If Rosenberg's Kingpin is focusing on how a figure of criminality looks to someone on the outside, 4 Kids Walk into a Bank occupies the inverse notion. This series is lived in and focuses on kids that should be on the outside, but find themselves on the precipice of falling in. The title may sound like the start of a joke, but this book's subject is no laughing matter. The kids might not have this in mind every step of the way, but that creates an oddball vibe that allows series like this from Black Mask to thrive, occupying a space of its own in the comics landscape.

It's an issue that I devoured and then went back through to comb over for additional details and clues and I can't wait to see what comes next, which is maybe the reason for the aforementioned flaw " that I don't have the rest of it in front of me to devour.

Detailing the back-up would spoil the big reveal so I'll avoid doing so, but Dini has a far bigger sandbox to play in, making for the more entertaining portion of this issue.

With any luck, Sook and Anderson will be able to collaborate again later in the run, because their work in this issue (in addition to their previous two chapters) shows how strong they are with the various components that make-up the book's overall shape as well as the little things that serve to make it all the more memorable.

The greatest strength of Leah Williams' script is how much work she puts into complicating the viewpoints of the team and observing the ensuing fallout of the self-believed good guys. She really digs into this via Psylocke and Blob after they have a brief conversation about his romantic feelings towards her, and how that particular can of worms can't ever be sealed back up.

It's fun in the same way the movies are and it's smart they made this an annual instead of a main series issue because it works better as an optional detour for those who want more of the characters, but disconnected from Duggan's larger story.

It's a refreshing change of pace for how often events and their tie-ins have heroes fight each other in lieu of talking. That said, Ig Guara still gets the chance to show off his skills, delivering a dynamic two-page spread, and the series' humour is still present when appropriate, resulting in a wonderful conclusion to this arc.

This stands out because it feels different in an issue that otherwise feels surprisingly familiar, not solely because Snyder’s using one of his go-to narrative tools, but after the previous arc’s twisting of formal storytelling conventions, this brings us back down to earth with something that feels a more typical. Compared to the first arc, the narrative has a more solid foundation, but it doesn’t get the blood pumping like both of those have tried to. That said, based on the execution alone, All-Star Batman #10 will clearly appeal as a solid opener, but given the ambitions that have defined this title, I hope this arc will ramp up as we get deeper into the story.

Narratively, there's a promise that there's more going on than initially presented, but the problem is that Analog's concept isn't fresh enough to engage from the jump.

On a visual level, both aesthetic styles are strong and promising in establishing what the series will look like, it's just hard to get a read of the voice of the book with how long it takes for the story to kick in.

The sheer scale of it in turns earns the reverberations it causes throughout the ocean by issue's end, the way this tale appears to be expanding is a thrilling way to up the ante in an arc that's already of high quality and of its best issue yet.

Henderson's eclectic character design makes for building quite the expressive ensemble, a factor which helps when the bullets starts flying. Even in the middle of the frenzy, her cartooning persists as some of the best of the best, a wonderful fit for a book about exactly that.

Bullets begin to fly before the first page is over in this quip and violence-ridden bonanza, which means Rankin's still in danger, and thus Echidna couldn't have been trying to take him out.

The verdict is in "Astonishing Ant-Man #13 sticks the landing and provides a fitting send-off for Spencer and Rosanas' run on the title.

Psychics are dying, and none of them saw it coming. Charles Soule andn Jim Cheung's Astonishing X-Men #1 gets right into the plot with a sense of brevity as Psylocke finds herself the target of an attack and brings together a makeshift team of Old Man Logan, Rogue, Gambit, Psylocke, Angel and M to help her deal with that.

Focusing on mining character relationships, this creative team cements Astonishing X-Men as one of the top-tier "ResurrXion" titles.

Mike Del Mundo really is a great artist, huh? And now he's been given a flagship book which ushers in a new time for the Avengers post teen-hero walkout, but doesn't necessarily play to his strengths.

While the main Avengers title will hopefully be doing something new with Kang and time-travel, these .1 issues look like they'll be providing a classic feeling team updated for a modern reading experience.

It is primarily a set-up issue, but the various threads being established feel cohesive enough at this moment to suggest it'll hold together for now.

The far-reaching allusions don't mean anything yet, but promise this will all eventually build into something. Hopefully that something is more satisfying than this first arc, which never truly came together even after the team itself had gone through the requisite assembling.

While this first issue, much like its predecessor's, exists to set up the various threads going forward, what No Road Home has over No Surrender's debut is that the spectacle doesn't overshadow these characters. Most exciting is the dynamic between Hulk and Hawkeye, though Vision's arc appears to have the most emotional potential, with the issue's reader-friendly approach and contextual backmatter making it clear where all these characters are at even if you haven't caught up with the team's previous tale.

Under the collective pen of Al Ewing, Mark Waid and Jim Zub, their narrative shows no signs of slowing down from the fast pace that has characterised the series thus far, but all the more impressive is how it continues to keep things moving while still having moments of introspection throughout.

Some more character-focused beats of the book get rushed through so Grant can fit everything in, but as mentioned, it's a first issue, there's presumably time to flesh these out in a later one.

Steve Orlando does a great job bringing all of the stories together, even if some of the finer points are glossed over, and he certainly delivers when it comes to bombastic action. If this is any indication, every member of the Bat Family will have a chance to shine.

Part 4 of the "Night of the Monster Men" crossover pits Batman and Batwoman against the monster-fied Nightwing and Gotham Girl in an issue that feels like more of the same.

Rather than repeat what came before in "Knightfall," Tom King manages to turn a reversal of events into a fist-pumping moment that is reminiscent of the hyper capable Batman of Grant Morrison, and continues the high octane streak this book has been on since issue 1.

King's script allows the book to transcend the height reached by Gerard's art alone, moving through pillow talk, heart-pumping pages of adrenaline and true genius when the final pieces of the puzzle that is King's Catwoman click into place, it manages to land the necessary beats in an understated way - they register and stick with you without needing repeated reinforcement.

Comic books have a habit of repeating themselves if you stick around long enough. Batman and Bane have engaged in battles of wit and strength before. Both have been broken by the other. We’re about to be at the point of physical conflict again, but not in the same way that it’s played out before, because this isn’t about saving a city. King’s Batman already did that at the beginning of his run, and now what’s at stake instead is the personification of the city in Gotham Girl. It’s an intently personal confrontation that’s on the horizon. It’s two longtime foes headed on a collision course, not to save the world, but to save just one life. It’s an unstoppable force headed to an immovable object. With this information in mind, the question that remains is… which one will break first?

For years, people have wondered, "what if the Watchmen did exist in the DC Universe," and while the overarching narrative of "Rebirth" first appeared to be tackling that head on, since then it seems to have been trying to coast on the multitude of hypothesis that stem from it, instead of actually expanding upon it. So while Batman #21 may be visceral and intense, because of those connections to the wider narrative, it feels like an extension of this problem driving to its illogical conclusion.

It looks like chaos is about to be king in Gotham, but King, Jann, Chung, and Clayton Cowles are decidedly in control of this story.

A story of casualties, of the ones who suffered as chaos reigned, makes Chuck a ripe subject to study under this lens, that miraculously reaches an ending that'll make you want to say, "hell yeah."

It took a while to get a real sense of the first year's shape and with that now being built on top of, it'll take a while before the expanded picture - and where Bruce's head is now at - becomes clear, however the idea that a run can feel that large more than 30 issues in is worth savoring, as is the opportunity to try and fit the pieces together.

Oscillating between continuity throwbacks and a silent nighttime adventure, King's script carries itself with a spring in its step, switching between the two modes as gracefully as Catwoman.

One of the biggest strengths of King's Batman since "The War of Jokes and Riddles" is how his arcs have been smaller-length affairs. Having stories that are anywhere from one to three issues, coupled with the double shipping approach, ensures his tenure stays dynamic as it builds towards Bruce and Selina's wedding. This arc allows him to do a big catastrophe-driven story while retaining a psychological angle and without overshadowing the impending nuptials.

This feels like a misfire of an arc that would've worked better had Batman and the Beast's violence had consumed the issue for its full length.

The issue brings King's run into further focus as is presumably transitions into a new stage of the game being played, all the while showing that there's more than one way to break a Bat.

Everyone involved is in top form for these short-form narratives which are economical in their storytelling " getting in just as the action rises and bowing out as the tension starts to slow. While you may be dying to find out what happens next in "I Am Suicide," this Batman Annual is a worthwhile interlude.

There's something deliciously pulpy about the way Steve Orlando writes The Joker. His interpretation would feel right at home in Batman: The Animated Series, which drew inspiration from the early 1940's, but he'll makes do with this story involving two heroes from that era.

Which is perhaps a summation of the issue. This world is markedly different from both Gotham and our own, but Busiek, Leon, and Klein don't bend it to the point that it breaks in the process. Instead, they twist it just enough and offer multiple ways to approach Batman: Creature of the Night. They've put the work into ensuring this isn't just a rehash or going through the motions. It's a distinct story. Fresh without being alienating. Intently subjective, but through multiple perspectives, posing questions about objectivity, "truth" and reality in the process.

The imprint's announcement stressed the idea of unique stories, only there's little ambition on display "" though there is a little full-frontal nudity "" just yet another story about The Joker and Batman.

Writer Marguerite Bennett's narration delves into Kate's mindset as she makes this dangerous trek across the desert, but it's the flashbacks that are the highlight of the issue, focusing on Kate's flirtation with the Arms earlier in his life.

The notion of voice is key to Black Bolt, and not just because of the character, but also because this is the first issue of a new series and the first issue from a new comic bookcreator. The issue gains a character about halfway through that fills the issue with actual dialogue, but for the most part, Ahmed, Ward, and Cowles also value silence. This methodical approach shows what visual storytelling can accomplish and indicates a strong creative voice. The focus on establishing a particular mood shows that this team has something to say here. The team could have afforded to be more abstract in their setting, but this isn’t a series which intends to throw everything and the kitchen sink at you straight away. A picture can say a thousand words, and while some may choose to yell it from the rooftops, the team behind Black Bolt wants to first be sure that you’re listening carefully.

Ahmed and Ward bring a touch of the cosmos back to Earth thanks to all the insanity Black Bolt has dealt with in the first arc, and uses it as proof that difficulty reconnecting with people and family is beyond universal.

So it's more of a slower debut, Black Panther and the Crew isn't just about the characters in the title, but also the world they work in. Harlem's a big place, so it's going to take a while to sketch it all out.

While Black Panther has always been a worthwhile read, it's been firing on all cylinders since Zeke Stane was added as a main cast member. He's helped to show that the prose like dialogue evident in the first four issues is a Wakandan trait over part of Coates' style and that's proven further here.

As a first issue, Black Panther #1 displays a solid handle on what it wants to be and establishes that clearly to readers. As a story, it feels both fresh and exciting, crafting a distinct identity that stands out against the many other books on the stands.

Roxane Gay may have found her feet within the comics industry even faster than Coates, and with him in tow as consultant, World of Wakanda is wonderful as a companion piece to Coates' series, but works just as well as a standalone.

The two teams work together on this story rather than one handling a back-up, their styles blending well and of course this issue comes with reprints of Kirby's work which helps to make this special all the more delightful.

Black Widow #12 is a phenomenal issue to cap off a phenomenal run that's a deserving candidate of an oversized hardcover in the future.

Jen and Sylvia Soska have demonstrated an understanding of the Black Widow's character that makes it easy to wish they had more than these five issues to work with " even just one more to better serve said scene and expand it into its own distinct issue " to see where else they'd take her and to see them get even more used to working in the medium.

Orlando's premise is ambitious, but the years-long timeframe of the story is a little hard to register over the course of 20 pages, even as he and Braga work hard to include Diana's various costume changes over the years. Regardless, this might be the best issue of Wonder Woman in years, so don't miss out.

Seeing these characters again with such a comfortable vibe is welcome enough for now, but it does mean we're waiting to see what they'll end up getting up to.

Jordie Bellaire's script gets a little playful with time, opening with a more dynamic scene (and a strong welcome for arc artist David Lopez) and also expediting part of the group's efforts thanks to the story in BOOM!'s Free Comic Book Day offering. Couple this with Jenny's involvement in the story, and this issue really enforces how Bellaire has both the voices and the relationships of the characters down while also creating her own strikingly different narrative for them to occupy.

Early on Forager remarks his stumbling through dimensions is getting monotonous, but he's in the wrong, for this continues to be delightful, packed with substance and craft in equal measure.

It's wickedly dark and has avoided veering into caricature so far, but I'm not sure there's been anything which is truly madcap.

Allison’s scripts are densely layered; laced with jokes, character insights and subtle plot machinations without ever seeming heady or overwrought. In Larsen, Stern and Campbell, he’s found yet another creative team which only enhance these qualities when collaboratively translating the story into a visual medium. What’s most impressive is how they’re accomplishing this on a month-to-month basis, something all the more important when thinking about how many books seem to fall prey to decompression and padding for the trade. Juggling plots, characters and stories for serialized comics isn’t always easy, but By Night’s creative team sure does make it look that way.

As the series enters its back half, the town of Spectrum collide with what's on the other side of an otherworldly portal, as evidenced by the first scene involving Chip needing to help someone from a creature that belongs on the other side.

An oversized issue rich with story, Calexit comes out swinging, and it's commendable that it throws so many punches and pulls none of them.

Some of the meatiest material could've easily fallen flat if not granted proper attention, yet Coates et al manage to keep every plate spinning.

From the outset, it was evident that Coates was running with what Nick Spencer did during his time on Captain America, turning it into something genuinely interesting and nuanced.

It is to the issue's credit and general cohesiveness that the various approaches all gel, even if the ending reads as abbreviated.

What prevents this issue being a complete mess is the art from Paul Renaud who also assisted John Rauch on colors. They do some great work with shadow resulting in strong iconography for Sam Wilson, but this isn't enough to help the sour taste of the book's middle subside.

On the way to "Secret Empire," Captain America: Steve Rogers marches on to the beat of a drum which sounded foreign when it debuted last year, but has incrementally become attuned to something that might not always be outstanding, but is always interesting.

While this series dipped in quality as a result of Civil War II (like many series did), the main strength of the run was the dynamic Carol had with Alpha Flight, putting it at the forefront makes for a strong closing issue and the fact that it'll continue to be present moving forward makes me all the more eager for The Mighty Captain Marvel next month.

Sharply written, gorgeously illustrated, and unabashedly feminist, Captain Marvel #1 is a showcase for what Carol and this creative team are capable of.

Kelly Thompson has demonstrating a strong understanding of both Carol Danvers' character as well as Rogue's, so it should be no surprise that their confrontation within this issue only exemplifies that further.

For a volume of the series that's been a slow burn, even more so when contrasted with Avaritia's pacing, this appears to be the ignition for full speed ahead.

So, yes, this didn't advance the serialised plotting of this album per se, but on a wider level Casanova's about change. Or at least, it is to me, that's the nature of avant-garde comic-booking, that you get out of it what you can find. It's because of this that the issue works so well, even if I'm not clear on all the details the first go-around. It demonstrates a commitment to never slowing down, to never staying on one thing for too long. Sure, it's dense, it's confusing, it's bombastic, it's immoral at times, it's suave, it's cool. That's Casanova. And the only way it'd disappoint me, is if it wasn't.

The creative team's visual storytelling is so precise and carefully calibrated to character's emotions that it's hard not to wonder what this series would like if it were silent and it was down to the art to tell the whole story.

The series operates as a mood piece, not a casualty of decompression, even if will likely read better when collected. This isn't to say the story couldn't be meatier, only it begs the question of if that extra weight would work against the series' gracefulness.

Though fun and a fitting Catwoman story, you can feel it hitting the expected beats, right down to the requisite mid-heist twist, one-by-one, even if it gets to each one in time with the rhythm.

Structured around an extended chase sequence - first between vehicles, then on foot -Catwoman #11's big draw is in how the thrill of motion can be conveyed through sequential, yet still images.

The main issue with Catwoman: Election Night is that it doesn't say anything new. Meredith Finch adopts a duo of outplayed analogues and while it's message warning against one candidate in particular bears repeating, it gets lost in the stilted dialogue and abrupt ending, even though the closing sentiment is touching.

In short, another strong debut for the imprint " bring on Mother Panic next month.

The Marvel Universe has undertaken a lot of changes in recent years - that much is undeniable, regardless of how you felt about said changes. Champions very much reflects that, but remembers what Marvel did back at its start -classic superhero stories with bright and expressive artwork. Waid knows this, and combines with the sense of belonging that X-Men books have made people feel for decades to create an issue that takes a while to get into the thick of things, but when it does, creates a new team doing what you expect from heroes, only difference being there's someone here for everyone to look up to in some way.

While it's a welcome change from the original that Civil War II hasn't become an all-out brawl without time for character, this feels too late for the event to be having the conversations where both sides are well and truly given equal weight.

Writer Chistopher Sebela's script teases details about this wider world, though the book's real strength is in how well it digs into the two lead characters rather than hoping the concept is enough of a hook for readers to come back.

A new city awaits in the next issue, but it's good to have Crowded back on the stands, where even the transitional parts of the story are a full realization of its potential.

This arc had a lot resting on it going in. Not only did it need to feel like a continuation of sorts of Waid and Samnee’s run, but also bridge the timeline between their’s and Soule’s in addition to fitting in tonally with the rest of Soule’s tenure on the title until this point. That’s a lot of balls to juggle, but thanks to the creative team’s work up until this point, they’re able to make it look easy. Having done a couple of arcs prior, they’ve clearly worked out the best way to work with one another and they’ve been waiting to tell this story for a while. Much like Samnee and Waid’s work, it feels mature and serious without an overbearing darkness and due to the respectful way that Kirsten is handled in addition to a late reveal, this feels like an arc that will be mindful of what’s come before.

From the strong sense of class politics that comes across to the sense of history that's built up through a recollection of past events, Hell's Kitchen and its way of doing things comes across as an ever-present force in the story being told even as it's being told within the confines of domesticity. The neighborhood has established its own order that has become a way of life for so many. It's presented as easier to go along with, as any attempt to escape will see the city find a way to pull you back in.

What Dark Days: The Forge and Metal have going for them above all else is that they're about exploring something unknown to us, and so even though Snyder has peppered in hints to this story in his earlier work, we as an audience now stand on the edge of exploring a new world. That mere premise and its infinite possibilities is positively captivating.

Snyder's script takes a while to get to what Dark Days set up, but what precedes the furthering of that plot is grin-inducing and it's a treat to see superhero spectacle that feels this polished from a creative team this strong.

Metal still feels too stop-and-start to really feel like a rush, but the baseline tempo is underlying and keeping it humming along.

Like a stocking, anthologies are stuffed with all manner of miniature gifts " thankfully, DC has packed 11 tales that move at a pace merry enough to not get bogged down by the duds.

The jabs aren't necessarily subtle, nor offer a grand thesis, but the punching up allows for a consistent string of gags, all the while making it clear that Porky's new-found success is bound to come crashing back down like an unwanted stock sooner or later.

The conflict is taking its time to build, but it's appreciated that neither side wants to go to war before they've exhausted all the pacifist options available. Lemire and Soule do a good job with stressing this, but also continuing Cyclops' character arc. Sadly, the issue is hampered by some inconsistent art.

All in all, Deathstroke continues to be a sprawling narrative told through tight episodic installments

There may still be a couple months to go until the four join together on screen, but this book has them assembled (to an extent) with a confident collaboration in Bendis, Marquez, and Ponsor already operating in harmony.

Orlando has been able to find a nice balance between the major players involved in the arc thus far, and that dynamic improves in this issue now the expository dialogue is out of the way and we’re into the thick of things. However, this issue could be a warning that the thick of things isn’t that thick. The creative team deliver a solid issue with strong action and some interesting character development, but the third issue of purely fighting the Monster Men may leave you wishing that Batman #8 shakes things up dramatically come October.

There's plenty of potential story on display, but little chance to dig into the more interesting avenues as it all gets swept up in the rush, as if it needs to be sped through in order to get everything packed into the space Hill's been given for this arc before the next team takes over.

If nothing else, it feels like Quinones is really pushing himself, and the second half of the issue is home to some of his more impressive pages, when someone finally has to Dial H for Hero.

Die #1 is about what we carry with us in life, what we leave behind, and which of these will end up having more tragic implications as the echoes of adolescence reverberate through adulthood.

The party puts their plan into action at the same time as the creative team of Die reveals what this series is really about. The result is a bold narrative gambit that would be impressive in its own right but unfolds in utterly gorgeous fashion as a result of the inimitable work of Stephanie Hans.

The bombshell at the end isn't as earth-shattering as you may have been led to believe, but everything else is enticing enough for that to not really matter.

In both of these tales, the art and colors elevate this pair of safe but well-told stories, and should satisfy anyone looking for a piece of Strange to hold them over until the movie's imminent release.

There's room for improvement on a design level "" the settings could do with being a touch more visually interesting as proven by some mid-issue locations "" but in a series based on a licensed property, it's far easier to enjoy when the characters seem like themselves, even more so when Houser manages to multi-task and use the ensemble effectively, something which the show itself has struggled with.

Every scene throws a new idea out there resulting in some expansive world building which will make you want to explore every direction suggested, but at the same time you'll find it hard pressed to look away from the engrossing direction the book is currently heading in.

While other comes fall into repetitive narrative patterns or don't do enough to distance themselves from the rest of the market, Doom Patrol laughs in the face of these potential stumbling blocks, outright gleeful with the sheer magnitude of ideas it chucks out each and every issue.

It's an ultimately hollow reading experience that turns disappointing when taking the delays which have already affected the series into account, as it's going to be a while before they're able to work on something more intriguing.

Much like Boone within the context of the story, the audience is pulled out of Agartha by the final page, but craving another visit as soon as possible.

The ambition of the book, and how much ground it tries to cover, makes it hard to hate, but it's not hard to wonder how much better it would flow in an OGN format.

Not rushing to bring them back together is the right approach, one taken with care, yet it doesn't gel well with the Doctor Doom tale drawn by Simone Bianchi and Marco Russo, which speeds through resetting some of the Fantastic Four's surrounding status quo.

Guillory has an immense amount of control on this world, right down to the background gags, wrangling the various aspects together into a well-paced package.

As a taster for Gerry Duggan, Aaron Kuder and Ive Svorcina's newly launched series, this Free Comic Book Day offering is like the escape from the Kiln in the first movie, but with the team dynamic of the second film.

A prelude to the first season, Free Comic Book Day: Riverdale #1 unfortunately lacks the madcap energy of the show's first few episodes and instead offers a milquetoast vibe more in line with what you used to think of when you heard the word Archie.

It's a start, one that's able to get by on having the gang back together.

Gordon's script is at its best dealing with the second half of that description as it shows her intending to take greater control of her life. It's a reminder of how engaging an element she can be in a story, and hopefully this means she'll be involved in Pak's sooner rather than later.

Yildiray Cinar's linework has a moodier vibe to it than the sleekness of the previous issues by Juann Cabal, so it's curious as to why Taylor's script doesn't opt to wring out as much emotional potential as possible from the issue's initial premise. Even with the understanding this isn't the story's end, the book almost seems scared with dealing with what it's set up.

Andr Lima Arajo and Chris O'Halloran bring a strong visual eye to the series, the opening scenes darts between the red and blues of the police and the more dialogue-driven scenes use unconventional framing, pushing characters to the edges, and sometimes the corners, of the panels, resulting in a distinctive look that ensure the series is looking to be its own thing rather than pure pastiche.

This series is likely not what people expected it would be - it's very different to its namesake and is pretty abstract when compared to the rest of the X-lineup. When it comes to X-Men, it is particularly difficult to put together a team because every person has a different idea of what the X-Men should be. When it came to X-Men: Gold, I was struck by a tagline on an ad " "You asked for it. You got it" " as it seemed to suggest they were going with a straight superhero book because that's what was being demanded the most. That might be what people thought they wanted from the X-line, but Generation X is what never knew you needed.

If some of the other ResurreXion titles have felt too homogenous for your taste, then take a chance on this one-shot that's willing to be this oddball.

What makes Generation X so special is that writer Christina Strain can find the time to mention how annoying it is that Quentin Quire can pull off speedos without taking up vital space that'd be better served otherwise.

Amadeus Cho and Laura Kinney are great characters, but they're pulling too much focus away from the titular hero and the ending of the issue suggests this problem will not only persist, but get worse, keeping the book in some unfortunate traction.

The trio's first year at university ended with many roads open for exploration and while it'll be pleasant to return to Sheffield next month, this is a delightful experience that most series would be hard pressed to provide.

Giant Days has always been a ridiculously funny book, but it's also been capable of these heartfelt emotional beats. This is one of those issues that has a lasting emotional impact.

The issue plays like a season finale, everything that's been building over the past year comes to a head, including the fact that the core trio are moving out of the house they've shared during that time.

Followed up with a poignant essay by Hughes, it becomes clear that the sense of dread the book is imbued with doesn’t spring forth from the paranormal elements, but the reminders of normality taken directly from the real world. Everyone involved is crafting a tale that serves to show Hollywood isn’t as glamorous as the pictures make it out to be.

I don’t believe these essays shouldn’t be defined as back matter, because that implies they’re only for the most dedicated of readers, nor do I consider it correct to label them as supplementary material because for the same reason. Instead they should be treated as required reading because not only are they poignant, but they ground the horror. The body horror might be the hook, but the most resonant idea is that the industry itself is a living nightmare for many. Without these essays, Zub, Hughes, Morissette-Phan, Marshall and Dillon wouldn’t be able to reinforce that there’s a truth to this book, and that’s the scariest thing of all.

The real-world stuff has always been the more important thematic factor, but they seem more real now, something which can also be said about Holly Raychelle Hughes’ essay. In a way this makes Glitterbomb the book of 2016, in an ideal world we wouldn’t be at this point, but as a result, we have art like this to stand up and speak out. The series and creative team are taking a break until the back half of next year, operating like a TV show, but it’s guaranteed that this series will be something to think about until it returns.

While not necessarily empowering, there's a transgressive slant to the narrative that'll likely have you hoping the supernatural horror wins out over the real-world horror.

Bolstered by the emotional artwork of Djibril Morissette-Phan and K. Michael Russell, so much is said through posture and positioning over explicit dialogue and makes Glitterbomb: The Fame Game one of the most powerful (and perhaps vital) books on the stands.

From alien lifeforms and far-off planets to a quieter moment with Hal observing the sky, it is distinctive; a relic from a bygone era that feels fresh all the same.

Max Landis is a writer that has these out-of-the-box pitches, and that's certainly true of Green Valley, which debuted as a medieval tale and now encompasses dinosaurs. Another concept gets thrown in in this issue and similar to, Paper Girls, a lot of the fun stems from seeing how the pieces fit together.

As a resolution, it's too small and too big at the same time, having qualities of big event storytelling and a more intimate character-driven story, each preventing the other the full space and time required for it to satisfyingly play out that way.

Towards the end of the issue, Kate says that she can “actually make this whole P.I. thing work. Like work work.” This debut appears to be indicative that’s true. L.A. doesn’t feel like a single street where everything looks the same, Kate’s voice is as snarky as one would expect, the investigation isn’t as open and shut as initially perceived to be and this has all been achieved in twenty pages. From the evidence presented, this is certainly due to the synergy of the creative team who are already operating like a well-oiled machine. If anyone can make it work for longer than an arc, it’s these guys.

Combined with the necessary detail of Leonardo Romero's work, how Jordie Bellaire switches up her previous colour set to match the setting and an impressive action sequence and you've got the book which continues to be the strongest of the new Marvel Now launches.

Jessica Jones and Kate Bishop have some similarities. Obviously, they’re both private investigators and their snark registers on a magnitude that would cause Professor Frink’s sarcasm detector to explode, but they also have different energies. Jess is more unfiltered, while Kate is a little more willing to hold off and get the lay of the land before going in guns a-blazing. So it takes a lot to make those energies meld together, and here it’s a triumph with regards to the writing of Kelly Thompson and the art of Michael Walsh and Jordie Bellaire that they're able to pull it off so well. In short: this issue really is the best of both worlds.

When the first issue of the series released back in December 2016, I deemed it “fully realized” right out of the gate - and perhaps even more miraculously, the creative team has only built it up further since then. Just as much as the team excels on a macro scale, there’s no shortage of impressive moments on a micro-level, like the way a knife thrown travels along a traceable arc across panels. Hawkeye bounds along, but cleanly enough that it’s easy to scour for these kinds of details, proving it an achievement of craft and joy in equal measure.

To return to looking at the cover image again, take note off where Sanctuary is positioned, off in the distance. For all the in-universe references, let alone interviews and promotional material, the issue only provides glimpses at the location. A result of this first installment's deliberate structuring, which offers just a peek at the series' true self and so it remains to be seen if Heroes in Crisis is up to handling this concept and the accompanying ideas with as much respect and care as they require.

When it comes to Mann and Tomeu Morey's art, it's just as tactile as previous issues, the level of clarity and detail brought to each panel is an artistic approach that could've been utilized so much better if it was allowed to focus in on the more tender, heartfelt and emotional material that the book hasn't really dealt with.

Hi-Fi Fight Club is simply a top-tier delight, and the laid-back approach of the series is enough to wish it had more than an issue to go before being done.

Other page filling images, one while on the road and another from up high, offer a glimpse of the larger world, suggest more depth than the plotting, that there might be something worth seeing on the horizon and are the main reason to stick around despite a mediocre start.

It's also a more conventional book in terms of layouts from Nico Leon " there's a couple of pages which fit the aesthetic of the book prior, but there's a greater number of recognisable layouts utilised by many artists.

Greg Pak knows why you're here " to see Hulk, Wolverine and Weapon H get into some fisticuffs, whether they be amongst themselves, against the Leader, or against everyone else in their way. So he wastes no time, as when this issue first shows Clay and Logan, the former is already diving towards the latter, both have their claws extended already.

Dead Ends' vagueness about what's to come is an ineffective story hook, as the build-up and teasing seems never-ending.

Bennett's characters are rarely shown in full, with panels that can never seem to contain them, and this visual grammar affords this character study a terrifying combination of intimacy and claustrophobia.

There's clearly a larger plan at play, and each installment works towards this without just promising the good stuff is on its way.

Infamous Iron Man #1 isn't an explosive issue, and its subdued nature puts it in line with International Iron Man and the final few issues of Invincible Iron Man - which is actually a good thing as this doesn't feel like a dramatic departure from what came before. But one can only wonder if it would have been better with an explosive plot point to get people intrigued and talking.

It's always disappointing to see when a series, already designed as both build-up and lead-in for an upcoming event, has to slow down and noticeably move pieces around the board in preparation.

Editor's notes remark about this building off a recent Avengers arc, but prior reading is unnecessary as Zdarsky puts the work into showing what the team was like in wartime compared to now they're at odds, and in demonstrating the mental effects it can have on one's psyche.

The majority of Bendis' work on the various Iron Man titles has been strong up until this point and here he appears to have found a story he can dig deeper with, even more so than International Iron Man.

Hypothetically, fights under the sea are more appealing than pure conversation, but in reality, it's disappointing to see Jean's inner monologue start to fade, even if it's replaced by sea monsters taking up the page.

Alias #1 set the tone for this world. The seedy underbelly of New York where people dropped f-bombs instead of gamma bombs, characters were repulsed by the abhorrent tendencies of the villains instead of blasting the villains with repulsors and where a hero could take a moment away from the public eye, but find themselves in the gaze of a private eye. Jessica Jones #1 reestablishes this world and it's aesthetic before setting the scene for an intensely personal conflict for Jessica Jones. This issue by no means gives you all the information, but it certainly gives you enough to get hooked all over again.

Following up on an astounding first issue, Jessica Jones digs into the past like a private eye should and it pays off in some ways, while causing the issue to stumble in others.

As much as it carved a niche for itself, Jessica Jones continues to feel like another issue of Alias in part due to Michael Gaydos and Matt Hollingsworth's consistency. They shine in this element as much as they did back in the early 2000s and have brought some new flourishes with them here, like the explosion of color when characters get hit, marking the impact.

Maybe I'm grading on a curve after the past 11 months, but when considering just first issues, this is the most exciting iteration of the League since Morrison's.

Taken in conjunction with the Manitou Dawn body horror moment mentioned earlier, the pair's ability to shift scale is clear. But the issue as a whole reads as a bit too vague and large-scale, with the extensive action overshadowing the idea about the price and weight of magic.

While I still prefer this book to its sister Justice League title, Justice League of America hasn't done enough to define itself as the better team book of the two.

With any luck, the bookends to this issue will quickly come into play and shake up the event, but if the paneling remains as rigid and Williamson's dialogue remains at this level of nuance, it's going to be a long six issues.

Maybe the second half of this event will drastically change the game and there'll be surprises abound, but right now it feels a lot like Night of the Monster Men did when we kept hoping there was more to it, only to find out this is all it is.

If the series is going to continue in this manner, then the only thing you can expect is that you won't truly know what to expect.

As a conclusion to the arc, it sets David down a path he'll find it hard-pressed to return from, while also setting up characters and narrative arcs for the future which are sure to haunt Dylan just as much as the demon on his back.

It's a blast, and like the most beloved of 1990's action cinema, something that you're sure to go through, or even just skip to your favorite parts, over and over again.

The name of the book may be Kingpin, but writer Matthew Rosenberg looks beyond this, instead choosing to focus on who Wilson Fisk is besides a crime boss.

The main draw and reason for recommending Little Bird is to see the fruit of Ian Bertram and Matt Hollingsworth's collaboration.

Bendis is still setting a lot up, not yet digging into the meat of his story, but this suggests he has a confident handle on where Superman is heading under his pen.

There's a strong emotional core to this instalment, as Clark has the chance to process what Rogol Zaar has done due to the pacing of the issue, but it's not likely to land unanimously because of how incremental everything leading up to it has been.

What Bendis has laid out here is the potential for greatness as his run further accumulates, and there's already enough of a strong authorial handle to feel he's capable of achieving that - tics, quirks, and all.

Coupled with an art style that can serve sight gags as well as horror-orientated pages, this should be a home run, only it falters when it comes to how much actual narrative is on the page.

Based on this first part, Steve Orlando has lofty ambitions for the series, using this book as opportunity to contrast what J'onn J'onzz was like as a Manhunter on Mars, to how John Jones is as a homicide cop in Colorado; as well as how life on Earth differs to that on Mars, and crucially, the ways in which they are the same.

Complete with a tender moment from Midnighter, this series is everything it could possibly be and more, as Midnighter and Apollo packs both a physical and emotional punch.

Kyle Higgins and Hendry Prasetya pull off the mighty feat of setting the table for the upcoming third act of this year-long narrative, while also continuing to drive the story forward without letting its momentum slow.

The portion of downtime is unfortunately the weakest part of the issue from an art perspective, suffering from a lack of detail in places, but this sentiment doesn't linger for long as Higgins gets back to the big stuff in an issue which allows you to jump-on and take a cursory glance and what this series is looking to do moving forward.

The creative team might be anxious about where the world is heading - that sentiment is distilled into every facet of the story - but they've taken that apprehension and a desire to interrogate it and poured it into a fantastical and contemporary tale, one with a confidence that feels excitingly era-defining.

This issue feels even more rhythmic than the last, through Clayton Cowles' word-balloon placement enhancing the more melodic segments, as the inclusion of more characters and aspects help it to build further momentum and hint at what's really going on without throwing the audience off its relatively stable footing.

King, Gerads and Cowles are interrogating this world - while still being respectful of Jack "The King" Kirby - digging into the core of New Genesis and Apokolips, planets ruled by gods and fuelled by the exploitation of slave armies to unearth the harsh realities of both. They've already found plenty of rich veins, and there's still so many left to mine as the series continues.

Mister Miracle #4 is the series at its most absurd. Largely a one-location play with much of the action (and inaction) taking place in Scott and Barda's apartment. It blends an extended gag about a veggie plate with another involving an impending delivery and the issue's primary focus: Scott Free's trial at the hands of Orion. It's also a comic book where this highly pressing concern is also juxtaposed about the day-to-day struggle of getting out of bed, something which many know all too well.

Working with King and Cowles, this issue's nine-panel grid dictates the content, and in these cases, the creative team has to create a space in the first panel that works for the rest of the page, packing in every detail and nuance they can. Time appears to be inescapable, but Gerads makes the moments beautiful while they last.

Even as the walls are closing in around Barda and Scott, the incredibly creative team of King, Gerads and Cowles have never felt freer to be formally daring.

While the first arc began with near-death, the second starts on the cusp of new life, which makes for some dynamite juxtaposition. Despite this difference, the series retains its wry and sardonic tone as it marries comedy and almost-tragedy.

This issue is everything the series has been previously "" defined by its nine-panel grids, stunning rendered by artist Mitch Gerads and King's concoction of gallows humor, poignant conversation and brief observations on Earth's mundanities; sometimes all at once.

The latest Young Animal book to debut might be set in Gotham and deal with common scenarios you'd expect from a book set there, like socialite parties and gang violence, but make no mistake - this is not a Bat-family title.

For a series that has been vibrant thus far, the use of black and white for these flashbacks is striking, and the vibrancy is made up for tenfold in the present day when the Dark Rider resurfaces.

That’s always proclaimed as the tricky thing about marrying characters off. The idea that on-off relationships are easier to write because they run on drama and possible tension, but after a while, the ebb and flow transitions into just going through the motions, never seeking to change it up. (Especially in superhero comic books, where the looming threats of stagnation and the status quo are already well established.) This doesn’t mean that this issue serves as concrete proof that Rogue and Gambit can never be unhappy again, or have no difficulties to face in their future, but that they can get through it together.

There’s a couple of pages around the midpoint that get more out there, both in story purpose and imagery, with Herring in particular being able to craft a striking page with a dramatically different colour palette to the one they traditionally use on the book. For the most part, however, Ms. Marvel #33 is a solid issue that’s never anything less than engaging - one that delivers what long-term readers expect from this book as well one that can give new readers a taste of what the series is like. The book deserves commendation for being able to be that, after more than 50 issues. That length of run is rare these days and so having one that continues to be worth reading is worth treasuring, even the story potential isn’t always completely capitalized on.

Ultimately, Mystik U is a disappointment because it doesn't do enough to define itself beyond a familiar premise. Without its prologue, there'd be little to suggest something different is on the way and that shouldn't be happening with this kind of book. One unbound by continuity and with twice the page count of what other writers are generally granted per issue.

Based on all this evidence, Nancy Drew appears to be a book where the creative team have clicked very early on in the process, which was true of Hawkeye as well. What prevents this from being as successful of a debut is in how it trades in similar ideas, structure and mysteries. Thompson handled them well previously, but seeing them crop up so soon after prompts a degree of hesitation that she’s returning to the same well so soon. Though the narration of this series is already self-reflexive, so she’s likely aware of this and knows not to go down the same avenue of investigation once more. Returning home to confront the past is already a difficult enough thing to do in and of itself.

Even if superhero comic books can never truly end, this issue is exemplary of how they’re still capable of showing how far some characters have come and how they’re affected by those who didn’t make it that far. It’s an issue much like Buffy the Vampire Slayer’s “The Body”, so calibrated on every wavelength to understanding the harshness of what leads to grief, how differently it can manifest in everyone. That’s a weighty goal, some media properties can dedicate their entire existence to exploring it, but Rosenberg, Gorham, Garland, and Clayton Cowles –– whose work here shifts the space between balloons into uncomfortable silence - offer a succinct summation on the nature of it.

There should be something here that appeals to you, if not one story in particular, then the opportunity to sample the work of numerous creators to see if there’s someone you want to keep an eye on. Not all of the stories come together or conclude in the pages provided, and it would have been preferred that they did, but regardless New Talent Showcase #1 is a tantalizing glimpse at the up-and-comers that DC has been able to scout out thus far with the program that suggests there are some new and bold voices about to make a splash, but need a little more polishing before they’re perfect.

While Nightwing makes for a more tense issue of the series as the walls seem to close in on the Bat-family, the attempt to up the stakes falls flat due to it just being a larger monster

Fans of Grant Morrison's Bat-run will find a lot to love here as Dick and Damian team up to face Professor Pyg and some Dollotrons in order to save Dick's girlfriend Shawn. The past and present Robins had an immediately engrossing dynamic within Morrison's Batman and Robin, and Tim Seeley retains the playfulness and snark that's been part of that since the start.

The rest of the arc will hopefully flesh out the particulars and make the appropriate bug fixes, but this first issue seems flawed on a conceptual level.

For a book that includes Richard Rider on what is essentially his big return to the Marvel universe, Nova #1 includes very little of him. Instead Jeff Loveness and Ramn Prez choose to spend the bulk of the issue with Sam Alexander tracking him through a space-faring adventure with Ego, through to school day mishaps. As a result, the balance that should come from having a primary cast of two space cops isn't there yet, but appears to be fast approaching.

Once the recap is over, it starts to get back up to speed, but it's no longer rocketing towards the finale as much as it felt it was a month ago.

Like Fargo's second season without the snow, there's a lot going on and it's easy to immerse yourself in the story without feeling like the threads are purely tangential.

Comic books are static, panels work as single moments, but there's a sense of motion in their work. It's clear how characters moved to reach the position in the current panel and where they're heading next. This dynamic art in combination with Walker's kinetic and resonant script does enough to ensure that the comic flows even as characters travel a great distance in a scene transition, but you'll also realise once you come to the final page, that they've done enough to ensure that even if Occupy Avengers comes to a close in that moment, it's not the end. The fight goes on and there's a good chance we can win. Together.

This raid is representative of The Old Guard. Meticulously researched, planned and executed with precision. This sharpness ensures that this book is just as impactful of a release this far into Greg Rucka’s career as it would be if it were his debut. While using ideas he’s written about before, it’s his familiarity with them that means he uses them exceptionally well, with a new angle of approach instead of looking at the same way he has prior.

That the meet-cute between two tattoo artists which kicks off Pearl feels forced and strained is a worrying sign, because not only does result in the dialogue being a chore to read, but the sluggish narrative of this installment is unengaging as well.

"I...created a dragon once. An experiment. I didn't pursue it." It is dialogue like this which cements Peter Cannon to be the latest, great main character from Kieron Gillen.

There’s even a moment that plays to this reviewer as a reference to Jonathan Hickman’s work with the Avengers, and as with all these references, Peter Cannon: Thunderbolt balances a deep respect for these iconic tales and what came before with a story that’s directly about the breaking of rules. Though even with these grander allusions at play, it never forgets the humanity at its core, brief moments of mourning and melancholy; what our protagonist version of Cannon doesn’t say to this other dimension’s version of Tabu. Instances like this make the characters more than just mouthpieces, and it’s a miracle that Peter Cannon: Thunderbolt packs as many ideas as it does into 20 pages and still has space for beats like this.

Complete with a wordless sequence that lands an emotional gut-punch through the art alone, a result of Zdarsky laying the groundwork prior, he has such a clearly understandable sense of who Spidey is and it's all the more powerful as a final statement for him knowing when he doesn't have to say anything.

Danny Lore's script is right to dig into these two characters via their conversation, that Wei doesn't do much legwork in her investigation works in the book's favor, as it allows more space for characterization rather than letting the worldbuilding pile up.

Saladin Ahmed's scripting is blunt in its thematics, making Quicksilver's emotional journey overt, though the approach works well considering the character is essentially fighting himself.

Given the success of this creative team, it's ultimately disappointing they won't be able carry on developing Rogue & Gambit further.

This might have been one of the more low-key releases to come from Image Comics in recent months, but Hill and Blake have kept the quality consistent from the first issue to the second as it heads further down the rabbit hole, and that consistency is enough of a reason this should be on your radar.

What makes this stand out is the cold open for the book taking place five thousand years into the future with gleaming buildings and wall-hanging cocoons. He gradually introduces the core cast of characters, a technique which has become a trademark of his writing and there's something to be said how he's honed this as his career has blossomed.

Enter Molly Hayes " she's a total delight.

Put simply, the issue looks great, everyone sounds as they should, and even 12 issues into the run, it's hard to believe exactly how strong this team's reunion has been.

Even as it moves between genres, from horror to teen drama and even finding time for a spot of romance along the way, those transitions never come with a sense of whiplash. In fact, it feels as natural as the way the color of the sky can shift on a magical night.

The team have created a rich world around a familiar narrative archetype, but considering their desire to tell more tales, it's a solid start for Shalvey's long-form storytelling, and hopefully a fitting prologue for more Savage Town in the future.

Which is what this book was structured around in a nutshell. Not only does this issue continue the trend of spotlighting artists, some well-known, others which will hopefully become known, but it also provides closure on Wanda's quest that's driven her in these first 12 issues. This issue is lighter on the magic than others, but delivers on the thematic content about family to really drive home the point about this chapter of Wanda's life being resolved meaning those emotional beats hit as intended. These past experiences have caused Wanda to grow as a person, and keeping these fresh in her mind, she's ready to walk the Witches' Road and see where it leads. There's no doubt that you should be following it as well.

So, Secret Empire #0 is devastating, but if the idea of this whole storyline involving Steve Rogers is devastating to you, and that feeling is only amplified when this story tries to say something about the world, while simultaneously shying away from those implicit real-world implications, then this tale about one of the darkest days in the Marvel Universe likely won't land as intended. Regardless, we have to hope that it's always darkest before the dawn, right?

If Secret Empire has one thing going for it, it's that the pacing is precise. Even as more threads get strung together, to the point where it's not easy to quickly sum up what's going on, Nick Spencer never spends too long away from them or too long on them to distract from others.

Limited series don't last forever, so it's always rewarding to see one like Secret Weapons come together as quickly as it has.

By all means, the miniseries has been strong enough to warrant getting excited for whatever that may be, but the dynamics of Secret Weapons have been so strong that I want to spend more time with the group right now.

The character dynamics are just as banter-filled as what's come before, but some newer ones develop, like River and Emma, the daughter of Wash and Zoe. It's a little slower in setting up the main narrative of the miniseries, but lays the thematic foundation for it to build upon.

If you're familiar with Remender's work, you'll notice some familiar elements, but it's still compelling in this new world.

After a few years of the character lying dormant, Geoff Johns finally gets around to writing that Shazam series" and it's hard not to wonder how many other creators would've been able to deliver a more interesting take.

Southern Bastards #20 is not an issue built on catharsis and resolution for either its characters and readers, but knowing that doesn't mean it doesn't mean it stings any less.

Spider-Woman gets a warmer ending than Black Widow this week as she decides to throw a party in the down time she can spare and encompasses how this series has excelled by going against the grain of being a superhero book or even a detective story.

Hampered by a change from the high gear of last year to cruise control and some inconsistent art, Star Wars #23 is certainly enjoyable, but finds it impossible to shake the idea something doesn't sit right.

While not as a big a triumph as Darth Vader felt from the outset, Gillen nails the most important building block with his handling of the core trio of Han, Luke, and Leia, as they travel to Jedha (or what's left of it after the events of Rogue One) in their search for a new base, while the Empire are there in search of kyber crystals.

Let's get the obvious out of the way first " Star Wars #68 is drawn by Phil Noto, so of course it looks gorgeous.

This is ostensibly a variation on the tale that's always being told about Han and Leia during this time period and because the confines of said period are starting to show themselves, it can't help but feel more like a bug than it is a feature. Still is isn't forgettable because of the visual approach that comes from Walsh's art which at least has the benefit of granting it distance from Aaron's run. It's just that it's an expected story, and it's hard to blame someone for expecting one that's a little different.

The issue caps off the run with an intriguing set-up for Gillen's next Star Wars project, as well as a coda with art by Max Fiumara that relates to Issue #1, bringing the series full circle both narratively and thematically.

Complete with a back-up that reunites Gillen with Darth Vader artist Salvador Larroca, this issue is a strong debut that kicks off the initial digging into the nefarious archaeologist's past.

While it may not have an oversized issue to extend this vibe, it is instead strengthened by the presence of General Leia Organa (and by being written by Charles Soule following Carrie Fisher's death). It allows the story, and the Resistance at large, to catch their breath and remember the good times.

All of this means that Star-Lord has a strong foundation, is within the creative team's wheelhouse and doesn't suggest they'll be going back over already covered ground.

It's not the way you may expect this run to end, especially on which scene Zdarsky chooses to say farewell, but that unexpectedness, while not hilarious, lands in much the same way Zdarsky's more

Three issues in, Suicide Squad's biggest crime might simply be that it hasn't really done anything new yet. The additions to the team could result in that, but the series has been hindered by the unfortunate combo of being decompressed and not having a full issue to tell a story. There's a reason that John Ostrander's run is revered so long after it was first published, but almost everyone that's been on the book this decade has tried to be Ostrander, but with less of an edge. If Williams' reveal had been at the end of the first issue, I could see myself sticking around and wondering where it goes, but at this point, readers might be forgiven if they've already lost interest.

It's solid superhero storytelling with the boundless energy of a young cast to give it that extra spark.

This and Kara's interactions at home help to build a slice-of-life or young adult spine to the book, assisted by Brian Ching and Mike Atiyeh who get the chance to capture incredibly powerful beings in action, but also in their downtime.

While the book's general structure may result in Orlando returning to this every so often, it's just disappointing to see that it doesn't get a chance to reach the natural, and expected stopping point within the covers of this issue.

While a story about how a superhero can impact one specific person is nothing new, a high level of craft ensures that Supergirl #19 soars.

New writer Marc Andreyko's script can be heavy on the exposition in putting her on her new path, but much of this interaction also displays a strong understanding of Kara's character.

The general idea is strong, the action has weight and Orlando's characterization of Kara is a joy, particularly with how she responds to family, but it also feels like it's one script pass away from attaining the heights it should be soaring at.

Kara wasn't Supergirl right from the get-go and spending this amount of time with her means that we get to know her instead of her superhero persona and as a result this is fast becoming one of the strongest Supergirl stories ever told.

This is an intense and internal story, seen through the midpoint flashback and the strong sense of character that comes from this approach shows that Supergirl: Being Super should be the go-to recommendation for Kara Zor-El.

Overall, the team deserves massive praise for crafting an issue which had me reaching for my New Frontier collection to compare similar scenes. "Rebirth" is about legacy and what is legacy, if not paying respect to Cooke's magnum opus about the everlasting heroes?

All in all, Superman #11 is about symbols. Bruce and Clark don’t deem their sons worthy to wear them because of their actions last issue. In order to wear the Superboy and Robin emblems, Jon and Damian need to prove they can uphold the codes of their fathers, a lesson that can be learned practically and is best represented by the zipper on Jon’s jacket. Without that self-control, the symbol on Jon’s chest can’t connect and come together - a metaphor that might also apply to the mutual understanding between Jon and Damian. Yet even despite the bickering that characterizes the Super-Sons’ inaugural adventure, it’s clear that Peter Tomasi and Pat Gleason are on their way to establishing a strong sense of chemistry for DC’s newest Dynamic Duo.

This isn’t to suggest that the blame lies with Tomasi and Gleason as storytellers either. As already stated, when the issue does start to build in that final third, the genuine emotion hits in the same way the best issues of this series have already. Which means that the problem is the connection to the wider "Rebirth" plot and as a result, it’s possible to make links between this and Justice League vs. Suicide Squad, which also started with residents of a prison escaping. The stuff with the Kents feels like it could be a normal arc of this series, easily fitting into the two or three issue structure that the book has followed since that opening arc, but instead it’s a part of the "Rebirth" narrative and you’d think that after all this time that it’s spent simmering, it might finally want to feel like a rush.

The dynamic that this team helped to establish as the start of the series is still warm, but certainly doesn't burn as brightly as it did then.

Ivan Reis and Brandon Peterson split the art duties on this issue, with Joe Prado and Alex Sinclair's respective inks and colors endeavouring to provide a uniform look to the full issue. Their effort is not entirely successful, if only because Reis has really stepped up his game while working on the series and really captures that tension of Clark's emotions.

What started out as a book that impressed me with its character dynamics and surprised me with its final page twist in Superwoman #1 has become my favorite book of "Rebirth" with how committed it is to the ideas of the new line. It's jumped right into to dealing with legacy and what it means to Lana Lang in not only a post-Superman world, but a post-Lois Lane world, and I can't wait to see how this is further explored.

Despite Lois re-joining the cast of this book's already impressive list of players, Jimenez's writing in combination with Emanuela Lupacchino's ability to block scenes means that no one gets side-lined to make way for Lois and instead means the series has found a way to bring back the dynamic some thought lost without reversing the emotional beats that worked so well.

This debut arc of Superwoman has taken a while to reach its conclusion, and it delivers on the expectations prior issues have set up. This means that not only does it see Lana and others attempt to stop Ultrawoman, but it also provides more surprises.

The plot itself zags instead of following the way that the current Superman arc has zigged leading to an interesting direction that looks like it'll be layering in Lana's anxiety without it being a crutch to fall back on for tension.

As Superwoman nears its conclusion, K. Perkins does a fine job of tying up the loose threads of Phil Jimenez's initial story while still telling a strong superhero story of her very own.

Perkins' scenes move briskly along, and as much the way the issue ends is a fitting conclusion for the series, this is the kind of concept that could've worked for more than just one issue.

It's entertaining enough, but it would be even more so if the rest of the Teen Titans were given more than they currently have to do.

Considering that this issue is positioned as an epilogue to the crossover, the fact it doesn't end on something conclusive (or as conclusive as a serialised medium can provide) renders this half of the crossover a waste.

Leave it to Christopher Priest to not only script half of this latest crossover, but to bring it home, and back to where it began in such a way that it astutely circumvents the issues of previous "Rebirth" crossovers - namely the lack of consequences.

In the vein of Mad Max: Fury Road, The Few is a fast-paced thrills ride that keeps dialogue brief and the action heavy, but unlike Fury Road doesn't have a story which instantly grabs hold and refuses to let you go, even in this oversized issue.

Nick Spencer and Steve Lieber's current comedy-crime vehicle may have slowed down from a storytelling perspective, but The Fix can still lay out a surprise when it wants to.

Absurdist in the best way, the team took concepts and ran with them when other creative teams would balk at the notion of using a tenth of the ideas on display here. In doing so, they found biting satire, but understood when to cut through this and find genuine, heart-warming sentiment.

Writing for comics can be a learning curve, so it's rewarding to see the results of a creator coming to grips with it.

Overall, this is a minor issue with the book and it continues to be another "Marvel Now" book which takes the superhero stuff in its stride and then go one step further.

It has as big of a scope as it can, considering the main Secret Empire series has already shown where this ends up, but it does mean that Stohl can continue to pile on the pressure to see how well Carol contends.

This is an audacious, bold and striking debut.

Though it doesn't all come together just yet, there's still not enough going on within the pages no matter how much playfulness they're brimming in, and an artist change for the next issue will likely mean yet another adjustment period.

Coming to the issue's conclusion, the emotional response felt is only possible because of Aaron's commitment to producing a saga as sweeping as this.

It's always a treat to see Jamie McKelvie and Matt Wilson depict a godly party and it pops in every panel, even when the issue gets more talky. And that's before Sakhmet's sequence demonstrates what this team can do with black pages.

No part of it feels truncated to squeeze another in, and where the issue leaves off is proof the band-aid has been ripped off and everything's going to come spilling out.

Jamie McKelvie and Matt Wilson depict expansive vistas as the opening and close to the segment, with the middle focusing in on the characters and showcasing how the strength of their character design persists even in this long of an ongoing series, one which has returned without missing a beat, the creative team clearly in step with another and marching towards the end.

This issue is likely to be remembered for its conceptual qualities, but this second half is a vital part of the entire book. In fact, the issue's real strength is that it makes use of this concept without being beholden to it.

While not all of the Pantheon appears, there's overlap between characters that shows how their relationships have changed, driving home how much has really happened between the covers" of these comics.

If you’re looking for a The Wicked + The Divine fix before the main series returns later in the year, or haven’t yet jumped on the title and want a taste of what the series can do when it’s firing on all cylinders, or simply want a one-off story, then you should not hesitate to pick this issue up. It’s a stunning issue: Gillen gives us a look into a scenario that’s familiar, but has enough divergence from what we know to feel fresh, Hans’ expressive art breathes life into these characters so the issue can slowly drain them of said life and together they set a high bar for one-shots that follow in the future.

A story that combines the spiritual, physical and material worlds as they intersect with the lives of the social bourgeois, There's Nothing There should feel as uniquely arresting as Olivier Assayas' Personal Shopper, but despite the raw sexuality, found present in similar works like The Neon Demon, this debut feels more mechanical than the orgy in Westworld.

Maria Llovet's art is still the main attraction, as haunting as always, but the book is spread so thin that even when one of these threads ends in a bang, it lacks that punch that's expected from something so socially conscious.

The first arc of Titans had such a heavy focus on Wally West, that it didn't really feel like a team book all of the time, but if this issue is any indication, it appears that Dan Abnett will be able to provide a well-balanced dynamic moving forward.

While the book is light on plot progression, there's something to be said for how the wonderfully illustrated pages grab your attention and hold it until the end. In that way it's a lot like Manapul's The Flash run from a few years ago. It remains to be seen whether his plotting has become more intricate, but it's clear from this issue alone that his visual storytelling has only gotten better. With that in mind, this series looks like it will be a joy to read and should the narrative remain simple moving forward, this is sure to be a book that's enhanced by the art.

While not as explosive, the second issue of U.S. Avengers is still delightfully bombastic.

Ultimates2 may have gotten lost amidst a plethora of other titles that launched around the same time, but it will be remembered as the place where Ewing and company were given a sandbox to play around, and chose to use this space to help build a better universe.

All this set-up thus far has been nothing groundbreaking, though still promising considering where the co-writers have taken other X-books. Hopefully we won't have to wait too long to see what this foundation is in service of, and considering the relaxed pacing of the book thus far, when it arrives hopefully it won't have to be raced through in order to fit it all in by the end.

Up until now the art has been what's primarily held Rosenberg's run back from achieving its true potential, though in the case of this issue specifically, the greater fault it with the swing-and-a-miss major story decision, one where the implications appear to have not been properly considered.

During the first arc, it was difficult to see how Venom could sustain itself as a lengthy run, but this issue promises Cates' ideas about Eddie and the symbiotes have even larger aspirations.

A moment isn’t beautiful because it lasts and we treasure the good ones because of what they make us feel. This series has now come to a close and is the end of King’s time with Marvel for the foreseeable future (he’s DC exclusive), but it made us run the full gambit of emotions. Horror, sadness, dread, joy. And is there anything more human than feeling something?

While this event is a capstone to Jason Aaron's long-standing Thor run, an underrated quality of War of the Realms is how much of a rollicking good time it is even if you haven't been following along since he started writing the character back in 2012.

Lelay goes through the motions, and while the pair at the center get some sweet moments "" including one that emphasises Julie's upbringing "" it's an awfully thin issue in terms of substance. A lot happens, but not a whole lot that's new.

This is by no means Spurrier's strongest work after his X-Men: Legacy run and his previous miniseries The Spire, but that doesn't mean Weavers is something to sleep on.

Due to the running timer on the covers, The Wild Storm always reads as building to its conclusion in a deliberate way. Each interaction plays as essential to the series' endgame, as players like Jenny Sparks and Angela Spica gradually get pulled into contact with one another; a restrained sequence bolstered by Jon Davis-Hunt's formalism and precision.

Even if the end result isn't at that level of quality, it's certainly worth appreciating a series that has taken its time to develop its concept, weave it into a larger story and display with visuals that pack this much of a punch when needed.

Stephane Paitreau handles both parts equally well, being sure to increase the level of color while keeping a creeping shadow in the second half and Steve Niles' script here is shocking, not because of what's seen or unseen, but instead because it feels like it leaves off on an easy cliff-hanger before a real hook has been established.

It's a slight misstep for a book that has otherwise been sturdy, as Winter Soldier #5 navigates murky thematic material, and yet Higgins and Reis still manage to right their course in time for the final scene and the last image of their collaboration here.

Rucka continues to portray strong women well, while Evely's art is akin to Scott's and will clearly be a fine replacement in the near future.

The harmony of the creative team has been front and center throughout, a team with a single vision – to show what makes Diana Wonder Woman in the first place over creating an interpretation that would be more at home in an Elseworlds tale. A tale rich with symbolism and dense with meaning that never lost sight of what Diana represents even as her world was shaken up. I can only hope that this run provides a sense of stability going forward for her, after countless origin stories, having had her core ideals re-cemented and then her story furthered. That said, even if this does itself subject to a future writer deeming this tale another lie, I have faith that this will go down as one of the classics, as fondly remembered as Rucka’s original run, as a compassionate conclusion that stands as affirmation of everything Diana can be. 

Overall, arcs which have too much going on are preferable to ones which have to stretch a thin amount of material into the length of a trade and Fontana's looks to err on the side of the former. With any luck, these are purely growing pains and Fontana will be able to properly examine these ideas.

As the midpoint of the run, there's still a feeling that Fontana's hindered by having such a short time for her run, but if the remaining two issues can retain the pacing found here, it'll end strong.

With just one issue left, Fontana merges the two halves of her run into a concise and intriguing package, but this could be hampered by the fact that her tenure has been so short; here's hoping that won't be the case.

Remember how James Robinson is, possibly best, known for writing compelling family drama? Most extensively in his Starman run, but even recently with Scarlet Witch, it was a welcome hallmark to his writing because he did it so well. Yet as of the end of his second Wonder Woman issue, it just feels like he's going through the motions attached to the theme as does his story.

Wonder Woman is a character where new writers can treat their run as a chance to upend everything that came before, so it's appreciated that this creative team builds their debut of something sturdier at the center.

This run might not be as vitally fresh as Wilson's Ms. Marvel was for the industry back in 2014, but this is further proof about how compassionate, considerate and entertaining her comics can be.

This quartet all have a very specific goal, from Greg Rucka and Nicola Scott's depiction of when Diana first met Batman and Superman to Michael Moreci and Stephanie Hans' picturesque tale of a sparring match in Japan.

Put simply, it's an issue without depth, and hopefully the next issue will get the book back on track quickly.

Storm states, “We’ve been so consumed with surviving today, we’ve forgotten how to live for tomorrow.” As a result, everyone involved in “ResurrXion” appears to have set a direction for the X-Men, and have taken this launch issue to demonstrate it. The reason that comics readers come to the X-Men in their adolescence is because a family that’s a little strange, but welcoming is a welcome prospect. And there’s nothing wrong with being aware that we’ll struggle at times, or that the X-Men have to contend with the threat of extinction every now and again, but it’s also smart to take some time to think ahead with a sense of optimism. Which is what this issue has, and inspires. Sure, we could worry that this is too much of a tilt in the other direction, that overcompensation has gone too far, but that feels like we’d be missing the message of this issue and how warm it feels today.

X-Men Black may not have been a wholly successful endeavor, but these two stories means the grand scheme was definitely worthwhile.

While not a grand reinvention, the basics are locked down enough that anyone's who jumped on will be able to ride out the growing pains without too much trouble.

The run ends dedicated to Chris Claremont. Guggenheim's final note calls his book a love letter to that monolithic run "at the expense of some originality" that could never reach "the stratospheric heights Mr. Claremont reached in even his most mundane of issues." In that, Guggenheim himself has given what should be the last word on his run.

To Tom Taylor's credit, even as X-Men: Red conclusion draws nearer, he's still finding way to add additional wrinkles to the work's subtext.

It may have taken a while to get here, but already Young Justice is making up for lost time.