Marykate Jasper Comic Reviews

Altogether, this is an issue where you get exactly what you are promised. I loved "1602 Witch Hunter Angela" #1, but it's definitely not going to be for every reader. Anyone who was excited by the solicit, though, will be pretty thrilled.

Altogether, "A-Force" still has a lot going for it, but the pacing is compounding the problems of its large cast. Luckily, issue #3 takes many of the necessary steps for ramping the pace back up, and I'm optimistic for issue #4.

In sum, "A-Force" #4 is a solid, rewarding read that makes me laugh and leaves me feeling warm. I can't wait to see what issue #5 brings.

Though this wasn't my favorite issue, I still love the touching, lyrical sci-fi of "Alex + Ada." Vaughn and Luna's strong creative vision should carry the series to fascinating places in the months to come.

Still, though it isn't necessarily the fault of the creators, I really wouldn't recommend picking up "Alien Vs. Predator: Fire and Stone" #1 just yet. Once "Prometheus: Fire and Stone" has concluded, this will be much more worth the reader's time.

Despite my reservations, issue #5 has me sad that "All-New Captain America" will end after the "Secret Wars" event. Remender writes Sam as a tough protagonist who's a pleasure to cheer for, and I hope we'll get to see more of him in the near future.

"All-New Hawkeye" #5 contains two fine stories, but I don't feel it's working as a whole. There's plenty of good story in here, and I hope the team can find a way for it all to move together.

All told, "All-New Inhumans" is a series to keep your eye on. It may not have been a perfect first issue, and I'd love to see the NuHumans shine more as characters, but the creative team has set up a cool, complex problem that should be a real reward to follow.

None of the elements here are anything special on their own, but the issue overall doesn't feel mediocre. It's fast and sure of itself, with plenty of moving pieces and the confidence to put them into play.

The real downside to All-New Marvel NOW! Point One #1 is price. If you only want a head start on one or two of these series, you still have to pay for all the others. $5.99 is pah-retty steep for 8 pages, even if they were the best 8 pages you read all year. Especially since some have the potential to repeat in Issue #1, figure out how much it's worth to you before taking a look (or wait for it to go on sale.)

"All-New Ultimates" is still an exciting concept, and one that many readers (myself included) were looking forward to -- especially after I saw that phenomenal Marquez and Sobreiro variant cover. Hopefully it will take better advantage of its promising premise in the issues to come. There is plenty to work with here, and there are glimpses of a great series in Issue #1. It's just not fully there yet.

"All-New X-Men" #38 does what needs doing, and that's as much as I can ask from a middle issue in an event with a massive cast. It includes enough surprises and tension to keep the reader interested, even if it can't overcome the limitations of "Black Vortex."

"The Amazing Spider-Man" #16 is a perfectly enjoyable transition issue that just doesn't rise above its narrative and structural limits.

Meticulously structured and beautifully drawn, "American Vampire: Second Cycle" #5 is a testament to just how scary and memorable one-shots can be.

"Angel and Faith Season 10" #1 achieves its purpose in that it sets up a status quo and defines itself against the "Buffy" side of this multi-series universe. Now that it's free to develop its own stories, it will feel less like an offshoot of "Buffy" and more like its own animal.

All told, "Angela: Queen of Hel" #6 is a bit of a heartbreaker. It shows all the fun and potential of Angela and Sera's new lifestyle as mercenary moms, and Bennett has clearly gotten comfortable with the Asgardians-and-Angels corner of the Marvel Universe. I'll miss this series in my pull list.

Overall, "Aquaman: Futures End" #1 begs the question of how "Futures End" is meant to work. As a reader, I appreciate that Jurgens' story is actually in dialogue with Parker's run in the present, but -- depending on whether the "Futures End" timeline comes to pass -- it also makes this issue something of a spoiler. When the story here continues in "Aquaman and the Others: Futures End" #1, I'll be curious to see how this is positioned: what could be, or what will be.

All told, "Aquaman and the Others: Futures End" #1 is an enjoyable read. I wish it were less obvious and problematic, but with only two issues to tell an entire arc, the creative team has done well.

All told, "Aquaman: Rebirth" #1 is a good opening that does much of the work needed for the issues to come. While I'd love to see more polish and invention in the "Aquaman" series ahead, this is a solid, easy-to-read start.

Altogether, "Archie" #2 has so much going for it. Given the subject matter and pace, I don't know if it will ever become a "must read" series, but I can already imagine how pleasant it would be to sit down with a big trade of this laid-back, lovely series.

At the end of its first issue, "Art Ops" #1 has one of the legs of a solid foundation. The creative team executes well on its concept. Given some more time to develop its characters, it could make them just as memorable as the visuals and ideas at play here.

All told, "Avengers & X-Men: AXIS" has too much going on. This is turning out well for the tie-in titles, but it leaves the main book overly busy. That said, with Red Onslaught out of the way, I'm hoping that "AXIS" will improve as it dives into its far more interesting 'inversion' implications.

In sum, "AXIS" is getting better as it moves along. I'm curious to see how it pulls itself out of the bog of the middle issues, and where it will leave the Marvel Universe.

All told, "Avengers Standoff: Assault on Pleasant Hill" #1 is a testament to overcoming editorial limits. Spencer and Saiz cram in all the necessary information while still providing an entertaining issue. Freed from the need to provide backstory, issue #2 should be a really excellent read.

That said, a first issue is supposed to sell you on the series. The entire premise of this series -- the "undercover" element -- isn't even touched on. From a series-building perspective, it's great to take it slowly, but from a series opening perspective -- not so much. While it's always a pleasure to read a creative team that already has such a handle on their world and their concept, "Avengers Undercover" hasn't fully sold me on anything just yet.

Still, "Avengers Undercover" isn't coming off my pull list any time soon. It's doing fascinating things with unexpected, underused characters while still offering a dark satire of pop culture. More importantly, though, Hopeless creates genuine questions about how each of his characters will act. I find them difficult to predict, in a way that I don't often experience with older mainstream superheroes, who've already grown into themselves. In that way, "Avengers Undercover" taps into one of the coolest things about young superhero titles: it isn't just about who they're fighting, it's about who they'll become.

I am still so on board with this series, and majorly disappointed that it's ending.

Though its premise sounded like simple campy fun, "Bad Blood" is actually really compelling. With a disturbing villain, a well-imagined aesthetic, and strong character work, it's off to a great start.

In sum, "Bandette" remains a pretty flawless example of how comics can build unique and fully realized fictional worlds. From its preciously stylized dialogue to its simply stylish artwork, this series is the only reason you need to start reading digital comics.

"Batgirl" #37 is a misstep, but the team's commitment to their viewpoint still leaves me optimistic about this direction for the series. They'll just need to keep the modern politics to go with the modern aesthetic, and "Batgirl" can continue to delight.

All told, "Batgirl" #45 is an adorable diversion. There's so much to love in this series, but there's also a little too much going on. I'd like to see "Batgirl" take a little more time on its many subplots going forward, but -- much like its protagonist -- sometimes it has too much going on to stop running.

With so many plot points, power moves and explosions, "Batman Eternal" #7 is a blockbuster going gangbusters. It accomplishes exactly what it needs to and paves the way for an intriguing Issue #8.

"Bitch Planet" #6 is another excellent installment in an awesomely angry series. Meiko's post-mortem celebrates her defiance and hints at how her rebellious spirit might carry on. I'm as eager to get back to the women of the A.C.O. as any reader, but DeConnick and Soma won me over with this flashback issue.

All told, "Black Panther" #2 lives up to the expectations of the first issue and sets an exciting stage for issue #3. I can't wait to see more of Wakanda.

From the captions to the cliffhanger ending, this story feels full of life and possibility. I'll be excited to revisit it next month.

All this aside, "Black Science" is shaping up to be a complicated, page-turning piece of work. It's a fine return to science fiction for Remender, and a wonderful example of how well comics can present the fantastic.

All told, "Black Science" #13 reminded me why I keep coming back to this series. It's rare to find a series that's as interested in the weird science as it is in the even weirder problem of raising a family, but "Black Science" tackles both.

"Black Widow" is getting stronger, and I'm excited to watch it grow into its voice. It's been a pleasure to pick up so far, and as the creative team gets deeper into Natasha's world, it should only get better.

Altogether, "Black Widow" continues to provide a lovely reading experience. I can't say the plot has me riveted month-to-month, but every time I open an issue, I'm completely absorbed.

All told, "Bodies" #2 is an intriguing step forward for the series. I'm curious to see where the story goes. By nature of its structure, it will move more slowly than many other series, but the creative team continues to make me curious for the next issue.

"Brass Sun" is a lovely, promising first issue that presents something unique and engaging. It's entirely worth the $3.99.

While this isn't the conclusion I wanted for "Brass Sun," that's in part because I don't want it to conclude yet. I'm hoping that this experiment was enough of a success to justify another U.S. printing of Wren's adventures -- not only so that I can spend more time in this world, but so that I can see these events play out in the increased page space they deserve.

"C.O.W.L" #2 ups the drama and the stakes from issue #1, but it still hasn't clarified the central concern of the series. Is this a union drama? A set of personal stories? A thriller? It looks complex and ambitious enough to evolve into all three and more.

Given its premise and overall tone, "Caliban" will inevitably draw comparisons to "Alien." (This may say more about the dearth of female leads in science fiction than it does about any actual similarities, but I digress.) It certainly feels similar, but never derivatively so. Given this excellent first installment, I'm excited to see it develop its own course.

With so many things going for it, "Caliban" is still a series to watch, but I'm hoping it has an ace up its sleeve going forward. I like tense science fiction, but I love tense science fiction with a strong viewpoint.

All told, "Captain America: Sam Wilson" #7 is a solid tribute to a well-loved character in all his incarnations.

Altogether, "Captain America: White" #2 is warm and effective. The creative team's affection for the title character and his supporting cast is clear on every page and, for all its emotional simplicity, it's crafted intricately. This is an excellent read.

"Captain Marvel" #7 is, above all, fun. This arc might not be going higher and faster, but it's definitely looking kookier and happier, and I'm excited.

Though I might not know where it's going, I'm enjoying the ride with "Captain Marvel and the Carol Corps" #2.

Overall, though, "Capture Creatures" takes the fun of Pokemon and marries it to a story about conservation rather than battle -- giving kids not only a world to explore, but a framework for loving that world. I'd definitely recommend it for any member of the all-ages audience.

All in all, "Cataclysm: The Ultimates' Last Stand" is chugging along enjoyably toward its conclusion. It's a solid read.

Though it touches on loss and family, forgiveness and growing up, at its heart "Chicacabra" is about empathy. From literally seeing through another creature's eyes, Izzy learns how to metaphorically see the world through other people's eyes. Fun to read and full of humanity, this is just a really lovely book.

"Cloaks" #1 is the first of only four issues, so I'm excited by how it makes the most of its pages. With the groundwork now established, however, I hope that the creative team feels the freedom to be more subtle going forward.

"Clockwork Angels" remains a fascinating project with a charming aesthetic, but it needs a firmer grip on its plot. Right now, I can't determine what drives the story from one scene to the next, other than mechanics. Until it's clearer what the creative team wants to accomplish, my appreciation for the series may remain aesthetic.

All told, "Codename Baboushka" #1 is many things, and its flexibility and layers could become an asset going forward. There's plenty of potential here to harness and I'll pick up issue #2. However, for a first issue, I'd have preferred a stronger pitch and a touch more editing down.

In short, "Coffin Hill" is easy to like but tough to invest in. It can skate by on its laurels -- the concept, the atmosphere, the "wow" moments -- for a few more issues, but it's going to need to develop its mythology and its protagonists better if it wants to stick around for the long-term.

Though I wonder what effect this more measured pace will have on a three-part miniseries, I'm still excited to see what the creative team is thinking in "Cognetic" #2. The combination of big ideas and well-drawn characters makes for a great read on many levels.

All told, "Conan Red Sonja" #1 is a blast. Fans of either character should definitely check this issue out.

In sum, "Convergence" chugs along in issue #2. While I've been surprised and impressed by the storytelling possibilities in the tie-ins, this main title needs some more mojo to take it from have-to-read to must-read.

"Convergence" continues to fall short on the execution despite the fun it offers. I don't think it will end up being a memorable event, but I hold out hope that the fight scenes in the last few issues might be.

"Convergence: Infinity Inc." is a well-executed book, but I'll admit I'm curious about its audience. It doesn't recreate a familiar look and feel, so it isn't necessarily aimed at nostalgia readers and, while it establishes an appealing new look for the team, they aren't likely to appear in an ongoing any time soon. Check it out if you've missed these characters, but be prepared for a few changes.

As a whole, though, "Convergence: Nightwing/Oracle" #1 is a compelling beginning to its pre-"Flashpoint" fairytale. Dynamic, fun and surprisingly affecting, this may not be the best issue you read this week, but it's a great time with high stakes. It flies far and above expectations and requirements for a tie-in.

"Convergence: Superboy and the Legion of Superheroes" #1 sets up solidly for the conflict with Durvale, but it doesn't rise much above the requirements or limitations of the event. If you missed seeing these characters, you won't be disappointed, but readers unfamiliar with this part of the multiverse can afford to skip the issue.

Issue #5 solidifies "Copperhead" as a fun, thoughtful series. It's combined its punchy, pulpy concept with nuanced characters and a believable universe and I can't wait for the next arc.

I was admittedly the target audience for a lesbian werewolf story with a Shakespearean title, but "Cry Havoc" #1 will leave readers so, so eager for issue #2. On the heels of this weekend's #ColoristAppreciationDay, this series also offers a brilliant example of how colorists enhance and shape comics.

Still, it's effective. This is advertised as a survival story, and it all feels fittingly cold and fraught, but what appealed to me most was the creative team's approach to this genre thus far. Survival in this world is a waiting game rather than a fistfight. The characters have to outlast, not outmatch, their opponents, and the former can be much harder to do.

Despite my reservations, the new run of "Daredevil" really is off to a fine start. Soule and Garney have given their run a strong voice and an interesting hook. The bones of an excellent first arc are here, but the creative team will need to draw out some of the thornier elements of Matt's new life to really hook me.

I'm curious to see how "Dark Corridor" operates going forward, but I don't know if I'm intrigued enough to pick up issue #2. I appreciate the tidiness of Tommaso's detailed, well-plotted tales, but I wish I had a better sense of where things are going. Still, "Dark Corridor" has reminded me just how wonderfully comics can work in a short format -- and that's no small gift.

With its release schedule, "Day Men" undoubtedly faces challenges. It might not be able to afford steadier, groundwork issues like this one as regular installments. For now, though, it's kept my interest piqued.

"DC Bombshells" is a brilliant feminist reclaiming of a fun artistic tradition. The creative team is clearly having a blast, and you don't want to miss out on the party.

However, as I stated earlier, it's clear through the first half that Charles and Edwin feel utterly safe. They're dead, and nothing can hurt them anymore -- and dramatically, that's a problem. There's very little at stake when the protagonists cannot be made to suffer. Luckily, by the end of the issue, Litt and Buckingham have smartly circled them back to the scene of the crime at St. Hilarion's. The boys are loveably bold and brave, but it means more when they act that way in the face of something. By returning them to their literally hellish school, Litt and Buckingham have given them something to be afraid of.

My only concern going forward is the structure. I like so much of what they've introduced so far, and I hope that there isn't too much editorial pressure to resolve it quickly. It's very much a wait-and-see scenario. If they're forced to rush, I'll regret that slow first issue, but if things are allowed to progress calmly, I'll probably come to appreciate it.

"Dead Boy Detectives" is off to a good start, but it won't make the leap to "great" until it has time to develop the many elements it's introduced. Here's hoping it gets that time, because all signs suggest that this could develop into a wonderful read.

Overall, this was an enjoyable issue, but the jokes were still hit-or-miss. The hits were high enough that I actually went back and read some parts again, but the misses were in there often enough that this didn't make my must-read list. Still, it was a good time with zany execution " a very "Deadpool" comic, and fitting for the 2013 Annual.

Thus far, "Death of Wolverine" is turning out to be a thoughtful finale for Logan. It isn't doing anything unexpected or imaginative, but the team pays respectful attention to the character's storied past. In its deliberate and careful treatment of a well-loved character, "Death of Wolverine" isn't going to enrage or drive away any readers -- though its price tag still might.

I definitely appreciate it when creators trust the audience, and Grant gives his readers a lot of it, here. However, in a story about con artists and spies, the real fun is in watching everyone play their game, and you need to know what game everyone is running in order to appreciate their plays.

"Deep State" #1 has me intrigued but not excited. It's intelligent and undeniably well-done, but I'll need to see more of this world and its characters to really fall in love.

Overall, the shakeup in Dejah's status quo is something to be applauded. The creative team has given me reasons to read the next issue, but hasn't yet given me an emotional reason to root for the protagonist. With a stronger character voice to match this strong character, "Dejah Thoris" could become quite a success.

I'll admit that, as a 20-something woman, I'm in the empathetic demographic for this kind of work, but "Displacement" is a beautiful little book. It's a step forward for Knisley as a writer and a cartoonist, and it's a wonderful experience for the reader.

"Divergence" accomplishes what an FCBD book is meant to do: intrigue readers with an idea so that they'll pick up the first issue of the new arc. What happens once they do is up to the creative team.

All in all, "DKW" is quite likeable. If you like your comics a little trippy and your tributes a little complex -- or if you're a fan of Ponchione -- you should definitely check it out.

If "Dream Police" puts as much imagination into its protagonists as it has into its world, it'll be a winner. For now, though, it's got a few kinks to work out.

Though this long establishing shot of an issue isn't a riveting opener, the sureness and smartness of "Effigy"#1 are great signs for the series to come. Chondra Jackson looks like she'll be a complicated, compelling protagonist, and she's got an interesting world to explore.

Still, the most important thing I can say about "Elektra" #1 is this: if you were on the fence when you first heard about the series, go pick up Issue #1. I don't think you'll be on the fence any more.

"Elektra" #6 is paced well but plotted poorly. It moves neatly and speedily through the action, but I struggled to care or comprehend why many of the actions were taking place. Issue #5 demonstrated a strong sense of who Elektra is and what makes her tick; that character is less clear here, but I'm hopeful that it will return in the next issue.

All told, "Empress" is a slick read that falls just short of wowing me. Cool concepts abound, but they aren't tied together with a unified mood, and I'm not left eager to dive back into this world. It's hard not to enjoy "Empress" #1 -- a brisk, beautiful first issue that moves expertly -- but it's just as hard to say what makes it special.

"Escape from New York" #1 is a thematically impeccable, technically average issue that stews with exciting ideas. As it moves forward, I hope it will build on the strength and momentum of those ideas to enhance the characterization and flow.

In sum, "Eye of Newt" #1 begins an interesting experiment that could flesh out into a great series. This is a first issue, so the focus on exposition could evaporate by Issue #2 -- and the fascinating aesthetic isn't going away. "Eye of Newt" may be worth another look, but it will need to correct the problems from Issue #1.

Despite these small problems, "Faith" #2 keeps this series going strong. This has been an excellent read so far, and I can't wait to see where it goes next.

"Faith" #4 is a warm, generous issue that left me even more delighted about the continuing series. I'm entirely sold on the potential of this character.

Still, I suspect "Feathers" will read best as a full story, when all six issues are collected together. Though I quite enjoyed issue #1, it didn't leave me particularly eager for the next, so the structure doesn't seem well-serialized. However, Corona has clearly thought about this world, the colors are lovely and the writing is clever and kind enough for both adults and younger readers. "Feathers" is certainly worth your time.

At issue's end, I am so excited for the lady pirate with a ghost of her own to appear. Not only does she seem like a great character, but she deepens the mythology of the dreamstones. How did she get her ghost? Is it Sinbad? Is Fabian going to wake up? Despite my complaints about the issue, it's geared the series up for a winning Issue #10 " and with serial storytelling, sometimes that's the most important thing for an issue to accomplish.

You know this is a great series when the 'catch-up-with-the-team' issue still includes a giant crab, a greed monster and a doom-prophesying ghost. "Five Ghosts" is back in fine form with its imaginative Issue #10, and I can't wait for Issue #11.

All in all, "G.I. Joe" #1 suffers from very fixable problems. Some issues can create an enjoyable experience with sheer technical expertise, but lack the storytelling risks or material to build a longer series. "G.I. Joe" has the opposite problem, but the team shows enough skill that I'm hopeful it can be fixed going forward.

I found "G.I. JOE Deviations" to be super fun. The issue is unapologetically silly, and it rejects the moral underpinnings of the main "G.I. JOE" title. If that's not likely to strike you as funny or if you're not a fan of humorous one-shots, this might not be for you. However, if you find yourself smiling at the idea of a Cobra-run alternate reality that's as sly as it is doofy, don't miss this one.

All told, "Godzilla Awakening" did get me more excited for the movie, which is probably the primary point. On its own merits, though, it didn't impress.

"Goldie Vance" #2 is another enjoyable issue in a winsome, wonderful miniseries. I hope it finds the audience it deserves.

"Gotham Academy" #1 is a treasure of a first issue, but to become a treasure of a series, it will need to give its characters some more complexity going forward. It may not be a great expansion of teen dramas, but it's shaping up to be a great expansion of the Batverse.

However, the fact that I wanted more of this character really says it all. Every month, "Gotham Academy" reminds me why it's such a great addition to the Batverse, and issue #7 is fun even if it's filler. With a great cast and lovely artwork, this series is set up for a stellar second arc.

"Gotham by Midnight" is a welcome addition to the Bat-verse, and its eerie horror is an ideal fit for the city. Though it doesn't deviate from Gotham's usual dark, serious tone, it is an artistic breath of fresh air.

Altogether, "Grayson" #5 offers strong emotional beats and an intriguing ending, despite lagging when taken as a whole. It certainly hasn't dampened my enthusiasm for the series, and it sells the relevance and heart of its protagonist. This team is doing good work.

As a whole, "Green Arrow: Rebirth" #1 is a breath of fresh air. Black Canary and Green Arrow's team-up is a dynamic delight, and I can't wait to see this artist tackle some more fight scenes.

In sum, "Green Lantern Corps: Edge of Oblivion" #1 is a very enjoyable, well-paced opener. Taylor and Van Sciver have put together a solid premise, and issue #2 should be just as entertaining.

Aragons and Evanier are clearly pleased with both themselves and the legacy of Groo -- as they should be -- but in "Groo vs. Conan," they're smart enough to let the reader in on the glee and congratulations. This series makes the happy acknowledgement that it takes both a great creative team and a great audience to keep something alive. Fans of Groo should definitely check out "Groo vs. Conan" #1.

"Guardians of the Galaxy" #25 takes full advantage of its double-sized format to deliver a fast-paced, high-stakes story that makes the most of "The Black Vortex."

"Black Vortex" is a fun enough start, but I'm not sure what it adds to either the characters or the 616. So far, the Guardians and the X-Men don't seem to challenge one another outside of good-natured teasing. While this issue made me smile, these types of interactions won't hold my interest through an entire event.

Altogether, "HaloGen" #1 has an intriguing world and a curious plot to keep me coming back for issue #2. If the creative team's execution can get just a touch smoother, this miniseries will be a real winner. Fans of Tierney and Chan's past work won't be disappointed.

It's easy to see why "Haunted" was optioned by Bat Hat Harry; this story has remarkably solid bones, which even some of my favorite titles don't. It's only in the details where it needs some fleshing out -- but details are often what keeps the reader coming back.

"He-Man: The Eternity War" #1 is a great setup. It doesn't rise much above that, but it paves the way for an exciting series to come.

All told, "Heartthrob" #1 pulls the reader right in. The cliffhanger actually feels engaging and earned, and Callie is a fascinating protagonist. I'm so, so curious for what issue #2 will bring.

"Hercules" #1 is solid first issue that almost makes the argument for its character as a title headliner. I came away from it understanding the potential of the character, but not 100% sure this series will capitalize on that.

This review has been chiefly negative, but as the star rating shows, it really wasn't all bad. I still like the complexity of this universe and the way the cast interacts. "Hinterkind" is by no means unsalvageable or unpleasant, but it needs to get its pacing and focus to take it to the next level.

Humor comics are no easy task, but the creative team on "Howard the Duck" defies the odds. The first two issues have already handled a heist and a prison break, and I can't wait to see what's up next.

There's nothing to actively dislike here, but it just doesn't work. I felt like I was reading five different pieces of six different stories, all of them solid on their own, but none of them developed enough here to make an impact. Going forward, I hope the Inhumans will have more cohesive, less tortured issues.

The only larger problem in this issue is more of a problem with the Inhumanity event in general. The success of "Inhumanity: The Awakening" helps to establish the viability of the newfound Inhumans as emotional and narrative drivers, but by emphasizing their shared experiences with the students at the Jean Grey School and Avengers Academy, it doesn't do much to differentiate the new batch of Inhumans as a group in the Marvel Universe. Introducing a whole new class of superhuman suggests that they have something new to bring to the table, and "Inhumanity: The Awakening" only treads over familiar (if fertile) emotional ground.

"Inhumans: Attilan Rising" #5 manages to drop a meaningful twist in a series that, by its nature, doesn't have Marvel Universe-wide meaning on its own. Soule and Timms show that it's possible to get investment and shock out of a tie-in series that must inevitably end. With more time and less meandering in the first three issues, this could have been truly excellent.

"Injection" #5 also demonstrates the difficulty of reviewing serialized fiction. Seeing where the previous issues were leading, it's easy for me to appreciate what they accomplished in retrospect -- but the suspense and intrigue weren't always there month-to-month. I'm very glad I stuck it out, and I can't wait for the next arc; I'm sure other readers will feel the same.

All told, "InSeXts" #1 is a weird, weird book that I very much liked. I wish it had done more of the work building the arc to come, but I can't deny that I liked the aesthetic and the themes.

Like its protagonists, "InSeXts" #5 doesn't mess around. This is a series that knows what it's about and revels in it, and I just can't resist.

"Jade Street Protection Services" #1 can get a little messy, but so can high school. Ultimately, the creators succeed with the strength of their central characters -- characters I can't wait to root for in future issues.

The creative team does another stellar job with "Jem and the Holograms" #2. This is shaping up to be one of the brightest, most beautiful books on the shelves, and it's such a treat to read. I'm already smiling thinking about issue #3.

<b>Note</b>: In an attempt for full transparency, Kelly Thompson is a current writer for CBR's "Comics Should Be Good" blog and a former CBR reviewer.

This issue shows just how perfectly "Jem and the Holograms" is suited to a Valentine's Day special. Funny and frolicsome, this special costs less than a box of chocolates and is way sweeter.

As an all-ages tale, "The Magic Swan Goose and the Lord of the Forest" is beautiful stuff. It's a perfect way to introduce new readers to the weird, wonderful ways that text and picture can play together.

"Jim Henson's The Storyteller: Witches" #3 is an enjoyable, thoughtful issue with plenty going for it, but unless you have a particular interest in the series or the folktale at hand, it's not an essential add to your pull list.

All told, "Jonesy" #1 was an amusing, unusual issue. I had a blast reading this one, and I can't wait for the rest of the series.

All told, "Joyride" #1 is a satisfying escape. Its confidence, joy and colorful vision of space all contribute to genuinely fun read.

That said, I understand that the fantasy sequences are a crucial part of the fun for many readers -- and whatever its flaws, "Jughead" #5 is a super enjoyable read. Zdarsky and Henderson have found a way to treat this punchline of a character as the hero of his own story, and the result is as odd as it is appealing.

Based on this issue, I'll be sure to follow "Kaptara" over the next few months. I'm excited to see Zdarsky go full science fiction, and McLeod and Kinzie's creativity is truly fascinating.

Still, if one takes "Kill Shakespeare" out of its pitch, it's an immensely enjoyable pirate adventure. The creative team is having a lot of fun, and it's a joy to be along for the ride.

All told, "Kings Quest" #1 is a fine first issue with some excellent moments. Once Jen has some more time to develop as a narrator, this could grow into a rewarding -- not just entertaining -- series.

Here's the thing, though: I'm 100% picking up issue #2, so "Klarion" #1 must be doing something right. The Moody Museum, Rasp and magic's war with technology have all peaked my interest. The creative team is playing with ideas and atmosphere that I don't see in other DC titles. Whether they can smooth it out going forward remains to be seen, but I'm rooting for this book.

Overall, though, "Klaus" #3 is a fun read that continues the pleasant, inoffensive story of its predecessors. I'm curious for issue #4, and I'll check in to see where it goes, but I'd really love to see this series have more to say about its themes and characters in the issues to come.

I like Christmas history, so I'll probably grab the next issue, but I'm hoping I'll get a clearer sense of what this team wants to deliver. There's a lot of promise here.

"Lazarus" #10 is well-placed to create anticipation for the upcoming "Conclave" arc. I'm fascinated to see what Jonah's body is hiding that's so valuable, and what the larger international Family political landscape -- thus far only hinted at in the back material -- looks like.

Full disclosure: I hadn't actually read any Bold Riley stories before I opened "The Talking Bone," but as soon as I finished it, I went and bought the graphic novel. "The Legend of Bold Riley" #1 offers everything I could want in an adventure story -- and all helmed by a queer woman of color. With a satisfying, simple ending and an ever-willing protagonist, it's a reminder of why popular old stories became popular in the first place.

All told, I enjoyed "Warp and Weft," but it isn't one of my favorite issues thus far. Even with its flaws, it's still a pleasure to spend time in this world with this character.

Will this issue convince you to pick up "Legenderry" if you weren't already attracted to the premise? Probably not. However, that's because they deliver exactly what was promised. For readers who liked the idea, or who've been a longtime fan of any of these characters, this issue definitely doesn't disappoint.

If "Legends of Red Sonja" continues to embrace its exploration of story as a vehicle for myth-making, English majors are going to absolutely eat this series up.

"Lilith Dark and the Beastie Tree" has been pitched as an all-ages comic, but I wouldn't necessarily agree with that designation. It's definitely geared younger rather than all-ages, but that's not a bad thing. Comics needs material that's meant to satisfy younger readers, and "Lilith Dark" is a great introduction to the medium for any kid.

With the best description of magic I've read in a while and a delightfully designed story, this first issue is much better thought out than most of its protagonist's schemes. "Loki: Agent of Asgard" #1 is everything I hoped it would be: joyful, sassy and just immensely well done.

With the speed dating done and the newest scheme hatched, "Loki: Agent of Asgard" #2 can only fairly be considered disappointing in light of the debut issue. After a less brilliant opening, this fun but flat issue would be simply that -- fun but flat.

"Loki: Agent of Asgard" #5 is, in sum, remarkably well done -- even more remarkably so given its editorial calendar. This never feels like an issue that's dropping its main plot to make way for a three-month event tie-in. It's measured, technically beautiful and makes phenomenal use of the material that's come before it.

"Loki: Agent of Asgard" #10 made me both depressed for the characters and delighted for this series. "Agent of Asgard" continues to tap into what's messy and unfair about Asgard stories, while never letting its deeply self-destructive protagonist off the hook. I'm so curious and nervous for issue #11.

"Loki: Agent of Asgard" continues to surprise me with how clever and compelling it can be. I am rarely delighted to see how a major event will affect a series, but I'm eagerly anticipating this book's use of "Last Days."

In conclusion, "Loki: Agent of Asgard" #17 is an ideal series ending that stays true to its own arc while leaving plenty of room for the next creators to play. "Agent of Asgard" managed to dramatically change a character's status quo not by throwing out all the difficult continuity that came before, but by building on those stories to produce a better arc. When people ask what the appeal of long continuity is, I'll point them to this series.

Not convinced yet? The suggested listening list includes Kanye's "I Am a God", there's a "Fight Club" quote on the title page and Thor refers to himself as "the Master of Monsoons." No matter what you thought when you first heard about "Loki: Ragnarok and Roll", just go read this. I promise, it's so metal.

Despite my reservations, "Low" has such a cool world, and Remender isn't afraid to challenge his characters and let them struggle. I appreciate that bravery, and it bodes well for the next arc. However, the real benefit of putting characters through the ringer is that we get to see them develop; here's hoping there's more of that on the way.

Taken all together, "Low" #9 is another striking installment in a series that manages to surprise and affect me in every issue. Though it's not one of my favorite issues so far, it still does a fine job of growing its characters and moving its plot.

"Lucas Stand" #1 may have lost me a bit near the end, but -- if issue #2 recaptures the excitement and drive of those first twelve pages -- "Lucas Stand" should be more than enough to fill the "Sons of Anarchy" hole in your heart.

Hans' pages alone would make "Lucifer" #6 worth a read, but it's also an excellent new beginning. I can't wait to see more of this arc as Lee Garbett returns for issue #7.

All in all, "Lumberjanes" #1 has utterly taxed my ability to find synonyms for charming. Go pick up a copy of this delightful, spunky, loveable book.

All in all, "Lumberjanes" is still one of the happiest books on the shelf. By the time it hits double-digit issues, I'd like to see the plot move more, but for now I'm just enjoying getting to know these characters and their setting.

"Lumberjanes" is just a treasure. I'm thrilled that BOOM! made this an ongoing series. It's one of the most inclusive, enjoyable all-ages titles on the shelves.

Despite my criticisms, I'm rooting for "Madame Frankenstein." There's a lot to like, and more importantly, a lot to build on going forward. This looks like one of those series that'll get motoring after the halfway point -- I'd recommend staying on board for when it does.

Historical fiction can be a gamble in comics. For a serial storytelling form where part of what keeps the plot moving is the question, "What's going to happen next?", a genre where everyone <i>by definition</i> knows what happens next can be a hard sell. By keeping it weird and focusing on their characters, Dingess and Roberts make a great case for how well it can work.

I have hope that we'll get to see her in action soon, though. "Manifest Destiny" continues to churn through a strong story and an even stronger world, and it's only a matter of time before another new threat arrives -- fully imagined, beautifully drawn and totally unprepared to face Sacagawea.

At the risk of getting meta and meme-ifying this series, I'll repeat: it's high time for you to pick up "Memetic." It's quite a book, and the conclusion is just around the corner.

All told, "Mighty Morphin Power Rangers" does plenty of justice to its much-loved, much-meme'd source material. Though the main plotline still isn't moving smoothly, this issue nails its small moments and big battles. For now, that's more than enough to entertain.

All told, "Monstress" #1 contains one heck of a dark fantasy world. With its impressive range of female representation, truly unique aesthetic and promising conflict, this could be the start of an awesome new series.

Six issues in, "Ms. Marvel" is living up to all its promises. If you haven't given this series a chance, you're missing out.

In sum, "Ms. Marvel" #19 is an excellent ending to an excellent series. G. Willow Wilson has given Marvel such a loveable new heroine, and I can't wait to see what she gets up to as an Avenger.

Unfortunately, "Mythic" #1 isn't original or well-executed enough to differentiate itself yet. If the series focuses more on its characters going forward, though, it could improve by leagues. There's plenty to mine here, so if the creative team adds a touch more style and heart, they'll have something really fun on their hands.

In its opener, "Neverboy" looks amazing; the question here isn't whether this team has enough creative energy to put forth a great series. Instead, the question is whether all these intriguing ideas can be tied to a strong, persuasive arc for the title character.

"New Avengers" #33 had to accomplish quite a lot, and the creative team manages to fit it all in while still conveying a sense of doomed grandeur. It certainly has me intrigued for "Secret Wars."

All told, "New Avengers" #1 doesn't put its best foot forward, but there's reason to believe it will pick up in issues to come.

All that aside, there is quite a bit of heart here, and Claremont has a nice grip on Nightcrawler's earnestness and boldness. He can make sentiments that might otherwise sound clich, like a line about the screams of schoolchildren, feel emotionally relevant, and it's refreshing to see his vision of the X-Men as a family mix with their political realities. I remain hopeful for issue #5.

Still, this is a beautiful short story. The mystery doesn't ruin the experience; it simply makes this a glimpse into Tarquin and Moria's world rather than a history of it.

Though it doesn't stand out, "Nova" #28 moves the story forward, staying true to both its character and its event.

"Oddly Normal" is turning out a bit more "normal" than expected, but it's well-executed, easy to like and energetically paced. In future issues, I'd love for Frampton to take the implications of his world and really see where they go, but for now, "Oddly Normal" is quite pleasant.

"ODY-C" builds better on its strengths every month. The script comes closer and closer to the rhythmic quality of verse, and the art goes deeper and deeper into this trippy vision of the universe. It's wonderful to see a book grow this way, and I can't wait for issue #5.

With issue #8, "The Omega Men" provides yet more proof that it deserves the full twelve-issue run. This is easily one of the best comics you can buy.

All told, the debut series issue gives me hope that the premise of "Original Sin" has touched on something a bit more winning than the standard big disaster event. If the creative team keeps the lens on the characters, as a premise built on those characters' sins allows them to do, this could be a really interesting read.

All told, "Original Sin" #6 isn't a bad comic, but its lack of movement is frustrating. On the bright side, that leaves a whole lot of fun for issues #7 and #8.

All told, "Original Sin" is not one of my favorite events, but it's also not one of my least. Issue #8 is a tepid but serviceable final issue that I might even revisit, if only for Deodato's artwork.

All told, "The Tenth Realm" is quite fun, but I'll have to wait until Issue #2 (or should I say #5.3?) to get a clearer sense of what this crossover will look like, and how Angela will fit into the new MU status quo.

"Original Sins" doesn't transcend its role as the catch-all for less popular corners of the Marvel Universe, but it doesn't do any of its characters a disservice either. It's a fine enough book that gives a glimpse into how "Original Sin" will impact the out-of-spotlight MU characters, but it definitely isn't a must-buy.

All told, though, "Turncoat" #1 is a fascinating first issue that brings a new flavor of sci-fi to an admittedly crowded field. The creative team has established a premise that allows the reader to walk through the mad society of "Turncoat," and I'm excited to see more of this world.

"Paper Girls" #3 takes a whole heap of hackneyed concepts -- the coming-of-age story, alien invasions, girl gangs -- and makes them feel fresh and vital again. It's fun without being jokey, and hip without being hipster. This is definitely a series to watch.

As a whole, "Penny Dreadful" #1 is a snazzily executed prequel. If some more character development is performed on-page, it will become a truly memorable series.

All told, "POP" is a perplexing first issue that's given me as much cause for excitement as cause for concern. Depending on how it moves forward, it could develop into something quite interesting, but it needs its story to rise to its ideas.

"Predator: Fire and Stone" #1 is a great addition to this event. I'm actually quite excited to see Galgo and the Predator go after their new quarry, because it looks like they'll be a Machiavellian match made in heaven.

I'm far more hooked on the series now. If my understanding of the world can continue to grow deeper this way, I'm sure I'll only become more and more impressed. Adding a more knowable story to its involving atmosphere, Issue #3 has taken "Pretty Deadly" from interesting to compelling.

"Prez" #1 gives me a lot to be excited about, from its darkly funny future to its energetic artwork. Most of all, though, I'm excited to see DC taking a genuine chance with this new miniseries.

"Omega" has seriously reignited my desire to re-read this universe when it's all collected. When a conclusion can make me reassess the weaker issues because of how they might fit into the overall picture, it's done some great work.

All told, "Ragnarok" #1 is an exciting start that's got me itching for September.

All told, "Rasputin" #3 is a strong third issue that accelerates and explains where it needs to. I'm thrilled with the art and the atmosphere; if the point-of-view develops to match those, this will be a series to watch.

Altogether, I'm delighted to have "Rat Queens" back in issue #11. Despite a wobbly introduction, the new arc promises all that I've come to love about the series: camaraderie, magic, mayhem and foul-mouthed fun. I can't wait for September's issue.

In the end, Hitch shows that he can make a story work on the page. But he needs to make it work in the reader's head for this series to be a success.

All in all, this series continues to provide about as engaging a fresh start as Red Sonja could hope for.

This book always gets a smile out of me, but what's keeping it stalled at merely likeable is that the team doesn't seem to have anything larger to say about Sonja and her world. Now, every series doesn't need a grand artistic mission statement, but the best stuff has a determined point-of-view and clear approach to the source material. Right now, "Red Sonja" is juggling quite a few approaches, and it hasn't decided which one will be its primary viewpoint.

I'm always happy to read more Sonja stories, but "Red Sonja" #100 doesn't have any standouts. Taken as a whole, it's a solid introduction to the character that will hopefully draw some readers' interest in her, but it isn't going to be one of my favorites to remember.

In sum, "Red Sonja" #1 is a lovely kick-off to volume #3. Bennett and Aneke have differentiated themselves from previous runs while keeping true to the spirit of the character, and they've dropped enough hints and clues to keep me curious for issue #2. "Red Sonja" fans have nothing to worry about.

Overall, I liked quite a bit of this story, but it isn't one that will stick with me. "Red Sonja and Cub" is pleasant but falls short of memorable.

Though I hate to be a sucker for a cliffhanger, issue #3 certainly has me eager for next month's installment. I'm fascinated to see how they play this twist out -- I just hope it will be with snappier lines and less sexism.

Whatever happens in the next three issues, "Return of the Living Deadpool" #1 is a fine start to the Merc's latest adventure with the undead.

Still, it's serialized fiction, so in some ways it's all about the ending -- and Seeley and Norton know how to end an issue. I do love the slow build of the series, and I appreciate that the audience grows to understand the mythology only as the protagonists do. Though ultimately not impressed by the New York adventure so far, I'm still a huge fan of "Revival" and very excited for issue #22. Issue #21 shows that the series still has a whole lot to say and a whole lot going on.

Though I've been dying to know more about the Glowing Man/ghosts/demons, it feels like "Revival" is getting closer to that mystery at the right time. "Revival #23 is another excellent issue in a wonderful series.

Coming off Issue #1, I am not excited for the next issue, per say, but I'll certainly check it out if there's a slow week or I hear good things. The series has piqued my interest, but it didn't get its hooks into me yet.

If this first issue is any indication, "Roche Limit Clandestiny" will definitely be a leaner animal than its predecessor. I'm quite curious to see how it will draw out the series' themes in such a different atmosphere and, more importantly, I want to see what these characters do next.

Going forward, there's no denying that "Rocket Girl" needs to move its plotting out of extended chase scenes and into expanded world view to be a success. However, it's got so much going for it, and Issue #5 feels like a strong move in the right direction, so I'm excited to see where Issue #6 will take the series.

To a cynic, this might seem liked a naked attempt to raise the profile (and thereby profitability) of an established IP. Even if that's so, this one can be chalked up as a success. Ruckley and Ponticelli have made a strong case for giving "Rogue Trooper" his own series. Going forward, though, they'll need to make a case for the stories they plan to tell about him.

Weird, random and really enjoyable, "Rumble" has me engrossed in its surprising world. I'm excited to see how its storylines collide and its ideas play out.

"Runaways" #1 is a success, if not a smashing one. Stevenson and Greene have laid the groundwork for an exciting second issue and, while this may not be what fans of "Runaways" were expecting, it's a welcome new corner of Battleworld.

With clear skill from the creative team but an average main story, "RunLoveKill" #1 is a question mark of a first issue. Given that the team left themselves fewer pages for world building, perhaps Rain's world and companions will become better developed in issue #2 but, for now, I'm not sure that I want to explore this world further.

In sum, despite my criticisms, it's not as if this were irredeemable. The ideas are still fun and clever, the lead characters show sparks, and the whole project was clearly done with a lot of love. However, even with all these first-rate qualities, S.H.O.O.T First remains better in concept than in execution.

In short, although this began as "just another issue" in what is anything but just another series, it ended on a crescendo that left me craving "Saga" #17. This is a series that has had the confidence to take its time, so the payoff should be proportional when things hit the proverbial fan. Is it December 11 yet?

"Saga" #26 is slower piece of an excellent series, and I can't wait to see this work pay off in future issues.

All told, "Scarlet Spiders" #2 is a fine second installment in this miniseries. Without the clumsy captions, it could have been a real pleasure, but as it stands, it's simply fine.

In sum, "Scarlet Witch" #4 has such an intriguing story hovering at its edges. The creative team clearly has some cool ideas about chaos magic in the Marvel universe; if these can be better integrated into the crescendos and denouements of the narrative, this series could become a much-loved corner of the Marvel Universe.

All told, "Scooby Apocalypse" #1 is an interesting, inoffensive reboot that needs more magic of its own to match the source material. I really wish this first issue had shown more than it told and moved more quickly to its most promising part, but the tone and the pacing just didn't get me excited.

"Secret Six" #2 improves on issue #1 despite its struggles. I'm rooting for this series, which could be a lot of fun.

"Secret Wars" is off to an undeniably strong start, but we've seen that with Marvel events before. As its cast and plot expand, I hope it will keep tight track of its central threads. "Secret Wars" shows a great grasp of pacing and character in this issue and, if that continues, this will be a memorable event.

Luckily, it's a well-drawn, impressively structured event that still manages to hold onto its many, many threads. Despite some self-seriousness and a tendency toward the dour, "Secret Wars" is still a complex, readable and compelling event. That's no small accomplishment.

"Secret Wars" #8 has enough drama and excitement that makes me wish it had had a different publication schedule. However, if Hickman and Ribic can build off the events here, issue #9 should be quite a memorable conclusion.

The tone is one of my favorite things about the series so far, and I hope it doesn't change as the plot heads into scarier territory than "my sexual errors and misfortunes 2001-present." It looks as if the next few issues will dive further into what the Quiet is, who's running it, and how Suzie and Jon can survive there. I'm excited for the next issue, and I hope it stays as wacky as the first three.

All together, "Shackleton: Antarctic Odyssey" is an enjoyable way to commemorate the 100th anniversary of the expedition. It's a great exploration of how courage manifests in practical, problem-solving ways as well as fierce ones.

All told, I can't stop reading "Shaft." Despite its problematic plot and shuffling pace, its subtle universe -- combined with its protagonist's confident, simmering voice -- keep the series together.

"Shutter" continues to grow with each issue, both from the perspective of experimentation -- this month's Richard-Scarry-does-crime-fiction opening -- and character development. I'm always curious to see what it will do next.

"Siege" #1 is a psychological portrait of its team at work and, as a result, it can feel a little tonally jumbled and slow. However, it's kicked off an incredibly appealing team-up and premise and, given the ending, it's going to have a banner second issue.

In a market with more and more humorous comics, "Silver Surfer" #1 never feels like it's trying too hard or showing off. Its joy and creativity feel effortless, and that's quite inviting.

There are some nice pieces to "Sinergy," but it all needs more polish. Oeming and Soma have clearly created a cool world. They just need to nail the logic of its inhabitants.

All told, "Slash & Burn" #1 started off on a good note. With time to spin out all its backstory and subplots, it could build into a really satisfying series.

All told, "Sleepy Hollow" #1 was enjoyable but too easy. Going forward, I'd like to see Bennett make better use of the source material and the format. She's stretched her powerful imagination on other titles, and I'd love to see her run wild with the "Sleepy Hollow" mythology.

Perhaps the team behind "Sovereign" sees the multicultural, multi-layered nature of its story as the series' real selling point, and that's why this issue is structured to reveal so little about each group. If so, in some ways they're right. It's at least sold me on the next two or three issues. However, I do wish they'd sold it more strongly on the world and the characters themselves -- because they all look quite interesting.

Apart from that misstep, "Spider-Gwen" lives up the hype. It's a gorgeously designed and drawn book with an effortlessly likable protagonist and an alternate Earth that rises above gimmick.

"Spider-Verse" #1 is full of fun fights, strong characters and rewarding references. All it lacks now is purpose. Once it gets that going, "Spider-Verse" could be a great series for all readers but, for now, it will definitely make Spider-fans grin.

"Spider-Woman" is a functional, sometimes fun piece of "Spider-Verse" " but it doesn't rise to much more. With a more appropriate artist for the tone and a script that's free to focus on Jess's own adventures, it could grow into a success. It's not there yet, though.

All told, "Darth Vader Annual" is an excellent one-shot that gives the reader a clear, condensed idea of what awaits in the ongoing series.

"Darth Vader" #3 is a huge step forward for the series. The fun of the "Star Wars" universe isn't necessarily in its plot but its playability. Issue #3 takes advantage of that and -- instead of merely dropping Easter eggs -- it devotes a whole lot of plot space to describing and explaining droids. Working in a different universe, it might have been preferable to move faster but, with "Darth Vader" #3, it results in a great read.

Altogether, "Princess Leia" still needs to work out a few kinks, but it's already much stronger than issue #1. If the series continues to improve this way, it'll become a real must-read.

In many ways, "Steven Universe" #1 felt like a preview for the series to come rather than an issue in its own right. Each of the stories presented has its strengths, and I smiled at a number of the panels, but when a comic is based off a well-established and well-imagined series like "Steven Universe," I'd like a little more.

Altogether, "Storm" #5 is a fine issue that makes me excited to see more of Ororo. While I understand the need to provide some closure around Logan's death, I am ready for her to get going on her own terms. "Storm" continues to show why its title character is a compelling hero; now it just needs to embrace that.

"Storm" is more glorious than ever, and I'm rooting hard for this series. Pak has a great sense of Ororo's voice, and I want to hear more.

All told, "Strong Female Protagonist" is a fascinating superhero book -- one that's more interested in how one person can't make a difference than how one can. But instead of turning that lesson into nihilism, the book treats it as a call to action. If change that affects everyone is going to take effort from everyone, that means each individual's heroism is actually more necessary than it would otherwise be. When the world can't rely on one person to get it done, it needs every person.

All told, "Superman: Lois and Clark" #2 is a fine issue that lays some above-average groundwork for the issues to follow. With stronger character work and some stylistic tweaks, it could grow into a great series.

Whatever my emotions at issue's end, "Superman: Rebirth" #1 does the work necessary to set up the character's post-"Rebirth" series. With much of the exposition handled clearly and kindly here, "Superman" #1 and "Action Comics" #957 should be able to kick off in style.

"Swords of Sorrow" #1 is fun despite its flaws. An event book with a cast this size could easily feel bloated, but this issue never does. If the creative teams slows it down and lets its ideas marinate just a little in issue #2, the rest of the series could be a blast.

"Swords of Sorrow: Jungle Girl / Red Sonja" doesn't make any missteps, but it doesn't do enough to hook the reader, either. Luckily, it's laid enough groundwork for the next two issues to build in more inventive ways.

"Tech Jacket" #1 is well done, and it leaves Issue #2 well set up. With some fine tuning and a subtler grip on its characters, it could easily evolve into a must-read space adventure.

All this said, while I complain about the obviousness and lack of character development here, I recognize that much of that is beyond the creative team's control. In a single issue, they need to establish the team, the villain, the conflict and the new status quo. It's a Herculean task for any one-shot, even more so for a one-shot whose contents have so little relation to the main story. Given the constraints, "Teen Titans Futures End" #1 is not a bad comic; it's just not a compelling one.

All in all, "Casey and April" #1 offers an unexpected, ultimately rewarding take on a TMNT property. I'll be curious to see where this goes, especially as the villain starts to make his move.

"Terrible Lizard" #1 looks like it'll be a fun combination of B-movie monster madness and touching girl-and-her-pet stories, like a Jurassic version of Pokemon. The series is worth a shot, but it needs some more panache to get an enthusiastic thumbs up.

Second issues are always tough, and "The Autumnlands: Tooth and Claw" #2 is one of the best second issues I've read recently. Gorgeous, imaginative and only $2.99, it's easily one of the best deals around.

Even without its "tooth and claw," "Autumnlands" has plenty of bite. This ridiculously pretty, alluringly unique comic looks and sounds unlike almost anything else on the shelves. Dewey and Busiek have created a treat for fantasy and world building fans.

So far "The Bunker" is thought-provoking, but it's something I already suspect I'll enjoy better in trade format. Fialkov and Infurnari are interested in the dark side of ambition and accomplishment, and that sort of character work takes time. Their approach also looks like it will reward close reading and patience of the sort which can be tricky to sustain month-to-month. Of course, you may all be cleverer and more diligent than I am -- in which case, this will be your go-to monthly for ideas about responsibility, consequences and the future.

I never thought I'd be recommending an Archie comic to fans of "Wytches," but "Sabrina" is the next creepy title to put on your list. This is shaping up to be one heck of a horror comic.

I'm looking forward to issue #5. Winslow and Anne's arcs are coming into focus, and without the Merchant to help them, I'm curious to see how they'll handle themselves.

"The Empty" #1 is a decent start, but it needs characters to fuel its concepts. I'm curious to see what Robinson has to say; he just needs to say it in better language.

Still, "The Fade Out" is simply the best at what it does. It's a clear creative statement that any fans of noir shouldn't miss.

"The Fade Out" #6 continues to mine the best of noir. If it can flesh out a few more of its characters, it'll be a classic. For now, it's just masterfully executed.

I'm interested to see that partnership develop alongside the world it's in, and I'd bet that by Issue #5 "The Fuse" will be what everyone's talking about. Why not get a head start?

In sum, "The Fuse" is crackling right along, but it hasn't quite sparked. Still, it's building so smartly and steadily that I definitely want to be around when it does.

In sum, the second arc of "The Fuse" is top-notch science fiction. You should really pick this series up.

That's not going to stop me from reading it, though. "The Ghost Fleet" #1 is a rousing success in making you want to read issue #2. I'm curious to see how it proceeds from here. If the creative team keeps things as heart-pumping as they are in issue #1, this series will sell a whole lot of copies.

This is what makes "The Illegitimates" #1 frustrating rather than a failure. This world has an engaging premise, five protagonists and an entire spyhouse to get to know. The creative team should have lavished some more attention on them for the series' debut.

Glossy and confident, "The Infinite Loop" #1 has me looking forward to issue #2. Though I wish this issue dove a bit more into Teddy and the anomaly, it's certainly built my anticipation for that encounter. This is a lovely addition to the science fiction landscape.

"The Kitchen" doesn't revel in the violence of mob warfare and extortion. Instead, it focuses on the constant risk calculation and emotional turmoil that such a life involves. As such, it's an intriguing and unexpected addition to the market.

Trippy and curious, "The Life After" #2 is a strong leap forward for the series.

While solid, "The Manhattan Projects: The Sun Beyond the Stars" #3 doesn't do the pick-up work this series needs to match the original "Manhattan Projects." While every series is different and there's no reason this needs to be the same as what came before it, I'd love to see "The Sun Beyond the Stars" get to a place where it can wow me with more than the artwork.

I'll acknowledge that I'm asking a lot. It isn't easy for a comic to zero in on political issues when it could instead devote its pages to an awesome showdown between a post-apocalyptic Viking and a Greenpeace guerilla in aviators. (Let's be honest: I'm excited to read that.) However, "The Massive" has proven itself capable of asking and examining important questions in the past. Here's hoping it rises to its own challenge at the end of "Longships."

Still, as a whole, "The Mighty Thor" #1 is a wonderful opener. I'm always happy to see Aaron on an Asgard book; he has a great sense of Thor's world and what makes it work, and Dauterman and Wilson's art shows that same understanding of what's so cool about the Ten Realms. "Mighty Thor" is off to an excellent start.

I'm definitely picking up "The Squidder" #3. If you haven't read the first two, I'd recommend jumping on board.

"The Strain: The Night Eternal" #1 is simply a great first issue. It should have readers excited for the rest of the series.

"The Surface" #1 goes all in, so there will certainly be readers who hate what it's doing. As much fun as I had puzzling it out, if it doesn't sound like your type of book, you're likely quite right. However, if you're in the market for a trippy hacker odyssey, you're going to love "The Surface."

However, perhaps the characters aren't really the point here. B.L.I. was always meant to fall, and the heirs to the original Killjoys were always meant to triumph. As a symbol-heavy, go-all-out series, True Lives of the Fabulous Killjoys is an easy-to-consume, joy-to-read treat.

All told, "The Unbeatable Squirrel Girl" #2 is a fun but not particularly memorable issue. North and Henderson deliver a reliably enjoyable, distinct story, but the pacing issues kept it from really grabbing me.

If we're to take the renumbering as evidence that DC hopes to bring on new readers for this arc, "The Unwritten: Apocalypse" is only a half-success. I still wouldn't recommend simply jumping on from here on out; so much has already happened, and much of the weight of these upcoming issues will come from knowing that background. But this issue provides a far more important introduction: one to "The Unwritten's" themes, which are its strongest point. Readers who are curious as to whether they should start back-reading "The Unwritten" trades would do well to read this issue " as would anyone who's missed this series' intelligent, inspired exploration of fiction.

There isn't much more to say except that "The Unwritten Apocalypse" is some seriously great storytelling. Driven by high-stakes plotting and backed by a dense and complex mythology, it's got everything I could ask for in a series finale.

Of course, "The Unwritten" has never been beholden to physical logic -- it's only beholden to story logic. And as a story about stories, I suppose this series couldn't properly end with a cup or a horn; it would have to end with the pen.

It can be tough for highly anticipated titles to live up to the hype, but an issue this beautiful and sure of itself is bound to please almost anyone. With intriguing questions, interesting characters and pretty unmatched craft, "The Wicked + The Divine" #1 is"oh, just repeat the adjectives in the title.

Altogether, "The Wicked + The Divine" continues to exceed high expectations. It's just cruel that we have to wait until December for issue #6.

All told, "The Wicked + The Divine" #13 is a compassionate, feminist statement well worth making.

All told, "The Wicked + The Divine" #19 keeps the stakes up. This series works on every level and fires on all cylinders; there's a reason we keep hearing about it, after all.

All told, "Thomas Alsop" could develop into an interesting series if it tones down Thomas' character and brings out its intriguing mythology more and more.

I find Annuals to be very hit-or-miss, and "Thor Annual" is a definite hit. It's not related to continuity, so unless you're already a fan of this corner of the MU, it isn't a must-read, but it's a blast.

I loved Jason Aaron's run on "Thor: God of Thunder," so I'm just beaming that "Thor" looks like another lively take on this corner of the Marvel Universe. Bring on the next issue!

After the acclaim that "Godbomb" received, it wasn't surprising that a lot of people rejected the new tone of "Accursed." However, Thor doesn't just live in a world where there are wolves at the gate; he also lives in a world where Volstagg the Voluminous is at the dinner table. He's a space Viking, with all the absurdity and awesomeness that that implies. It's nice to see Aaron embracing both elements (though wisely not in the same arc).

The last few pages brought in a new element that I'm not entirely sold on, but overall Issue #21 is emblematic of what makes this run on Thor so impressive. Jason Aaron has a strong sense of what makes a Thor story work, which even the most skilled writers can't always manage. He's testing how Thor views himself and how he solves his problems, and I'm intrigued to see the answers as "The Last Days of Midgard" continues.

"Thors" continues to build on a great premise and pacing. I'm always happy to see Aaron on a "Thor" title, and I'm curious how this multiverse mystery -- and Thor the Unworthy's role in it -- will play out.

Alive in its unevenness, the Thought Bubble Anthology is a welcome annual reminder of comics' richness and variety.

While it didn't match its predecessor, the second issue of "Three" remains strong. Its combination of deep research, fully realized design and a clear point of view is why "Three" remains my favorite historical comic of the moment.

With all of these elements going for it, "Three" is simply masterful. It's also full of masters"but I'll stop punning. Go get the issue already.

Kelly and Bellaire paint a world where, as Aristodemos says, "fear reigns supreme." Even the open fields are gray and inhospitable, dotted with brooks and streams that look dull, almost polluted. When the dogs close in and the Spartan army marches closer, the landscape morphs even further, from unfriendly to unsettling. On top of all that, Kelly's faces are drawn with fear and paranoia that I could feel in my gut. They're doing remarkable stuff here, and Cowles' subtle, well-planned lettering completes it.

There's a joke in here somewhere about how you probably didn't cover the Helots during your sixth-grade unit on Sparta either, but I'll abstain. If you were unlucky enough to miss out on "Three" month-by-month, you should really pick it up in trade. It's been phenomenal.

As a whole, "Titans: Rebirth" #1 stages a lovely reunion for its characters and clearly establishes friendship as the true core of this series. Whether it will win new readers over is an open question, but fans of the Titans should come away quite pleased, and optimistic for the run ahead.

However, the issue is always, always lovely. The sweeping colors and mythic touches make "Toil and Trouble" #1 a true pleasure to look at, and Scott's script takes the coolest part of "Macbeth" and builds it into a layered, exciting new story. Given Shakespeare's own propensity for just taking the cool stuff and writing a new play, I think he'd be pleased.

All in all, "Tomb Raider" #1 would be a good middle issue, but it didn't leave me craving more. Personally, I like a first issue to have a touch of the sales pitch, a promise of what's to come, and "Tomb Raider" #1 is missing that spark.

Yet, I've still got "Trillium" on my pull list every month. For all its flaws, this series is engaging, because it isn't afraid to let the reader be confused along with the characters. No one in the cast seems to have any answers. They're human beings who messed with the fabric of space and time, and now they're drastically out of their depth. It's tempting in science fiction to include a know-it-all character who can explain the phenomena on the page and provide an intellectual framework for the characters to problem-solve with. The characters in "Trillium" have no such sounding board. Instead, they have to feel and fumble their way toward a solution, and that approach, though sometimes frustrating, feels much truer to the actual process of human discovery.

Ultimately, "Trinity of Sin" #1 doesn't so much introduce these characters as introduce the concepts of them. Their teamup is still intriguing, but DeMatteis may need to switch strategies in order to make the series more entertaining.

Overall, "Ultimate FF" #1 makes a fun case for itself, but the visual storytelling will have to rise to the dialogue in order for this series to really become a success.

Mitten also uses a fascinating fluidity of space that makes you understand just why Rascal hates magic so much. Rooms expand and contract without warning, depending only on how much room a particular menace has decided to take up. Staircases, walls, and passages appear and disappear. Combined with Rauch's colors, the end result is exactly the combination of dreamworld and darkness readers would expect from a nightmare, giving the world a very distinct look and feel. Who needs the map in the front to establish a world when the art is this impressive?

I'd recommend throwing "Umbral" at anyone who thinks fantasy must be lame on principle. Don't get me wrong -- it's still got thieves guilds, pirates, and magic relics to spare, so readers who hate that sort of thing regardless probably won't be wooed. But readers who are more skeptical than determinedly opposed will probably come to love it.

Enjoyable, interesting and a credit to its genre, "Umbral" is a comic I give to everyone. I give this review to you so that you will do the same.

"Umbral" is relentlessly interesting, even if issue #7 isn't one of its strongest installments. I can't wait to see how the numerous hints, prophecies and subplots will develop in the second arc.

Altogether, the issue is a welcome sign of things to come. After the initial coup in the first issue, the Umbral haven't made another real power play -- until now. I'm excited to see what will happen with the Mistwalker loosed, and Shayim and Munty back in the picture.

"Uncanny Avengers" #3 offers plenty of creativity and activity, but it's close to a tipping point. As long as things neaten up in the next few issues, it'll continue to be a good read.

Even for those readers who find the opening more off-putting than I did, Trakhanov's remarkable art and Orlando's unique premise should be enough to bring them back for Issue #2.

All told, "Unity" #0 is a successful addition to Valiant's universe, but not necessarily a successful issue in and of itself. Despite its flaws, it's left me wanting to see more of the Unit Y/Unity history, so the creative team has done something right.

Despite its flaws, "Vampirella" #1 accomplishes its most important task: getting the reader excited for the rest of the series. I came away from this issue with a dozen different hints as to where it could head, and I'm eager to see how things progress. A relaunch always has to make the case for "why," and "Vampirella" does just that.

This is a series with a clear point-of-view, even if its script isn't yet the most compelling thing. As Rucka's plotting grows to match the artists' worldbuilding, 'Veil" could really excel.

The largest detraction from "Magenta" is perhaps its price point, which might not feel worth all these small stories. Some readers might prefer to wait until the trade, but I'm personally enjoying the heck out of this series.

Overall, "The Vision" is as much a moving, disturbing must-read as everyone's been saying. If you haven't given this series a chance yet, do yourself a favor and try it out.

All told, "We Are Robin" #3 shows that the series is beginning to coalesce. The concept definitely has legs, and I'm enjoying how the Robins work as a team. If I can just get to know them better as individuals, I'll be sure to stay with this series.

A gorgeous little diversion, "Weirdworld" offers all the fun of Marvel's more forgettable titles with the luscious artwork of its most serious. I'm so excited that Aaron and Del Mundo have used the "Secret Wars" premise to make this odd, wonderful book.

All told, "Wild's End" continues to be a pleasant, pretty miniseries that's really free of major problems. Though this issue felt in many ways like the lull before the storm, its cliffhanger ending promises a winning conclusion to the series.

As a whole, "Wonder Woman" #1 has me optimistic. While I would have loved some more plot movement, particularly since issue #2 will focus on "Wonder Woman Year One" storyline, this issue firmly established my faith in the creative team.

From the "chit-chit-chit" noises to the subtext, "Wytches" is a skin-crawling achievement. You should definitely read it -- just not at night.

In short, this issue somehow manages to raise the already high bar for this series. When it matters, the "Young Avengers" are too smart to be subtle and too earnest to be ironic, yet they still pull off the self-awareness and sly charm of both. It's a tough tightrope to walk, but the creative team captures this tone again and again.

Issue #5 isn't my favorite issue of "Zero" thus far, but it's just as remarkably done as its predecessors. With that ending, it's switched the rules of the narrative and set up for an exciting new turn come March.

I continue to root for "Zero," with its slow and gut-wrenching storytelling, but "Marina" left me queasy in other ways. Hopefully the next issues can maintain this level of artistry without the problematic plotting.

"Zodiac Starforce" #1 doesn't so much embrace its premise as give it a wholehearted hug. Though I didn't love Ganuchea and Panetta's first-issue structure, they've created a world and a premise that I want to revisit again. I can see plenty of other readers feeling the same way.