting and promising the book has ever been.

Future Quest is Crisis on Infinite Earths for the Hanna Barbera Universe. This is a comic book that mashes together piles and piles of otherwise unrelated characters, revels in the chaos, and is not afraid to be exactly what it wants to be.

The book overall, much like the art, mostly works and is promising enough to forgive its few wonky spots.

This issue is just a real head-scratcher, what's the point of this bleak rehash in a world that's supposed to be bright and innovative?

The purpose of Paper Girls is becoming clearer, and the series seems to be ramping back up.

On both a writing and art level, the creators are reminding us why we once loved Superman and Lois Lane so much, and making us fall equally in love with Jon.

Guys, Steve Lieber is. So. Good! You really could "read" this book without ever even glancing at the word balloons. But that would be a disservice to Nick Spencer, who is writing some of the most compelling dialogue of his career in this book.

This is by no means a bad issue, it's just that when you're delivering one of the most consistently great comic books, an issue that's merely good seems like a disappointment.

This is the most emotional issue to date and Murphy exceeds every single challenge Remender's script throws at him.

4 Kids Walk Into a Bank is an exciting new book, that feels like it has limitless potential going forward.

In many ways, this is yet another setup issue, putting all of the chess pieces in their place before the finale - but it's more or less satisfying in doing that.

Mockingbird is very much the Network Television comic of the Marvel Universe - little of the flash or substance that makes an HBO epic, but there's nothing wrong with a well crafted, popcorn ABC drama.

The writing keeps you on your toes and the art keeps you sympathizing with every character. If you're feeling some Marvel fatigue, look no further than Silk to reinvigorate you.

Action Comics #958 is an exercise in non-stop, superheroic storytelling. This issue doesn't give you a second to catch your breath, as all of the various mysteries and threads from the first issue converge in one giant thrill ride.

This is still 100% an Archie book, even while feeling like something entirely new.

This is just the latest frustration in what's proving to be Buffy's most frustrating season to date.

This issue gets by on a well-meaning and interesting premise, with some real passion from both creators, even if it doesn't all work.

This run of Detective Comics is tapping into that Bat-Family feel of the '90s and early 2000s - the feeling that each individual Bat-character actually mattered.

The first arc of PM&IF had its ups and downs, but this issue is only the good from that first arc and none of the bad.

The ending promises that the best is yet to come with this character study.

There's so much to recap, that half of this issue feels like a "previously on"" segment. That said, Al Ewing and Kenneth Rocafort are so great on this book that they even manage to make recaps interesting, and the scattered bits of new material (mostly focusing on the side Ultimates characters) are phenomenal moments.

There's some good here, but the plot turn is a thunderingly boring and disappointing twist on something that started out so promising.

Amazing has started to grow back into the ensemble book that it tends to be at its best. What isn't as good, is the stuff involving Regent.

This is a highlight issue of one of Marvel's best series.

It's refreshing seeing two rookies playing at being superhero, without all the usual baggage (Jessica basically shrugs off the Emotional Spectrum in the book's first page). Their dynamic is entertaining too, mirroring any antagonistic (but probably, eventually buddy) partner relationship you've seen in movies like Rush Hour.

The end of that arc promised progress, as Gertrude was forced to become Queen of Fairyland. But, all that progress is wiped away in a single issue designed to make being Queen the most boring duty Gertrude could possibly have. Skottie Young explains his intentions in the back pages, and they're all reasonable, but it makes for a very deflating return issue

Unfortunately, it feels like a lot of space in the first half of the book was wasted with recap in order to get to the second half. Ultimately this issue is half filler and half compelling drama.

This is another funny and clever issue of Jughead, but the real star of this book is artist Derek Charm. Charm draws maybe the cleanest line of any of the Jughead artists so far, this is a beautiful cartoon of a book.

Reviewing Lazarus #22 is a very weird experience because it's like reviewing the first four pages of the next chapter in a book. Lazarus is as good and intriguing as always, but similar to only reading several pages of a chapter, reading a single issue of Lazarus is sometimes unfulfilling in and of itself.

This is obviously well-worn superhero territory, but it's written well. And the art, the art is fascinating.

If the first issue is any indication, Han Solo could prove to be the best Marvel Star Wars mini yet.

The Agents of S.H.I.E.L.D. comic book has both failed to make its cast very interesting in their own rights, and to make that cast sound or act anything like the TV show it's based on. So, how do you fix a problem like a bland cast? Easy, fill it with guest stars.

For a book so defined by fun and hope, this is one bleak and depressing issue. Fans of this series will find a very unsettling tone as this story goes on, as we see the entirety of Dinah Lance's life to come pass in a very soulless fashion.

This story is such a jumble, as it seems intent on bringing in new readers who didn't already read that previous Dan Abnett Hercules story but it also overly relies on your prior knowledge of the cast of that book.

Charles Soule's premise of Matt being unable to read the cards, but rather his fellow players is really clever. Unfortunately, it makes for an underwhelming visual experience, and there's a struggle to pace out the story over the whole issue.

Obfuscation can be a compelling tool to use when telling a story, but after four straight pages of Drax just mindlessly yelling, "Where is she?" and punching things - the readers could really use some idea of the stakes of the mission.

It's a book that too often goes surface level goofy, when it's strength is elaborately silly.

The fact that this book stars a beloved character from a beloved movie isn't enough, we need more characterization and even some razzle dazzle to make us fall in love with this cast and story.

This is easily the hardest issue to get through yet, but as always, worthy of your attention.

The art can be problematic at times (both in its exaggerated body types, and little attention to the background), and there's little of substance that seems to actually progress in the story.

It gives this whole issue a feel as hollow as its villain, focusing on the wonderful mech designs and explosions, while losing sight of the characters at the center of the conflict.

Invincible Iron Man is a series that has been frustratingly decompressed at times over its short, 10-issue life, but that's something that works surprisingly well in the book's favor this time around.

It's almost shocking to see this level of violence and gore in a non-Max Marvel title. Old Man Logan's showdown with The Reavers (with the life of a young, parallel universe version of his wife at stake) gets to be absolutely gruesome.

It's simple, emotional, and angry storytelling told elegantly in both the writing and art. But the question is, how simple do you want your storytelling? What it has in raw emotion, it lacks in much nuance.

While not as immediately intellectually or dramatically interesting as a Southern Bastards or Scalped, The Goddamned has proven to be a viscerally thrilling experience.

The strength of this book is its ability to make you uncomfortably laugh in the face of its more serious moments.

We'll miss this run of Batgirl and hope the book will be able to keep up this artistic consistency post-Rebirth.

This is fun whether you were a fan of the 2099 universe or not.

The problem with this issue, just as with the last issue, is that Van Jensen simply doesn't write a clever or cunning enough plan for The Riddler.

The revelations and character turnarounds are satisfying and perfectly timed. Even better, the art continues to be top-notch. Sana Takeda has an approach and style that's almost entirely unique in Western comic books, it's so easy to get entranced by the winding, grand scale design choices.

It's great seeing Alphona back on this book. The other artists have been great, but Alphona draws the happiest looking sharks in comics, and isn't that what this is all about?

DC deserves so many thanks for reconsidering cancelling this little-selling but beloved book. Tom King and Barnaby Bagenda got a chance to fully tell their story and, let me tell you, it's one incredible ending.

As much good as the first 4 issues did for the prequel era, this final issue shows how hard it can be to tell good Star Wars stories in that era.

For the last eight issues, Dan Jurgens has been channeling a hope and fun into Superman tales that still feel modern. This issue is the kicker of them all, telling a story that is just unconditionally sweet and heartwarming from beginning to end.

Greg Pak has been doing a great job of setting up completely brand new kinds of Hulk stories. Namely, Hulk stories with a bit of brightness and fun. Unfortunately, Mike Choi isn't really the right artist for that tone.

Tokyo Ghost is a series that's hitting a whole new stride in its second arc.

If you loved Superior Foes of Spider-Man, and for some weird reason aren't already reading Astonishing Ant-Man, you absolutely have to pick up this issue.

Manifest Destiny #19 is a great jumping-on point for this fascinatingly weird comic book

The ending may be a bit divisive, but we're ultimately sad to see this complex ride come to its end.

There are a lot of small problems with this finale to the first arc of Power Man and Iron Fist, but there aren't really any big, glaring ones.

As this is the start of a brand new generation of Rai, it's a perfect place for new readers to try out this intriguing series.

This is both a beautiful ending to what's come before, and an exciting new direction for the series.

The Spider-Women event hasn't been as emotionally satisfying, or as fun, as all three titles tend to be on their own. Spider-Woman #7 may be the most successful of the lot, but that's because it mostly just feels like a regular issue of this series, but with slightly more Gwen Stacy.

For all the good we can say about Peter Tomasi's characterization of Superman and his allies during his "The Final Days of Superman" arc, there's almost just as much negative to say about the overall plot.

Uncanny Avengers #9 features the return of Hank Pym, and the teeter-totter balance between dramatic and comedic actually really helps this issue. It creates a completely unsettling vibe as you're left questioning motivations and intentions at every turn.

The issue is a really quick read, but that plays well to the story. It's not what you might have expected, but this is another compelling issue of the event

Many of the old flaws are still here, but the book is moving in a positive direction.

They didn't necessarily save the best for last, but Gotham Academy's "Yearbook" still proved to be a blast to read

Valerio Schiti's art is as charming and energizing as ever, but it doesn't quite forgive a ho-hum plot

While a lot of plots seem to end suddenly, there's no denying the catharsis of the story's tensely drawn final act.

This series is off to an incredible start.

This issue is the closest this book has felt to a "traditional superhero story", but even so - the big ideas are still there. Better yet, it gives Al Ewing and Kenneth Rocafort a chance to show off their knack for character.

The action here is breathtaking, and the closing pages are grand in their scope. There isn't anything particularly "special" about this first issue. It's simply fun, superhero event storytelling.

This story has such a frustratingly rigid structure that you can guess the entire outcome of the book by taking the story of the last four issues and then applying the characters on this issue's cover to that formula

Overall, this would be a fantastic issue if not for the art. Angel Unzueta's digital approach is simply too stiff, too rubbery - and the muddy colors don't do this lively script any favors either. But if you can look past the artistic flaws, this is a promising story direction for a book that's suddenly in a pivotal "do or die" scenario with Steve Rogers back.

Flash/Riddler should be an automatically interesting fight, as long as The Riddler's plot is clever enough. The problem with this story is that the execution isn't nearly as good as the concept, there's nothing clever about Riddler's plot here.

After all these years, Kevin Maguire still has it.

It's unclear how exactly this issue is part of "The Road to Civil War II", but regardless, it's a pretty good jumping-on point. Invincible Iron Man #9 is a series of vignettes of most of this book's major characters reacting to Tony Stark's disappearance. It reminds you that Brian Bendis has a lot of different, and interesting, balls in the air in this series.

The art is great, and the ideas presented in this second issue are even more interesting and exciting than what came in an already good first issue. Color us intrigued.

Despite all these problems, it remains a series with a great cast, innovative ideas, and promising directions. The creators just haven't been able to live up to the promise yet

"Spider-Women" has quickly changed into "Silks" with all the emphasis on various Cindy Moons of different worlds. That's a great aspect of this event, as Silk is easily the least known of the Spider-Women trinity in this event, but could also be off-putting to some Spider-Gwen fans who rightly expect more of Gwen in her own title.

Where last month whispered, this month roars. The tension in this story is incredibly nuanced, but also frenetically thrilling. Tom King is able to craft dialogue with a deft touch, implying so much sinister intent with such docile words.

Unlike some other DC books that are seemingly just spinning their wheels until Rebirth comes along, Brenden Fletcher is using these final months to catapult Black Canary through an epic story exploring the hero's past and a mystery involving her mother.

This is another decompressed issue, which could prove problematic to the series soon, but works for now.

This is the kind of well done simplicity that make certain superheroes universally beloved.

Overall, the creators take the long way around a pretty straightforward journey, but they make it worth the effort.

Outcast #18 is a perfect example of a weird quirk that occasionally hurts Kirkman's work - he can be simultaneously overly decompressed, but then very loose in skipping over important encounters or details.

Sex Criminals #15 ends the arc beautifully: wrapping up the individual arcs of all of our characters, giving our "villain" a truly sympathetic turn, and smoothly setting up future storylines.

Superman/Wonder Woman is a perfect microcosm of this event - wonderful character drama wrapped around unnecessary distractions.

Christian Ward is an immensely talented artist, with an incredible sense of color, and some truly imaginative and wild interpretations of character and layout. In other words, he's the perfect guest artist for this one-shot issue of The Ultimates which focuses on Galactus and his attempt to free Eternity from its chains.

Ultimately, it doesn't feel like a lot happens in this issue, but what's there is good.

Nick Spencer and Ramon Rosanas' Ant-Man series was already great, but it has been getting even better in recent months by adding Cassie Lang as a main player in the story.

This issue constantly shifts scenes, hardly managing to devote three pages as at a time to a situation. Yet, the book's pace still crawls with a snails pace because those scenes are all so overly wordy and ultimately don't accomplish much.

Rafael Albuquerque is the main draw (as he's been all series) and this issue is even more beautifully and dynamically illustrated than the last five, but there are some key stumbles in the script that fundamentally undermine what the story is trying to accomplish.

Lucifer #5 is the issue where all of the book's mysteries are revealed, the issue that should finally sell you on the book and give you an idea of the series' shape to come. Unfortunately, all of the issue's reveals fall flat, and everything surrounding the revelations are a complete mess.

Martian Manhunter #11 is another dramatic high note in this series, but Ben Oliver just isn't able to convey the emotional depth that Barrows brought to this wonderful series.

New Avengers is a good issue, that should get you even more excited for what's coming next.

David Walker's story doesn't match up to his own humor or Greene's art yet (in fact Walker's portrayal of Jessica Jones is problematic here as she's not so much a character as an obstacle in the way of the men's fun), but if the story can catch up, this should become a runaway hit.

This issue is about the election of a C.E.O. and the race to retrieve the corporation's technology. It's an interesting idea that could further develop the growing Inhumans world, but isn't nearly as interesting in execution.

Perhaps the most disappointing thing about this penultimate issue of Wonder Woman, is that the series has shown no signs of growth in the 25+ issues since Meredith and David Finch took over the title.

From cover to cover, this issue is a bummer.

All-New, All-Different Avengers #8 is a chaotic issue. That chaos is clearly what Mark Waid was aiming for with his script, but that doesn't make the issue any less jarring.

The fight for John's body is one of the best artistic sequences you'll see in comic books this week. Foreman makes sure this wonderful book doesn't skip a beat.

It's cliche at this point to talk about how much of himself Remender seems to put in these plots, but it can't be avoided because of how brutally honest this all feels. This is maybe the most emotionally-complex issue yet, and that allows Craig to show off in more ways than usual.

Gotham Academy was born to be an anthology title. Sure, the series had been great before this, but never as consistently enjoyable as it has been with this arc.

It's of course disappointing that Ethan Van Sciver couldn't finish this series, but as gifted a talent as Van Sciver is, Ardian Syaf drawing over Aaron Kuder's layouts is an impressive sight to see. This issue is still strong, despite losing one of DC's best creators.

If this kind of storytelling keeps up, The Thing and Rocket Raccoon could become one of the Marvel Universe's next great bromances.

As fascinating as this world is, it often feels like you need an encyclopedia handy to really enjoy it. The great stuff is so spectacularly great that it's worth the effort, but more can be done in the future to humanize the rest of Monstress' enormous world.

At New Romancer #5, the series has evolved from a meet-cute quirky adventure to now Shakespearean-levels of farce.

There are a couple of great moments between Jessica and Gwen here, but the issue is mired in too many jokes to form into a complete story.

Without that art, no supporting cast to speak of, and a textbook encounter of villain/hero this issue is just too plain.

This second year of Vader hasn't been as exciting on a monthly basis as year one, but this continues to show that Gillen is capable of memorable moments.

You won't have any more fun this week in comic books than you will with Batgirl #50.

The mystery does meander a bit too much, and the lead up to Gordon's reveal should have come earlier, but it's still a nice mystery.

It's a world well worth exploring, and hopefully we'll be able to come back between semesters.

If you've been loving this event, this is worth a read, but a bit too messy.

There's an amazing series to be made in this world, this "action thriller" just wasn't that series.

It's commendable how smoothly and naturally this Spider-Women crossover comes together. So often, these kind of crossovers can feel forced or uninspired. But, these three protagonists represent three of Marvel's current best titles and perhaps the most interesting corner of Marvel's current universe.

Overall, this is a fairly slight issue with too many mysterious cutaways, but the premise and Lana scenes alone are enough to make this a compelling issue.

A genuine achievement of comic book craft.

Uncanny Avengers #8 is a weirdly anticlimactic moment midway through this Standoff crossover.

For a double-sized first issue of a major event, this is an extraordinarily slow and uneventful chapter.

Vision is a clear contender for being the best book in the All-New, All-Different Marvel lineup, and this issue does nothing to reverse that trend.

The story ends in some interesting plot advancement, but at the cost of a well told narrative.

Cyborg #9 is all about the passing of proposed regulations and discussion of cybernetic theory, yet somehow, it's an issue that never feels bland.

Walker is phenomenal talent that is perfect for a book with this mix of humor and action. Unfortunately, that's not enough when the characters and story continue to fail to leave an impression.

Klaus has been a fun and somewhat slight series so far, but #4 has some moments of peak-Morrison.

Mirror #2 isn't even remotely a bad book (though it advances its storyline too quickly, these large events deserved more buildup), but it's just not nearly as special and exciting as that first issue was.

There are enough of the bad tendencies of crossovers here (relatively meaningless guest appearances, flimsy action) to somewhat hold this issue back, but Al Ewing is so great at character advancement and dialogue that those problems are small comparatively.

Don't skip this series solely because of the prequels era it takes place, it's worth giving a chance.

Rafael de Latorre's art is just left of "cartoony" and is the perfect fit this wacky, but ultimately grounded series.

Teen Titans #18 is an improvement over the previous issue, but much like Cassie, it's still in search of its identity.

The word "Avengers" may not be in the title, but The Ultimates is every bit worthy of being Marvel's flagship title.

This issue succeeds in being yet another enjoyable installment of Ant-Man, and in remaking Cassie into a fully realized character again.

This is a wistfully nostalgic comic that will make you curse DC and Marvel's unwillingness to let their characters age.

. As far as fill-ins go, this one is enjoyable and worth a look.

This is a fun story, but it's starting to look like "fun" is all it's really intended to be.

Doctor Fate has tremendous pieces that still haven't come together in a fully satisfying way.

This was both one of the the most entertaining issues of Injection yet, and maybe a breaking point for some. Warren Ellis loves to play coy with his stories, and that's been the case for the entire run of Injection. In many cases, Injection included, style can be higher on Ellis' priority list than substance.

Lucifer is a series that can be heartfelt, relatable, cruel, and fun. Unfortunately, it seems like it can only be those things when Lucifer isn't on the page.

Martian Manhunter #10 is a brilliant series of revelation after revelation, twist after further twist. This issue is the distillation of everything that has made this series so enjoyable over the last year into a single issue.

With the art as beautiful as ever, and the story continuing to unfold in exciting new ways, this remains one of the best new series around.

Silk #6 is a powerhouse issue of complex, morally gray superheroics. It's a really exciting and encouraging chapter to see from the young series.

This series' identity and purpose still don't make sense at this point, as so much of the TV-inspired side of the comic book fails to work.

This is a entertaining and well done Batman arc from top to bottom.

This short burst, anthology storytelling almost works better for the book overall than the multi-issue arcs. Hopefully this is something they'll keep in mind heading into the book's next semester.

This is one of Ms. Marvel's most fun issues yet.

New Romancer #4 moves with a gleeful energy, with Peter Milligan cheesing up the dialogue in the most delightful of ways as Lord Byron and history's other great Romantics prove themselves to be less than what you were led to believe.

Uncanny Avengers #7 is a disjointed, chaotic ride that also happens to be an early high point for the young series.

The cold, calm, calculating way that Tom King can write the dialogue and narration in The Vision is maybe the most unnerving part of the whole series.

DC has had a problem in recent months of throwing too many artists at a book in order for that issue to make a deadline. Batgirl #49 uses no less than 6 artists to tell this regular-sized story, and yet, the series doesn't miss a beat for it. In fact, it's possibly better because of it.

This issue has all of the over-the-top action you might want after experiencing the high of that movie, but just doesn't deliver on the comedy in the way that Gerry Duggan is capable of giving us.

Giant Days is proving it can sustain the jump from miniseries to ongoing.

After nearly a year, and The Omega Men can still be truly shocking. Sure, you already know to a certain extent that this won't be as easy of an ending as Kyle Rayner hopes it will be. But, Tom King is able to subvert so many of your expectations in such interesting ways, while still delivering on the obvious and inevitable turns that have to happen.

The conclusion shows that this installment isn't as self-contained as it originally seemed, and that makes a good issue even better.

Spider-Man #2 is a great, triumphant introduction to Miles Morales as a superhero. But, if you've already been with Miles on his journey as Spider-Man in the Ultimate Universe, why do you need another introduction?

There's a good comic book here, but it's buried in an excess of horror elements.

What Sheriff of Babylon #4 lacks in comparison to last issue's big action, it makes up for in character moments and some unexpected storytelling choices.

Overall though, the narrative and tone are still a bit of a mess.

Hopeless gets this team overall and has an enthralling take on these youngsters, there are just some unfortunate shortcuts still being taken.

Ant-Man continues to be one of Marvel's most reliably enjoyable books.

Black Magick's first arc comes to an end with this issue, and makes it pretty clear that this storyline has just been the tip of the iceberg. That's nice in some ways, maybe a slightly frustrating in others.

Sure, some of this may be a bit indulgent, but it's actually earned, and it's very entertaining.

This may be the best issue of the series yet.

Pitting the police-supported Rogues against a wanted Flash has created the most fun and compelling writing this book has seen in a few years. Unfortunately, some misguided decisions mid-way through this issue might ruin that and make this book unreadable for some.

New Avengers #7 is the type of character-first, smart storytelling that made Al Ewing's two Mighty Avengers runs so beloved.

Walking Dead learned early on that zombies were not the most important part of that book. Outcast is close, but it feels like it has yet to fully learn that lesson.

The story is a bit light, but that plays into Veronica Fish's artistic strengths as Fish makes the most of her oversized panels. This was a wonderful, if brief, issue.

This series just hasn't wowed us yet in any of the ways it should have.

The writing's stakes don't quite match that of the art.

Pak writes some interesting inter-team dynamics between the characters, and that paired with Ian Churchill's solid superhero storytelling make this a pretty decent comic. But at the end of the issue, there's just not enough there to really propel you to find out what happens next.

Time travel in fiction is awesome in general, but it's doubly awesome when it's in a book like The Unbeatable Squirrel Girl, where they can just go crazy with it.

Spend just five minutes in Astro City and Kurt Busiek will having you lamenting the constant reboots of current superheroes and pining for the days of old. Astro City is a world where history has been allowed to fully play out, heroes have been able to grow and age and change.

As always, Bitch Planet mixes your anger and heartbreak in provocative ways, but this issue also manages to have the sweetest and kindest moment yet for the series.

This issue has some serious developments on both fronts and makes for one of the more satisfying issues of the series in some time.

The creators have made an enjoyable romp of a book, but it's also a book that's already beginning to grow stale and predictable.

Remender is playing with some smart ideas here, but he is executing them better in the somewhat ideologically similar Tokyo Ghost.

The way Skottie Young has transformed this book from a series of hilarious, but ultimately similar, jokes into an actual storyline is pretty amazing. Suddenly this book has some real forward momentum to go with that incredibly beautiful art of his. There's no telling what this book can accomplish next.

Lucifer #3 succeeds in both the stories it's telling, but fails to bring them together in a satisfying way.

It feels like Martian Manhunter is quickly racing towards a conclusion and it's heartening to see it ending as well as it started.

The first issues established a ruthless version of the Justice League, that's entirely missing from this issue, and loses the book's unique identity in the process.

This is a fun issue to be sure, but it just fails to hit an even higher level that it could have hit with a bit more creativity.

There's more positive going on in this issue than in the last several, but it still hasn't gotten over the hump.

If you can get on board with Laura's attitude, you'll find an interesting and fair portrayal of a possibly-doomed relationship. This is the kind of melodrama that, when done well (and it's done very well here), is the cornerstone of any good X-Men run.

With Batman/Superman #29, Tom Taylor definitively proves himself capable of being on DC's biggest stage.

This isn't the first time John Constantine has had to escape from Hell, nor is it nearly as memorable as that first time around, but it's fun to see a contemporary twist on something that was done a few decades ago.

This chapter doesn't mark any kind of substantial turnaround for the series, but it's a start in a nice direction.

This issue passes the new Injection review scoring equation of Vivek-Injection=Review Score, but it's unclear much longer this series will be interested in achieving those marks.

There's still a lot about the fascinating world of this series to enjoy, but shifting the focus from the intimate, morally gray storytelling of its premiere issue to this over-the-top genre adventure takes away from what was once truly special.

It seems like Low may have been lost in the shuffle of Rick Remender and Image's works lately, but it is every bit as worthy of being on your pull list as anything else from that writer, and even the rest of the publisher.

Ms. Marvel #4 is another excellent issue of family dynamics and goofy superhero scenarios.

New Avengers has turned into a perfect book for anyone who still misses Young Avengers and wants more of the great Wiccan/Hulkling relationship.

The day Rodriguez leaves this book for good will probably be the day that this series should be retired, but it's good to know another artist can make their impact felt in-between Rodriguez issues

This conclusion lacks any real sense of purpose, the jokes are fired off quickly in the hopes that some manage to hit, nothing feels quite right about this issue.

This issue has fun moments, but is also weighed down by its crossover obligations.

Detective Comics #49 is a solidly told and engaging mystery.

Hopefully Percy has more up his sleeve for next month's big issue 50, because this chapter failed on all levels to live up to the recent standards of this book.

Martin Coccolo's sleek art gives the book points for a solid fill-in artist, but otherwise this issue does more harm for the series than good.

This issue is uneven and disjointed in that sense, even when it's a hilarious visual treat of a comic.

The story's dream logic movement will frustrate some, and confuse almost everyone on an initial read, but there's so much emotion and intrigue in the opening chapter that it'll be nearly impossible not to come back to learn more.

This is a period of Star Wars that hasn't been covered much, and the creators use that to their benefit.

These creators have brought together an engaging mystery and surrounded it with complex characters and an even more complex world.

Tom King and Gabriel Hernandez Walta's dark family drama hits a new high (or is that low?) with issue #4 as the tale turns from dark and foreboding to hopeless and melancholic.

There's much to appreciate about what Bermejo's attempting, but at the end of the day it just winds up feeling like misery porn.

Wu should be commended for a great execution in this issue, but if a few pages had managed to convey sound even better, it may have been something more than "just" a great comic.

Strip away everything about Black Magick that truly makes it unique - strip away the magic, strip away the brilliant color technique and flourishes - and what do you have left? Well, what you're left with is Greg Rucka and Nicola Scott doing what they do so well in the most compelling possible way.

In the first two issues, the creators put a big emphasis on making Daredevil feel new again. They introduced a new villain in Tenfingers, gave Matt a brand new job as a prosecutor, and even gave the book a fresh new visual look. It's only the third issue, but suddenly those changes aren't quite feeling new enough.

Remender and Craig are leaving nothing behind in this arc.

With Grayson #16, the comic jumps from being a funny superhero book to DC's answer to Archer. This is easily the goofiest issue of Grayson yet: the dialogue is quippier than ever, there are now 100% more cutaway gags, and there's even an extended Bond theme song inspired musical section.

The storytelling, pace, and indelible visuals make this one of Image's most unique reads.

It's not a "fun" book, it can be a tough read, but with Paul Azaceta's masterful character-acting it's worth reading until you know for sure whether Kirkman understands the gravity of his own story.

It's unclear whether this story was compacted due to the series cancellation, but overstuffed nature of the issue makes it feel that way.

Teen Titans #16 is the most blatant recent example of a writer having to put all of their toys back in the box, so that a new writer can come in and have their own fun.

Gilbert Hernandez and Darwyn Cooke brought their various plot threads and relationship dramas to such satisfying climaxes with last issue, that this final issue can't help but feel a little slight in comparison.

This comic has been so much fun already and has gotten just that much better with the addition of Doom to play off of.

Marvel and DC have been doing a great job over the last several years of reinventing their comics in humorous and fun ways. That effort has been greatly appreciated and has led to some of the best stories in recent years. But there's also a point where that goes too far. Astonishing Ant-Man #4 is that point, an issue that just tries to be too cutesy, and then spirals out of control from there.

Astro City deserves so much credit for all the original ideas it brings to superhero comics, this just isn't one of them.

Buffy is finally ramping up again as the season continues to move toward a conclusion.

The art for this series was always the draw - it's fluffin' gorgeous - but now we have a story reason to keep coming back.

Holly Black and Lee Garbett are taking a really interesting approach with their Lucifer series - they're continuing the story right where Mike Carey and Peter Gross left off, but they're also telling something brand new and all their own.

Volume 2 of Martian Manhunter doesn't appear to be off to quite the same propulsive start; instead of picking up where the momentum of volume 1 left off, they seem to be starting from scratch and building up a whole tempo.

This volume of Ms. Marvel is showing no signs of a sophomore slump.

There's no danger, no charm, no growth of character, and nothing particularly interesting about the art to make you care about this comic in any way.

Javier Garron is an artist who excels at character work, and his characters here are always a draw. His human faces communicate emotion in over-the-top, but ultimately relatable ways - you can't help but smile anytime Peter Quill is on panel.

Starbrand and Nightmask is off to a surprisingly fun start.

If you've been curious about the Inhumans, this is the place to start.

In Wonder Woman #48, our hero takes on the growing threat of terrorism and....it's just about as awkward as you might think. Maybe even more so.

The flashbacks were some of the least compelling parts of the last volume of this series, and the flash-forwards now are proving to be even worse - both because you know they are essentially meaningless and will be wiped away in no time, and because Ramon Perez's style in those jumps lacks the wow-factor of his usual art.

Hopeless and Bagley have shown a strong sense of story, character, and purpose in their first two issues so hopefully this issue is just a growing pain.

Taylor doesn't take any real chances at his first swing on the characters, but in doing so he still manages to tell a solid and engaging team-up tale.

Citizen Jack #3 is an indication that the series has more on its mind than it may have initially appeared.

Guardians of the Galaxy is one series that so closely follows what came before it, that the emotional stakes are almost impenetrable for anyone who didn't read (or hasn't forgotten much of) the previous volume.

Injection #6 leaves behind our main cast to focus on Headland, a Holmesian rich detective who is particular about his sandwiches. This strange swerve in the narrative further muddies an already unclear view of what this book is, but if you can put that aside, this is a gleefully fun issue of Ellis doing what he does so well.

Wanda talks to a god, fights a minotaur, winds up where she started - it's mostly uninteresting, frankly. But this issue is so gorgeously drawn that it's at least worth a flip through just to appreciate Marco Rudy's talents.

It's still baffling that they would start this relaunch with Stacey Lee on art for Silk #1 and then immediately transition to a new artist, but Tana Ford is an able replacement, if not quite the same caliber of cartoonist as Lee. Overall, Silk seems to be heading in a good direction

It seems like Jason Aaron has had some fun writing and rewriting the stories of Thor in his four-plus years working on the character, but The Mighty Thor #3 is something a bit different, it's Aaron having fun not just with the character, but with the publishing history and future of the character.

This issue contains plenty of the same problems that have been present over the last six months of this title, but it also manages to tell a simple battle story in a vibrant and sweeping style that is perfectly befitting of ideal Superman stories.

The story doesn't jump significantly forward here, but as a way of solidifying the intangible, it's a spellbinding read.

This is a fantastic read, though to get the real weight of the book you probably need to start with the first series.

So much of the story is silly (made even sillier without the context of October's Green Arrow Annual #1), but it almost works due to Percy's poetic narrative style and his sheer ambition and determination.

It has all the charm and space adventuring joy of Guardians of the Galaxy, but with it's own unique brand of humor and visual identity.

Neither this book overall or this lone issue are bad, the aforementioned art and Joshua Williamson's crackling dialogue ensure that can't be the case, but its problems are starting to pile up.

It's almost concerning to see the pair burn through so much plot and development so quickly, but when it's this well done how can you complain?

Brubaker and Phillips have a lot of interesting things so say in this finale, and it's very well done, but some readers may feel let down by Charlie's role, and the air of familiarity to the ending.

There's no telling where the story is going next, each scene is more unexpected than the last, that layer of surprise and being along for such a winding ride is perhaps the best part of this gorgeously illustrated book.

Ewing's boldness, perfectly paired with Kenneth Rocafort's knack for gorgeous cosmic scenery, makes this one of Marvel's quickest evolving and most exciting new books.

All-New is the X-book you should be reading if you're a fan of Marvel's merry mutants.

Amazing Spider-Man #1.1 is Marvel's latest attempt to trick you into buying a Spider-Man miniseries through confusing numbering.

The story is small - quaint by Mark Millar standards - but it's that focus that's making this such an enjoyable ride.

Illuminati cribs enough successful material from other similar books to make it entertaining, but doesn't do anything to make itself stand out.

Ms. Marvel is avoiding any kind of sophomore slump by further pushing what made the book so great in the first place.

Silk is a great series, but this issue is kind of a bummer.

This is an issue with a great sense of purpose, but one that doesn't fully sell the ongoing nature of the book.

This series has a lot to prove still, but it's off to a fun start.

As an issue, it's bad. As a farewell to the Ultimate Universe, it's significantly worse.

Because so much of this issue of Uncanny Inhumans is just about setting up its cliffhanger, you may feel better or worse about it next month. As is, this issue is mostly just one long fight scene between the Inhumans and the newest incarnation of Kang.

This was a pleasant first chapter, but we need some crazy new ideas quick so this doesn't simply turn into a rehash.

Ultimately, the story winds up as a bit of a jumbled and rushed mess paired with some muddy action art, but there's just enough there to remind you of what a strong voice Pak gave to this duo.

There's little good to be found in this issue that has nothing original to say, fair superhero art, and a general lack of forward momentum.

This chapter is a fun diversion, but the character drama is where this series really succeeds.

It's impressive when a newer series can tie in to an event without losing any sense of its own identity, and that's exactly what Brenden Fletcher is able to accomplish in this issue.

This book is big space action in the best possible way.

This first issue rushes too quickly through its concept, not allowing any time for the readers or characters plausible time to adjust and making for an awkwardly paced and unsatisfying debut.

The balance between real life drama and surreal science fiction reaches a new height in this quickly paced and fascinating chapter.

This is a big book with big questions, and it just might be the heir apparent to Hickman's Marvel storytelling.

Despite its heart this book is in major need of a compelling antagonist, the fights against nameless creatures can only last so long.

Possible suspension of belief-breaking technology aside, this issue also struggles in a couple of other respects. It just feels too early and unearned for Gwen to be back to the 616 Universe, give the character some time to establish her own world.

This book's so-so issues are made even more frustrating than an average series because of its frequent brushes with greatness.

It's a rough series to judge as it feels like we've just barely scratched the surface of what it actually is, but it's certainly attention grabbing enough to bring you back for a second issue.

Cyborg has been a fun series so far with great potential in the future, but this issue feels like a wasted opportunity.

This run is proving to be a highly entertaining take on a character who is tough for most creators to grasp, but this particular issue just proved to be a bit too repetitive.

Jeff Lemire is a nuanced, powerful writer so it's hard to be believe that this book will continue to flounder for long, but for now it's hard to grasp what this book's goal is.

Robert Venditti has done some great cast work over the course of a really good Green Lantern run, but this whole issue just fell completely flat

This is an excellent bit of cartoon comic book storytelling.

Revival is so character and cast-focused that you can sometimes forget just how action-packed and tense Tim Seeley and Mike Norton can make an issue.

There's very little given about the overall plot until the final pages, so where it goes and how it maintains this pace is still to be seen, but this is an incredible, attention-grabbing bang of a first issue.

This is a darkly funny and tense book that you should absolutely be reading.

It's a bit too jokey at times, and the plot seems to slightly get away from the creators at times, but this is a fun issue that sets up some future fun and should be read by anyone wanting one last glimpse of that incarnation of the FF.

This chapter is simply a cage match with a vampire. This relationship drama is in dire need of a resolution, or at least a distraction, because it's starting to spin its wheels.

The tone Nick Spencer established in his first two issues of this series was of an inspirational, political hero with a sense of humor, but in this issue every little thing is simplified into just a gag or one-liner.

This chapter's pacing is awkward at its best, and baffling at its worst. Worse, the uninteresting cliffhanger leaves little reason to come back for another month of this story that feels like it has already gone on too long.

The obvious appeal of this book first and foremost is Young's wild imagination and the humor that comes from that, this series is an unquestionable success under those two criteria. The problem is in the longevity of the story " how long can we follow around a goalless character?

This is one of those issues of Invincible (they are pretty much a regular occurrence at this point) where the story just flies by, and the ending comes too soon.

The streak of brilliant twists and startling cliffhangers continues in the final chapter of this incredible first story arc.

It's still not a great book - much of this issue's interests are too divided to make any of the other characters impactful yet, plus Gerardo Sandoval doesn't excel with these character moments like he does with action -but it's a start in a good direction.

Overall, this is an enjoyable story that's evocative of some of the elements and tones of 2000s Vertigo, but not yet at the same "must-buy" level as some of the other recent Vertigo launches.

The creators are firing on all cylinders and the concept/lineup are interesting enough to capture any Marvel fan's attention.

This issue of Batman/Superman focuses entirely on the build up to a fight with Vandal Savage, as the heroes methodically plan every move. That may not sound interesting, but it is due to the quality of dialogue and smattering of character moments throughout.

Catwoman #46 marks the end of Genevieve Valentine's run on Catwoman. The run has been one of the better ones on Catwoman in years so it's a shame to see it go, and even more of a shame that it ends on an underwhelming issue.

This current volume of Constantine has been really strong every issue, but it's absolutely great when Riley Rossmo is on art.

It's too early to tell if this can really be the Superior Foes spiritual successor but it's off to a fine start.

Years ago, a mysterious attack made the entire United States population infertile. The beauty of this series is that it doesn't focus on those attacks, who made them, why they happened, or anything like that. It just takes that premise " one of the world's richest countries has lost their future, making children the world's most valuable commodity " and tells a story of people dealing with it.

Limbo takes place in a world between ours, a sin city filled with ghosts and monsters. Despite that intriguing premise, Limbo fails to ultimately leave any kind of impression.

Wow, this post-Secret Wars relaunch was just the thing that Spider-Gwen needed. While the last volume felt a bit wandering and lost at times, the creators have used this opportunity to tighten their story.

It's not the most charming or fun read you'll have this week, but it's worthwhile and tells some of what we need to know about this character.

So while this issue may have ultimately been a dud as related to the story it was actually telling, it at least promises a fun future of Thor to come.

If you're interested in the roster or creative team of Uncanny Avengers, don't let the first issue of the series keep you away - this second issue is a big improvement in almost every way.

With a wicked sense of humor, incredible character art, and smart political satire Citizen Jack officially has our vote.

This book deserves another look from anyone who left along with Jeff Lemire.

Hercules seems like a strange series to launch amidst so many Avengers and X-Men premiere issues. But don't let the hero's C-list status keep you away from this book in favor of those bigger hitters " Hercules is a fun and well written book that finds a few ways to stand out in the current tidal wave of "fun and light" comics.

Much like Spider-Gwen or Unbeatable Squirrel-Girl, think of this Howard the Duck as season 2. They've had one season to do the comic they wanted to do, figured out what worked and what didn't, and fix those things going forward.

It's a testament to this book's world building and character development that even though the main character only appears in a handful of panels, this issue is just as intriguing and thrilling as any other.

The story is complex, nuanced, and never once holds your hand. Issue 1 is a complete, satisfying, moving story in itself, maybe one of the year's best, and the fact that we have more to come only makes it that much more exciting.

The debut of the Sam Alexander Nova era in 2013 had a really special feel to it - like you were reading the origin of one of the next important Marvel characters. Now, two years later the series is relaunching with a new number 1, but this one just doesn't feel special anymore. In fact, it falls flat.

Unfollow is another huge success in Vertigo's recent comeback.

This series is still good, it just needs a more stable shipping schedule and a little shot in the arm.

The series is as silly as ever but you get the feeling that as the creators approach the end, they're getting a little sentimental.

The biggest recurring problem with Deathstroke throughout the course of its series has been that the promising concepts get squandered in their execution

The only thing that makes The Flash comic book series more disappointing is comparing it to how great the television series.

As Gotham by Midnight approaches its end, it's proving to be a series worth sticking with.

So what is this book? Where's the hook to keep us coming back for more? So far, there isn't one.

The writing and art are converging at the top of their games in this issue of Revival.

The moment to moment storytelling can have its high points, particularly when you're just getting lost in Patrick Gleason's vibrant art. But the overall story is a mess of ideas in need of some structure.

This is a fun issue, but the series loses a little momentum when it's not barreling forward through its plot.

Eric Stephenson has done an excellent job at moving They're Not Like Us along at a lightning-quick pace.

Age of Apocalypse #5 is a disappointingly bad conclusion to what started out as a great miniseries.

It feels like this series needs a little kick in the butt to keep from burning readers out.

Black Canary #5 is a disappointment on the writing side, even as the art is anything but.

This issue of Buffy is the perfect example of what the TV show used to do so well " it tells a story about life in general then makes a monster metaphor for those problems.

Martian Manhunter is becoming an even more interesting and twisting series with every issue. Rob Williams has done such a intricate job of mapping out J'onn's personality into all of these different forms, and the way that they interact is proving to be even more enjoyable.

It may be a bit too light and outside of the norm for some Marvel fans, the art won't be for everyone who doesn't already know and like Chaykin's style (his Phil Coulson is certainly a little off), but overall it's a breezy spy story for anyone needing that particular itch scratched.

The goal of this Superman mega-arc crossover is clearly an ambitious one, and while the conclusion will tell whether all this was worth it or not, in the meantime we are stuck with a Superman who is utterly unlikable.

In the back of a recent issue of The Fade Out, Ed Brubaker had compared what he and Sean Phillips were doing to a novel. He's right of course, and where some middle issues of the series felt slow, this last arc has proven that it's all been necessary.

Weirdworld is fun, imaginative, gorgeous comic booking through and through.

Where the story goes from here is anyone's guess but it feels like the series finally has some purpose and momentum with this installment.

Wonder Woman #45 is well meaning, but too messy for its own good.

None of the Superman titles have done much to differentiate themselves in meaningful ways, other than artistically, and Cliff Richards's style is too cold and clinical to make this title noteworthy

It's fun to see all of these various Bat-characters together, some of whom we haven't seen interact in years (or in some cases, ever). The focused in narrative is beneficial for that reason, though it could still use some more tightening " specifically the flashbacks, which so far play out no differently than any past encounter we've ever seen with the Scarecrow making them feel like a waste of pages.

The book also occasionally dips into stereotyping as a means of brevity in this packed issue. These problems are perhaps excusable at this point, especially when considering how good the issue as a whole is, but they are problems that have the potential to explode this promising book.

Where last issue slowed down the pace of the series, this issue rockets the plot forward to some interesting and surprising places.

These creators will be missed as their run wraps up in the next few issues.

For all that Constantine has done right before this, the first arc's conclusion can't help but feeling a little"off. Most of those defining characteristics are still present in this finale, there just isn't the sense of urgency or impact that this conclusion should have.

This book is cute, funny, gruesome and maybe the best Young's art has looked. Again, go buy this comic!

This is maybe the book's best issue yet.

We've already had a peak at All-New All-Different Marvel and how some aspects of Secret Wars will seep over into their new continuity. If they're smart, they'll have a book by Si Spurrier and Kev Walker starring Elsa Bloodstone, because this series was absolutely incredible.

Sex Criminals should just become a series of one-shots focusing on people's sexual experiences. That's what Matt Fraction and Chip Zdarsky do so well " they tell personal, honest stories about these scary subjects and they do it in simultaneously funny and tender ways. But it seems that they're also losing their grasp of the overall narrative.

Latour seems to have a strong handle of the impressive supporting cast, and a new mystery that strikes at the heart of Gwen Stacy. Robbi Rodriguez's stylized, and exaggerated art continues to be the best part of the book, especially as paired with Rico Renzi's electric colors.

It's some of Kirkman's finest writing and Adlard's best "acting" on the series to date.

The success of this arc has varied largely by the guest artist, and though this issue isn't as memorable as the last two in particular, the visuals are unforgettable.

Greg Pak's Action Comics pre-identity reveal had been some of the best character work on a Superman title in years, but a feeling of repetitious storytelling post-reveal is starting to diminish a once great book.

Shane Davis is up there with some of the industry's biggest guns in terms of his art, as evidenced by the weight and grandiosity he lends to both simple character drama and over-the-top action.

His characterization of the "British Punisher" being a prime example of how the talented writer can make most scenarios relatable. But the novelty of throwing characters from different series together has more than worn off at this point.

After putting in the work to humanize Vic Stone over the last two issues, David Walker opts for a more action heavy issue this time around - it's fun, but it's also a quicker read than previous issues with less to chew on.

Green Arrow #45 is a bit of a mess, but even the messes in Benjamin Percy's run have been mesmerizing thanks to his enigmatic storytelling.

Benjamin Percy has taken a really unique tone on his Green Arrow run. The socially conscious commentary is still there, along with some of the usual crime and superhero stuff, but most interestingly he's infused the whole thing with a horror vibe.

The current day action feels inconsequential as El Vengador's mind is stuck in the past, while the flashbacks do nothing to justify or inform his leap from fan to hero.

The good ultimately outweighs the bad (even in the exposition scenes there are some terrific character interactions), but the emotional teeter-totter is frustrating.

There's still much that needs to be proven in the next few issues, and aside from a few nitpicks like the color being a bit too bright for a horror comic, this a promising start.

Chris Burnham, Dennis Culver, and Ramon Villalobos's madcap homage to Grant Morrison's New X-Men comes to a conclusion with this issue, and one can't help but marvel at everything those creators were able to pack into four issues.

This is a fitting conclusion for a character that left his mark on a small handful of readers.

This book is a strong lesson in taking what you're given and putting your all into it.

It's been over three years since Revival debuted and Tim Seeley is somehow still able to both add interesting new characters to the already impressive roster, and add further insight to the book's core mysteries.