This issue definitely plays to Grant Morrison's strengths as a storyteller, which are the very things that make him infuriating to some readers (not me, though). The entire comic plays with chronology, and it's difficult to tell where in the story you are at times. In vintage Morrison fashion, he simply weaves the reader's frustration into the plot of the book. The back-up story, "For my Next Trick" by Sholly Fisch with art by Chris Sprouse fills in some more of the blanks in Mxyzptlk's origin, and adds to the generally other-worldly flavor of the issue. It's a shame that Grant won't be sticking around on Action Comics as long as he did on Batman, but it looks like he's going to give us everything he's got for these last few issues!

The Legion of Super Heroes back-up story by Sholly Fisch and Chris Sprouse is nice, but feels a little inconsequential considering how high the tension is in the main story. Then again, you'll never hear me complain about the Legion of Super Heroes showing up, especially when it involves Chris Sprouse on art. All of Fisch's back-up stories have been quite good, but this issue's main story was a tough act to follow. There's only one issue left of this era of Action Comics. I can't wait to see what happens.

The backup story, "Never Ending Battle" by Sholly Fisch and Chris Sprouse, is worth mentioning for a couple of reasons. First of all Fisch and Sprouse manage to sneak in two references to Superman: The Movie, as well as subtle nods to the Max Fleischer cartoons in the background of the Superman exhibit at this museum in the 23rd century. I can't help but wonder if the message of this story, which involves not only standing up to bullies, but standing up for equality and tolerance, played on Chris Sprouse's mind at all when he decided to walk away from his duties as artist on Orson Scott Card's currently shelved story for the upcoming Adventures of Superman title. Regardless of my own speculation, it's a charming little tale, reminiscent of the Superman stories of Elliot S. Maggin, and would have felt right at home as one of the short stories in 1984's Superman #400.

Even if you haven't picked up a single issue of the New 52, or any Superman title in years, for that matter, you probably already know everything you need to know to enjoy Action Comics #19. In other words, it's a classic Superman comic, regardless of whether he's wearing the red trunks or not. Making the Superman cast feel fresh and exciting while still remaining true to what makes them so enduring isn't an easy task, and as we've seen in recent years, very few creative teams can do it. Andy, Tony...are you sure you won't change your minds?

Speaking as a fan who embraces change, and doesn't necessarily judge the quality of a Superman story on the presence or absence of red trunks, it is nice, after a nearly two year absence, to see the most iconic and recognizable version of the big guy show up and do what he does best...inspire.

I'd be willing to call Afterlife With Archie #1 a perfect comic if it didn't take the death of poor Hot Dog to kick off the proceedings. Sorry, folks...anyone who knows me knows that I just can't deal when doggies die. Couldn't it have been from Big Ethel giving ol' Jughead a hickey or something? But really, this comic has to be seen to be believed. Check out the trailer and see if this doesn't get your attention!

I love Brian Michael Bendis. When the guy is on, he's on fire. Powers is one of the greatest series I've ever read. His work on Ultimate Spider-Man and Daredevil is beyond compare. I'll never forget the first time I read Goldfish. But for some reason, whenever it's time to do stuff with a huge cast in the main Marvel Universe, he just doesn't connect. Age of Ultron was promised a long time ago, so I wonder if this just feels so disconnected because it was supposed to be part of something that was seeded in his Avengers books. But as it stands, two issues in, I feel like I've stumbled into the third act of something, and the creative team has no interest in meeting me even halfway.

But it's the middle chapter, with art by Marc Sandroni and colors by Andrew Siegel which really distinguish themselves. Sandroni goes straight for the romance comic jugular and perfectly evokes the comic art of the sixties that existed mostly outside of the superhero books. All Crime Comics promises that the main character, Dodger, "will return in All Crime #2." I don't know if they mean it or not, or if that's just the kind of thing you're supposed to say at the end of this kind of book. If it's true, I'll definitely be back for more.

Pete Woods is a fine visual storyteller and he does a great job with the tricky dynamics of Aquaman's underwater world. Geoff Johns, of course, has made it a point to dispel the idea that Aquaman is a punchline of a character and if this issue is any indication, he's doing a great job. Not only will I be picking up the rest of Throne of Atlantis, I think I'll be checking out the previous issues of Aquaman!

Aquaman #15 is a perfect and logical continuation from Justice League #15. Paul Pelletier's art is similar enough to Ivan Reis' clean style to not make this a jarring transition, even when reading both issues back to back. If this is how "Throne of Atlantis" is going to stretch across these books, then this is all gonna work out just fine. Johns has really developed the relationship between Aquaman and Batman in unforeseen ways, and there are some excellent and revealing exchanges between the two. What's more, it's always a pleasure to see Vulko, and Johns has clearly worked his magic with the supporting cast of this book. If we're looking at all-out war between the surface world and Atlantis, or just a ridiculous throw-down between Aquaman and Ocean Master, I'm happy. Not only is Aquaman #15 a great chapter of "Throne of Atlantis," it may have hooked me enough to catch up on the issues that I missed in the first place!

What's more, "Throne of Atlantis" looks to be short and sweet. There's only one more issue (it concludes in Justice League #17) so I can't even complain that they're stretching this one out too long. In fact, when you see this last page, you'll kinda want them to take their time, too. I think we can stop with the Aquaman jokes now.

But the devil, they say, is in the details, and it's the little moments that make this a good comic. When Aquaman apologizes to the lone survivor of the whaling incident, well, it's kinda heartbreaking. Paul Pelletier deserves a lot of the credit for that, rendering close-ups of the whale's eyes in a soulful, mournful way. And when Aquaman addresses his "kingdom," well, go ahead and make a joke about him being "the guy who talks to fish" all you want, but that's an incredibly powerful moment, and one that will stay with me for a while. The man who may wield the most political power in the entire DC Universe is also this incredibly lonely character who will never be fully accepted by those who live above or below the ocean's surface.

Avengers #1 is what the entire Marvel NOW! initiative has been building to from the very start.

For a comic that spends most of its time in flashback, I never once felt like I was getting cheated of a real story. Probably by design, this comic feels like a sequel to the Avengers film, but it also hits so many of the wider Marvel Universe's beats that no long time comic fan could resist it. It reminds me a little bit of Grant Morrison's work on JLA from the late 90s in its unapologetic embracing of the highest powered, wildest elements of what these characters are capable of facing. I've said it before, and I'll say it again. Avengers feels like the centerpiece of the entire Marvel NOW! line, and it looks like there's good reason for that.

There are, of course, some serious implications about the last page of this comic, and this should come back to haunt the team in future issues. It's interesting that Hickman has stepped away from the "team building" exercise of recent issues in order to give us this little interlude. Avengers #4 is less of a pure story than it is a means to get readers acquainted with Hyperion, and I suspect that this is a technique that Hickman will use again in future issues to familiarize us with other lesser-known characters on what's sure to be an immense roster of Avengers.

It seems like a thin story, but it's better than it sounds. Dustin Weaver's art is rather appealing, and has a subtle anime flair to it (in fact, I'd KILL for an Avengers animated cartoon that looked like this), and Justin Ponsor's colors complete that picture. Avengers is tremendous fun from issue to issue because of the absolutely ridiculous power level of this team, so Hickman is introducing a whole web of villains and characters that can match that. If they can keep it up, I can certainly keep reading.

Serious fans of the show will eat this up, and the next installment can't get here fast enough. This first chapter covers roughly half of what would be a half-hour episode, and before it's done, I suspect that "The Riddler's Ruse" will fit perfectly into the structure of a traditional Batman two-parter. The first season of Batman is one of the greatest comic-to-screen translations in history, and while the show became inconsistent (and sometimes tough to watch) later in its run, the initial concept and its unique, twisted humor stands the test of time. Batman '66 looks like it might just fit right in with the spirit of the show's better episodes.

Have I mentioned the art? Because holy moley is the art good. Andy Kubert pretty much needs no introduction, but there's a real, almost animated richness to his work here. And I never knew how badly I wanted an ongoing Alex Maleev Batman assignment until I saw him on Chapter Two of "Resolve." Will somebody please put Mr. Maleev on some kind of high-profile Batbook, please?

It's too early to say things like "a classic in the making" and I wouldn't be doing my job if I did. But to take Batman's origin, which is one of the most oft-told, retold, referenced, and, at this point, downright dull stories in comics, and make it feel brand-new, well, that's quite an accomplishment. "Zero Year" may just be the comic to do all of that and more. I can't wait to meet the rest of Batman's cast for the first time.

Greg Pak, Jae Lee, and Ben Oliver deliver a stunning take on the first meeting between Batman and Superman in Batman/Superman #1

Perhaps sensing the end is near, and definitely not giving a damn, Damian says to Nightwing, "We were the best, Richard, no matter what anyone thinks." That got me. A few years ago, I never would have thought that possible. But now? I think Damian has a point.

Batman Incorporated is a book that's never felt like it fits in DC's New 52. The amount of history it implies for Batman and his surrounding cast is entirely too unwieldy for the five year timeline outlined in the "main" Batman books and elsewhere. From a reader perspective, I feel like we're witnessing Grant Morrison bringing, not just his Batman tenure to a close, but an end to the entire "post-Crisis" Batman mythology. If that's indeed the case, there couldn't be a better writer for the job.

Buddy Cops quite deliberately hits as many ridiculous "buddy cop" clichs as it can fit in each brief story (there are three), not to mention familiar tropes from sitcoms, monster movies, and superhero comics, all of which are deployed for maximum ridiculous comedic effect. The jokes are pretty low, but that's exactly why they're funny. Buddy Cops is more than a send-up, it's also a tribute to the kind of ridiculous camaraderie we've come to expect in stories like this, and Cosby delivers in fine fashion. Evan Shaner is one of those guys who is constantly popping up in my field of vision, and it seems whenever I ask myself "Who is the brilliant cartoonist that delivered this little bit of four-color perfection" almost half the time, it turns out to be him. So, even if you're, I dunno, a robot or something, and don't find Buddy Cops funny, you can still buckle up and enjoy the hell out of the art.

Despite a mild case of "first issue-itis," Captain America #1 is fun, intriguing, fresh and worth your money and time. This is more than just a new creative team; it's a drastic shift in tone from the last eight years of the title. After an extended period of exceptional secret agent style storytelling courtesy of Ed Brubaker and friends, Remender and Janson look poised to give us some high energy superhero action. Sometimes, change is good. This is one of those times.

When you add a terrific (and potentially gruesome) cliffhanger ending to the whole thing, well, this turns into a darn good comic. It's interesting that the Marvel NOW! initiative is so intent on just letting the creators tell the stories they want to tell, rather than worrying about how all of their books fit together. It would be impossible to reconcile the timeline of this book with, for example, Hickman's Avengers. But that's why this is so good! When you've got talent like this, it's best to just turn 'em loose!

Except"it IS. Cap is still Cap, even when he isn't fighting in World War II or leading the Avengers. What Captain America has been about, really, is what makes Steve Rogers so special, even when stripped of many of the traditional trappings of the character. The flashbacks to his childhood during the Depression are meant to help illustrate that, but I honestly think that this can still be accomplished without them. I'm too interested and invested in this insane Dimension Z plot to bother with more earthly concerns. And, you know what? You guessed it! I didn't see THAT coming, either. Oh, and watch out for that last page. It's a doozy.

So it's only a teaser and there's about 80 pages of story you have to wait until about July for. So what? It's a BUCK, people...if that isn't enough to get you to try something new, I don't know what is. You're already gonna be at the comic shop on Wednesday, so throw this one on your stack. It's not every day you get introduced to an iconic concept with a publication history nearly as long as Spider-Man or the X-Men!

Fun, fast-paced and never, ever predictable, Daredevil is probably the comic I look forward to the most every month. Waid and Samnee are, for my money, the team to beat in superhero comics right now. Best three bucks I spent this week!

And as a fun little post-script to the story, we even get the first appearance of the much-hyped Superior Spider-Man, which should certainly get fans talking!

Fialkov gets Matt Smith's "voice" right, and the pacing and tone are very similar to what you would expect out of the first twenty minutes or so of a solid Doctor Who episode. Kick in that theme tune at strategic moments, and you're all set. While I can't judge IDW's entire Doctor Who output on this one issue, it does appear that if the wait between episodes is too much for you to bear, the comics might just be the thing to get you through between seasons!

Earth 2 has been an unpredictable and entertaining read so far, and this issue continues that trend. It's so isolated from the rest of the DC Universe (I mean that as a compliment), and the characters are so radically different than what we've come to expect, that it almost feels like it could be a television series. I'm thoroughly enjoying the fact that this is (for now) a completely self-contained superhero universe, and I hope it stays the course!

This issue virtually stands on its own. There's no mention of any of the new heroes which were introduced in Earth 2's first story arc, and instead, Robinson takes this issue to engage in some welcome world-building. I hope that every few issues that Robinson takes an opportunity for more self-contained stories like this, focusing on the bigger picture surrounding this alternate universe (similar to how he would use the "Times Past" stories in Starman to flesh out backstories and seed future plotlines). Earth 2 has, at times, been a little uneven, but I think that's just been a symptom of trying to do too much, too soon. Now that the camera is starting to pull back, allowing readers to see the bigger picture, things can get really interesting.

Earth 2 #9 features the return of Nicola Scott on art duties, and she's always welcome here. But even her clean pencils can't save a rather thin issue. Jay Garrick (The Flash of this worl) returns home only to be confronted by Wesley Dodds (I might add, I absolutely love his costume design in this book), Major Sato, The Atom, and a host of World Army troops, only to be rescued by Khalid Ben-Hassin, the man who looks to be the new Doctor Fate. And that's pretty much it. After barely seeing Jay at all in the last few issues, it's a little jarring, and introducing his mother right in the middle of all of this seems even stranger. Still, "The Tower of Fate" sounds promising enough, so hopefully, now that we're in "Nabu's realm" things can get moving.

Fans expecting a thorough explanation of Earth 2's latest Batman will certainly be disappointed, but readers who have been following Earth 2 from the start will already have an understanding for why the book is paced the way it is, and why we rarely spend too much time on one storyline. The references to a DC Universe that may be a little familiar, but is ultimately far more different from what we've become accustomed to than anything the New 52 did to the "main" DCU continue to intrigue, assuming you have the patience to wait for them to pay off. Still, Earth 2 is one of those rare superhero titles that encompasses an entire universe of characters within just ONE title. That alone makes Earth 2 worth picking up each month, and hopefully future creative teams don't lose that magic!

Other than the last few pages of the book, Eternal Warrior #1 could almost stand completely on its own as a short story about the perils and tragedies of immortality. Anyone who remembers his time as writer on The Incredible Hercules should remember that Mr. Pak has a firm grasp of mythology, so telling a mythic, self-contained tale like this is probably as easy as breathing. You don't need to know a darn thing about the rest of the Valiant Universe to jump into Eternal Warrior #1, and this is as new reader friendly as it gets. Give it a shot and show your friends that there's more to superhero comics than just capes!

Mark Bagley's pencils are probably the best I've ever seen from him. After coming to associate him with more "earthly" concerns (thanks to his defining, virtually endless run on Ultimate Spider-Man), it's a treat seeing him render the sleek technology of the Fantastic Four's ship, and sprawling, cosmic vistas. And since Bagley is the very model of consistency (I can't remember a book he's been on ever shipping late), hopefully this means there will be plenty more where this came from. Is Fantastic Four my favorite Marvel title? Not yet. But it's getting there!

Fantastic Four #5 is interesting, but felt a little inconsequential. Then again, given the way things are going in this title, this will probably turn out to contain the central events of the whole series and I'll be left looking foolish. Regardless, This is a thoroughly enjoyable comic!

Much like the main Fantastic Four title, FF looks like it's gonna be pretty "far out." While the main team is off searching space and time for answers to their current set of problems, the Future Foundation will be here, dealing with the kind of craziness we expect in this corner of the Marvel Universe. Between the cool retro-futurism of Mike and Laura Allred and Fraction's terrific grasp of group dynamics and pacing, FF #1 is a charming, fun, sci-fi book.

Don't worry, it's not a filler issue. The last few pages will leave you gasping, and Darla Deering's character and origin as "Ms. Thing" get moved along nicely. Between Fraction's excellent sense of who these characters are, and the wonderful art and colors provided by the Allreds, FF is just about anything a fan of this world could want. These red, yellow, and blue uniforms the team is rocking are pretty sharp, too! This is a large, quirky cast of characters, so I can't imagine this book will be about anything resembling "normal" superheroics any time soon. I can't think of any reason it should, either!

The fact that Five Ghosts is a limited series, despite this being a character with seemingly endless potential is intriguing on its own. While obviously this isn't meant to be Fabian Gray's first mission, there is a certain feeling, given his current predicament, that it could turn out to be his last if things don't all break exactly right. Which is, in a way, kind of how it goes for new characters these days, ain't it? But if this first issue (and the buzz surrounding it) is any indication, I don't think we have to worry too much about Fabian Gray. I think we'll be hearing a lot more from him, Frank J. Barbiere, and Chris Mooneyham in the future!

It all comes out in the wash, though. Manapul and Buccellato have a good handle on what makes Flash and his cast so special and Manapul's artwork is positively stunning, month in and month out. Buccelatto also handles the colors, which are a perfect complement to the line art and are absolutely unique to this book. You'll never mistake this team for anyone else or this book for any other in the DC line. I'm willing to put this team up there with some of the best to ever work on the character. The Flash is a fun book and I always look forward to reading it. Ironically, I sometimes find myself wishing they'd pick up the pace a little.

Alright, fine"the last page is pretty amazing, too.

While we do get Francis Manapul on the cover, it's Marcio Takara who delivers the interiors. Takara's art is pleasing to the eye, and definitely dynamic enough for the Flash's world. Manapul is a tough act to follow, as I expect he could become THE Flash artist of this generation, but Takara steps right in and makes this book his own. Well done!

For fans of that film, though, this issue in particular is a dream. You see, we're treated to the secret origin of Klytus, the golden armored head of the secret police who so dominated the 1980 flick that he very nearly (but not quite) stole the show from Max von Sydow's Ming. Klytus was created for the film, and, to the best of my knowledge, Zeitgeist has marked his first use in comics, and he's exactly what we'd hope for him to be. Getting his background, as unsurprising as it may be, is...well, I'm almost embarrassed to admit it, but it's almost a dream come true for those of us who love that movie. While Zeitgeist may not hold together for everyone, for those who are already immersed and in love with this particular Flash Gordon aesthetic, it's almost impossible to ignore.

It's amazing what a difference things make when you put the spotlight on the villains. While much of Forever Evil #1 just comes right out of Event Comic 101 (showcase as many different corners of the publishing line as possible, set up potential side minis and crossovers, etc), the fact that each of these snippets is focused almost exclusively on the villains helps keep things feeling fresh. Look at it this way: when Lex Luthor, on the verge of effectively and ruthlessly ruining someone's entire life and reason for existence ends up looking like the "lesser evil," you know things are gonna get serious.

While I'm sure, if you've been reading me regularly, you've heard me complain about decompression in superhero books, Green Arrow #18 sure isn't guilty of that little sin, as there's a heckuva lot going on. Between introducing a major villain (who looks like he's gonna be around for quite some time), giving the readers hints about Ollie's past, and teaming Ollie up with Microchip from The Punisher (alright, that last part isn't true), you WILL get your three bucks worth out of this book.

"The Green Gun Girl" comes off a little flat, unfortunately. But I still have to applaud the creative team for trying something a little different. Green Hornet die-hards (ahem"we DO exist) will surely find something to like about it. If nothing else, it may even serve as a fine introduction to the Hornet and his world for younger readers. And, really, I shouldn't complain too much whenever I get a new dose of pulp-style action.

Steve McNiven's art is terrific, and he draws a pretty cool "dive bar at the end of the universe" just as easily as he draws ridiculous space battles. The double page spread where he introduces the core Guardians team of Gamora, Groot, Drax, Rocket Raccoon, and Star-Lord is absolute bliss, and it may as well be the movie poster when the time comes. For a property with a pretty ridiculous, complicated publication history (which you can read about right here), Guardians of the Galaxy manages to be pretty friendly for an inexperienced reader, and should help get you excited for a film that's still sixteen months away!

Neither Clint nor Kate put on their costumes, gets off a shot, or throws a punch. There's no sign of the rest of the Avengers. Hawkeye #7 is about people helping people. I witnessed countless small acts of kindness in the wake of that storm, and now, months later, I almost find myself nostalgic for the mindset we all adopted in the days and weeks that followed. It's in those small, unheralded acts of kindness where real heroism lives. In a way, it's nice to be reminded of what matters. Hopefully it won't take the storm of the century to do it next time. Buy the comic. Don't borrow it from a friend, and, seriously (I can't believe I even have to say this) don't download it illegally or read it in the store.

I can't imagine another creative team pulling off a story like this without breaking stride. Matt Fraction, David Aja, and Matt Hollingsworth just told a story about a dog in a crappy apartment building with virtually no dialogue and the overall Hawkeye story is still gonna be a different place in issue 12 than it was at the start of issue 11. If that isn't a grand slam, I don't know what is.

Oh, and as for what happens this issue, undersea dickhead, Attuma, has decided to take control of the Pacific Ocean using giant creatures that look like Jules Verne's worst nightmare. In the process, he's already killed almost two thousand people. S.H.I.E.L.D.'s solution? Put Banner in a submarine (does that sound like a good idea to ANYONE?) and shoot him out a torpedo tube at Attuma's army, and let the stress and the water pressure do the work getting the Hulk to come out and play. You almost have to wonder if Maria Hill just enjoys messing with Bruce's head as much as she actually wants to get the job done. Indestructible Hulk is a great superhero/monster slugfest every issue, and is a pretty unique take on the character despite his long history. Here's to the big green guy!

It plays like the pilot episode of an interesting new television show. The problem is, pilot episodes are often a little flat, as they've got to spend so much time introducing the key players. Insurgent #1 is guilty as charged in that respect, but it makes up for it with an original concept and a mysterious villain who cuts a pretty distinct figure on the page. But since I'm starved for sci-fi that doesn't involve capes or rings, so I'll be back for more!

There's no shortage of action in Insurgent #2. We got all the preliminaries out of the way in that first issue (which wasn't exactly short on action, either), and now it's all-out war. Well, maybe not yet, but it sure looks like it will be in the immediate future. Insurgent reads like a smarter than average, big budget sci-fi b-movie, and I suspect that's exactly the effect that DeSanto, Farmer, and Dallocchio were going for. I think I'll stick around and see how this one finishes.

If I have one complaint about Insurgent, it's that it just isn't served very well by the monthly installment format. Superheroes are by nature serial fiction, whether they're "written for the trade" or not. But Insurgent isn't a superhero book, and I can tell it will read much better in one sitting. But I'm not a patient guy, and I'm not gonna sit around and wait for a trade that may never come (and neither should you). But I really can't wait until this series wraps up, so I can stay up late, grab some snacks, crank up some Basil Poledouris or Jerry Goldsmith, and experience the whole story start to finish. And I won't even have to rewind the tape when I'm done.

As for the "Secret Origin of Tony Stark?" Well, you don't get any of that until the last few pages. But Kieron Gillen, master of the unexpected, sets that up with a clever reveal that will bring you back for the next issue. As usual, I'll avoid spoilers, but let's just say that Howard Stark shows up...with some unusual company. Marvel has been promising that this arc will "rock the character to his core" and if that last page is any indication, they aren't just blowing smoke.

If I have a complaint at all, it's simply that I'm not sure that the serial format is really going to benefit It Came! and perhaps Titan would have been better served by releasing this as one volume instead of in 22 page installments. But really, why complain? Maybe it's for the best. Perhaps we're not meant to handle that much hilarity in one sitting. If this is indicative of the level of quality we'll be getting out of Titan Comics in coming months, then, well, there shall be quality for all! It Came! hits shops on August 14th so"keep watching the skies!

Without spoiling too much, the Cheetah is now a first rate threat, certainly worthy of somebody of Wonder Woman's power levels, with just enough skill, mystery and raw power to give the rest of the League a headache. The image of Superman as a crazed werecheetah (is that a word?) is pretty nightmarish when you think about it. The Cheetah is now "the goddess of the hunt," part gift and part curse to the human host who embodies her and she's got a plan to really mess with the League. Despite this new take, Geoff Johns manages to still give fans nods to the character's previous incarnations and a nice taste of what's to come. The Superman/Wonder Woman romance also appears to be here to stay, although the way that plot piece is moved along at the end of the story doesn't exactly ring true for me. Justice League looks like it's going places now, though and it's clear that we're building quickly towards the "Trinity War" event that DC has been teasing us with for awhile!

Johns and Reis pack an awful lot into these twenty pages, and "Throne of Atlantis" looks like a winner. I'm a huge fan of Ivan Reis, and this story just reminded me why. Realistic without being overly detailed, dynamic without being too stylized, Reis tells terrific superhero stories. He's a perfect fit for Justice League, and should have no trouble filling Jim Lee's shoes.

I'm still pretty ambivalent about the Shazam backups, as well as the overall "new" Shazam concept. Chapter Ten did little to change my ambivalence. Setting aside my issues with how the character is being handled, which, I'll admit, are not only subjective, but a result of me being a little bit of a Golden Age purist when it comes to Captain Marvel and friends, there's the matter of how this story reads in this format. Things don't flow very well when you're only getting them in irregular ten page installments. Ah, well, I guess I can judge that when it wraps up!

The official kick-off to DC's summer mini-event, Trinity War features a shock or two, but no actual surprises.

Vibe #1 ties in pretty closely with the brand new Justice League of America title (which Vibe will be showing up in) but you don't need to have read that to get on board here. I'm pretty impressed with Vibe #1. While this isn't the most inspired or stylish work I've seen from Pete Woods, he tells a good, clean, clear story, and Johns and Kreisberg have turned Vibe into, if not an essential character, certainly a viable one with loads of potential. Vibe is a title that just might grow the new DCU beyond the rather static, insular place it's felt like since the re-launch, and the idea that this might be the character that properly reintroduces the multiverse is intriguing. I'm as surprised as you are, but I'll be back for more!

Alex Sanchez's art is stylish and evocative, but his action sequences are rather static, and difficult to follow. What's more, the abruptness of some of the scene changes make it difficult to follow the action, and I often found myself wondering where I was in the story. The last page comes out of nowhere and seems shoehorned in in an attempt to remind the reader that yes, this is part of the wider DC Universe. Katana has potential, and Nocenti is a more than capable writer, but this title needs a shot in the arm, and quick, if it's going to survive.

Keith Giffen. Good God. Keith Giffen's style has changed a bit since his glory days on the Legion (and Ambush Bug, for that matter), but it ain't a bad thing. Fans of his recent work on OMAC will see a similar style here (abetted, once again, by inker, Scott Koblish). Giffen has embraced a style reminiscent of 1970s Jack Kirby, particularly apparent during some of the frenetic action sequences and anything involving the expulsion of large quantities of cosmic energy. So, needless to say, I ain't complaining. It's a shame that it looks like Giffen is only sticking around for two more issues, because I could look at this book all day. Ah, well...better enjoy it while I can. And for some of us, any excuse to buy the Legion is a good excuse...

So, let's review, shall we? The roster of New Avengers consists of the world's most powerful sorcerer, three kings, and two of the most brilliant scientific minds on the planet. I don't think this team is going to be solving all of its problems by hitting them. It's worth noting that Tony Stark shows up in civilian garb, and not his customary suit of high-tech armor. I have absolutely no idea what to expect from New Avengers, and I couldn't be happier about that.

So, while New Avengers #3 isn't the best issue of the book, it's still advancing a pretty compelling story, where the team are gonna have to make some hard choices in the immediate future. Nothing is resolved in a satisfactory fashion here, but the first of those "hard choices" does get made towards the end of the book. This certainly isn't your typical Avengers title, that's for sure.

But I can't shake the feeling that "Requiem" is more of a "required" send-off of Damian. It's an almost forced acknowledgment of the death of an inconvenient character in a "new" DC Universe that never really had a place for him. I'm one of many readers who continues to read Morrison's Batman Incorporated as an extension of the "pre-boot" DC Universe, while the events of the other Bat-titles take place in the "current" DCU. It's best not to think about this stuff too hard. Nightwing #18 is a good comic, and it's as good as can be expected given the circumstances, but now that all of these unfortunate formalities are out of the way, it will be really good to see Higgins and friends move forward.

Nova #2 is a little more evenly paced than the first issue. And while it's clear that we're in for a five issue origin story (which I would ordinarily complain about) there's something about the tone and the characterizations (not to mention the great art from McGuinness, Vines, and Garcia) that's got me right now. I love the new Nova uniform, and as far as I'm concerned, there aren't many out there who can do over the top, big budget superhero action like Ed McGuinness. Nova looks like it'll be a fun book. I just hope that we can kinda accelerate Sam's discovery of everything he can do so that things can really pick up. Nova #2 is making us take our "origin story medicine" right now, but I suspect that before this arc is finished, we'll be on to the good stuff.

There's some real "body horror" woven through this comic, and Nate Bellegarde's visuals handle this perfectly. Some characters seem okay with their transformations (no matter how radical), others are seemingly detached from the awful reality of their situation, and some are merely transformed internally"and Bellegarde manages to somehow communicate that as well. Eric Stephenson has, in the course of just four issues, crafted a fully-realized fictional world, just off center of our own. I'm not quite sure how all the pieces fit just yet, but I'll stick around for as long as it takes.

Quantum and Woody may be the world's worst superhero team, but they're still one of the week's best comics.

I've gotta give Secret Avengers #1 a lot of credit for being self-contained and accessible enough that you could just hand it to a non-comic reader and hope they get hooked. Hardcore fans might find this a little inconsequential, but you know what? Who cares? Since when are hardcore fans right about anything?

Alright, so there's ONE graphic sex scene in the comic. Big deal. The rest of the comic waits nearly half the book before somebody even drops a swear word. Apple, in their infinite "wisdom" have used this sex scene as an excuse to block Sex from being sold on their version of the comiXology app, but for some reason, it's still okay to buy it on their (vastly inferior) iBooks app. Incredibly weak, and fairly lame grounds for controversy, but that's life, I guess. In the meantime, you should enjoy Sex any way you can, regardless of format. Don't discriminate. It's fun.

Lest we forget, this is the same Andy Diggle who's gonna be taking over Action Comics once Grant Morrison leaves next month. If he can handle the kind of heavy sci-fi stories that the Superman books seem to favor these days as deftly as he's handling the noir-ish paranoia of Snapshot, then we're in for a treat. Jock's pen-and-ink minimalism allows you to really get a sense of each character. You can almost feel the bottom drop out from under you when Jake realizes that, once again, things aren't what they seem. Backgrounds appear and disappear as necessary to highlight whatever it is that he wants you to see, and the page layouts are imaginative, sometimes bleeding all the way to the edge of the page, while other times using the lack of background as the borders themselves. Fantastic stuff!

I'm not saying that Son of Merlin isn't entertaining or doesn't show any promise. It does. It's the first of five issues, so there's still plenty of time (I hope) for this to get moving. The basic premise of the comic is sound: "Can you believe in magic if you're a man of science?" If this conflict is explored and developed, we may have something here. If not, well, we're just kinda left with an assortment of archetypes running around and acting just like we'd expect them to.

There are other, slightly more subtle ways, that Countdown to Darkness might be leading in to the film, particularly in the evolving relationship between Kirk and Spock (which, at least on the page, is beginning to resemble more of their familiar dynamic), and in terms of how Spock is dealing with the loss of his homeworld. Anyway, Star Trek: Countdown to Darkness is just what I need to hold me over until the film hits in May, and it's filling in the blanks without giving too much away.

This is Leia's book, really. It's nice to see a page spent on the fact that, not that long ago, this is a young woman who was forced to watch as her planet was destroyed. Between that and the continued focus on the dichotomy between her role as a politician and that of a Rebel soldier, Wood really shored up her character. One of the best things about Star Wars #2 (and this series so far) is that it appears committed to staying in the moment. In other words, despite a cameo from someone we all will come to know and love in Empire Strikes Back, there are no cute nudge/wink moments to future Star Wars events. There's no "we know something you don't know" with Luke and Leia, or even Vader. Wood plays it straight with the audience, and doesn't cheat the franchise of its important cinematic moments down the line.

I don't know if I'm gonna stick around and keep buying Superboy once "H'el on Earth" completes, but I might. They've gotten me intrigued enough about the character, and the possibility of expanding the new Superman mythos through him just enough to make it appealing. If I'm back here next month with a review of Superboy #18, then DeFalco and Silva did their job!

We're still in set-up mode for this storyline, despite being two chapters into it and while the pacing of the comic itself is consistent, I was left wondering whether it was necessary for me to buy the previous chapter that appeared in Superboy #14. Other than wondering how Superboy ended up in the state he's in when he appears in this comic, the events of the previous chapter seem to have no bearing on this one. I hope that the next chapter (in Superman #14) proves me wrong. Regardless, I don't blame the creators, as they've still managed to put together an interesting issue. I'm just not sure that two issues of set-up were required. But a strong villain is a powerful selling point, and this issue has a dynamite ending that leads nicely into Superman #14.

All in all, this was a much more satisfying chapter in the "H'el on Earth" saga. Well-written, with attractive art, this one moved things along nicely. Hopefully, it's a sign that the rest of the crossover will come together as well as this issue did. We'll find out soon enough, but things are looking up!

Where does Superior Spider-Man #3 fail? Well, to be perfectly honest, there's too much Peter. I can't believe I just wrote that, but it's the truth. With Peter kind of zipping around through Otto's memories like the Ghost of Christmas Past, I couldn't help but feel that I was getting denied a taste of some of the real conflicts in the story. Plus, having Peter's voice remain so prominent in the comic is detracting from the subtle ways that Otto is becoming more, well, like Peter. But if this is gonna be my biggest complaint about Superior Spider-Man going forward, then I should probably keep my mouth shut.

And this is one of those issues where you may as well just buckle up. Aside from introducing a really interesting supporting character with Anna Maria Marconi, we also get to see Spidey do the right thing but for the wrong reasons. We also see him do the wrong thing for the right reasons, and the whole thing wraps up with Spidey getting the better of somebody really awful in a really cool way. And even though it's kind of unnerving that he's using his powers like this, you can't help but get a sense of satisfaction on that last page. The last panel in particular would be right at home in an old EC horror or crime comic from the fifties. So, while it will certainly be a feel-good moment when Peter Parker is back in control, he doesn't exactly have to hurry back, either.

H'el, of course, shows up after a few pages, still carting an unconscious Superboy around, and making cryptic references to resurrecting Krypton. We get a hefty slugfest with H'el and Superman and H'el just keeps unveiling new powers. But once again, I'm not sure that reading the first two chapters of this crossover were necessary for regular Superman readers and structurally, it's virtually the same as the other two.

The problem with Superman #16 is, no matter what, it all still feels a little inconsequential. This is a pretty hefty villain, and even though his motives are finally fleshed out in this issue, I still don't quite "get" him. His hold over Kara is certainly creepy enough, but I'm not sure I'm buying that, either. It's tough for me to kinda ding an issue for the sins of earlier chapters, but I wonder if that's what I'm feeling here. "H'el on Earth" should have developed much more quickly. Now we're coming to the end, and as cool as it's looking, there's still something missing. Ah, well. At least they're back to telling big, cosmic Superman stories.

While we do get an intro and an epilogue with Orion, and the promise of more New Gods in this book is very appealing indeed, it's not enough to save the middle section of Superman #18, which feels about as unnecessary as it gets, especially after a story as big (and overlong) as the recently concluded "H'el on Earth." It's almost as if this Superman book has been stuck in neutral while DC waited for Grant Morrison to lay all his cards on the table over in Action Comics. Now that all of that is out of the way, perhaps Superman can come into its own. I believe Lobdell is as capable as anyone of steering the ship, but if he's gonna be the guy, then he's gotta up his game significantly from the disappointing Superman #18. It would be nice if we can finally get a sense of Superman actually IS in the New 52 sometime in the near future.

Between the timeless, sleek design of the Answer's costume, to Mike Norton's clean, perfectly comic book-y art, The Answer reads like almost a pure distillation of the superhero genre. There's a little bit of Silver Age simplicity in the frenetic approach, but there are plenty of twists and turns to mark The Answer as a thoroughly modern superhero comic.

Unfortunately, though, this issue feels pretty thin. It's the conclusion of a two-part story that really only had enough material for one issue. I don't really hold it against 'em, though. Avenging Spider-Man is a consistently fun book, and I can't complain too loudly about a book full of gorgeous Dell'Otto art. But some team-ups really are better in theory, and I wish that Bunn and Dell'Otto had put the effort into something a little more grounded. Better yet, had this been a self-contained, one-and-done, I'd get another shot at such a terrific creative team doing another Spider-Man story. Ah, well. Maybe next time!

Unfortunately, even with a brief recap of the shocking events of Amazing Spider-Man #700, Avenging Spider-Man #15.1 would probably come off as inconsequential to someone who only reads this issue. However, for anyone who's been following that most recent storyline in Amazing Spider-Man, this is a must-read. What's more, since Avenging Spider-Man has been a team-up book since its inception, this is where we're going to see most of the new Spidey's interactions with the rest of the Marvel Universe, which should make for some interesting reading in future months!

A tight plot is one thing, but some nice pencils are something else entirely. I think it's only a matter of time before Marco Checchetto gets some real high-profile assignments (not that a Spidey book isn't high profile, but you know what I mean), as the guy can tell a story and he does it with style. Avenging Spider-Man #18 isn't gonna change the world, and it isn't groundbreaking, but it's about as good as your basic superhero beat 'em up stories get. If you're reading Superior Spider-Man but not Avenging, you've been missing out on some fun, self-contained team-up stories. What are you waiting for? Get reading!

Francavilla provides the words, art, and the colors, and just knocks it all right out of the park. His art style plays right to all of my favorite Golden Age sensibilities, and his color choices are appropriately subdued and smoky. If you're not familiar with his work already, this is the perfect place to start. The Black Beetle looks like an exciting hero, and Francavilla looks poised to populate this world with all manner of colorful, vintage-style characters. For fans of old pulp adventure heroes, or just fans of darn good storytelling,Black Beetle #0 is a can't miss. While reading the full color comic, I could practically hear the breathless tones of an old radio drama, or see the Black Beetle as the star of his own Republic serial. There's no doubt about it, boys and girls! The Black Beetle #0 was the best thing I read all week!

But therein lies the one small problem with this issue. A seemingly important character is introduced and dismissed in the space of a page and a half. While I generally like the breakneck pace of this title, this one left me saying, "Wait! Hold on a second!" Ah, but pulp-style storytelling waits for no man, and here, the Black Beetle had to extricate himself from a plethora of sewer rats and get himself to safety without drowning. I forgive you, Mr. Beetle, for not giving me all the answers I wanted in this comic. I'm coming back for more, no matter what.

Essentially, Misty Knight fights a bunch of goons to retrieve an artifact to retrieve a mysterious musical statue for Dr. Annabelle Riggs, who, as we are informed by her clever introductory caption, "grew up watching a lot of Indiana Jones." The statue starts playing eerie music, which resurrects a horde of undead Vikings, which Misty and Valkyrie have to squash. In between, we're treated to an undead horde of uninspired dialogue, including Valkyrie's nonsensical (even by her standards) "Your levity is good." First issues can be awkward for everyone involved, and hopefully, Fearless Defenders can shake this off, otherwise, well, it might be awhile before we see this team again.

Between the frenetic superheroics of The Fox #1 and the note perfect retro-horror of Afterlife With Archie, the folks at Archie Comics are making genuine comic books for genuine comic book fans...not comics with one eye on the world of TV, movies, or video games. Look, there's nothing wrong with that, and in a society as plugged-in as we are, and where the lines between all of our favorite forms of entertainment become more blurry by the day, it's unavoidable, and in some cases can be applauded. But it's refreshing to pick up a comic like The Fox (and, for that matter, Afterlife With Archie) that simply celebrates the art form and runs with the possibilities. Now, if only other publishers would catch up to what Archie is already hip to...

Daniel Indro's art is perfectly evocative of the era (it's the autumn of 1941, so we can assume that Green Hornet and Kato have been active for about five years at this point), and it looks like he's really done his homework as far as clothing and hairstyles go. Dynamite has done some really interesting things with the Green Hornet license over the last few years, but this looks extremely promising. All in all, Green Hornet #1 is a perfect introduction to a layered character with almost eighty years of history behind him. You can't go wrong with that!

If none of this sounds like the most enthusiastic recommendation of the book, forgive me. I did rather enjoy it. My only reservation is that it might seem a little quaint or old-fashioned for some modern comic fans. But if you're a fan of the kind of plausible science fiction that you'd see in novels like The Moon is a Harsh Mistress, then The High Ways should make you feel right at home.

I purchased The Private Eye as a .pdf and read it on an iPad 3. While not as "sexy" as the HD treatment books get over on the comiXology app, this book looks terrific even as a .pdf. The entire story is told in a kind of "widescreen" format, which is to say, think of it as a series of two-page spreads, or even as if each page is a Sunday comic strip. Reading it "landscape" style on the iPad was a breeze, and it looked terrific. In the interest of full disclosure, you all should know that I paid $2.99 for the first chapter of The Private Eye, which is the cover price of Vaughan's other creator-owned series, Saga, and the average price of my weekly comic purchases. I paid an "average" price for a most certainly "above average" book.

If you aren't buying these IDW Rocketeer minis, I suggest you correct this fundamental flaw in your Wednesday buying habits as close to immediately as possible. Rocketeer: Hollywood Horror is perfectly accessible to new readers, or folks who are only familiar with this world through the film, but it's also a nice treat for folks who wish Dave Stevens was still with us. And, y'know, maybe if we buy enough of these, IDW will give us a Doc Savage comic!

At a mere 20 pages (ah, but what beautiful pages!), one can't help but feel that Sandman: Overture might have been better served released as one volume rather than in bi-monthly installments. But the novelty of seeing Neil Gaiman play in his most famous and beloved sandbox again is just too delicious to complain about. Mr. Gaiman defined this world, and he knows these voices well. It's strangely comforting to "hear" them again. Welcome back.

The overall feel is appropriately pulpy, and the art deserves a good chunk of the credit for this. Aaron Campbell (who I've loved since Green Hornet: Year One) loves these (ahem) shadowy characters and the seedy underbelly of the superhero world. I've been missing this character in my comic reading life for far too long and Dynamite hasn't disappointed me yet.

While "Veterans of a Foreign War" isn't the best introduction to the world of The Shadow, it's a treat for fans of the character, and fans of the format. $4.99 for a complete, self-contained story feels like a steal these days, doesn't it? All this, and a terrific Alex Ross cover, too!

Shadow: Year One #1 despite being understandably heavy on the set-up looks very promising. For longtime Shadow fans like me, Wagner and Torres have preserved the aura of mystery that surrounds the character, his origin, and his identities, while also revealing a little more about his background. There's no "nudge/wink" factor in Shadow: Year One. There's no ham-handed "and here's the first time that he says his catch-phrase" or "look how the Shadow got his ring." While I do expect we'll see him gathering his agents together in the course of this series, if it's handled with the elegance and subtlety of this first issue, then all will be well. After all, the last thing you want to do with the Shadow, even when telling an origin story, is reveal too much.

The best part about this issue is that we're still only just getting started! With three more chapters in this story,and with Gor looking like a villain who could potentially have some staying power, this one looks like a keeper! There's been no shortage of action in the first two issues of Thor: God of Thunder and it's likely to jump to the top of my reading pile any time a new issue comes out. Well done!

I can't help but feel that I'm watching what will come to be known as one of the definitive Thor stories unfold. And for a character who has extended runs by guys like Jack Kirby (talk about defining!) and Walt Simonson in his past, that's no joke, boys and girls. Gorr is a terrifying baddie and tailor-made for cinema, as well. If he turns up in any of the Thor sequels, whether or not it ends up mirroring this story, it'll be impressive. Jason Aaron and Esad Ribic have created a character who gives gods nightmares. It's working on us mere mortals, too.

The amusing back-up story (with terrific Scott Kolins art) starring everyone's favorite Orange Lantern, Larfleeze is a nice touch to fill out the book, and you'll feel like you got your money's worth. Threshold #1 helped me meet my recommended weekly allowance for alien planets, laser guns, and forgotten silver age DC sci-fi concepts, so I'm feeling pretty good about it. Now, let's see what Giffen does on Legion of Super Heroes next month"

I'm not exactly sure, but I think I might just be hooked on Threshold. Hell, I've just made it nearly all the way through this review without even mentioning the Larfleeze back-up story! I don't wanna say too much, but I'll do what I can. It's darn funny, Scott Kolins' art rules, and there's a three panel Larfreeze reaction sequence which is pretty much the most hilarious thing I've ever seen done with the character. Not essential, but it made a good comic even better.

The Larfleeze back-up story is, as usual, amusing. But Larfleeze is kind of a one-joke character, and this story is already wearing thin. Scott Kolins art is always a treat, and Giffen's sense of humor saves "Awkward Alliances and Other Mishaps of Note" from being completely disposable, but I can't help but wonder how DC thinks Larfleeze is going to support his own title. Then again, the fans do love him, so what do I know? All in all, Threshold delivers some weight for your $3.99, and each issue has been packed with characters, information, and action. Even when they spin their wheels a little (which, I'll confess, this issue did), it's still a fine way to waste an afternoon!

I shouldn't even have to mention John Cassady's art, as he's distinguished himself so many times over the years, particularly with the X-Men. Cassady is a master of making the Marvel Universe live and breathe and makes me feel as if I'm watching news dispatches from this universe where gods walk among us and spectacular mutant powers hide behind the most seemingly innocuous eyes. Laura Martin's colors complete the illusion of realism and this book is a pleasure to look at. So, what I need to know is: is my favorite X-Men title in years technically an Avengers book? Or is my favorite Avengers title technically an X-Men book?

I was initially skeptical about this title, as I avoided AvX or any of the related crossovers. I can now safely say that Uncanny Avengers is not only sufficiently friendly for folks who avoided last year's mega-crossover, but it's essential reading for any fan of the Marvel Universe. I can't think of a single title which utilizes quite so much of the Marvel Universe this effectively, but still manages to stay safely within the confines of its own twenty or so pages each month. Uncanny Avengers #3 is, without question, the best comic I read this week.

What's great to see here, and what Remender handles beautifully, is the question of how anyone, let alone Alex Summers (who has always been a second-stringer), can hope to lead an Avengers team when Captain America, the consummate leader, is in the room. Alex steps up, though, not only putting his foot down about how the members with more checkered pasts should be handled publically, but he also delivers a rather controversial speech on the steps of the mansion. It's a speech about tolerance and acceptance. Told ya this was an X-Men book.

It's been years since I've bought an X-Men title with any regularity, and, sadly, Uncanny X-Men #1 reminded me why. The X-Men franchise has historically been virtually impenetrable for the casual fan, and this book is no different. Compared to the self-contained, "just see the movie" attitude of the relaunched Avengers titles, Uncanny X-Men #1 feels like work. Thoroughly mired in last year's events, it does nothing to introduce or establish anything other than Cyclops' new mission statement, which is rather clumsily forced on us by our "narrator." I like the basic concept of this title, and was really looking forward to a new kind of X-Men book. Instead, I'm reminded why I've stayed away from this corner of the Marvel Universe for so long. I have faith in Bendis and Bachalo, and some of the previews for upcoming issues look promising, so I'll stick around a little longer. But so far, Uncanny X-Men isn't off to a great start.

It's saying something when you can have this much action and set-up in a first issue and still have it be this entertaining. It's going to take a little time, I suspect, before we see the "real" Unity show up on the page, but that's alright. If any of the concepts you see here appeal to you, you're probably safe to check out books like Eternal Warrior, X-0 Manowar, or Harbinger. But if you're short on widescreen superhero team action (without any actual capes), Unity will do you just fine!

Wonder Woman #15 is a very good comic with some fun surprises for longtime fans. Azzarello has a good handle on Wonder Woman's voice and her world, and she gets a terrific line in the subway tunnels just as her confrontation with Orion begins. Unfortunately the issue ends just as these two are getting ready to throw down, but that's just all the more reason to come back next month! Azzarello and Chiang are taking chances with Wonder Woman, and it's refreshing to see her corner of the DCU get developed so thoroughly. It's quite a responsibility to reintroduce characters as important to the DCU as the New Gods, but so far, it looks like they're in good hands!