Archie #1 is sure to please old fans of the series while acting as a great starting point for the uninitiated. And with other upcoming series such as the new Jughead, it's exciting to see this new world of Archie unfold.

8House Arclight #1 is a wonderful exercise in concise storytelling and world building, and is not to be missed by anyone seeking to feel transported by their fiction.

Batman Annual #4 is another example of Snyder's considerate exploration of the psyche of Batman, providing us another glimpse of the man beneath the cowl who's been analyzed for decades. While most can admit Batman has never been of completely sound mind, the story is another reminder of why he's exactly the kind of crazy a madhouse like Gotham needs.

Batman Rebirth #1 sets up a new status quo for Batman that is both promising in many areas and concerning in others. But whatever becomes of this Gotham and its denizens, this Batman is, at least, still one that we can recognize.

Black Widow #19 is an excellent, gripping start to what looks to be a definitive telling of Natasha Romanov's origins, and leaves us appropriately anxious, and perhaps apprehensive, to learn just what earned her the red of the Black Widow.

Constantine the Hellblazer #1 hits all the right notes concerning John Constantine's character, and is an encouraging return to form. Once it begins to change its look, it could be a worthy successor of, if not replacement for, the Hellblazer of old.

The inclusion of these new themes and plotlines, as well as the familiar elements of the past series, that make this first issue of Dark Knight III an engaging introduction. The comic reflects the better (instead of the worse) aspects of Miller's imagination, and permits a steady return to the Dark Knight world. While not revolutionary or groundbreaking, it's still a smart, gripping read, and the worthy, if lesser, successor to The Dark Knight Returns that The Dark Knight Strikes Again should have been.

As a new era dawns for the DC Universe, fans should feel free to hope again.

Harrow Country #5 is another strong chapter in an impressive new horror saga, one that knows how to both horrify and terrify in a proper balance. Seasoned artist Tyler Crook helps manage this balance by positioning imagery such as the talking, disembodied skin of a dead boy alongside the more subtle, hidden feelings of a wary human face. With an understanding of what makes people haunting to one another, Harrow County explores the terrors of the unknown in both the natural and supernatural alike. Ultimately, they're not so different.

In presenting us with Huck, Millar doesn't strive for another deconstruction of superhero fantasies, but instead reminds us of those fantasies, and why they're still within us.

Jughead #4 is another enjoyable installment of the adventures of the Archie universe's most famous saboteur. Zdarsky and Henderson imbue the comic with all the light-hearted fun and humor the series has provided for years, both in the character's conversations and the school background (e.g., a history textbook cover reads, "World History: Why America is Always Right"). While the reveal of Jughead's sexuality falls to the wayside to continue the overarching narrative, this issue of Jughead hopefully opens the door to future stories told with a more insightful, and asexual perspective. Even if not, the Jughead fans know and love is still here.

Karnak #1 proves to be an thoughtful character study for a lesser-known Inhuman, as well as a fun and engaging action tale. The moody, shadowed artwork by Gerardo Zaffino adds a mystical, ethereal element to both the story and Karnak's very presence, and effectively depicts his "warrior monk" aura. And Karnak is an action comic fan's dream. Hopefully the series will continue to be equal parts introspective and extrospective (mostly through breaking things) as it continues.

Lucifer #1 is a sigh of relief that a classic comic series is in capable new hands. With the old series' best traits returned, the book has the chance to find merit beyond its simple nostalgic appeal, and hopefully stand out as a great new chapter in the devil's story. 

All in all, despite some impressive artwork, Mad Max: Furiosa #1 is one of those books that leaves you with more questions than it does answers. Hopefully the upcoming sequels will again provide us with the Furiosa we know.

Overall, Midnighter #1 is a reassuring and faithful reintroduction to the character, and one that leaves open a lot of room for exploration. Here's hoping it continues the level of depth we've begun to see here. With punching.

Like the greats such as Pekar, Fingerman has a talent for depicting the small, but relatable moments in life, such as the regular instances of questioning, or even justifying, a bad relationship. The issue illustrates the consequences of Rob's refusal to follow his own instincts, prolonging something he knows he shouldn't, out of the ever-destructive, but very human fear of being alone. But Fingerman also shows another great truth: you can feel worse while with someone than when alone. It's what makes comics such as Minimum Wage both so simple and so enlightening all at once.

Miracleman #2 is another prime example of Neil Gaiman's unparalleled talent and imagination, as well as his skillful exploration of our most basic human qualities in even the most fantastic narratives. The artwork by Mark Buckingham perfectly suits each story's tone, and beautifully compliments Gaiman's dialogue and narration. As an example of some of Gaiman's earliest work, it's clear to see why he's known today as one of modern comics' pioneers.

Monstress #1 introduces an extensive, promising mythology to what could prove to be a memorable and poignant fantasy tale. So long as it doesn't get too tied up in its own details, and allows the intricate, elegant world it presents to unfold itself, it could be another great fantasy epic for comics.

Marvel has yet to reveal the plans for Moon Knight post "Secret Wars", if any, but here's hoping this series doesn't go away, as it has set an excellent example for comics.

The always colorful and expressive artwork by Cliff Chiang creates a proper balance of realism and psychedelics, permitting the girls to feel grounded even in an impossible scenario. Ultimately, Paper Girls #1 sets up a story that has promise as a new addition to an enjoyably nostalgic genre.

Plutona #1 is a beautiful beginning to what could be another great story from Lemire. The artwork by Emi Lenox gives the story much of its emotional bulk, particularly in character's expressions, such as in the hollowness of frightened eyes. The story and characters are effectively down to earth even in a miraculous world, focusing the reader on those below the capes and costumes. With the end of one hero's journey, it's the beginning of another, and it's one definitely worth following.

The Punisher #1 is a faithful and refreshing return for the Marvel Universe's most violent crusader. Cloonan's smooth and characteristic dialogue captures the essence of the most well-respected Punisher stories, and Dillon's art is as dour and brutally satisfying as ever. Despite the frustrations of the issue's censorship, it's not enough to detract from what is clearly a promising new direction for Frank Castle.

Secret Wars: Secret Love is an enjoyable look at the diverse storytelling potential within the Marvel Universe and its always rich cast of characters, and serves as both a successful homage and convincing introduction to romance comics for those unfamiliar with the genre. Hopefully Marvel considers using it as a stepping stone to more of these tales in the future.

Perhaps the only downside to the issue is the ending, which depicts Jabba the Hutt hiring a new bounty hunter to track Obi-Wan. When it's revealed what the bounty hunter is, the result comes across as more silly than anything else. Overall, however, Star Wars #15 is a great addition to the Star Wars canon, and hopefully we'll see more of this era throughout Aaron's series.

Further, at times, one can't help but feel the story is trying too hard to provide an epic story for C-3PO's discolored arm, which could have been lost a countless number of ways (he's been torn apart enough over the course of the saga). But these are small criticisms for a story that is overall a heartfelt, intriguing and brilliantly illustrated look into the minds and souls of the Star Wars universe's most beloved background characters.

Overall The Beauty #1 is a very frustrating read, leaving one with the annoyed feeling of needing to point out to the book its own themes and aspirations as it strays from them. Hopefully as the comic continues, it will stop to take a breath and explore the ideas it has established. Otherwise, we'll continue to see only a skin-level look at a much deeper issue.

In retelling Wonder Woman's origin, De Liz has created a potent reminder of why the character continues to be such a powerful symbol. While the pacing of the story may be a little too fast for this first issue (i.e., it would have been nice to see how Diana came to espouse her outlook and what formed it), the character and story are skillfully crafted. Hopefully, as interest in Wonder Woman continues to grow with the impending release of the film, stories like these can help remind viewers and readers what makes her so wonderful.

Twilight Children #1 is another expertly crafted example of Gilbert Hernandez's unique vision and talents, and a delightful reminder of why Pulitzer-Winning author Junot Diaz once said he should be deemed "one of the greatest American storytellers."

The Vision #1 proves to be a an excellent social drama and character study as well as a sci-fi tale, and one that brings a new depth to a classic Avenger. Tom King's script is both relentlessly captivating and psychologically deep, and the artwork of Gabriel Hernandez Walta of Magneto renown provides the perfect, somber feel needed for this kind of story. The comic prevents not just a milestone for the Vision, but for Marvel Comics as well as it enters a new age.

Despite its flaws, We Are Robin #1 has enough promise and inspires enough interest with its unique concept to keep paying attention. Duke Thomas is one of the more interesting side characters to come along in Batman comics in recent memory, and he is developed well enough here to want to follow his story. The chance to see his journey to becoming the Boy Wonder is an exciting prospect.

Despite a fairly simple concept, Welcome Back benefits from enough engaging characterization and narrative, as well as over the top action, to prove a very enjoyable read. The comic's script by Sebela reads like a well-crafted, stylized action film, and the artwork by Jonathan Brandon Sawyer is both kinetic and expressive, maintaining a high-octane pace. As the summer winds down and the major action thrillers have gone, this one is definitely worthy of filling the void.