The thematic idea of the Kents' inspiration to the future is further echoed in Sholly Fisch's back-up. Fisch relates the moments before Clark's senior prom, the last moment Clark and his parents will ever share together, and a visit from future Superman, who will have Jonathan's lessons reiterated during the moments of Superman's greatest test.

While destroying Archie's world, Sacasa pays tribute to concepts and iconography that define the world of Riverdale. Having Archie dressed as Captain Pureheart at the masquerade dance where everything goes to hell is pure inspiration. All the Archie characters are explored to the utmost perfection and the book dares you to care about them, because they can die at any moment. The violence in the book is not overt, so when something terrible does occur, the impact is jarring. Move over Walking Dead, comics has a new king of zombies, and it has arrived from the most unexpected place imaginable.

Not much really happens, but that is a frequent narrative technique for Bendis: reveal as you go. It is the character stuff that really grabs you, as each step the story takes, readers will be hoping they see that an old favorite is ok, that not every light of heroism has been snuffed in whatever happened to the world. Let's just hope these answers come quickly, because there is a huge story here, but in the first issue Bendis always gives us a miniscule, albeit compelling, first bite.

So the journey was a mess of characters, continuity, and a noticeable lack of Ultron, but the destination was an intriguing place to end. Age of Ultron leaves the Marvel Universe, (particularly Hank Pym, the Ultimate Universe characters, and the Guardians of the Galaxy) in a place ripe with future story potential. Let's just hope that potential reaches higher than the Age of Ultron did.

For a book that has the potential to be mired in paradox, the narrative is clear and linear, and (so far) everything makes sense. The future looks bright for All-New X-Men, even if the present remains dark and uncertain for the players.

The art on the book is much lighter than Stuart Immonen's, the artist of the first arc. Sometimes, the characters look a bit too cartoony, but Marquez's layouts complement Bendis' pace, the art propels the story forward and even though the majority of the issue is a conversation, Marquez keep the visuals interesting and dynamic. This book successfully keeps the readers guessing, and with Mystique added to the mix, it suddenly feels like anything can happen.

All-Star Batman looks like its going to be a high octane ride around the Batverse and a perfect complement to the other Bat titles.

So Mad Max meets Batman with anthropomorphic sharks and crocodiles, master assassins, Alfred and Gordon opposing Batman, and even…Bat-shark repellent? Oh yeah, this issue has it all and should not be missed by any DC fan. All-Star Batman #2 could be used as a textbook for future comic writers on how to write an action comic.

Speaking of which, the back-up features Jenny Freedom and the old West version of Stormwatch! This brief but exciting tale also creates a sense of history within the DC Universe, something the Stormwatch title has often failed to do. Jenny Freedom is a cool idea, a century child celebrating emancipation. Like the Jonah Hex tale, this story makes the tapestry of the DC Universe a little bit more complete and colorful.

The book reads like an old school Spider-Man comic, but artist Ryan Stegman makes everything look very contemporary. The Amazing Spider-Man: Renew Your Vows combines the old with the new to create a very pleasant and comforting reading experience for old school fans. I think Conway is going to have to do some story gymnastics to bring people up to speed on the alternate timeline this book takes place in, but for now, if you greatly miss Peter and MJ being a married couple, the marriage is back and Mephisto be damned.

Gage understands these characters, and their characterizations are spot on to what Buffy fans expect, but this series has been spinning its wheels for almost two years now. The art is as stiff as the pacing, as Rebekah Isaacs wonderfully renders each characters appearance, but her figures and action are stiff. She sacrifices backgrounds in many panels and, at times, it's tough to discern where each character is in relation to the setting. But she can draw the heck out of those actors.

The ending has a "holy crap" quality to it that puts the outcome of Buddy's quest seriously in doubt. The Rot is profane, and in his climax, Lemire has it taint the purest iconography in comics. And there's just something mind-blowing about hearing Constantine call Alan Moore a "bearded bastard" while struggling to save reality.

Zombies and vampires might rule the day on the comic racks, but Annihilator steps outside the expected to deliver a tale that perhaps can only be presented in the comic medium. A tribute to the pulp sensibilities of the masters of horror combined with a hard look at the consequences of the creative process. This is one deep and chilling comic book and Legendary should be proud.

The main plot point of this issue was Aquaman trying to stem the tide of Atlantaen weaponry reaching the surface world. Aquaman's former advisor, the disgraced Vulko, tells Aquaman to seek out the rebooted classic villain the Scavenger to stop the weapons trade. Once you get beyond Black Manta and Ocean Master, Aquaman doesn't have the deepest rogues gallery, but this new take on the Scavenger portrays him as a specific breed of irredeemable scum that will be a blast to watch Aquaman take down. Scavenger is not the only threat to be introduced this issue, as the story ends with the arrival of a new threat that could rival anything Aquaman has faced since Johns' run began.

Its so good to be enjoying Aquaman again as the Rebirth goodness continues, even deep under the ocean.

Aquaman #2 is the total package from soup to nuts. Abnett co-introduced the modern day Guardians of the Galaxy to the world and Marvel made some major film bucks on that little project. Hopefully, DC films will swim the same currents as Abnett and company because this is some very good stuff.

This book pops in every way and it seems like Aquaman is in very good hands as we head into a new era of Aqua-love.” Theres a film coming, a Justice League movie appearance, and a Rebirth all in the near future for the Sea King, and if this is the era of Arthur Curry, than Dan Abnett and company kicked it off in a major way.

The way Hickman pulls this off is masterful as he begins to origin build some characters with varying degrees of quirks and conflicts. But these characters serve as a distraction to the real chosen. It takes a master to pull off a shock of this magnitude, and Hickman does, hiding his real intent till the perfect moment for the reveal. This issue is all set up with the reader learning plot points through the Avengers. The success of this issue will depend on what follows, but Hickman has yet to disappoint.

Allesandro Vitti etches looks of fear and desperation on each character's face, which in previous adventures, held expressions of hope and determination. One can only hope that these characters (and the book) will find their path to safety and redemption, otherwise the whole thing will just be an exercise in exploitation and pain. Whether Avengers Arena succeeds or fails depends on which path Hopeless chooses to take.

Most importantly, Avengers Standoff: Welcome to Pleasant Hill #1 is additive; it leaves the Marvel Universe slightly different than before and it is also acomplete and satisfying read. No decompression here, just a one and done mystery that ends with a bang that will make any classic Marvel fan very happy.

The art is another story. Scott Hepburn has a great design sense and unique eye for inventive layouts, but this is an Avengers book. This is the most mainstream of mainstream books, and while experimentation is always welcome, there's a segment of the superhero audience that may not take to something too experimental. The book is way too cartoony, and the mainstream fans that Marvel really wants to get on Captain Marvel will see the book and character as something alternative, a status that could doom it in a tough, and sometimes myopic, marketplace. The writing should be strong enough to keep readers engaged, and hopefully shining the spotlight on DeConnick's take on Carol Danvers will create some momentum on a generally solid title.

I don't know what Scott Snyder has planned to wrap up "Death of the Family," but whatever it is; I would be vastly impressed if it tops the drama and intensity of Simone's Batgirl.

Fawkes could have been cast in the role of pariah if DC didn't come to their senses and rehire Gail Simone. This negative view towards Fawkes' talents would have been a shame, because he s clearly a structurally strong writer who has a great sense of character and drama. Fans should look forward to seeing him taking the driver's seat on another book in the future.

There are new heroes, new villains, new locations and new mysteries in this comic that continues and expands the design aesthetic of the Burnside Batgirl era. Batgirl was one of those comics that didnt need a new direction going into Rebirth, and happily the vibe remains the same as a new era of Batgirl begins and Rebirth continues to soar.

Snyder's world is a dark one, filled with pain and corruption, but like "Court of Owls" showed, it's also a world filled with hope. This is the stuff legends are made of. This is the type of story that will inspire future Batman creators in the same ways Denny O'Neil, Alan Moore, Frank Miller, and yes, even Christopher Nolan did. "Death of the Family" is the type of story that takes Batman into previously unexplored places and redefines the Joker for the next generation of storytellers.

There was no purpose to the violence of this issue: a guy slowly being eaten by a giant snake, the Joker somehow (there is no explanation) transforming a councilwoman into a some kind over muscled ape-like freak, and the torture the young Joker must endure at the hands of Aunt Eunice are all just noise that serve no real story purpose. There's actually a flashback sequence of the young pre-Joker being fed three peas for dinner by Aunt Eunice juxtaposing with the Joker feeding Jackanapes a big ice cream sundae, and the Joker as a pathetic Dickensian orphan just doesn't ring true. The art by Andy Clarke is beyond gorgeous as he draws the mishmash of violence with a gritty style that is suited to the character. He would be the perfect Joker artist for a book that actually understood the character and showed a modicum of restraint.

This comic was a cupcake; a very colorful, explosive and admittedly delicious cupcake. But still, just a few bites and its gone. Tom King is a master chef and I was hoping to enjoy a fully realized Batman comic soup to nuts. Not this issue, though. Maybe next time King will get to flex all of his story muscles, but for this week, Im left hungry.

Batman #2 is a loaded bag of Bat-goodness as King finally finds his Bat voice. And while this issue still hasnt reached the heights of Kings other works like The Vision and Sheriff of Babylon, by golly, were getting closer.

The highlight of this issue was definitely Batmans meeting with Amanda Waller. The sequence is classic Waller and Batman, and it makes me wish that King would get a shot writing Suicide Squad. I feel this way because I have the utmost faith in King as a writer. His work on The Vision for Marvel is currently the best mainstream comic book on the stands and his Sheriff of Babylon monthly from Vertigo is an underrated genre delight that rivals Showtimes Homeland as far as real world military intensity goes. But on Batman, King has not yet hit the stride he is oh-so-capable of. Maybe a story that tightly focuses on the Dark Knight rather than the new playthings in the toy box will go a long way to get King to the lofty heights he is capable of going on Batman.

King might very well be redefining Catwoman in the Rebirth era as her loyalties and motivations are very ambiguous. Could Catwoman be returningas a straight-up villain? King has a few cards up his sleep as he continues to play with disparate elements of the DC Universe to great effect.

It's going to be a long wait between now and 2015, but Batman/Superman will provide quality and original stories to help pass the time for the main event. Screw that, this book is a main event!

The star of any "silent" issue is the artist, and Gleason portrays violence with the same acumen as he does intense emotion. The looks of pain on Bruce and Alfred's face turn this book into a very human tragedy, where under the pencils of a lesser artist, the book could have descended into overwrought melodrama.

Batman may not have been broken, but King and company freshen things up a bit through some classic Batman storytelling. This should be a fun ride as Batman enters the reborn era of the DCU.

Upon opening the book, one would think nothing could top the image of the burnt priest in terms of sheer shock. But as the naked angel enters a hospital carrying an arsenal, Spencer proves that this is a book that will continue to top itself. Enter at your own risk. Bedlam has quickly risen to be, arguably, the best horror comic on the market today.

In the end, DC succeeded in making some interesting and well-crafted comics, but their goal was to create new brands. Like Dollar Bill, DC got their proverbial cape caught in a door and instead of being riddled with bullets, they will be riddled with consumer apathy. Watchmen should evoke many responses in a reader; apathy should never be one of them.

This is everything you want out of a Black Panther comic and Coates is only going to get better. The pacing is a bit muddled at times, but Brain Stelfreezes art is a sight to behold, rooted in Kirby gravitas with a modern symbology and sense of strength and action. The artistic package is overflowing with Afro-centric imagery fused with sci-fi visual cues that makes this book so unique. It feels like a Black Panther tale should and Marvel should be darn proud of this one.

It doesnt hurt that Stelfreeze was born to draw TChalla. This is a very classy comic drawn by a man neck-deep in tribal symbology, and written by a man who is a master, portraying worlds both real and fictional to create a reading experience that is not only socially important but a great deal of fun as well.

Black Panther pushes the medium to new places and what it lacks in cohesion it makes up for in competence. Coates and Stelfreeze are two masters pushing the medium to the next level while never forgetting the roots of storytelling. You can teach a Masters course in graphic storytelling with this bad boy. Seriously.

This book is going to be required reading once Black Panther hits theaters in 2018, and Im very happy we have such a daring and important book in a time where we need this sort of thing more than ever. Politics aside, the Marvel Universe is a better place because of these creators and characters and most of all, this comic presents some truly classic ass-kicking Marvel action.

On the surface, Bloodshot is a familiar title: big hero, big guns, along with big violence. Yet, the constant questioning of what is reality and what is programming gives this series a distinct feel and makes it a worthy addition to Valiant's, so far, eminently readable revival.

Let's just hope that those stories will be a little less heavy handed than having X-Force war with an ignorant fast food entrepreneur. Being topical in comics is sometimes a mixed bag, what is a hot button issue today will seem dated quickly. While the tragedy of bigotry is universal, the ignorance of fast food moguls seems clunky and unworthy of such iconic characters.

And now, there is no follow up to the Hail Hydra business, but when Steve Rogers does show up at the funeral–it might only be a single panel –its really freakin ominous so whatever Spencer is doing with the original, its working.

Steve Rogers: Captain America #2 is a Captain America story, a fun one, am intense one, a strange one. But it is not a story ground breaking enough to create the controversy it created. Its a worthy read and a fun chapter in the ongoing Cap saga, but it hits very familiar beats, beats that certainly are predictable enough to not neither warrant sound nor fury.

Steve Rogers: Captain America #3 is a brave, frightening, gripping tale that will surely entertain those willing to accept it.

Steve Rogers: Captain America #9 is daring and complex storytelling with a number of plots ebbing and flowing all at one, and its a blast. Spencer continues to have balls of vibranium with this title and its fun to experience.

DeConnick's voice makes this a must-read title, even if some of the plot choices and the art might force people to feel it stands apart from the mainstream Marvel Universe. If Captain Marvel is going to last, it needs a little bit more of a mainstream feel to go along with the perfect voice and characterization DeConnick expertly provides.

At times, the politics of this first issue is a bit on the nose, but that does not detract from the fact that Champions is a book to watch and a team that could go places no teen team of heroes hasever gone before

There is gravitas in this issue, but most importantly, Bendis introduces the themes and motivations that will cause this new Civil War. If the rest of the series is as well thought out and rhythmic as this surprisingly quiet zero issue, Marvel fans will be in for a fun ride.

Again, this is a crossover sure to rankle fandom (but what doesnt these days), but it is clear of purpose and thematically powerful enough to have me intrigued.

What isnt diluted is the issues last page. Marvel has removed Bruce Banner from the current Marvel slate of books; theyreplaced Banner with Amadeus Cho and have presented some fun adventures featuring this totally awesome Hulk. So when Banner returns in one of Ulysses visions, that return has a huge punch. Im not sure if this story beat is the reason why Hulk was taken off the board but if it was, bravo; thats some impactful, long-form storytelling.

Is this a good comic? While youre reading it, yes, yes it is. Will it remain a good comic? That depends on where Marvel goes next with Banner and Barton. In a year, this comic could be a well-executed turning point or an easily dismissed sales gimmick.

Everything is still a bit of a mess, but Civil War II is a fun mess and now Im deeply itching for the next chapter- which probably hits sometime in 2018 or some such nonsense.

Also, by having Ulysses visit a very familiar, very recently revealed potential future, Bendis did raise the stakes on the series. So, lets see if Bendis can stick the landing when Civil War II ends next issue.

There were some big deaths in Civil War II, but is there any doubt that War Machine and Bruce Banner will be back sooner rather than later? Seriously, the impotent use of deaths that stand for like half a year needs to end in all comics. Civil War II #8 would have worked better if I havent been reading post-Civil War II stories for like three months now. I am looking forward to seeing what happens next and Bendis hits most of his landing, but Civil War II did not fully live up to the legacy of Marvels Civil War.

This is not essential reading but it sure is fun and it makes the main Civil War II book better by filling in some blanks.

All that being said, Abnett writing Hercules is never a bad thing and even though this book is a mess, I hope the sales injection will allow me more Abnett-crafted Hercules adventures.

Old school Marvel fans will enjoy some cameos from some of Marvels esoteric street level players like Fancy Dan and Man Mountain Marko. This issue was like a Marvels most wanted bit of crime fiction combined with the huge doings of Civil War II to form a street level bit of grit that really gets under your nails in a good way.

So in a summer where Civil War II is everywhere, the X-Men tie-in to the event stands out as an action-packed and thoughtful addition to the battlefield.

Collider does what Vertigo has been doing for years, shattering the limitations of reality and expectation and daring readers to venture into a realm where anything goes. Collider is ripe with originality and potential and shows that creative engine of Vertigo is revving just as hard as it has for decades.

Wood writes incredible battle sequences of intimate brutality and controlled chaos. Mirko Colak is a new name to me, but Crom can he draw! His settings are detailed and lush and his action is ferocious and primal. He was an artist born to draw Conan. Wood combines a rousing fantasy setting with brutal action to form an emotional and classic Conan tale.

Constantine #1 kicks off with a maguffin hunt, something that is a little predictable and beneath the usual complexities of John Constantine. Instead of personal attacks and insular horrors that have become so familiar to readers of Hellblazer, Sargon hurls cars at the title character. I'm pretty sure no cars were tossed in the almost three hundred issue run of Hellblazer, but as Fawkes and Lemire establish, this is a whole new world of action horror, one that could be a great ride if readers let it.

There is an undercurrent of dread the entire issue, not only for Foggy, but because of the unrevealed mastermind behind the attacks. Waid reveals the villain to be some creepy manipulator locked in a sensory deprivation tank. The coming battle between a man who lacks senses versus a man with hyper senses should be pure Waid insanity. Waid is not just playing with the same pieces everyone else has over the past few decades, the Kingpins, Bullseyes, Elektras, and Typhoid Marys, he's adding to Daredevil's world, while finding unique threats from other places within the Marvel Universe. As Matt Murdock must face a very personal struggle with Foggy's cancer, Waid is making sure the external threats are ones neither Matt nor readers have experienced before.

Daredevil: Dark Nights #1 sees the return of classic Daredevil artist Lee Weeks to DD's Hell's Kitchen haunts for a self-contained story that is a perfect representation of the character!

Janson is at his best here in Daredevil: End of Days #4, as the faces of the players are world-weary, the future world seems somehow dirtier and the violence has impact. Sienkiewicz ably finishes what Janson began, making the world seem like a cesspool in which Urich is desperately searching for a shred of decency. Matt Hollingsworth's muted palette adds to the noirish ambiance of Daredevil: End of Days #4, creating a perfect package. Bendis sometimes takes a beating from critics, but one thing that cannot be denied is that he plays to his artists' strengths and he crafts a perfect setting of strip joints, motel hells and prisons to allow his artists to really up their game in Daredevil: End of Days #4. Daredevil: End of Days #4 is old school Bendis at his best, with a mystery that won't quit, in a world where innocence and the truth are drowned in the soil of apathetic corruption.

Daredevil: End of Days serves as a who's who for Daredevil villains, but also as a who's who for Daredevil artists as five true greats all deliver the goods. This series is certainly delivering the goods for Daredevil fans of every generation.

The war between mutants and Inhumans begins with a bit of a thud as Marvel throws a dart to see which unused X character needs to be sacrificed to light the dynamite. Guys, Madrox will be back and this otherwise well-written issue could have moved forward without the pointless and highly marketed death.

Chang's art is detailed and adds layers to the rich fantasy world Vendetti is playing in. His woman are beautiful without being overtly sexist, something that is all too rare these days. He can do it all, from Amazons, to vampires, to demons, to bison riders. Chang captures the spirit of Demon Knights perfectly, combining fantasy elements with comedic timing to give readers a truly unique reading experience.

There is plenty of satire here as Way takes pot shots at consumerism and religion and the whole thing combines with Nick Deringtons clean artwork to combine the traditional with the absurd, the expected with the surreal. I think fans of Grant Morrisons legendary run on Doom Patrol will be disappointed as that title perfectly combined superhero action with the unreal. But fans expecting a fun and dreamy romp through an experimental unreality will be quite pleased with Doom Patrol #1. While I really, really dig Casey, Im hoping next time there will be more Doom Patrol in my Doom Patrol.

Sometimes this book tries to do too much in to short a space, and becomes muddled. Not this issue, as Earth 2 remains a bright, well executed, alternative look at the DC Universe.

Mark Bagley is his usual solid self on this issue. He is a master storyteller than can do action, pathos, or comedy. His renderings of Reed and Sue in college carry as much import as the FF's ship plunging through the cosmos. He nails each character's distinct look just as well as Fraction captures their voice. Once the action picks up a touch, Fraction and Bagely should take their places among the pantheon of great FF creators.

Brubaker and Phillips are as comfortable in the western setting as they are in the urban landscapes of the book's main arc. Last issue, the duo set their story in a primordial French forest in the Middle Ages, from which they seamlessly shift in the American West. This kind of locale shift gives readers the idea of the scope of Brubaker's story and of the centuries old stakes that exist between the cult and the fatales. Fatale is hard to describe but easy to love as Brubaker and Phillips break rules, kick ass, and scare the crap out of you month after month.

Speaking of Grodd, it's always challenging for an artist to effectively render Grodd, as the idea of a psychic gorilla warlord is inherently silly. Manapul does not flinch from the challenge and his Grodd exudes primal terror. Somehow, Grodd's simian face radiates savage intelligence. Manapul's page layouts continue to be complex and burst with energy. The art sells the plot, a plot that in another artist's hands might collapse under the weight of its own inherent ridiculousness. As a whole this modern take on the Flash is a great character study of Barry Allen, an exciting forum in which to explore the always welcome Rouges, and a tour-de-force of page design. This issue gives you plenty of bang for your three bucks, making up for the past abuse of decompression.

Carmine Di Giandomenico does it all this ishas he handles the quiet scenes between Barry, Iris and Wally with the same visual fluidity as he does the action scenes. You guys, we may have finally entered a new age of greatness for Barry Allen and the Flash, one that could stand side by side with Mark Waid and Geoff Johns' runs. Lets hope things keep moving forward at such a pleasantly brisk pace.

As for everything else, this story is moving along nicely. It is a satisfying read if a bit connect the dots.

The issue is enjoyable but the progress meter barely moves as far as story is concerned. This would be a major problem with a monthly, but like I said, its not such a big deal with a bi-weekly. This issue marks a tonal shift as Williamson goes from a breezy superhero adventure to a pretty intense horror tale in the blink of an eye. I think were about to get to the meat of the first RebirthFlash arc, so hopefully, Williamson makes his story as speedy as his main character. But things are better than they were a year ago, as The Flash #3 keeps things in a clear and consistent direction and signals some dark days ahead for Barry Allen and company.

The future of Flash is very bright now that the Flash family has been reunited, and they are all in good hands.

This book is a gift to readers of a certain age as this book has the potential to open a whole universe of nostalgia and future potential. This comic is a pure joy that keeps the toes in the water of Saturday mornings past while flying into the future.

As it stands, this book is a delight for those who remember these simple characters. And now they are together under one cover by some of comics best. Galaxy Trio, you guys!

Listen, the Reyes Ghost Rider on Agents of SHIELD is an adult and much different than the youthful comic book Reyes. Thats fine; theres room for both in the Marvel kingdom. But when the comic version is so redundant and obvious, why bother? Robbie Reyes: Ghost Rider #1 is categorically not a good comic.

Having the book narrated by Harrison, who never speaks, gives the book an emotional core that is pivotal to giving the monster chaos meaning. Don't let the human elements scare you away if you were one of those kids that hated the talky scenes, there are plenty of monster splash pages provided by Simon Gane, and page after page of fire and rubble.

As good as this issue is, it's just a taste of what is to come. Lemire needs to delve deeper into the mystery of Komodo and why he wanted to utterly destroy Ollie's world. Hopefully, Green Arrow will come out of this arc the hero he was always meant to be. Judging from the first issue, this is the goal. Why DC didn't just make this issue a new #1 is a bit mindboggling, as that would have served as an invitation back to readers who abandoned ship when the book derailed early on. DC needs to learn that they must get their core characters right the first time, especially with those appearing successfully in other media, because a writer with the chops of a Jeff Lemire won't be there every time to bail them out.

In Green Arrow #1 Percy reintroduces a classic GA villain and also features a shocking betrayal and more action than you can imagine in twenty pages. Otto Schmidts art and colors are absolutely stunning as these two creators that I never heard of just a month ago are starting something that seems truly special.

All that being said, this is a step up for Green Arrow in many ways. Theres a fun rhythm and coherency to the book that has been lacking in all of the characters New 52 appearances sans Lemire. It is the best solo Green Arrow comic I have experienced in quite some time, but there are still some noticeable warts that keep this from becoming a must read Rebirth title. A little less obvious characterization and a lot more plot logic can save this title from becoming another forgettable chapter in Green Arrow history.

Valthoom doesn't appear much this issue, but his presence gives the issue a feeling of impending doom. If one is reading Green Lantern Corps, one will remember what Valthoom did to Guy Gardner, which makes the coming conflict with Sinestro or Hal that much more anticipated. This is a great example of a crossover where every issue stands strongly on its own, but also enhances the story if read as a whole. As suspected, Johns will go out with a bang. The lingering question is, how many of his beloved characters will survive the writer's exit?

This issue couldn't have been easy to draw, as many of Valthoom's scenes are told in complex montages with highly rendered details. Pasarin never muddles the art, and tells a dynamic story that under a lesser artist would have lost cohesion. Like Johns, Tomasi has three months left to do what he does best, tell kick ass stories filled with huge ideas that never lose their humanity. The next creative teams have some large shoes to fill.

The art succeeds when it focuses on alien cityscapes, but the action is muddled, and often, the artists try to jam as much stuff on panel as possible. Giffen is usually better when he handles his own creations, so there is hope for Threshold, but this Annual was as forgettable as it was confusing.

Green Lanterns #1 wasnt the start of the Rebirth era of Green Lanterns I was hoping for. It is all a briskly paced, disposable Geoff Johns cover song that left me feeling a bit empty, but all that being said, I am absolutely intrigued by the character potential of Cruz and Baz.

Green Lanterns #2 was an upgrade from #1 mostly because of the uniqueness of Cruz but the book is still lagging behind the GL revolution-era of Geoff Johns.

Thats on the writing side. Onthe art side- DC, thats just too many damn artists on a single issue. Lets count now- three pencillers and six, SIX! Inkers? Thats just crazy, DC. Seriously, if DC is going to do this bi-weekly thing, there is going to have to be some accountability for an artistic disaster of this magnitude. None of the art was bad, but there is a lack of storytelling consistency when you have this many chefs trying to roast a chicken. Frankly, Humphries' story deserves better than that, because story-wise, in one issue, Humphries put Green Lanterns back on track as Green Lanterns #4 presents a five star story with one star artistic stability.

Both artists put forth an amazing effort establishing the re-energized visual world of Green Lantern, and really, when one is looking at Van Sciver GL artwork, all will be well. My only complaint about this issue is that there just wasnt much of it. The new GLs are introduced, argue, fight a Manhunter training drone, and get lectured by Jordan. I would really like to see a bit more story packed into these Rebirthissues. But where Green Lanterns Rebirth falls short on plot, it makes up for in character as Baz and Cruz are heroes that I want to read about for years to come.

Grimm #1 is a slightly heavy-handed introduction. Seeing words like "bludbad" written instead of spoken drives home some of the innate silliness of the world, but like the show things are played mostly straight, and the creative daring sells the story. The complex introduction might put off new readers while boring those familiar with the show, but when the creators finally move forward instead of spinning their narrative wheels, the book has the potential to feel like pure Grimm, a fun, if often silly world, where things can get tense and scary in a hurry.

When you want an artist to make a comic feel "important," there is no one better to turn to than Steve McNiven. McNiven has surpassed Bryan Hitch as the cinematic go-to guy: an artist that will make the big moments feel bigger and the poignant moments pluck the heart strings. Whatever the film will look like, McNiven just provided the storyboards. If this issue was the opening salvo of a Guardians of the Galaxy media barrage, than we will finally have a new addition to that list of marketable and iconic Marvel heroes: a list that will finally changes after almost fifty years.

Sara Pichelli is one of the best artists in comics right now. Her design sense and layouts are truly original and a sight to behold. It's hard to out-awesome Steve McNiven, but Pichelli pulls it off. In lesser hands Angela's costume would look dated, but not Pichelli's. Instead it resonates grace and power. Welcome to the Marvel Universe, Angela, may all your appearances be as good as this one.

Hal Jordan and the Green Lantern Corps #1 follows a story direction I can get behind. It features the return of the classical Hal Jordan and Sinestro, actually finds a few pages to show a fight between Jordan and some Yellow Lanterns, and feels like it wants to be an old school Green Lantern tale. All thats very welcome, but the empty bombast and constant wasting of story pace for reveals that arent as bold and dramatic as the writer thinks makes it feel like my money could have been better invested in a comic that did not take three minutes to read.

The threats presented are not surprising as the issues plot is a bit paint by numbers, but after all the unneeded and unwanted changes in the Green Lantern universe these past few years, maybe a little classic is just what the Guardians ordered.

Artist Chad Hardin channels a great deal of Amanda Conner into his visuals and character work, but he still has his own artistic identity making this one fun comic to look at. If youve been enjoying this book, youll still love it. If youre coming to the party because of the Suicide Squad film, you might be a bit confused because this Harley is way more Bugs Bunny than she is Mallory Knox, but youll still have a load of fun with the inherent wackiness of Harleys world.

Hawkeye is filled with quaint and human moments that when contrasted with the rest of the Marvel Universe make both worlds more three dimensional. Hawkeye is portrayed as a normal dude with abnormal skills who finds himself in fantastic situations on a regular basis. Fraction just nails Clint's character, and it can be said without a moment's hesitation that David Aja is the best illustrator and visual storyteller in comics today. The whole story is grounded in reality, but the issue's conclusion reminds readers that this is the Marvel Universe and there are some very scary people not limited to reality now after Hawkeye and the safe. The stakes have been raised in the most delightfully experimental and compelling super-hero book in decades.

Any fan who picks up Hawkeye #1 will enjoy it, but this book will have a hard time surviving because it is like so many other books out there. There is a deafening signal to noise ratio echoing through todays market and while Hawkeye #1 is a quality comic, it might not be loud enough to break through. Lets hope the creative team of Hawkeye finds their own path to stand out from the pack, because if the first issue of this new Hawkeye is any indication, theres a ton of potential for Kate Bishop and her new series.

Hinterkind feels similar to Image's Saga in many ways, but comfortably plays with urban fantasy tropes the same way that Saga bends and breaks sci-fi expectations. It's pure experimentation and proudly Vertigo.

Hulk #1 is shockingly good, a meditation on sacrifice and recovery that a seasoned Marvel reader would never dream of finding in a She-Hulk series. Seriously, its still too early to judge, but if the first issue of Marvels new Hulk is any indication, Tamaki and Leons take on Jen Walters could be Eisner-worthy.

And when Galactus arrives"oy vey. The always-able Leonard Kirk, one of the most consistent and criminally underrated artists in comics, brings the full Kirby as Galactus literally tears a hole between the two universes. The swarm attacks Galactus but instead of consuming him, they join together. Cataclysm begins here, in a breakneck-paced cosmic delight, and, my lord, what a freakin' cover by Adi Granov. This is certainly an exciting time for the Ultimate Universe, but the question remains if these will be the final moments for a universe that perhaps has grown a bit redundant.

The enjoyable part of the series is the focus on the positive impact the Hulk is having wherever he goes. As he leaves Lemuria, Banner is pleased that the Hulk made allies, which is in contrast from the usual Hulk ending of Banner slowly walking away from the destruction he caused. Waid knows how to counter the expected, and it is obvious that this book is destined for greatness, but things just haven't gelled perfectly yet. That being said, this book still kicks eight different kinds of ass and is worthy of any pull list. Leinil Yu has though, as the artists dynamic style is evident in the exotic locals and action Waid is providing for him.

As unlikely as a Hulk/Daredevil team-up may seem, Mark Waid and Matteo Scalera not only pull it off, but make it seem perfectly natural in Indestructible Hulk #9!

Infinity #1 is only the first piece of the puzzle, and as such will leave readers with many questions. Some of his newer characters are not clearly defined for newer readers, but the scale of the story makes up for these quibbles. The first issue, at last, makes an event feel like an event.

For a comic that I poo-pooed, International Iron Man #7 stands as close to perfect as superhero comics get these days.

Riris debut would read so much better if the reader knew Starks fate. Instead, we are left with muddled questions as Marvel screws Riris book due to scheduling snafus on Civil War II. A shame really, because Riri Williams is an important character that has her own motivations and voice. The Marvel Universe is a better place because Riri is not firmly embedded in it. Due to Marvels coy little scheduling nonsense, we cant see Riris full story yet, and this character is too important to be playing those kinds of games with.

The rest of the issue sees Riri take on AI Tonys old armors. These sequences allow Stefano Caselli to go to town with some fun and innovative action sequences, but its multiple Iron Man armors going against a single Iron Man. Youve seen it before. But, you havent seen it through a character like Riris eyes, and Bendis' obvious devotion and love for his creation makes Invincible Iron Man #2 a worthwhile read.

There's really not much vs. in Inhumans vs. X-Men, but the setup is electrifying. The reader will sympathize with both sides as Soule presents both factions' points of view with aplomb. I really can't wait for this one to begin.

Inhumans vs X-Men #1 feels big and reads big, and now that all the set-up is out of the way, the rest of this event will live up to the standard set by the third act of this issue.

Like Kid Loki's tale, Sif's story is a look at a Thor cast member in a new way. It is a huge story that has intimate moments of humanity and humor, and it will hopefully end with Sif as a stronger character than when it began. All in all, Gillen set a very high bar for this title, and while the verdict is still out on whether Immonen will reach it, she and Sif are certainly on the right track.

The whole thing is a bit cynical, but not as cynical as Millar's usual work. There is a sense of wide eyed optimism in the flashback sequences, and while there Millar's usual preoccupation with sex and drugs are present, he is refreshingly restrained. No new ground is being broken here. Jupiter's Legacy is another postmodern deconstruction of the super-hero myth, but it does differentiate itself by functioning as a running contrast between the early age of super-heroes and today's complex morality.

Hitch can do better, Hitch has done better and hopefully soon hell give the always excellent artist Tony Danielsomething worthy of the name Justice League. Hey man, this is just the middle of a storyline, I acknowledge that, but as individual chapters to a larger story go, this one was a snoozer.

It will be fun to see Johns go beyond the introductions and watch the team interact for the first time. Especially with David Finch doing what he does best, huge action pieces mixed with intense visual drama. Justice League of America #1 sets up the core conflict moving forward in the DC Universe and experienced readers know that when it comes to mass super-hero conflict, Johns knows how to bring it while squeezing out the poignant character moments as well.

Artist Ivan Reis provides a classic DC sensibility and makes this comic soar. Every page is bursting with energy and hopefully Orlando will find his footing with this cool DC team. This comic could have easily been the Rebirth version of The Outsiders, but DC is allowing these mostly unexplored heroes center stage. A good beginning.

As far as the narrative is concerned: so far so good. Vibe makes characters like Hawkman and J'onn J'onzz seem more impressive and alien while giving readers some insight to the inner workings of this new universe. Including Gypsy as part of these opening issues was a shrewd move by Johns and Kreisberg as older fans will have a connection to Gypsy, who shared the pages of Justice League with Vibe back in his original, less interesting incarnation. This is a perfect companion book to Justice League of America, as Vibe navigates his way through his first days of being a hero connected to the larger tapestry of the DCU. As readers of JLA know, Vibe was recruited to take down the Flash, and this confrontation looms large over the book. The last page is quite the tease and promises the further growth of the new DCU, and perhaps a return of an old fan favorite Flash character!

There is a great last page surprise though which bodes well for the rest of the series; acouple of classic characters, two of which will shock the heck out of fans, appear on the last page cliffhanger as the series' big bads. The awesome last sequence will make you feel like you read something great, but you didnt; you read something that exists to cash in on film properties brought to you by a writer thats trying his best to make the darn thing work and an innovative artist doing the work of his career.

This issue, Tony Daniel takes the artistic reins from Jason Fabok. Daniel doesnt have the dynamism of Fabok, but the issue still looks great and the action is energetic, and at times, explosive. The issue ends with a nice cliffhanger featuring Amanda Waller doing what Amanda Waller does and its all very clear that the League and the Squad will have to team up and take on Lords new team. Its all obvious but fun in this mindless and harmless punch em up.

Its all under a cover by the great Bruce Timm and it is all so much fun to experience. Kamandi Challenge #1s only agenda is to entertain and excite. It is not a huge part of this overall marketing tapestry, but a tribute to a man who we owe everything to. Kamandi Challenge #1 screams long live The King, and we love it!

New artist Roland Boschi perfectly complements Ellis. His Karnak is lithe and deadly, and even though Karnaks face is usually hidden in shadow, the glimpses Boschi gives reveal so much of the characters aura.

Millar is constantly in danger of going too far and losing the reader, but his sense of control is impressive as Kick-Ass 3 begins. There is not much going on so far, but what is there, is a light and enjoyable read that promises great things. Speaking of great things, it's always awesome to see one by a true master. John Romita Jr. brings his A-game to Kick-Ass, showing his aptitude for comedic storytelling. Romita's previous forays proved he could do the ultra-violence, but this issue was light on violence and heavy on the character development and comedy. Romita's adults are imposing, and his young people are scrawny enough to appear threatened by the adult world they are attempting to be a part of.

Rucka's unflinching writing style has been greatly missed since the end of his run on Punisher and the industry is in a better place when Michael Lark is drawing a monthly book. It will be a pleasure watch the brutal visually poetry as Lazarus unfolds.

As usual, Wood's setting is a vital aspect of his narrative. DMZ, The Massive, Northlands, and even Conan all have unique and memorable locales, with their own sets of rules that assist Wood in world building. It is these settings that define Wood's characters and Mara is no different. The art is powerful in its simplicity, establishing a future world that looks both familiar and fantastic. The big draw of the book is the question of whether Mara is a cheater who betrayed her public, or is she a victim of events beyond her control. Today's marketplace is tough, and Image and Brian Wood should be praised for daring to create a book about a dystopian volleyball obsessed future culture with a strong female lead. It works, and I'm intrigued to see where this one-of-a-kind experience goes.

Image should be praised for taking a chance on a book like this. A tale of a super-powered volleyball star doesn't sound like the most marketable idea ever invented. But if a reader gives this book a chance, he will be rewarded with a thought-provoking morality play.

It's so good to see Monica in action again that one can forgive the usual gathering of heroes first issue. Readers have seen this type of thing before, but the team is made up of such different personalities that good stories are sure to follow. With all the cosmic shenanigans going on in Avengers and New Avengers it's nice to read an Avengers book grounded in character and team interactions.

Some of the flashback scenes are pure Mills, as we get to see Drake in a bubble bath and steaming up the social scene with Mills-inspired evening wear. Williams knows who his character is and how she fits into her time, and it will be interesting to see how he fits her into today's world. So far, I think Tarp Mills would be proud of where her creation has landed, with her stiletto heel planted firmly on a Nazi throat.

I think the powers at be at Marvel believe that fans will see a bunch of heroes in a thing and support it. Not anymore, guys. There is a potential for fun in this series, but all involved need to show readers exactly the type of roller coaster were being expected to board, and they don't.If youre a fan of McNiven, this book is for you, but theres just not enough here to justify the investment this series will entail.

If Marvel wants to share in the bloodsucking dollars on offer in today's market, Morbius, The Living Vampire will need to sharpen its fangs. The very last page of Morbius, The Living Vampire #1, Vol.2 does promise to do just that and provides us with just enough intrigue to be worth a return for the next issue.

Each member of the cabal possesses an Infinity Gem, and the idea is suggested to use the gems to stop the approaching Earth. Any longtime Marvel fan doesn't have to think too hard about what happens when the gems are united. The team splits, half to prepare for the Earth's arrival, the other half to seek out the lost Mind Gem of the fallen Professor X. It was shocking that Captain America suggested the Gems be combined. He is the only member present that is certain they will not be corrupted by the Gems' power, because he is incorruptible. Hickman never loses Cap's sense of humanity or duty. The issue could have been lost in a morass of metaphysical exposition, but instead was a character study of the most powerful beings in the Marvel Universe. With all the Avengers titles out there, this character driven approach to cosmic storytelling truly stands out.

The first issue takes a pleasant long time to read and is not in any way decompressed (something a number of DCs new titles have fallen victim to). Yang manages to present a fresh but classical superhero origin to a very unique new character in a very fun setting. The book sometimes feels like an Elseworlds type thing, but when one remembers that Kong is a new hero in the DCU proper, New Super-Man becomes very exciting. This new title does not feel like forced diversity, it feels like a comic that the creators are passionate about and it feels like New Super-Man can be a very important addition to the DC REBIRTHUniverse.

Theres some good raw material here, but there is going to have to be more of a focus on character and purpose moving forward if Nighthawk is to break through the Marvel pack and become as big a hit as Walkers other Marvel work.

The art of Javier Fernandez perfectly complements everything Seeley is trying to do. Dont be surprised if you see Fernandez on some huge projects moving forward. This man can draw thoughtful moments of introspection and kickass action. Also, dont be surprised if Raptor is given his own series soon as it looks like Seeley and company may have found a perfect foil for Dick Grayson.

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Punisher #1 is a fast paced, pull no punches, cordite-fueled heart-punch that will make Frank Castle fans very happy.

Somehow, Greg Rucka totally sells that the Punisher as a legit threat to the Avengers, both physically and morally. His nature creates conflict within the team, and when the Punisher finally does step out of the shadows, he manages to use one of the Avengers most powerful weapons to, not only completely fool them, but to also go toe-to-toe with them. By pulling off the seamless insertion of the Punisher into the Marvel Universe, Greg Rucka has proven himself as one of the best writers to ever guide Frank's story.

More is potentially there in the form of Rankorr, the human Red Lantern who is struggling to regain his humanity back on Earth. He is trying to suppress his rage and be a hero, but with Bleez stalking him, the whole thing will end in tragedy, of course. Milligan would do well to let him be the stories narrative perspective rather than the alien rage monster Atrocitus. The whole thing is a bit overdone and self-aware, and needs to be toned down and humanized in order to survive. The book does have some amazing art going for it. Sepulveda knows how to create some awesome action sequences, and his alien designs are second-to-none. Sepulveda has a very promising future, which is more than can be said for the book itself.

Walter Geovani's art harkens back to John Buscema and there is no greater compliment one can give an artist working in the world of Robert E. Howard. His Sonja is strong, beautiful, and reeks of danger and pent up, coiled aggression. He gets Simone's humor but he also draws thrilling battle sequences worthy of the name Red Sonja. Thanks to the creators involved, Red Sonja will be a pleasure to read every month.

This is Garth Ennis at his finest, playing with complex characters and exploring morally ambiguous themes. He is ably aided by Craig Cermak who's simple and realistic style sets a tone for Ennis' exploration of the morality of power, and how a thin line of judgment can break both the justice system and the individuals that work to maintain it. This issue is mostly set up so there are some growing pains, but it sets up a series of with great potential.

The book calls into questions society's morals and the idea of how power can corrupt. But is it so bad if corrupt power brings down the cancerous vermin that infect this planet? Ennis is doing a good job differentiating the motivations and skill sets of each team member. Red Team is a stark reflection of reality, part warning, part wish fulfillment of the true consequences of vigilantism. This is the Punisher in the real world, and I'm equally anticipating and fearing what happens next.

While the characters are multi-dimensional and robust, it is world building where Vaughan truly excels. It is not often in today's market that a truly gifted creator is allowed to craft a fully functioning world from whole cloth. The world of Saga has its own unique cultures, system of magic, interactions, and rules. These are established almost primarily through dialogue and characterization. It is an impressive lesson in craft that never fails to disappoint. Saga is unique experience unlike any in comics today, and I look forward to my next visit. Plus, the book always contains the best letters page in comics.

Just as Vaughan builds the world though his characters and his narrative, Staples provides the stunning visuals that propel the story forward. Her characters have a casual body language that forces the reader to fall deeper in love with them every single panel. Her action has a large scale feel without ever losing humanity, and she is a master of comedic timing. This is the comic all creator owned work should aim for. New rule for all future reviews, if a book doesn't equal Saga, it doesn't get a 10. Yes, this book sets the standard.

Rest assured, as this book continues, there will not be much navel gazing. What there will be is Wolverine alongside statuesque females killing dinosaurs and swinging through trees. There's a perfect synergy here, with an amazing artist playing with a forgotten genre and a popular character. Savage Wolverine #1 is the book for you if you love Wolverine, and quite frankly, it's the book for you if you are sick to death of Wolverine.

Now, who knows what direction Superior Spider-Man will go? Will it be a tale of retribution for Doc Ock, or will it be a quest to balance a dark nature with a sense of humanistic responsibility? If either of these themes are the case, they may be redundant, as Scarlet Spider has been exploring these ideas for well over a year!One does hope Kaine will meet Ock and compare notes about living in Peter's skin, sooner rather than later.

Shadowman #8 is one of those perfect supernatural comics that walks the line between superheroes and horror. Stop waiting for Marvel to put out a good Doctor Strange comic and start reading Shadowman!

With a little restraint, Sidekick can be another worthy addition to the Image renaissance currently happening in comic stores every Wednesday.

Skyman's premise of a brave and broken warrior having to fix himself and the legacy of the superhero identity is a sound one, but the book needs better pacing and a dash of subtlety if it is to be a worthy companion to Captain Midnight. Fialkov and company should be proud of the character they created, now they just have to build a story worthy of their creation.

So, while the Star Wars news is coming fast and furious, don't forget the fine work Wood and Dark Horse are doing as we transition into the next era. Some exciting stuff from the people who kept Star Wars vital in the years between the films. And, yes Alex Ross, do more Star Wars covers, please. Wow.

Star Wars #18 is a reminder that Marvel is killing it on all their Star Wars titles right now, and Jason Aarons flagship title is leading the revolution.

Tony Harris art is gorgeous to behold, detailed and uniquely laid out as the master artist who drew so many Starman pages with Robinson is in rare form. This book was supposed to be out the same month The Force Awakens was released, but I have a feeling Harris highly detailed art pages put the brakes on things for a few months. But, this package is worth waiting for (and hey, its out in time for the DVD release so"), as a pair of veteran creators set out to tell a story about an arm but end up revealing the true inner nature of one of Star Wars' greatest heroes. Thank the Maker.

Star Wars: Darth Maul#1 may give Lucasfilm and Marvel awesome Darth Maul marketing art for the next two decades, but it did not give fans a story with any substance as of yet.

Gillen also serves up a fun backup with his Darth Vader artist Salvador Larroca that tells a tale of Aphras younger days, and its all a very exciting intro to a very differnet type of Star Wars tale. So, get ready for complex heists and lots of droid murder because Doctor Aphra is here, serving up a very different type of SW adventure that youre not going to see anywhere else.

Readers never get to actually witness the race in the first issue (de-com-press-ion) but the set up is solid and the characters are all comfortably familiar. Im sure Liu will come up with some fun competitors for Solo as the race begins in earnest and Im looking forward to seeing what happens next–mostly because I know exactly what is going to happen next and seeing Solo be Solo is always a blast.

Will Conrad brings the goods this issue. His Midnighter and Apollo reek of confidence and power, while his Engineer is inhuman and scary. The action is perfectly paced. His splash page reintroduction of Zealot has a great old school Wildstorm feel to it. Milligan and Conrad finally find a bit of the magic that defined these characters in the past. It's not back completely, but this issue was certainly a step in the right direction.

The art is perfect for action, but the quiet moments are quirky and distracting as the characters all look like they are going to or coming from a battle at all times. Everything seems a bit too exaggerated at times, but when things need to be exaggerated the art hits the right chord. Something intangible is missing from this book, something that is making this book less enjoyable than the freewheeling story should be.

Suicide Squad #20 brings in a new creative team and keeps the spirit of the book intact without breaking stride to establish the new status quo!

But the classic Squad feel is front and center in Suicide Squad Rebirth #1 with intriguing badass characters and Waller at her string-pulling best. Even if you dont like the film, the Rebirth era Suicide Squad book seems to be the place to go for classic Squad action as it hits all the right John Ostrander notes while existing in its own modern space.

I've enjoyed this new version of Superboy, the idea of cloning being forbidden on Krypton gives the character an edge of tragedy and adds a new layer to a familiar character. Lobdell and DeFalco makes the character likable but edgy, without being smothered by unneeded angst, but the plotting and pacing of this issue are an absolute mess and killed any momentum from "H'el on Earth," a story where Superboy was the only effectively used character. All the Superman family books are soon to receive a creative shake-up, and it can't come soon enough as this directionless mess is dragging characters with vast potential into the abyss of mediocrity.

The inclusion of Power Girl is welcome as well. As a fan of Paul Levitz's work on Worlds' Finest, I have been eager to see the two Karas meet. The meeting won't be without conflict, as Power Girl is somehow weakened by Supergirl's presence. This is some intriguing set up by a creative team that doesn't even receive proper credit on the cover! Hannah overuses expository tools like thought balloons and caption boxes, but the guy knows what he is doing. Maybe one day he'll even get credit for it. Imagine the poor guy, now he has a DC Comic under his belt, an issue he will treasure forever, and some other dude's name is on the cover. C'mon DC, we here at Den of Geek really enjoy making you guys look like a million bucks, we are slavering fans, honest. Can you help us out? Just a bit?

The classic, clean art of Steve Lieber humanizes the proceedings giving everything a matter of fact, real world quality. Lieber's art has great comedic pacing, and breaks down the more humorous scenes into multi-panel grids to perfectly catch the timing of the jokes. These Foes have never been this entertaining and this unexpected crime book is a must read. It would be a crime to dismiss it.

Ryan Stegman's art is reminiscent of early Todd McFarlane. His design sense is exemplary, but some of the more human moment seems overly rendered. That being said, the art does not serve as a distraction at all. The verdict is still out on whether Slott will pull this off, but with this issue, he took one of the story's biggest potential pitfalls, and nailed it.

Superior Spider-Man #4 is a masterfully crafted, well thought out character piece that shouldn't be dismissed. Slott is known to up the stakes every issue, and when readers see the last page of this issue, they will see the stakes being blown through the proverbial roof. There is only one person that is Ock's superior intellectually and immorally, and he's back. Will Ock be able to best Peter's greatest enemy? I can't wait to find out.

This issue also makes Ultron seem like a more awesome threat, as Gage deftly establishes Ock as a master of robotics and mechanics, and still has Ultron easily dispatch hm. All this while establishing what has happened to Spidey's supporting cast and defining Ock's relationship with the Avengers. It's not often that an extraneous cross over book surpasses the core title, but Gage nails it here.

I never imagined that this is the Superman comic I would embrace, but it feels so good to be swept up in the Superman mythos after so many years of ennui, that Im just happy to go along for the super-ride. As usual, Tomasi and Gleason are a team that compliments each other nicely as we finally have a Superman book with purpose and direction.

The end of the issue reveals a return of a big bad that should make some old school Superman fans very happy as things continue to heat up in Superman, a comic property that three months ago was basically frozen with complete fan exhaustion and disinterest.

Then theres the art. Wow, awesome stuff from Gleason as his artistic rendition of Jon Kent is so going to inform the rest of the DC artists as Jon Kents legend grows. And grow it well, because DC and Superman #4 has done the impossible and gave fandom a character it already rejected- the son of Superman. Good show all around.

Superman Unchained #1 starts out as a promising personal journey for Superman, but it's a journey that feels grand in scope thanks to the art of Jim Lee. The only way to describe the art is that it's very, very Jim Lee. It's big, it's bold, and it's what fans expect from this modern master. Now, if you like Jim Lee, the art kicks 78 different types of ass. If you don't, then everything you dislike about Jim Lee is here, exaggerated anatomy, severely forced perspectives, and grandiose layouts. One thing is for sure, Jim Lee designed the new Superman look, and no one draws it quite as well as the man who created it. Superman Unchained #1 is a great ground floor title for a very exciting time for Superman fans.

No new threats are put forth as the issue is dedicated to saying farewell to the New 52 Superman and welcoming back the post-Crisis, pre-Flashpoint Kal-El. There will probably be a bunch of new readers saying good-bye as well as this issue is not for the uninitiated, but if youve been following along with Superman these past few years (and bless you if you have, it must have been rough), theres a lot here to love.

The art plays a huge role in the book's failings. Swamp Thing has been defined by great artists since the character's inception. The Rotworld saga has featured some of the most disturbingly visceral art of the past few years. Andrew Belanger creates some unique page designs, but his faces and figures are incredibly cartoony. Cartoony doesn't complement a story about giant cancer monsters rending apart the very fabric of nature and reality. The transformed Maxine should give the reader a sense of innocence tainted, a horrific combination of purity and putrescence. Instead Bellanger renders something that looks like a cross between a Muppet and a cabbage. Bellanger is capable, no doubt, but his style is so wrong for Swamp Thing, it makes one wonder if editorial is paying attention at all to some of these assignments. There are horses for courses, and a clean cartoon style just served to further derail a story muddled in its own disorganization.

Maybe it's time to move Lobdell to a solo Red Robin book and let the writer play to his strengths, because keeping a coherent narrative while juggling plots for each team member and establishing their motivations certainly is not one of them. What started as an emotional look into the mind of Tim Drake turned into a pointless brawl with the Suicide Squad with unneeded soap opera elements like who kissed who and when, and ends with the arrival of Trigon, in a moment that seemed shoe horned into an already confusing and directionless story. The art was nice, though, and Eddy Barrows is quickly becoming one of my favorite DC artists.

Artist Mike Deodato has been in a very dark place these past few years as he was the artist on Marvels Darth Vader. Can you imagine a book darker than a monthly starring Darth freakin Vader? Well, Thanos #1 is exactly that as the direst of Marvels pantheon of evil takes center stage in a cosmic fantasy that will appeal to new fans, and fans who fell in love with the darker realms of the Marvel cosmos years ago.

In my head space, Thanos has replaced Star Wars: Darth Vader as the go to place to find a meditation on the nature of cosmic villainy, and I really cant think of a greater compliment than that. If Kevin Feige and the Russo Brothers want a narrative model sheet to find their voice and inspiration for the cinematic Thanos, they should look no further than Lemire and Deodatos cosmic masterpiece of brutality.

This is myth building at its finest. The whole story mirrors the structure of a Greek tragedy, as Thanos is born into the highest levels of his society, but is fated to fall and be reviled rather than revered. Thanos has always been portrayed as a Machiavellian plotter. He sees the universe as his game board, that everything is a pawn to be sacrificed so he can control the uncontrollable. Simone Bianchi's art is perfect for this kind of story His imagery darkly renders Thanos' descent into madness and his highly detailed style fits the complex and cosmic nature of this story. One expects that we will be exposed to a great deal of Thanos moving forward, and Thanos Rising #1 is a damn good start to that journey.

Avenging Spider-Man #17 is the story of a villain who is changing in subtle ways and unexpectedly finds himself in the selfless role as protector. But the use of the Team Variance Authority effectively removes the story from anything we can relate to. The whole thing, even though it has Moloids, mutants, and a Dragon Man, is surprisingly grounded, but the book loses focus using a threat so unearthly. Yost never really explains what the Authority is, he just relies on the reader's ability to make assumptions. Still, this problem is drowned out by the issue's humor and heart. The art comes across as a bit muddled, but the character designs are spot on even if some of the action is confusing.

Buccellato gets a great deal done in a debut issue that does not fall into the trap of decompression like so many first issues. Quinn's father, a crusading prosecutor is introduced, as is Silk, a police informant who is in grave danger thanks to his connections with the Black Bat. A cadre of adversaries is introduced as the ones responsible for the Quinn's blinding, as the Bat makes it his mission to bring these thugs to justice. Buccellato also effectively introduces the Bat's dark vision powers, and gives readers a brief glimpse at Quinn's disturbingly enhanced bat eyes. That's a heck of a lot of story, and between Buccellato's deft plotting and Cliquet's gritty art the whole thing is an intriguing and worthy return of an almost forgotten character.

And gosh, does Will Conrad bring his A-game. For a book starring a character that many considered a minor DCU player, this book certainly looks as artistically awesome as a major summer event comic.

Teen Trillionaires? Yeah, you read that right! Somehow, DC has successfully dusted off one of Joe Simon's quirkier Bronze Age creations with love, respect, and smarts.

The Mighty Captain Marvel #1 does the same thing as all the previous Captain Marvel comics, but it does it very well. It will be interesting to see where this alien refuges story goes, but it will be even more interesting to see Captain Marvel fly on her own without the burden of the endless baggage brought about by other writers and countless crossovers.

There is a sense that the characters are outsiders with a purpose, misfits who will drag their city kicking and screaming from the corrupt shadows and it will be interesting to see what connections these characters have with the DC Universe. The book starts as an exploitation of the "Occupy" style iconography and core beliefs, but it evolves into a very effective modern super-hero tale, and for possibly the first time, there's something really NEW in the New 52.

It's good to see the Owl back, but despite a captivating mystery involving Owl Girl, one wishes there was a little bit more meat on the bone so the character can finally join the Whooooos Whooooo of heroes. Oh, yes I did.

You will love Nadia. She is a wide-eyed innocent trying to navigate her way through her new country. She is trying to gain citizenship in the United States so immigration is covered, but Whitley does not use the US Immigration office as bad guys or shine a negative light on Nadia's experience. Its just used as a background to the character as she discovers the wonders of America. Some sites would like to sell you the fact that this comic is filled with left-wing social justice messages. It really isn't. Yeah there's tons of diversity, but at the end of a very fun day, this comic is a joyful and breezy superhero comic with a new lead character that should make the Marvel Universe a brighter place.

This is the kind of book fans have come to expect from Vertigo: an unexpected, genre bending, soul chilling horror story that puts character first. Sean Murphy has kind of become Vertigo's go-to guy for unique and gripping storytelling. He renders the dystopian future with as much gusto as he does the modern technological trappings of the sea platform, and he has the right sense of nuanced timing needed for an effective horror comic. Vertigo is not producing much new material these days, but The Wake #1 makes it clear that when they do, they hit the mark.

Guice's artwork adds to the grand scale of the drama, as he brings the gritty realism of a Neal Adams and combines it with dynamism of a Jack Kirby. Yeah, it's that good. This is a Thor comic that is worthy to be mentioned in the same breath as Kirby and Simonson. It has an epic feel, but without retreading ground covered before. If Marvel films is looking for a villain for Thor's eventual third installment, they need look no farther than Gorr. This is the stuff of myth and legends, and would translate into any medium as one badass ride.

"The God Butcher" was a very isolated story for Thor. Other than his past and future selves, Thor worked alone. In "The Accursed," Aaron will finally have a chance to play with the Warriors Three and Lady Sif, four characters who, by no accident, also will feature prominently in Thor: The Dark World. Aaron has the group's banter down and gives the reader a sense he has written them for years. As they race to a burning Svartalfheim to find the Dark Elven realm burning and to confront Malekith, astride a flying white tiger, the band that just blew your ear drums out with "The God Butcher," just plugged in their amps for a second set...and it's going to be loud.

The whole issue was just a jumble of stuff (and tiny heads) that left me interested enough to come back for a few more issues but not interested enough to really care about the cast one way or another. And folks, in todays market, with a property Thunderbolts, that could spell a very short run.

There are some hiccups to this issue but just seeing classic Wally and Donna back in action – in a comic that doesnt ignore decades of history – is enough to celebrate. The emotion and sense of history of DC Rebirth carries over whole cloth into Titans Rebirth #1, and if this is the place to follow the future adventures of Wally WestthenIm in, no matter how indulgently “90s” the art may be.

There's not much story space covered in this premiere issue with most of the action taking place during dinner on the Kent farm (Wonder Woman brought a freshly killed boar), but its clear that Manapul has the voices and visual language of DCs three core characters down. Lets hope he finds a story big enough for the three legends.

And it all ends with a new mission with Galactus, the Life Giver. Intrigued? You damn well should be because Ultimates 2 is the place to be for the boldest and most cosmic Marvel action. And if thats the mission statement forthis book, Travel Foreman will handle the art chores very nicely because, as he proved in Ultimates 2 #1, Foreman can artistically handle huge ideas and push those ideas visually to match Ewings grand plan.

Uncanny #1 by Andy Diggle and Aaron Campbell puts the reader right in the middle of a seedy, superpowered caper! Safe to say it's like nothing else on the stands this week!

Bendis needs to spend time establishing his new mutant characters, who all seem to talk with the same voice, which is not to say this universal voice is ineffective. Some of the banter involving the kids with Ilyana is hilarious, and Bendis does a great job of establishing Magik as the only member of this team with confidence and purpose. So much so that every scene she appears in has a sense of impending danger for all those around her. A few pacing adjustments and a little bit of clarity regarding the newer characters will allow this title to take its place alongside the, so far superior, All-New X-Men.

The artwork by Geraldo Sandoval is suitably edgy as this is a dark tale with appropriately dark visuals. But theres nothing for readers to grab onto. Price is not a dynamic enough character to justify the absence of Brock or Thompson as the title character. Venom #1 is a book that seems like it is destined to be a footnote in Venom history.

Its all very well and good, but there just isnt enough there to justify this books existence. Yes, the internet loves Loki and Tom Hiddleston, and this years chaotic election is just an easy target, but the book isnt cheeky enough to be an effective satire and its not exciting to appeal to fans of the classical Thor or Loki. Its ably crafted in places, and like most of the 2016 presidential candidates, theres just nothing to get behind.

Nic Klein's colors and art perfectly match Latour's vibe. The book looks like an espionage driven book should look. Klein handles a sequence of two astronauts turning into Hulks just as ably as he does an old fashioned bar brawl. For pete's sake, even the credit page is action packed. Make no mistake, Latour's debut is impressive and judging from this issue, he has a great deal to add to the Marvel Universe. Bucky is in good hands.

"Closer than Enemires" explores familiar themes of manipulation, redemption, and violence, but with a unique voice. The pacing is a little off as the story doesn't progress that far, but it seems petty to complain of decompression in this case when so much happens internally with an already deep and fascinating character. Latour climaxes with quite the kicker as it is revealed that Autry was not alone when the Winter Soldier killed her, and the loose end of the past is manipulating events in the present to get back at Bucky. Good stuff from Marvel that shouldn't be overlooked!

Aiding and abetting Cornell is the great Alan Davis. Davis usually deals in cosmic sagas of grand import, but this story starts out intensely small and personal. Davis' art gives the sense that there is something grander than what the first story offers, and that soon, Wolverine will be facing consequences than just the well-being of one boy. Davis excels at action and tense character moments, and this issue plays to his strengths. You may think there are too many Wolverine books, but you would be dead wrong, as Cornell's individualized perspective and Davis' classic art will change your mind and make you see Wolverine in a very different light.

Wolverine #6 sees the end of the first battle with these Micro aliens, but they leave Wolverine in a place that will truly allow Cornell to shine. Fans can see by the trailers and commercial spots that Logan will lose his healing factor in the upcoming Wolverine film, and let's just say this may be the direction Cornell goes in as well to create a nice synergy between film and comic. This may be the summer of Wolverine if the positive buzz surrounding the film is true, and fans will have a perfect place to get their fix after the film as Cornell is doing some exciting and innovative stuff with everyone's favorite berserker mutant.

Sadly, the art, while serviceable, doesn't have the same energy or dynamism as Aaron's story. Ramon Perez draws great faces and he has a good sense of comedic timing, but his action scenes are cluttered, and everything looks a bit TOO cartoony. Still, this the best X-book on the market.

Wonder Woman #1 mixes genres and welcomes readers into a new world that is purposely confusing yet endlessly engaging.

And for real, kids, look at that art. Every panel is poster worthy and not in a self-indulgent splash page-fest sort of way. This is some Eisner-worthy stuff by all the creators involved as Wonder Woman is now poised to enter into a surge of hype and popularity. Films and other media are great, but when the comic is this damn good, something special is truly going on.

Wonder Woman Rebirth #1 is a perfect melding of hero and creator, with a bunch of talents that truly understand and care about the legend of Wonder Woman. And if you were lost by the narrative sloppiness of the New 52s Wonder Woman, you will feel like you are coming home to an old friend because the one and only Diana is back. Thank you, Rucka and company.

Worlds' Finest is inspiring in its thematic focus on friendship and it's an overlooked bright spot of the New 52. Paul Levitz continues to impress as he charts the adventures of the dimensionally shifted Huntress and Power girl on Earth 1. He understands the characters, and thematically proves that a hero is a hero no matter what dimension they are in.

All the artists do a great job; there are just too darn many of them. The constant shifting of styles fragments a story that doesn't have that much meat on the bone to begin with. One artist, a worthy foe, and more of the same interactions between the two leads should be the right formula to make Worlds' Finest a must-read.

This is finely crafted mayhem from Dark Horse. Eric Nguyen creates a sharply rendered world of broken noses and jagged edges. His X is fearsome and brutal, and his criminals are almost animalistic. He seems like a fine choice to amplify Swierczynski's brutal world.

While Brian Michael Bendis is doing a bang up job guiding his two X-Men titles, they are singularly their own thing. They are wrapped up in a complex narrative of the rebellious Cyclops' group versus Wolverine's group guided by Xavier's vision. There is no room for much else, so it seems Wood's X-Men will be the place to see X-Men stories that go beyond Bendis' opus. X-Men #1 is a fast paced, action filled story centered on a family that exist to help each other. It's not about gender, it's about loyalty, and it is a breath of fresh air that doesn't rely on other books. X-Men #1 stands alone, and like the ladies involved, it kicks ass.

So, if you're one of those readers who complain that they have seen it all before and that mainstream comics have become predictable, you owe it to yourself to experience Young Avengers. This is the book that will define the craft for generations to come, and Marvel deserves credit for seeing the potential the creative team has with these characters. Gillen and McKelvie are clearly worthy of the legacy that is Young Avengers.

The interactions between the Young Avengers are worth the cover price alone. In an awesome sequence, to get the Young Avengers to trust him and understand his layers of motivations and machinations, Loki tells them to think of him as Tyron fromGame of Thrones. The book has its own language, filled with pop culture references that combine with established Marvel continuity to form a unique reading experience unlike anything on the market today. McKelvie and Norton perfectly capture the humor and character subtleties of each of the book's players. Marvel is breaking new ground with this title, a title that needs to be on the top of every reading list.