Though the price is a little steep,"A Waste of Time" #1 is a solid pick if you'relooking to try something new. Worley has something to say, and he is using his art to expose his feelings in a very bare bones way that is pretty brave in terms of emotional exposure. It will be interesting to see what he lands on as his message once he finds it.

Pak is lifting the original superhero to great heights once again and while this issue is a bit of a letdown, I'm confident this is just a bump in the road. The storytelling team on "Action Comics" is very talented and still find a way to make this crossover chapter fit in with the types of stories they have been telling. I'm looking forward to their chance to return to their own agenda after "Doomed" concludes.

This is only the second chapter of a larger story being told, and readers still don't know the path Pak and Kuder plan to take. Overall, the story is still entertaining and visually appealing and a testament to the work that this team continues to put into this book month in and month out. "Action Comics" #42 has some causes for concern for the overall plot but still gives readers the most nuanced and developed take on Clark Kent and his world that is currently on the stands.

For all of the odd ingredients that go in to the bouillabaisse that is this comic book it works. If you enjoy horror tales but are disillusioned by the constant grim pallor that hangs over most zombie comics I highly suggest you give this book a try. It is clear that the idea is in very capable hands and that everyone involved is having a blast. Don't pass by this book any longer.

The book is a gorgeous, darkly fun look at the roles of heroes in our lives and what we do to hurt ourselves when we're scared. Fans of Robinson's straightforward superhero work may not find what they're looking for, but readers who appreciate his characters and innate ability to create scenes with weight and meaning will be rewarded with a decadently enjoyable confessional narrative and stunning cartooning. "Airboy" #1 is a unique book that fans should check out when it hits stands on June 3.

Though the title is a mouthful and the climax of "Secret Wars" has been delayed, "All New All Different Marvel Point One" #1 is worthwhile for readers looking to dig in to the new Marvel Universe.

I want more, and that's the most you can ask from a first issue.

This is a solid downtime issue that gives us a better understanding of our heroes and lets us know where their heads are at before we jump back in to pretty explosions. "All-New Ultimates" had a shaky start but is getting better with each issue.

"All-New Wolverine" is a worthy successor to the franchise. It blends the familiar and the fresh with style and keeps fans engaged the entire issue. Congratulations, Laura; you're earning the codename "Wolverine."

David's work on this franchise has been consistently well done with some amazing character moments throughout. It's a shame that he's not given the time to wrap up the series in a more satisfying fashion. Much like what he's done with this corner of the X universe, he does the best he can with what he's given in "All-New X-Factor" #20.

Of all the DC YOU initiative books, "All-Star Section Eight" is the most offbeat release of them all. It's a vessel for some fun and gross humor, strangely inventive in its visual storytelling and knows exactly what it wants to be. Ennis and McCrea work together as a fantastic storytelling team and it's great to see them together once again. Fans with a deep knowledge base will get a lot out of the issue, but anyone picking up this book should have a blast.

This is a strong start to Peter's return to the red-and-blues. New or returning readers will be instantly dropped in to Slott's long-term writing style, which is accessible and fun and gives you just enough info to know what's happening but still leave you wanting more. Ramos, Olazaba, and Edgar Delgado give us a high octane world full of bright, vivid action. "Amazing Spider-Man" #1 is classic comics, befitting one of the most classic titles in comic books. Welcome back, Pete.

The checklist in the back of the book shows several titles that are designed to feed in to this crossover specifically and I'm hopeful that this is structured well enough that reading only "Amazing" will allow readers a full enough view of the action to remain satisfied. Slott has pulled crazier stunts with Parker and stuck the landing, so let's see where this leads.

"Spider-Verse," for all its high dangers and trappings, winds up being a fun, self-aware event that equally gives Peter a greater understanding of his uniqueness in the universe and a better sense of connection to the things that he has that other iterations of Spider-Man may not. Slott's love of Spider-Man continues to push through all aspects of "Amazing Spider-Man" and this issue is no different.

There's enough to like in the issue, but most everything here is mired in the ongoing plots of the book. It wraps them up but readers may find themselves feeling a little empty-handed at the end, with the knowledge that this is the last issue of "Amazing Spider-Man" for several months. Slott moves forward with "Renew Your Vows" and artist Adam Kubert next month, which will most likely not involve anything addressed in this book, which makes the ending feel even more hollow. This is mostly a completionist's issue.

There is plenty more to mine from this concept and Slott writes like it's his last Spider-Man story. The stakes are more personal than they have ever been for Peter and, now that the lead up has been established, it will be interesting to see if Slott addresses Battleworld at all or if he will keep this as self-contained as possible. "The Amazing Spider-Man: Renew Your Vows" #1 is a story that explores the heart of the character and feeds into the 90s nostalgia wave, while still having something new to say about Marvel's most recognizable hero.

"Amazing Spider-Man: Renew Your Vows" winds up being a very fun ride that gives older readers some long-desired fan service while still showing that, no matter the circumstances, Peter will always be Peter. When a character is as simple and well-defined as Spider-Man, there are no limits to the stories one can tell -- and, if nothing else, "banana pancakes fix everything."

Three issues in and "Ant-Man" is another entertaining, high quality comic from Marvel. Spencer does dense plots well and what's coming up next will be a true test of how the premise of this series can hold up. If anyone can pull off the mundane drag of work life with the complications of spandex, Spencer has proven he can in his previous work like "Superior Foes of Spider-Man." Here's to the little guy in all of us.

Valiant continues to build their universe in a way that is acceptable in modern interconnected comic storytelling and isn't alienating to new readers, something the original version of the company also did well. We flash back for a Zero Issue next month but I'm excited for the the prospect of Van Lente throwing these characters in a jar and shaking them around come March.

With so much hoopla surrounding the All-New Marvel and DC YOU initiatives, it's amazing that this -- one of the most recognizable comic book titles in the history of the medium -- is being launched with far less fanfare. In the past year, Archie Comics has found ways to adapt their characters in fresh and exciting ways for a new generation of readers. With Waid and Staples -- two creators who continue to find new heights for their own creativity -- at the helm, the publisher has created their best book in years. "Archie" #1 is must-read comics for anyone looking for fun, engaging characters and beautifully drawn, on-trend style.

It's difficult to not love a book this silly. There was a lot of press surrounding it when the concept was first announced and it's satisfying to see the actual product is as entertaining as one would hope. De Campi seems to take joy in slowly playing out the scenario and readers should love how self aware and fun the entire package winds up being. There's even a bonus one-page strip that has two other characters from the Archie and Dark Horse worlds meeting for the first time, which is gorgeous and -- hopefully -- recurs through the remainder of the series. "Archie Vs. Predator" #1 takes a huge risk and it pays off incredibly well, resulting in a satisfying teen comedy horror story. Fans and rubberneckers alike will find something to enjoy in these pages. Here's hoping that this only leads to more weird collaborations between these two publishers.

The book reads like a breeze and is an excellent jumping-on point. It's a mission statement wrapped in a sequential story and, in that regard, it's very successful. Spencer has found a nice niche as the comedy guy with lower-tier characters of the Marvel Universe and, with "Astonishing Ant-Man," the writer is poised to help establish a stronger voice for the newly-minted box office star.

"AXIS" #1 cannot be accused of padding story; so much happens here with so many characters that the character chart at the beginning of the book will be of great use to casual readers. Here's hoping for a bit more inspiration, or a chance for some, in the visual department in the coming issues.

After what has felt like watching light refract through cracked glass over the last several months, Hickman weaves everything together at just the right moment; any later and it would have felt either too late or too rushed, and any sooner none of the decisions made herein would have had the type of impact required for the larger game Hickman is playing. There are still a few months to go before "Secret Wars" but the end is in sight. Whatever comes next is going to be a burden for the characters but a hell of a ride for readers.

Though the full story Hickman has committed to has yet to see its final act play out, this issue feels like the climax to the themes he set forth to explore in this run. Looking back on the entire story as a whole, it's gobsmackingly impressive that as much of this 2-year story has held together as well as it did. Hickman has proven himself to be a Grant Morrisson-level plotter and may surpass the him if "Secret Wars" can stick the landing.

Davis the plotter has a great concept on his hands. Davis the scripter is still finding his voice, which can be tough when the visuals are so good. Moments in the script are a little too on the nose and some exchanges are a little cringe-worthy. This can pick up as the story leads on but, for a debut issue, it's a tough first impression. Newcomers to comics and gamers looking for something to speak to their interests should enjoy what Davis has created here. "Axcend" #1 is a beautiful debut but feels like it will read much better once the initial story arc is collected.

I guess I just hoped for more from this concept. A mentally wrecked, serial killing hillbilly who has a new well-meaning outlook on life, skewing the world's attempts to kill or bring him to justice as some sort of test of his heroism, is great. But this mini just didn't feel like it took the concept far enough.With a bit more edge and a stronger voice, Kassady has an interesting status quo moving forward, but the journey there should be best forgotten.

There are big moments that will change the characters in this issue, perhaps permanently. This team is creating one of the most legendary runs on "Batman" ever assembled. Their gothic horror adventures have made one of the biggest selling books in the company's publishing line feel like destination reading. It feels like this could have been the climax of their work though they are staying on the book for a while longer. It's going to be exciting to see how they top this arc.

There are other realms of story to tell with the concept of Batman, some of which Snyder teases with the seeds of future tales he's previously told. Even as Gordon confronts Bruce at the opening of the issue, the debate of what Batman is and can be is overtly discussed with Gordon, who concedes that Batman "needs to be something more" than just a middleman. It's also a commentary on delivering the type of story needed for the creative team's iconic run on the book. After 40 issues of story, they needed to be something more than just the middlemen continuing to deliver the same plots with the same villains over and over again. Batman represents something more than that; he is a symbol, and symbols need to grow and change along with the stories that incorporate those symbols. "Batman" #43 is another stop on what is becoming a wickedly fun and unpredictable journey for the wielder of that symbol.

Before "Superheavy," what did anyone really know about Bruce Wayne beyond bullet points? What did he even know about himself? Snyder gave us a real Bruce Wayne for maybe the first time in Prime DC Continuity. What we learned is that -- even without the tragedy in his heart -- he is still a great man. Determined. Focused. Self-sacrificing.

Snyder and Capullo's run has impacted both Batman and the world at large, but they also had an impact on me. They made Batman larger than life, while still street-level and accessible, and came up with some of the most brilliant twists ever drawn up for the hero. In addition to creating iconic images and innovative designs that captured imaginations, they really, truly gave readers a predicate to the subject "Batman is" with every page. To me, Batman will always be this creative team.

For your money, you get action, setup, Batman being Batman and the Turtles being the Turtles. If you're looking for the kind of book that makes you laugh while pumping your fist, then check out this debut issue and collect your high five at the door.

Though it will take some time to get to the big reveals, "Batman and Robin Eternal" #2 continues the fast-paced fun introduced in the first issue. Though the titular character is still more of a cameo player in the series, the book establishes itself as the one place to see the best parts of the Bat Universe interact with one another.

"Beasts of Burden: Hunters and Gatherers" is an incredible, well-told story. The only downside to picking up this issue is knowing the infrequency with which they show up. But a little is better than nothing at all, so buy this one shot, hold it tight, and hope that a Windslither or a knotted up ball of rats doesn't roll through your home to take it.

Given the pedigree of the creative team, there's no reason to think that this book won't be a fun, bloody romp. There's still plenty of story left to go and, with Big Man's tendencies put on display in this issue, this creative team is going to be doing a lot of violent heightening as the tale moves forward. "Big Man Plans" #1 is well worth a look.

This seemed like such an odd book to publish when it was announced, but now that I've had it in my hands it makes 100% sense. There's no way they could get Kurt Russell to revive this character in a way that would be as satisfying as what we get here. Shifting the medium and keeping the story lets us hold on to Jack Burton the way he should be. This is a fun introductory issue, and though there's a fair amount of standing around and talking in the issue readers are on the road to some big adventure soon enough. I'm climbing aboard the ol' Pork-Chop Express for the long haul.

Everything in the book is fun and light but it's a bit confusing as to who, exactly, is the audience for the material. Fans of the stories will be able to dive right in, though -- with Boom!'s status as a smaller publisher -- they may not even realize it exists. New readers would have a bit of a learning curve in these pages as the script hits the ground running, not taking a whole lot of time to introduce readers to the world. The first few pages of the comic have an enormous cast of characters running around from wildly different backgrounds and could make for an overwhelming experience. With that aside, "Bill and Ted's Most Triumphant Return" is quite a bit of fun and should continue to be for the remaining issues in the series.

"Birthright" #6 is a bridge issue, a brief rest in the story as the creative team builds from one story to the next. The characters were on the move so much in the first five issues that Williamson needed a chance to slow them down and bounce them off one another to find out who they are. It's a good character issue for fans of the book and a good jumping on point for new readers.

If Jenji Konan, Andy Warhol, George Miller and Barbarella had a baby, it would surely be "Bitch Planet." This is a hell of a debut, showcasing two talents that seem to get better and better with every project.

Though it has taken the creative team a while to get to issue #5, "Bitch Planet" quickly proves it is worth the wait. This is a book for mature readers, but the team uses that label to actually discuss important themes, allowing the genre work to inform the personal stories they want to tell and not vice versa. I strongly encourage readers to become Non-Compliant and pick up this issue, which realizes the potential of the series and comics in ways other books do not.

Overall, the second issue of this series continues the tone established in the first one. It doesn't feel as exciting, since the element of surprise and newness is no longer here, but the creative team continues to create fun, entertaining stories with a fresh perspective.

Even with a few reservations, "Black Canary" #2 is still a fun read with amazing art. It's a great direction that revitalizes the character in a new context and finally lets Dinah have a chance to shine in her own spotlight.

The story is repetitive but purposefully so, much like regular sex, if there is such a thing. Chaykin repeats certain refrains to drive home the importance of the mission to the protagonist. He is fully aware of the type of story he is crafting. The killings are tongue-in-cheek but the inciting incident is never treated as such

The writer has mentioned in his column for The Atlantic that his "Black Panther" stint is scheduled for 11 issues, so I expect a long ride with this story. There are already enough plot threads developed here to keep me around for a while. This is a good debut for the writer, highlighted by great page and design work from Stelfreeze.

Whatever dark wizards Remender made a deal with to create this story are certainly getting their money's worth. "Black Science" #1 is the start of a terrifying new thrill ride that I will be reading between my fingers, hands over my eyes.

Yet again, Valiant has created a series that both makes sense as a crossover and remains story driven and entertaining. "Book of Death" establishes Darque as a threat worthy of main event status. Coupled with a solid script and fantastic art, "Book of Death" #3 is a great tent pole piece for the company. Though the plot development is a little slow, this issue is never boring and continues what has been a grossly entertaining story.

"Book of Death: The Fall of Bloodshot" #1 is not required reading for the most cohesive universe in comic books, but it is certainly enjoyable. Readers looking for a glimpse into the future and some excellent storytelling and strong art should check out this one-shot.

It's not surprising that Marvel has found a way to push together their two hot media ideas of the moment -- the espionage of the "Captain America" films and the space-faring wonder of the blockbuster "Guardians of the Galaxy." What is surprising is that the end result is something this offbeat. This is a book that even five years ago would have been impossible to imagine Marvel putting on their final order cutoff in Diamond. After a decade plus of focusing on straightforward superhero stories that hewed very close to Earth's atmosphere the editorial staff at Marvel is really opening up the storytelling possibilities in their comic books. This was a pleasant surprise and worth the time and money.

"Captain Marvel" #14 finds great small character moments in the face of a larger crossover with good dialogue and great art. Unfortunately, it has to do so with a supporting cast of forgettable villains during a story that is starting to overstay its welcome.

The Carol Corps will find their hero the same here and better. New fans will find a confident woman who's striving to achieve beyond where she currently rests. Fazekas and Butters give everyone a taste of the complications that come with the new status quo and a feel for what Carol might sound like when she arrives in cinemas in a few years. I expect this team to keep reaching higher and further with this book.

This is a good use of Carnage, a Freddy Kreuger-style villain whose series forces its characters to react rather than act. Keeping this balance is key to the future of the series and maintaining the tone of the book. Conway, also a veteran television writer, controls the pages and builds to Cletus patiently, allowing the characters to deliver motivation and personality, which will help them connect with readers when they inevitably become fodder for Carnage's acts of terror. The writer also does a good job of resisting the urge to make Cletus relatable; too much of that and the audience is rooting for a serial killer, but too little development and the character is nothing more than a weapon to point at various other characters to shred. Fans looking for some atmospheric horror and a good use of tertiary characters will want to check out "Carnage" #1.

This issue is staged as the party before the parents come home, as the cliffhanger reveals that the timestream is about to see a lot of fighting. With danger creeping into Corbin's personal life as well, Millar and Murphy give readers a story where the walls can close in on a character even when they're not bound by any physical restrictions. "Chrononauts" is shaping up to be another hit Millar-world book.

The book has little to do with its "Secret Wars" status and is actually confusing in that regard, considering the whole of the United States and other nations exist within the confines of this section of Battleworld. It's fine, though, as there's plenty of story to tell without those explanations. Ultimately, because this series works as a sequel to "Civil War," a reader's enjoyment will be based on how they felt about the characters in the original, because they behave in very much the same way here.

We step out of this story just as the action reaches its zenith which disappoints but is understandable given that this is a multi-part tale, clearly advertised as such on the cover. While "the Avenger" in the title of this tale does not bring the book into the Marvel Universe, the adjective in the title refers to avenging the family of a stillborn demon, or possibly Conan's own grief. It implies that readers are taking a more active turn in the tales that Van Lente will be telling, making our protagonist someone who is working for other people's needs beside his own. I'm interested to see where that road will lead.

"Convergence: Action Comics" #1, like many of its fellow event issues, feels like a 21 pages of waiting for a final reveal that is actually spoiled by the first page, before the story even begins. As readers delve into the second half of this event, it will be interesting to see how these stories land but -- for now -- this is an issue for fans of the creators or hardcore completionists only.

The Outsiders have a big threat headed their way on the final page and D'Anda clearly loved cutting loose on the spread, going so far as to sign it. It's a safe bet that the next issue will involve a lot of dynamic fights that will allow the artist to make full use of his superhero expertise. "Convergence: Batman and The Outsiders" #1 is one of the comic books that has done well with the unforgiving narrative challenge this crossover has provided.

"Convergence" as a whole is a deep exercise in brand loyalty; with the limited page space, readers are expected to come in with background knowledge of each character, lest he or she be confused by the depicted era of that character. "Convergence: Catwoman" #1 puts its best paw forward but is a victim of having to do too many things at once.

Though the plot itself is basic, the characters themselves are interesting enough to come back for a second issue. It doesn't seem like there will be easy choices to make in this story andFaerber sets up our hero as someone who may get in her own way. Watching her learnwhat she thinks is best for the town versus what actually is best will make for good reading. The art team is just getting started and if they're this locked in during the first issue then who knows how much better they'll get once they hit their stride. Go buy this book.

While it isn't a story with huge plot ramifications, this "Criminal" one-shot is a welcome return to one of this team's most enduring creations. Any "Criminal" is better than none at all and, hopefully with the franchise now being published by Image, the gang will come back to visit this universe more often.

With this combination of creator and creation there is a surprising lack of ideas in this opening salvo of "Crossed Plus 100." It almost feels like Moore purposely shot for the middle, delivering under-the-bottom on an over-the-top concept. There's no real urgency to revisit these characters when the story ends; it would be unsurprising if this were simply a one-shot. What is introduced poses some threat but indirectly. Maybe the conceit for the series will become visiting and living in the world rather than specific characters or locations. The problem is that engaging characters are still needed for that kind of anthology and Moore, a man who has created and defined many legendary characters over the last 30 years, hasn't created any in this issue, which makes for an empty read. This may work better as a trade, depending on where it's leading, but for now what we have is an okay story in a universe filled with frenetic insanity.

There was more than one moment in which I genuinely teared up in this book. Blame it on the unresolved loss of my own father years ago or the squishy soft mud hole of a heart in my bone cage; whatever the case, I was pulled in to the gravity of this anti-gravity tale. A book that I almost dismissed is now one I'm completely onboard for.

Readers looking to find the next big step in the plot of "The Black Vortex" might not see this issue as anything more than moving pieces back on the board: the Vortex is juggled to Captain Marvel so she may have a crack at using it as a plot device in her own crossover issue and the three subjects of the issue are finally back in the fray with the rest of the Guardians and X-Men. Readers who have followed Cyke down this path will see a big step forward for the titular character, understanding the role his father has played in his life and allowing that to give him confidence to take control of it himself.

"Daredevil" continues to be one of the best examples of how to do a superhero comic. Waid, Samnee and Wilson are making magic in these pages and like every other issue of their run this one is a thrill ride.

As longtime Daredevil fans will recognize, particularly with the Catholic themes that permeate the book, Waid is setting up Murdock for a long fall as he revels in his new status. This is a comic that has wallowed in guilt and responsibility and fear for decades and, though Waid has allowed the light into Murdock's life, he understands that this is a character whose very instincts make him gorge on whatever he's accepted; what was once an addiction to the darker parts of his own psyche has now become an addiction to the dopamine released by the acceptance that San Francisco has given to him. While it will be hard to watch this new reality fall around Daredevil, it will be breathtaking to watch him try to hold up the crumbling pieces.

Surprise, surprise, "Dark Horse Presents" delivers yet again. Mike Richardson is continuing the award-winning work that readers have come to expect from this property. If the teases for next month are any indication, this trend will continue for a while.

"All Star Batman and Robin, The Boy Wonder" was intended to be the prequel to "Dark Knight Returns," but "The Last Crusade" feels more like a spiritual precursor to the 1986 miniseries than "All Star Batman and Robin" ever did. "The Last Crusade" is focused and fast and well crafted. The voice of the character isn't as in your face, and Batman -- at his heart -- is a good man. Thanks to "The Last Crusade," it's easier to see Batman's trajectory as he becomes the man he is in "Dark Knight Returns." Given the status of that iconic story, that's a lot to live up to, but this book manages to do so nonetheless.

I went in to this book hoping for some awesome kung fu action and real gritty genre fun. I was disappointed to get a confusingly drawn tale where the cliffhanger is Shang-Chi walking down a really clean alley. Getting this character away from the Avengers action is a smart idea but where he is taken doesn't feel particularly exciting. Here's hoping that this is a good place to build from for the rest of the book.

Deadpool's movie is out this month and Ryan Reynolds is looking to make the character more visible than ever, so an increase in the character's appearances is expected. The nice thing about comic books, though, is that you can tell several different stories with one character simultaneously in order to find out what works best. Marvel is leaning into the idea of "Deadpool as Bugs Bunny" with this series, which kicks off with a fun story that won't have a greater impact on the publisher's bigger shared universe storytelling -- but it does remind you that, yes, Stingray was once an Avenger.

The creative team gets a lot done in the first issue of this new volume of "Deadpool." While establishing several different plot elements and reestablishing old ties, the book is a perfect introduction to the character for new fans and gives returning fans some stuff to chew on. The ending of the issue proves Deadpool isn't all the way on the side of the angels and readers may leave many wondering if Wade Wilson's actions will stand in the way of his own success. It's a meta story about a meta character with a filthy mouth and it's fun as f*&#.

The creative team gets a lot done in the first issue of this new volume of "Deadpool." While establishing several different plot elements and reestablishing old ties, the book is a perfect introduction to the character for new fans and gives returning fans some stuff to chew on. The ending of the issue proves Deadpool isn't all the way on the side of the angels and readers may leave many wondering if Wade Wilson's actions will stand in the way of his own success. It's a meta story about a meta character with a filthy mouth and it's fun as f*&#.

So here's to you, Wade Wilson. You've survived so much -- pulled yourself from the floor of the Marvel Universe to become one of their most viable cash cows. You're confusing. You're insane. You smell terrible. And you might just become the hamburger face of the company. Not bad for a 25th birthday.

Acker, Blacker and Beyruth set up a really fun concept, portraying Deadpool and Gambit as a "Beavis and Butt-Head" pairing with a few more brain cells and a lot more firepower. This first issue only scratches the surface of that potential; as a standalone, it's fun, but a little unsatisfying. Fans looking for a buddy action comedy will find the start of one here, but they'll have to wait a little longer to see the real story.

Nothing in "Deadpool's Secret Secret Wars" is essential reading to the greater tapestry of the Marvel Universe, but it is one of the few bright spots of what has been a bleak event. Though Marvel produced other comedy books, they have been far from the universe-wide change. It's an entertaining romp through the publisher's history that utilizes the "Deadpool" book's idea of tossing the character into weird old styles and -- though Lolli's layouts are similar to Mike Zeck and Bob Layton's original work -- his style remains his own, a strong choice because it's already great. This third issue is more fun in the same vein as the rest of the series and covers some of the biggest moments yet.

The cliffhanger Daniel introduces is sure give the book a swift kick in the jeans as Deathstroke looks to be making a visit to Gotham City and will certainly be running into Suicide Squad's own Harley Quinn. It feels like an organic pair to face off and is sure to excite readers, especially with Daniel's dynamic and action-oriented art style. If he can find a balance between story and art in the book then "Deathstroke" could be poised to become yet another high-quality DC title whose relaunch and refocus were worth starting over.

There's a lot of imagination in this book and this is a creative team that has proven across the medium that they know what makes a good story great. Nguyen's page layouts have always been fluid and dynamic and Lemire is returning to themes that he knows well and can use to create striking, heart-wrenching narratives that are both fantastical and relatable. This is a book that feels like it knows where it is going; there's a confidence in the storytelling that is important in a series where the concept is this large. There are larger mysteries presented, then dialed back to view the world through a more relatable personal lens, before it opens back up to the world at large. There's a lot of potential in "Descender" and, if the market allows them the time to tell the story, it could be another home run for Image Comics.

Though most eyes will be on the other "Batman" title this week, "Detective Comics" #41 serves as a great way to give the fan favorite characters of the GCPD and the wider cast outside of the Batfamily a chance to shine.

"DMC" #2 winds up being hamstrung by its own ambition; it has the elements of a fantastic story but -- with too many creators, an entire origin to cover and too little character development -- the book winds up good, not great. Though a unique format experiment by the new publisher, "DMC" #2 is only the second issue, and they will continue to learn as they go. Here's hoping issue three builds off of issue two.

It's a shame the traditional publishing model dictates that major superhero stories debut as monthly installments before moving to collected editions, because the pace of the issue -- which feels like it could lend itself to a much longer story -- would benefit from having the whole thing told in one go. Twenty pages isn't a lot of room to tell a whole story, and this first issue proves it.

"Drifter" #2 is yet another feather in the cap of Image Comics who have curated a mind-blowing lineup of spectacular sci-fi books in 2014. It's a near-total package and only two issues in is definitely a comic to watch in 2015.

Overall, this comic suffers from the weight of its own ambition. This is a talented super team of creators who want to tell a cool story about the end of the world but, with so many directions in which the story wants to go, our beach ball is left sitting in one place, bouncing awkwardly and slightly in no real direction.

Hickman is setting up even larger power plays, increasing the scope of the war while consolidating the participants. Where they go next is anybody's guess; the possibilities of what can happen are wide open. For anyone reading Hickman's Marvel work who feels like the characters are lacking, I highly recommend this issue of "East of West." It's a great concept, executed with precision and style.

The debut of "Empty Zone" will stand and fall on a reader's opinion of either the mood or the characters; it's stylish and well-made but still has a lot of work to do before it becomes a compelling, top of the pile series. The gorgeous art will draw in some, but Alexander will have to tease out more of the story in the next issue to keep them around.

"Eternals" #1 is a high concept that suffers from trying to do too many things at once. It can hopefully balance out in the coming issues but for now it is quite possible it could collapse under the weight of the very concept that gives the story life.

It's a shame that, once again, the X-Men are punching bags for the Marvel Universe. Though nefarious power struggles were always inherent in the series since Claremont's run, there were still moments of hope to pull the reader through. Right now, the franchise feels like it's bullying mutants. It's always darkest before the dawn and it's possible that hope is around the corner, but right now there isn't much to "Extraordinary X-Men" that isn't depressing. Lemire and Ramos are fantastic talents who are doing their best with what they're given, but I'm looking forward to their work in a setting that gives their characters a bit more of a chance.

Robinson is a writer that plays a long game, but with the dark a path he is taking with the Fantastic Four, the light at the end is going to have to be incredibly bright to get past the depressing state in which the characters now find themselves.

Logic aside, this is a good comic book. It will take some justification and big action to raise it up to great but it can get there. This is a story that will thrive on constant forward momentum. If the dialogue can even itself out then this is definitely a book I could see showing up at the local multiplex in the next few years.

"Fight Club 2" is a good start for the sequel. It's almost a certainty this work was built to be read in larger pieces, so kudos to the team for delivering a solid first issue. Palahniuk has a message and has adapted well to the medium in order to convey it. Fans of the franchise should be satisfied with this debut issue.

Venditti and co-writer Van Jensen use this book to further the plot of the present era, though it feels like a confusing trip to get there. Future future Flash will be dishing out even more problems for current Flash fairly soon, and though those adventures may be promising, I can't recommend reading the tale that took him to the present day.

I expected this to be a run-of-the-mill review and instead I was completely blown away by the execution and swagger of this debut issue. Nate Cosby is credited as packaging this project for Dynamite and I'll say it -- the guy has a nice package. This is a home run as a first issue, and if the rest of the story is as good as this, you will not want to sleep on "Flash Gordon." I know I won't be.

David Finch, Richard Friend and Sonia Oback drench the mood in heavy inks and dark colors with lots of posturing in the slower scenes and pose striking in the action sequences. The men are muscled and smoosh-faced and the women all have the superpower of knowing how to stand in order to perfectly accentuate their curves. Finch understands how to draw splash scenes and dramatic entrances, and those who love utraviolence will lap this up, but overall, like the story itself, the art feels superficial.

Though problematic, there is plenty to enjoy with this issue, and old-school George Prez fans should be right at home with the work being done here. It's still a George Prez book. It just feels like a late-period Rolling Stones jam, where you know it's them and you appreciate that they are still performing, but nothing they create now can hold a candle to the previous work.

Browne is carving out a unique space for himself with this series. There isn't really anything exactly like it on the stands and that's exactly what we all look for in comics, right? Find another book that has beer swilling horses screaming "Fuck this shit!" or sound effects like "Murder Town!" or a beautiful panel of a tear stained hen and a joyful farmer preparing to consummate their love for one another or a tiger in a crown eating a cheeseburger named King Tiger Eating A Cheeseburger. You can't because Browne took all these ideas and used them to make "God Hates Astronauts" #1 the most fun book of the week.

What will keep this book gripping is finding the balance in the mysteries -- how long to tease them, when to introduce new ones, at what point to resolve them. The soap operatic nature of the plotting so far, reminiscent of Claremont's best work on the "X-Men" titles, shows that this is a creative team willing to take chances and discover how to find that sweet spot. The spotlight will be on when the tease is paid off with Olive's lineage and how satisfying that feels to the readers. If they can pull that off, this is a book that will pay dividends for DC down the road.

This is a good concept for a book and in the hands of these creators, who have worked well together in the past, it felt like there could have been so much more. Because this issue may have been assembled years ago, it's possible the subsequent issues will see a dramatic jump in craft. For now, though, "Graveyard Shift" is going to have to dig itself out of a hole quickly.

"Grayson" #8 is another great issue of a great series. Dick Grayson, one of the oldest characters in the DC Universe, is deserving of a top-tier, high quality title. When it was announced that he would be losing the Nightwing identity, fans were outraged. However, if this run continues apace when it returns, fans may wonder why they ever wanted to see him back in a domino mask at all. DC is slowly starting to find unique identities for each of their comic book properties after a few years of standard storytelling. If anyone has not had a chance to check out this book, it's a good time to catch up now before the second act kicks into gear.

With the new focus given to the entire publishing line, the creative team was wise to simply keep with the elements of this book that work well -- a fun sampling of how good this book can be -- and it is very good, indeed. Like a skilled acrobat, "Grayson" #9 continues to make the difficult work of creating layered, nuanced storytelling with breathtaking visuals look effortless and sexy. It's a great jumping on point for new readers and a great welcome back to everyone that's already on board for the ride.

As the issue closes, a major plot point is revealed, which -- like any good spy story -- creates a myriad of other questions. There is still so much left to be done and, though the story teases a return to Gotham for next issue, it's certainly not the end of Dick's involvement with Spyral. As Huntress tries to hold things together at the top, she continues to find herself the prey and not the predator. Tiger is spun into a web without his knowledge and used as bait. Dick is being manipulated from all sides and feels out to sea. The upheaval makes for fantastic comics and, as Seeley, King and Jann continue their innovative work with "Grayson," readers find themselves pulled further into the Spyral.

The road is still going to be long for Dick Grayson before he's finally found the corruption at the root of Spyral, but Tim Seeley, Tom King and Mikel Janin make the ride incredibly enjoyable the whole way. Fans of the series should expect another fun issue that may fall a little short of the series' previous homeruns but won't be disappointed by this nice triple. New fans interested in checking out the series should have no problem jumping into the flow of the story with this issue.

While some annuals have a few enjoyable scenes, they often lack a real point of view. "Grayson Annual" #2 bucks that and delivers a highly entertaining one-off adventure with the new-look Superman and Grayson, who is quickly becoming the most likeable hero in the DC Universe. It also serves to show that, even through all the changes they've experienced, they are both still the good people they've always been deep down. Readers thirsty for more Dick should definitely consider picking up this light but entertaining ride.

This book is not for the faint of heart or easily offended. The tone of the letters column felt grosser than the story but I'd guess that is on purpose. It's the equivalent of sitting through a film then having the unwashed guy in the bootleg Bart Simpson shirt behind you loudly declare his top five naked death scenes in way too much detail. There is intense violence and some very mature themes, but I liked how professionally it was handled. The creative team is off to a solid start and as mentioned above I hope they will use the elements here to put a unique twist on the Grindhouse revenge story.

Readers looking for their monthly "Guardians" fix will find a more focused and intense version of their favorite group in "Guardians of Knowhere" #1, and even a cameo by Cosmo, the Marvel Universe's undisputed best character ever. It's a good start to their involvement in the company-wide event.

In his recent interview on "The Nerdist," Bendis stated that -- since the film -- the influx of younger readers wanting to check out "Guardians of the Galaxy" is staggering, so it's no surprise the creative teams are pitching to that audience. Readers looking for the dark stakes of Marvel's past cosmic crossovers will be let down by "The Black Vortex." However, it is a good story to keep to a younger reader interested in the continuing adventures of their favorite film characters.

Overall, though there were many great ideas tossed at this iteration of "Guardians," very little seemed to stick. Somehow, the series felt like it took too long to accomplish very little, even in the issues that had the task of getting in the bigger beats of any story. Completionists will want to pick up this issue but, with the soft "Secret Wars" reset button being hit soon, there's little in these pages for anyone else to grasp onto.

"Hank Johnson, Agent of HYDRA" is a funny issue that shows the potential of Mandel as a comic book writer, at least if he wasn't already employed on one of television's funniest shows. Readers looking for a fun one-off break from the tragedies of Doomworld should definitely check out this book.

Flamingo's death is heroic but foolish. She leapt in without thinking, empowered as she was by her bond with her friends. Were her actions necessary? Ion would have splattered on Liberty Avenue before Zephyr, releasing his hold and allowing her to regain her levitation field, which she seems to quickly do anyway. Zephyr and Torque are now burdened with the knowledge that their friend died to save them. Pete, who activated Flamingo's psiot ability and her self-worth, led her towards a life that looked like it allowed her more control over her own destiny. Instead she gives her life in service to Pete's agenda. She now becomes a martyr to the cause, a rallying point as seen by Kris' spray paint tag on the server farm. Whether she serves the Renegades better that way remains to be seen. When the dust settles there will be some real soul searching to do in this comic book, and the answers these kids find will decide whether this new loss gains them anything at all.

If anyone has enjoyed the writers' works on "Power Girl" or "Harley Quinn" in the past, then "Harley Quinn & Power Girl" #1 is going to be exactly what the doctor ordered.

I think this book may be for much younger fans, perhaps boys in their early teens who are looking to see something risqu without risking their browser search history. However, as a protagonist, Harley is unreliable at best, which can make for more insane pairings down the road here.

Having Mignola back on both art and writing duties is a treat, and this issue already has the elements that make the exploits of Hellboy so great.

"Hip Hop Family Tree" #1 is an exhaustively researched, fascinatingly educational and beautifully composed piece of comic art. Readers will be rewarded by a journey through an American cultural landmark led by the talents of a wildly confident artist who has taken on a tremendous responsibility. This is can't-miss comics.

With a television deal already announced and a full run under their belts, it's clear that this team knows what they want to do and where they want to go with the story. As a 5-issue limited series, it will also keep the tale moving at a brisk pace. The opening issue has some problems and suffers from the expectations that come from the debut of a publishing line, but nothing that isn't entertaining enough to check back in with soon.

By the time the Hell Police show up with their purple dildos of justice, I was all-in on this series. Though you might need a strong stomach and a sense of humor shaped by Garth Ennis, I wholeheartedly recommend this debut. Ferrier sneaks in some depth, showing the emotional impact on Teddy as he realizes the lack of impact he made on the world and his inability to ever have an emotional connection there ever again. This is the true eternal damnation: being just within arm's reach of everything you took for granted but can never again experience. Hell may be torture, but "Hot Damn" #1 is pure, gross fun.

This comic is at the vanguard of a new wave of books that strike a balance between deep cuts and reader-friendliness, while reveling in the fact that they are comic books. As Marvel approaches their new publishing initiative in the fall, there's hope that there will still be a place for fun like this. "Howard the Duck" #4 continues to show that, as long as you have a strong grasp on character, you can do anything with a story. Howard may be trapped in a world he never made, but what he makes of that world continues to be hilarious.

"Huck" #1 wears its heart on its sleeve and is unashamed of doing so. This exploration of how the world can challenge innocence has a lot of potential and, though it will certainly be a better collection than month-to-month story, I encourage fans to pick this up and check out the opening chapter.

The first issue does a great job of conveying the potential of the series, giving readers a reason to continue following Gertrude. The splash page of her arrival -- broken and bloody after falling from the sky while both creatures and environment smile dumbly at her in greeting -- is a great single-image summation of the issue. The book makes Gertrude feel like she is put-upon while she lashes out at the world around her for not being what she wants it to be. It's a tale of an adult getting their childhood wishes fulfilled and struggling to reconcile that youthful desire with growth and the inability to leave the past behind.

"I Was The Cat" is a great concept by excellent creators that, for me, fell a little short. If you're looking for a very serious take on a very fun concept, or if you have an extreme fear and/or reverence for all things feline, then check this book out.

I will always trust that Mark Waid has a long-term plan for whatever he is writing, but the end of this arc left confusion as to what this will add to the Hulk's mythos. The cliffhanger shows that this will have some longer-reaching effect on the story, but for now I feel like I was left in the time stream, waiting for Hulk to punch back through and pull me forward.

Taken in chapters, "Infinity Gauntlet" #3 is a table-setting issue that will feed into the greater story to come. Fans may be disappointed by the lack of action, but it feels like the reward will be emotional investment in the final outcome down the line.

Though the short-lived animated series is sorely missed, "Invader Zim" #1 is a welcome return and an accessible jumping on point for anyone who has heard of it or is interested to learn more. It's an all-ages affair that is entertaining for any reader, as it doesn't speak down to its audience. Here's hoping that Vasquez sticks with the series for a while and we get more issues than we did episodes.

If the creative team's previous collaborations are any indication, then readers are in store for a smart thriller full of danger and mystery, a noir piece set in the far reaches of space. Readers looking for something with the feel of classic films like "The Insider" or "All the President's Men" with the look of Ronald D. Moore's "Battlestar Galactica" would do well to check out "Invisible Republic" #1.

Jordan and Coelho's "John Flood" is a great new series with a lot of promise. The character work is fun, the art is engaging and the plot moves along at a pace that gives the issue a constant sense of forward momentum.

"Jughead" #1 is yet another great debut issue for the updated Archie Universe. The publisher is taking some stylistic chances and they have really paid off in issues like this. An entire line that was considered past its prime has revitalized itself with a new energy and an updated creative voice. These are the types of fun, stylish and relatable comics that open the medium up to first-time comic readers.

In the end, it was the act of defending her own legacy that made Chloe, as well as Hutch, look at who they had become. Showing Jason that they cannot live in fear was a big move for these characters, especially given the world's attitude towards their identities. You decide to shape who you are in the world or you allow the world to shape you -- that looks to be the message of "Jupiter's Legacy" and capping off Book One with the family embracing their identities is a great moment. There are some fireworks coming down the pike, for sure, and this may only be a brief moment of light before things get even darker but this issue is a great moment of personal growth for the characters. There will be an interminable wait for the next issue of this book but, for now, it's good to know that the first half of this tale is both complete and incredibly satisfying.

"Justice, Inc. Avenger" #1 does its best to recreate a bygone era of pulp translations for a new era. Readers ready to have some fun with some old-school storytelling will get a kick out of the series.

Fabok, already very capable before taking over this book, has grown as a storyteller by leaps and bounds in his work with Johns. The writer, meanwhile, continues to find ways to present far-reaching ideas in a relatable and human way that draws in the reader until they are gripping the pages tighter and tighter. If this storyline sticks the landing -- and Johns is known for great follow through on his more ambitious stories -- this creative run on "Justice League" could be one for the ages.

Next month drives the story into its final arc and sees regular artist Jason Fabok return. Manupal did a bang-up job with these last two issues, especially on colors. I love his pop art sensibility and minimalist style, which allows the color to build depth and texture rather than using inks to do so. His tonal shift refreshed the story after such huge, powerful action in the first act and will allow Fabok to swoop in and drop the hammer on this story in its conclusion. This is the most excited I've been about "Justice League" since Grant Morrison recruited every boy and girl on planet Earth into the League; I'm fascinated by the slow build Johns has created in this book from issue one and have loved the payoff. "Darkseid War" is like holding 22 pages of legal fireworks in your hands every month.

Johns and Fabok's work continues to impress on both a macro and micro level in "Justice League" #47. Now that the Anti-Monitor has emerged from his cocoon as a beautiful Mobius butterfly, it will be interesting to see what the endgame is meant to be.

We have a blockbuster epic on our hands in "The Darkseid War." In dealing with themes of godhood, though, you need to go big or go home. Fortunately, Johns and Fabok take "Justice League" #48 and go super-size.

"Justice League" #50 has its cake, eats it, threatens to use it to rule the universe, then winds up saving it, only to show us another cake that may be even better so we're even hungrier than before. It's an epic conclusion to Johns' tenure with the series and the best it's been since Grant Morrison and Howard Porter's "JLA" 20 years ago. If the rumors are true that Johns is stepping away from writing comics because of his current job responsibilities, it's a bummer but a hell of punctuation mark for this stage of his career. Between this issue and "Rebirth," he didn't just drop the mic -- he lit the stage on fire, tore down the PA systems and dared the rest of the DC writers to top that. It's going to be a challenge to do so.

Though there are a lot of problems with the issue, it's hard to fault the creators; it's more of a problem with the schedule. From a sales perspective, it's understandable to want to throw together the X-Men and Guardians of the Galaxy for as long as possible. The problem is that a story that is this long needs to really justify its existence. Though the people of Spartax are the victims in this chapter, the book itself the real victim of "The Black Vortex."

"Loverboys," while a good concept, feels like a middling book in the catalogue of one of the greatest comic creators of the 20th century. It reaches for emotions that it never quite hits. Perhaps a bit more time spent with the characters would have yielded different results. Still, a middling Gilbert Hernandez book is still better than many creators' best work.

If you're looking for exploding eyeballs that turn the world upside down with secrets, or parallel realities where everyone you knew was a lie, or women and men in poorly designed skinsuits chasing down macguffins, seek shelter elsewhere. If you're looking for solid entertainment with an empowering message, then crank up the Stevie Nicks and grab "Lumberjanes" #3. You won't regret it.

Kot also fills the gutters of the pages with footnotes, facts and quotes that he finds inspire or inform the work on a given page; the density of information here is impressive and delivered in an entertaining and clean way. There are still several other subplots not covered in this review that are worth a reader's time, and all of this is before the essay Kot writes in the backmatter of the book. This is a comic driven by his worldview and will stand or fall on the writer's ability to explore that in a manner that is clear to readers, and so far Kot and Tempest are off to a great start.

Lion Forge and IDW are making some very exciting comics that no one is expecting, with "Miami Vice Remix" being perfect for anyone looking for some wild action, strange plot twists, and cool-as-hell visuals.

"Midnighter" #2 weaves in and out of its narrative seamlessly and fans of the character will most likely want to show up for what feels like the best representation of him in years. While many other creative teams have struggled to find something to say with the character beyond his first gear and "Authority" days, Orlando and Morgan use those old elements to evolve the man into his own person.

Midnighter is on a quest for identity, a personal stake masked in an altruistic motive. Akakyevich shows his hand at the end of the issue, revealing what role the hero plays in his black market schemes. Orlando has done such a great job of reestablishing the danger and skill of Midnighter in this series that the thought of more than one of him is a serious threat. Though it's been four issues of cat-and-mouse, it's been important to give the story time to redevelop and rehabilitate this character. The potential seen in the pairing of these characters is huge and DC should very much consider a crossover between this and "Grayson" if possible, as the writers on both series seem to have a strong understanding of both their characters as well as their worlds. Fans of the series have come to expect a great read from this series and "Midnighter" #4 just adds to that with another excellent installment.

Get pumped, Rangers fans. You know what time it is.

I love this franchise because it reminds me of days spent with my brother, Zords and monsters scattered across the living room floor, calling out action and smashing characters into headquarters and doing Zordon impressions to make each other laugh. Being wowed by the martial arts action sequences, knowing that it was kind of corny but fun -- fun enough to make up our own Power Rangers stories to tell to each other.

There's a huge reveal at the end of the issue which leads me to think we're not quite done with the clones that we visited about 100 issues ago in the Ultimate Spider-Timeline. It's a hell of a tease for the future of this ongoing. If you're on board the train already, you won't be getting off any time soon. If you're new to the book, Bendis and Marquez will pull you in to their web.

"Miles Morales: The Ultimate Spider-Man" continues to be a homerun book and it's sad to know that there is an end in sight for the characters of this world. For now, though, it's great to know there are books this exciting being published by major superhero publishers today.

It's no small feat for a slice-of-life comic succeed, let alone succeed twice, but Fingerman looks to be bucking the odds through great art and honest, believable dialogue. For all of the uncertainty within the story, Minimum Wage is a book that knows its place, knows what it does, and continues to do it well.

"Moon Knight" is quickly becoming required reading even as the series just starts to set the stage. Watching Ellis, Shalvey and Bellaire work together is more akin to watching a group conduct an orchestra than a team of writer and artists. Moon Knight is a very high concept that has been attempted by many and failed by just as many. It's a different take from anything the character has been before and so far it looks like once everyone is introduced, this series is going to be like going to the symphony of destruction.

Hopefully, this comic can figure out its purpose and its intended audience soon; by doing so, it may give the creative team a direction stronger than just pushing a few characters together on panel.

It's an interesting concept to jump ahead this way, but it's like looking in to an 8 ball and being told you're going to be a screw up and that can't be changed. No matter what happens next, we know where it's going, and that's no place good. Sometimes skipping ahead can leave the reader with less than what he or she had prior to reading. If you're in the market for another future full of tragedy, then this will be your cup of gloomy tea. If not then know that the next eight months worth of New Avengers stories are just leading to heartbreak.

Overall, this is yet another enthralling piece of a large puzzle. With the end in sight, every second and every page matters and the creative teams are doing their best to make the most of that time before it runs out.

There is potential for an intense teenage survival mystery in "No Mercy" #1 and, from the title, it certainly seems to be in the plans for the creative team. As a standalone comic, this issue feels a little like prologue but will most certainly stack up well when presented with the next several issues as a whole.

We're sucked back in to another crossover with the next issue, which is a shame, but if any book makes sense for a crossover about the Watcher, it's this 'un. Duggan keeps pushing the human rocket to greater and greater heights with every issue of this comic book.

This series is starting to transcend comics and become good art; it's confident and focused with a solid point of view, yet open enough to interpretation that readers can take away what they choose when experiencing the story. "ODY-C" #7 takes chances and makes bold choices. Readers looking for a series developing its own unique universe should jump in.

By focusing on one protagonist and aiming at a bit more mature storytelling, Bendis' scripting becomes more focused, dramatic and thrilling. Sorrentino's scratchy linework and negative-space panel layouts are gorgeous icing on the cake. The remaining issues of this series have a lot to live up to when the storytelling on a debut issue is this good but, if the creative team can live up to the task, then "Old Man Logan" may become an instant classic. Readers who miss Wolverine or love artful violence need to check out this series posthaste.

If you missed Logan, you should check out this book, particularly since the creative team has a track record of outstanding work. The lead is a flawed man seeking forgiveness for his sins by erasing those who will come to cause him harm, which is a dangerous moral edge, but one on which Wolverine has danced his entire career. Welcome to the Marvel Prime Earth, Logan. Hope you survive the experience.

There's something to this story, for sure, and it could go someplace great, but there are a lot of issues with the plot and script that will have to be addressed for it to pick up. This was originally published in French so all of this may be an issue of poor translation, and I very much hope that is the case. Sadly, "One Hit Wonder" is pretty but it doesn't have much to say.

This is a fun debut by a solid team that works well together. If Immonen and company can deliver a plot that is as entertaining as the characters, this miniseries will be a very fun ride.

"Patsy Walker AKA Hellcat!" #1 is a fun, fresh take on an undervalued classic, and it's cleverly positioned as a midcard Marvel story that delivers new ideas that could be developed alongside the other corners of the universe.

Continuing towards what could be a huge climax, "Phonogram: The Immaterial Girl" #2 delivers to fans of the series. Though new readers would probably want to start with an earlier collection, they will quickly get wrapped up in the mysticism and fun of the best comic book about music on the stands.

This comic book hits all the right notes and, being only four issues long, it's not a story that will overstay its welcome even if the threat isn't a huge payoff. There is a patient confidence to the production in this comic book and "Plunder" #1 is a good opening to what may be an excellent addition to the horror genre.

These things compound to make this one-shot feel like a B-plot of the main book, which could have been resolved in the background of another issue in a few pages. If there is a larger plan in place to use this creature as a weapon, then this will be an interesting development, but even the characters treat the threat as little more than a curiosity. With that point-of-view for readers, it's difficult to feel that this creature could be any type of difference-making macguffin down the road. "Poseidon IX" #1 is a book for readers who are looking to have a complete view of the IXth Generation universe, but new readers looking to dive into this world may want to start elsewhere first.

The concept for this series has legs and, though the title belies a different type of action, I'm curious to learn more about Mark Shiffron, who looks to become an investigator as much as a postal worker. There are a lot of threads that could be tugged here and kudos to the team for building a postal code interesting enough to warrant a revisit.

This is a fun, funny book that takes itself just seriously enough. Ultimately, that's what I want out of a comic like this. I didn't come to this book looking for a furrow-browed rumination on politics or a bicep flexing contest. If that's what you're seeking, there are plenty of iterations of the characters available in the Marvel Universe to satisfy that need.

Because it doesn't have to accomplish as much right out of the gate, this issue is slower than the first, but that allows Walker to give readers a chance to get a feel for the two main characters when they are between missions. Like the second episode of a new television series, it helps remind readers why they picked up the first issue and settles the tone of the series. The Supersoul Stone still feels like a MacGuffin, even though it reveals its dangerous nature at the end of this issue; I'm still nebulous on why it's bad, other than characters saying it is. However, with the rest of the story being this fun and entertaining, I don't mind the journey.

The tone of the series is reaching for the fun, anything-goes style of the writer's work on the "Adventure Time" comic series but winds up a little too unfocused to be a satisfying experience. This is the first part of a six issue tale, so readers only have 16% of a story at the moment. Readers are still in the dark on how the inciting incident has fully affected anyone other than the fish, which is funny but not very accessible for readers. Leth is an entertaining writer and Cummings' art provides a light, fun bounce to the story, but "Power Up" still has some work to do before it steps up to "can't miss" territory.

"Powers" #1 returns to the story in media res and there are questions about the status quo of many characters that will have to be revealed as the series progresses. The time off benefits the story; "Powers" is a book that influenced a lot of others in its wake, and those books in turn have come back to influence the original itself. There are a lot of stories left to tell in this universe and Bendis and Oeming are back in the saddle, ready to tell them. This is a book that has earned the right to work the story at its own pace and, if anyone has ever been curious about checking out this universe, this new volume of "Powers" is a great jumping on point.

We seem to be approaching the end of the first arc of this book and now that the path is clearer, I feel like I'm on better footing as a passive consumer. There were times during issues 1-3 that I was concerned the plot would become a leaning tower of mysteries that would collapse under its own weight and I'm happy to report that isn't the case. DeConnick, Rios and company still have to stick the landing as our protagonists face down death itself, but with each issue of this book I am cheering them on more and more to get the job done.

I don't know if it's other media's portrayal of gang violence in LA or a personal exhaustion with the Punisher in New York, but this take feels new and exciting and appropriate. Sometimes a change to what's outside your window does make a difference. I'm sure anything Frank builds for himself outside of his war will collapse around him spectacularly but until then I look forward to living within these walls while I still can.

"Punks" is a sandbox in which its creators can play and get dirty in any way they see fit. It's comics for release, not looking to convey any type of message or do anything more than to simply entertain with words and pictures. It's a silly ride in the moment that is over the moment the back cover is closed.

"Q2" is a return-to-form for one of the most underrated titles of the '90s. Priest leaves readers with a cliffhanger and Bright gives just enough of a peek in the final panel to make the reader want to pick up the next issue to see what happens next. This is a nostalgia trip that sneaks in a great story. Anyone worried about this team returning to their old roost and not matching up to their original work need not worry. Quantum and Woody are back and it feels like they never left.

Overall, the return of Priest and Bright brought a lot of the same magic that made "Quantum & Woody" so great in the 90s but lost momentum in the home stretch. The ending hit fast and wrapped up quickly, which felt slightly unsatisfying, though it's possible this is merely the start of a much bigger story. That the story exists at all and is successful on any level is a huge accomplishment. This series was a much beloved cult classic and getting a sequel so many years later speaks to the fan base and also Valiant's understanding of their audience and intellectual property. If this is the last time the duo ride off together, then it's a thrill that they finally do so on their own terms.

You're not going to learn a whole lot about Quantum or Woody with this issue so if you're a newbie I'd still recommend checking in with the first story arc if that's what you're looking for. But if area familiar or are already on this ride then this book is going to be a great read.

Asmus is closing the walls in on the duo, delivering a very obvious threat while also adding elements of another possible issue with Skinner and another with their psychiatrist. At the same time, their profile has never been higher, as evidenced by the public's reaction at the end of the issue. Giving characters like these exactly what they want is great, because readers know they'll screw it up even while secretly hoping they succeed. While this first outing has some pacing issues, it's a great start to this bold new era of "Quantum & Woody." Asmus and Lieber are a good team; here's hoping they become a great team as the series moves forward.

"Ragnarok" is an incredible gem of a series, surprisingly overlooked in a market that has much love for the original material and another company's interpretation of the same idea. Simonson quietly creates a title that he seems custom built to create and, though it's unknown when readers will see the next issue, it's always a joy when it arrives. Woe to those of any realm who sleep on this title.

With a clearer mission statement "Rasputin" #1 could have been an interesting historical fiction take on a fascinating figure. It's handsomely drawn but at the end feels like it has no purpose or need to continue beyond this point. Here's hoping the rest of the series can find that direction it needs.

Though it's set against the backdrop of the American Revolution, Wood and Mutti's "Rebels" is about basic human rights and the freedom to grow into a person or a country on one's own time. As the series expands its scope, it will be interesting to see how much of Seth's more basic wants are sacrificed for the greater cause. "Rebels" #1 is a good comic book full of solid characterization and beautiful art.

With a great premise and a confident creative team, "Red One" #1 delivers on all levels after readers get past the opening scene. It's fun and full of great characters that audiences can get behind. This is a book worth checking out.

This is a good comic. With no recognizable intellectual property to which "Red Wolf" can tie itself, Marvel is going to have to rely on the goodwill of comics fans to spread the word about this series. Thankfully, they've created a product that feels like it will hold up. Edmondson is a writer who works well in single-character focused stories and creating thematic plots that challenge those characters to be their best; Talajic's art is clean, expressive and inviting to new readers. "Red Wolf" #1 is well worth your time and a great start for a story about a Native American who has agency over his own story.

This is a fun concept that clearly leaves the reader with many questions and possibilities surrounding it. As more of Ressurectionists are discovered it will be interesting to see how they affect not only the present moment of the story but the past and the future as well.

Fans of the show should definitely pick up "Rick and Morty" #7, which is the opening chapter of a new story that has a deft understanding of what makes the series great and delivers the type of fun that is found every week on Adult Swim.

Two issues in, "Robin: Son of Batman" becomes an entertaining journey of a character working at the top of his integrity to be the best version of himself. He will trip along the way, which will be great for readers. Gleason understands that a Damian Wayne with no self-awareness will lead to rich storytelling and exploits that part of the character to great effect. Readers missing the classic combination of Dick Grayson and Damian Wayne will feel like they're getting the closest thing to that with this series.

Based on this story, I don't know that this version of the character works for me. I respect the efforts of the creative team but I think they were given a watered-down concept.

Though it does have a few downsides, "Rocket Girl" #6 is still a highly entertaining and gorgeous comic. Anyone interested in getting on the ride before it takes off again should strap in.

There are enough interesting elements introduced in this first issue that readers will most likely return for another chapter. It is a little frustrating to have characters introduced and not even have a name or description for them, as that happens quite a few times in this story. Once or twice in an opening issue is fine, but when the unnamed characters come close to outnumbering the ones with names that can be confusing, but this is a creative team in which to keep the faith. The way each tangential interlude is ended makes it clear to the reader that this is something that will be important later. This is a veteran team who have proven that they know how to handle the weird mixed with the normal on "B.P.R.D." and there's no reason to think they haven lost a step here. If anything, this work feels assured and confident, ready to take readers on a crazy thrill-ride.

"Saga" continues to put comics' best traits on display month after month. 17 chapters deep, the story continues to be more engaging and exciting as each new issue is released. I'd say this may not be the best jumping on point for a new reader but with something this good throw them in for a taste. They'll assuredly go back and tear through the rest of the series immediately.

This issue is a great jumping-on point for readers, as it displays Vaughan and Staples' mastery of both the macro and micro scope of this book. Delivering one of the best presents a comic reader could receive a whole month early, "Saga" #31 continues to deliver a deftly balanced story that has yet to dip below the standards of even "pretty good" -- and it shows no signs of doing so any time soon.

I cannot say enough good things about this book. I put it down and immediately wanted to read it again. At 325 pages it's a brick, but one that I devoured in a day. The single issues of your favorite superhero books are going to be on that rack next week, I assure you. Take whatever money you were going to spend and drop it on "Seconds" instead.

Overall, Marvel's FCBD offering is an entertaining bag, with an entry level story for their complicated summer event and accessible base action for the fan curious as to what Comic Book Christmas is all about. None of the stories contained here are essential to a reader's greater understanding of the bigger narratives Marvel is working towards but are a fun presentation of what makes comic books so enjoyable.

"Secret Wars" #2 gives enough of an introduction to the new reality to allow readers to journey off to each kingdom in the rest of the publishing line throughout the summer. It's a maintenance issue, well told and well designed, and if Ribic keeps up the quality of work found here, he should be an early nominee for next year's Eisner Awards. Anyone curious about what Marvel's hype has been about, or simply looking for a fresh take on their old favorites, would do well to check out this issue.

The end of this issue teases out stories in the connecting series in the publishing line and a major move by a character whose presence has not yet been fully felt in this epic. Though it's a downbeat issue, "Secret Wars" #5 is essential for those following Hickman's maxi-saga or readers looking for a study in Doom's motivation.

With Peter Parker off being a mogul in "Amazing Spider-Man," fans looking for a wise-cracking, entry-level spider-hero who's just looking to get by and do the right thing will find that in "Silk" #1. Though Spider-Man isn't here, the spirit of the character shows all over the book. It's a fun, entertaining debut for the Spider-line and I look forward to seeing where the story takes us.

The issue ends with everyone in a very dark place and, with one more issue to go in this arc, it's the worst that things have looked for anyone in this run. Norrin has been stripped of his powers, Galactus is possibly coming to destroy Newhaven and Dawn's previous fear about leaving her hometown may prove to be correct. This group is firing on all cylinders right now. If nothing else, this run on "Silver Surfer" should go down as a true cult classic and this issue is a great single issue example of what this crew can create.

As the Marvel Universe lurches into "Secret Wars," this title will thankfully continue through the summer, offering more offbeat goodness during high tide. This title is its own cosmic sandbox, telling standalone stories that haven't really tied into the greater storytelling fabric of the Marvel canon, which may mean readers have missed out on this trippy comic so far. Given the spotlight coming down on the entire line, it's a great moment to really go big with a weird idea. More so than any other issue, "Silver Surfer" #11 is an exciting experiment from a creative team that pushes each other to do weirder and more fun things.

There's no development on the tag from last issue but keeping Earl's daughter off the table for now helps the story. She remains a looming spectre in the mind of the reader, the comeuppance that the County needs and the vindication of Earl's life that he deserves. Allowing for the development of the side of the devils will only add to that build and make her arrival that much stronger. Month in and month out, "Southern Bastards" is a top-of-the-pile must read comic book that, much like Coach Boss, demands your attention. Grab the first collection, released this month, and catch up now.

Every issue of Aaron and Latour's "Southern Bastards" is a trip down the nastiest road you could take. It's a dark book full of scared people driven by fear, but Aaron and Latour position Roberta as a character for whom living in fear has never been an option. Earl tried that once, and it got his head caved in by the high school football coach. Now that Coach Boss is even more unstable following the Homecoming loss -- he drunkenly beat the hell out of a high school kid after the game, after all -- Craw County is headed for a bloody showdown. Lucky for us, we get a front row seat.

Cloonan and Belanger work very well together to create a dark, claustrophobic mystery that takes its time to unfold. It's certain that there are even more mysteries yet to be revealed on this dangerous and possibly haunted ship. Though readers are still in the dark, the story is done well enough that they are encouraged to stay on board "Southern Cross."

While it's a great accomplishment to reach this issue, unfortunately there isn't enough happening in the book to recommend picking it up. Longtime readers may be disappointed when Downing is almost literally swept under the rug, and new or returning readers would be better off looking into next month's "Spawn Resurrection" #1 before returning for the next sequentially numbered issue.

This book is gorgeous fun. While I enjoyed the darker elements of the previous volumes of Miles Morales' journey, I like the series' new tone. The cartoony flashbacks, the emphasis on family hijinks, the dialogue, the layouts and fashion choices all build a book that I look forward to reading every month.

Where the other Spider-books focus on high action and big plots, Bendis gives us a character-driven drama that happens to take place in a superhero universe, while Pichelli continues to prove herself to be the definitive Miles Morales artist.

"Spider-Man/Deadpool" #1 is funny, action-packed and seems as though it will get even more personal as the story unfolds. Readers who enjoyed "Hawkeye Vs. Deadpool" will probably like this; it's a book begging for a "Lethal Weapon" parody cover. Editors Nick Lowe and Jordan D. White both steer this ship, so continuity heads and fans concerned about on-character representations can rest assured. The story is accessible and will keep fans up-to-date if they're just checking in on the story. Kelly's cliffhanger plays into the current state of the Spider-books, and the conclusion teases some even deeper ties, which looks fun as hell. Marvel's decision to put one of its most well-received creative teams on this book was a great idea; this story is going to be a fun one.

Whatever happens in next month's "Spider-Man/Deadpool," I'm on board.

This is currently the best book on the stands that features these characters. It has action, comedy, depth and drama, making it the Marvel Universe-equivalent of "Lethal Weapon." Kelly has sold me on the friendship between Spidey and Deadpool enough that I am both dreading and anticipating their showdown. "Spider-Man/Deadpool" #3 is another fun-as-hell installment of a great series.

Now that Deadpool has pulled the trigger, I'm excited to see what happens next in "Spider-Man/Deadpool." There are a lot of storytelling possibilities here, including the revelation of Parker's identity as well as the mysterious benefactor's motivations. The series has been a great journey so far. The moment-to-moment happenings are so engrossing, I'm not even anxious about getting to the conclusion; I'm just concerned about the journey ending at all.

Everything wraps up nicely in "Spider-Man/Deadpool" #6, leaving us to ponder the title characters' fates once Joe Kelly steps back in. As this is a much broader take on Spider-Man and Deadpool than the nuanced stuff Kelly has been writing, the issue doesn't address anything that has happened in the series to date. It's very funny, though, in the spirit of many Jordan D. White-helmed issues of "Deadpool." This installment is not about character development or solving any Marvel NOW! mysteries; in the words of Poison, this issue ain't nothin' but a good time.

"Spider-Woman" #5 feels like the first issue of the series. Hopeless has reinvigorated the character in 20 pages with a new mission, a new outlook and a new cast. There is a conspiracy afoot involving low-level Marvel characters disappearing in this arc and, the last time Hopeless dealt with these themes in "Avengers Arena," he knocked them out of the park. This is an excellent debut by a stellar creative team and is more than worth the price of admission.

Hopeless has breathed new life in to the world of Jessica Drew. The status quo at the end of this arc is a pitch-perfect concept and a great way to give Jessica a new life while honoring her old one. Urich is a smart idea as a supporting cast member; the character's higher profile in the "Daredevil" Netflix series and his ties to other famous "Spider" titles can point new readers towards this smart new direction. Rodriguez, Alvaro Lopez and Vicente give the book a confident visual style that fans of artists like Fiona Staples or Marcos Martin should love. Though the series has an uncertain future until Marvel unveils their post "Secret Wars" plans, it's still a beautiful work of fiction that fans won't want to miss.

As a first issue, it's a little reliant on knowledge of the characters and their relationships from the previous run, but that's not a huge barrier to enjoying this comic book. "Spider-Woman" #1 has charm, style and gorgeous art. It's entertaining and unfolds a new direction for the character as well as the Marvel Universe's setup.

The cliffhanger of the issue leaves readers dangling about what, exactly, Obi Wan has left for Luke in his home. It's always a dicey proposition to wedge new tales into the cracks between existing stories; after all, there is a ceiling on the change and growth characters can experience since readers already know their endpoints. If anyone is able to pull this off, though, it's most definitely going to be this team. "Star Wars" #3 gets a solid vote of confidence not just for being the conclusion of the book's first arc but for establishing the potential of the series moving forward.

"Star Wars" #7 benefits from the structure that editor Jordan D. White implemented in his "Deadpool" series, as longer arcs are broken up by single issue tales that delve into backstory. After the high action of the first arc and the big reveals of the second, this issue was a great breather that also provides some excellent backstory.

With ten issues under their belts, Aaron and editor Jordan D. White prove they were a great choice to shepherd the "Star Wars" universe back to Marvel Comics. Each arc has shown off the franchise's ability to serve different types of stories, with Aaron using a single arc to play a space adventure, a buddy cop comedy and a gladiator epic all-in-one. By the time Aaron introduces a dumb Gungan to the Chewie-Threepio plotline, readers can practically hear the fun the writer is having with the series. "Star Wars" proves the power of the medium and is a must read series for fans of the franchise.

This series is another solid example of the quality Marvel has brought to the "Star Wars" universe and the first real lead-in to Episode VII. Fans should check this series out before heading to the cinema this holiday season.

Once the world is finally settled around Starfire and the writers can spend less time introducing readers to their ideas, this book has the potential to grow to "Harley Quinn" levels of fun. Combined with some gorgeous art, "Starfire" #2 is a mechanically sound installment of the series that shows the potential of not only the storytelling but the characters as well.

"Starve" #1 is a well-paced and entertaining introduction to a character driven story about a man who is forced to take back the life that was once his. Wood gives readers a mission statement to end the issue, and Zezelj and Stewart are a dynamite pair on visuals. The writer's track record of great characters and compelling plots bodes well for the future of this series, and it has the potential for cross-media appeal. Image may have another hit on their hands with this series.

Provided the rest of the series is as stunning as this first issue, Waid and Jones should make room on their mantles for some Eisners. "Strange Fruit" #1 is a must read for anyone who is a fan of the medium. This could easily be a gateway story for new readers once collected. Do not miss this book when it arrives in stores on July 8.

Though it's still trying to decide who it's for, "String Divers" #1 is a fun concept with a lot of potential. With audiences still turning up for "Ant Man," it's a great time to debut a concept with similar ideas. Anything relating to Wood's art is cause for excitement, though, and this issue is worth checking out.

With Marvel's line of comics becoming increasingly intertwined, "Superior Foes" is a great stop for readers looking for fun, engaging stories that are self-contained and well-told. For the first time, these characters all feel like fleshed-out people that I continually look forward to spending time with each month.

I didn't care about any of these characters and doubted the idea of an ongoing with them before I picked up this book. Don't be that person. Get in with the Sinister Six now before they find a sixth member and don't have room for you.

So has the concept of Spider-Ock worked? Based on sales and the stories that I have read I would say, "Hell yeah." I know, I know, a few of you will respond to this and say you never liked it and you still don't; that's okay. Those of us who have enjoyed the ride, though, are at the top of the hill and are about to be thrown through a serious wringer over the next few months. I think Spider Ock will be revisited in the years to come as one of the most unique and well-executed long cons in the Spider mythos.

For a while, it felt like DC was throwing out the baby with the bathwater when it came to their interpretation of Superman. Once their flagship character who now lives in the shadow of the Bat, the Man from Krypton has been lost amid a sea of indecision about the best approach. Grant Morrison's run on "Action Comics" started well enough but quickly became a winding maze of odd characters and dimension-hopping, leaving the plot in the foreground and how to interpret this new Superman in the background. The past few creative teams on "Superman" have been serviceable but provided no real establishment on why this was the man who launched an entire industry. With this new team at the helm, and Greg Pak and Aaron Kuder breathing new, grounded life into "Action," it's an exciting time to not only be a Superman fan, but to get new people in to the book. This is easily the most accessible that the main continuity "Superman" book has been in years.

"Superman" #39 is a fantastic close to this chapter of Superman's life. Geoff Johns has taken the Man of Tomorrow and distilled him to the parts that make him great. Though Romita Jr. and Janson are sticking around to maintain visual consistency, Romita Jr.'s next issue and post-"Convergence" stories do have some large shoes to fill. If they approach it the same way Superman approaches his humanity -- with confidence and humble curiosity -- then the Man of Tomorrow will be in great hands.

The end result of this story is something great for the franchise and creates a new world to play in. The stories that have grown from it are entertaining, but -- two chapters -- in Yang's tale of how the franchise gets there is proving to be troublesome. He writes Jimmy Olsen and Lois Lane well and the smaller moments are fun,, but he is still having trouble finding a balance with the larger scale action. The villain that looks like he will force Lois' hand to reveal Clark's identity is laughable and, though this book will be remembered as the moment Lois found out in the New 52, it's beginning to feel like readers would be better served to check out Clark's other adventures until "Superman" catches up to the present and gives readers a chance to see the creative team tell a story with the character that involves the new status quo.

The issue ends with the setup for a throw down next issue and, though the characters that confront Clark and Diana are part of the mystery, they're definitely not the masterminds. It's a little tonally concerning that this book is as dark as it is; the '90s showed that brooding, pouty Superman stories are some of the worst. The upside is that Tomasi is a writer who knows how to dig deep on a character before lifting them back up; after all, he was the guy who dealt with almost all of Batman's stages of grief after the passing of Damian Wayne. Fans looking for a darker perspective on the new status quo and a big mystery to boot will want to jump on this issue.

Nothing really happens in this issue, and even the characters do not act in the manner they normally do in the comic. Everything is played for comedic effect so I could only recommend this issue to people who are already familiar with the book and the characters' points of view. Even the art is not representative of what to expect when you pick up any other issue of "Tarot." Balent and Co. clearly just wanted to cut loose for an issue and 87 issues in to a comic that they publish and own themselves. Who can blame them?

Much like the story, it's confusing as to why these characters are even together, other than the fact that DC wants to make a book with the title "Teen Titans." Four issues in and there doesn't seem to be a mission statement behind the book. There wasn't really any direction here, so it wouldn't have been a big deal to just start the book with the gang working for S.T.A.R. and flash backwards from there. The last volume of the book ran in circles for a while and this new volume feels like more of the same. The relaunch just seems arbitrary. I hope that the result of this story moves the book in a more focused direction, but right now the future looks bleak.

"Teenage Mutant Ninja Turtles" #46 continues the series' incredibly impressive run of action packed stories full of emotion, and it looks gorgeous to boot. It's surprising that a book this dense is still building to something even bigger and -- as Eastman, Curnow and Waltz continue to circle the wagons around the Turtles and their friends -- readers should continue to expect a white-knuckled thrill ride as they hurtle towards the anniversary issue.

Issue #50 is going to be a slobber-knocker and it doesn't feel like either of the leaders are going to make it out of this confrontation alive. The poignant speech Master Splinter gives the boys about not wanting to die yet wanting the shadow of the Foot to no longer be cast over his children is moving and feels like the kind of thing that happens before a major player is removed from the story. Even if that feels predictable, it doesn't take away from the excellent story. "Teenage Mutant Ninja Turtles" #49 is another solid installment of a series that delievers great story and great visuals month-in and month-out.

This crossover isn't necessary, but it's fun. The creators' energy feels like it's jumping off the page and once everyone starts butting heads it will be fun to see how these characters play off of one another. Donatello/Egon, Michaelangelo/Peter, Leonardo/Ray, and Raphael/Winston are the pairings I'm particularly interested in seeing. Issue one gets everything set up that it needs to so that everyone can sit back and watch the ectoplasm fly.

"The Bigger Bang" is shaping up to be a good superhero series for IDW, which hasn't really dipped its toes in that water just yet. With a proper balance of information delivered about the lead and a consistent tone of narration, combined with these unique visuals, this can easily scratch the itch of anyone looking for high concept sci-fi that doesn't take itself terribly seriously.

"The Black Hood" #1 is a thrilling start to a new publishing initiative, so far removed from any previous iteration of this concept. The quality of the storytelling is top notch and I am looking forward to seeing how far down the rabbit hole Greg Hettinger is going to travel. Dark Circle Comics comes out swinging and "The Black Hood" feels like a direct hit.

Dark Circle Comics has another great property with an established fanbase in "The Fox." The imprint has had a patient, guiding eye over its previous launches, but it has shown that the editors understand quality. They seem to know how to bring out great work from their creators and these vets give them a hit. They are definitely casting a diverse net with books like "The Fox" and "The Black Hood," both of which already give readers a variety of story types to choose from. Fans of the Skybound imprint, grounded heroics or comics that revel in the medium will want to check out "The Fox" #1.

"The Goddamned" is gripping, gritty and bleak. The first issue lays out exactly what readers can expect from this series; much like "Scalped," there are hard men making hard choices in a world that isn't interested in their well being. The creators have put together a nasty piece of work that owns what it is and is unafraid to explore the darker corners of this flood myth.

The pieces are in place for this to be a fun horror story; the Harvester himself and his Harbinger are both interesting bogeymen and the story instantly becomes more engaging any time they are on the page. The story structure follows the horror genre well and it will be interesting to see how this debut issue feeds into the ongoing narrative; as mentioned before, it's clear that Seifert has a larger idea at play and is adept at doling out information as needed. With a few adjustments on the story and art, "The Harvester" could become a fun horror romp.

I am thrilled that this book exists. It's understandable that this material may not be for everyone and the book relishes in that fact. Much like the characters it depicts, "The Humans" is exactly what it wants to be, opinions of others be damned. Though this is a continuation of a larger narrative, it's an easy jumping in point and I enthusiastically recommend "The Humans" #3.

"The Legacy of Luther Strode" #1 is exactly what fans of the trilogy would hope for: an oversized issue for the price of a standard-sized issue from Marvel or DC. It may leave new readers a bit confused but, hopefully, intrigued enough by the stylized presentation to check out the previous installments. Jordan, Moore and Sobiero work in tandem to wrap up their career-launching work and it's clear that they're treating their baby with the respect he deserves. This book is gore-ious.

This is an issue of "Manhattan Projects" focused on a smaller story rather than the larger game Hickman is playing. It benefits from that focus and presents a great tale full of heart, danger, action, and hope. And it stars a talking dog in space. Let's be real: that's all you should need to know to buy this book.

While it's a disappointing debut, there is still a lot of opportunity to be mined in "The Rook," the story of a man who travels back to his own beginnings to die. It's unknown to everyone but the creative team -- and perhaps Restin Dane -- what the future holds for the book. Readers looking to be entertained by two legends of the medium should check this out with the knowledge they both have much better works in their canons.

There's a lot to like in "Spire" #1, but so much is happening that it's hard to connect right away. Spurrier does a great job of organizing the story and making it flow well, but it's a problem of volume. The good news is that the team is clearly invested in this world and this story. As Sh continues to work the Spire, it's easy to see how she can easily grow on readers. As an opening chapter, it's still putting in the necessary work to give readers the chance to sink into this character. "Spire" #1 is a promising start to a new world and a great effort by all involved.

Yes, I'll say it -- Totally Awesome Hulk is Totally Awesome.

This is a high point for Valiant as a publisher and as a universe. "The Valiant" makes maximum use of its characters, its page count and its concept. With one issue left to go, the series is on track to be a classic. This issue is must-own comics.

The cliffhanger is a big one as a familiar face literally takes the spotlight. At this point you'd think that after everything he's been through, the person he asks for help is akin to trying to stop a fire by pouring gasoline on it. None of what happens can be any good moving forward and watching the game unfold left me wanting to see what's next as soon as possible. Kirkman has become a master of pacing in this book; over 10 years in the writer has total control over the storytelling in this series. It's written to be read enjoyably in the collected editions yet month-to-month the stories remain as enthralling as ever, even without a single walker to be found. "The Walking Dead" is like a tea kettle slowly beginning to boil and it's only a matter of time before someone gets scalded by the hot water. Or something far more gruesome, knowing the series.

"Thunderbolts" #1 is a throwback full of punches, guns and crazy twists. This book is like a portal back to the height of '90s comic storytelling. Zub and Malin turn the volume is up to 11 throughout, from word to page. While I loved this comic, I feel like the exact reasons why I did will also be the reasons some fans will hate it; however, as a first issue, "Thunderbolts" #1 is refreshingly fun to read.

While the story hasn't picked up yet, the setup is fun. "TMNT: Bebop and Rocksteady Destroy Everything" #1 isn't incredibly new-reader-friendly, though; fans who pick up the comic after seeing "Teenage Mutant Ninja Turtles: Out Of The Shadows" might need to do some catch-up before diving in here. I hope that Bates and Weaver let the title pair cut loose a little more in the next issue and let the screwball nature of the plot open up, but -- if you're a current "TMNT" reader -- you should check out this miniseries.

The backmatter promises a wild shift in tone for the next issue and then another in subsequent issues, so it's a little early to gauge just how, exactly, this debut issue stacks up to the story they are telling as a whole. However, as an opening piece, "Tokyo Ghost" #1 arrives with style and panache, an entertaining ride across a bleak future.

There is a saying in improv that, if one is going to play a foolish or odd character, he or she must do so at the top of their integrity. It makes sense, as even the most odd of people behave the way they do because they believe in every decision they make. That is a great way to describe this issue and the series as a whole; it's a base concept played to the top of its integrity. Truly unlike anything else on stands right now, Barber and Scioli have made "Transformers Vs. G.I. JOE" one of the most fascinating books on shelves today and issue 7 may be the best, most nuanced issue yet.

Though the central conflict of the series is no more, Barber still finds plenty of intrigue to keep the plot moving forward. Blackrock's intentions don't seem completely honorable and there's something fishy about how they've developed an outpost that could lead to a renewed conflict on Earth. The Autobots and their suspicions could force the conflict back to the foreground, suggesting the interesting idea that the heroes of the story could create the violence they always sought to eradicate since they are unable to change. Combined with strong art and entertaining character development, philosophical ideas like this make "Transformers" #43 a solid comic.

The main issue here is that this story is a comic book. "The Twilight Zone" is a thinking man's franchise rooted in realism both physical and emotional. Because this is a comic book the concepts and reveals that would leave me in awe as a television show lacked the necessary impact.

"Two Brothers" is one the best graphic novels of 2015 and deserves a space on the shelf of every serious fan of the medium. It's a work of art that shows the power of sequential storytelling and its ability to enhance and enrich an already captivating story through mis en scene and confident artwork. Kudos to Moon and B, two artists with an already stellar track record; they may have just created the best work of their career.

If this is the end of the Ultimate Universe, then hopefully the book will be allowed to tell its story without having to get bogged down by an even bigger story happening on its periphery. What was once the crown jewel of Marvel's publishing initiative has now been reduced to a story-within-a-story. If anyone should be there at the end, though, it should be the team most recognizable for their creative efforts on these properties. "Ultimate End" #1 feels like that one last ride and, though it suffers from being a little too vague, it still has enough within its pages to lure new and lapsed readers to this possible curtain call.

I like hanging out with the characters in this series. They're all incredibly smart and make me feel smarter for having read them as they look beyond the violence and work towards a greater goal. There will be fights in this series and large scale threats that will force more than words, but ultimately it's a series about solving problems. It's about looking up instead of down and thinking about the bigger picture. You won't find Daredevil and Luke Cage punching out crooked landlords here, but you will find a diverse cast of highly intelligent heroes looking to make the universe a better place. Al Ewing and Kenneth Rocafort are building some grand mysteries with "The Ultimates," a series well worth your time if you are a fan of intellectual science fiction.

"Uncanny Avengers" #3 tries new directions, stretching out and attempting to include new people. Though the series stresses the importance of the Inhumans, nothing in the story proves they are; if "Uncanny Avengers" had some time to build to its Inhuman threat, the story might not feel as rushed.

My final verdict is that the story was good and a good story is a good story, gang. I like the long game that Bendis is playing in this book. However, I think that if you're looking to read this story, do it when the entire thing can be consumed in one sitting.

Alex and Scott have both fallen hard in recent times and their ability to finally find comfort in their own bond -- a ray of hope on the horizon of the series -- is a great place to leave this issue. Scott looks to Alex for answers for the first time in his life and finds that asking for help isn't a sign of weakness but a true sign of leadership. Hopefully, through re-establishing his relationship with his brother, Scott will begin to allow his self-loathing to settle enough to realize that an open hand can help the world more than a closed fist.

Readers looking for a lighthearted and vintage take on the fantastic should check out "Valhalla Mad" #1. It's a great looking book with fun ideas; it doesn't take itself too seriously and enjoys being a comic book.

"Velvet" is yet another in an incredible year of launches from Image Comics. I don't know where this story is headed but these storytellers seem as confident as Velvet Templeton that they'll figure it out and I'm happy to be along for the ride.

This book is about hard choices, what you are willing to sacrifice for the greater vision you have and how the consequences of those actions alter your life. It's about how fighting against where you come from only makes you more likely to become the thing you hate. It's about what's not said and how it will eventually find a way of expressing itself whether you like it or not. King and Walta continue to deliver the most gripping, explosive story inside the Marvel Universe in "The Vision" #8, and it all revolves around a two-story suburban home. Forget "Civil War II"; the real high stakes action this summer is a suburban synthetic family drama.

"Wolf" #1 is a comic book jam packed with ideas. Right now, the various elements don't tie together into a whole just yet, but the characters and setting are entertaining and worth checking out, especially with this 64-page introduction. Kot is known for letting threads dangle out before slowly pulling them all back together, as evidenced in his work on books like "Secret Avengers." Los Angeles is already a weird place and, with this debut issue, it's only going to get weirder.

The good news is that, from here, there is nowhere to go but up.

Overall, "X-Men '92" #1 is a bold experiment in creating an accessible, recognizable version of one of Marvel's most storied and successful franchises. Everyone involved seems to be having a blast creating this book and that fun is infectious. The execution of the Infinite Comic format is impressive for a first issue and will hopefully inspire some interesting experimentation as the series progresses. It's a fun ride being operated by an entertaining crew.

A lot of the X-Men line balances on the convoluted minutiae of a continuity spanning decades, which means every 20-page comic is far heavier than the few ounces it weighs in your hands. That can be a turnoff and lead curious but nervous readers to flee. Bowers and Sims compress the characters down into their most commercially recognizable parts while still providing sharp focus and decent characterization. I'm hopeful this series will become successful enough to allow the group to grow past the nostalgia haze and into stranger and wilder territory. "X-Men '92" #1 is a hoot.

As the second chapter of a longer story, this was a fitting place for Venditti to display the power of the new foe. It had to be something big in the wake of "Armor Hunters," and decimating the Vine was a clear sign that this is an adversary with whom to be reckoned. Moving forward, the challenge is maintaining a threat that large for the remainder of the story, but this has been a book that has consistently shown it knows how to raise the stakes in exciting ways. X-O is ready for revenge, but what is the mental state of the Vine Priest? Given his tragic reaction, one could see him lean in for revenge or collapse into the arms of the Dead Hand, as he has now found that the god he worshipped, Shanhara, is but one of many in the universe. Though it's only part of a longer story, "X-O Manowar" #35 is still easy enough to jump into thanks to a fast-paced script and clear storytelling.

"Zombies vs. Robots" #1 has a few new things to say about the zombie genre and, in reading the back matter, it seems like Ryall is excited to jump back into this story. The issue ends with a solid cliffhanger that opens the door for new complications on both the "Z" and the "R" end of the title. "Zombies vs. Robots" #1 is a great return to the series.