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

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.

Gerry Duggan has maybe done the best and most consistent work on Deadpool since Joe Kelly's legendary run in the late 90s. Unfortunately, this issue has none of the character or charm of his ongoing series.

The first issue was really interesting, especially from the Red Son Superman perspective as we saw how he struggled to maintain order in his country without his superpowers. None of that is present in the final issue " it's a silly fight, with over-expository language, a hackneyed lesson learned, a predictable ending, and characters who even acknowledge to the reader how out-of-character they're acting.

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

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

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

It's a solid premise, and there are glints of promise that the rest of the miniseries can recover, but this first issue is about as substantive as the comic books it's roasting.

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.

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.

Unfortunately, there are still some panels that are either corny or cringe worthy from both Finchs here, but it's unrealistic to expect everything to be fixed in an issue.

An issue dedicated to Donna Troy is something that we've been hoping for since she was re-introduced in Wonder Woman. The character is so drastically different than her former-self that it demanded further examination. Unfortunately, this issue fails to shed much light on Donna or grow her character in any substantial way.

The dual storylines of Wonder Woman and Donna Troy are proving to be an awkward fit for this current arc, and the handling of those two disparate narratives is unfortunately not the only thing awkward about this issue's story.

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

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.

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

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.

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.

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.

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.

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

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

Charles Soule and Leinil Yu tell an emotional and intriguing war story but only if you can suspend so much belief. Inconsistencies and vast jumps in logic hurt the story whether or not you care that it undermines the original comic series.

The events of Civil War #3 are just too dark and morbid. The deaths, the gruesome transformations, the coldhearted attitudes " it's relentless. It all just winds up being too much, and with unrecognizable and unappealing versions of some of Marvel's best characters.

The story in this issue could have used more space to develop. This feels less like a typical one-in-done story and more like an arc that had to be condensed in time for Secret Wars.

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.

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

It's a disappointing way to debut a promising series.

Armor Wars #2 gives more of an emphasis to character, while still maintaining some of the more problematic aspects of the first issue.

You could skip over this issue and be just fine next month at #4

This has been the biggest problem with Armor Wars from its beginning, James Robinson's overuse of narration and exposition. None of the plot twists wind up being shocking, the biggest one being fairly obvious and disappointing, and the amount of time spent on the exposition makes for an uninteresting finale.

This slightly new direction of The Flash is a mixed bag. Brett Booth remains a great choice on art, his exaggerated style partnering so well with Andrew Dalhouse's bold and vibrant colors. The action is electric. On the other hand, the script feels like it's trying to emulate the CW television show, but only repeating the most tedious bits of it (do we really need another scene of Barry promising his father justice and freedom?) while leaving out the compelling side characters that make CW's The Flash so successful.

The heart is in the right place here, the execution is just off

Remember Spider-Totems from Amazing Spider-Man? If you liked those, you're going to love this storyline of The Flash! Ok, it's not that bad yet, but it's disappointing that just as this series was finally making a few minor strides forward, it takes one giant leap back with "the lightning chose us".

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

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

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.

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.

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.

This issue sets up a lot that will be important later in the miniseries. Maybe the final issue will be Bendis' mic drop that he and the Ultimate Universe deserve. But the start of the end is more of the same of what we have come to expect from Ultimate stories for the last decade and a half.

Ultimate End #2 winds up feeling like an improvement over the first issue, but only in marginal and superficial ways.

It would be great to experience this series as an ongoing title, but as a miniseries the pacing problems, the constant clunky transitions between unrelated events, and lack of focus all become more glaring.

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

If you're looking for a comic book fix of Ant-Man, try volume one of this series instead.

With this current opportunity to start fresh on the book, it's a bummer to see that Tony Daniel and James Bonny fail to address any of the shortcomings of previous issues.

Deathstroke #8 isn't a bad comic, but it's disappointing that it didn't live up to its big potential.

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

Deathstroke Annual #1 isn't the god-slaying confrontation you might have hoped it would be. In fact, Deathstroke doesn't even get a chance to face the evil he has unleashed. Instead, this is yet another dream-like issue that DC has done so many times in the past where our heroes have to face their greatest fears.

This is a comic that can fill the Guardians of the Galaxy or Firefly hole in your hearts.

It's a fun issue, though the fight winds up ending a bit too quickly and easily. The more glaring problem with the issue comes from the split art duties.

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

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.

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.

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.

From cover to cover, this issue is a bummer.

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

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.

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.

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?

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

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.

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.

There are positives to take away from Wonder Woman Annual #1. The series finally has some forward momentum, it really feels like it's going somewhere. David Finch's splash pages are gorgeous (though conversely his smaller panels lose too much detail). And there is enough intriguing groundwork to build upon. But all the other problems of this annual negate almost all of its positives.

Patrick Gleason both writes and draws the conflict, he shows weaknesses in each field this issue but still manages to tell a compelling story.

Robin: Son of Batman #4 suffers from some uncharacteristically poor storytelling by Patrick Gleason. Gleason's art is as gorgeously styled and kinetic as usual, but some of his panels wind up being too tightly packed or featuring some odd and incomprehensible camera angle choices.

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.

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.

Bengal draws the main part of the story, an almost-reunion between Barbara and Dick. That story is fun and works well, but the issue starts to fall apart once Batgirl teams up with other Bat-characters in the other parts of the story. Instead of feeling like a consistent plot, it just starts to feel like an advertisement for DC's other Gotham books.

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.

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.

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.

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 a must read for those demanding more answers, but those same people will likely find this one a mixed bag.

Superman/Wonder Woman #21 plays out with the same frustrating mix of strong characterization and unnecessary conflicts that have plagued all the issues of this arc.

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.

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

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

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.

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.

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

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.

Overall, most of the various plots felt a little bit cheated for space by all the other plots " but not enough of a good thing is a pretty good problem to have.

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

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.

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.

The first one had all the charm of early 20th century gangster tales, the second one kept the charm but also threw in some compelling spy vs spy espionage. Inhumans: Attilan Rising #3 loses all the charm and just devolves into a generic all-out battle

This fourth issue is just about as uneven (good and bad) as the three that came before it.

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.

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

It's worth the purchase for the art alone, but it feels like a cover's worth of humor has been stretched over 20 pages.

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

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.

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

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

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 pretty bombastic issue with plenty of fist-pumping moments.

The second mini-arc of Jupiter's Circle comes to a close in just as problematic a way as its first arc did.

The execution of the story, as has been the case in most chapters of this volume, is almost entirely on the shoulders of the art team. Ron Ackins delivers some impactful action scenes in this book, and the continuing motif of the smiles works well. Unfortunately, the colors just haven't been the same since Jordie Bellaire left and this is perhaps the least distinctive use of color since she left.

Hopefully the creators get another crack at telling X-Men '92 stories after Secret Wars, because they're frustratingly close now, just not quite there.

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.

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

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.

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 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.

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.

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.

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

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

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.

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

Overall, Marc Guggenheim conveys a well told and surprising take on the 1990 crossover, with enough winks and jokes to keep things from becoming too dour.

The initial premise of the series promised an allegory about a downtrodden nation taking the help they need by force from those unwilling to give it. Now the ridiculousness of the X-Men (plus Cameron Hodge's behind-the-scenes villainy) has turned this series into a mundane super-powered battle book.

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

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.

You're better off reading the Claremont and Byrne original, it's almost the exact same story, told better.

Years of Future Past #3 is perhaps the best issue of the series yet. The book continues to be dragged down by an overabundance of unnecessary text and plot twists, but it finally manages to add a more complex emotional core to the series, giving the book something resembling stakes.

Years of Future Past #5 is another frustrating Secret Wars series that at least gets to end on a pretty good issue.

A-Force is hitting a roadblock that a lot of Secret Wars titles seem to be hitting in their home stretch " we've gotten enough time with the characters to care about them on a surface level, but not enough to fully invest, especially with a cast this big.

Action Comics #42 draws on recent confrontations between citizens and police for a standoff on behalf of the Man of Steel. But, it's a parallel that just doesn't work as used in this issue. The out of sequence storytelling of the Truth arc hasn't bothered me so far, but with this issue I finally feel like I'm missing part of the puzzle.

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.

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

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.

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

Christos Gage writes these character moments nimbly, fully embracing the soap opera that the series can be. But the biggest kudos goes to artist Rebekah Isaacs and colorist Dan Jackson.

Dialogue is clunky, with the same goal of referencing past issues and episodes. If you're already caught up on Buffy, you can skip this issue entirely.

Buffy Season 10 #17 is just as stuck in the past and caught up in the same Angel-Buffy-Spike triangle as #16 was, but there are more demon fights " so I guess that's an improvement?

The Angel guest arc of Buffy is finally over and, luckily, it ends much better than it began.

It's a welcome, back to basics kind of issue that benefits from the surprising appearance of Buffy's rarely-mentioned father.

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.

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.

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

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

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

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.

This may be the best issue of the series yet.

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.

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

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

Green Arrow #42 is such a drastic swerve from last issue that it's hard to reconcile what works and what doesn't. The horror vibe from last month's issue is replaced by some Big Brother paranoia and UFO shaped crime-stopping robots.

Benjamin Percy and Patrick Zircher created such a fascinating mood and atmosphere over this three issue arc that it almost feels like a waste to have it all end so quickly.

It's an unusual story, and regardless of how jarring you may or may not find the transition, it's not a particularly well told story.

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.

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

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.

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.

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

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.

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.

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.

Paul Maybury is a wonder on art. He draws in a style that simultaneously evokes the epic grandeur of a Thor story, while also delivering on the hilarity and absurdity of a cartoon like Adventure Time. It's off to a bit of a slow start but once this bender truly gets under way there is no doubt that the book will succeed in large part due to Maybury's incredible talents. But for now, we're left waiting for #2 to see what this series can really become.

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

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.

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.

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

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.

Too many characters have unclear motivations at this point in the series. It's meant to be compelling but just winds up being yet another frustration in this book that could be and should be better than it is.

Detective Comics continues to struggle with its identity in the new Gordon-as-Batman world.

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

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

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.

The comic has its share of familiar trappings, but the differences are big enough, and the story told well enough, that it's hardly a problem. One bit of advice though " the free 8-page digital Sneak Peek of this issue is a necessary prologue. With that in mind, this is a new book worth supporting.

Despite generally being a lithe and charming monthly read, Doctor Fate has struggled a bit with its archetypal storytelling.

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.

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

The original X-Men Inferno event was so beloved, and the concept at the heart of this modern Inferno #1 (Colossus venturing back into Hell on Earth to save his little sister) is so immediately captivating, that it's a real shame and surprise that this issue doesn't pack more of a punch than it does.

There's not a lot here, but what's there is fun and a visual treat.

From the beginning, the story of Inferno has been really fun, but also just a bit too cluttered and chaotic for its own good. But where the story suffers from too many divergent ideas and scenarios, the art flourishes.

Some exposition problems and not enough focus on the antagonist aside, this was an entertaining and promising starting issue.

There's plenty of potential in this title, the creators just haven't found it all yet.

The idea of Justice League United is so much fun " throw together a disparate group of heroes and villains from every corner of the DC Universe and see how they react. That idea is beautifully executed on in this issue with so many interesting character interactions and silly twists, but it's everything around that idea that falls flat here.

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.

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.

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

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.

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

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

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.

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

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

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

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.

Whether you think Kirkman fully appreciates the enormity of his metaphor will largely determine your enjoyment, but he (guided by Paul Azaceta's masterful character performances) has created a story here that will challenge you.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

Greg Pak continues his superb characterization of a depowered Superman in Batman/Superman #21. But what's marked Pak's run across this title and Action Comics as something special is how well he integrates all of Clark Kent's supporting cast into the titles.

Greg Pak has done an amazing job writing the Batman/Superman dynamic with Bruce Wayne under the cowl, but it just feels off with Gordon.

After a few issues of great Superman work, but subpar Batman, Greg Pak has finally made both halves of his superhero title work.

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

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.

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.

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.

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

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

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.

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.

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

As beautiful as the art is, and as much as I appreciate the nods to one of my favorite eras, this title doesn't offer much of anything new -- something that isn't helped by poorly flowing dialogue.

This series probably won't work for you at all if you've never read the initial run, and even if you have it still won't work entirely, but it is an achievement of ambition and zaniness if nothing else.

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.

Future Imperfect #1 offers a nice bit of alternative reading from the typical Secret Wars tie-in. Just like most of the other tie-ins, this issue focuses on a dystopic world, a cruel leader, and the rebellion. But in Future Imperfect's case, we at least get the other point-of-view.

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.

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.

Kaptara #1 was a bit of a surprise in how well it balanced the outlandish and goofy elements with characters you couldn't help but fall for. Kaptara #2 veers a bit more into the goofy, outlandish concepts as Keith is content to let his crewmates fend for themselves while he indulges in his wacky new life.

The emphasis of this series is on the humor, but when emotional stakes and basic storytelling are trampled over to get to the jokes sooner, those jokes better be worth it. Unfortunately in this issue, they just aren't.

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.

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.

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

It's a surface-level telling of a tale that needed a touch more nuance.

The main story is a success, but the supplemental material and hiked price may be enough to keep fans away.

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.

Your mileage with Secret Wars: Battleworld #3's humor may vary, but there is no denying the artistic talent held within these pages.

There have been such long hiatuses in Manhattan Projects recently that it's easy to forget what once made this book so special, but once you read this issue it will all come back to you.

Maybe it's the delays, more likely it's the splintering of the core group, but Manhattan Projects has really lost some of its magic since moving over to the BPRD/Hellboy-like miniseries model.

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.

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

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.

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

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

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

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.

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

As any other issue of the series, it's good. As a finale, it's a bit unsatisfying.

After successfully making Batman cool, Bat-Mite has made it his mission to improve the other heroes of the DC Universe. And if there's one hero who is in need of a major image overhaul, it's Hawkman. Dan Jurgens ably juggles poking fun at the past incarnations of the hero while also telling a fun, old-school brain swap tale.

It's a fun critique of the different styles and attitudes of superheroes and the best issue of Bat-Mite yet.

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

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.

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.

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

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.

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.

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.

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.

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

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

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

Age of Apocalypse lives up to its original namesake and has plenty new to say on the event. Fans of the '90s event will find this series true to the original while adding in plenty of twists and turns. Newbies should be pulled in by the web of intrigue surrounding such heavy hitters as Apocalypse, Sinister, and Magneto.

The direction the series is pointed continues to be promising, but this issue just had a couple extra storytelling hiccups.

This may be a "setting the table" kind of issue, but the cliffhanger promises that this impressive series will go out with a bang.

The plot reaches its climax here and despite the slight disappointment on art, the story is strong enough to make it through as another satisfying issue.

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

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.

An overly cartoony FBI-agent aside, this is another solid issue. The chess pieces are coming together and once they do, the book should make the leap from "solid" back to "great" again.

It's an unexpected and welcome breath of fresh air, perfectly complemented by Marco Failla's own energetic drawings.

The various power struggles, coups, and plots all make for some fun royal backstabbing adventure. Unfortunately, these clever moments are offset by some silly moments.

It's said that the worst reaction you can have to piece of art is none it all. Sorry, Korvac Saga, but that's the reaction I had to you. You are not good, and you are not bad. You are just fine.

Korvac Saga #2 shows improvement over the first issue.

Korvac Saga had its problems in the beginning, most notably a slow build that didn't seem to be going anywhere particularly interesting. Some of those early issue problems still remain, but in retrospect, that slow build was worth the brilliant conclusion offered in this issue.

Planet Hulk is the perfect throwback for old-school adventure fans.

This book should be the summer blockbuster of Marvel comics. It should be the non-stop thrill ride of a Mad Max: Fury Road or Jurassic World. Instead it's becoming plodding, and with only the same variation of Bucky flashback each issue to keep us invested in the characters.

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

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

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.

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

Starbrand and Nightmask is off to a surprisingly fun start.

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

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.

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

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.

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.

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

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.

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.

Siege #3 is chaotic, at times nonsensical, and a whole lot of wacky fun.

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.

. 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.

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.

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

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.

This is a fun, bounty hunter brawl set in space and featuring some compelling races of aliens with unique power sets. In those ways, it feels like a Star Wars expanded universe tale.

Lobo #10 is another fun issue of bad guy fisticuffs.

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.

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.

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

Tamaki and Koh are a great pair but the series may not fully come together in the way I want until it can all be read at once.

There are more layers to Bunn's story than there initially appeared to be. That being said, the constant shifting between time periods gets to be a little hectic and the twists and turns are happening too fast.

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

It's a bit of a slower issue, but it showcases what the book can do with its two sides.

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 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.

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

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

Once again, Jeff Loveness is able to write a chapter of Groot that is simultaneously humorous and fun, but also a little too light.

For all intents and purposes, Groot is a comedy. Jeff Loveness peppers the book with a steady stream of one-liners and silly situations while Brian Kesinger animates the book with a lively and light-hearted tone.

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.

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

Don't believe that cover. This isn't the story of the Nova Corps and Star-Lord taking on Thanos in cosmic battle. At least, it isn't yet. What it is now is the story of a broken family, desperately trying to survive the destruction of their world. You might not even know this is a Marvel Universe story if not for the periodic references to the Nova Corps and that last page reveal. And that works tremendously to this book's credit.

Much like the debut issue, issue #2 is more exciting family drama than anything else, the newly enlisted Bakian's forced to learn the Nova Corps ropes on the fly. This structure serves to increase the overall urgency of the piece, even if some of the character interactions feel a bit rushed as a result.

What started out as such a promising family survival tale has since been repeatedly dragged down by the need to make things too "superhero-y".

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

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.

It's easy to get lost deciphering the story, but that's okay because you also get lost in the wonder of Ward's stunning, hypnotic images. The artistic storytelling here is some of the most captivating you will read in comic books today.

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.

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.

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.

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

Overall, this issue shows a few of the problematic quirks of Bendis's storytelling, but ultimately does enough right to make the coming end that much more bittersweet.

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.

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.

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

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

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.

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.

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

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.

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

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.

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

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.

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

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

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.

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.

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.

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.

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?

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.

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-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.

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 second issue is an improvement over the first one in just about every way and an indication of what the series can become.

This series keeps coming up just short of greatness.

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

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

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.

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.

A lot of that pathos is thrown out the window in this brawl issue as the JSA are offered one last chance at their youth. It's half an issue's worth of fist-pumps as the JSA are given an action-packed farewell.

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.

As always, it's Chris Burnham's disturbing and gruesome images that really make this chaotic, hard-to-grasp book work so well.

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

Overall, Runaways succeeds in its silly premise and fun characters.

Runaways #2 is another solid chapter in the series.

The series started out so fun, and it still is, but it feels like there's now an unnecessary rush to get to the end.

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.

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.

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.

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?

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

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.

"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.

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

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

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.

This first issue back doesn't reach the highs of the first arc, but there's a lot of great setup for future issues.

This chapter, The Voice's former disciples get the other end of human/"mutant" philosophy as we meet Heasley. His ideas are just as interesting and nuanced as you would expect at this point in the book, but as interesting as all this discussion is, the book needs to make the transition from debate to "action" soon to really test these dueling philosophies.

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

Kot's characters and world-building are as intriguing as ever, but the book is lacking a core character or concept to latch onto thanks to so much of this over-sized issue being devoted to setup. The cliffhanger does show some potential for the future, but right now this issue is a slippery first step.

Wolf's disparate parts, namely the supernatural elements and the California crime aspect, still aren't jelling together into a cohesive whole as well as they should be.

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.

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

Merino's style is a subdued one that fits the down-to-earth story. It's always weird when Brent Anderson doesn't do an issue, but Merino nails the one-shot story.

Astro City has been on a roll of strong, character-focused work as Kurt Busiek and his guest artists have been telling one-shot origins or spotlight issues for the various heroes of this universe.

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

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

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.

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

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

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.

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

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.

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 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.

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

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

The Ghost Racers miniseries plays as a finale to the run Felipe Smith had with his new character and the cliffhanger promises a fitting end.

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

This is the perfect jumping on point for anyone wanting more fun in their comics.

What could've made for a tense, or at least fun, showdown winds up feeling uncomfortably like stunt-casting

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.

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

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?

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

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.

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

Those frustrated with the obtuse storytelling in the first two issues should find a bit more to grasp onto here.

This is very much an info dump issue. Declan Shalvey's character work is tremendous, the emotive facial features tell the story in a compelling way that Ellis just isn't able to live up to in this issue.

Warren Ellis's abstract ideas are finally starting to solidify enough for readers to grab onto in this first arc's final issue.

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.