The story starts with a startling revelation that is also full of promise, but quickly devolves into a murder mystery/time travel plot. There is never a sense of payoff for the very interesting set-up unfortunately, and the ending comes off as feeling more like a fan-fiction than anything else.

Pak, Kuder, Kollins, and Quintana all help to give us a good entry in the Doomed storyline. That said, it's still a storyline that probably should have seen its end by this point anyway. Pak is able to get back to back to some of the storytelling roots that has made his run so wonderful initially. The story is huge, action packed, and ridiculous in a good way. The artistic contributions are mostly solid, but take a hit only because the transition from one artist to another is jarring. Overall, despite its faults, this is a solid entry in the Doomed event.

Scott Kolins and Vicente Cifuentes alternate art duties in this issue, and while the two have different styles, the way that their work was broken up between pages keeps this from being much of a distraction. Kolins excels with his layouts and acting skills. Cifuentes also does a good job with his layouts, though some of of his faces seem a bit puffy and misshapen from time to time.

The latest arc of Action Comics has been one filled with some fairly gruesome horror elements. Superman rarely ever gets to play in the horror genre and for that reason, among others, these issues have been a great deal of fun.

Action Comics #40 is a good preview of the new Bizarro book, but an even better preview of a post-Convergence DCU.

Action Comics #41 presents the story of the Superman of the "New DCU." Writer Greg Pak does a terrific job of presenting the new status quo for our hero. He explores the consequences of what it means to be a de-powered Man of Steel who is also struggling with the loss of his secret identity. Pak extends these consequences to the people of Metropolis as well while simultaneously introducing new characters, both allies and otherwise. Though there is an awkward editorial hiccup, Pak manages to deliver an ultimately satisfying issue. Artist Aaron Kuder helps with this quite a bit by adding amazing action scenes, but the art falls a bit short with some awkward anatomy and facial features.

Francesco Francavilla does an incredible job of capturing the macabre setting of Afterlife, but applies it just as well to the elements present in this issue. Here though, Aguirre-Sacasa takes the time to build up the horror elements of Sabrina's story since readers have been unaware of her whereabouts since her disappearance. Francavilla gets the chance to illustrate a world that is seemingly normal with horrific elements buried just underneath the surface. The results are eerie and should leave your skin sufficiently crawling.

Afterlife with Archie #8 is a harrowing tale that builds upon the past, present and future of this twisted world.

This issue has some of the charms of an old-school sitcom, but these elements don't fully work with certain things coming off a tad too corny and villains who don't seem to be much of a threat. Additionally, the undercover aspect of this issue was too obvious to call and failed to provide any needed intrigue.

Staz Johnson and Fabrizio Fiorentino share art duties. Both artists have unique styles that, on their own, are fine interpretations of the characters featured here. Unfortunately, the shift from one artist to another is anything other than smooth. It will definitely take you out of the otherwise enjoyable story, even if only for a moment.

The story is simple enough to follow, and the action is fun, but in the end it feels like the story is cut awkwardly short.

The art team works together to illustrate the undiluted emotional and physical power on display in this issue. The exaggerative styling of Rafael Albuquerque and the almost hand-painted qualities of colorist Dave McCaig add a great deal to the penultimate chapter of Animal Man.

However, there are still emotional threads left hanging. The loss of Cliff led to a downward spiral of despair for the Bakers and it takes the wisdom of a small child to help Buddy and the audience experience some much-needed catharsis. Lemire himself illustrates a story told by Maxine. His illustrations are appropriately child-like, and they help to give a satisfying emotional conclusion. That said, some fans may be a bit perturbed that a major, and recently introduced, element of this story is left hanging to be explored in Lemire's next project, Justice League United.

While the story, characters, and concepts are certainly intriguing, there are very similar questions featured that we've seen Morrison play with before. However, Morrison's answers are always nuanced, and it'll most likely be worth it to see what else he might have say on the subject. One of the things that will keep readers returning is the beautifully mind-bending artwork of Frazer Irving. He's worked with Morrison before, but this is perhaps the most uninhibited artwork he's produced for the prolific writer, which is all the better for us.

Paul Pelletier's pencils and layouts are show-stopping, and his characters are so full of life that you'd swear there getting ready to jump out of the page to shake your hand. Rain Beredo's is no slouch in the coloring department either. This issue presents so many monstrous new characters, and the artistic team work together to give us Aquafans a damp but delicious treat.

Chimera is the newest villain on Aquaman's block and it's certainly a terrifying one at that. Jeff Parker and Paul Pelletier have worked together to craft a truly horrific villain that is more than a match for Aquaman.

While the majority of the issue is essentially one big battle, Parker does manage to squeeze in some important storytelling as well that will undoubtedly play into his overall plans with the book. While it was good to get this bit, the battle, while entertaining, keeps us from Parker's strong characterizations of Arthur, Mera, and the rest of the supporting cast.

Aquaman has been painted a lot of different ways throughout his publication history, but writer Jeff Parker enjoys capturing the quiet and thoughtful core of the character in a way that allows the Atlantean king to shine.

Parker has clearly been having a great deal of fun introducing all sorts of new and interesting concepts to Aquaman's world, and issue #38 is no exception. A great spark of creative energy continues to propel this series forward.

And while this issue certainly has a great deal of said action, that's really the only thing it has going for it. The dialogue featured here is unfortunately boring, especially when compared to how great it normally has been under Parker's pen.

Arcadia #1 is a story full of interesting philosophical questions, great characters, and a fun sci-fi plot.

If you are looking for another unique take on Gotham that has been presented in books like Batgirl and Gotham Academy, then you might be a bit disappointed with the writing as only the artistic stylings, offered by Crystal and McCaig, give off that indie vibe. However, if you are looking for another peek into the world of Gotham and a unique situation never before faced by Batman then this is the book for you, as Duggan convinces fans of this somewhat fantastic premise, but falters a bit with a generic opening plot.

Leinil Yu handles the pencils once again, and while many of the pages here are quite beautiful, there's more than one scene that can be a bit hard to follow. Other than that, the designs of some of our futuristic characters featured here aren't quite as impressive as they might have been intended to be.

Leinil Francis Yu is back to bring to life Hickman's exotic world-bending concepts. His artistic style is as unique as the ideas presented in the script, and the two creators continue to serve each other well. Sunny Gho colors truly shine here, and they add a great deal to Yu's pencils since the setting of this issue was intentionally sparse.

Leinil Francis Yu handles the artwork once again, and his style certainly works well with the "end of the line" type of setting that is featured throughout the majority of the issue. For all of the inherent craziness of the story, Yu does a great job of keeping the story easy to follow visually.

Jurgens has created what feels very much like a Tiny Toon or Animaniacs style cartoon. There's certainly a charm to his Batmite as well as an appropriate level of zaniness. However, the biggest problem here is that most of the jokes simply don't land very well.

Really though, this issue is about Babs dealing with the developments of a very particular character that, due to delays, haven't even occurred yet. Or have they? Well, this issue seems to answer that question, which is a very unfortunate distraction from what otherwise is a decent horror-inspired one-off.

Fernando Pasarin's pencils carry with them a realistic amount weight that add to the brutality showcased throughout this issue. That said, some panels are stronger than others, as some of his figures come off looking a little off model.

Babs Tarr is undoubtedly a major factor into just how well this new run is shaping up. Her new designs fit perfectly with the tone that our new writers are establishing, and the creative team work perfectly together in designing Batgirl's new world. That said, some of the characters come off a little bit rushed in certain areas which slightly blemishes this newfound beauty.

Batgirl #37 is another fine installment that celebrates the newly reinvigorated youth of our hero, but the plot slows.

The new Batgirl run by Cameron Stewart and Brenden Fletcher continues to grow into its own in entertaining ways. The story that has been building since the new team's debut issue is clearly seeing some forward momentum here. This leads to interesting consequences for our hero on both a personal and heroic level and the final page reveal will definitely lead Batgirl forward on her mission in the issues to come. Artist Babs Tarr continues to please with her unique style perfectly fit for this new take on our hero.

Batman #30 is an undoubtedly epic entry by Snyder and Capullo. The storytellers give us a terrifying new vision of Riddler while giving fans a satisfying payoff to events foreshadowed nearly a year ago. While a destroyed Gotham has become a slightly tired trope in the New 52, it's still done in a creative and interesting way here. We get a great look into how all of our heroes are dealing with Zero Year, and it's exciting to see the overall design coming together. Finally, Capullo and the rest of the art team deliver yet again.

Batman #31 is full of fun and exciting action that befits an action title such as Batman. This fun helps to keep the heavy events of this story afloat, but it doesn't damage the overall impact of the Riddler's terrifying scheme. This issue also sees Snyder digging deeper into elements introduced in the previous issue that brings to light new aspects of a young Bruce Wayne and the struggle he faced after his traumatic experience. Finally, Capullo and Plascencia produce amazing artwork with expansive cinematic layouts and rich and vibrant colors that leaves fans with zero doubt that this a brand new Bat.

Snyder and Capullo give fans a very satisfying conclusion to Zero Year that's incredibly personal. We see important relationships finally fall into place with characterizations that are true and emotionally resonant. Most importantly, this conclusion gets us exactly where Snyder has intended all along with a redefining of who Batman is in the New 52. The incredible artwork by Capullo also helps to solidify Snyder's new take on Batman's origin. On the downside, the issue isn't as action packed as some fans may have expected, and one reference to future mythology may leave some rolling their eyes.

Endgame, as with all of Snyder's run of Batman so far, is a story that simply should not be missed. The transition from Batman's past in Zero Year to his future in Endgame is incredibly slick and accomplished. Snyder's themes are boldly stated yet again with an intent to add even more to the Batman mythos. The fight between Batman and the Justice League is electric and full of action, and the conclusion should leave fans pleasantly surprised even if some Leaguers are missed here. Finally, the backup story proves to be extremely creepy, but, most importantly, relevant.

The second chapter of Endgame is full of all of the intense action you would expect out of a confrontation between the Dark Knight and the Man of Steel. However, all of that is icing on the cake of a story masterfully planned by Scott Snyder who is intent on delivering the final story between his Batman and Joker. Snyder strikes a terrifyingly effective tone with this issue as he lays not-quite-all of it out on the table for the grand finale. Greg Capullo captures all of this beautifully with amazing depictions of his characters that are all brought together by the tireless efforts of inker Danny Miki and FCO Placencia.

Batman #37 is an incredible issue filled with terrifyingly effective imagery and hard-to-forget moments. Scott Snyder continues to convince readers that Endgame is everything the title implies. Through Joker's creepy gags and death traps, Batman faces a threat worthy of all the hype this new arc has had build up around it. Finally, Greg Capullo illustrates every twisted element that Snyder throws his way, and does it in the beautiful style that we've come to expect.

Endgame is certainly one of the most excitedly unexpected story arcs to come from the mind of Scott Snyder. This arc continues to shift in fun and unpredictable ways that continues to make Endgame an unstoppable powerhouse of storytelling might. Snyder impressively uses the foundation of his own stories and those of the DCU to deliver a story both unbelievable and utterly convincing. Greg Capullo is back to bring Snyder's already wonderful script to life in ways that only he can. Capullo's layouts, figure work, and interesting use of perspective wrap things up in an appropriately shadowy bow.

Issue #39 is the penultimate chapter of Endgame, and Scott Snyder sets up things up perfectly with some very unexpected surprises along the way. Snyder uses his skills as both a superhero and horror writer to deliver some more chillingly wonderful moments from the Joker. He also uses these same talents to deliver a Batman in extremely dire straights who still manages to get the job done in style. Greg Capullo and FCO Plascencia continue to deliver on the artistic side of things with their trademark talents, giving this story the perfect visual appeal it needs.

Batman: Futures End #1 by Fawkes and Snyder is a very fun, energetic, and entertaining story. It features a lot of funny dialogue that really helps to liven the whole issue up and some surprising cameos to boot. Overall, the pencils and coloring by ACO and Plascencia, respectively comes together quite well despite a few hiccups. Lastly, though seeing such an old-looking Bruce is odd, this issue is a great addition to the "Twenty-Seven" story that helps to give fans an interesting peek into the future of Batman.

Lee continues to awe with his moody and almost 2-dimensional style. His return to art duties is definitely a welcome one for what certainly feels like a continuation of the story established in issue #1 of this series.

Pak manages to perfectly capture the boy scout charms of Superman and the devil-may-care attitude of Batman and it's almost a shame that these characters will have to go back to normal eventually. Jae Lee returns to illustrate and while so much of his style works so well with a lot of story here, there are times when his Gotham is just a bit too stylized for comfort and comes off as a Seussian nightmare.

Batman/Superman #18 will leave readers with both a fun surprise and a conclusion that lands with a bit of thud.

Batman/Superman Annual #2 has a good premise, but fails to thrill with a cast of overused villains.

Patrick Gleason continues to provide the artistic backdrop to these Batman and Robin-less tales. Gleason has a lot to illustrate in this issue, but he makes sure to put everything he has into the scenes with the most emotional and action-packed moments.

Tomasi has Batman exploding right out of the gate with issue almost as if to say that Damian is really what Batman is fighting for these days. The Two-Face arc was wonderful for many reasons, but it's great to see the book that was once known as Batman and Robin getting back to that, even if it is coming from an emotionally wrought place. Damian is referenced heavily throughout this issue, and there is even a symbolic stand-in in the form of a very special guest star. This series has always been strongest while dealing with the relationship of the Dynamic Duo, and it's great to see it get back to that even if it's still pretty heartbreaking.

Peter J. Tomasi's Frankenstein is kurt, deadly, funny, and quite charming. In other words, he's everything Frank is supposed to be. Batman and Frank are a great team, and it's quite funny how, while apart, both characters are similarly gruff and to the point, but while together, Frank takes on a more comedic role.

Patrick Gleason clearly has a great deal of fun with this issue, and with so many guest stars who could blame him? One of those guest stars is a certain character of New Gods fame who makes his New 52 debut. His new design by Gleason is incredibly fierce, frightening, and fun. Beyond that, Gleason continues to utilize fun angles and clear layouts. That said, some of his work here looked to be a bit rushed in certain places and a few of the guest stars looked a bit off-model in certain panels.

Batman and Robin #36 is a full on action-assault of the best kind filled with amazing moments and a killer cliffhanger.

Batman and Robin may be back, but for all the ways things have gone back to normal, they are just as different. This issue gives us a brief and pleasing look at how Robin's powers have changed things for our heroic duo, but Peter J. Tomasi chooses to pull the rug out from under us with a more personal story of Damian. While the story works well in the context of Damian's character, it doesn't quite fit in to how this issue was set up leaving fans with the possibility of disappointment. Patrick Gleason returns to produce some emotionally powerful pages and wonderfully laid out action sequences.

Batman and Robin Annual #3 by Peter Tomasi proves to be so much zany fun that it shouldn't be missed.

Batman Eternal #1 features a mostly stellar opening chapter due to cinematically-scaled layouts, strong themes, an interesting use of a new character, and an intriguing new mystery. While some clunky dialogue, and a short-shrifted character weighs things down just a bit, the positives outweigh the negatives. In the end, this should please most fans thirsty for more Bat-action.

With that said, this issue is still very engaging. This is helped by the fact that the quality of the art hasn't dipped at all. Jason Fabok's acting is most striking here as it helps to sell the emotional beats of this issue.

Writer James Tynion IV with co-plotter Scott Snyder are back to deliver another strong issue of this increasingly interesting weekly Batman series. Issue #3 is back to the focussed storytelling that was a major strength of the first issue.

Dustin Nguyen takes over art duties, and as fans of his work have come to expect, it's beautifully sleek and a treat to follow. Some character models are a bit off though, as Bard's hair suddenly grows a few inches, but it's a slight distraction in what is otherwise the strongest issue of this series so far.

With last week's issue primarily featuring Batgirl, and this new one focusing on Red Robin, it seems that this weekly series might be presenting us with a series of one-shots that tie into the larger story. If this really is the start of a trend, so far it has been quite successful.

Tim Seeley scripts the newest issue of our weekly Batman tale, and it continues the trend of spotlighting Batman's closest allies.

Layman handles the various GCPD characters well here, including Bard, who is stepping up to be very important to Batman. For fans wondering whatever happened to Stephanie Brown since last we saw her, this issue handles her whereabouts with a cleverly placed flashback.

This issue is full of fun, frenetic action, and it's got some interesting revelations and a shocking introduction too that is sure to change the life of a very important Bat-ally.

James Tynion IV covers what is the end of the first major arc of Batman Eternal. This issue was full of action and suspense and is a fitting end to the threat introduced back in issue #1.

Ray Fawkes returns to a number of different areas in this vast Batman tale, and for the most part, it works quite well. We get more from Jim Corrigan and Batwing in this issue and the results are actually terrifying.

Ray Fawkes gives readers the second part of his Spectre/Batwing-centric issues. While this issue isn't as terrifying as the last entry, it's still quite effective storytelling that is aided in large part to the efforts of Dustin Nguyen.

Andy Clarke's pencils are always a welcome one, and this is especially true in Gotham City. His illustrations are full of a grit and texture that make the action wonderful to behold. His acting is also spot on with a wink of humor throughout.

R.M. Guera handles the art this time around and while some of his illustrations are quite nice, they are unfortunately inconsistent throughout the issue. It's possible that this is just his style, but it proves to be too distracting to truly enjoy. That said, the layouts work quite nicely and are easy to follow.

Fernando Pasarin takes up the artist's pencil, and the results are mostly great. This issue features plenty of easy to follow layouts and sold character models. Pasarin's designs of the previously mentioned cosmic-level hero give him a subtle, but stylish New 52 look. Unfortunately, there are a few instances where it is tough to decipher what's going on in a scene or two.

Batman Eternal #40 is heading toward the finish, but is still full of thrilling tales and well-developed characters.

The first year of Batman Eternal is coming to a close in only one more issue, so issue #49 has a lot to accomplish in order to prepare for the end. There have been quite a few threads woven throughout the fabric of this series, a fact that is no less true of this issue. Fortunately, this issue benefits from the fact that Higgins wisely chooses which threads to pay more attention to.

Batman Eternal is over, and the conclusion proves to be worth the year-long wait. Story-runners Scott Snyder and James Tynion IV produce a conclusion with so many great moments that will help feed the various Batman franchises for many months to come. Tynion IV produces some of his best dialogue of his career that truly help to give strength to the final issue as well. Finally, artists like Eduardo Pansica and Julio Ferreira help to give this finale the feel of a blockbuster cinematic experience. Even with the too-long epilogue and loss of artistic consistency towards the end, this is the finale that Batman and his pals deserve.

There's more than one laugh out loud moment to be experienced and you'll be hard pressed not to have a grin on your face throughout the whole adventure.

Brenden Fletcher adapts the youthful re-stylings originally used for the Batgirl relaunch to Black Canary. He rocket-launches the plot to create a highly energetic yet personal story that plays into Canary's past in some satisfyingly personal ways. Fletcher also ties Canary to an unexpected plot that is certainly surprising, though some may find it to be a bit out of place. Annie Wu creates the perfect visual style that compliments Fletcher's story perfectly.

If you remember Justice League International Annual #1 (released way back in August of 2012) and you've read, or at least learned about, the ending of this week's Superman: Doomed #2, then you won't want to skip this Futures End special.

Though we've only just begun to get to know Selina's new supporting cast, Valentine shakes things up in her newest issue in ways that both the reader and everyone around Selina will find unexpected.

Fawkes does a decent job of digging into Constantine and explores the nasty heroics of the character, but fans of Fate might not be too happy with this one as Fawkes paints him as almost entirely villainous.

It's Golden Age Superman versus Red Son Superman! Well, maybe not quite yet. Justin Gray spends this issue splitting his time between the two characters and their respective domes. The upswing to this approach means that Gray spends much of his time exploring these iconic characters and the consequences of being trapped under the dome.

Convergence: Batman and Robin #1 gives readers a few things to smile about with a story that surprises initially with a practical look at living inside a dome and the reveal of an unexpected hero. Some era-specific elements return for a fun nod to this time during Batman's career. However, while writer Ron Marz is able to wrap up a story that feels very much appropriate to this era, it doesn't quite make sense that these characters would see no character development in a years time. Lastly, Denys Cowan produces some good art here, but the majority of it feels rushed.

Convergence: Batman: Shadow of the Bat #1 may give Azrael fans a reason to smile, but the dialogue slows things down.

This issue is full of interesting world-building moments and bits of characterization for our new Booster that make it worth a read. It's not perfect though, as there are more than a few instances of too-wordy dialogue and convoluted exposition.

The first issue of this two-parter was a fun exploration of a young Catwoman learning to be a hero for the first time. In issue two, we see her rise to heroism take the ultimate step forward, but this is accomplished without much emotional resonance to go along with it.

This Len Wein-penned Convergence tie-in starts off incredibly strong, but its initial momentum fizzles into senseless battled fueled by bad decisions.

This early Connor seems to match up pretty well with his known history, but fans may be a bit disappointed not to see him as he was during the height of his popularity. For the most part, his interactions with Oliver play well, though their scenes do hit a few awkward notes.

Green Arrow has often been about family, and Marx uses that here to make this particular battle an emotionally difficult one to watch. That said, the ending is definitely forced, but it does wrap things up thematically.

Convergence: Green Lantern Corps #2 presents a very wacky hero's journey for the one and only Guy Gardner.

Tony Bedard opens Convergence: Green Lantern/Parallax #1 with a surprising level of emotional depth. Seeing Kyle and Hal together again like this during this specific period of their lives is interesting, but Bedard uses Convergence to give it a even more interesting spin. The only downside is that this issue quickly turns into an (admittedly entertaining) slugfest that cuts this character-driven exploration a bit short. Finally, Ron Wagner produces some amazing old-school artwork that perfectly captures the era along with the aid of Paul Mounts' colors.

Tony Bedard writes an action-packed and thrilling conclusion to his epic Green Lantern/Parallax story. Bedard hits the nail on the head as he continues to focus on the much more personal story of Kyle trying to reach Hal through the monster that is Parallax.

Frank Tieri is back with the second part of this Convergence: Justice League story. One of the best things about this issue is that Tieri wastes no time in diving into some fun under-the-sea action. However, the most interesting element revolves around how the Convergence event is forcing the hands of some of our heroes. That said, Tieri has our heroes treat each other in uncharacteristically rude ways. While artist Vicente Cifuentes is credited here for depicting the action sequences well, the art unfortunately goes a bit far in exploiting the forms of our female heroes.

Convergence: Justice League of America #2 is full of entertaining action and a heartfelt defense of JL: Detroit.

Marv Wolfman returns with the conclusion of his Convergence tie-in, and in true New Teen Titans style manages to tell an exciting, emotional, and dramatic tale.

Jan Duursema does an incredible job with the layouts of this issue as the characters and panels are all positioned quite strikingly. Her depictions of the adversaries are some of the most impressive images featured. That said, there are some issues with anatomy from time to time, and some facial expressions come off as strange.

The battle between our heroes and the Hawks is absolutely brutal, and Simone manages to throw in one than one fun surprise along the way. Though one of these surprises is a bit hard to believe, it still manages to work well enough.

Tony Bedard crafts a tale that has some fun moments, but it's one that also shows the loops that Convergence creators must jump through in order to make these characters fit within the confines of the event's premise. It's a little distracting, but Bedard manages to make it work well.

Tony Bedard concludes Convergence: Speed Force with a story that's serviceable, but ultimately a bit frustrating

Convergence: Superboy #1 perfectly celebrates the Boy of Steel we all love while challenging him in the perfect way.

Convergence: Superman concludes with its second part that solidifies it as one of the stronger tie-ins of this event.

While issue #1 was certainly grotesque in its depictions of Swampy, issue #2 is far more the horror story. Even better, it's a good horror story.

Marv Wolfman writes the second part of this Convergence tie-in much like an old school Jack Kirby comic.

There's a crazily frenetic pace that fuels one of the oddest entries of Convergence so far. While this is somewhat interesting, the changes made to the character here aren't really representative of Ray in any era. The character doesn't come off as himself at all here which makes for a less than satisfying experience.

Convergence: The Flash #2 takes a break from the action for some entertaining philosophical discussions instead.

It's hard to discuss why this book is so great without getting into spoilers, but the strength of this issue comes from Renee and how she interacts with her enemies and allies. This culminates with a final page reveal that will leave fans thirsty for more.

Writer Larry Hama certainly doesn't hold back any punches with this one. Convergence: Wonder Woman #2 will easily go down as one of the more brutal and sullen of all the tie-ins.

Valentin Ramon brings this lifeless world to life through his creative design work and beautifully laid out panels and pages. He manages to depict each robot with a creepy kind of life and personality all their own that adds much to Ferrier's script.

What has been crafted here is something that feels like a fresh start for our main players. At the same time though, long time readers will be glad to see nothing less than the continuation of the deep and engrossing story that Waid has built since his original first issue. Readers will find the same spellbinding characterizations paired with new locales, challenges, and mysteries. If you haven't been reading this title up to this point, then now is definitely the time to start.

While Chris Samnee's style may be cartoony from time to time, something that not all fans appreciate, it's never inappropriate to the tone set forth by Waid. His lines are clean and clear, and his action is easy to follow and always exciting.

With an "original sin" now plaguing Matt though, any sense of fun has been thrown out the window. That doesn't mean that this issue isn't good, as it is in fact one of the best Original Sin tie-in's so far, but this does mean that the most charming elements of Waid's Daredevil are now completely absent.

Storytellers Mark Waid and Javier Rodriguez bring on the second and concluding chapter of this Original Sin tie-in with an issue that is surprisingly emotional, beautiful, and satisfying.

The artists of these three stories all have very different styles, but since the stories are all their own the natural breaks between them help to keep the different styles from being a distraction. Scherberger has probably the most success of them all with a slightly indie take on the various X-allies and villains seen in the story, while Del Pennino's pencils come off feeling off-model and a bit rushed.

Jeff Lemire is back with the third installment of one of the most intriguing and breath-taking sci-fi comics to hit the stands in quite a while. Lemire continues to explore the journey of Tim-21, whose "afterlife" is just as mysterious as his living one.

The action in Detective Comics is blisteringly cool. Batman is illustrated as an unstoppable cannonball as he crashes through barriers. Simultaneously, the creative team captures the almost impossible grace that Batman utilizes to get the job done. Lastly, the flawlessly composed color combination of purples, blues, blacks, and even pinks help to add to the distinguishing layers that lets you know there is a new creative force in town.

The new creative team of Francis Manapul and Brian Buccellato continue with strong character work and a mystery that is growing deeper the more that Bullock and the Dark Knight himself start to dig. There is clearly more to this story than what meets the eye, but what we have been presented with so far continues to be illustrated with beautiful character work and innovative layouts.

Ryan Jampole takes penciling duties while Jeremy Colwell handles the colors. This looks very much like the animated series, as the styling of the characters and their setting are lifted directly from the show. However, the fun that viewers came to expect of the show extends into the very DNA of comic books with jokes utilizing onomatopoeia.

Nicola Scott and Earth 2, Earth 2 and Nicola Scott. The two have seemingly become synonymous with one another much to the benefit of fans of this series. Scott has been the one constant element of this book, and it has helped immensely in keeping this book stable throughout its all-consuming creative shift.

Speaking of that scene, Nicola Scott illustrates it gorgeously. Her characters are full of life and rich with expression and detail. Her layouts are straightforward and easy to follow with nothing but rectangular panels and the occasional splash page for emphasis. There's nothing getting in the way of her pleasing character designs.

While some fans may be getting a little frustrated with the slower pace of this series, there is no doubt that we are being led down a very interesting path.

Tom Taylor has worked hard to give us a slew of new and interesting characters since his takeover of this series, but issue #24 sees him perform a perfect balancing act of old and new.

Tom Taylor certainly hasn't made things any easier on our heroes since his arrival, but with his latest issue, he gives readers a very satisfying conclusion to The Kryptonian storyline that has given rise not only to a brand new Superman, but a reinvigorated Earth 2 super team.

Ardian Syaf, Sandra Hope, Danny Miki, Jorge Jimenez, Eddy Barrows, Eber Ferreira, Paolo Siqueira, and Cam Smith all contribute to the artwork of this issue. Unfortunately, with so many contributors you get a book that looks different on nearly a page-by-page basis.

Del Mundo and D'Alfonso tackle the artistic half of this story. Their product is beautiful and dreamlike, and yet the layouts are clear and easy to follow. It's surreal and somehow classic, and it fits right in with the rest of Marvel's vast and varied landscape.

Leonard Kirk has quite a bit of work to do in this issue, as the whole of Manhattan is under attack by a horde of monstrous creatures. Fortunately, he's able keep things clear even throughout all of the chaos.

The Flash #30 is a new start for the titular character that respectfully takes its cues from what came before. While the first issue of the new run is all about dealing with the consequences of what came before, interestingly, it also looks ahead. A clear theme delivered through a solid framing device and an intriguing sci-fi mystery help to sell this issue, plus there's the long-awaited debut of a long-missed character, although the fact that we don't see him much is a bit disappointing. The artwork leaves a few hurdles to overcome, but aside from that, this is an overall good start to a new run.

Brett Booth utilizes some interesting layouts that work well during a particular future conflict, but there's just something unnatural about the way these characters are depicted as walking. There are pages of awkward running and improbable physics, and in a comic featuring a superpowered runner, it's more than noticeable.

Robert Venditti and Van Jensen use the latest issue of the Flash to advance the plot in a big way, and while the mystery of the Mashup killer has been an interesting one so far, the revelations in this issue come a bit too easy to be satisfying.

The newest issue of The Flash by Robert Venditti and Van Jensen benefits greatly by eschewing the framework that they've been using since the introduction of Future Flash.

The battle between Flash and Future Flash is definitely action packed and interesting to follow. Unfortunately, the logic behind Future Flash's plans is hard to piece together considering that there was a much more sensible solution in front of him the whole time.

The Flash #38 is filled with moments of great excitement bogged down by some characterization that is hard to believe.

The Flash #39 is full of fun action but the execution only goes so far at delivering what this title should be.

The Flash Annual #3 hits fans with an interesting sci-fi premise that definitely feels worthy of our hero. While the story takes place in two different eras, it is told clearly with an easy to follow structure. That said, the story itself suffers from an emotional disconnect that makes it difficult to connect with our hero's future motivation. The annual also gives us a more fleshed out introduction to Wally West that could eventually give us the emotional attachment missing in this issue. Finally, the two artists of this issue both deliver with clear storytelling, though the final product suffers a bit from some busy designs.

Brett Booth draws some nice splash pages from time to time, but generally this artwork continues to suffer from some rushed looking bits and odd expressions.

Galaxy Quest: The Journey Continues #1 succeeds in pulling out elements of the film but loses much of the charm.

Davide Gianfelice in on art duties, and his characters are all unique and expressive. His style is fairly down-to-earth, which makes the book's sudden shifts into the paranormal that much more shocking. His clear and dynamic action along with his appropriately gruesome monsters makes it clear just what kind of danger our main character continues to find himself in.

Grayson #1 hits it out of the park with an exciting and fun opening chapter. The creative team of Seeley, King, and Janin all come together to give Dick Grayson a brand new mission that is not only new and interesting, but one that is deserving of the character. Despite a bit of confusion in the opening pages, the creative team hits all of the right notes and sets up the perfect tone for Dick Grayson's newest series that should please his many fans. The team has perfectly captured the essence of the character while clearly establishing the high stakes premise of his new series that will undoubtedly have repercussions throughout the rest of the DCU.

Where issue #1 was a great deal of fun that flowed from one page to the next, the main problem with issue #2 is the great deal of exposition. There are a couple of places here where the story screeches to a halt for the sake of exposition.

hat said, this series is still proving to showcase Grayson's most unexpected challenges yet. Mikel Janin excels at illustrating just how strange the world of Spyral is with interesting character designs, trippy layouts, and exaggerated action scenes.

There are plenty of twists and turns to be found throughout this issue with an ending that is undoubtedly intended to open things up for some status quo changes in the issues to come. This issue leaves things just as mysterious as ever, however, which may infuriate some readers.

Andrea Sorrentino and Marcelo Maiolo continue to make one of the best Green Arrow stories in years even better. Colorists can sometimes be overlooked, which is always a crime, but Sorrentino and Maiolo work together in a way to make such a thing impossible. The artists continue to work seamlessly with Lemire to make the end product that much more meaningful.

Sorrentino was a very large part of why Lemire's reimagining of this character has worked so well. Lemire wanted to bring Green Arrow down to earth in more ways than one, and Sorrentino's realistic but stylized pencils helped to capture the essence of Lemire's scripting in a way that no other artist could do.

Daniel Sampere handles art duties and tells a very clearly laid out story. Sampere gives us some great close up shots, but unfortunately many of his panels end up feeling like they could have benefited from a bit more polish.

Daniel Sampere seems to be getting more comfortable with these characters, and his action sequences are easy to follow and fun to scan through. That said, some of his faces come off as rubbery from time to time so hopefully the consistency of the artwork will continue to improve in the issues to come.

The first two issues of the new run by Andrew Kreisberg and Ben Sokolowski did a great job of introducing new characters and focusing on their interplay, but faltered a bit in the introduction of the new antagonist. The current issue course corrects somewhat with a lot of good plot progression mainly consisting of the development of the new villain that finally proves he is a convincing threat to our heroes.

Green Arrow #40 is full of guest-stars that don't have much to do, leaving things feeling crowded and out of focus.

Green Arrow #41 sees a creative shift resulting in another exciting high for the series and a switch to horror.

Billy Tan has been the ongoing artist since Venditti's takeover. He's been a wonderful addition to the book as he has been able to capture the essence of our familiar Lanterns while giving us a distinctive style that distinguishes this book from what came before. Unfortunately, Tan was not available for every page of this month's issue and the results are a decidedly mixed bag. Martin Coccolo's style is a bit flat and uneven. It simply doesn't gel well with Tan's work, and ultimately distracts from an otherwise stellar issue.

Martin Coccolo takes over art duties this time around and he's a wonderful addition to the book. The opening pages of this issue are as breathtaking as the view from Mogo itself. That said, some of the art is a bit uneven, but the colorists Tony Avina and Alex Sinclair help to cover this up with their beautiful watercolor style.

Billy Tan does have to cover quite a bit of ground in this issue. There are tons of characters on the page at once, not to mention a variety of ships, and one big mother of a planet plastered throughout these pages. He and colorist Alex Sinclair accomplish a great deal together and, aside from the previously mentioned lapse in clarity, do a good job of capturing the would-be battle.

This chapter is certainly interesting and unexpected, but hopefully we'll see our heroes earning their keep as we have been up until this point before the final conclusion. Billy Tan handles the art, and while it's good overall, there are also a few weak spots too.

For a change, this issue is mostly one of conversations, and it's one that answers a question that Venditti himself raised when he introduced the concept of the emotional reservoir. That said, some of the scenes featured seem kind of unnecessary and don't really contribute to the overall thesis of the issue.

Billy Tan really shines in this issue with his depiction of the New Gods and their intense level of power. Additionally, his space-based layouts are a great deal of fun to see here.

The newest issue of Green Lantern is a huge turning point in terms of pure enjoyment, dialogue, and story beats. So far, Robert Venditti's Godhead has been a bit of a disappointment with the overpowered and over-jerky New Gods ripping through our beloved Lanterns like they were tinfoil. Fortunately for our heroes, Hal Jordan is newly inspired and ready to take them on in a very unexpected way.

Francis Portela returns and his artwork continues to impress. His figures look big, bold, exaggerated, and powerful. Portela's acting is spot on, and once again Black Hand gets the long end of the stick here with a ton of great facial expressions that capture his new persona.

Green Lantern #38 could have been a great look into the heart of our hero, but is unfortunately sabotaged from within.

Green Lantern #40 goes in an unexpected direction as Hal does some unspeakable things in the name of the Corps.

Green Lantern #41 perfectly showcases Hal's new life as a renegade, but the cliffhanger lands with a dud.

Bernard Chang continues to provide his somewhat exaggerated and cartoony style to the proceedings, which works perfectly in a book filled with a variety of aliens. Additionally, his livelier style helps to bring home the fact that this book is as much about personality as it about anything else.

Art wise, the issue starts off strong with a flashback from Scott Kolins. We get more flashbacks throughout the issue, and it's the strongest art featured here. Chris Batista handles the other pages, and draws the majority of them in this issue. Normally, I find Batista's pencils to be quite accomplished, but here his work seems rushed and uneven, which strangely matches the tone of the book overall.

Bernard Chang and Moritat provide the pencils in this issue and the results are mixed. It's not that either artist is off their game, but the two have different styles making the switch between each artist distractingly noticeable. Marcelo Maiolo provides the colors here and bright and vibrant colors help to bridge the different artistic styles, but only somewhat.

Bernard Chang returns to provide some of the most stylistic, dynamic, and consistent art in the entire stable of DC Comics artists. His angular figures always prove to be striking and his layouts continue to be exciting to follow while delivering the full impact of Jensen's script.

Van Jensen is hard at work playing into the aftermath of Uprising. The biggest part of that for this issue has to do with John Stewart and Fatality's relationship, or as it turns out, the lack of one. Unfortunately, the results of these unexpected revelations aren't so much emotionally resonant as they are disturbing.

Bernard Chang is an absolute boon to this book as usual with his dynamic character designs, and generally great layouts. However, there are a few issues with the artwork in this issue in both areas as some characters come off as rushed, and a few panels are tough to follow.

Green Lantern Corps #37 sees a number of unexpected surprises and turning points that should please most fans. The plot moves forward a great deal here making this a substantially important issue for Godhead.

This could have been a fun opportunity to explore life on Mogo or what the Lanterns are doing to rebuild after their devastating attack, but instead we got a story that feels, unfortunately, a bit thrown together.

The first part of this new arc was not received well here at IGN, but fortunately, the next installment surprises with some very interesting and relevant developments.

Bernard Chang and Mirko Colak work together once again and just like last issue the results are mixed. Chang's panels are laid out in such a way to evoke all of the action happening on the page with thoroughly satisfying results, but Colak's pencils are once again rushed and in need of a bit more attention to detail.

Van Jensen gives us a story that is serviceable and potentially quite interesting, but it's also one that highlights one of the biggest problems of the Futures End series. Namely that a lot of the characters of "Five Years Later" seem hung up on things that have just recently happened to them today.

Ethan Van Sciver, Martin Coccolo, Goran Sudzuka, ChrisCross, Pete Woods all alternate between the pages to bring their unique artistic talents to the table. For the most part, these styles work well together and in their own ways. However, there are certain scenes where the seams show a bit, but that is to be expected with so many contributors.

Brad Walker continues to impress with his clarity of action, and his realistic yet slightly exaggerated style. Everything from his panel layouts to his attention to detail really help to sell the continuing adventures of the New Guardians.

Brad Walker continues to do justice to this title. His characters always look true to form, but his layouts are what tend to steal the show. Walker uses a lively mix of panels of all shapes and sizes along with splash pages where appropriate. There are times when characters and even story beats are literally exploding out of panels resulting in an always eye-pleasing product.

Justin Jordan has been delivering some interesting themes along with some great stories since his takeover of this book. This arc was continuing that trend, but the resolution of the theme wasn't as strong as it could have been.

Justin Jordan gets back to delving into the social commentary that he's been doing in this book for a while now. As he's done in the past, he doesn't overload us with any particular viewpoint, but he uses that as a foundation to build a fun and exciting sci-fi story.

Justin Jordan returns to what makes his take on this book so great. Kyle and Carol are reunited and Jordan charmingly pokes fun at his own book over the craziness that Kyle has recently been through. It's honest, funny, and gets us right back where we need to be.

With this issue, Jordan really brings the emotionality of the Templar Guardians to bear. Jordan has done an impressive job of making the Guardians much closer to human than we've ever seen, and this issue is the biggest challenge that the newest of Guardians have had to face.

Despite a drop in art quality, Green Lantern: New Gods continues to play the second-most important role in Godhead.

Green Lantern: New Guardians #37 has good moments, but loses much of its internal charm to the overall Godhead event.

Stephen Segovia, Edgar Salazar, and Jed Dougherty handle the art here, and as a whole, the artwork is easy to follow. In general though, there is a common problem where the close-ups tend to be full of detail and life. Unfortunately, this tends to become less of the case the further out the shots become. It's an unfortunate distraction, as one panel is wonderfully illustrated, while the very next one loses all polish.

Green Lantern: Lost Army #1 blasts off with an intriguing and mysterious opening chapter. Writer Cullen Bunn is free from any restrictions of having to tie his story into the events of Hal Jordan's Green Lantern book, and the results are something that fans of Green Lantern Corps should both be familiar with and surprised by. The first few pages may be a little jarring, but Bunn makes it worth it by issue's end. Artist Jesus Saiz absolutely nails every page here with stunning pencils and layouts.

Amanda Conner and Jimmy Palmiotti present a few scenes in their newest issue that are fun and lighthearted, but most of them don't seem to add up to all that much in the end.

Harrow County #1 is one of the most haunting comics to come out in a while, and horror fans should not miss it.

Do you remember in Ghostbusters where their containment chamber gets shut down and spirits of all shapes and sizes invade New York? Haunted #1 is a lot like that except there aren't any Ghostbusters. That may sound like a bad thing, but it's not.

David Aja's pencils are an essential element to this book, and while he isn't the main artist featured in this issue, he bookends the contributions of guest-artist, Chris Eliopoulos. He helps to "animate" the Winter Friends cartoon special. It's completely adorable in its evocation of Calvin and Hobbes, and it's appropriately disarming to the character study at the center of this quirky issue.

Mark Bagley's layouts are clear and he produces some high-energy action scenes, but it all leads to a cliffhanger that is ultimately unexciting as new, faceless foes materialize with an empty threat.

What we get out of this issue is a story that is very straightforward and a breeze to follow, but the Hulk's portrayal is really what makes this issue interesting and it's what should keep some readers hooked for a bit more at least.

Lately, it seems that it takes a small army to illustrate this title. This month sees Jheremy Raapack, Joe Bennett, Ruy Jose, Tom Grummett, Karl Kesel, and Andrew Hennessy teaming up to draw this issue with what must be a gigantic pencil. While so many artists on one book can often be distracting or disastrous, the team here makes it work fairly well with their complimentary styles.

Joe Bennett is the one and only artist featured this month, which certainly helps to maintain the integrity of this issue. However, while Bennett's style is fine, certain scenes are tough to follow to the point that you might be relying on the dialogue to figure out what's going on.

Injection #1 is a wonderfully strange and equally intriguing first entry. Warren Ellis presents readers with very down-to-earth characters who live in an subtlety strange world of horror and sci-fi. Ellis spends time slowly building these characters up along with intriguing new settings with that seem to be saturated with supernatural elements. Though the plot isn't entirely clear, this should be enough to capture the attention of readers. Declan Shalvey beautifully brings this new world to life and captures the sci-fi elements just as well as the horrific ones.

Mike S. Miller and Bruno Redondo work "together" once again by tag-teaming the two halves of this issue. Miller continues to deliver on his character models, and strong acting skills. Redondo provides pencils with finishes provided by Xermanico. Unfortunately, the results aren't quite as strong as they usually are as there are some rough edges.

Mike S. Miller and Bruno Redondo return once again to illustrate their halves of the story. While both show off many of their same talents as normal, both produce a few panels that come off as rushed from time to time. That said, the storytelling on both sides is still incredibly clear.

The plot moves forward appreciably, which is unfortunate news for our heroes. The action is dramatic and incredibly fun to watch, but this is old, and welcome, news to fans of this series.

Injustice: Gods Among Us: Year 3 #5 gives a big twist and one huge heroic return in an issue that must be read.

The action of this issue is incredibly exciting and inventive in the way that fans of this book are accustomed to. Taylor's interpretations of these characters are both extreme and true to form, and it's always fascinating to them all interact with one another with the stuff really starts to hit the fan. The revelation at the end of this issue is quite clever as well, and is both surprising and obvious in the best possible ways.

Mike S. Miller handles the first half of the issue and his pencils are solid throughout with clean lines and a lot of great details. However, there are some problems mostly coming down to a few odd facial expressions. Bruno Redondo finishes up the second half and his style, and while his characters tend to look a bit more filled out that Miller's, his character models are all spot on and his acting truly shines throughout the toughest emotional moments of the issue.

Once again Kirkman has changed the stakes and fans will be eager to see what happens next. Ryan Ottley returns and delivers some fantastic pencils. He successfully shows the brutally behind Robot's scheme, but also shows every single emotion behind all of the terribly terrific action.

Invincible #119 satisfies with our heroes dealing with parenting on an alien world and new threat on the horizon.

For as great as this issue is, there are a few odd moments. There's an unnecessary recap of the Forever Evil event in this issue. It's unclear who this recap is for as surely anyone interested in this tie-in issue is at least somewhat familiar with the events of Forever Evil. With that said, there's another moment at the end of this issue featuring a surprise character that actually could have used a bit more of an explanation, as not everyone has been reading the secondary Forever Evil books.

Justice League #30 gives us a very intriguing new wrinkle in the form of Lex Luthor that is sure to play out in the issues to come. This issue clearly marks the start of a new chapter for our heroes (and villains). It includes several brief, but detailed, introductions to other characters new to the book. It also features some great comedic relief moments from Flash, though the Wonder Woman moments just don't feel quite right. Lastly, the art is mostly a treat to see, though a few shots do come off feeling somewhat rushed.

Justice League #40 is the prologue of Darkseid War, and it effectively sets the stakes for the event to come. Geoff Johns takes readers on a journey that feels somewhat like a mix of the History of the DC Universe and his own Justice League book. Johns entertainingly weaves in threads introduced in series like Convergence and The Multiversity. While there might be too many narration boxes for some, he also presents key scenes featuring dialogue fueled with drama and pathos. Kevin Maguire, Phil Jimenez, Dan Jurgens, Jerry Ordway, Scott Kollins, Jason Fabok, Jim Lee all bring their A-game in a perfectly organized and unified front.

That said, Keith Giffen and J.M Dematteis seem so sure of themselves in a portrayal of a "League of Jerks," that I'm somewhat convinced this is being done with a grand purpose. All of the main characters, from the League to the Wonder Twins, are entirely aware that there is a huge problem here: the League itself. I've got to assume that this is a part of some master plan, and I'm willing to stick with this book just a bit longer in order to see what the creators have got up their sleeves.

This series is one that seemed like it had potential, but at issue #5, said potential is running on fumes.

Justice League 3001 #1 makes for a great continuation of Justice League 3000, but it may be challenging for new readers unfamiliar with the events of Justice League 3000.

Here, we have the strongest issue to date that is mostly due to the fun, lively, and very human interactions between heroes such as Green Arrow and Animal Man. In addition to that, Lemire gives the team a new mission statement that feels very much in line with what a Justice League team should be all about.

Justice League United and the Legion can be a lot of fun together, but awkward elements take issue #7 down a notch.

Justice League United #9 is full of old-school fun and excitement, but the large guest cast makes it hard to dig into.

Neil Edwards is an artist who is quite good with featuring close-up shots of our heroes and presenting action sequences in dynamic angles. However, there is a limit to this unfortunately with many background characters coming off looking rushed as well as more than one instance of angles that are just too odd to work.

Jed Dougherty handles the art and his work sometimes comes off a bit too cartoony for the serious tone of the tale, his action sequences are a great deal of fun to follow.

Lady Killer #1 somehow manages to perfectly incorporate the quaint concept of the 1950's TV housewife with blood-fueled antics of vicious killer for hire.

Where this book tends to suffer is in its artistic execution. Alberto Alburquerque's lumpy characters and less-than-clear space action make the story more difficult to follow than it should be.

There's a great deal of catharsis to be found in the latest issue of Letter 44 by Charles Soule. Though there have only been six issues so far, much has happened to our cast of characters. Some are no longer with us, while new ones have appeared

Some other elements of this story seem to come out of left field a bit, and the art could use a bit more texture and fluidity, but in the end, the second issue of this tale may be worth a look if only to see where the creators are going with it.

Martian Manhunter #1 makes for an exciting and mysterious debut issue that should easily hook fans of the character.

David Marquez has a very sleek style that fits well with sleekness that the Ultimate Universe often attempts to portray. His layouts are mostly very straightforward and they are always easy to follow, but every once in a while he uses stylized panels that are playful, creative, and add just a bit more to visuals.

G. Willow Wilson continues to craft a funny, heartwarming, and authentic superhero tale with Kamala Kahn.

The premise for Mythic involves a world where magic is real and science is just humanity's lame attempt at making sense of things. While writer Phil Hester certainly sticks with this grand premise, he subverts expectations, but not a good way.

Chris Burnham does a wonderful job of bringing these dark ideas to life. His characters all look wonderfully unique even if not much is said about them here. His settings and layouts also are intricate and clearly depicted which is a necessity considering the wild story Morrison is presenting.

Valerio Schiti and Salvador Larroca handle the artistic aspects of this issue and while both have a style that is befitting of the story, it's easy to spot when one artist takes over for another. It's a bit distracting, but because both styles work in it of themselves it's easy to forgive.

Marcus To has been wowing comic fans for many years now, and he continues that trend in this new series. His character designs are always a pleasure to look at, and his action is never hard to follow. His style is both classic and fresh and it fits well with all of the fun superheroics on display in this book.

Olivetti's art style is highly realistic, though almost to the point of approaching the uncanny valley. Other than that, his work is clear and easy to follow. Ultimately, it might have been served better with a more compelling story.

With the first issue we got the sense that this story may be something along the lines of a supernatural thriller and issue 2 solidifies that sense even further. Kirkman's characters are rich, complicated, and realistic even in the face of the otherworldly horror they've just faced.

Alessandro Vitti draws the Reds with a level of intensity that is wholly appropriate for them. The shadows that fall on the faces of characters like Guy bring to light a darkness that lies within all of the Reds. His scenes are a breeze to follow, and his action is explosive enough to match the rage of the entire Red Lantern team combined.

Soule has essentially been recreating the concept of the Reds since his takeover. Here, Bleez delivers a game-changing new philosophy as to why the Reds exist which, in effect, encapsulates Soule's view of these characters, and where the compelling direction this book has been going in since his takeover.

Great character moments and exciting plot development characterize the newest issue of Red Lanterns.

This story is full of insane action, tragic and touching moments, and pure Gardner badassery. Soule leaves the survivors in some interesting new places, and fans should be excited to see where Soule plans on taking these characters next.

Here we get yet another instance of extremely powerful jerks beating up on some of our favorite characters who stand no chance whatsoever of defending themselves. It's frustrating and repetitive at this point, and it is another instance of a crossover getting in the way of what is otherwise good storytelling by Soule.

This issue has an absurd premise as previewed by the cover, but the story itself is one that is entirely relevant to the direction Soule originally set forth for the character. In that, Walker is honoring the story that fans gravitated towards and continues to do a serviceable job with the material.

Charles Soule has been building to a battle between the Red Lanterns of old and new since his takeover of the title and while this issue may be as explosive as an epic finale tends to be, this is only the penultimate chapter of "Atrocities." This issue is full of bloody excitement and heart-wrenching action and while it's a great deal of fun, it merely sets the stage for the ultimate confrontation between Guy and Atrocitus.

What Guy and the Lanterns are doing in the future is a successful and convincing portrayal of where this book could eventually go if Soule were to actually write it for 5 more years. Of course, since we all know he won't be, it's nice to see such a beautifully realized ending. The only complaint here is that the ending feels abrupt, only because it will leave you wanting more.

Robin: Son of Batman #1 entertains with a story deeply rooted to Damian's past that may leave the uninitiated baffled.

With issue #6 of his lighthearted/serious/funny/dramatic Secret Avengers, Kot seems to be getting even more comfortable with his unique and refreshing brand of humor. The results is one of the best issues of this series yet.

Weeks, Mahnke, and Siqueira all manage to deliver on art duties. The layouts are clear, and their styles all fit perfectly for each character's origin. In the end, while some of this material is old news, each story adds enjoyable emotional elements to the various origins.

Secret Six is back! Gail Simone returns to write one of her most beloved books of all time. With that comes a great deal of expectations of what came before and Simone brings back many familiar elements while also changing things up for the New 52. Catman is both familiar and changed, and many characters get some great character flourishes. However, with so much attention paid to Catman, the other cast members get less opportunity to shine. Additionally, while a lot of the artwork works well with this new version of Secret Six, there is a drop in quality later in the issue.

It's fun, action-packed, and full of new mysteries. With the set up out of the way, Simone also has a lot more time to let her characters play and interact with one another. This is where this new series is truly beginning to shine just as the original one did.

Gail Simone perfectly captures the pure essence of everything that made her original series phenomenally great. Relatable villains? Check. Heartfelt moments? Check. Ensuing hilarity? Check again. A mind-blowing, cliffhanging, double-reveal that will leave fans reeling? You better believe that's a check.

Charles Soule is back presenting another fun and funny issue of She-Hulk.

If you have kids, they might enjoy this, but they'd be better off reading the series this book enjoys referencing so much.

Jason Aaron continues to successfully evoke all of the fun and excitement that fans have come to expect from Star Wars. He uses these iconic characters to bring the element of Star Wars that fans are thirsty to see more of. Luke's action-movie moves and Darth Vader's intensity work together to drive us to the satisfying conclusion of the first arc. John Cassaday yet again plays a major part to bringing this world to life. His character likenesses continue to improve, while his layouts and depictions of all of the heart-stopping action continue to impress.

Suiciders #1 presents a dark world filled with intriguing characters and beautiful artwork as Gladiator meets Mad Max.

Seeley's "heroes," the Sundowners, all clearly suffer from a variety of mental disorders and are all given interesting vignettes to tell their tales. While the characters are all fairly interesting in their own right, the question of what's truly going on in the world may be of a higher interest.

This series continues to be interesting, though it's still tough to determine the theme behind it all.

Jeff Johnson and Emanuela Lupacchino handled art duties, and the two worked together quite seamlessly to produce straightforward storytelling, easy to follow layouts, and spot-on depictions of Supergirl.

The Superman: Doomed storyline has officially made its way to this title and Bedard tries to make the most of things. There are a few awkward scenes of exposition featured here that explain the recent happenings behind Doomed, and while these scenes do take up valuable real estate, Bedard quickly gets beyond that to tell his story which essentially boils down to boy meets (Super)girl. Michael, Kara's potential new love interest, seems like a nice enough character, though time will tell if this proves to be an asset to the series.

Superman #31 is a mishmash of story elements and artistic styles that adds little to the Doomed crossover.

Like everyone, Dan Jurgens is a writer who has strengths and weaknesses, and comedy writing simply isn't his strong suit. While his dialogue in this week's Booster Gold: Futures End tie-in falls flat, here his dialogue fits just fine.

Tony Daniel has never produced better material, as he continues to knock it out of the park panel after panel. Seriously, one panel in particular stopped me in my tracks, and made me wish it were a poster hanging on my wall. Along with Daniel's pencils, Tomeu Morey's incredible coloring work helps to elevate the art even more, making it the perfect accompaniment to Soule's insightful storytelling.

This title continues to be full of entertaining action scenes, which are ably aided by Tony Daniel. There is so much action to cram into this book, and Daniel manages to be both epic and economic with every page. He continues to produce arguably the finest work of his career, and the results are an undeniable pleasure to see.

This issue also suffers from some uneven art. Of course, there are three artists involved which accounts for that. Paulo Siqueira, Barry Kitson, and Eddy Barrows all contribute here. Some pages are far stronger than others, but others are just confusing and feature unclear layouts that take away from the final product.

In the end though, while this issue makes for another fun entry of the Doomed crossover, it tends to do a disservice to the Superman/Wonder Woman story elements that Soule has been carefully crafting since issue #1.

The Doomed storyline started off with a lot of energy and a great deal of promise, but the latest issue of Superman/Wonder Woman has started to give off a few signs that this crossover is beginning to lose a great deal of its initial steam.

Charles Soule says one good thing about the relationship between Superman and Wonder Woman issue, so one would suppose that makes this count as a true Superman/Wonder Woman issue as opposed to just another entry into the Doomed storyline, right? If that sounds snarky, it's only to point out that, once again, while this is an alright entry of the Super-crossover, it still feels like this particular story should have ended some time ago.

Peter J. Tomasi has spent his time on Superman/Wonder Woman attempting to answer the question regarding the merits of the titular characters being romantically involved. In issue #17, he puts forth a few reasons as to why they should be together, but it comes off a bit forced, unnatural, and even unnecessary.

With the new issue of Superman/Wonder Woman, Peter J. Tomasi chooses to focus entirely on what this means for Superman. While this certainly makes for an interesting Superman story, it leaves Wonder Woman in the role of a supporting character even though she has equal billing on the book.

Superman Unchained #9 is a mostly satisfying conclusion to Scott Snyder's tale of the modern Man of Steel. The themes he's been playing with throughout this series find their way home in this conclusion with an apt explanation of Superman's modern day modus operandi. Unfortunately, some aspects of this conclusion just feel a little too neat resulting in a somewhat deflated conclusion. Jim Lee's pencils help to sell the explosive action sequences found in this issue, and really help to aid to the overall success of this issue and the series as a whole.

In the end, Superman: Doomed turned out to be one of the craziest crossovers of the New 52 so far. While it could have easily just been a battle royal, the authors helped it become more than that with the use of many supporting characters while never forgetting the inherent zaniness of the overall plot. Pak and Soule give readers a satisfying ending the crossover by utilizing some fun Imaginary Stories and a final page that was truly unexpected. Finally, while the vast number of artists led to a lot of inconsistency, there was still many pages that were a joy to see.

Jesus Saiz is an invaluable asset to this book. While Soule writes an all-around excellent story, Saiz is able to bring these pages to life as easily as Swamp Thing can, well, you know. His detailed illustrations make you want to sit and stare before moving to the next panel. Add Matthew Wilson's colors rich colors to the mix and you're left with an applaudable amalgam of virtues.

Jesus Saiz and Javi Pina take on this issue and their work is utterly seamless to the extent that it's impossible to tell where one starts and the other ends. The art is beautiful as usual, and a breeze to follow. Matthew Wilson adds his own colorful spark to this issue, adding interesting flourishes that enhance the story even further.

Jesus Saiz returns with wonderful pencils throughout and a design sense that truly benefits all of the characters portrayed here.

Swamp Thing faces a truly epic battle against his new foe that fans of the hero absolutely should not miss.

Charles Soule had very big shoes to fill when he started his run on Swamp Thing. Fortunately for readers, he's succeeded in crafting a unique take on the character while both honoring everything that's come before and adding his own unique additions along the way. His final issue is full of action and intensity that will leave readers satisfied even with the slight hiccup of wrapping things up a bit too quickly in the end. Jesus Saiz lends a great deal to the story with pencils that are full of details that help to bring this world to life.

Teen Titans #1 is full of energy that befits our youthful heroes. Unfortunately, all of this energy is cut short thanks to too much dialogue and a main character who acts inconsistently to the point of distraction. While there are some interesting mysteries introduced here, too many things get in the way for this issue to really take off the way it was intended to. While the artwork on display here is wonderful in many ways, the sexualization of certain characters will be a distraction for many readers of this issue.

Kenneth Rocafort's overall aesthetic is definitely pleasing as his near-futuristic flare adds a uniquely youthful slice of coolness to this teen-starring book. There are also subtle little details that add a lot of polish, such as the flames reflecting off of our villains goggles. Again, subtle, but cool.

Robert Hack gives this book an incredible retro feel that evokes not only classic comics, but classic horror as well. His style is a perfect marriage that helps to bring this grotesque new world to life in an easy to follow yet perfectly stylized way.

The Dying and the Dead #1 is a fun mix of G.I. Joe, The Lord of the Rings, and old fashioned American heroism.

The world and premise are interesting enough and may very well be worth following. However, there is much to overcome as the dialogue comes off as oddly stagnant in many places and the characters don't quite come to life.

Grant Morrison's The Multiversity #1 is everything that fans have been patiently waiting for. The debut issue features amazing action with classic superhero elements at its foundation. However, there are layers of mind-bending treats waiting for the most diligent readers. Longtime Morrison fans and readers new to his work will both find plenty to love here including a huge story and a wide variety of characters, though it may have been nice to get a bit more out of everyone introduced. Finally, the artwork by Ivan Reis, Joe Prado, and Nei Ruffino helps to bring the story to life visually, though sometimes it feels like it misses a step.

The Multiversity #2 delivers in so many epic ways while teasing fans for the possibility of more to come.

Ben Oliver's pencils are a perfect fit for this world of youth, social media, and self-obsession. His slick pencils and character designs all fit well with the tone presented in the story. At the same time though, established characters like Kyle Rayner and Wally West are instantly recognizable as homages to their most beloved iterations.

The Multiversity: Pax Americana #1 is a story that is rich with homages to classic characters and classic comics that all build to a fascinating new world built by Grant Morrison. It's also filled with intriguingly heavy themes regarding the nature of storytelling and perhaps even our own reality. This is all backed up by the always-amazing pencils of Frank Quitely who tells this labyrinthine story with a deep depth of clarity. All that said, this issue might just be packed with too much for some readers who may find it overwhelming as a whole. Additionally, some may be disappointed with the lack of progression of the Multiversity-specific story.

Artist Cameron Stewart and colorist Nathan Fairbairn play incredibly important roles in this issue. They allow Grant Morrison the ability to truly evoke the Captain Marvel of yesterday. Stewart's illustrations are beautifully realized and capture both the modern feel of today's artistic aesthetics while also capturing the essence of these decades old characters. Fairbairn, for his part, succeeds is providing rich, bright colors that adds the perfect amount of polish to the final product.

Writers Brian Azzarello, Jeff Lemire, Keith Giffen, and Dan Jurgens show that, once again, the Frankenstein and Amethyst team-up are the strongest element of the series.

While this series has been rocky from the start and continues to be, it does feel like the creative team is starting to find a better grove. This issue is proof of that, and this feeling is aided greatly by artist Patrick Zircher and colorist Hi-Fi. Zircher has a solid style that screams superhero and Hi-Fi really makes these pencils pop.

Jesus Merino handles the artwork here, and his opening Stormguard pages feature some of the best art that this series as had so far. The design for Stormguard is already striking, but Merino truly helps to deliver his character with his classic superhero stylings. Beyond that, the rest of issue benefits just as much with clear action and easy to follow layouts.

Futures End is at its end, and unfortunately it isn't a very resolute one. Tim Drake makes it to his final destination, and this is the probably the best shock that this issue provides. While it certainly makes for some fun and emotional reunions, the reveal leaves one with the impression that we've been here before. Mainly because we have.

Andrea Mutti presents a style that accurately meshes with the overall tone of the story. The world presented in this book is one that is in a seemingly slow decay. Mutti's characters and environments are all somewhat askew, and this helps to sell the eeriness of the main premise.

While some scenes are overstuffed with exposition, the world and characters are set up quite strikingly that it's easily forgiven. This is due in large part to Templesmith's artistic contributions that drip with his trademark style and add many layers to the horrific world depicted here.

While the main premise is definitely intriguing, it's with these characters where the series finds both emotional depth and an interesting intellectual debate. In the end, a few scenes do go on a bit long, but the overall story is interesting enough to carry things through.

While this issue features a game-changing twist at the end, writer Matt Hawkins handles the scene a bit heavy handedly.

Murphy plays an equally important role in delivering this new world to us. His work is exclamation-point exceptional as always, and it is only enhanced by the rich and appropriately water-colored look of Matt Hollingsworth's contributions.

Sean Murphy and Matt Hollingsworth continue to prove that no better duo could have come together to tell this story alongside Snyder. Murphy's inks continue to define Snyder's world with his trademark style while Hollingsworth watercolor look tie things up with an impossibly perfect bow.

Charlie Adlard continues to bang out these issues with all of the artistry that we've come to expect from him, even with the increased pace of publication. There is more than one pivotal moment that occurs in this issue, and Adlard captures them all beautifully. His realistic style never fails to shine through in this issue filled with ruination, reflection, and retreat.

The quality of artist Charlie Adlard never dips. There is no doubt that this man is an absolute expert in drawing the garish faces of zombies by now, but his artistic efforts continue to impress with the human characters as well. There's a shot here featuring the arrival of a very large group of survivors to the hilltop that'll make you want to stop and stare at all of the minute details that help bring this zombie-ruined world to life.

Charlie Adlard continues to impress from the biggest to the smallest details. There's just something so simplistic and direct about his muzzle flashes. Somehow, even in black and white, these flashes jump off the page and are almost blindingly bright. It's tough to articulate, but seeing so many of those flashes rip throughout this issue perfectly illustrate the danger that everyone is in.

This series isn't popular because of zombies, it's popular because of its characters. This is something that Kirkman never forgets, and All Out War really seems to have found its characterizing focus on Eugene. He's had one of the more engrossing storylines in this arc, and this issue is only further proof of that. Other characters, such as Rick and company, aren't as developed in this issue, but that's forgivable given that their situation certainly begins to evolve thanks to Negan's devious and disgusting plot.

While there is a bit of zombie action, most fans will probably be a bit disappointed considering the portents of potential death delivered by this month's cover. However, where this issue succeeds is in its development of characters such as Eugene and especially Carl.

Charlie Adlard has recently gotten the chance to do new things and explore new territory. Here, we see how the Hilltop has fared over the years and how it's people have grown along with it. Adlard does a wonderful job with all of this, but falls flat a bit only when depicting scenes in the issue that look like they are bathed in daylight, but are supposedly taking place at night.

Charlie Adlard gets the chance to explore new parts of the Hilltop, and his design work continues to impress. The buildings look beautiful and the community looks full of life which is accomplished by Adlard's unique character designs and realistic acting.

What's been missing in large part for a while now is a sense of danger, but Kirkman brings that back in full force here with a new twist on The Walking Dead adversary. Hopefully these enemies will get our main characters back in some less idyllic situations soon enough as the biggest downfall of this issue is the fact that the only characters in danger here are those that readers haven't really connected with in a meaningful way.

Charlie Adlard continues to shine as fans have come to expect. As the action picks up, so does Adlard's pencils. There's a panel in particular that depicts speed particularly well which also gels quite well with the sense that the story is picking up steam again as well.

Charlie Adlard must consider drawing these characters second nature at this point considering that he's been doing this for so many years. However, that doesn't mean that he isn't capable of surprising his fans with his incredible acting skills. Once again, the focus here is on Carl's scenes which shine through with a vicious intensity.

Charlie Adlard continues to perfect his vision of this constantly changing world. There are plenty of emotions on display in this issue, and Adlard portrays each one perfectly. Inker Stefano Gaudiano lends a great deal of his talents to making Adlard's pencils just as sharp as they need to be to evoke these troubled times.

The Walking Dead #136 features the build up of several confrontations though one is quite questionable story wise.

The Walking Dead #137 is full of more than one shock and possibly the catalyst of the next major event in the series.

The Walking Dead has become a much more subtle book even since it's time jump. Subtler in the sense that it's just not as clear as to where this story is going as it was in the past. Before, this was a book about survival, but for many issues now it hasn't been easy to say, definitively, what it's about. For fans frustrated by this fact, issue #138 seems to give us a very big clue as to what, or more accurately who, is coming next. Once again though, the revelation is subtle, but delightfully horrifying.

Robert Kirkman has been slowly rebuilding the world of the Walking Dead. The fast pace of this series has slowed significantly, but this issue changes all of that. There are several elements that all take intriguing steps forward including a cliffhanger that will leave fans wanting more. Charlie Adlard produces some great layouts and realistic facial expressions, but some of his other shots come off with a little less control.

The Walking Dead #141 by Robert Kirkman presents a major turning point, plus Negan being Negan again!

Robert Kirkman's The Walking Dead #142 features two major bombshell developments that readers simply cannot miss.

It's still not quite clear where this story is going, which is a bit of a concern two issues in, but this title continues to be intriguing and challenging.

Christ Metzen and Flint Dille present a very grim version of The Transformers in this debut issue. While it claims to take place in the early days of the "war for Cybertron," potential readers should be made aware that this issue makes references to several other Transformers titles that have come and gone. This fact doesn't make this issue unreadable by any means, but it will probably make new readers feel somewhat out of the loop.

The theme of this limited series revolves around the question "Do superheroes need supervillains?" While the themes explored here are nothing new, the writers manage to throw in some imaginative characters and an intriguing complication

The character work being done here is as sharp as ever, and the world that these characters inhabit are getting more and more detailed as each issue passes.

The 200-issue legacy of Peter Parker is celebrated in a way only Bendis can deliver -- with bountiful amounts of dialogue, supported by some of the best artists in the business. While the out-of-place cliffhanger and one or two quibbles with the art stop it from being as good as it could be, it's still an amazingly-executed comic book that does what it sets out to do, which primarily is to make you cry.

Artyom Trakhanov's artwork is strikingly stylized. His colors are incredibly rich and bold, providing contrasts of blue and green water with red, red blood. This whole thing is gorgeous, and the scripting and art work together seamlessly to give us a tour of Atlantean life, technology, and philosophy that you'll be itching to see more of.

Artyom is proving to be helpful in this regard. His characters are all unique with intricate details and unique color palates. His art also adds an infusion of humor in this otherwise dour world that helps to connect us with the story.

This issue strikes a very dark and supernatural tone that horror fans should feel very comfortable with. Longtime readers should appreciate the story found here though readers giving this #1 a chance won't find much in the way of explaining who Vampirella is or why she fights the good fight.

We Are...Robin! #1 introduces readers to an interesting story, but doesn't quite prove its necessity...yet.

There is an unmistakable point of view espoused in this story, and while it's certainly an important subject, it might not be something that everyone wants to hear.

Goran Sudzuka's pencils are often quite pleasing with obvious care taken to little character details and backgrounds filled with "set dressing" when appropriate or blank when the action up front is deserving of focus. However, there are a few moments when Wonder Woman is awkwardly barrel-chested or is making strange grimaces for no apparent reason. This is a bit of a distraction from time to time, but it is fortunately a rare occurrence.

Cliff Chiang is simply meant to draw Wonder Woman, and this issue is yet more proof of that.

Brian Azzarello and his artistic collaborators have succeeded in giving one of DC's most essential characters a brand new lease on life. His epic story culminates beautifully with a strongly reinforced theme that calls to the core of Wonder Woman herself. The villains are dealt with, longstanding mysteries are resolved, and our titular character is celebrated in a clever and meaningful way. All of this is illustrated wonderfully by Cliff Chiang, who comes back to finish what he started three years ago. The only issues to be found is a missing of a majority of the supporting cast and a need for a more finalizing epilogue.

R.B. Silva is an artist who can produce great work"when he chooses to. His panels and character models can often be hit or miss, as they are in this issue. There are moments here that are clear and full of energy, but there are also moments where it's tough to follow the action, and you'll find yourself doubling back to figure out what's just happened.

There are many things about this issue, penned by Paul Levitz, that will leave you scratching your head. There is more than one instance of downright distractingly strange dialogue exchanged between Power Girl and Huntress.

Michael Walsh captures the visages of the Lone Gunman in a cartoonishly stylized, but adorably uncanny way. Jordie Bellaire handles the colors here, and somehow manages to make the Turtles pop when they need to, while keeping things dark and creepy for you X-Files fans.