A thoughtfully composed book in every aspect of its production

From start to finish, Bitch Planet #1 is a fun, brazen sci-fi romp that attacks social injustice issues head-on. The settings are exaggerated and the characters largely comical, but that doesnt detract from the strength of the scripting and artwork. Its campy, exciting, and certainly worth the cover price.

Silence and obedience versus non-compliance and individuality, its these blink-and-youll-miss-them moments that bring the title's horror, absurdity, and biting wit together for the reader. If you're not reading Bitch Planet, shame on you. From the amazing production value to the supplemental essays in the backmatter, this title is worth every penny.

As the cover suggests, Penny Rolle is indeed a bold, beautiful and bad woman, but shes also a layered and complex one. Her tragic story is shared by many, but her determination and resolve is what takes precedence here. Certainly the strongest of the series so far, Bitch Planet #3 is a well-executed issue marked by excellent scripting and visual storytelling. If youre not reading this series by now you need to start, and this issue is the reason why.

Some criticize Bitch Planet for relying on schlock movie tradition to get its point across, but this reading fails to see the subtleties at work. DeConnick and De Lando are mindful of their language and imagery, and are careful to construct sequences that poke fun at patriarchal norms but also undermine them in potent ways. Bitch Planet #4 is an incredible example of thoughtful visual storytelling and socially conscious design choices used to a books advantage, and a truly rewarding read on every level.

Just as the worlds of Ody-C are cruel and violent, they are also supple and feminine. Fraction and Ward continue to strike a wonderful balance of poetic exposition and outstanding visual storytelling in this issue as successfully as the first. The cold and war-driven matriarchy that both Zeus and Odyssia represent contrasts the subtle, distinctly female intimacy emphasized by Ero and Poseidon, creating an intriguing dichotomy between gender performance and gender expectation. How the conflicting themes of motherhood and self-preservation continue to play out will surely keep readers coming back for more of this intense and visceral comic book experience.

Finely detailed gestural figure work create nimble, ethereal figures one moment, and gross, corpulent monsters the next. Ody-Cs smooth artificial lines conflict with the ugly natural topography of Kylos, Odyssias fine white-haired silhouette a stark contrast to the hulking cyclops. The beautiful and the grotesque alike occupy the same spaces, given the same weight and attention, their different aesthetics complemented by expertly applied color and texture. Odyssias matriarchal world is as exquisite and visually pleasing as it is violent and bloody, and Ward strikes this balance with precision.

Still,I will say that this in no way detracts from an otherwise well-paced and engaging issue. The Wicked + The Divine is a slick treatise on pop culture and celebrity that keeps the reader guessing issue after issue. An absolute must read.

Gillens scripting is air-tight here as well, giving Luci a proper send-off that is both enthralling and tragically in-character for his version of Lucifer. Lauras narrative tone is nothing short of wrenching as she watches this drama play out, made painfully aware of her own role in such celestial machinations as she goes from witness to something more. The tension is palpable, and while the conclusion raises more questions than it answers, The Wicked + The Divine #5 provides an exciting and highly satisfying end to this series inaugural arc. This is a highly enjoyable issue from an amazing creative team.

As for the writing, Ellis scripting is slick and polished, with lines of dialogue so cool as to chill. Despite the succinct recap on the title page, Ellis gives nothing away about the larger nature of the story, or how much of it is even real. While mystery in superhero titles is often ham-fisted at best, the unsure footing that Ellis places the reader on is tantalizing as he sends us into this rabbit hole with Spector, with no idea what awaits us at the bottom. Nothing is clear, nothing is certain, except that Spector is in New York and people are dying. I did find the last section and the subsequent ending a little abrupt, but when the writing is this good, I can safely advise you to run dont walk to your local comic book store and pick up your copy of Moon Knight #1.

If youre not reading Moon Knight, you should be. Its gritty, intriguing, and one of the most visually engaging books Ive seen from Marvel in a long time. Another great issue from an already amazing title, and this team is only getting started.

The inherent silliness of fighting ghostly punk rockers in a suit cobbled together from antique armor is mitigated by Ellis smart dialogue and tight scripting. Despite the thinness of the plot, Ellis pulls it off with his usual restrained humor, and still hitting those subtle sad notes that, to me, make his writing so memorable. Shalvey and Bellaires artwork ground the strangeness of this otherworldly story in the brutality of its violence, stressing the sense of immediacy and physicality to strike a meaningful balance. The strength of this collaboration yields an entertaining yet eerie adventure, brought to a satisfying conclusion by Ellis dry wit and Shalveys incredible sense of storytelling. Another great issue.

While the previous issues felt a little rushed in their endings, stopping just short of a more natural conclusion, the sudden end works well here. The abruptness of the finish hits like a punch and leaves the reader genuinely unsettled as the spores drift around Spectors pure white silhouette, a subtle but lasting reminder of the dead mans endless dreams. Wonderfully scripted and visually stunning, Moon Knight #4 is an unsettling journey into the unknown and the best issue this creative team has offered so far.

Rarely do I encounter fight scenes in comics that read so thoughtfully, conscious of motion and space. Shalvey uses these elements to their fullest potential, and with Spectors eerie white silhouette slicing through the drab palettes and textures of the abandoned building, he and Bellaire complement each other beautifully. Once again, this creative team has produced a dynamic and highly satisfying issue. One of the best yet, and its only #5.

An extraordinary run from start to finish, Moon Knight #6 closes this arc with another brutal, engrossing, and unequivocally cool issue. Ellis and Shalvey will be missed, but they gave us one hell of a ride before they left.

If I had one gripe about this issue, it would be Woods characterization of Spector. Perhaps Im just spoiled by Ellis sharp and pithy take on the character, but Woods Spector is just a bit too wordy for me. Perhaps Ill come around in time, but for now this is indeed a strong offering from this team. I had my reservations, but Moon Knight is still a great book, and one of my favorites on the shelf.

Full of intriguing questions, Moon Knight #8 teases the reader with something more than a simple done-in-one caper. Something strange is indeed brewing in New York City, opening up to a possible new arc as Spector must deal with the consequences of this betrayal. Just how this plays out remains to be seen, but I have ample reason to put my faith in this dynamic creative team.

Smallwoods artwork is as perfectly paced as the script. The overall plot is simple and dialogue-heavy, framed almost entirely in two-person exchanges, but the strength of storytelling makes the most of every sequence. Throughout the issues Smallwood alternates between tight, claustrophobic six-to-ten panel pages to the wide, empty feeling of characters dwarfed within the open spaces of four-panel page designs. This creates an uneasy tension between characters and sequences, and keeps the plot moving at an engaging pace. Bellaire expertly develops these spaces through the strategic application of color and texture, beautifully complementing Smallwoods thick, dirty line work.

Despite these weaknesses in the visual storytelling, Bunn and Ackins do deliver a solid new Moon Knight story. Bunn seems to have a firm grasp on Spectors dialogue and characterization, and Ackins and Brown work together well to create well-developed, highly detailed pages. Stepping in after another creative team always takes an issue or two to overcome starting torque, and overall Moon Knight #13 is an enjoyable read.

This book is beautiful from start to finish, with great scripting and amazing artwork. It lives up to the hype and then some, establishing a new chapter in the Ms. Marvel mythology as well as Marvel pantheon at large. Im not afraid to say that Kamala Khan has won my heart, and I hope that, given the chance, she can steal yours, too.

Ms. Marvel #2 proves that the formula works. This is a truly great title from an amazing creative team, and things only look to get better in the future. If youre not reading this book already, do yourself a favor and pick it up today.

Some people have criticized the book for Kamalas shape-shifting, calling it a form of white-washing in that she chooses the appearance of a white woman as her model for heroism. While I understand this argument, and had some reservations of my own when I read the first issue, I find that Kamalas choice speaks to the reality that there just arent enough visible heroes of color for her to emulate. As the first Pakistani Muslim hero with an ongoing series, Kamala has no other representation, no role models within her community to look up to. Until she comes full circle as the hero we truly need, shes working with what she has in a very flawed world, and trying to be the best she can be in it. As young a character as she is, Kamala Khan is making a big difference, creating a more inclusive stable of Marvel heroes and reaching out to readers who have otherwise never had representation in cape books. And Id say shes doing a hell of a job so far.

This is why Kamala Khan is the most endearing character in the Marvel stable right now, if not on the shelves period. Yes, shes a woman, and shes Muslim, and shes Pakistani. Yes, she appeals to demographics that have been historically left behind by mainstream cape books, but she also appeals to every awkward teenager, every fan, and every outsider who takes comfort in their pop culture of choice. But it's not just about pop culture, comic books and video games. When he first arrived on the scene, and for many decades to come, Peter Parkerwas Marvel'sstand-in for young and disenfranchised readers, looking for a voice amid the endless examples of seemingly perfect, put-together adult heroes. Other heroes have filled this role as well, some more successfully than others, and now it appears to be Kamalas turn, growing pains and all. And Im eager to see where this journey takes her.

Wilsons characterizations continue to be heartfelt and endearing, following Kamalas slow but steady coming-of-age. Every underestimation and misstep contributes to Kamalas growing understanding of her powers, as well as her place in the world of heroes, taking responsibility for her actions and learning from her mistakes. And she does make a lot of mistakes, all of which help to carve her into the hero she was meant to be. I also love that, despite the typical social awkwardness and uncomfortable experiences of being a teenaged girl, Kamalas origins are modest. Shes well-adjusted, has good relationships with her family and friends, and isnt bogged down by generic anguish and strife that clutter the backgrounds of many heroes. Her life and experiences are realistic and relatable, from the embarrassing lows to the uplifting highs, and that makes this book all the more compelling.

Artist Jacob Wyatt steps in after Adrian Alphona and delivers a truly enjoyable reading experience, making his mark on the series. His line art is clean and detailed, with highly expressive characters that make the most of Kamalas humor and physicality. Subtle design choices like Kamalas scarf always fluttering in the wind add an element of motion to nearly every panel, bringing a youthful energy to Kamalas presence on the page. Choosing to frequently white out Kamala's eyes in the domino mask gives her a very cartoonish appearance, further highlightingher fun and over-the-top expressions. As ever Herrings color palettes are thoughtful and lovely, from the soft warm tones of Kamalas visit to the mosque to the cool blues and turquoises of the sewer sequences. Issue after issue, this book is a visual treat, and Ms. Marvel #6 is no exception.

Full of action and humor, Ms. Marvel #7 is a well-crafted superhero adventure from start to finish.

Artist Adrian Alphona returns to bring Kamalas adventures to the page with his usual imaginative, highly detailed line work and strong sense of storytelling. Together again with colorist Herring's soft palette choices, their collaboration once more yields beautiful results. Alphonas style is simply inviting, with his full rounded organic shapes and the careful detail paid to the movement of Kamalas windswept hair or fluttering scarf, imbuing every panel with a sense of energy. The exaggerated perspective employed throughout action sequences help to encapsulate that sense of energy, as though Kamalas world is as malleable as she is. Sometimes this forced elasticity can lead to some awkward panel compositions, but it works more often than not.

What I appreciate most about this title is Wilsons commitment to Kamalas growth, and this issue is no exception. Every storyline throws new obstacles her way, new challenges to overcome a she finds her footing as a hero. She makes many mistakes along the way, but is always given the chance to learn from them, while a less conscientious writer would try to mitigate her failures or brush them aside. This why Kamala feels like the most organic and relatable young hero that Ive encountered in a very long time, and Wilson keeps this tale of growing pains fresh issue after issue through the sheer strength of her storytelling chops. Combined with Alphonas incredible line work and Herrings soft, dreamy color palettes, Ms. Marvel #9 is another great issue from an amazing creative team.

Immensely satisfying from the first page to the last, Ms. Marvel #11 promises another joyous reading experience.

Fun and endearing, Ms. Marvel #12 is another enjoyable addition to an already great series.

Miyazawas lively figure work is a great addition to this series. The highly expressive, noodle-limbed Kamala breaks through the boundaries of panels and gutters in wild gestural motions, always moving, never static. From the flutter of her scarf, to the sweep of her hair, to her wide range of exaggerated poses and expressions, Miyazawa wonderfully realizes her youthful dynamism in charming, memorable ways. As ever, colorist Herrings pastel palettes are a beautiful complement to Kamalas bright, energetic world.

Another subtle and visually satisfying read in what has become the best title in Marvel's arsenal, brimming with emotional depth and dynamic artwork.

Another great issue from Fraction and Aja, with its flawless pacing and fantastic artwork. No matter the delay, Hawkeye #13 is definitely worth the wait. Im so glad its back and eagerly await the next issue, whenever that happens to be.

Overall, Hawkeye #14 is a pleasant break from the titles recent darker tone, and serves to widen the books scope. Fun and funny, with a few tender moments interspersed throughout, this issue cleverly brings us up to speed on Kates misadventures and hints to future exploits. A solid read from start to finish.

Once again Hawkeye strikes the perfect balance of quirky humor and self-effacing charm, even as the consequences of his actions barrel down on Clint at the expense of those around him. His very real desire to protect his neighbors makes this issue all the more distressing as the Clown leads a bloody siege on the building, targeting the families inside. The emotional subtleties of Fractions smart scripting are brought to the page by Aja and Hollingsworth, with consistently affective and engaging success. With the exception of Nathan Edmondson and Phil Noto on Black Widow, I can think of no other creative team on a Marvel title as enduring and successful as this one, providing a captivating reading experience issue after issue. Hawkeye #15 is a must-read, and one of the best of the series in my book.

As for the artwork, Wu unfolds the plot with a wealth of strong drug-fueled imagery. She brings a welcomed shade of weird to this adventure, through the use of thoughtful panel composition and page design. As with the previous California-centered issue, her artwork makes for a pleasant tone shift that feels uniquely Kate. Hollingsworths clean, cool color choices once again paint Kates settings as uniquely sun-bleached, while still maintaining the purple tones were accustomed to with this title. Strong as ever, Hawkeye #16 is a solid read.

Another strong and poignant issue, just as weve come to expect. For such a stark digression from the current arc, #17 may very well be the most Hawkeye issue of Hawkeye yet, right down to the talking dogs. Highly enjoyable overall and definitely worth the post-holiday wait.

Hawkeye #18 is another strong issue. Despite the irregular numbering and shipping schedule, this book is great. Im sad to see Kates solo adventures come to an end, but I cant wait to see what happens as she returns to New York.

Hawkeye #19 is an example of the power of graphic narrative, and a testament to the strengths of Fraction and Aja as storytellers. Delays be damned, this is a truly wonderful issue from an amazing team of collaborators.

Likewise, this issue features some of Wus best artwork to date. From Kates mugshot on the fourth page to her dramatic final departure on the last, Wu employs stunning page designs and storytelling techniques throughout, cleverly incorporating gutters into the story to break up space. Together with the unfailingly shrewd palette choices of colorist Hollingsworth, Wu leaves her mark on this series with a truly affective, compelling and memorable visual reading experience.

While seemingly disparate, these two tales offer concise and haunting stories from the larger Miracleman mythos. Hype aside, fans of the series will enjoy this annual for the sheer amount of talent onboard, coming together to tell remarkable stories for a new generation of readers. It may be twenty-one pages, but its twenty-one pages youre sure to remember.

From start to finish, Black Widow #1 is a strong introduction to the series. I highly recommend this book, whether you're a longtime fan or new to the character. This is a great title and I look forward to reading more in the coming year.

Slick and exciting, Black Widow #2 lives up to the reputation of the first issue. Edmondsons solid scripting and Notos stellar art work in concert to bring something truly remarkable to the page. This is a book you should be reading.

As always, Notos masterful storytelling and engaging page designs really drive the issue. Every line is deliberate, every panel so well-composed with no extraneous information or embellishment. Theres a beautiful efficiency to Notos work that hits all the right notes, evoking a sense of quiet and composure even in scenes of violence. Defined by the strong partnership between Edmondson and Noto, Black Widow #3 is another satisfying issue in an already highly enjoyable series.

Edmondson and Noto continue to prove themselves as one the most compelling creative teams at Marvel. The pacing of this issue is outstanding, with slick storytelling and page design to boot. So few titles out there offer espionage action as strong as Black Widow. Every chase, break-in and escape balanced by a strong fundamental understanding of Natashas narrative voice, serving to keep the story grounded. Each adventure successfully builds on the last, expanding already strong foundations to tease future plot lines and arcs to put Natasha to the test. With Molot and the Hand of God, this issue proves to be no exception. Another solid offering from this dynamic creative team.

The artwork, as ever, stands in testament to the strength of this teams collaborative efforts. Noto is an accomplished storyteller with an amazing sense of pacing and design, creating a slick visual narrative that brings Edmondsons script to the page with energy and grace. His color choices are thoughtful and affective, but what I found myself most enjoying this issue was the introduction of Tori Raven. Tori's allusion to classic Bond Girl aesthetics is spot-on, a flirtatious pop of color in Natashas very serious world. Overall, Black Widow #5 is another strong issue from start to finish.

Bringing this inaugural storyline to an end, Edmondson and Noto deliver a satisfying conclusion that sees Natasha through her chosen loneliness to reach out to those around her in small but meaningful measures. Telling Isiah that she appreciates him over breakfast is a subtle shift from the woman who used to argue with the cat about coming into her apartment, but a telling one nonetheless. Such shrewd character development is a testament to the strength of this creative team, who have successfully grounded Natashas visually engaging action/adventure narrative in a cleverly handled personal arc. Noto always provides a stunning reading experience, but its the moments like Natasha and Maria talking in the rain, or in her apartment with the stray cat she wont admit shes adopted that are the most expressive, the most memorable from this book as well as this arc.

Edmondsons scripting is cool and composed with great dialogue and narration throughout. As always Notos storytelling is as compelling as it is beautiful, and cleverly incorporates Murdocks heightened senses into panel compositions. The visual use of Natashas heart beat as lie detector, as well as the red outlines of people and objects during scenes with Murdock, signify his perceptions without breaking up the narrative or changing perspectives, seamlessly folding them into Natashas story. Its little touches like this that make this one of the best books on the shelves, and one of the best creative teams at work for Marvel.

As always, Noto carries truly this issue through dynamic page design and compelling action sequences. His color choices are impeccable and his skill for storytelling is impressive, using body language to develop the flirtatious chemistry between Natasha and Bucky amid shoot-outs and daring escapes. As exciting as the adventure is, however, I find the most enduring visual elements to be the tiny details that Noto emphasizes. From the reflection of street light in a pair of sunglasses to the fly-away strands of Natashas hair, such small flourishes communicate emotional weight to scenes that may otherwise not survive amid so many action-packed panels.

Small touches such as these, while seemingly nominal, make the book memorable and interesting issue after issue. Deliberate design choices like this really bring the art, scripting and lettering together as a fully engaging collaborative effort, and make the most of whats on the page. Great work all around.

The action-heavy issue is impeccably paced, with gorgeous action compliments of Noto, moving from sequence to sequence with a great sense of energy and momentum. Not only is Notos artwork is as beautiful as ever, but so is the rest of the production, continuing to prove just how in-synch this creative team really is. The synergy between script, art and lettering never fails to impress, with every panel and dialogue bubble working together to keep the story moving at an exciting pace.

As for the artwork, beautiful is the only word that comes to mind. The line work is refined and elegant, with painterly strokes of color and texture to bring depth and emotional context to small, cleverly composed panels. The soft, almost gauzy sunlight in the sequences at Blazes breakfast table are some of the loveliest pages in this issue, with the bold highlights on their skin affecting the heat of a sun-warmed kitchen. Small and thoughtful touches, like the smudged white marks of telekinetic energy shielding Radia from the rain, or the use of white in a dark hallway to delineate a characters silhouette, make this book a sumptuous visual experience.

While the scripting from Higgins and Siegel is excellent, artist Reis brings the gritty world of C.O.W.L. to the page with impeccable line work and smart design decisions. Moody color palettes and soft, gestural painting add subtle variance and emotional weight to these sequences, which are distinctively color-coded as the story progresses. The blues and indigos of the post-riot street scene give way to the clean grays and lighting effects of Warrens following meeting. These scenes, as well as the consistently gloomier ones that follow, are broken up by the bright yellow hues and halftone textures of Pierces conversation with Hadyn. This makes for a diverse but overall cohesive reading experience, memorable from the first page to the last.

As ever Reis artwork continues to impress, carrying the narrative burden with style and ease. His line work and color palettes are sumptuous throughout; likewise, his page layouts adapt to the tension of the sequence without sacrificing clarity or pacing. Even for his reliance on creative visual flourishes, theres a sparseness and minimalism to his panel compositions that make the most of the noir storytelling elements. The play of color and texture, light and shadow create a visually layered and complex world, one just as uncertain and ethically ambiguous as the characters that inhabit it.

Mysterious, poignant, and visually compelling, Descender #1 is an artful and well-crafted comic. Lemires powerful script expertly balances world building with character introduction, threading useful exposition into conversational dialogue while still keeping the scope tight and personal. Nguyens artwork is nothing short of gorgeous, using thoughtful panel composition and wide empty space to dwarf the protagonists in an all-encompassing loneliness. The wide-eyed Tim is an immediately endearing protagonist, with his open features and sleep-mussed hair, shadowed by his dog Bandit in a clear allusion to young adventurer genre popularized by Jonny Quest and Tintin. If youre looking for an intelligent and ambitious sci-fi title with a strong emotional hook, look no further than Descender.

Its only two issues in but Descender is proving to be a remarkably touching and thoughtful series. Tim is an endearing protagonist whose lonely and perilous journey tugs at the reader's heartstrings. While his story is indeed a familiar one, with clear allusions to a plethora of sci-fi film and fiction, Lemire and Nyugen have done a great job of developing him so far. Readers may be chomping at the bit to see what comes of the first issues splashy introduction, but the move to slow down the pace for a quieter, more intimate story was smart. The themes are well-trodden but used to highly affective ends, making for a polished, heartrending read that leaves the reader wanting more. More backstory, more insight, and more Tim and Bandit. This is another great issue from a promising series and capable creative team.

The theme of identity is nicely addressed here as well. Here we see the many faces of Kate from Young Avenger to socialite heiress to young woman on the run each serving to show a different facet of the character. In the end its a story about finding ones foothold in a changing world. The annual is a bit of a departure from the artwork weve grown accustomed to as of late from Aja and Francavilla, but it is a fun and fast-paced read thats sure to please. A solid annual for Hawkguy (and Kate Bishop) fans.

With only a few nitpicks here or there to take away from a very promising arc, this Avengers book is a completely different animal its sister titles, and Im looking forward to seeing how far these men go to achieve their goals.

Even with its silly and unflinching sense of humor, Sex Criminals #7 proves itself to be yet another remarkably emotionally complicated issue. The thread of Suzie and her friend Rach is played subtly and straightforwardly by Fraction and Zdarsky, as their reconciliation comes with a fair measure of comedy and relief for Suzie. Jons thread, as is his overall developing backstory, is an awkward tale of youthful sexual curiosity interspersed with a cold, detached sadness. Despite the ever-increasing absurdity this book revels in, the underpinning of intimacy, loss and human connection continues to be my favorite element of the book.

Sad, funny, and loaded with secondhand embarrassment, Fraction and Zdarsky kill it once again in Sex Criminals #8.

With its relentlessly positive tone and upbeat protagonist, The Unbeatable Squirrel Girl #1 is a book that just feels good to read. Comical and earnest, its a delightful gem of a cape book from start to finish. If you havent already, be sure to give Squirrel Girl a read. She's definitely worth your time

Cleverly written, expertly rendered, and filled with smart creative decisions, The Unbeatable Squirrel Girl #2 is a fun and engaging issue from a talented creative time. If you havent picked this series up, I couldnt recommend it more. This title is worth every penny.

Blackman and Del Mundos vision of Elektra is remarkably beautiful, set against a strange and dirty pastel-colored world where time and space are soft and undefined. This world is a violent one, as Del Mundo brings Blackmans brutal story to the page through dramatic two-page spreads and fluid design, where memory and fable, past and present all run together. The complex and often insecure nature of identity, as Elektra herself has often encountered over the years, is exquisitely illustrated in the juxtaposition of Elektra with the character Bloody Lips, making for compelling narrative symmetry. Blackmans scripting is air-tight, setting the stage for unfamiliar readers while still offering a fitting reintroduction for this character. From top to bottom, this is an excellent start to this series.

I really enjoyed the last issue, but I absolutely loved Elektra #2. If you havent picked this book up, I suggest you do so. Its definitely worth a read

Once again, Del Mundos pencils are truly outstanding. The dynamism of his lines beautifully detail Bloody Lips mental landscape of stolen memories, a wildly contrasted and playfully grotesque jumble of color and texture. Bloody Lips peculiar design, a tribal hunter with simple, almost childlike features beneath a beastly headdress, has become one of my favorite elements of this storyline. That highly stylized face, with its cartoonish expressions, perfectly straddles the line between the absurd and the otherworldly that this series has struck so far, at once grimly humorous and inhuman.

Some reviewers have been critical of the arcs pacing, especially with the somewhat metaphysical detour of this issue and the last. The action is frequently broken up with memories and flashbacks, often a mess made gnarled by Bloody Lips cannibalism of thoughts and experiences, and this issue repeats that pattern. However, given the nature of Elektras mental and emotional history, this contrast between internal reflection and external action works. The story itself haslittle novelty but the way its told, with the dual narrative of Elektra and Bloody Lips coming to a violent close, makes for another entertaining read.

While Blackmans scripting is well-paced and thoughtful, I found the amount of narrative shifts between Elektra, Kento and Bloody Lips a little clunky. The dual exposition of Elektra and Bloody Lips in juxtaposition with each other has worked overall in previous issues, but Kentos sudden involvement in the narration felt a little out of place. Compared to the overall successes of this issue, its just a small nitpick that doesnt take away from a highly enjoyable book.

Artist Sanchez and colorist Ester Sanz bring a similar aesthetic to this story, maintaining the fast-paced action and moody color palettes of previous issues but still keeping it fresh. Sanchezs line work is fine and softened by rounded contours, making for delicate characters with big, wide-set eyes and an ethereal quality in their construction. Engaging two-page spreads are interspersed throughout the issue to play with page design, from the inventive recap of Elektras recent exploits to the dreamlike rendering of Lady Bullseyes medical experimentation. His use of gutter space in these pages frames each spread in a variety of ways, achieving wildly different effects without breaking the overall narrative flow. Sanz colors these finely-detailed panels with palettes of deep reds and wistful turquoises, building up space with grungy textures and soft, painterly highlights.

The real highlight of this issue is the Elektra/Lady Bullseye fight, its tone set by Sanchezs hauntingly beautiful opening triptych. Lady Bullseyes gaseous form loops and curls in full, billowing lines, detailed by fine pencil strokes and heavy splatter. Blackmans timeless, almost otherworldly aesthetic for this title is further developed in Elektras jaunt across New Orleans. The Mardi Gras that Elektra encounters is far tamer affair than it has been in recent decades, a decidedly more conservative event with traditional dress and costumes. It appears to be set in another time altogether, raising intriguing questions about when this story takes place, and giving nothing away. This lingering sense of mystery continues to serve Elektra well, making for another enjoyable and visually engaging issue.

Everything about this issue is just enjoyable, even more than Fractions other offering with Fantastic Four #1. I would recommend this book to anybody looking for a well-executed, light-hearted read.

Full of action, clever dialogue and heartfelt moments, this is a wonderfully weird book with a lot of promise. Fraction delivers a solid story with both humor and emotion, finding the perfect balance of fun ad storytelling. Allreds pencils, along with colors from Laura Allred, are just great, selling the eccentricity of Fractions writing while still being completely endearing. Despite a somewhat slow beginning, both here and in its sister title, this book seems to have hit its stride.

Fraction delivers another fun romp into this world, with equal measures of weirdness and heart. There are a lot of nice little moments here, grounding the teams uncertainty as Scott continues to deal with the death of his daughter Cassie. Theres a sense of mourning in this issue, as the FF try to comprehend John Storms story and put their reservations on the backburner in order to keep it from happening. As always Allreds pencils walk the line between the weird and the heroic with ease, crafting a story that has both humor and subtly. As the plot picks up steam, Im looking forward to whats around the corner.

Endearingly strange and funny, Fraction and Allred deliver another strong issue. While a little more somber than previous issues, with the teams internal strife and the mysteries still surrounding John Storm, this issue is sincere in both its tone and delivery. The Moloids attempts to meddle in Jennifers affairs, however, provide the kitsch and humor weve come to expect from this title, while the ending leaves us on a somewhat foreboding note. Enjoyable as always.

Full of clever visual gags and Fractions brand of low-key humor, this issue doesnt disappoint. The endearing weirdness is again matched by subtle character development as the dynamics of the team continue to grow and change every month. Another enjoyable read from a series that has only gotten better.

As weird as ever, Fraction delivers a particularly endearing story, subtly crafting the relationships and dynamics of these characters. Scott's subplot as the grieving father is heartfelt without being overplayed, and his growing relationship with Darla is interesting to see unfold. In a book with such a huge cast, Fraction manages to fold everyone into the story in an engaging way, from the Moloids to the Inhumans, making for an engrossing and enjoyable read. Quinones' art coupled with Laura Allred's colors is a fun and vibrant addition to the book, and carry the story with all the loveable strangeness readers have come to expect from this title.

Another charmer of an issue, as Fractions endearingly weird story of familial ties wraps up and moves on to the next arc. Allred returns with his usual dynamism, carrying this storyline with the smart pacing, clever imagery and fantastic page compositions that have become the hallmark of this title. A nearly perfect issue.

Another solid issue from Fraction and Allred, this time adding another layer of intrigue with the Doom-Alex connection, posing a greater future danger. Seeing the focus shift to explore the growing tensions between Jennifer and Medusa was a nice departure, as well. As much as I enjoy Scott and Darlas relationship, so much of the drama has centered on them, and this confrontation really rounded out the team dynamics. I also enjoyed really seeing Bentley-23s interactions with the rest of the kids as he tried to ease Ahura into the group, as Bentley has abandoned his somewhat villainous attitudes to embrace the others. The inclusion of Tongs new identity, as well as the kids acceptance of that, was probably the best part of the issue. Enjoyable and engaging as ever.

Another winner with fun and heart, and great art to back it up.

Another fun and charmingly weird issue, from a fun and charmingly weird book.

Full of heart and humor, starting with Fractions strong dialogue to Allreds always fantastic artwork, this issue is another winner.

Fun, clever, and always enjoyable, FF #15 is another solid issue in a charming series. Ill be sorry to see it go next month after #16. This has been one of my favorite reads of 2013.

While there are a few stumbles along the way, this issue proves itself a solid and enjoyable introduction to Sifs adventures in Marvel NOW.

Immomen delivers a solid and intriguing story, following Sifs growing pains in her quest to become an unstoppable warrior. This issue builds on the last and explores the themes from the beginning of this arc, as Sif tries to find her place in her home as it stands now, locked in an endless cycle of destruction and renewal. Sifs journey is poignant and believable, carried by Schitis engaging and inventive pencils and Jordie Bellaires lovely, understated color work. The story strikes a nice balance here, compared to the previous issue, finding sure footing early on and keeping a strong pace.

Immomen delivers another intriguing chapter in Sifs journey, balancing the bravado and action with Sifs slow but evenly-handled fall from grace. This story isnt glorifying or excusing Sifs berserker rage, showing the consequences of her destructive quest and the fallout it has on those around her in very interesting and compelling ways. Although I know Sifs landing is going to be a hard one, watching her exploits is still very entertaining, due in part to Immomens engaging storytelling as well as Schitis dynamic pencils and slick design work. Well-complemented by Jordie Bellaires colors, the artwork in this book continues to be a highlight. Overall this title has gained a nice stride and I'm looking forward to seeing where it takes us in the coming months.

Ending on a bit of a shocker, Immomen does not shy away from taking Sif in surprising directions during this arc. Each issue builds on the framework of the previous in ways I dont expect, making this a fun, refreshing read. Sifs journey is becoming more complex, and just how shes able to come back from this dangerous path shes found herself on keeps me coming back for more. An engaging romp with plenty of characterization to go with the action, this book is a genuine pleaser.

This issue, and this book in general, is nearly flawless.

Full of the wit and charm we've come to expect from Immonen, this is a fun issue with clever dialogue and plenty of action. Larraz's art is a welcomed addition to the title, his energetic style well complemented by Bellaire's warm and engaging colors. Another great issue from a book that has quickly found a big spot in my heart.

Another fun read from Immonen and Schiti, this issue is full of the clever dialogue and engaging artwork readers have come to expect from this series. The appearances of Jane and Tony were especially amusing, and Bills dramatic entrance into the story promises to further complicate Sifs life. Overall a highly satisfying issue.

Issues like this make me miss this already.

With its sci-fi premise, compelling story and engaging banter, what we end up with is some good old-fashioned space horror with a bit of frustrated romance to keep things interesting. This arc continues to be well-paced and highly enjoyable, with Immonens great dialogue and character voices and Schitis consistently beautiful and dynamic pencils. Im saddened that only one issue remains until the book dies, because its been such a wonderful ride.

Despite its too-short run, this title managed to come full circle with its development of Sif. Im truly saddened to see this book end, but Im completely satisfied with what we got. This book was a gem, and this issue is no exception.

If you had any fears of this being a gimmick book, because of its all-female roster or the addition of Jubilees baby, put them to rest right now. This book is flawless.

An exciting and engaging read, from start to finish. I highly recommend this book.

Everything in this title works together, and works well. What results is a consistently strong and visually satisfying read with great writing to boot. Im looking forward to where this book is headed.

Another strong issue from a tight and well-executed series.

As far as tie-ins go, this is going a must-read for anybody keeping up with Battle of the Atom. For everybody else, however, this issue is a pass. If youre not keeping up with the event, come back at issue #7 once this time-traveling business wraps up.

The story is pretty straightforward heroes go on ocean adventure, giant robots ensue but overall this was a very satisfying issue.

This is a fun, action-packed issue, full of great writing and art. Carols and Monicas banter is a treat, and Soys pencils are as beautiful and energetic as always, making for an engaging and enjoyable read. It doesnt get much better than this.

Funny, engaging, and personal, I cant wait to see where this arc takes us.

As with last month's, there's so much to like about this issue. From the great dialogue and character dynamics to the gorgeous pencils, DeConnick, Sebela and Andrade each pull their weight in delivering a solid, highly enjoyable issue. With the action and adventure grounded by Carol's struggle with her illness, this arc is shaping up to an engaging and personal journey. The light, buoyant quality of Andrade's art, supplemented by Jordie Bellaire's beautiful color work, keeps the story moving with grace and energy, and almost steals whole the show.

Fun, funny, and full of great character dynamics, this issue doesnt disappoint. Andrades delicate pencils carry the action along effortlessly, their painterly quality enhanced by Jordie Bellaires wonderful color work. Nearly flawless.

Andrade's pencils carry the fast-paced story, striking a nice balance from the dynamic action sequences and tense hospital scenes that are woven together in this issue, and are beautifully complemented by Bellaire's colors. DeConnick's dialogue is smart and on-point as ever, and her Carol-narration never feels stale or out of place. Another winner of an issue, from this consistently fun and engaging book.

A must-read for Captain Marvel (and DeConnick) fans, with some solid writing, artwork and enjoyable character scenes. Not my favorite arc, but not a bad one by any stretch.

Overall this issue provides a good ending to a fun and engaging superhero adventure, with equal measures of heart and heroics.

A solid read, with some interesting insights into both Carols state of mind and some of the behind-the-scenes of this summers big event.

Keatinges continued juxtaposition between Kates jaded adult sensibilities and the childlike wonder of the world around her is intriguing. The contrast between these competing kinds of narratives, from the hopeful adventure story of her past to the mystery surrounding her fathers secret heirs, is further developed by the introduction of Chris. His loss of innocence will be interesting to see play out, especially now that Kates fate is unknown. Likewise Del Ducas artwork is as impressive as ever, as are the palettes of colorist Gieni, which only complement the thematic complexity of Del Ducas imagery. As violent as the world becomes, there are still clever little touches throughout, such as the makeup and eyebrows applied to Vians bandages, to keep the story fun and visually upbeat even in the grimmest moments.

Just as the rest of this eclectic cast of pastiches and oddities, Alarm Cat proves to be more than what he appears. Keatinge and Del Ducas knack for measured, understated storytelling continues to be this titles best feature. While slow to gain to momentum, their richly detailed storybook world is worth exploring as it grows darker and darker with every twist and turn, revealing more of its depths without giving everything away. Keatinges restrained scripting works well here, and Del Ducas artwork with Owen Gienis color palettes are an absolutely winning combination, making this a great issue from the first page to the last.

Check out the series page here.

Kate is indeed growing as a person, but the road won't be easy. Then again, it never is. In the end, that's the real enduring charm of Shutter: its commitment to showing the good and the bad, the fantastic and the mundane, and everything that lies in between.

Overall Shutter #11 is another competent and well-composed chapter in Kate Kristophers strange adventures, but it proves that the devil is in the details. Moments like Alarm Cats metamorphosis into Cassius, taking on a new name and ideology, continue to develop the world of Shutter and all the creatures in it. It is a strange, sad, and hopeful world, full of danger as well as promise.

Lees artwork is a breath of fresh air. The narrative pace is brisk, with intuitive panel transitions that engage Cindys emotional arc rather than depicted action. Action sequences are artful and well-executed, emphasized by the dynamism in the lines extending from Cindys hair and webs. Cindys hair also plays a strong role in the visual storytelling; it serves an extension of herself that remains free whenever shes in costume, but must be put up in a when shes at work. Her hair is even in a bun when shes arguing with her parents in the flashbacks, but down when shes with her boyfriend, signifying the transition between her identities and how her hair figures into the various roles that she plays. Colorist Herring does a beautiful job as well, alternating between the bold purples and reds of action sequences and the soft blues and greens that define the other spaces of Cindys life.

Past the introduction of the character, Thompson and Lee allow Cindy's story to unfold with far less exposition in this issue. This allows for a more fluid pacing, from scenes of web-slinging action to quiet reflection, each well-complemented by Cindy's organic, relatable narration. Her captions are carried by equal measures of self-effacing humor and low-key melancholy, providing some poignant insights that never feel forced. The overall plot is still a bit aimless at this point, with Cindy fighting her way through random villains sent by her mysterious observers, but the soul-searching angle of her story allows for it.

Will this event forever change the way we view the Marvel Universe forever? Only time will tell. For now, Infinity is looking to be an interesting chapter in the career of Earths Mightiest Heroes.

Overall a good read, featuring solid writing and some really fantastic artwork. Not flawless, but a good chapter in this developing saga nonetheless. Its definitely worth picking up, whether youre following the event or just curious to see what the fuss is about.

With strong artwork and scripting, this is another must-read for those following this event. Even if you're not, it's just lovely to flip through.

Infinity #4 does its best to raise the stakes for human and alien alike, and is pretty successful on all accounts. The strength of Hickmans scripting is the backbone of this title, and is again wonderfully executed by the efforts of Opena and Weaver. As the event reaches its inevitably dramatic climax, I look forward to seeing where this story goes, and how far its affects will span across the Marvel Universe at large.

Infinity #5 is another solid issue in this enjoyable event. Not the best chapter overall, but a good transition issue as the series comes to a close. Strong scripting and great artwork all around.

Even for these shortcomings, Infinity #6 is still an enjoyable read from a fairly enjoyable series. On its own merit, it stands as one of the strongest of the event, with some memorable moments and great imagery. Hickman delivers a compelling script, Cheung and Weaver bringing it to the page with dynamism and strength of storytelling and design. This issue answers as many questions as it needs to satisfy its premise, leaving others unresolved as Marvel gears up for Inhumanity in December. While not completely satisfying for many readers, who want to see more closure in this storyline, it forces us to come back next month to see what happens next. I have a feeling that was what Marvel wanted all along.

As solid as the script is, Rodriguez and Renzi carry the storytelling through the strength of the visual narrative. Rodriguezs dramatic perspectives and panel compositions make for a dynamic read from start to finish. His delicate, highly detailed line work give a sense of grace to his long and elegantly rendered figures, as the wispy strands of hair or feathers look fit to flutter away. Every page is moved by an underlying sense of energy, from Gwen web-slinging across the panel to the violence of Frank Castles introduction, and Renzis bold and eclectic perfectly realizes this. Neon hues of pink and green contrast subtle blue backgrounds, and Spider-Woman stands out in the purple night by the power of her striking white-on-black silhouette. Its a beautiful play of buoyant gestural lines and luminous colors, full of little details that beg the eye to linger in Gwens bright, vivacious world.

As strong as Latours script is, Rodriguez continues to steal the show. Razor-thin figure work and exaggerated angles choices make for sleek, dramatic panel compositions. Most sequences, specifically Gwens, move fluidly due to the lack of closure between panels. This makes for a looser, more intuitive visual narrative as Gwen moves from one scene to the next, adrift, and trying to figure out what to do. Conversely, this mode shifts to tight, well-paced sequences when Kingpin and Murdock are introduced. The closure between panels is as precisely choreographed as their charade, mirrored in Murdocks violence. These scenes are beautifully complemented by Renzis contrasting color palettes. The grim grays and beiges of nighttime scenes broken up by the effervescent pop of neon pinks, blues and yellows, bringing Gwens dizzying world to life with remarkable results.

As ever, colorist Rico Renzi really sells these scenes through his bold neon palette choices. High contrast punches of green and pink play against the murky tones of the background spaces and foreground characters, making for a visually engaging read. The stylized, graffiti-like sound effects provided by letterer Clayton Cowles adds another layer of color and texture to these sequences, calling back to the repeated use of graffiti in previous issues. Together, these elements work in concert to create the most exciting issue of the series so far.

Theyre Not Like Us is a solid book with some interesting story elements and great artwork. It has a lot of promise, and given more issues will hopefully develop its world and characters. Until then, its still worth picking up if youre in the market for a new take on the superhero genre.

As alienated and disenfranchised as the rest of her powered peers, Syd must decide what role she will play in the Voices strange schemes. The man they mug was a graffiti artist who brought undue attention to the neighborhood, and had payback coming to him for putting them in such a position. Wasnt that fair, the Voice asks? If his people were finally in a place to defend themselves against the injustice, aggravation, and intrusion of an uncaring world, shouldnt they? In the end, despite her initial revulsion, Syd finds herself excited by the prospect of using her power over others, and accepts the Voices unique brand of moral ambivalence as a solution to her problems. Just how long the Voice can exploit their powers in an ugly world, however, remains to be seen.

With Stephesons clever scripting, Ganes finely detailed line work, and Bellaires minimalist color palettes, Theyre Not Like Us continues to be an intriguing spin on typical genre fare. While its cynicism is almost comical in its extremes, the title remains grounded through the strength of the minimalistic visual storytelling. This title isnt for everyone, but those that stick with it are likely to find an engaging reading experience.

While Ill miss Philipe Andrade as the series artist, Lopezs pencils are like a breath of fresh air. His style evokes a classic superhero aesthetic while still bringing subtle emotional vulnerability to these characters through strong storytelling and page design. His Carol has such a solid presence on the page, with a sense of humor and softness that never once betrays the inherent strength of the character. Stepping in for series colorist Jordie Bellaire, Lee Loughridges colors are a lovely complement Lopezs pencils. Loughridge deriving his palette of warm golds, cool blues and intermittent reds directly from Carols costume palette, adding a thoughtful undercurrent to the overall visual cohesion to the issue. A great issue from top to bottom, and a promising start to adventure for this beloved series and character.

Lopez brings new energy to this series with his incredible line work and attention to detail, especially in regard to his designs for Groot and the hostile Kyrsins that Carol encounters. His panels offer a great sense of the scope of Carols powers, giving her and the rest of the cast an impressive on the page while still maintaining a sense of humor and exuberance. Loughridges color palettes are lovely through and through, and serve as a wonderful complement to Lopezs lively and expressive pencils. The cover is a little off-putting, Im sad to say, with the awkward angle and expression, but the interiors more than make up for that. Another great issue from this creative team.

Lopezs line work continues to impress, capturing much of the inherent comedy through lively characters expressions and great attention to detail. While Groot only appears for the first few pages, the loving detail given to every gnarled branch is worth highlighting as Lopezs knack for organic shapes is remarkable. And did anyone else catch what appears to be a statue of Cthulhu in the final page of the sick ward on Torfa, slightly obscured by overgrown brush and tree limbs? Colorist Loughridges palettes and use of shading, especially during the space chase at the beginning of the issue, is pleasing from start to finish.

In a sea of tedious cape books, Captain Marvel is an example superheroing done right. This book is funny, heartfelt, and always well-balanced by strong scripting and impressive artwork. Im so glad this book hasnt missed a step, even with the renumbering.

The relationship of Lopezs line art and Loughridges colors continue to please, even after the now fifth issue of this arc. Lopezs artwork is fun, expressive and highly detailed throughout, with a clean narrative style that never fails to capitalize on the humor of the script. Loughridges palettes are generally quite lovely, from the dry sandy tones of Torfa to the soft purple and blue hues of JSons reveal scene. Even the drab greens and greys of interior scenes connote a sense of space and lighting that other colorists may fall short on, which is why Im always impressed by Loughridges color choices so far in this arc.

Overall, Captain Marvel #6 is another enjoyable read from this exceedingly enjoyable series.

Carol defends her beloved pet against Rockets advice to hand the cat over to the alien, only to discover that Chewie is indeed a Flerken, and a very proud one, having laid a huge clutch of eggs. Just when the alien pierces the ship, the eggs begin to hatch, and Carol has more trouble on her hands than she knows what to do with. Fun from start to finish, Captain Marvel #7 is yet another successful issue in this arc, promising even more adventure in the next leg of the story.

Carol departs Rockets surly company and plans to leave Tic, Chewie, and the Flerken brood at a refugee relocation center, resigned to making her trip back to Earth alone. Tic and Chewie wont let that happen, of course, and use Chewies (somewhat gross) teleportation ability to transport themselves aboard Carols ship. Despite the ills that have befallen them, this makeshift alien family sets their course for the next adventure. With equal measures of heart and humor, Captain Marvel #8 is another great read from the first page to the last.

While the two-page spreads are certainly impressive, simpler sequences, such as Carols arrival at the Envelop, are what stick out. The five-panel sequence follows the motion of Carols body and translates it to that of the ship seamlessly, creating a continuous sense of momentum for both comedic and dramatic affect. Small design choices like these really make the book. Of course, colorist Loughridge does his fair share of heavy lifting in this issue as well. His treatment of the hyperspeed travel sequences are especially lovely, developing these empty spaces through smart applications of color, texture, and lighting effects. You may have come for Captain Marvel herself, but this issue is full of visual goodies through and through.

Overall, Captain Marvel #13 is a solid issue. It brings a satisfying conclusion to Carols current adventure, and sends Tic off to begin a journey of her own. There are no big epiphanies or life lessons for Carol to learn, just more questions to be asked along the way. As long as Carol keeps growing as a character, issue by issue, thats fine by me.

All-New Hawkeye #1 is a solid read from start to finish. Lemire, Perez and Herring affect a different tone from the previous volume, but their efforts are successfully. Its a little thin on story, but the team lays down the foundations for a strong new arc in coming issues. I look forward to seeing what comes of All-New Hawkeye, and definitely recommend it for new and returning readers alike.

Jem and the Holograms #1 is a great opening issue. With its strong visual style and more mature treatment of the characters, this book shines. Whether youre a fan of the show or a newcomer to this property, you cant go wrong with this title.

Theres a lot to like about this book: Hickman sets up a big, fairly cerebral story with some interesting villains at the center. I really enjoy TChallas narration and the gravity of the writing, getting some good dramatic use out of the concept of these brilliant, powerful, and arrogant men coming together to do battle. Eptings pencils are spot-on throughout, with some lovely design work and very cinematic pacing. On the downside, the book moves a bit slowly, and the front-end is loaded with dialogue and disposable characters. This window-dressing bogs things down a bit, but as an introduction, its still solid and engaging. As the spotlight moves from TChalla to the rest of the team, Im hopeful to see the pace pick up.

Moody and atmospheric, the cinematic pacing of Hickmans writing and Eptings art comes together flawlessly in this issue. Using Hank as the narrator was a perfect choice, allowing us to peer into the friction between these men as outsiders looking in, as their various and conflicting ethical positions collide. The fallout between Cap and the rest of the team at the end was surprising; not only in its cold delivery, but the strain it put on the rest of the cast that was effortlessly expressed in just a few well-chosen panels. With its cerebral setup and the moral questions it raises as the story unfolds, this book just keeps getting better and better.

Hickman continues to pose a lot of complex moral questions with this series, and this issue is no exception. The story in is tight and fascinating, and gives little away while still leaving the reader to form his/her own opinion of these characters decisions. Nobody is being depicted as right or wrong, just shown in mitigating shades of gray. Eptings art is as always engaging and cinematic, and carries things along strongly. Another highly enjoyable read.

With such skillful exposition, Hickman continues to unfold his puzzle one well-plotted issue at a time. The pacing is essentially perfect, every line and scene purposeful and deliberate. Epting's pencils carry the weight of the narrative with cinematic scope and expert poise, which is well complemented by D'Armata's somber color work. Another deeply fascinating issue that leaves the reading wanting more.

As always Epting carries the narrative with great cinematic scope and poise, his pencils well-complemented by DArmatas cool color palettes. It stands in an interesting contrast to the overbearing red palettes that weve seen so much of in previous issues. The somber blue tones of the artwork comes together nicely here in a haunting effect; the sense of hopelessness from the earlier chapters is now giving way to a light at the end of the tunnel, this issues change in color choices making that shift apparent. Overall this was another curious addition in an engrossing series.

This widening of the storytelling scope presents an interesting look at the ramifications of the Illuminati, their plans and their egos affecting the world around them. It takes the story out of the very tight, almost claustrophobic vacuum of the previous issues and creates a larger picture for this team to deal with in the coming months. While I miss Eptings cinematic style, Deodato is a good fit, and keeps things moving along with engaging page layouts and panel compositions. Overall this is a solid new chapter in a solid book.

I would have liked to see more from Beast and Doctor Strange in this and the last issue. Its a large cast with several developing story threads, but surely they have opinions on all of this chaos that could be better addressed than they have been so far. Beyond this one complaint, this issue proves to be another strong read from a consistently engaging title.

This is a smart, well-paced and energetic issue, with some surprises and mysteries along the way, from Hickmans solid scripting to Deodatos well-executed pencils. I enjoy seeing how this title ties into the Infinity storyline and deals firsthand with Thanos and the Black Order, whereas its sister title is taking on the other side of this event with The Builders. This title has managed to maintain a cohesive, ominous tone even as it moves into the larger continuity of this event, unlike its sister which has been a little all over the place, making for a consistently satisfying reading experience so far. Overall an interesting and enjoyable issue, with strong artwork and writing.

With a good script and solid artwork, this issue serves as another strong chapter in the unfolding Infinity saga.

Swinging for the fences with its cosmic ramifications, New Avengers #11 is pretty successful in raising the stakes for Earths last defense while the Avengers battle the enemy abroad. Both Hickman and Deodato deliver a strong read with this one, posing some interesting questions for the Illuminati as this event draws to its conclusion. Good stuff, definitely worth picking up.

Even for that, New Avengers #12 is a solid afterward to the Infinity storyline. It suffers from a few bumps and bruises, but the strength of Hickmans scripting and Deodatos pencils carry it to an enjoyable conclusion. Overall a good read, and critical to readers following these characters into the next event.

Overall, New Avengers #13 is a solid start to the next leg of this storyline. Hickman gets the job done with this intriguing peek into alternate universes, and Bianchi and Dallalpi bring it to the page with dynamism and strong color choices. A good read all around.

As for the artwork, the energetic scenes of 2319s destruction keep the issue from feeling too much like filler, brought to the page through the strength of Bianchis storytelling. His dramatic use of dark expansive shading creates such ominous scenes, making the hopelessness of the situation truly palpable. For me Stranges quest to sell his soul is the highlight of the issue, as Bianchi develops the Sinners Market with demonic creatures and otherworldly architecture. As with #13, Dellalpis color palettes round Bianchis pages out nicely, with the warm earthy tones contrasted by ghostly pale blues. The pair of them make for a visually pleasing issue, and Im really enjoying their work together so far.

Bianchis dramatic style brings action to this otherwise static narrative, heightening the tension that makes it to the page. There is such a strong sense of motion in his character designs, from their exaggerated postures to the theatrical flourishes of the hair and facial anatomy, which makes his storytelling so fun to read. Some pages are stronger than others, but overall his sense of panel composition is compelling with its dynamism and flair. Dallapli does a solid job overall but sometimes his colors a bit muddy, losing character detail in the midst of broad fields of black and brown. This dark color scheme strikes a dark and moody tone, but sometimes it sacrifices the clarity of the artwork, which is unfortunate.

After a weak few issues, New Avengers #16 comes out strong. It moves the title back on track with the introduction of an intriguing cast of alternate heroes and brings a sense of momentum where this book has been sorely lacking. Definitely worth a read.

For these reasons, New Avengers #17 is a good read from start to finish. Strong scripting from Hickman and solid artwork from Morales and Martin keep things moving along at an engaging clip and muster some much-needed empathy from this otherwise dour book. Im hoping this series continues its current upswing and we get more issues like this in the future.

While Hickman delivers another strong script that poses some compelling questions, Valerio Schiti on pencils is the real highlight of the issue for me. I really enjoyed Rags Morales artwork as of late, but the strength of Schitis line work, with his delicate crosshatch shading and rounded forms, brings a softened quality to the story. His expressive style helps to add an emotional weight to the title which it has frequently lacked, often lost in muddled character details and murky coloring. Schitis pencils are beautifully complemented by Martins decidedly more neutral color choices, continuing the trend of clean lines and brighter palettes. A solid read all around for this creative team.

Schiti continues to be an asset to this title. His pencils are clean and composed, his strong sense of storytelling evident in his intelligent panel compositions and attention to detail. His skill for hair is especially impressive, in that every character, from Black Swan to Namor, Hank McCoy to Reed Richards, has very distinctive hair with varying textures and weight. Its a detail that I rarelysee, as many artists have fairly bland and routine styles for hair that they use character to character. Its such a small and seemingly unimportant detail, which is why its lovely to see Black Swans soft and voluminous tresses on the same page with Maximus and his stringy, oily-looking hair. It serves to further develop these characters on the page, grounding their lofty characterizations in such tiny and often overlooked minutiae.

Schitis pencils in this issue are lovely throughout. His lines are clean and his shapes full, instilling a sense of weight and resolve in the characters on the page. After several issues of tense conversation and quiet reflection, its nice to see Schiti stretch his creative legs with a no-holds-barred fight between such equally matched heroes. As much as I enjoy Hulk-smashing and face-punching, however, the flashback sequences were the loveliest and most well-designed pages of the issue, wonderfully complemented by the palettes of Martin and Mounts.

The real driving force behind this series has been Hickmans open-ended questioning of ethics, morality and heroism, with Namor serving as the only member willing (and perhaps eager) to take the ultimate burden upon himself. Hickman has been largely successful so far in exploring these ideas, navigating the tensions and moral platitudes that ultimately befall all superhero comics, and this issue cashes in on that build-up in satisfying ways.

However, despite the strength of the script, the issue falls disappointingly short due to the work of artist Kev Walker. A poor fit for the tone of the book, his poses are stiff and awkward, with facial anatomy that proves increasingly inconsistent and somewhat off-putting throughout the issue. Four-to-five panel pages attempt to create drama through action sequences but read more as filler instead, with the panels consisting mostly of flat and empty background space. Interspersed as they are with random splash pages, theres no real sense of tension, leading to a very bland and visually disjointed reading experience.

Schitis return to the series is a much-appreciated one, after the previousvisually and stylistically disappointing issues. Namors dinner with Doom is one of the best sequences in the issue, truly capturing the palpable tension of their encounter. This issue features some of his best artwork of the series thus far, having truly found his footing in Hickmans grim and ghastly world. With the assistance of colorists Martin and Curiel, this is a cohesive and visually satisfying issue from start to finish.

However, visual bumps and bruises aside, the sheer strength of the storyline makes New Avengers #25 an engaging and impactful read.

From start to finish, Toe Tag Riot #1 is a fun read with a strong social message and a talented creative team.

Despite a few soft spots, Zodiac Starforce #1 makes a strong debut.

Overall this book has a strong concept with good pencils going for it, working on a more cerebral angle to approach human/mutant relations, which I really enjoy. As a flagship for the Marvel NOW line, its still sorting itself out, but I look forward to coming issues as the book as it moves through its first arc.

While I had some reservations in the beginning, this book is shaping nicely as a fresh action title with a clever threat and an interesting hook.

Despite a few nitpicks, this is a very enjoyable issue with a building mystery and enough surprises to keep things fresh and engaging.

Despite these nitpicks, this is the first truly great issue of this series so far.

While this issue is a complete detour from the tone of the series so far, Remender delivers a solid and engaging read that hints at the intricacies of Kangs schemes. Told entirely in flashback, it establishes the larger plotline and successfully establishes Apocalypses place in Thors backstory without feeling clunky or contrived. The idea of going back in time to kill the ancestors of ones enemies is a bit old-hat, but Remender makes it work here. Acunas pencils round out the story with lush detail and cinematic scope, making for a visually exciting issue with great compositions. Overall a highly satisfying read.

Full of intrigue and conflict, Remender kicks his Apocalypse Twins storyline into high gear with visually impressive stakes. The cinematic flow of the narrative works perfectly here, even better than the last arc, as Remender seems to have worked out the kinks in linking varying points of view. Better yet is Acunas absolutely stellar artwork, which affects a pulp noir quality in many of the non-action sequences, and is relentlessly energetic and engaging throughout. While I wasnt entirely sold on this book during its first arc, its quickly becoming one of my favorite titles.

This is not a perfect title, by any stretch of the imagination. But, bumps and bruises included, this still stands as a smart, fun, interesting book that delivers issue after issue.

While Im not a fan of this event, this is the one tie-in I would recommend definitely recommend to readers of this series.

All of that aside, Acunas pencils are still the highlight of the book for me. His artwork is dynamic and visually interesting, and keeps things moving at a good clip even for the somewhat lagging plot. Remender has some interesting threads going here, but this issue felt busy and weighed down by clunky pacing. Not bad, but not stellar, either.

The issue still suffers from the usual soft spots in Remenders dialogue and narration, which alternates between serviceable to truly atrocious. His grasp on individual character voices seems to be slipping a bit after a solid few issues, and in looking back the death of Grim Reaper just to turn around and make him a Horseman still feels rushed. These irritations, however, are made up for by Acunas stellar pencils. The artwork sells the story and picks up the slack where the writing falls short, and makes this a fun and visually appealing read. Its not a perfect title, but many of the story elements are beginning to come together in interesting ways, and helping to broaden the scope of Remenders overarching plot.

As always, Acunas artwork truly shines. His strength of line and composition makes for an exciting and visually engaging reading experience, carrying the plot to its tense conclusion in an affective two-page spread. Every page is just lovely to read, with painterly application of the chosen color palettes that give each panel a softened quality. The art, combined with the overall strength of the writing, makes this is a solid issue definitely worth picking up.

Despite some bumps and bruises, Uncanny Avengers #15 is another tight and fairly consistent chapter in Remenders arc. Its energetic and action-packed, and definitely uses the controversial last issue as a sound springboard in moving forward. McNivens art continues to really move the title in a positive direction, and make for a solid read all the way around.

Openas art is absolutely stellar and carries the issue with grace and sensibility. The perfect balance of bigger-than-life heroism and emotional resonance, I cant find a bad panel in the book. With amazing pencils and intriguing groundwork, this title looks to be one of the biggest Avengers stories ever told. And for once, bigger might actually be better.

A satisfying conclusion to this opening arc of the expanded Avengers universe, once again I am enthralled by the collaboration between Hickman and Opena. The writing is solid, the action tempered by great dialogue and character dynamics, showing just how well this team works together. Even with their training wheels on, so to speak, the somewhat unusual roster proves to be both interesting and successful. As always Openas artwork, complemented by the colors of White, Martin and Isanove, is absolutely stunning. Maybe the Villains learns their lesson and get to keep their planet as long as they play nice ending is a little typical, but overall this is a highly enjoyable issue building to a larger, more ominous story.

All nitpicks aside, this is a solid and enjoyable issue, and an interesting segueway into the larger universe this series is building up to.

Another origin story, Hickman delivers a satisfying issue with his introduction to the new Smasher. While not as thematic and relevant to The Garden plotline as the last installment, this issue was solid and enjoyable, with just enough mystery at the end to keep things interesting. I also like seeing how these new subteams within the main Avengers roster all work together fluidly to address specific threats, giving everyone some screen time without feeling too bogged-down. Kuberts art is strong and engaging throughout, although I found that Frank Martins overzealous use of reds muddied some of the action and left things feeling a little flat. Despite some nitpicks, this is still a good read.

After a somewhat lackluster last issue, Hickman delivers a solid end to his series of character introductions, and opens the next leg of the Avengers universe-spanning adventures on a tense cliffhanger. Team dynamics come into some play here as Spider-Man butts heads with Canonball and Sunspot, and Tony has to play parent to the teammates quarrelling under his roof. These scenes balance the dramatic, otherworldly tone of the Captain Universe story, showing the very flawed, human side of this large and formidable team. Kuberts pencils are solid throughout and provide a cinematic sense of movement through the story, especially during Captain Marvels meditation scenes with Shang-Chi. Overall a very satisfying issue.

Quick-paced and carried by Weavers engaging design work, this book moves forcefully into Hickmans next event. Hickman delivers a solid issue, an anxious tension running through the story as the Avengers scramble to deal with this new threat. Weaver, who has been handling the cover art thus far, brings his A game in this issue, his art well-rounded with the help of Justin Ponsors gorgeous colors. Overall a very enjoyable read.

Although this leg of the arc is a bit dry, Hickman manages to balance the exposition with the action as the mystery deepens. The issue moves quickly and Weavers art keeps things humming along at a good pace, which utilize some nice design work and dynamic action sequences. Overall a satisfying read.

Beyond that, the writing works for me, and these hindrances are made up for with Weaver and Deodatos artwork. The action sequences are nothing short of spectacular, and very setting of the evolutionary change is uniquely rendered with such gorgeous detail as to really individualize the processes at work. Despite a few setbacks, this is a solid and interesting issue with great visuals.

Despite a few bumps and bruises over the last ten issues, this book remains strong as it continues to develop a mind-bending mythos that challenges as well as engages. Not everybody is going to like this book, but I for one am enjoying the ride.

While some may say the issue suffers from continuity whiplash with regards to the previous storylines, I found this to be a pleasant departure that explores the rest of the teams dynamics. In the art department, Deodatos pencils continue to be a great complement to the book. His dynamic layouts and panel transitions give the story a smooth cinematic feel, with the help of Martins dark atmospheric colors. Overall a very engaging and enjoyable read.

An interesting issue that deals with the continued ramifications of Ex Nihilos forced evolution, the focus falls less on plot and more on characterization instead. Hyperion and Thor take center stage as they deal with their own immortality in the face of the changes happening across the planet. The issue centers around the future and the legacies left behind as the world becomes a darker place despite their best efforts. Well-complemented by Deodatos vibrant pencils and Martins lush colors, this is an enjoyable read.

Its a simple story but it gets the job done, carried to a fitting conclusion by Deodatos dynamic and engaging pencils. A decent read with consistent artwork and some interesting guest appearances. Not exactly a mind-blower, but a solid issue nonetheless.

As the cover implies, this issue is a prelude to the Infinity event, which looks to be a big deal for Hickmans books. (I tend to avoid event solicits as to go in with no expectations, so I really have no idea what all theyre planning.) We end up with an intriguing issue with a lot of things happening at once, as many of the threads weve been seeing in recent issues intersect, and a dramatic ending complete with ominous looking alien pods and anxious-looking scientists. A bit by-the-numbers, but Hickman throws out some big ideas and great imagery, especially with the machinations of his cube-headed giants. Casellis artwork offers a new approach, and I enjoy his stylized character designs. Overall a solid and interesting issue.

Overall a well-paced and interesting new chapter in what looks to be an enormous event, with action and intrigue in spades.

Hickman and Spencer offer another solid action-heavy story, managing to mitigate the confusion of concurrent plotlines through careful plotting. The issue is hectic but not cluttered, maintaining an engaging pace. Casellis pencils and Martins moody color palettes keep things moving in a swift but appropriately ominous tone. Overall a good read.

Another solid read that kicks off the next leg of this team book, opening the door to the larger event around the corner.

Overall, this is a strong issue that moves the event forward with beautiful artwork and solid writing.

With some strong dialogue and intriguing political interplay, Hickman provides a successful script. The underlying tension of the plot is well-executed by Yu, whose engaging panel transitions and page designs make for a tight, dramatic reading experience. Yu and Gho work together well to offer some truly stunning pages that cash in on the uneasy but inherent beauty of characters like Ex Nihila, and make The Builders both fearsome and visually appealing. Overall this is another compelling tie-in with some lovely visual components and solid scripting, keeping this event moving at an interesting pace.

An intriguing script buoyed by great artwork and production, this serves as another engaging chapter in the Infinity saga.

Avengers #21 is another strong issue in a great event. With its solid scripting and gorgeous artwork, theres little bad about this one. Definitely worth picking up.

Like Infinity #5, this issue serves as a connective piece, a transition into the last leg of the event. It has a strong script from Hickman with some nice character-driven scenes, well-executed by Yu and the rest of the creative team. A solid read all around.

Culminating in a satisfying final showdown between Ronan the Accuser and Black Dwarf, the last of the Avengers tie-in issues ends with Captain Marvel flying the team back home to take-on Thanos one last time. Another enjoyable issue with a solid script and great art, Avengers #23 helps to bring this event to an entertaining close as Infinity #6 is set to release by the end of November.

After penciling as few pages in the last issue, Larroca takes the artistic reins for #25. He does a solid job of it for much of the book, through strong storytelling and page design. However, as is often the case, his artwork generally suffers from weak figural details and weird or inconsistent facial anatomy. Colorist Frank Martin does a good job of filling in much of the missing detail, but the artwork is overall very hit or miss. Despite some artistic missteps, Avengers #25 is a solid issue that promises to take this book in an interesting new direction.

As with the last issue, Larroca has a good sense of storytelling and a nice handle on the action sequences. Again, however, his artwork generally suffers from weak figural details and inconsistent facial anatomy. The cartoonish backgrounds in the action sequences, lacking any real sense of space or motion, is a visual break from the overall tone of the book and takes the reader out of the story. Martins color palettes make the most of Larrocas pencils, but the artwork, like this title, just falls a bit flat.

Full of mystery and might, sorrow and humanity, Inhumanity #1 sets up this event through great art and writing. Overall this is a solid and intriguing read that follows up Infinity to build on Hickmans arc, taking the Inhumans in a new direction. Whether this chapter of Marvel mythology lives up to the hype remains to be seen, but so far its looking to be an intriguing ride.

My other point of contention is Todd Naucks pages in the middle of the issue, which serve as another stark break in the graphic cohesion of the book. His pencils fall a bit flat, lacking consistent character detail and any really depth of shading, relying on the colorists Fabela and Mossa to fill much of it in. The colorists do a solid job throughout, although I feel the issue might have been better served if it all had the same softened, heavily-shadowed look of the opening dream sequence. It was just so lovely and really made those pages stand out, and would complement the tone of the overall story. Even for its visual inconsistencies, Inhumanity #2 is enjoyable and a must-read for fans of Medusa and the Inhumans alike.

Overall Storm #1 is a solid issue. It isn't flawless, but it strives to put its best foot forward and set up Ororos growth in coming issues. Strongly recommended for Storm fans, but its somewhat forgettable plot may not be enough to keep the attention of new readers.

Artist Ibanez proves himself a highly competent storyteller through his clean line work and page designs. He has this incredible knack for making Ororo look absolutely statuesque, both in and out of costume, emphasizing the true strengths of this character even when she isnt at her strongest. With colorist Ruth Redmonds alternating use of warm earth tones and cool blue palettes, this is a solid visual reading experience from the first page to the last. Another satisfying offering from this creative team.

While artist David Yardin delivers a beautiful cover, the interior art is a little less satisfying. Hepburn and Baldeon are a distinct stylistic shift from previous issues, which in and of itself is a little jarring. Even more jarring is the stylistic differences between the artists themselves. Both Hepburn and Baldeon deliver solid pencil work throughout, but the noticeable differences in facial anatomy and varying attention to detail are unnecessarily distracting. To her credit, colorist Rosenberg does a good job of creating visual unity through soft, painterly application of color and beautiful uses of lighting, making for an otherwise cohesive reading experience.

This is certainly a plot worth developing, but it just feels a bit rushed as it stands, tacked onto an otherwise moving story. I trust Pak to further explore these actions as a response to Logan's death, adding another dimension to Ororo's personal arc, and hopefully shedding some light on a somewhat muddy plot twist. Even for it, Storm #4 is a solid read, and another example of this creative teams overall strengths.

This book has action, adventure, and loads of witty dialogue. Its everything the successor to the wildly popular film franchise could hope to be, with great writing and gorgeous art to boot. If I had to find one nitpick, I guess it would be the somewhat forgettable villain. He is a bit typical, but fills his role with plenty of quips and a fair amount of threat. However, DeConnicks dialogue is so tight, and Casellis pencils are so dynamic and engaging, that its only a small nitpick. The sequence where Captain Marvel crashes the Quinjet and rockets out in time to catch Captain America as he free-falls to the ground? Worth the cover price.

Full of witty dialogue and great character interactions, this is a book I cant help but love. DeConnicks writing is smart and engaging, exploring the more light-hearted version of the Avengers that newer fans know from the cinematic universe, and providing some much-needed entertainment amid the sweeping drama of its sister titles. Every character is fully-realized with his/her own distinct voices, and all of the banter is a joy to read. Casellis art is equally satisfying, and complements all the action and humor well. This often-forgotten middle child of the Avengers franchise has hit its stride with this creative team, and I have high hopes for the future.

This is another fun story from DeConnick, full of her hallmark banter and great character dynamics. Black Widow, Hawkeye and Spider-Woman make a great trio, riffing off of one another naturally to create a nice balance of humor to offset the action. Woods pencils are solid and enjoyable as well, nicely complemented by Scott Hannas colors. Overall another entertaining issue.

While the over silliness of lizard people in the sewers of Siberia does beg for camp, DeConnick manages to counter it with a fair amount of thoughtfulness and earnest intent. The artwork is engaging, as Woods offers some nice design work and layouts in this action-heavy issue. That said, the lizard-human hybrid designs are a bit lackluster, with the added confusion of Galinas lizard-form coming off as almost cat-like. Nitpicks aside, this middle-child in the Avengers franchise is still proving to be a consistently fun read: Plenty of action and witty dialogue, without the cosmic melodrama of its sister books. Another enjoyable read, with strong characterizations to balance the action.

An engrossing book, Ewing places Natashas strengths at center stage, her characterization neatly dissected in this apocalyptic scenario. Guice carries the story with strong pencils and dynamic layouts, conveying the human cost of Ultrons attacks with brutal certainty. This is a downer of an issue, but worth a read for Black Widow fans, as well as anybody keeping up with the event.

Compared to the last Ultron tie-in, which had some really great moments as Black Widow fought for survival in San Francisco, this issue falls very flat. Its cluttered with thin characterizations and super powers that make no sense, ultimately leading to lots of conflict with no resolution to the larger story. While Im not closely following the Ultron event, I try to give all the tie-ins a fair shake, but this issue does nothing for me. Lets just hope all this nonsense wraps up soon so this title can get back to its original direction. With the solicitation for next issue leading to a tie-in with Captain Marvel (while I do love Captain Marvel), I dont think thats going to happen anytime soon.

This issue serves as another solid chapter in this event. The somewhat generic revenge story works rather well as this plot continues to unfold, spruced up by DeConnicks excellent use of dialogue. The action and adventure keep things moving at a good pace, peppered by humorous exchanges and enough one-liners to give all the characters a chance to shine. Buffagni deftly handles the action with a lot of energy and grace, creating dynamic page layouts and panel compositions. Bellaire and Wilsons colors really make the scenes pop, giving the spaces the character inhabit a light and airy feeling. Overall an enjoyable read.

Another entertaining installment in this fun action/adventure superhero romp, with really solid writing and artwork. A must-read for Carol fans.

An enjoyable issue with strong artwork and writing, with an affective story and interesting pencils.

Full of action and amusing banter, Bunn delivers a fun opening issue with an interesting nuance of mystery bookending the story. Not all of the lines are winners, but the cheeky dialogue keeps things moving along at a good pace and sets the characters up for great interactions and story progression. Slineys pencils are engaging and well-complemented by Veronica Gandinis color work, rounding out the action with flair. Its still early days for this title, but overall this book is off a solid start.

Another entertaining read, artistic complaints aside.

Overall, this is a fairly enjoyable read. I enjoy the idea of an all-female cast facing all-female villains, without it spiraling into immediate camp or exploitation. (Beyond the acceptable level of camp that is inherent to these characters, of course, which I personally find endearing.) Bunn delivers a lot of good dialogue, and keeps the action balanced with some interesting plot twists. That said, I still have trouble taking Caroline Le Fay seriously as it stands right now, but the overall story is still entertaining enough to keep me engaged. Slineys artwork, while not as grating as last issue, is by far the weakest part of the series. It is entirely too generic and cheesecake-y for my tastes, and when you have a cast composed entirely of women (of varying ethnicities and body types, mind you), its hard to overlook his inadequacies with the female form. A fun book with disappointing artwork, it falls a little flat, but still finds its stride as a kitschy adventure title.

Overall a consistent and entertaining read.

While Im sure readers who have been actively following this event will get more out of this issue, I found it to be weirdly-paced and convoluted. The dialogue was often clunky, and while we got a lot of info-dump thats supposed to be relevant to the main storyline, I didnt feel particularly invested in any of this new information. This issue felt like a lot of things happening all at once, with little real payoff. As I said, fans of the event may enjoy it more, but overall this issue left me cold.

An action-heavy issue with a lot good stuff going for it, and just few bumps and bruises along the way. Fun and engaging.

If I had to nitpick, I would have to say I find Slineys concept of pained expressions a bit skewed. Half the time Annabelle, in moments of fear, pain, or surprise, was just smiling. Which, unless youre implying that theres some sinister and as-of-yet unknown reason why she would be smiling while getting smacked around, is absurdly out of place. Other than that, this was a solid and engaging issue with enough heart to balance out the action.

Val sacrificing herself for Annabelle, and Annabelles upgraded status as Vals host, adds another layer to the team dynamics here. While things seemed to be smoothed over between them, and Misty is likely on her way to forgiving Val for killing Annabelle in the first place, this opens the doors to new intrigue as the Defenders gear up to tackle LeFays new team of Doom Maidens. Overall a solid issue with stellar artwork, that lays the foundations for the next leg of the title.

Not a terrible issue, but overall a bit underwhelming. My love/hate relationship with this book will continue for another month, it seems.

With so much going for it this month, this is a highly enjoyable issue with good scripting and artwork to boot.

As with last issue, this book is exactly everything you expect a Fantastic Four book to be. There are some laughs, some heartfelt moments, and plenty of science and adventure to go around. Fraction delivers a solid second issue here, showing each of the Four saying goodbye in their own ways as their replacements get comfortable in their shoes. Bagleys pencils are consistently strong, fleshed out by Paul Mounts and Wil Quintanas dynamic color palettes. The story is simple, but it works, and works well. More endearing than the first issue, I find myself coming around more and more to the title. If youre looking for a cute, fun book, this and its sister title FF is a safe bet.

Overall, this is another solid issue. Fraction delivers a satisfying adventure story with a side of heart, and I enjoyed getting to see how the whole family works together to solve their problems. Bagleys pencils are still strong, and move the plot along with a good balance of both the heroic and the weird. This book continues to be a fun but thoughtful romp into time and space, with a nice slice of family dynamics on the side to keep things grounded. The formula is simple and straightforward, but on the whole, it works for me.

This is a series I didn't expect to like, but has impressed me time and again. Brimming with heart, Fraction delivers an endearing portrait of Reed Richards, torn between his desire to protect his family and the consequences of his actions. The story is affective, well-complemented by Bagleys solid and enjoyable pencils, making this a warm, engaging and highly satisfying issue.

An entertaining read, if not a bit average. Fraction delivers an amusing time-traveling adventure, with some heartfelt moments between Reed and Sue to balance the typical F4 quirkiness. These shenanigans are carried along by Bagleys artwork, which is as consistent as ever in handling both aspects of the narrative. Compared to the last issues much more emotionally-involved story, however, this issue is enjoyable but not particularly noteworthy.

I had my reservations about reviewing this issue, as Im not currently keeping up with the Age of Ultron event. However, the story still works on its own merit, and its worth a read for any F4 fan in search of more somber fare. Quick, quiet and precisely told, this is a poignant issue with a strong delivery and evocative artwork.

Another good read, with a great deal of action and an interesting sci-fi element, carried along by Bagleys consistently strong pencils. While still generally cheesy fun, the inherent silliness of the book is well-tempered by some heartfelt moments. Fraction is still slowly seeding Bens subplot, the effects of which we begin to see in this issue. As he continues to withdraw from the team and experience strange fits, his condition is worsening, leaving off on a bit of mystery as the team jets off to the next adventure. Overall, a satisfying issue.

Fraction delivers a clever ending to this two-parter, with an interesting hook and some great dialogue. Ben and Johnny finally learn Reed's secret about their degenerating powers and Ben's withdrawal from the family is confronted, setting him up for a more personal arc in the next issue. Bagley's artwork continues to impress, his dynamic panel compositions and action sequences brought to life by Mounts' colors. A highly enjoyable read.

Despite these hiccups, Fraction weaves a very interesting story, with wonderful dialogue and character dynamics. In the plus column, Bagleys artwork shines in this issue. He does a great job of capturing Bens emotional state in both his forms, and conveying very real humanity in the short scenes we are given. While I cant say I love this issue, I do love what its trying to do, and look forward to whats coming in the future.

While I understand Fractions interest in exploring Bens self-reflection, this issue feels a bit pointless. Last issues detour to the early days of Yancy Street, while a bit rushed, felt more meaningful than Bens new sense of guilt over their circumstances. Going back in time to prove that all of this was inevitable, and Doom just loves being Doom no matter what, doesnt accomplish much. An enjoyable detour for sentimental fans, but this issue doesnt offer much else.

Seeing all of these actions and reactions at play makes for a tense familial drama, which was refreshing to see after the let-down of the last issue. A lot of problems come to the surface, but not all of them are wrapped up in a neat little bow. Overall a very solid issue.

Not awful, but not great, either. Overall a pretty average read with a few highlights and little else to write home about. F4 fans will enjoy it, but thats about it.

Overall this was a decent arc, with a good ending to sum everything up nicely and set the family up for the next adventure.

Overall its a solid first issue. Ed Brubaker is going to be a tough act to follow, but Remender is off to a good start.

Despite some nitpicks with the art, this is shaping up to be a solid book with a refreshing take on the legend of Captain America.

In this issue, however, Romitas art continues to be a bit of drawback. So many panels lack consistency and detail, and his kids in Steves childhood flashback sequence have such cartoonishly large heads that its kind of distracting. All art criticism aside, this is another enjoyable issue from whats shaping to be a fascinating chapter in the life of the Sentinel of Liberty.

An enjoyable issue from start to finish.

This issue is another solid offering from Remender and Romita, Jr. Steves poignant tenacity continues to be the big draw of this series, which doesnt pull any punches in its exploration of just what makes up Captain America. However, Remenders narration continues to be bit redundant at times, and, as is the same in Uncanny Avengers, he just cant help himself with the Cap-themed cheese. The moment that took me out of the whole thing was Jet stripping down to that skimpy black leather number before fighting Steve. I understand what they were probably going for, but what ensues is basically mud-wrestling in the rain, while wearing a ridiculous outfit. The whole thing is so silly it begs for camp. Beyond that, however, this is an enjoyable issue.

This is another intriguing issue from a title that has pleasantly surprised me so far.

Overall, this was a solid issue. Remender keeps the plot moving through almost non-stop action, pausing only to give us the lovely father-son moment in the beginning of the issue, carried by Steves desperate, punctuated narration. Romita continues to deliver a surreal and nightmarish vision of Zolandia, one that is well-complemented by Whites enthralling color work. The only real fault with this issue was the overly operatic dialogue between Jet and Steve during their fight in the middle of the book, which really bogged everything down. Beyond that, this was a tight and engaging issue.

A dramatic story in three parts, Remender keeps a good pace here as the issue unfolds through numerous narrative fight scenes. Unlike the "cliffhanger" endings we've come to expect from this title, Ian does seem pretty dead this time, and I didn't expect him to take a header into the lava pit. However, I suspect this death, along with Sharon's sudden appearance, is part of another fake-out or manipulation. In any case, I enjoy the drama and the intrigue this issue offers as Remender continues to completely break Steve down. Romita delivers another solid issue with energetic action sequences, and White's dark, moody colors enrich the gloomy atmosphere and dire circumstances.

Overall, this is another good issue in a wild ride I'm going to be disappointed to see end. Romita's artwork is strong and consistent, and, despite the usual soft spots in the narration and dialogue, Remender delivers a solid script.

Not a perfect issue by any means, but one that functions as a bold and satisfying conclusion to an arc that lives up to its promises.

Overall this is a strong issue that begins the next chapter of Steves new life with some real emotional resonance. Highly recommended.

Overall, this is another strong issue in an otherwise interesting storyline. Despite the usual pitfalls, this arc is coming along nicely. Remender seems to be gearing up to something much bigger with his peculiar choice in antagonists, and Pacheco continues to please. Solid stuff all around with this one.

Overall, this is a solid issue. Some of the narrative and visual mechanics feel a bit wonky, but its an enjoyable installment nonetheless. Im already looking forward to the next issue to see how all of this plays out.

Despite its solid production value, this storyline is lackluster at best, and problematic at worst. Overall this issue is disappointing, feeling like a giant leap backwards for the title rather than a step toward future continuity. Perhaps in coming issues Remender can find a way to salvage this plot, but I sincerely doubt it at this point.

While this title started off strong in its opening arc, Captain America #15 just brings more of the same awkward storytelling and uninteresting villains that have since become routine. Pacheco does have some tricks up his sleeve, but in this issue, they are unfortunately few and far in between. Add to that the lackluster and unfocused scripting, and this book is quickly losing its footing.

With a clever set-up, this series starts off on a decent note. There are some highlights, such as the interesting use of memory manipulation and Hawkeye cracking James Bond jokes at Furys expense. Then there are some moments, such as Nick Fury killing terrorists in the Oval Office, that just beg for camp. Ross art has a similar effect on me. While the art is solid throughout, there are panels where the awkward smiling feels a bit out of place. What we are left with is an entertaining, if not average, action title. Enjoyable but not noteworthy.

While I wasnt too sure about this book when it first started, its beginning to grow on me. Spencer delivers slick and fairly clever story, with plenty of intrigue to go around. The use of memory manipulation, as with the last issue, is proving to be quite an interesting prospect, as S.H.I.E.L.D. continues to use assets like Hawkeye and Black Widow without their knowledge. Ross pencils have a gritty, cinematic feel to them, and are well-complemented by Matthew Wilsons dark and dramatic colors. Overall a tight and attention-grabbing read.

While not every line is a winner, Spencer delivers a strong issue, seeding the future plans of A.I.M.s aggressive grab for power. Theres plenty of intrigue to go around, with some genuine attempts to further character development and team dynamics amid all the action sequences. Ross pencils continue to be engaging, and well-complemented by Matthew Wilsons colors. Overall an interesting and enjoyable issue.

Overall this issue keeps with the pace and tone of the last three issues, with plenty of action and intrigue to keep things moving. Ross pencils get the job done with good cinematic movement, well-complemented by Wilsons dark and moody colors. With this issues introduction of James Rhodes in dealing with the Iron Patriot problem, the title looks to be headed in some very interesting directions as the story continues to unfold.

Overall, as this books moves forward, Im less and less interested in all of these vague mysteries, and less and less engaged by the characters themselves. Its not terrible, but its not particularly great, either. Ross artwork has been consistently decent but, like the writing, is a bit average.

This book is an entertaining read, and while it's not a major concern for people unfamiliar with these titles, I do recommend it for fans of DeConnick and Captain Marvel.

Overall, Ivar, Timewalker #1 is a solid opening issue with a lot going for it. Its entertaining premise opens the door to many storytelling possibilities, and its sense of humor puts a nice spin on things. If you're looking for a fun sci-fi/fantasy title, this book is worth picking up.

Despite these highlights, the issue suffers from some confusion due to the disjointedness of the Rooks storyline. Where did they come from? Where did they move to? How far did they have to move to escape the stigma of Annies disappearance, only to have every kid at Sailors school know immediately who she was? As for Annie herself, her generic motivation and stiff dialogue does little to develop her beyond the sexual violence she means to inflict upon Sailor. Her return at the end of the issue is suitably creepy, but with its abrupt cliffhanger, doesnt even have the same effect of the brutal opening sequence. Perhaps these issues will be dealt with in coming months, but overall Wytches #1 is still an intriguing jaunt into the horror genre.

There are some genuinely funny moments in this issue, but unfortunately a lot of the dialogue was too cheesy for my tastes. There was a bit of that going on in the last book too, but I was willing to let it slide as it was the opening issue and the mechanics of good characterization can take a little while to work out. I can appreciate Posehn's and Duggans attempts to keep this a darkly funny book, but sometimes the jokes are just ham-fisted. That said, I do enjoy the wacky premise and the totally nonsensical treatment of historical figures. I just wish we could get a little depth back in this character. Its a fun title, and as always Moores pencils sell the craziness and the bloodshed with great flare, but I guess I was just hoping for a little more.

With an unnecessary amount of fourth-wall-breaking and the cheesy one-liners quickly wearing thin, Im losing my patience with this book. Its a fun read with great art if youre looking for mindless bloody hijinks, which I'm sure works for some readers. Still, longtime fans will probably be turned off by the diluted characterization and jokey dialogue that has become the norm with this title. Im hoping it picks up, but as it stands now, I'm not a fan.

What can I say about this book that I havent already said? If youre looking for a straightforward, gory read, Deadpool delivers exactly what it promises. Lots of blood and guts mixed with flimsy one-liners and consistently good artwork by Moore, this issue is just more of the same. I tried to have an open mind about this title, but the jokey, one-note dialogue is more grating than funny, and the whole thing falls flat for me. Maybe this works for some readers, but I just cant get behind this title.

Another gory adventure complete with cheap one-liners, this issue is more of the same. If you like your humor juvenile and your violence extra-gratuitous, this book is for you. If youre looking for substance, I suggest you keep moving. I wish I had something more to say, but as this series progresses, its adherence to the schlock-and-awe formula isnt doing it any favors.

The juvenile one-liners aside, this issue actually offers a few genuinely somber moments for Deadpool, as he deals with Prestons death and resigns to stopping Washington at any cost to himself. This feels like the Deadpool I know and love. There are even a few surprisingly humorous moments as well (as in, I actually laughed this time), such as Washingtons severed head being punted into the lap of the Lincoln Memorial with a stoic I deserve this. Im unsure if I have any confidence in this Deadpool-Preston business, but for the first time since issue one, I can say that this wasnt a bad book.

While still suffering from the cheesy dialogue that has so far plagued the series, the art is the main draw of this issue. Koblishs pencils lovingly rip on this bygone era with strong compositions and dynamic designs, which carries the story with a fair complement of clever visual gags. Iron Man fans will get a kick out of the appearance, as well as the allusion to this classic era of the characters history. Its not brilliant storytelling, but its fun in a way this series really hasnt been. Then again, I am one of those sadistic Iron Man fans who likes to see him made fun of (because, seriously?), so it could just be my bias showing.

Surprisingly enough, there are a few clever elements here. I found the switch narrative between Deadpool and Preston to be interesting, alternating out the dominant personalities as Deadpool sees Preston in his reflection. Also the idea of somebody using Deadpool's healing factor for harvesting his blood and organs is something I'd never considered before. Unfortunately, any attempt at heartfelt character development is immediately squashed by the endless assault of flimsy one-liners and unnecessary pop culture references, undermining what could otherwise pass as a pretty decent story.

Finally, this book has struck a nice balance: Gore and jokes, magic and craziness, and a nice undercurrent of intrigue to keep things moving.

After a few sharp issues, it seems to be back to business as usual. Once again the fairly energetic pacing is bogged down by obnoxious dialogue and cheesy one-liners, despite an interesting set-up. The story is satisfying enough, with plenty of action and visual gags, but it starts to get irritating fast. Hawthornes art continues to be solid and engaging throughout, and delivers a solid vehicle for the plot. Enjoyable, but just barely.

All of that said, the weaknesses are still ever-present. Excessive references and out-of-place (and extremely juvenile) jokes come across as groan-worthy rather than entertaining, and slow down an otherwise fast-paced issue. Seriously: How many fart jokes does one book need? Its a fun issue, but the lame one-liners and pop culture name-dropping continue to really take me out of the story. If any of the jokes were actually funny, it would be a different story. As it stands now, its all a bit of a drag on an otherwise decent book.

Not unlike the finale, the issue itself feels hurried and pointless. Despite a few decent scenes peppered throughout the arc, the entire storyline seems like yet another detour just to alienate all of Deadpools friends. The plot was burdened by the same poorly written dialogue and a series of hasty revelations. Jumbled and underwhelming as usual.

Overall Neverboy #1 is a novel concept that stumbled coming out of the gate. With more time to develop its premise, Im curious to see where this title goes. As it stands, the first issue offers some pleasing visuals and notable story elements, but its awkward execution keeps it from being a truly great read.

There are mystery elements, such as the reason for the raid and the larger forces at work behind this apparent army of city-dwelling vampires, serving as the hook. Unfortunately these elements are glossed over very quickly to get to the action, leaving the reader with a generic plot and flat characters. I wanted to be along for the ride, but it was just impossible to care about what was happening to these characters. If youre looking for a straightforward horror-action story with some noir mystery elements, then pick up Graveyard Shift. Otherwise, I cant recommend this title.

In the end, thats the problem: Graveyard Shift is completely serious in its ill-conceived cheese, but lacks the sense of self-awareness that could make it fun to read. As it stands, this title is a half-decent supernatural mystery with crime fiction elements, but with its forgettable characters and baffling creative choices, it probably wont be more than that. Which is the disappointing part for me as a reader, because I really wanted to love it.

I really want to love Scarlett Couture. Its an amusing premise with some clever moments, and I support Taylors endeavors to celebrate female characters. Unfortunately, the style got away from Taylor. If youre a fan of Despop, youll be glad to see this book on store shelves on April 29th. If youre not already looking forward to this book, give it a pass.