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With all of the book's failures and successes, everything ultimately comes crashing down at the climax, when the killer is revealed. The reveal is arbitrary and lazily-done, with no clues alluding to it and nothing natural to it. The idea behind this series has promise, and there were some things to like about this issue. It's not tough to get through, but it consistently disappoints, leading to the biggest disappointment of all in the ending.

It's far from a bad comic, but not something that impresses more than a few times throughout the read. It's decent.

The premise of Ragnarok is delightfully simple, this issue less heavy than even the first. It hasn't propelled itself to something incredibly exciting, as the story is still just getting started, and so far our knowledge of the protagonist in terms of characterization is minimal. Ragnarok is off to a good start, though, and is doing all the right things to make me believe it will eventually get to a point where some truly phenomenal issues are coming out.

This is a good issue that adds more meat to the tale Simonson is telling with some fun dialogue. It just isnt as exciting as past issues without dedicated action.

There's a lot to love in Batman and Robin #38 despite some blatant problems with the transition to what should be a really fresh-feeling status quo. Great moments here work with intriguing plot threads introduced in the "Robin Rises" arc as well as in the last couple issues of Batman Inc., but his superpowers are barely explored in any meaningful way and much of the beginning of the comic comes off as stale. The only part of this comic that comes out of the fray unscathed without any caveat is Gleason's stupendous art.

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She-Hulk #8 reads most of all like a solid tease into what I'm sure is going to be great. It's not quite there yet, but this still entertains.

What readers are left with is a good comic that adds to an incredibly intriguing comic book. The one thing that can definitely be said of Trees is that one never knows what to expect, in terms of quality and content. This fifth issue comes out a winner, but not a gold medalist.

There isn't any profound musings on life in Regular Show: Hydration, and it's not really doing anything that anyone else is doing, but it's impressively done. It's certainly not without its issues, but it's worth purchasing. It fills two voids and it fills them well; the comic industry has an all-ages graphic novel that it can be proud of.

Delivering the highest quantity and quality of action so far, Super-Secret Crisis War #4 is great. No chapter of this story has managed to fall flat, and I doubt that trend will be bucked.

By this point, the story of these one-shots are quite predictable. A robot sent by villains in the main storyline seeks a challenger and doesn't really find one. Some dumb or mislead character tries to befriend the robot, which eventually malfunctions at some point. It's a shame the plots are losing elements of surprise because of this, but really, the plots aren't that important in all of these one-shots other than the Foster's one. This Cow and Chicken one-shot is a laugh-out-loud load of bizarre fun that brings up memories of the old cartoon, and at the end of the day, that's enough.

At the end of the day, Lumberjanes emerges as a spiffy comic book deserving of attention. It's all about pure fun and good vibes, and does such an excellent job of maintaining that atmosphere. Read this series and crack a smile.

At the end of the day Lumberjanes is a great comic that is sure to make any reasonable human being smile. So you should read it.

Given the quality of Lumberjanes #7, it's likely next month's conclusion will stick the landing. If you missed out on this series as it came out, you better look out for the trade.

While it didn't have quite the impact on me that the first issue did, this one convinced me more so that this is going to be something special when it's all done with. Godzilla Cataclysm is a kick-ass comic book, filled with enough monster-worship to quench the thirst of even the most hardcore Godzilla fan. If you're too lame to jump on now, I implore you to at least pick up the trade when it inevitably hits store shelves.

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Teen Dog rocks, and kept rocking with #5. It so effortlessly and casually manages to be a friendly, funny read.

This isn't the most entertaining issue of The Woods so far, considering the mute, slow pace. Sure, this switch in gears away from the quick, eventfulness of past issues is perhaps necessary for the overall story and works well, but it does come across as less enjoyable. With that noted, The Woods #5 is a great issue that continues to cement this as a special, note-worthy comic book series.

The Woods has been wonderful since it started and still manages to be wonderful six months later. BOOM! Studios scored itself a real winner with this series.

The most intriguing character of this series finally got the attention he has had coming, and it does not disappoint. Not only is the plot cleverly constructed, but the art is excellent. The Woods #7 is one of the best issues of this great series.

I forgot how much the creative team packs into each issue besides the main story. The back end of this comic has a big letters column, an unrelated short story, and lovely bonus art, just like the single issues of the old Li'l Depressed Boy. Life is better now that LDB is back.

Li'l Depressed Boy is a series that isn't afraid to take its time, which is perhaps the most remarkable thing about it. Small, relatively inconsequential happenings are played out in multiple panels, sometimes across pages. At one point, LDB walks home listening to music with a simple, happy smile on his face, and a pretty sky behind him. This issue is representative of a series that breaks convention by seeing the emotion in little things as infinitely compelling and fascinating.

Sex Criminals #10 succeeds on so many levels, kicking ass in dialogue, visual storytelling, socially-aware commentary and representation, as well as fiendishly funny comedy. This issue successfully ends the first arc with a fantastic climax, prompting a break before the series returns to work readers back up to another satisfying end.

If you ask me, it's comics like Bitch Planet that get the medium better than anything else. Once we get deeper into the story and art treated to some character development, I'm sure we're going to have something special on our hands. This first issue a smart comic that says a lot without doing much, but it's still so damn gross and goofy. Intellectual story-telling doesn't have to be stuffy; it can be a picture-book with a pissed off woman shouting about her fucking tits.

It really is incredibly admirable how seamlessly Bitch Planet simply works. It's patriarchy in space, with prison-based rambunctiousness held afloat by academic smarts.

It's done immensely well. It's an amazing comic book that begs to be read. There is so much here and it is all gracefully, carefully executed. Don't doze off from having to wake up at six a.m.; pay attention Deadly Class.

This issue was a long time coming, and it did not disappoint. The concept of a school for young assassins may have seemed potentially trite at the start of this series, but Remender pleasantly surprised whenever the series turned into something much different. Deadly Class is a fascinating character study on a bunch of sad, screwed up kids; they just so happen to attend some crazy classes sometimes.

And Rick Remender sure can write. He doesn't pull any punches, with loads of horrid language and striking violence. Deadly Class #10 is a train-wreck, but it's so masterfully and concisely crafted that it's impossible not to appreciate.

Deadly Class #11 is filled with loads of shock and sleaze that entertain a simpler part of the human psyche, but that aspect is immensely impressive because of the intricate and careful execution. Thought-provoking and harsh words are caked in these light and nutty pictures. Rick Remender and Wes Craig didnt forget the beating heart of this series, that being the fascinating characters. Each issue makes me care more and more about these infinitely complex little deviants.

The best thing about Deadly Class is its horrifically dark narration, and that is in short order here. Still, Remender and Craig still tell a damn good story.

I was shocked when I hit the last page because the fact that the comic was over was such a surprise. The comic goes by quickly because it's so good and because it's so tense. Wytches begs to be read.

The biggest problem with this issue is that nothing too substantial happens. Past plot points are merely expanded upon, and future plot points are teased. This issue reads more like an extension of the debut, but it's hard to complain much about that. It is incredibly well-done and effective, making for a great comic that considerably amps up excitement for the next issue.

If any comic on the stands today knows how to control a specific atmosphere, it's Scott Snyder and Jock's Image Comics-published Wytches. The pages practically bleed colorfully painted splotches of suffocating dread. The latest issue, #3, continues to build onto the ongoing conflict of the Rooks family, offering lots of scares that delve deep into a very real kind of fear. While I was left a bit wanting in regards to plot progression, this third issue is a great comic that manages to keep getting readers to care more and more intimately about these characters while simultaneously courting some healthy skepticism.

Theres a specific panel in Wytches #4 that is especially awesome, further bolstering the point that this is the best issue since the debut. At one point, Charlie talks to his wife about a monster he believes he saw, and she tells him, Theres no such thing as monsters. This line is super-imposed over a flashback panel of that unsavory Charlie, which emphasizes what Snyder has been saying this series is all about from the start. Hes not trying to startle us with inhuman monsters, but make us afraid of the monsters inside all of us; even in seemingly loving parents.

Like a lot of Morrisons work, Nameless will leave many frustrated after just a single read. Anyone inclined to challenge themselves with potentially poignant fiction will realize just how special this first issue is, though.

The comic itself is light-years away from mean; by the end, it tells a story that gracefully manages to be just happy and heartwarming enough to still be enjoyable rather than forced and sappy. There isn't really a direct moral lesson, and it isn't even expecting the reader to take it all that seriously. It's a silly, convivial little story that raises spirits and makes the case for being a friend to those in need and having a good ol' goofy time, and for that, it's remarkable.

There's something immensely satisfying to this comic's simple approach to plot. I guess that's how they do it in the South.

So much comes together in this issue, providing a real doozy of entertainment. I was awfully nervous whenever I learned somebody else was taking the reins on one of my favorite ongoing comic series, but Soule has yet to disappoint. His Swamp Thing rocks, and this issue is perhaps the easiest way to see why. I feel bad for whoever has to follow him up.

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Despite all of the troubles concerning New 52 continuity, Johns has managed to craft a new wave of Justice League lore DC Comics fans can be proud of. Justice League #41 is the amalgamation of a few years worth of comics, and the kind of thing geeks dream of.

This is precisely why Tom Taylor was the perfect choice for this story; his DC work has proven himself more than capable of twisting honored heroes into scary, uncomfortable foils of themselves. The first issue of Superior Iron Man casts a net over a few modern day issues, smartly exploring exactly what the Iron Man story says. In addition to this, this comic substantially understands and embraces how to have fun and how to tell a story in a way very specific to superhero comics. While it's just the beginning, it is so good that I can't bring myself to declare it any less than masterful.