Minhquan Nguyen's Comic Reviews

Reviewer For: Weekly Comic Book Review Reviews: 1536
7.4Avg. Review Rating

Besides being mostly a waste of time and an unforgivable and wholly unconnected interruption to an important storyline, it is also occasionally crass. Burnham's enthusiasm is apparent, but it's improperly channeled.
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For a whole issue of clichs, it's only appropriate I remark on it with an old one: this is the perfect example of how to not write a worthwhile comic.
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My jaw is to the floor"not in a good way. It's just appalling how this title, in the same hands that brought it such terrific storytelling for over a year, has suddenly turned almost hackish. I can't bring myself to take any more of this; consider this Dropped.
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I can't imagine it took Willingham much effort to write this, nor Leialoha to draw it. Certainly, neither built their reputations by such blatant phoning-it-in.
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Underwhelming writing and poor art make me think it's wisest for me to lower my expectations even further for the conclusion of this series.
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It's safe to say Flashpoint has produced some of the biggest dogs of the year, and this one certainly counts as one of them.
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A pointless exercise in gratuitous violence that does nothing to enlighten us about Grodd's character or the Flashpoint world. Yet another debut that lands this series instantly in the Dropped List"no amount of inspiration in the next two issues can make up for this one.
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Even with a fairly terrible story arc, I'd stick around to the end just to see how things wrap up. With a nonexistent plot, even if the final issue of this series ends on a high note, I still won't have any reason to care. Consider the tie-in Dropped.
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You know the signs of a bad read when you see them, and they're all over the place here. Consider this another tie-in falling into the Dropped List.
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Almost the only redeeming point about this issue is that it's a one-shot, not the first of a three-part series as the cover indicates. It's also not the least worthy offering from Kolins; we already had that two weeks ago.
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Clearly, some extra time, pains, and thought had to be put in to make this story work. The best thing you can say about this issue is that the writing and art are not the worst.
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It just becomes increasingly difficult to find things to like about this series. Word of warning: if theres no drastic improvement by the 50th issue, Im doneas I suspect many of us already are.
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The series seems to be dragging its heels, trying to figure out which direction to take its so far monotonous storyline. Unlike past issues that advanced the story somewhat, this issue throws you a chicken bone of new information, leaving you emotionlessly anticipating the next installment.
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What would be an easily ignorable filler issue is impossible to ignore as it interrupts a fairly crucial storyline and tells a rather thoughtless tale to boot.
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Reign of the Doomsdays may not be the worst crossover storyline DC has ever produced (e.g., Amazons Attack!), but it's a strong contender. I can't wait until Cornell can use his chops for something worthwhile again. Unfortunately, that's still at least three issues away.
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The enormous lack of originality and imagination has finally sent this title to the Dropped List, officially and unfortunately ending my attachment to the Legion for the time being. Maybe I'll see all you Legion-heads again when Legion Lost #1 (written and drawn by the always dependable Fabian Nicieza and Pete Woods) comes out.
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It's been a long time since I've given a grade worse than a C- to anything, but this issue is a bit of a mess in plot, tone, and art, and trips itself even further by relying on some amazingly bad jokes. Obviously Dropped.
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A flat look at Aquaman's biggest foe that makes almost no attempt to improve the character. If that wasn't disappointing enough, the issue also duplicates far too much material from Forever Evil without adding new spin. It shouldn't get credit for cloning another's work.
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Ill-conceived as the first two chapters of this arc have been, it is quite a blow to receive such an unrewarding conclusion.
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As ill-conceived as the last time Pak wrote a Mongul-related story, the annual is barely held together with solid artistic efforts and your own good graces.
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What appears on the surface to be a belated attempt to do right by the title's predecessors only tarnishes their legacy even more with a conclusion lacking any good-faith effort to capture intent and spirit of what came before.
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While Birds of Prey may be returning in name next month, we all know it won't be the same title we love. But then, it hardly matters; this last arc has made the series virtually unrecognizable, a poor shadow of its former greatness.
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This series as a whole demonstrates that we may never learn that gathering a bunch of popular stars is far, far from a guarantee of success. A waste of time for all involved.
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A misguided story in almost every way, practically its only value is in convincing you that Damian saved himself a lot of heartache by dying. There are worse things than death, as this issue demonstrates. Dropped.
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DC essentially takes half the characters canned within the last year, many of whom failed to generate any popular appreciation whatsoever, and delivers using a hodgepodge of writers and artists of varying quality, many of whom never worked on the original properties. The fact this project made it out of editorial tells you they have quite a bit of tolerance for risk over there.
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No matter how well illustrated, a mindless action issue is a mindless action issue. Even worse, the action doesn't seem to lead anywhere nor provide any plot development in between.
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Somehow too much and too little at the same time, we can only hope this issue serves as a Viking death ship to all the thin, ill-conceived, poorly executed storylines of the DC of yore. In any case, it's a pretty good example of one.
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Uneven art and rather unoriginal, repetitive writing makes for a title which never took the time to reflect on what it wanted to get even out of itself.
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Let me put it this way: if you read/own Green Lantern: Secret Origins, you don't need to read/own this issue. Unless you really care for shark-men.
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With all its importance shifted to another character in another title, this series has no value in itself, hardly deserving any attention on your part.
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Never really touching upon a core mission statement or plot, the Resistance becomes so uninspiring you think it'd be easier just to sit quietly and let the Amazons be self-righteous all over you.
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There's little point in keeping up this charade of interest any longer; by the looks of it, this title is well on its way to going out with a whimper, and no one really wants to see that. Consider this Dropped.
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A comic book that's clearly going through the motions. There isn't even much value in skimming.
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Perhaps this is just the darkness before the dawn, but you have no confidence that the dawn to come will offer anything other than a waning glimmer of light. Dropped"and unceremoniously, I might add.
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For a lot of reasons, this issue serves to underscore the fundamental weaknesses of the series as a whole, particularly since Guggenheim took it over. Depending on the quality of this arcs conclusion and the start of the next, I may just drop the title altogether.
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Katana's a hard sell to begin with, and to impose such weak creative quality to the character will only damage her in the long term. It's a problem when she gets better material in her ensemble work than her own solo series. Usually, I give a title one arc before Dropping, but since I don't even have much of an idea where one arc begins or ends on this series, given its aimless plotting, I'll just make it easy on myself and Drop now.
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Decent art cant make up for largely mediocre storytelling. This issue goes almost nowhere, and can be easily skipped without missing a beat. If the next installments dont lead the series in a consistent direction, then theres not much hope that this revived incarnation of the Legion will outlive its predecessors.
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A lifeless conclusion to a plot that had no apparent effect on any of the characters or their world. There are lots of plots established for this series; none of them are getting the focus they need to be entertaining.
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Despite the overcharged emotions and face-offs between Legion heroes and Legion villains, nothing of value happens this issue, making the start of the new story arc discouragingly dull.
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I'm officially reaching the threshold where this comic provides too little meat for the value. Unless some drastic improvements pop up, this title gets the drop from my pull list.
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Whatever the upcoming DC relaunch means for the Legion when it comes back in a new #1 in September, but whatever it is has caused Levitz to just throw his hands up on the current title, which convinces me I should follow suit. Consider this title Dropped.
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And so, with one last gasp, R.E.B.E.L.S. crawls to its end. Though I wish I can say it'll be missed, I actually don't wish any such thing.
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Substantially and tonally, this special mostly goes against what you love about McDuffie: his attention to detail, his open-minded outlook on race, and his light-hearted tenderness. He really deserved better.
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Though I have no idea who Kelly Sue DeConnick is, I look forward to her takeover of this title next month. May she save this title from falling into my drop list.
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A confusing mess of arbitrary plot developments with clueless art to boot.
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This is not only phoning it in on the most basic level possible, it's not even a halfhearted attempt to phone it in with some kind of effort.
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Though Teen Titans under Krul's hand has never come close to its early glory days, this issue is the most lifeless it has ever been. Were it not for its relaunch in two months, this title would be well on its way to the Dropped List.
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You'd think revolving an entire issue around one character would do more to make her palatable, but almost the opposite effect happens. This series is dangerously close to joining its sibling on the Dropped List.
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Even by the lower standards by which a title like this gets reviewed by me, it's barely scraping the bottom of mediocrity. It's entirely possible this is just a bump in the road for the otherwise decent series, but at $3.99, I'm not sure it can afford even that.
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The Others was one of the best concepts to come out of the new adventures of Aquaman, but each time Ostrander works with them, he saps away a good deal of your interest. Some advice to the DC bigwigs: find someone with tighter writing skills and a bigger vision to do the Others, lest you ruin their already damaged potential.
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Forgettable in script and art. For those possibly panicked by the issue's scarcity, don't be; it's not nearly worth the five bucks you'll be shelling out.
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Weakly, even shoddily constructed at nearly every turn in almost every manner. Even if things improve from here on out, it's impossible to believe it'll be dramatic enough to redeem the damage already done. Dropped.
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Though tempted to stick around to see what Simone can accomplish with frequent and sympathetic collaborator Ed Benes, I think a year's worth of disappointment is enough. Functional should not be the standard by which this writer operates with this character. Dropped.
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A rather pointless kind of read, largely devoid of the complexities that make Bane such a great character and Tomasi such an admired writer.
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For an issue ostensibly about Doomsday, Doomsday is the least interesting figure in it. It's most useful for those who missed Action Comics #23.2: Zod, but even then you won't get much out of it.
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A strange, pointless, and discouraging read in almost every way. Taken together with the uncomfortable creative changes on this series, this should be a red flag to escape before things get worse. Dropped.
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And thus ends another female-led title's run on my pull list, much to my disappointment. I wouldn't mind coming back someday, but to be honest I've just plain lost patience with seeing where this title wants to go. Dropped.
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Of all titles, this one needed an origin issue and Robinson almost squanders it completely with a dull narrator and even duller exposition. The truly mediocre art doesn't help.
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In terms of writing, this is something of a low point for the series, saved from complete scorn by Scott's artwork, but even that won't stave off your dissatisfaction for long.
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Another bit of proof that although Robinson's failings lie more in execution than substance, his execution is weak enough to defeat the quality of the work as a whole.
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An issue with so little to recommend that already you're not looking forward to seeing the rest of the arc.
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It's only been five issues and it feels like fifteen. You are more than ready to get this over with.
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By neglecting his storytelling homework, Palmiotti winds up with a story that works, plot-wise, yet still fails to capture your attention or interest.
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Gorgeous art can't mask underwhelming story, I've always said, and this issue is good evidence of that.
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You can easily get onboard with the star character, but not with the story, and ultimately, it's the latter that really matters.
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As relentlessly unimportant as it began, this title may finally be laid to a deserving, much appreciated rest.
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Mediocre from back to front, from beginning to end, you wonder if any effort is being spared for the sake of innovation at all. Dropped.
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Writers who feel like they can make major changes without explanation can't be trusted. Dropped.
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Overall, an oddly silly plot with a lot of unearned moments. Only the art gives you little to complain about.
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The character work almost completely disregards the cast's established personas, and there seems little direction or focus to the plotting at all. The artwork deserves better scripting. Dropped.
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Some appreciable art and a few storytelling choices that are ambitious if nothing else, and we finally get a Kolins issue that isn't completely not worth your time"just enough for a brief skim in the shop, nothing more.
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The law of averages can be a pain, huh? Tomasi very quickly erodes much of the street cred he earned on his other ongoing with one of the most pointless issues of GLC yet.
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It's a shame the character work is so poor on this title, as the plotting and art aren't so bad at all. But I have no desire to read my favorite superheroes when they're unrecognizable. Dropped.
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As it turns out, leaving this title for Dropped isn't so hard after all. A thoroughly underwhelming issue sure takes the sting out of a break-up
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After reading this issue, it should come as no surprise to anyone one why this title faces cancellation in a few months. The completely bewildering plot, the flat characters, and the lifeless art all make for forgettable reading.
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Issues like this only serve to convince you that the League is better off as dead legacy heroes in the 31st Century.
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One more issue just to see where this title is going, and I think I'll probably be done. It's gotten too hard to overlook the problems with the story, and it simply lacks the subtlety and richness its brethren "Dark" titles has.
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Justice League Dark now has the distinction of being a title that I've Dropped twice in one incarnation. As painful as the decision is this time, what with the potential of the creators onboard, it still ultimately feels like the right choice.
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Generic to a fault, and so much of it feels pointless and unnecessary, thanks to a lot of poor decisions which make the characters seem petty, shortsighted, and gullible.
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If I had any optimism that Trinity War might reignite my interest in Justice League Dark, it is deeply disappointed by this uneven, flat, largely aimless read.
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From the start, this title has never made a very good case for its existence, and even after reducing its character load to two, it seems incapable of producing a distinctive or memorable story. Dropped.
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Gates' story suffers largely from mistiming. He really needed to spend more time earning his dramatic twists instead of just piling them on in an attempt to generate interest. Only strong art saves the issue from being a total wash.
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A haphazard issue that throws a bunch of plotlines at the wall, but none of them stick long enough to be of any entertainment.
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An incredibly slow crawl to a storyline that just wont buckle down and figure itself out.
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You might say this issue concludes our hero's first outing and exposure to the comics-reading public. As such, it's very unimpressive indeed, doing little to ingratiate the character or engage our interest. There are too many titles deserving reading for me to keep up with one that's so stubbornly middling. Chalk this one up as Dropped.
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In the wave of DC titles up for cancellation, some seem undeserved, others sad but understandable, and others no-brainers. Unfortunately, R.E.B.E.L.S., for a lot of reasons, falls hard in the third category.
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Life's too short to spend on a series that can't offer even one significantly interesting character or plotline in two issues. Dropped until further notice.
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A rather unnecessary excursion into some old questions about Superman which never really gains much steam or interest.
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This final issue perfectly encapsulates all the grief people have taken with this title: a careless, thoroughly disengaging plot with cheesy dialogue and unlikable, high-minded ideas.
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Prez offers a title that's merely functional, but completely inert of true life. It offers drama without genuine emotion, action without energy, conflict without suspense. Worst of all, it puts an A-grade artist on strictly C-material, which is very poor sport indeed. Consider this title also Dropped.
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Fulfills nearly all your worst expectations of what Doomed could be.
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How far the mighty have fallen indeed. At this point, you're just white-knuckling your way through the next month to get at the next arc, hoping a fresh start will bring back the magic of the series again.
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A thoroughly inadequate, undeserving conclusion to Spencer's biggest contribution to DC Comics (not to mention Cafu, Bit, and other great collaborators on this series), which now seems like evidence he's been treated very ill in the wake of all this relaunch business.
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Unfortunately, I'm not in charge of this title because I would never have let it go out on the stands if I was. However, I am in charge of my pull list, and I am more than ready to Drop the series come next issue if things don't drastically improve.
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A disappointing end to a promising premise, serving only to remind us that the Teen Titans arent what they used to be, story-wise and creatively.
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Seeing how the team will go through a more substantial reboot in a couple months, and how the current title has lost most of its readability (save Scott's always striking art), I may as well save myself an issue's worth of moolah and send this series to the Dropped List.
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Its really too bad the miniseries has turned out to be pretty much a dud, since the one-shot released before the first issue had a lot of strong qualities and potential. In the end, The Mighty Crusaders offers a very lukewarm argument on why they deserve to exist alongside the other great DC heroes. The tag at the end of the issue, left by the series editor, isnt a good sign either: The Red Circle is closedfor now! I wouldnt wait up nights for their second coming, if I were you.
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The issue strives to grab my attention, and yet most of the time I find my attention wandering elsewhere"not unlike my reaction to Occupy.
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Hogan wallows in costumed conventions, with only superficial, completely ignorable pretenses towards contemporary relevance. Only Sprouse's art saves the issue from utter ignominy. I don't often do this with minis, but since this one's not worth finishing out, it is thus Dropped.
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Way for Diggle to bring Superman back to basics"so much so that he lacks any novelty or freshness whatsoever. Dropped.
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Mindless without the redemption of being entertaining most of the time.
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Doomed is over, but its dulling effects linger. Pak retreads old ground and continues in the same direction.
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An odd, simplistic little fable that doesn't really take advantage of the five-year jump, nor will it stand out to anyone reading for the first time.
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If Levitz will wise up and get rid of these largely disposable "co-features," and if Jimenez or his equal returns to art duties, this title may recover its early momentum. If not, it's likely to become as bland a read as its sibling series.
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I had higher hopes for this series, given its premise, but it's never really capitalized on its promise and it doesn't look like it will do so anytime soon. Dropped.
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It's truly amazing how low this title has sunk in the last few months. It makes you wonder if it's special enough to keep the faith in anymore.
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Given the utter shallowness of the villains at work here, it does seem like Lemire is simply phoning it in at this point, perhaps too occupied by Justice League happenings to focus on smaller fry. I don't know how much more of this merciless mediocrity I can take.
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At this point, it's hard to tell whether your discouragement with the title is due to the seemingly endless tragedy it produces, or due to its wearisome execution.
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The first completely Arthur-centric issue in a long time and it's one of the least exciting. Not a good sign.
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I understand that this issue is a one-shot tie-in, but the quality of this series has been degrading for a long time, regardless. I'll stick it out a while longer because Simone's attached to it, but I might as well say right here I don't have much confidence she can turn things around.
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It takes a bit of effort to get a handle on what the story's even about, much less whether it's any good, and the art is ill-suited to convey its dramatic weight.
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The story could have been great, but it needed more time and thought than Lemire got or provided. With so many issues in a row being this disappointing, I'm starting to think this series isn't worth the $3.99-a-pop investment.
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Too erratic and indecisive to be worth the extra money it charges. Dropped.
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It's the gift that really needs to stop giving. A very good piece of evidence that the Court of Owl's time has run its course.
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No surprises here. Regardless of the time and person, Robin is always there for Batman.
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One thing's for sure; if too many issues of Batman Eternal are like this, I won't be able to tolerate it for very long.
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Whether this is a case of too many cooks, or too few, or simply not the right cook, this series has gone from promising one of the best storylines of the year to most deteriorated.
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A few months ago, this looked to be one of the best products coming out of DC for the year. Now, it's yet another of a long list of titles that illicit nothing more than resigned sigh.
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Shoddy character work, a fairly straightforward plot, and insipid art combine to produce an unimpressive conclusion to an unimpressive arc. Most likely Dropped.
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Conceptually, the issue has a lot of merit, but the execution falls flat in almost every respect, making it very hard to distinguish itself among the many excellent Bat-titles already on the stands.
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About the only things still recommending this title is redeemable writing and competent art, and that's simply not enough for the long haul. A shock to the pace is seriously needed for Batwing to stay off the Dropped List.
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While Swierczynski is entirely capable of writing a good comic, he has completely lost his sense of focus for this title, and the upcoming #0 issues can only distract him further. Kudos for lasting a year, but this title doesn't seem destined to avoid the Drop List longer than that.
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Everything you need to know about what happens in this issue, you can get from the title and the cover: John Constantine's searching for Swamp Thing. Batman and Zatanna show up at some point (though Superman doesn't). That's it, see you next time!
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Its intentions are good, but ultimately, it falls flat from trying way too hard to transform its protagonist into something she simply isn't at the moment"a hero of iconic proportions. Having been less than enthused for a while now, I think it's time to Drop the series for better things.
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I stuck it out for as long as I could, but I think it's pretty clear by now that I'm not enjoying myself very much. Whether it's my failure to appreciate Nocenti's work or a failing on her part, this title is Dropped either way.
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This series started on weak footing and sadly seems committed to that pace. I think it's safest to cut my losses and Drop it before I get trapped in an inevitably disappointing relationship.
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The Summers men achieve their objective smoothly"too smoothly, in fact, leading to an unremarkable issue across the board.
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While it may seem like Parker is winding down to ready for the takeover of a whole new set of Thunderbolts, the truth is this series lost steam some time ago.
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A title concluding against its will never looks pretty, and although Parker tries to be as graceful about it as he can, it's obvious he's not quite as in control of his story as he'd like to be. I have no intention of seeing this cancellation play out to the end. Dropped.
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A long, rambling talking-heads issue that clears up absolutely nothing except Deadman has one more enemy to worry about.
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Beyond the flaws of the story and the unflattering portrayal of the character, I want to alert DC to the misuse of the title's format, which now seems better suited to one-shots or two-issue arcs. At least if the story's a dud, you can get over it quicker.
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Even my optimism can't convince me that there'll be significant improvement enough in the next few issues to redeem this one. Neither the art nor writing are as striking as the title.
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Although not surprising in the least, it is nevertheless still disappointing that this title sings its swan song on such an unmemorable, sour note. I say farewell with pity, but with no sadness.
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Venditti hasn't earned enough of my loyalty such that I'd be willing to stay on a sinking ship, and issues like this can only convince me the decision to axe was the correct one. Dropped.
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Unfortunately, most of the qualities that made Layman's earlier offerings on this series so enjoyable are absent in this issue, which makes you once again ponder the value of having so many Bat-titles.
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Overall, it's just a mish-mash of vaguely formed parts that never quite gel into an appealing whole. I give the series a couple more issues to stay off the Drop List.
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For a whole issue dedicated to an infamous villain from an infamous dimension, the story is sadly forgettable. A couple more outings like this, and I'll have no choice but to Drop the thing altogether.
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It may be that curiosity and brilliant art alone are not enough to keep me invested in this second Earth. I desperately want to like this, but Robinson makes it harder and harder with each uninspired issue.
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In execution, Robinson seems to stumble at every step, turning what should be a fairly solid issue into an eye-rolling slog of a read, barely saved by Scott's artistic efforts.
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At this point, I'm just white-knuckling it until Robinson departs, in the faint hope that the next writer will be some kind of improvement. At least the art remains the only reliable source of strength for the title.
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I really, really, really want to like this series, and I'm even ready and willing to like Taylor's scripting, but the plot proves to be too obstructive for even goodwill to overcome.
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Such a lifeless start to a series can only signal more disappointment to come. Preemptively Dropped.
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A disappointingly passive conclusion to what should have been the most fraught battle of the Fables' lives.
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Nothing to see here than an old villain gnawing on the bones of aging schemes.
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Another issue, another lame death. We can only pray Fables doesn't end on the lamest one of all, though the signs are pointing that way.
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Williams' storytelling is the very definition of merely functional. It makes sense and operates logically, but it doesn't have that necessary spark of creative energy nor the heart to make you care.
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A hopelessly rushed affair with little credibility, it's best to describe this mini as a bunch of good ideas with suitable art, but nothing more.
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With Flashpoint on full focus, the personal stuff in Barry's life gets much weaker treatment. It doesn't help the regular art team's been exchanged for an inferior replacement.
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Rather than chipping away at their flaws, Manapul-Buccellato's shortcomings as writers have only grown more pointed with each issue. Close as we are to the one-year mark, I may have no choice but to Drop this series for better things.
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The story seems to be spinning its wheels in place as we continue to crawl forward. We can only hope that the last parts of this series gets itself in high gear to make up for it.
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Though we have one last issue to see how things will turn out, I think it's safe to start your mourning for what could've been a far more epic storyline had more time and care been taken with its execution.
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Despite everyone behaving as if the universe is going to end (because it is), the issue is strangely lifeless and unconvincing.
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I thought Bedard had managed to turn in a fairly solid showing last time, but weak writing will catch up to you, sooner or later.
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DnA clearly have a promising story in mind here, but poor pacing and completely inappropriate art drags the enjoyment down considerably.
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With a plot completely subservient to another title altogether, it's no wonder this series makes an unsatisfying, bland, largely disengaging finish.
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Granted, I came into this with grave doubts about Kindt's ability to prop this title up after Lemire left, but it's disappointing nonetheless to be proven mostly correct. Well on its way to Drophood.
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The art proves to be a worthy successor to what came before, but the writing does not, making missteps in its attempt to do something new and in the process trampling on what came before.
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An action title that's shockingly light in action in some places, exposing its weakness at dramatic storytelling.
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Mostly shrill, bitter, strident, or weary in tone, this issue shows in rather senseless execution that true love isn't all it's cracked up to be.
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Kudos to Pasarin for some terrific action, but otherwise the story feels distinctly like a throwaway, which is not the best way to lead up to a finale.
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With this issue, I've hit my limit of Harley Quinn's murderous antics, not to mention the title's generally uninspired quality. Dropped.
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In a different context, this issue might have been an enjoyable filler, but in the context of a series that's had exactly one exclusive story arc, the plot just seems an unaffordable luxury.
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What's here is appreciable, though there's not much of it. Not enough for what you're paying, at any rate.
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It could've been a great issue if there was more integrity to its political spin, but when you're not all that interested in the hero anyway, what does it matter? Dropped.
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While I admittedly have appreciated the historical nature of this mini, I never meant that it should become an actual history lesson.
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While I don't know how many Superman-Wonder Woman shippers there are in the Justice League audience, I do know that by now people will talk about hardly anything else. It may even be enough for them to overlook the larger problems with this series.
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While the premise of a cloned Justice League is interesting, Giffen-DeMatteis and Porter do nothing else to recommend this issue or validate the existence of yet another Justice League title.
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Darkness is all well and good, but an occult title needs more than that to truly sing. Besides, the issue suffers from underwhelming writing, short-selling character work, plot development, and backstory for viscerally grim scenes.
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A pedestrian read in almost every way, at times almost blatantly poaching off old storyline formulas. It so sincerely and desperately wants to be up to par with the majors, but the spark just isn't there.
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At this make-or-break stage, Jurgens still hasn't proven the JLI beyond its concept. The characters are relentlessly one-dimensional, the plot thoroughly cut-and-dry, and the writing mostly shallow and bland. Score another one for the Dropped pile.
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Mostly, the story and art (in both features) are just functional. There's not a single spark of originality and hardly even an attempt at it, which bodes very badly for such a major series.
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Redundant, repetitive, and not nearly as well executed as his previous issue, it once again convinces me that it's time to put this title on the Drop list.
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Had this series remotely resembled any of Akira Kurosawa's works, it'd be more enjoyable than it is. Instead, it's all Nocenti with her trademark confusion and looseness, with some forgettable art attached.
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Admittedly, this title has been shaky for some time, and the numerous scripting problems in this issue signals some red flags for DeFalco's takeover starting next month. This title's already landed itself on the watch list to be Dropped.
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A decidedly uninspired adventure for only five Legionnaires, so dont expect gripping action or drama. It really takes the annuals general feeling of a glorified filler issue to the next level.
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Mr. Terrific may have all the necessary qualities to be a prime candidate for The Bachelor, but so far, nothing really recommends the notion that he deserves a solo comic book title.
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The issue never diverts from its formulaic appeal, and only superficially separates the titular hero from the rest of the pack. An underwhelming effort overall.
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Fitting for a comic revolving around fashion that it's more about image and attitude than substance. Edginton makes inefficient use of his time, resulting in an issue that fails to make you understand why you should care about Looker.
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Against my better judgment, I think I'm trapped in seeing this series through its end, even though this issue has sucked away any confidence I had that I'll enjoy it.
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Easily forgettable. The only thing you need to get out of this mini is that Staggs deserves to strut her stuff on better material.
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Were R.E.B.E.L.S. a Green Lantern title, this issue would deserve solid marksbut its not. The series continues to suffer from a lack of direction and conflicts of cosmic proportion, exacerbated by uninspired art. Its really too bad, since there is so much potential in the cast and their line of work, but theyve done little so far to merit special attention.
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R.E.B.E.L.S. is missing a sense of direction for its story and characters. Each issue seems to be desperately buying time until the series can finally figure out a mission statement for itself. With mediocre art and limited character work, there's little to regard this title as special.
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Shortcomings in both the writing and art make DC's only non-Green Lantern dedicated cosmic title unappealing and a bit dull. If improvements don't show up soon, I may just drop it altogether.
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This issue offers just slightest spark of liveliness, demonstrating a hint of potential quality had Bedard chosen to concentrate his writing in different ways, but too late, alas, too late.
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A questionable story development executed in the blandest way. It gets the job done without selling you that it's worth it.
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This comic has gotten a little too big for its own britches. It expects respect and attention for the far reach of its ideas, but delivers very scant story in return. Unless the next issue blows minds, this series will land rather unceremoniously in the Dropped List.
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At this point, you don't really care if the world ends or not, as long as the story ends with it. To the Dropped List this title goes.
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A weak attempt to catch up with the Marvels in a rapidly growing and changing DCU, this one-shot does nothing to change the status quo. The characters are left much in the same state as they had before, which is sadly uninteresting and redundant.
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Decent enough for persual in the store, but not enough to actually purchase for personal ownership. Dropped.
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This title has the distinct potential to be a strong, entertaining series: it has a likable star, a few worthy storylines, and some cool concepts. But it's also undermined by forced dialogue, predictable execution, and weak art. I have it in me to stick it out for one issue more, but the prospects of dramatic improvement are very low indeed.
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Like some breakups, I find it hard to explain why my feelings have changed on this series, but the fact remains that the spark is gone. To Suicide Squad, it's not you, it's me (which secretly means that I think it mostly is you). Dropped.
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If Superboy's hero-villain persona hadn't been exploited so many times before, this would have been a much more powerful story, though still solidly told. Unfortunately, art by committee shows one of its worst examples here, making the title's look still its weakest point.
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As characterizations go, it's not bad, but the writing is incredibly talky, yet none the livelier for it. Frankly, I wouldn't have minded it if the cartoon version of the character had been used as the basis for this revitalized one, because what you see here has a ways to go.
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As rudderless and repetitive as ever, three issues hasn't been enough to establish a clear agenda or personality for our star. Underwhelming on nearly every level.
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My attachment to the character will get me to stick with this series for another couple issues, but it's hard to muster the optimism that things will turn around for the better.
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And just like that, the good grace it received last time goes out the window"completely. With so many problems in the writing and plotting, it just makes to send this title at last to the Dropped List.
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If this is the direction DC wants for Supergirl, then Im afraid Ill have to place my support behind Spencers. Whatever it was, it had to be better than what were getting nowtoo bad we wont ever get to see it.
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A decent and functional approach to writing the Maiden of Steel, but that is not enough to guarantee longevity for any title in this crowded market. Time is running out before Supergirl joins its many siblings in the Dropped List.
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A rather drab read, pulling out all manner of dynamics and plotlines we've seen way too often before"frequently with these very characters in this very title.
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More of the same, which is not enough, and riddled through with pacing problems and unfortunate story choices.
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Pretty pictures; forgettable story. I'm very tempted to go on hiatus with these titles until Doomed is over. Stay tuned.
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So we're back to the same old Doomsday nonsense, reversing many of the gains previous chapters have made.
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A woefully inadequate and pedestrian back-up mars an already mixed bag of a main feature.
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Some stories take time to make good on their potential, but unfortunately, this title hasn't got that kind of time. As disappointed as I am that this creative team is getting the ax just as they get started, I don't have so much loyalty to remain with a sinking ship. Dropped.
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I don't want to speak too soon, but I'm getting the feeling that Talon may well join its Third Wave brethren in my Dropped List if it doesn't get its act together very, very soon.
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I had my doubts about this series to begin with, and over the last six months, I've been given no reason to dismiss them. In Dropping this title, that makes a clean sweep for DC's Third Wave. Here's hoping the fourth one will be better.
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A pity, because Jordan can write better than some other folks on the DC staff, but his talents are wasted here. This is more of a case of boredom than outright terribleness, but either way, this book is officially Dropped.
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I'm willing to stick it out for another issue or two, at least to see if the gathering of the actual team will shake off the blandness and get the plot moving, but so far, the title feels soundly run-of-the-mill.
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There's just enough integrity left in the story to keep me in at least one issue more, but I bet it won't be enough to hold onto me after that, especially since there's no sign of any change-up in the awfully mediocre art.
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As promised, I stuck it out another issue to see if the story can pick itself up and live up to its goal of being a game-changing thriller. It has not. Dropped.
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The Movement's radicalism did little to actually move you, but the establishment of The Green Team isn't exactly inspiring either. Dropped.
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For all its pretense at commentary, The Movement is at its core a superhero series, and sadly, that defeats much of the novelty and significance it might otherwise have. Williams' weak art practically finishes the job of establishing this series as a disappointment.
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It's a very good thing this issue is free, although that bodes ill for the coming, priced issues of Futures End.
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A plethora of characters and none of them likable enough to be worth investing in. Futures End has one more issue to impress me before I staunch its weekly sap on my wallet for good.
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DC has a lot of great ongoings and minis out right now, and in these hard times, I had better put my money into them rather than middling efforts, which The Ray certainly is.
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Waid still has a chance, if an increasingly smaller one, of redeeming the series, especially if he can get a stronger artist on his side. However, the story is quickly becoming a reminder of why the pulp genre went out of style.
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Another passable Futures End tie-in, one that feels like a weak copy of the storyline already running on the series.
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I think I have just enough patience to stand one more month of this, but unless the creators can change up their decades-old storytelling tactics, I don't think I want to stick around.
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The writing remains as acceptable as ever, although the switch to a more standard fare artist dips the overall quality. Dini should focus more fundamentally on characterization and world-building more than trying to create challenging conflicts for his lead.
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A touching back-up feature, a competent (but not inspired) retelling of Superman's origins, and a completely disconnected plotline makes this issue one severely mixed bag.
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Yet another disappointment from one of DC's "flagship titles. It simply doesn't bring the great and grand Superman tale we've all been hoping for, which means thus far, the new DC has done little to revitalize its trademark hero for a modern audience.
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The best thing that can be said about this issue is that it's an interesting experiment that doesn't quite pan out as anyone would hope.
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Kuder's near-absence proves how crucial he's been to the power of Pak's Action Comics run. Pak gets Superman involved in some interesting discussion, though it doesn't really lead anywhere except for an ominous warning of future threats.
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We finally put Doomsday (mostly) behind us to concentrate on better things, although Pak possibly makes a major misstep along the way.
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With three plots running at once in one issue, none of them get the chance to really grab your interest.
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Like many of DC's digital-first projects, this series arrives with little relevance and even less originality. While the textual and artistic efforts are competent and respectable, ultimately, they give you little reason to follow this series on an ongoing basis"and I won't.
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The issue would have gotten a higher grade had it not been packaged with the almost pointless "El Diablo" feature, which should never have been attached to this title.
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The back-up mucks around with history in a futile sort of way, and while main feature has all the right toys in the sandbox, they haven't resulted in much worthwhile play.
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Points for some great art which actually works for an American-made manga, but which should be put to use on a much better script.
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While the ambition of this storyline remains and with it a possibility to turn this arc towards a conclusion worthy of its hype, things seem less than impressive at present.
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Highly uneven art and a story losing its momentum results in a mostly average read overall.
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When a hero becomes secondary in his own title, that's never a good thing, and the art is ill-equipped to deal with the massive amounts of action taking place in the issue.
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Shockingly, it's not the most moving portrayal of a father losing his son you've seen this year, even though it involves some of the ostensibly more grounded characters in the DCU proper. That alone should tell you how desperately this title needs a reset at this point.
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An accurate depiction of grief in the wake of death, but not as emotionally impactful as it should be, and ultimately overshadowed by a plodding plot.
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Much as I appreciate the title's new duds via Albuquerque, the story feels too redundant and one-dimensional to make continuing on worth it. Dropped.
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A mostly straightforward, predictable, and windy use of a prologue chapter, one that does little to inspire excitement for the arc to come.
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While his overall story is intriguing enough, Johns' execution continues to be something of a mixed bag. I really think comic book history will look back on Johns as a great ideas-man, but only an occasionally gifted craftsman. Looking at this issue, you can enjoy his constant additions to the Aquaman mythos, from the brusque Dr. Rhodon to the rejuvenation of forgotten villain Scavenger. But almost spoiling these bright points are moments of unengaging, even dull writing, especially the pontificating monologues.
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The art and script are fine, but both can definitely use some extra zip.
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Considering this is Johns' swan song on the title, it doesn't have nearly the punch it should. There are too many defects in execution, and the art isn't strong enough to push past them.
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Nothing new to see here, or very little, anyway. Parker's execution is fine, but he hasn't proven himself a source of great ideas yet.
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The plot requires an incredulous deficiency of human intelligence to operate, but at least the results are worth building on.
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The issue makes a good case for the Others to have a miniseries, not an ongoing, in a case of too little, too soon.
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For an issue where the world nearly met its end, it all feels like mostly a letdown. I think I'm willing to see if a new arc can catch my interest, but as it stands, the series feels like it's just making itself up as it goes along, with no idea what it wants to be or do.
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A very mechanical sort of issue, reusing a number of typical comic book tropes with Van Lente's humor to patch it all together.
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Van Lente never succeeded in getting me much attached to the characters, nor much invested in the story. There are more promising projects coming down the pike, which makes it easy for me to Drop this series for better things.
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Things are starting to spiral out of control on this series, and I don't mean just for Arkham itself. Duggan started off with a great premise (Arkham set up in Bruce's family home), delivered an interesting follow-up (Bruce enters as patient to investigate murders within), but now seems to be foundering on his next step. Last issue's Joker revelation definitely threw the story off track, but Duggan hasn't always kept a firm hand on the steering wheel to begin with.
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For once, an Astro City issue that reads like more of the same superhero nonsense.
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Little improvements here and there, but the series' overall flaws are quickly becoming too great for such minor changes to matter.
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While the discussion of real-world issues is pretty thoughtful, it raises more questions than it answers, and the superhero stuff feels flat at best.
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In TV terms, it's a decent bit of entertainment, the kind you'd watch if you happened to catch it, but not the kind you'd go out of your way for. Dropped, on friendly terms.
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While it has some redeeming points, it's overall a disappointing effort, especially from a piece of work with Snyder's name attached to a character for which he's become famous.
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Pak clearly has a point he wants to make with this gamer spin, and he's willing to trample over the integrity of the plot to do it. Booth's art does not make up for the shortcomings in the script, either; it's far too full of flash for that.
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Very much on the thin side, with some technical annoyances sprinkled in the writing, though the direction of the plot and characters is very interesting.
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Thin in almost every respect, though the arc isn't"here it comes"doomed just yet.
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Not only forgettable, but downright counterproductive, making this issue seem like it comes from a completely different series than what we've been getting.
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Rather than repair the at best distant (at worst bitter) relationship between Batman and Batgirl, the issue calls attention to the weaknesses and vagaries of their bond, besides suffering from noticeable scripting and artistic defects as well.
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Formulaic in plot and surprisingly weak in character, this is Tomasi at his least inspired.
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More set-up than story, the activity in this issue is so low-key that even Burnham's usually energetic art feels stifled.
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Redeemable in places, but a very, very disappointing debut from a writer who seemed so much more capable of greater things. Let's hope this issue is a sample of growing pains more than anything else.
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Enough of an improvement to give you reason to hope that last issue was just a case of debut nerves, but not enough improvement to make you believe it'll all go up from here.
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I don't know if the last issue of this arc has what it'll take to keep me attached to this series. There are a lot of series to read out there, and I'm happy to Drop a mostly mediocre one to fish for something better.
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Winick offers a fertile premise and some promising ideas, but all rather too underdeveloped to really predict if it'll turn out worthwhile or not.
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An improvement over the last issue, to be sure, but not such a one to keep this title from getting Dropped.
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Heartwarming"how can you not appreciate your veterans, fictional or otherwise?"but shallow in plot and riddled with inconsistent, often ineffective art.
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A rare underwhelming issue from Swierczynski, a result of a predictable crossover plotline. It has its entertaining moments, and I imagine even more once the series returns to its normal course.
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A very uneven issue that doesn't make it clear what kind of story it wants to tell"or what kind of series it wants to be"or what kind of hero its protagonist wants to model.
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A filler arc if I've ever seen one, and one without much fun, given the lameness of the enemy, the lackluster interaction of the characters, and one very annoying love interest.
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This issue will need quite a bit of the benefit of your doubt to maintain its credibility, as it's hard to take the protagonist or the art seriously when both seem so immature.
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Takes the intriguing elements of Scott Snyder's Joker story and dumbs them down for a significantly pervier, weirder, more annoying Joker.
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Although the issue does have a few bright spots, something about Nocenti's timing or erratic writing diminishes their impact, and Sandoval's art at times frustrates your enjoyment even further. I'm not sure how much longer I really want to stick by this.
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Although Catwoman definitely feels different, which is part of its appeal, it's sometimes so erratic a read that you can't quite pin down if it's a difference you like or don't.
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Against all odds, the title has convinced me to give it until the end of its first arc to prove itself. I'm not confident it'll be worth it, but at least I'm hopeful.
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Even taking the character and series as a whole new thing, separate from prior incarnations, it's a mostly well-worn stream of generalities, with nothing to set it apart as fresh or novel.
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I can't deny the issue has its appeal, but that doesn't change the total lack of attachment I feel at the end of it.
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Again, nothing stands out as blatant bad writing or poor plotting, but somehow nothing strikes you as particularly interesting.
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While Jenkins asks some intriguing questions and promises juicy answers to come, this hardly makes for an instantly engaging debut issue. Perhaps people had a point about the dampening effects of an extended story arc.
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Too much ethereal conversation, not enough body-snatching action. We need less chit-chat about the purpose of life, and more purposeful living.
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There's a sliver of a great title here, but it's buried beneath the weight of overwritten expository scenes and crawling pacing. Let's see if Jenkins can turn that around next time.
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All in all, a rather slow and mostly redundant issue, though at the very least it gives you confidence that Venditti knows what he's doing.
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The quality is solid enough for a regular issue of Detective Comics, but for an oversized, celebratory issue that sets you back eight bucks, it leaves a lot to be desired.
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It's never a good sign when the back-up feature is a better draw than the main attraction, but unfortunately Layman takes a rather formulaic route to deliver his latest plot.
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At least now we're getting some context, though Seifert fails to turn the issue into the adventure powerhouse it advertises itself to be.
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Though previous issues remained true to Doom Patrol spirit, exploring the trauma and twists of superpowers and those that have them, this issue seemed to break away to dwell on the bureaucratic logistics of the teams world. The next issue will have to pump a lot of energy into the story to make this somewhat dull departure seem worthwhile.
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A fitting, anticlimactic fade-out for the world's undeniably weirdest and undersold team. At least you can say they went out like heroes"sort of.
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A dud of an issue with too much talk, too little substance, and too many narrative gaps. On the plus side, Cinar turns out his best-looking work so far, thanks to intensive support.
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Once again, Scott's art saves the issue from total mediocrity, but you can't overlook Robinson's bizarre storytelling choices.
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Some nice steps forward for some of the newly formed relationships in the series, though not very well sold.
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What should probably be a multiple-issue storyline is crammed into the span of one, and it's as rushed and confusing as you'd expect.
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The art is still enjoyable, but the story is really starting to fall apart.
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It seems most of the plots are at the simmering stage, building up their tension. With so much going on, it'll be a major blowout (if and when it happens), but for now, the series reads a little too soberly and quietly.
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Willingham has plenty going on, but not much really taking off. The slow burn is turning this series into merely interesting, when it's capable of so much more.
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Too formulaic and predictable to really stand out, but competently written and drawn, regardless.
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An enjoyable little romp overall, and a fine foundation for the upcoming monthly series, but this particular storyline was haphazardly put together and ultimately doesn't stand well on its own.
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Keeping in mind this is a series more suited for a younger crowd, it's appropriately fun in certain respects, but Robinson's storytelling choices are questionable and puzzling for young and grown-up alike.
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Not the greatest way to finish, but Johns gets the job done acceptably. Can we skip over to Flashpoint now?
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If I have to put it in the plainest terms, I'm just bored by the story we've been getting. No matter how you look at it, it reads like two rookie writers so enthusiastic about their material they can't see its mediocrity. Dropped.
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As with much Krul does, the ideas are sound; the execution is not. If he can give up his flair for the overly dramatic and clich, his stories would work far better than they do.
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This issue offer some good times in terms of brawls, but almost nothing in the way of overarching plot.
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On the one hand, you get Flashpoint characters who seem truly unfamiliar and exotic. On the other hand, they'd also seem unfamiliar and exotic in normal circumstances.
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For a series that ends in one issue, we still have a lot of fundamental questions left, including what the Secret Seven actually is. You'd need a much more intriguing issue to sell that kind of confusion.
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Sometimes explosive action is not the way to go, especially as it concerns a string-puller like the Outsider. We'll have to see if Robinson can pull off a worthwhile storyline for this bizarre character.
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Like its star characters, this series has some serious flaws, but also like its characters, hope remains that this can all turn to some good in the end.
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A mostly digestible issue of DC's biggest Big Event, if mostly safe and bland throughout.
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Basically one long action sequence with only a single important ramification to the story at large.
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Once again, an outrageous cliffhanger saves the issue from utter mediocrity.
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Consider this title is still in its infant stages, its kind of a disservice to shut it down before Gray-Palmiotti can refine it. Still, theres no doubt the teams been a hard sell from the start, and little has been done so far to keep you invested if youre not a fervent America-lover.
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Only pleasing art saves this title from total mediocrity, as this issue features the least inspired action and dialogue yet. Cancellation may be coming too soon, but you cant say it is totally undeserved.
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Not nearly enough groundwork to make the issue's advances as effective as they should be, but you do get some spectacular art out of it.
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Almost totally derivative except for Sorrentino's thoroughly distinctive artwork.
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An effective primer to recent Lantern mythology if you needed it, but for the rest of us, the issue rehashes material we've seen before, redeemed yet again only by an irresistible cliffhanger. Curse you, Johns!
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A credible read, but one that doesn't leave you with much once you set it down.
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A slightly better outing than its companion series, but still dampened by an uninspired plot and some questionable storytelling choices.
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While the general tone and idea of the series works, the actual story parts needs serious development. If the climax of this arc fails to capture my loyalty, I'll regretfully have to consign this title to the Dropped List.
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You could do worse with your time than to read this issue, but it's definitely not DC's breakout comedy of the year
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Too bland and plodding to really make the most of its interesting points. Hinterkind is making itself ever worthier of landing on the Drop List.
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Getting all the characters in one place is an important step, but still one short of having a coherent flow to the story.
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When the part are this underwhelming, you can bet the whole isn't going to inspire either. Dropped.
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Nearly a year later, I feel like I haven't gotten anywhere with this title and it honestly feels like Fialkov has decided to just let his ideas lead him anywhere it so chooses, which can only produce uneven results. Dropped.
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This is all starting to sound pretty familiar, and neither Kot nor Brown spare enough time or space to show us where the originality lies.
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At some point, this issue ceased to be about a team and more about a couple guys and their tagalongs. Johns has to rectify this soon, or this title will soon lose its credit and reputation.
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Overall, a highly disappointing affair, hardly deserving to be considered DC's flagship title.
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The art beats the stories by a mile, though there are some redeeming moments. It's just been frustrating waiting for this series to reach the potential it's always promised, and now it feels like we'll never get there.
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Still one of the most mediocre anchor titles being published, a series which continues to struggle for relevance.
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If DC wants to maintain its footing against the Marvel NOW! push, the powers that be will have to figure out how to give their flagship series the excitement and ambition it's never produced.
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A very simple, unambitious rendering of the Fourth World and its most famous villain, with similarly simple, unambitious art. Honestly, you sort of preferred it when you knew less about the New Gods.
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At this slogging pace, it'll be a while before all our heroes finally gather together as a team, and unfortunately, their gathering is exactly the shot of energy this title desperately needs.
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I still have faith in this cast under this writer, but these kinds of issues can make you start to doubt whether they'll deliver the glory they promise.
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Though competently executed, the plot is undeniably familiar, with only a few spots where Lemire and Fawkes try something new.
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As much as you want to like this title, it really hasn't done anything to earn your favor for a long time, and it looks like it may bode ill for other projects, too.
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Not exactly the thrilling escapade of the majors, but I suppose the JLI has to earn that. The only question is if it's worth sticking around to see it happen.
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If JLI wants to separate itself from the rest of the pack, they'll have to make bigger impacts than this. At this point, Stormwatch seems a more viable team.
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A dangerously weak issue of a still new, ostensibly major series. Johns needs to earn some of the dubious storytelling choices made here, or else we'll only have Kindt's back-ups to look forward to.
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Rather repetitive and monotonous, especially for anyone who's followed either League for a long time, but still mostly entertaining in large part thanks to Mahnke's dynamic artwork.
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A slow issue with some questionable narrative choices, but it efficiently sets up some good action for next month. The fill-in art is quite strong, too.
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To make the issue's mediocrity complete, McKone continues his unenthusiastic work, patiently delivering art that just stands there, looking pretty, without bringing any life into the room. To see what I mean, take a look at the panel where Ollie shoots an arrow into Lobo's shoulder, which produces no reaction from Lobo whatsoever"fine; Lobo's not the type to be fazed by an arrow anyway. But in the very next panel, the arrow's suddenly exploding in his hand, as if we skipped a transition panel somewhere, and by exploding, I mean a soft flurry of color that seems to surprise rather than bother the alien bounty hunter. It's the very definition of dull.
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You sense that Lemire will eventually figure out what makes the characters and this team tick. Unfortunately, that's something he should've gotten around to in this first arc. Dropped.
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Nocenti's Klarion is full of ideas that she rarely bothers to smooth into a cohesive whole.
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While the strengths of the writer and artists still deserve faith, the opening story arc has been mostly unfocused and hampered by scripting flaws. Here's hoping for things to look up now the prologue arc is over.
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While the art has been a huge plus on this title, the story just hasn't kept up in quality, and story, my friends, is what we're after here. Dropped.
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Not the greatest return after a summer-long hiatus. The issue displays little of its original appeal.
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A terrible slowdown in the plot, still well-executed by McCann's storytelling prowess, but redundant, repetitive, and unaffecting in the information it provides. The involvement of McDaid and his silly-looking art also drags on the issue somewhat.
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Engaging art brightens the otherwise uninspired writing and problematic format. The title continues to be a much better idea in theory than in practice.
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I can't say with much honesty that it's been all fun, but we've had some good moments during this run, and at least a couple gems have come out of it, so let's just accentuate the positive for now and be relieved we won't have to deal with this uneven mess again.
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Too weird for popular appeal and too lacking in edge or craft for cultists. A thoroughly forgettable affair, whose bright points can only benefit if put to work in a different project altogether.
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Some interesting seed ideas, but still a toss-up as to whether any of them will really stick. Higgins moves a bit too fast on the present story, leaving some necessary exposition on the shelf.
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Like Tony Bedard and J.T. Krul, Higgins is turning out to be one of those writers whose ideas are appreciable, but whose execution just doesn't quite cut it. Still, he weaves enough mystery in the plot to keep you invested for a while longer.
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Theres still plenty of action and self-referential humor, but its become clear that theres little direction for any of these things. Winicks attempt to cross storylines with Justice League: Generation Lost strips Power Girl of any development and mission personal to the character, which is too bad for a heroine who even considers herself redundant in the DCU.
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Its unacceptable to get sidelined out of a story arcs ending for not reading Winicks other title, so points off for an otherwise solid start to P.G.s new outlook on life.
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Iffy treatment of what should be a more nuanced plot, though Winick delivers a passably believable story. Whether he can elevate this beyond the predictable is questionable.
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Charming in some ways, but clearly biding the time until this title disappears off the stands entirely.
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Ultimately, the final issue goes nowhere and leaves our hero stranded at a dead end, but honestly, such a finish is poetic considering this title never had much direction to begin with.
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Too much in some respects and too little in others, the result of an ending that comes a dozen or so issues before its time.
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Aside from a semi-interesting power set, the title has little more to offer and mostly steeps in its own mediocrity, bolstered only by strong art.
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While the goodly number of plot-turns makes this an improvement over previous issues, the repetitive nature of the story saps whatever excitement DnA manage to generate. There's only so much more I can take before I relegate this series to the Dropped List.
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I've given this title a fair shake, and while the story has potential, the characters have all failed to make a connection with me, making it hard to care what happens to them one way or another. Dropped until further notice.
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Shockingly little happens in this issue, which is mostly a big fight fest, but there's a somewhat enjoyable old-school, anything-can-happen feel to it.
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Like nearly all DC concepts, the Secret Six have gone through several incarnations, changing guise and motivation while all the time sticking to a single basic premise: a team formed by the mysterious Mockingbird for his/her own unknown purposes. The last time Simone worked with the Six, Mockingbird turned out to be Lex Luthor then later Amanda Waller, each of whom were particularly suited to the task of keeping the volatile group in line.
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As a prelude, "catch-up" kind of issue, it works fine, but it's hard to tell if there's really an interesting story lurking around here.
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Occasionally fun and clever, but lacking much in the way of depth or originality. If Virgil doesn't break out a stronger personality soon, this title will soon fall into the shadow of forgettableness.
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While still taken with the premise of Static in New York, and the titular star exudes plenty of charisma and charm, it feels like McDaniel and Rozum haven't quite figured out how to balance all the different plotlines for max impact yet.
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Story-wise, we get a pretty significant improvement, but it's not enough to keep this title on my regular rotation, especially since the art feels like the biggest problem and it's going to stick around for a while yet. Maybe I'll come back if another artist come onboard, but for now, consider this Dropped.
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Competent enough on its own, the story, both on a written and artistic level, suffers by comparison to the giants who came before. Imagine J.K. Rowling writing a sequel to Lord of the Rings and you'll get a sense of the change here. Dropped.
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I'm starting to feel that while this title has the potential for greatness, it's a bit too slow in achieving it. Random crossover tie-in issues don't help, either.
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A hasty conclusion to a storyline that never reached the epic proportions Lemire aspired to, a sad top-off to a title that seemed destined for greatness.
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Still a mostly pedestrian read, with little going on to distinguish either the characters or the storyline from formulas we're already too familiar with.
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A rather bland way to finish up this new Supergirl's second arc, but at least it leaves her free to pursue whatever future she wishes from here on out.
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Roberson does his best to offer good Superman adventures in spite of the limitations of the story arc he has to work with, but you still can't help feeling underwhelmed.
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Jurgens fails to carry whatever shockwave emanated from the Shazam-as-Superman reveal, though he and Weeks deliver a perfectly decent follow-up issue.
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You have to face the fact that Soule has focused more on action than character in this series, which is counterproductive to selling an already dubious relationship. Dropped.
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Much as I love Tomasi's character writing, he's not much of an ideas man. More often than not, he cobbles together just enough of a plot for his characters to stand on, and more often than not, that's enough. But every now and then, it feels like the plot is about to collapse on itself right under the characters' feet and Tomasi overcompensates by shoring it up with an excess of exposition. These times, it feels like he's trying to justify what he's already written instead of revealing what he's planned all along.
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A mindlessly entertaining action-fest that's largely predictable, but occasionally worthwhile.
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However you might have imagined this series to end up, this definitely isn't it. The story indifferently strolls towards its conclusion, deprived of its usual sparkle and enthusiasm.
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A simple and straightforward premise that doesn't quite convince you this new character merits a whole ongoing all to himself.
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All my old doubts about the series have come rushing back with this formulaic issue, taking away every promising feature it introduced last month.
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Sub-par art and a rather bland script combine to wreck most of the promise Jordan established in early issues.
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Teen Titans retreads familiar ground with its current focus on soapy teen drama. Except for a few bright spots, theres no evidence this title will return to the must-read glory it got after its re-launch under Geoff Johns.
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Weak character-writing defeats much any attempt this title tries to make at bringing some energy"for a team of teens, it feels like they're already experiencing their mid-life crisis.
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With all the negative talk that preceded this title, the issue actually feels stronger than what you'd lowered yourself to expect. Still, you'll have good reason to stay a little wary, as it'll take a couple issues to determine if the character changes will ultimately work out.
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Like any good teenager, this title frustrates you and endears itself to you equally, often at the same time. Despite all odds, I think I'll stick around a bit longer, though I'm not sure I can recommend the same to you.
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While still iffy about the characters, Simone convinces you there's potential here, which is far more than many a writer have done.
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An adequate opening to an unusual series, severely hampered by cartoony art which cannot possibly do justice to Simone's attempts at seriousness.
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Not a very productive issue, but an interesting one, anyway. It can all stand to have a little more craft, quite honestly.
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More plot-driven than character-based, and the plot isn't all that gripping despite its cohesion.
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Dissatisfactory as the material may be, there sure is a lot of it.
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As always, you're left wondering if the issue is worth its cover price. For my part, it's not. Dropped.
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Thin on story and passable in art, this extra-paged, black-and-white issue seems less like a genuine tribute project and more like an excuse to save money on colorists.
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Honestly, with so little worthy substance in the issue, this issue feels more like filler than anything else. Let's hope this is just a hiccup in Parker's otherwise solid run on this title.
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Amusing and thoughtful in places, but so simple in plot and barren of character development that you don't really get much more out of it than a diverting use of ten minutes reading time.
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Though Azzarello remains true to the tone and spirit he started this title with, the time seems ripe for a major shake-up. It also seems like the right time to start considering someone other than Akins as a proper stand-in for Chiang.
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This is some bizarrely superb art for a mostly mediocre issue, but it does provide an engaging primer on one of Wonder Woman's greatest archenemies.
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It may go against Azzarello's grain, but he has to start considering bringing a little more spectacle to this series, seeing how his plot developments bear less and less fruit with every issue.
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Chiang's art and Azzarello's technique raise the quality level of the issue, but it's still noticeably bereft of tight plotting and, more importantly, a truly compelling heroine.
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Spotty entertainment with only a vague sense of direction, hampered by uneven art and even more uneven writing. Marked for Dropping.
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While I feel a bit sad and guilty about how long I've waited for this moment, I have to admit that mostly I feel an overwhelming sense of relief that I can finally Drop this series.
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Azzarello's unromantic view of the world means that some characters, just like some people, may live, even die, without much meaning, but that makes for a less than satisfying comic.
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Mildly entertaining with an important character development for this iteration of the Man of Steel, but also a bit too slow and more muddled, artistically.
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While a compelling enough read, this story, like its star, doesn't reach to the stratospheric heights of which it is capable, and is further hampered by a mostly unmemorable backup feature.
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Imaginative and smart as always, but not all that inspired. This series still has yet to live up to its hyped-up promise, and those cloying back-ups certainly aren't helping.
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While the ambitious plot already teeters on the edge of success and failure, the storytelling stays strong, but the inconsistent arm drags it all down.
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Mr. Morrison, it's only my appreciation for what you're trying to do that keeps me from going any further beyond calling this issue "questionable." I hope you can completely overturn my expectations in the next chapter.
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Powerful in many respects, but confusingly executed. This is Morrison's eager, ambitious work in its rawest form, which is unfortunate because some polish on both the textual and artistic sides would have easily elevated this story to something approaching a masterpiece.
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It sends some mixed signals on what drives Krypton's greatest villain, and it's hampered by somewhat messy art, but it's nonetheless a fascinating take on the longtime antagonist.
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Only slightly more substantial than you feared a Doomsday story would end up, but not so much so to declare this a hit-in-the-making.
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If you can ignore the parts where Doomsday is involved, the story's not half-bad, and Kuder's art is always worth looking at.
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First-class art with a mixed bag of writing. Ultimately, it's the story that matters, and no matter how much you love Hamner or Sook, they can't elevate a mediocre tale that far.
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A fascinating yarn that offers a bit of insight into a compelling character, but without much reason for telling it.
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A grim, intriguing beginning for a series showing the grim, intriguing beginning of Gotham City's dark shadow. Get rid of the unworthy co-feature and this title will have plenty good going for it.
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Some great art and a solid wrap to Hex's second arc gets weighed down by a highly disappointing finale to the back-up. Can you say mixed feelings?
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Whatever else you have to say about this series, you have to admit it's unlike any other title out there, which would be virtue in itself enough. Luckily, we're also getting some fairly decent story and art out of it, though it hasn't quite found its stride just yet.
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A mixed bag for sure"a disappointing end to one story, an intriguing start to another, and a feature which just sits there.
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Just get rid of the co-feature and this would be a solid monthly indulgence of the Western genre.
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As always, I find myself a bit surprised that I enjoy this series as much as I do. But I'd enjoy it a heckuva lot more if it wasn't always saddled with a back-up I can't really care about.
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Once again, Gray-Palmiotti manage to surprise you with certain storytelling choices, redeeming the series for another month, especially with the promise of the 19th-Century Stormwatch appearing next issue.
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Splendidly entertaining, mostly unoriginal, with a lot of delightful art and some less-than-amazing art. And yet, the "Ame-Comi" part of the series remains a mystery.
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A couple highlights only illuminate the general blandness of the rest of the issue all the more, though it seems like Lemire is getting back a touch of the momentum he's lost.
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The ideas are good, the execution less so, and the art only hampers things further.
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A light, breezy issue which introduces a few dramatic overtones to the title's second banana; the art, however, takes a step down, making the issue suffer more than it needed to.
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Ostrander does a good job with the space he's given, but ultimately the potential of his story gets nipped by the fact that he only has one short issue to work with. This seems to me a sign that the Others is a big enough concept to carry a title of its own.
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The issue provides more suggestions of the villain's life than hard information, but it's nonetheless an interesting glimpse into his still-developing moral boundaries and attitudes towards a world he considers foreign. Stronger art would have been appreciated.
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A competent first issue to Parker's follow-up on a remarkable Aquaman run, though he perhaps expends his efforts on mostly the wrong places. The art can use a strong boost as well.
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A lot of action fluff to pad the way for bigger, more important storylines to come.
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There are a lot of interesting connections to make between the Manhunter from Mars and the King of the Seven Seas, but Parker's too interested in his own plot to explore any of them.
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I've been feeling the familiar numbness of indifference seep into my readings of Aquaman for the last few months, but I've never really been able to pin down where it was coming from. Parker's put a lot of effort into taking Arthur new, unexpected places each issue, and that's been a reliable source of interest. But it still feels like the series is lacking some vital spark to take it from diverting (read: worth perusing in the store) to critical (read: worth buying for many readings to come).
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Entertaining, but extremely rushed and inflicted with slightly sloppy art. It also leaves you in confusion as to the direction and overarching plan for this series.
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The issue seems to use the new arc as a chance to start afresh, with a more accessible storyline and stronger art. Worth a second chance.
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It's hard to tell if Van Lente actually has a serious story up his sleeve or if he's just playing around. If it's the former, he has a lot of work to do; if it's the latter, he doesn't do quite enough.
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A solid introduction that could have punched itself up a little better with more substance.
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And just like that, we have merely another Bat-title on our hands. This is why people get cynical about Batman comics; DC releases yet another series starring the Dark Knight, promising it'll be different from all the others, and it ends up being Bruce stalking and beating down some madman with a shtick. Some might protest that all Batman stories are like that, with such reductive thinking. My rebuttal: then we should seriously reassess how many Bat-titles we're willing to support.
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Even though the technical parts of the issue are sound, I just don't think I can stomach seeing young heroes get killed off for so little reason and with so little meaning"twice a month. It will take some work to convince me not to Drop this series in a couple issues.
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Loses points for being such an obvious money-grabber, but otherwise a solid chapter in Captain Marvel's greatest challenge since she took her new name.
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Miller tries to paint over the major gear-shift in story as best he can, and there are some enjoyable moments, but this is definitely not the way anyone expected this series to go.
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I dunno. While the reading hasn't been terrible by any means, Simone still seems to be struggling to capture the spark that will make this title live up to its hype.
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So far, the norm for this title is to have a handful of effective moments and another of tiresome, forced moments. Still, there's enough virtue to the series to keep it on my radar for the long term.
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Simone's chops are such that the issue flows well, no matter what, but the story's pulse still beats weakly, and the art adds little life support.
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I'm glad to see that Simone is still plugging away, trying to capture the spirit she wants for this title. She gets pretty close here, but is hampered by less than impressive art.
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As annuals go, this one isn't terrible, but you can't come away from it without feeling like each story got short-changed a little. The art gets great treatment, however, and picks up the stories very well, so it's not a total loss. Despite the Batman Incorporated stamp, the issue only sticks to that concept half the time, so don't go in expecting a full tie-in.
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Much as you'll love the big emotional moments of the issue, the actual plot provides a poor vehicle for them, and Giorello's art diminishes the usually sleek look of the title.
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A bit of a mismatch, art-wise, and not exactly the most enlightening exploration of the featured villain, but between the lines, you can find some compelling commentary on Two-Face's fractured psychology.
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Morrison is mostly wrong. You probably won't hate the issue, but you will mourn for the greatness it could have been. With the DCU largely ignoring its presence, Batman Inc. is the lone artist shouting to be heard on his street corner while the rest of the world passes by, his message not fully-formed enough to vie for anyone's attention.
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Some parts are more crucial than others"one plotline in particular seems like dead weight"but the mystery deepens nicely here.
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Economic considerations have a way of making all commitment decisions easier. Batman Eternal is not bad, but it's too niche compared to its other weekly competitors. Amicably Dropped.
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One can only hope that as the number of holidays Nguyen-Fridolfs haven't written about dwindles down, they'll be motivated to aspire to greater things, because festivities aside, these holiday stories aren't really cutting it anymore.
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Fascinating in parts, and definitely thought through, but both Hurwitz and Finch make some dubious creative choices which prevent this title from rising to a higher level.
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If this was Batman being written for the first time around, maybe Hurwitz's take would work a lot better, but instead it flies against precedent and fails to achieve the sympathies it means to invoke.
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Enjoyable, but disjointed, and you can't really overlook that this series has been wandering around without a map for a while. Time to get our bearings.
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An entertaining piece of filler that gets derailed at the last minute by a plot twist that no one saw coming, in a not-so-great way"much like an actual train derailment.
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While the dialogue and liveliness of this series remains its strongest selling point, there's nothing particularly extraordinary about its plot nor especially with its art.
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While there are some poor choices made in structuring the story, the story itself is serviceable enough for a diverting read.
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Moves a bit too fast and tries a bit too hard, but the series definitely proves that it has a lot to offer, especially if you're looking for something more traditionally supernatural.
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If you went into this series with a pessimistic outlook, I think this issue will best your low expectations, but it's not clear if it does so in a good way or in a differently bad way.
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Waid doesn't make quite as good use of his presented characters and ideas as he usually does, resulting in an unusually uneven issue in a series that's been regularly stellar. The change of artist doesn't help either, even if it doesn't really harm the issue.
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With an eye-roll, you accept the rather pointless name change, though you'll be more reluctant to accept the team additions as potential long-term members of the cast.
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At the end of the day, this series is really more to be enjoyed than to be relished, more satisfying than nourishing, even if the satisfaction lasts for hardly a few days.
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Still a worthy read, but still growing into the kind of title it's meant to be.
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Cornell manages to clear the slate pretty clean for the next guy, although many of his plot threads get cut short for it.
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From a purely technical standpoint, it's a well-executed issue, but somehow it lacks heart and life. I can't quite put my finger on it, but something's missing.
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An interesting start to a story that Layman's obviously wanted to tell for a while, but bogged down by an awkward tie-in scene and an unremarkable back-up.
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Layman does his best, but you have the disappointed feeling that the issue could have gone a lot better, and he himself knows it.
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A very interesting and revealing issue, if in a mostly academic way. Sadly, the art provides little support whatsoever.
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Unfortunately, the Doom Patrol has never found much of a purpose for themselves, and this issue seems to emphasize that point, making the cancellation of the series a sad, but not unsurprising, event.
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Although Scott's art remains a treasure on this series, she's disservice by Robinson's uneven writing, which makes it hard to get attached to this Earth on its own terms.
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With Scott's superb art, the title regains a little of its former luster, but there's no denying the sluggish, uneven pace and tone of the series.
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There are encouraging signs for the future between the lines of this issue, although you're beyond impatient to see the climax already.
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Great art and quite a lot of new developments makes this annual a worthwhile read, even if Robinson's flawed writing remains clearly prominent.
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Solid in conception, but a bit lacking in execution, particularly with the art. At least Taylor succeeds in selling you on the new Batman-2.
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In spite of some intriguing drama, this issue serves only as a prelude for the next, undoubtedly action-packed part of what's bound to be a good, long story arc.
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Pleasant, but a bit too quiet, for all the characters and ground the issue covers. Some liveliness is seriously needed to pick up the pace.
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Plenty of points of interest, but none progress as much as you'd like, leaving you feeling vaguely dissatisfied, as if you haven't gotten quite enough material to last you a month"which you haven't.
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While the issue has its interesting parts, it only barely advances the plot and confirms much of what we already know about the characters.
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Reliably sweet and cutesy as needed, but not quite the most interesting interlude or protagonist Willingham could have come up with.
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Outstanding art elevates an otherwise merely functional story. Like the Snow Queen, you curiosity to know what happens next only just outweighs your wish to kill the characters.
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This is one case where I'm very reluctant to make a judgment call, but if I had to hazard a guess, I'd imagine you'll be left as torn between enjoyment and disgust as I am.
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Besides a fairly effective insight into the Avengers character and motivations, First Wave Special does nothing to flesh out his world or the other characters involved.
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An enjoyable little read, but ultimately a very little one, with hardly enough substance to occupy your mind as you're reading, rather yet when you've put the issue down.
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For the first time, it seems that Manapul-Buccellato commit the first rookie mistake in writing: telling more than showing. With such incredible artistic talent, there's no reason for them to overwrite, and the issue suffers as a result.
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The creative team has produced a solidly pleasant and enjoyable read, but one lacking refinement in the writing and clear direction and overall aims for the series in general. Here's looking to even better things in the next arc.
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The series' thin character and plot work is finally catching up to its super-speed pace, leaving it only slightly better than your average comic, soon not to be even that if things go on this way.
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Still chugging along fine, and definitely keeping you interested with a nice handful of storylines running at the same time.
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Considering how quickly this storyline wants to move, it seems we've already hit the deadly Big Fat Middle of the plot, where things seem to slow down, despite obvious attempts to speed things up.
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While clearly lacking as much importance to the overall Flashpoint storyline, this tie-in works as a very enjoyable Elseworlds-type tale. And it's Deathstroke as a pirate"hard not to get some kicks out of that.
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While you certainly feel like the titular character's a guy worth getting to know, you can't really say the same for the story he's involved in.
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Considering his history, Martian Manhunter deserves a lot more than to serve as a mere foil to someone else, especially someone as mercenary and inscrutable as the Outsider.
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Quietly engaging as ever, but the inappropriate art severely blunts the impact of the issue's subtleties.
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As the storyline proceeds toward its Big Fat Middle, the pace slows, leaving only brief moments of excitement and character work to keep you occupied, and otherwise repeating itself.
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As a benefit of the doubt, I'll give this issue a higher grade than how I really feel about it, but admit that my personal attachment to the title this used to be obliges me to Drop it.
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Freedom Fighters continues to be an enormously dynamic comic. Theres no doubt its meant to entertain, but I think its capable of reaching a higher level of quality. If Gray and Palmiotti could put some more thought to details that are left on the wayside of their ambitious premises, this series has the potential to elevating this generally overshadowed team into much more prime territory.
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The art, unsurprisingly, beats the script by some ways, but there's enough solid craft and material here to recommend the series, especially for supernatural buffs.
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A fine finish for an oft-overlooked (literally) characters turn in the spotlight, you cant help feeling like it could have been way better, had the opportunity allowed it.
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I'm not ashamed to admit there are certain kinds of stories I'll shamelessly check to see how they end before I even get started. I like to see if the boy and girl will get together and whether the person with a dark past will find redemption or relief. The luxury of a story is you can see how it ends, and it's nice to exercise that godlike power every now and then. But I never"well, almost never"skip ahead in a mystery. I rather love getting snarled around its many possibilities, the quiet thrill of getting rocked in one direction, then another. It's almost better the longer the journey happens to be, and sometimes disappointing when you do finally reach the end.
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There's an art to balancing a story's short-term satisfaction and its long-term payoff. Ideally, you want to keep the audience entertained in the present, all the while building towards something bigger and more important down the line, but if you have the former, you can take as much time as you need to deliver on the latter. It's the stories that struggle to keep you in the moment that need to worry. They can't afford to string you along before unveiling their overarching plans.
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A rather good annual, even if its secrets are a bit blatant and it doesn't yield much long-term material.
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Lemire's reputation, diminished as it is, and the rapidly improving art still earns a little benefit of the doubt against an otherwise unremarkable issue.
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It's clear that Lemire and Sorrentino are finally getting comfortable in this new outfit they've chosen for themselves, which goes a long way to looking good in it.
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Outstanding artwork from Sorrentino as always, revealing dimensions to Count Vertigo that Lemire doesn't entirely succeed in capturing in his script.
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Sorrentino's art stays the big selling point as Lemire's storytelling choices continue to fluctuate in dramatic and entertainment value.
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An admirable feat of continuity massage from Lemire, although the story doesn't go much of anywhere.
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An issue that gets some necessary work done, but doesn't provide much in the way of thrills.
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A so-so execution of an interesting epilogue idea. More thought into synchronizing story with context is needed.
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In contrast to the explosive and electric events of last issue, this one seems more mindless and repetitive, though it flows well. A step down in art doesn't help either.
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A sympathetic treatment of what happens after the dust clears and you find yourself having to keep your conscience secret from others. Unfortunately, weak art defeats the emotional wallop this issue otherwise holds.
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A lot of promise abounds in the solid script, the engaging pacing, and tremendous art, but you can fill a thimble with what we know by the end of the issue. The next issue will have to do double-duty to fill the crucial gaps.
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It's a thrill to read, but only a passing one. Edmondson needs to shore up this title with more substance before it can break out from the middling rut it's in now.
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Entertaining enough, but it could have been so, so much more.
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A less than stellar debut, though Edginton and Trifogli give us a good taste of their noticeable talents.
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You're still not entirely convinced that long-term investment in the series is necessary, but this issue does begin to make a better case for interest.
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The vampire stars of the title shine, but the Bat-family and JLD serve as rather poor, largely pointless guests, taking up valuable page-time that could be devoted to giving us more info on the lord of all evil here.
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Enjoyable, with plenty of intriguing plotlines to follow, but the issue itself doesn't quite provide the big, splashy ending you expected from this much-hyped story arc.
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Though still intrigued with Fialkov's storytelling, the series' lack of direction has grown noticeable enough to be troubling. At some point, he has to stop playing games and give us some real, exposing details to work with.
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While laying out a lot of interesting threads, the story doesn't pick them up and take full advantage of them. More and more, this title seems more about tone than substance, and that may not be enough for the near future.
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Slickly drawn and mildly entertaining, but hardly the material DC's premier team of heroes deserves.
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Who knew that the addition of a completely obnoxious, self-involved archer would actually lead to one of the most readable issues of this series in a while? If Johns can build on this, we just might have a worthy League title on our hands.
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It's always a mixed bag with this title, isn't it? While the "SHAZAM!" back-up gains momentum, the main feature loses a bit of steam, making for an underwhelming read overall.
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Some very attractive art bolsters an issue which still displays much of the title's running weaknesses. Neither the back-up nor main feature succeed in interesting you that much.
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All in all, a functional first issue to a straightforward story, the typical Big Event business. There's little mystery here besides trying to figure out the point of all this.* At least you get some top-notch artwork out of it.
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On its own, it's a worthy, action-packed issue to a Big Event storyline, but it also serves to remind us how dull that storyline has been up till now.
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A very slow issue, but one that promises to change not only the composition of the League, but its entire dynamic.
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Johns takes the reimagining of certain characters to the point of caricature, but the issue is pretty solid otherwise.
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Slow, even for a Johns set-up issue.
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A perfect example of what the Justice League has become under Johns: a company of three with some colorful bit players on the side"if they're lucky.
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Dear God, Johns, get on with it already. Decompressed storytelling precedes Johns, but no one's associated more with that style than Johns these days. It's a lot of people's biggest gripes against him, me included. It didn't used to be so bad back in his heyday, when his plots could actually sustain the extra length. These days, you feel like the decompression is the narrative version of the soup-for-a-party strategy: ladle out a lot of extra broth so no one notices how few meatballs are actually in the pot.
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Solid but inappropriate art frames a story that runs a bit too predictably, though the revelations you learn will prove useful along the line.
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The series is still in the gestation phase, tentatively laying out the building blocks for its future. Though interesting enough, much of its value is locked up in potential, rather than actual, enjoyment.
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Lemire definitely has the right ideas, but displays some clumsiness and impatience in his execution. Imperfections in the art don't help matters, either.
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Lemire has to pull a few implausible strings to get the story he wants, and even then it doesn't have quite the excitement you'd want. Overall, decently executed, but you end up more worked up by the promise of the next story than the resolution of the one at hand.
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Both the main and back-up features feel a little weaker this time around, but they still have some strong points going for them.
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The issue itself is fine, but uninspired, though with so many different directions the story can go, Johns-Lemire manage to maintain your interest. Mahnke's art is a wonder, and elevates the simple premise to something more worthy of a Big Two Event.
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More about Black Adam's nation than Adam himself, but the issue does establish an important status quo for the character, even if we don't learn much about him.
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A likable star is one thing, but that's a far cry from one that you'd follow wherever his adventures take him. It'd help if Johns-Kreisberg would spend more time on action and less on angst.
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There's enough here to make the series intriguing, but it needs a much, much more to stand in the same sphere as its sister Justice League title.
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It's fine, for an alternative Justice League issue, but where are the thrills?
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There are good ideas here, but they're suffocated by the mainstream demands of a Justice League book, even a lesser one.
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While Nocenti puts the component parts of this series into ever greater focus, we still don't have a good sense of what the whole should look like.
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In comparison to the nearly manic first issue, the second stalls trying to reestablish the groundwork for its premise and give an example of the series' direction to come. Let's hope, for the sake of Legion's future popularity, this is only one hump for the title's course.
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This issue has all the right elements for future success: strong character work, lively action, amusing future-clashes-with-past moments, with just a teensy bit of angst on the side. If Nicieza can play up these qualities and leave behind the squabbling and moaning, we might have an engaging Legion title for once.
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While still the Legion title to beat, it hasn't quite worked out all the kinks just yet. Nicieza needs to just settle down and focus, because these constant twists and turns are getting a little fractious and confusing.
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The whole issue feels like a glorified setup for the next major Legion story arc, which doesn't seem like a good value for the five bucks you'll have to fork over for it.
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If we can only get an artist with an edgier, more sophisticated style on this series, it may have the potential to be a hit, but as is, the intelligence in the writing is a worthy attraction on its own.
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The moving parts work fine, but at the moment are only capable of producing a rather simple tune for a premise of this scale.
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Letter 44 set itself apart with its dual plotlines, but the minimal integration between the two is weakening the story as a whole.
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You're certainly not here for the art, but the story does have enough intrigue to be worth following.
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Another solid chapter with escalation on all fronts of the story, but the art is taking its toll.
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Mignola-Arcudi could have done some very interesting things with this specific premise, but instead, it feels like they only cared to scratch the surface. Nowlan's art only just boosts the profile of this otherwise somewhat bland one-shot.
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A case where Elwing doesn't seem to know what he wants to concentrate on, so he tries to do everything at once, leading to a rather uneven read.
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Entertaining enough, but for the flash and bang the series aims for, it should be so much more.
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A decent Axis tie-in that doesn't deviate too much away from the title's usual hijinks, although that's not saying much, considering how far off course it's gone already.
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A much stronger effort overall from at least two of the features, though "Garbage Man" remains a kind of inert weight on the title.
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As always, a very mixed bag, but it's more good than bad. One strong feature and two middling ones surely don't equate to a terrible title, but they make for an underwhelming one, nonetheless.
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Better art and a solid guest spot by Batgirl makes for a much stronger read than before, but since both are temporary features, I still can't say I'm interested enough in the usual material to keep up with the series in the long-run. Dropped.
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While not very happy with some of the storytelling choices Gray-Palmiotti have taken in their revamp of Phantom Lady, they do a solid job of it, and they have the benefit of Staggs' strong art to back them up.
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A thoroughly average issue, but with great art and some leads more charming than they have any right to be.
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The series continues to proceed at a solid pace and direction, but has yet to get any real game-changing or wow moments to recommend it as something special. There are signs, however, that a much bigger payoff is cominglets hope it comes soon.
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For such a controversial plot point, it lacks controversy, focusing on the emotional aspects of the story instead and doing so rather predictably.
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If DnA expect us to stay interested in this series over the long-term, they'll have to do more to ensure each issue has enough liveliness or revelation to keep us invested.
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Extremely subtle, you can appreciate its intellectual merits, but the entertainment value is not quite all there. Slightly off art also diminishes the issue's quality.
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More fun in theory than in execution, Soule is veering dangerously close to repetition in this series and needs to break out of it soon.
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Now that we're on the final issue, what's my take on the series as a whole? Soule started out with a killer idea: focusing on She-Hulk as lawyer, with the extra pizzazz that simultaneously being a superhero could add to the job. But the few cases she took on usually involved only superficial (albeit accurate) legalities, and the one that went whole-hog legal drama was too transparent to be groundbreaking. Soule simply had a hard time integrating Jen's life as a superhero and as a lawyer together.
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The story's interesting, but the character choices for the female lead leave much to be desired.
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An appropriate start to Sinestro's solo adventures, but unremarkable, besides Eaglesham's art.
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The character dynamics are fun, and our protagonist is, as always, a compelling figure, but there's nothing terribly surprising in the issue.
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We're treading some classic Superman themes here, which isn't a bad thing, given Miller's convincing takes on them. Still, not yet quite the breakthrough series it could potentially be.
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Worthy of attention by pure effort alone, this series clearly wants you to take it seriously and, even more amazingly, succeeds briefly from time to time.
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It's not what I'd like it to be, but for sheer fun alone, I'll stick by this series no matter what. I just need my fix of consistently non-grim material each month.
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It'll never be the Smallville you once knew, but perhaps it was unreasonable to expect it to be so. As its own series, it provides some reliable entertainment, but nothing to indicate a classic in the making.
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With Dallocchio back on board, the title looks several degrees better than it reads, though its scripting problems revolve more around its sameness of tone and tension than any obvious flaw.
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What a brief, bittersweet affair this has been. It's hardly the finale Kot intended or deserves, but even to the end (and even though Leonardi's insipid art), he gives us glimpses of the greatness that might have been. Dropped.
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I noticed Superboy is nominated for an Eisner Award for best new series"my sincere congratulations. But I'll be frank and say I don't think it deserves to win, especially against much more lively, better-plotted titles that aren't burdened with an early crossover.
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For a whole issue dedicated to exposition, you really don't learn all that much, though the scenes are enjoyable enough, and get some fantastic guest art.
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Some nice improvements in both the plotting and art mean I can breathe a sigh of relief and convince myself to stay on board for a little while longer.
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The issue flows along predictable lines, but the direction feels interesting, and this is by far still the most natural-reading Supergirl we've gotten in a long time.
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The title hasn't regained the momentum it had in the early issues, and the character work doesn't go as far as it should to make up for it, but the title still remains a credible portrayal of its star character.
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I'm a bit torn, as this issue brings a pretty solid conclusion to an otherwise dull arc, and it recalls some of the qualities that made the title stand out in the first place. I'll keep a casual eye on it, but for now, in the interest of limited resources, I'll go with my gut and consider it Dropped.
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A fine story in the wrong venueI can only imagine Roberson did it just to kill time before he can get to write some real Superman stories.
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The issue goes for an unexpectedly dramatic and interesting take on the titular character, but in a very cautious way. What we need is less reportage, and more news-making material.
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When Man of Steel came out, I remember a couple critics took issue with the massive loss of life that must have resulted from Zod's terraforming machine and his subsequent battle with Clark. More specifically, they thought it problematic that the film would effectively ignore these casualties in its eagerness to get to a happy ending. Thus you have such awkwardness as Lois and Clark making out in the middle of a devastated Metropolis. At least the end of The Avengers featured a brief newsreel remarking on the devastation left in their wake.
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Wonder Woman's martial prowess is worth the price of admission alone, but unfortunately, there's not much else to make the issue a lasting reading experience.
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Explosive, but not shocking, it's nothing you couldn't have foreseen at the start of the arc.
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Snyder continues to produce the better half of the Rotworld storyline, although this time around the issue is marred by inferior art.
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A lot of material introduced with shades of potential, but nothing outstanding just yet. A somewhat unremarkable end to an otherwise solid back-up story.
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Despite barely scraping in any new information, Spencer has enough technical skill to deliver a fairly intriguing issue, though it's a huge relief this arc finally wraps up next issue.
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Inappropriate art and sluggish pacing gets in the way of what would've otherwise been a compelling and commendably original mother-daughter tale.
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A mostly functional issue that offers the title's mission statement and primary relationships. The art works, but the writing needs to be toned back, some.
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The reintroduction of the characters seems tiresome and unnecessary given we went through all that last issue, and some more dynamic art is sorely needed.
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Much as I really, really like this series, I can't deny that it's not the most challenging of comics. Nor does it have to be; pure entertainment is as rare and precious as the most conceptually ambitious of stories, and as long as the plot's solidly constructed, there's no reason why you can't enjoy something that requires close to no brainpower whatsoever. Believe me, in my law school days, I didn't go home and pick up James Joyce's Ulysses; after a grueling final, the latest issue of TMNT was sometimes the welcomest sight I could see.
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Regularly pushing your incredulity, but somehow still managing to stay just within the zone of suspended disbelief. While the art feels mature already, the story and the characters are both feeling their way towards their potential.
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While it's slowly making a better case for its existence, there's still too little here to say that it's found a breakthrough just yet.
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Some interesting, if shallow, information comes to light and even if nothing's hitting you very strongly now, at least there's a lot going on.
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Having the right kind of artist helps, but the story still feels a bit plodding.
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Somewhat slow and dense for what should be the climax of a pretty fantastic story.
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The writing's solid; the art's superb; but the pacing and substance are so thin that you can't help coming away from the issue somewhat dissatisfied.
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In almost any other context, the content of this issue would be grossly and blatantly exploitive, but it all serves a natural purpose in the function of the story. It's not clear which direction this title will take, but it's clear misogyny is not the endgame here.
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Despite the plodding pace, Marz continues to deliver a solid read each month, giving Voodoo a fun, if quiet, pleasure.
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DC's experimental medium for sci-fi originality seems, like most experiments, a passable effort, though hardly as breakthrough as you might hope. It's unlikely the last issue will redeem the sluggishness of the series as whole, but it's worth sticking around for.
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Even though this experimental format has been mostly middling at best, the upside is it has the freedom to rid itself of the really unsuccessful pieces and keep the ones with promise, as we see in the return of Garbage Man and Tanga in My Greatest Adventure #1 come October, and the grateful absence of Lobo.
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An appropriate resolution with a satisfying finish, but without much substance or development to back it up. Uneven art doesn't help, either.
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Still a bit of a roundabout, low-key issue, but all the signs are in place for things to get a lot crazier from here.
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A few new developments, but not nearly as many as there should be at this point.
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We're getting close to a big conclusion, but the set-up has been so dreary that you tend to doubt if it'll all be worth it.
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A strong start that robs us of a strong climax.
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The word's still out on whether this title will get the job done on making Huntress and Power Girl the superstars they have the potential to be, but a fine start, either way.
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The title is perhaps resting a little too much on the laurels of its debut. Though a solid effort overall, it's not quite as clever nor exciting as it thinks it is.
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Highly ambitious, but ultimately small in scope. Despite the universal threats involved, the story easily reduces to the conflicts of a few select characters, undermining any sense of teamwork from the title.
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A pleasant read, though not a very memorable one, with far better art (in most instances) than story, though you do get a few interesting pieces out of there.
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The series and its star remain enjoyable, and with a fantastic new art team on board, the issue is as fun to look at as read. However, each story arcs plot structure is getting way too familiar, and theres just a sense of wonder missing from DCs dedicated magical title.
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Once again, beautiful art becomes the saving grace of this issue, though it still doesnt forgive an underwhelming script that offers little in the way of the truly fantastic.
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For a while, this series has read more like a bunch of Zatanna special issues strung together; now it's starting to feel more like a real ongoing.
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A solid, harrowing debut that operates quite well as its own beast, though its mileage may vary for fans of the series it spun off from.
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The story finally gets its plot moving in a coherent fashion, but you're still frustrated by the shortage of specifics.
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While still a bit light on the "Action" side of things, the issue has plenty of dramatics to keep you invested, and all signs point to a major confrontation with a classic foe next time around"though it might not be the one you expect.
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Despite its flaws, the story manages to produce the sense of wonder this much-hyped series promised way back when. Let's see if Morrison can keep that going.
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Easily the most fun I've had on this series since it relaunched; now this is the Morrison-penned Superman comic we've been waiting for.
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A lot of great moments, each of which would be the seed of a great story, but mashed together, they all lack the impact they're potentially capable of.
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The story begins to tighten at last, and the star finally acts like himself, only with some youthful zip in his voice and manner. Let's hope the Morrison magic can work again.
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I enjoyed this issue quite a bit, but I suspect many won't feel the same if they don't love Krypto as much as I do. It's safer to say this is a more middle-of-the-road issue, considering the hokier elements you have to work with here.
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A strong first outing from Pak that's dampened by an unnecessary, distracting back-up feature. Pak's clearly making some risky choices in his approach to the Superman mythos, and a few pay off surprisingly well.
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Amazingly enough, you're excited to see how this story's going to turn out, even if it's been quite a slog to get to this point.
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If there's a mission statement to the reinvention of Superman during the New 52, it's make him more like us. Youth and inexperience went a long way, but the writers have definitely taken pains to give him a wider range of emotional experience: the cockiness of knowing he's the powerful man in almost any room, the allure of pure sexual attraction, the grief of losing his parents. Pak has been a committed part of that wave, carefully tuning Clark's voice to sound like a human first, a superhuman second.
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The allure of new characters strengthened by gorgeous art makes the debut of the Legion Academy a worthwhile read. I highly recommend giving it a shot.
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New blood seems to be just the thing to make Legion fun again; their adventures may be smaller in scale than their adult counterparts', but at least they get you more invested.
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There's not much substance to the issue, but it proves that it can run on nearly pure adrenaline alone.
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If you're in it for pure entertainment, this title works very well, but it's definitely not out to be intellectually and even emotionally stimulating in any significant way. Amicably Dropped.
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I was about to start by saying how bizarre it is to have All-New Hawkeye launching when Hawkeye, which is fairly new itself, is still running. But then I thought of how Batman and Spider-Man have about half a dozen titles each, which makes two Hawkeye ongoings seem positively restrained by comparison. I guess what feels weird about ANH is how it feels like a premature sequel, as if the Empire struck back before the Rebels were done blowing up the Death Star.*
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If you're going to mash pulp and western together, this is the way to do it. Right now, you get mostly Hex being Hex, which is always fun, but later issues have to prove Gotham needs his presence, or this series will be little more than an interesting novelty.
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With a better-resourced backup, and a still solid A-feature, this title continues to offer stuff no other book on the stands does, though it has a ways to go before it deserves a cult-favorite status.
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Get rid of the back-up feature and this title would be the perfect dosage of western pulp every month.
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Gray-Palmiotti show the very best of their appeal by taking the unexpected and mixing and molding them in unexpected ways. Please get rid of the back-ups, now.
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Solid and gripping, though the issue doesn't really carry you too far into the storyline. It's really about time Buddy became the great hero he's mean to be, though it appears he'll have to go through a purifying death journey to do it.
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Nothing too outstanding just yet, but we are only in the prologue of Lemire and Snyder's collaborative masterwork. They only need to get you primed and nervous for what's next, and they manage that easily.
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A much simpler, cleaner sort of tale, and, not coincidentally, something of a return to form for Lemire, with strong artistic aid from Leon.
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While it's not quite substantial enough to be considered a must-read, there's enough new information here to be worth your time, though the art is not quite as potent as it should be.
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A decent story that works better as a study into our hero's competing interests as superhero and father, strengthened by Foreman's perfectly attuned artistic efforts.
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There's a lot of glamor in superhero comics, and I'm not just talking about the perfect bodies, cutting-edge tech, and spectacular plots. I'm talking about characters who seem immune to the ordinary screw-ups of everyday life. For sure, there's a paradox to a person capable of superhuman feats yet making a total fail in common sense, but it's one that applies to all of us. It explains how you can manage a vast load of children's dependency cases on a daily basis, yet also eat a sandwich with the wrapper still on it fifteen percent of the time.*
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This series gives us a chance to take a good long look at Aquaman on his own terms, and he makes a pretty impressive figure. While the action of the plot leaves much to be desired, we get some very strong personal scenes that do much for building his character.
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This is Johns doing what he does best, which is telling superhero stories from a very human perspective. While still a bit slow to take off, the strong doses of action and drama, coupled with superlative art, will keep you pleased for another month.
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A perfectly enjoyable, functional story, though Johns misses opportunities to really hit home runs with his material.
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A satisfying follow-up to the first chapter of this latest major Justice League adventure. A solid start bodes well for the future.
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If nothing else, there's a lot of excitement to be had here, although both Johns and Pelletier fall a little short of the maximum impact they could have.
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A solid start to a new arc, with our hero set for some interesting new challenges, both on a political level and on an adventure level.
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Pelletier clearly doesn't have the same polished look as Ivan Reis, but with Rod Reis bringing the same lush coloring, Pelletier can impress on his own right. He has a simpler style of figure, a little cartoonier, a little less detailed, and a little less emotionally convincing, but it still captures most of the same adventurous and somewhat sinister tones we've had on this series up till now.
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With all the new material Johns is bringing to the series, there are distinct echoes of the glory days of his Green Lantern revival here.
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A few good thrills to be had, and as always, an enticing cliffhanger, although some of the storytelling choices leave something to be desired.
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This is fantasy comics, pure and simple, with a bit of a superhero twist. Johns and Pelletier execute their work well, but fall short of the inspiration needed for excellence.
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A lot of activity in this issue, most of it fun and productive.
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Things keep rolling smoothly in the world of Archer & Armstrong, though Van Lente seems to be making a concerted effort to tighten up his cast and give some actual direction to his story.
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There's a lot more we have to know before we can tell if Duggan knows what he's doing, but there are positive signs in this issue.
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A lot of story for not as much usable information. Although Busiek and Anderson's skills are very much on point, it's not quite as meaningful a product as previous issues.
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Astro City has always had a somewhat confusing relationship to its superhero side, which reveals itself in this issue. Still, there's enough of Busiek's usual spirit here to make the story worthwhile.
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A bit repetitive in regards to the obstacles our heroine faces, but otherwise intelligently written, with plenty of material for you to mull on.
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I have my doubts as to whether Hopeless can deliver a story strong enough to overcome the inherent distastefulness of his premise, and while this issue doesn't settle the matter either way, it does have signs of being more than just shocking.
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The series vacillates between the truly enjoyable character bits and the largely dull and pointless murder scenes. I might just end up dropping the series anyway, since I have no interest in seeing anyone else get killed off.
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For what it is, Hopeless does a fine job. The only question is whether you really want to accept what he's offering. I, for one, do not. Dropped.
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In the grand scheme of fiction, you need your gripping storylines and your just-plain fun stuff, and Batgirl fits the latter bill very well. Still, a little more attention to the crime-fighting aspect would help for you to take this title more seriously.
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Batgirl tends to carry you away just by being charming and fun, but it really needs more mission substance to be a true superhero title. Miller takes steps in that direction, but there's still a ways to go.
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It's obvious Simone has a lot of elements she wants to juggle, and that there's uncertainty as to which direction to take Ms. Gordon, but the series remains engaging and well-told.
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The A-story still hasn't sold itself, but the character work with the titular star and the interplay with her supporting cast and guest star almost make up for it.
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It hasn't been an entirely smooth ride, but having Barbara back in costume has been enjoyable nevertheless, and it feels like she's finally figuring out her stride.
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An issue that reads like Simone has finally figured out how to write Batgirl without trying too hard, boosted by strong, grounded artwork from Pasarin.
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Stewart-Fletcher falter a bit in straightening out Babs' motivations, but eventually get her in a good place by the end of the issue.
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Can you believe it's only been five issues into this new run? Feels longer, doesn't it? The specific vibe and characters of Burnside feel so fully realized, so warm and familiar, that at times you get the impression Babs has lived here her whole life. But more than that, a lot has happened since Babs arrived: a wealth of new friends at home and at school, academic struggles, Dinah moving in and moving out, several romantic entanglements, and most of all, newfound celebrity and infamy.
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The first feature represents an experiment in more serious storytelling for this tribute series, and ought to be commended. The second feature reminds us why the original show became such a mockable fan-favorite in the first place.
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Certainly not what you might imagine from a Batman-Superman comic, but that's in no way a bad thing in this case.
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A solid finish to a solid arc. The issue makes its points clearly, though without much brilliance, and there's plenty of details to enjoy throughout.
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Pak gets somewhat back into form with a likable portrayal of both sets of Worlds' Finest, but the substance is also somewhat lacking.
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Some blisteringly explosive action, but the story's resolution falls a bit flat, as the dialogue takes a turn for the clich. A solid read, but a slightly disappointing end.
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A solid, emotionally-driven read complicated by the presence, however slight, of other storylines. The pick-up art towards the end also tarnishes an otherwise visually sound issue.
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After all the efforts of the past few issues, Tomasi winds up with a less than stellar ending, though it has its outstanding moments.
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Too much exposition and feet-dragging brings down an otherwise enjoyable team-up between two unlikely sympathetic characters.
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Great art and some lovely character moments, but substantially a bit thin, especially for committed fans.
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Despite some spoilage, the issue's thrills and sweetness remains mostly intact.
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Anytime you make Batman smile is like playing with fire, and fortunately, Tomasi manages to do it several times without burning himself.
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Strictly a transition issue, allowing us to recover from the trauma from last month while psyching up for the next arc and the ultimate conclusion of Morrison's Batman epic.
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Just because it won't necessarily go down in history as another of Morrison's classics doesn't mean that it can't be a better than average story.
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Theres a wealth of detail amidst the jumble of material Morrison gives you, but you may need a couple re-reads to truly enjoy them.
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Entertaining, for the most part, but considering nearly a quarter of the pages is basically a recap of past Batman Incorporated issues, the price still gouges in the end.
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It's not original, but there's thought, rather than pure exploitation, driving the series.
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Snyder-Tynion are still introducing you to all the players, but given their number and variety, it's looking like Batman Eternal will be quite an enormous story.
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Li'l Gotham doesn't need to be anything more than sweet and amusing, but it has every capability to be those things and smart at the same time. Unfortunately, if this issue is any indication, subsisting on its own ideas without the holiday gloss is not a promising move for the series.
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Story-wise, it's all a bit thin and messy, and you don't get much in the way of character growth either. But you do get the Bat-family eating tacos, so it all sort of evens out in the end.
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Hurwitz comes at one of the oldest stories in comics from a unique angle and mostly succeeds, though he only manages to add a mere ounce of fresh air to the Batman mythos.
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Despite the questionability of releasing a Halloween story in June, the annual is a solid product, filled with moments of true suspense and genuine character. That said, without some familiarity with Hurwitz's work on these villains, you won't get as much out of the issue as you should.
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Very much a prelude issue, complicated by a somewhat complex structure and an artistic readjustment. In the end, though, the series feels quite as solid as it ever was.
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Not much forward movement, plot-wise, but you still get treated to some of the lushest art on the stands, along with convincingly grounded scripting.
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Another strong showing as always, although Williams-Blackman make the mistake of letting one character go off on a tangent for way too long for too little benefit.
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A solid transition issue to the big fight with the Batman himself, though we get little insight into how Batwoman plans to do it.
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Can we just get on to the big showdown already? Williams-Blackman are clearly stalling, even if they do manage to deliver another engaging issue with terrific McCarthy art.
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We get a compelling picture of the big baddie the Birds are working against, and plenty of fun moments, but a slight dampener on the pace and action overall.
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Still a lot of fun, despite a few minor shortcomings, and no matter what happens, this will always be the best all-female team book on the market"seeing as how it may be the only one.
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Solid stuff from pretty much the only all-female team title on the stands, with Swierczynski finally starting to answer questions we've had all along.
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Never at a loss for action, but meandering where the story is concerned. We haven't had a fully played-out plot in a long time, and it can't really wait that much longer.
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While tempted to give the issue a slightly higher grade based on gut instinct alone, I'm going to apply some caution and say only that this is a very solid series, with strong writing and powerful art, and deserves attention.
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It really is a shame this title's getting cancelled, as it boasts some truly commendable writing and art. Of all the books getting the plugged pulled on them in a couple months, this one probably deserves it the least.
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Frankly, I can think of any number of titles that deserve cancellation more than Blackhawks, and this issue is a good example of why. Even when the creative team is rushing hard, they put out solid work.
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If nothing else, this short-lived series is evidence that DC has great talents in Costa and Cafu, and it boggles the mind why these two don't have replacement projects in the works already.
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A feminist story, but one remarkably free of anger or self-righteousness. A little difficult to access for the new reader, but otherwise an easy, solid read.
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Quite a bit of good plot-work here, with a much greater focus and direction than we've grown accustomed to seeing from the title. Looking forward to our hero actually taking names next issue.
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Some snafus in the art make an otherwise intriguing issue less effective than it would be. I actually would like to see more of this felon's exploits.
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It's going to be a rollercoaster ride, reading this title, but sometimes those are the ones most worth fostering.
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An interesting profile of one of Catwoman's new supporting players, but not one that gets you attached to her.
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A respectable first offering from Aspens newest series, but a lot will depend on how the initial story elements get played out before you can really put your money into it.
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There's not much action and a noticeable dip in the art, but the relationship between Scott and Chris remains as compelling as ever.
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With virtually no affection for the recent additions to this cast, you have to hope this isn't the last you've seen of the Thunderbolts, particularly since this would be a very unsatisfying fade-out for them.
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Given my druthers, I'd prefer a pure Thunderbolts story, without any Dark Avengers stuff shoehorned in, but call that brand loyalty. As is, we still get a very fine issue on a very fine series.
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This is a case where the title's format sort of defeats the talent of its creators, but the end product is strong enough to impress anyway.
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A much, much better case for the ongoing existence of the Dead Boy Detectives than any of their recent appearances elsewhere. Litt leaves plenty of room to take the series in both serious and purely entertaining directions.
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I'm not sure the issue makes a terrific case for the special connection between Jason Blood and Etrigan, but it's a fascinating look into the past nonetheless.
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Somehow, with only the barest hint of a plot to speak of, you still come out of the issue incredibly satisfied and in anticipation for the next. If you're a fantasy lover, this title will suit you most adequately.
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A lot of fascinating portents for the future of this series, but we really go nowhere in terms of the present plot. Cornell makes it worth reading, however, with strong narration and rich development.
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To borrow a tired phrase, the plot thickens in this issue, and we can see the framework for long-term mysteries and storylines as the series progresses, with potential for major impacts to the development of the current DCU.
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A solid set-up issue. None of the usual sword-and-sorcery craziness you've gotten used to, but you learn a lot to keep your mind occupied and interested for the next arc.
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An issue full of significant events, but which somehow doesn't feel all that eventful. After getting accustomed to things happening over five or six issues, this uptick in pace feels rather rushed.
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It's too bad that the title never took off the way it seemed poised to, but Cornell is about to leave behind (as he did with Stormwatch) a respectable platform for the next guy.
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It's a great relief to find that Venditti makes a smooth transition between what Cornell left behind and what's to come.
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Venditti shows marked improvement over the last few issues, but you know he can do even better. Looking forward to his next arc.
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It seems we've gotten a little carried away from the initial premise of the arc, but Layman gives an engaging diversion nonetheless.
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Miville has built one heck of a conspiracy set-up here. If he doesn't deliver a revelation of some proportion and originality, it won't bode well for such an atypical series.
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Another baby-step forward for one of the most respectably unusual titles on the stands.
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It's hard to tell if Ponticelli's work adds or takes away from the series, but Miville continues to deliver a solidly crafted"and different"tale within the superhero framework.
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The plot developments are happening on the sidelines of the story, but you can still feel a sense of forward movement for the title, and there's plenty to enjoy besides.
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Some forgiveness must be made for the abruptness of the issue's events, because otherwise this is the only conclusion this boldly individualistic title deserves.
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As we get into the big fat middle of this mini, the pace takes it down a notch, but the story gets some important developments out of the way in the process.
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Not quite as tightly paced and delivered as previous issues, but it continues the unique psychological and social tension of the series, making it impossible to romanticize this undeniably callous period of history.
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We've had stronger issues in earlier months, but you can do worse than a solid conclusion to an adaptation that's shown a lot of integrity.
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Even at its strongest, Doom Patrol remains less than outstanding. Its lack of mission statement, repetitive dark humor, and uninteresting plotlines are no doubt all factors in its upcoming end.
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All this wordiness may be a natural part of hitting the Big Fat Middle of the story"and at #3, we've definitely started hitting that point"but it sure sucks the wind out of a series that really needs momentum to stand as a world all its own.
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Well, it ain't love at first sight, but you can definitely grow to love these characters and this series. An enjoyable blend of the familiar and the new.
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You may find yourself bothered, perhaps even a little offended, by the mimicking plotlines in this issue, but otherwise, Robinson and Scott deliver a superhero comic that easily matches and surpasses every team book DC's putting out now.
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An issue of sustained positive and interplay among the cast. Will Wonders never cease?
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You can actually feel the tension beginning to coil as the story teeters toward its climax. We're about to see whether all the agony is worth what comes out of it.
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The issue has more warmth than story, but that's alright. Sometimes it's nice to just take a break and be grateful for the things you have, and I'm grateful this series has some legs left.
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A diverting issue, far from the woes and anxiety of the ongoing story, but not quite as meaty as it could be.
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Vertigo's anchor title continues to churn out one reliably intriguing issue after another, though it's been a long time since you've finished one with your jaw slack from amazement.
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As always, an interesting read, but not particularly gripping. What's really needed to jolt this series is a big, consequential twist, and it looks like next issue will serve us that one.
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Again, a rather pointless back-up adds a bit of dead weight to another strong feature, but not so much that you can't simply pretend it doesn't exist.
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An appropriate conclusion to what has been a rather fanciful storyline. Outlandish it may be, but it has enough integrity for you to take its sweet, sobering moments seriously.
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A very low-key prelude issue that only starts to pick up towards the end.
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With Hellblazer gone, that leaves Fables as Vertigo's most reliable batter, and it proves its status with another reliably entertaining issue.
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There's no doubt the events of this issue are important, but more for a later time and circumstance rather than the here and now.
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We might only be in the budding stages of the next arc, but we've got so many different ongoing developments at the same time that there's plenty to keep you occupied.
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It's not often that a writer can get away with a completely talking-heads issue, but with so much drama going on, Willingham manages to sell it, even with limited support from Buckingham.
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Good ol' Fables, the most reliably solid series from Vertigo, if it's no longer the most groundbreaking or exciting one.
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There's quite a bit of progress on many plotlines, though it's all happening under the surface.
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I'm of two minds about this final story Willingham's going to tell about Rose and Snow. In the first, I don't really give a crap. These women already have actual, major problems to deal with without having to worry about this magically mandated rivalry between them. In fact, at the end of the issue, Snow's rushing off to face hers (the result of which could put an end to the question of who wins between her and Rose altogether) while Rose is getting family history from a cricket.
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It's always tough grading and reviewing a debut, because you really never know how a story will turn out from its beginning. To be perfectly safe, all I can guarantee is lovely art and a lively, if a bit bland plot.
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A much stronger effort than the last two issues, particularly since you can feel the story's finally going somewhere worth your time.
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A respectable start to a new arc which not only promises to add some new territory to the Fables universe, but which also has major implications for its future stories.
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Fun and interesting, if a little inconsequential.
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If you're new to the title, like me, then this issue offers a perfect jumping-on point with plenty of good information to chew on. For the veterans, I suspect this issue will be diverting, but not necessarily revelatory.
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A great sample of Brubaker's writing skills, though it's a little hard to tell where he's going with his latest arc.
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It's the same old song with a different chorus, but still a rather tuneful one to hum along to.
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Slow down and buy the reader a drink first, huh? Oliver is a skilled storyteller, but too eager to move on to the juicy stuff without letting you get properly acquainted with his world. That kind of rushing does not lend itself to long-term affection, no matter how wild and entertaining a ride it is.
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An uneven finish to an otherwise solid homage to the pre-Golden Age of comics and heroes. It doesnt achieve the epic feel it goes for, but a strong story nonetheless.
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Not much substance to work on here, but a great bit of pure adventure comic nonetheless.
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It's about time for Enrique to really show off his talents instead of coasting on some narrative trickery, but otherwise Robinson continues to deliver guilt-free fun.
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A very small-scale sort of story, but one with its own set of charms. More suited for kids, but adults will find things to enjoy as well.
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It doesn't exactly hold your interest in its fist, but it keeps a hand on your shoulder, just enough to lead you back for a few more issues.
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An enjoyable, pleasant read while the creative team lays down the story threads they'll weave together later on. Given time and experience, this title may turn out to be one for the history books.
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A good start to the second arc, one set to build up Flash's mythos for a new generation. For the most part, Manapul-Buccellato are delivering great new dimensions to our hero and his world.
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Still solid, as Manapul-Buccellato dangle a number of plotlines into the series, proving they have a clear plan for its direction. The art, however, remains the biggest selling point of the title. If anything, improvements in the story are simply bonuses.
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Considering the importance of Aquaman and Wonder Woman's conflict to the events of Flashpoint, it's a relief this tie-in is both informative and engaging.
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Weak art in the second half and slightly slow plotting water down what would otherwise be a much more enjoyable issue, though Lemire continues to convince this is a series worth reading.
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A convincingly tense piece of magical realism that makes good use of the title characters, a good thing as Milligan will use half the cast in his upcoming Justice League Dark.
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Johns makes some admirable storytelling choices, but the issue itself is mostly expository with limited impact on the series at hand. Finch's art is more than fine, but hampered by confusing visuals.
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Its still one of the most action-packed titles on the stands, but the drama is beginning to play a bigger part in the entertainment. Still, gaps in logistics and overbearing dialogue prevent Freedom Fighters from being taken more seriously than it could be.
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Though Freedom Fighters has been largely uneven, I'm sorry to see it go. But this team always manages to come back"let's hope it finds its footing quicker next time around.
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There's a mystery afoot in Gotham Academy, but up to this point, it's still not even clear what the nature of the mystery is. Are Olive and Co. on a supernatural hunt for the ghost of Millie Jane Cobblepot or some other spirit-ghoulie? Is there a conspiracy in the heart of the Academy itself, perpetuated by the students and faculty? Or maybe after all is said and done, the strangeness revolves around Olive herself, and the key to solving the mystery is buried within herself and her forgotten memories.
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Borderline excellence, but a bit too straightforward and undercut to hit that level.
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If you've been a fan of the title up till now, I suspect you'll be nonplussed to discover all you've invested in has been practically wiped away. If you're a newcomer, you'll appreciate the possibilities introduced in the issue, though none ripen here.
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Well, how about that? An issue that I quite enjoyed. Though there are still some shortcomings to iron out, Lemire seems poised to do just that.
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Lemire had a rocky start on this series, and even now its future is a little uncertain, but remarkably enough, he and Sorrentino have managed to bring us to a point where we can enjoy what we're reading and look forward to the next issue.
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It's taken a while to get here, and we still have a few missteps along the way, but Lemire and Sorrentino have definitely established this series as a solid middleweight title.
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Vertigo's return does nothing for you, but there's still quite a bit from his appearance and much else besides that makes this issue worthy reading.
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While the artistic efforts continue to outpace the scripting, Lemire balances the job of keeping his storyline on track, tying into a crossover event, and incorporating elements from the title's TV counterpart.
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An issue that, like the rest of the storyline, has the potential to be far greater than it actually is, though still solid in every respect, nonetheless.
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This arc with the Outsiders didn't quite live up to its promise, but at least it more often than not profited by its ambition.
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A solid landing for a mostly entertaining arc, leaving Ollie in a very good place for future adventures. You might say that his superhero life has only just begun.
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This is a superhero comic at its most traditional: lively and action-packed, though lacking much in the way of complex drama or character development.
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A solid outing from one of DC's crowd-pleasing titles, but mostly setup for the big action of next issue, not really a game-changer in terms of plot or character in itself.
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Several major steps forward for the plot, and a fascinating, entertaining look into one of the great enemy-ships in comics history.
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I suppose you should be happy that Hal's happy, but you can't help feeling like there's something not quite right with him settling down to a quiet life of domesticity.
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It's never a dull moment in this title, but it can't be said you learn much more than all the hints you've gotten already. If anything, this issue serves as an action-packed summary of the Indigo lore Johns has established already, making it a lively, useful transition to bigger things.
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Plenty of answers which lead to"you guessed it"even more questions. Johns tones down the action in favor of some mythos-building, but it's all set-up for a fairly spectacular battle next time.
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A nice balance of character and set-up, prepping us for some major villain showdown in the near future, and all-out warfare in the far.
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Already, you can feel nostalgia set in, knowing this issue brings you one month closer to Johns' departure. Still, it is only a solid expositional issue, with little action or major plot development to speak of.
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This is an issue where you appreciate Johns' long-term work more than the instant product, meaning this arc may not be quite the perfect swan song for his run.
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Truth be told, the arc in itself is a disappointing thing and you might have imagined a tighter, more coherent end to Johns' Green Lantern run than this. But the issue still delivers a ton of action, emotional sincerity, and pure enthusiasm, as much or more than when Johns started this run years ago, and for that, he deserves a great deal of credit.
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A (relatively) quiet issue which recovers from the blistering action of the first story arc, only to set up the dramatic foundations for the next. The art also seems to be taking a break from its previously stellar quality in favor of something more average.
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Full-throttle action can be good times, but when it comes with some thought and solidly rendered story attached, it gets even better.
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Well, you certainly didn't quite see that ending coming, and the fact that it has some emotional resonance makes it even better. Better still, the feeling that this is only the tip of the iceberg where the current plot is concerned.
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Setting aside the repetitious qualities of the premise, Tomasi once again delivers a tense look at how the Lanterns get along in the field. Cafu's art is slightly diminished from before, but still a great thing to look at.
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A little too much talk, but an emotionally compelling issue that definitely opens the door to even more drama.
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The players are being gathered, but the plot is still on a slow burn. Solid work all around from the creative team on one of DC's most reliable titles.
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Not really a step forward for the Wrath of the First Lantern arc, but a valuable look into the life of Guy Gardner.
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Joshua Hale Fialkov and Bernard Chang are respectable creators, but I will miss the qualities Tomasi and Pasarin brought to this series. While this issue is not the ideal finish to their run, it does display all the strengths that made their run as a whole so enjoyable.
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The series definitely shows signs of gaining momentum as a pure thriller. It hasn't exactly sold its plot as the most original, but it spins the clichs pretty well.
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While still a little unreadable, Grifter offers an important voice to the DCU"that of the cunning, sly, and take-no-prisoners antihero. But to establish himself as an icon, he'll need to go beyond the type and forge his own, inimitable character.
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Fancy narrative techniques aside, the issue doesn't advance the plot very much, which disappoints my simple request from last month.
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A solid issue that finally pushes the series to where it should have been months ago.
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The story peters out towards the end and does little to bring Kate's new life to, well, life, but Fraction and Wu's execution is strong enough to deliver an entertaining read anyway.
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Vampires have become kind of commonplace creatures, convenient monster fodder for the horror genre, but this title is slowly giving them back the dark reputation they once possessed.
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While as gripping as ever, the series has still grounded too much of its lore on vagaries, making you impatient for when you learn something more tangible. Until then, this title remains a solid performer, no more.
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The issue's story takes your continuity knowledge a bit too much for granted, but otherwise it's about as well-crafted as the debut.
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I've said this on more than one occasion, but when an issue offers you little to nothing but non-stop action, sometimes it's best to let the brain take a break and just enjoy the ride. Iron Fist started out looking like an atypical comic, in hindsight largely because of Andrews' unconventional style of art, but also because of its tone. Unlike a lot of comics, it had a legitimate darkness that wasn't just for the sake of being "dark." But ever since Danny stepped onto the road toward recovery, things have gradually lightened up and now we're back to a comic that runs on thrills rather than introspection.
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There's more you'd like to know, especially about the eponymous hero, before you commit yourself, but Iron Patriot's first outing is solid in most of the areas where it counts.
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I'm guessing only Silver Aged readers will consider the stuff in this issue particularly challenging, but even for us embittered modern readers, we can appreciate the simple interests contained in these stories.
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Interesting, it not thrilling, and rather original in its own right. This mini is for those who want a broader sample of what comics can be as storytelling devices.
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I have never seen this series as sellable material in its own right, but rather considered it more as a retrospective on one comic book legend's talent and influence. In that regard, this has been a most valuable project indeed.
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Now I understand why my comic book shop put this comic in the kiddie section, with the Johnny DC and Archie stuff. It's thoroughly entertaining, but in a childishly pleasant way, a good primer for young'uns about the storytelling potential of comics.
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The issue derives its interest solely by sapping the maturity away from its characters, but they nonetheless speak, behave, and react appropriately to well-motivated tensions with each other.
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Even after reading through the issue and enjoying it, you can't quite pick out what makes it original.
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Here's my fresh-eyed, baby-faced impression. It may capture my interest enough to keep me following the title, in a "wait and see" kind of way, but it doesn't quite succeed in me to empty my wallet for the slew of new titles and characters very soon to come.
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The story doesn't quite succeed in achieving the epic tone it so obviously wants to have, but it's all the more enjoyable for its straightforwardness.
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It's a bit ridiculous that it took this creative team this long to bring this title to a place where it should have been from the very start, but at least we're getting there. It's even more ridiculous that this still falls far short of where the title should be.
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Two impeccable art teams elevate what is otherwise a merely decent story. Here's hoping that the arc will produce more than just appealing visuals.
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Not quite the exciting stuff of the last few issues, but chock-full of fun and endearing moments that move the Justice League closer to being a group of super-friends.
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The issue exposes a little too much of Johns' flaws as a writer, and there's a well-worn quality to the plot, but it's engaging despite all that, and it's bolstered by strong art.
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There are suggestions that a greater revamp is at work with this oft-caricaturized icon, but this is not the revolution you're looking for.
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Hard to tell whether this issue represents Dial H's last hurrah or a signal of its inevitable resurrection, but either way, it's a strong sample of what made the series bizarre, but great.
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Though sometimes evil is depicted with no small amount of caricature, there are suggestions of more profound developments going on.
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There are signs that a more complex plot may be at work, if only in the Syndicate's unexpected characterizations, but otherwise, Forever Evil remains as straightforward an Event as others like it.
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Aside from a rather ineffective opening, the issue makes good on a long-awaited Cyborg-centric story, pitting him as the League's last stand against all evil.
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Never let it be said that Johns doesn't do his best to take B-characters up a level. The issue's a standout for Cyborg even if it doesn't do much with his antagonist or supporting cast.
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Some questionable choices of characterization, but a solid read, plot-wise.
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The art leaves much to be desired, but the story runs smoothly and hints at growing complexities among the new Leaguers.
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Start spreading the news, folks: Johns has finally learned how to write Wonder Woman. In the beginning, Diana seemed like the Justice League's brainless powerhouse, starting and ending sentences with requests to fight. Then came the fallow period, when she hardly featured at all. As recently as #37, even with most of her cast-mates out of commission, Diana entered the picture only to demonstrate her battle prowess, leaving the plot advancement to her male colleagues.
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Inserting "dark" into the book's title obviously subjects it to a pretty heavy burden, but in this case, Milligan does a good job living up to it. DC has some of the best occult figures in comics; putting them all in the same comic, so far, seems a pretty smart move.
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It seems fitting that I repeat a statement I made on another Justice League title and say that this is what the series should've been from the very start. Let's hope it doesn't come too late.
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I think a new colorist might do the title some good, as the art still fails to impress. Otherwise, the series continues to set out all kinds of intriguing possibilities for DC's supernatural future.
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Besides the noticeable boost to the art, Lemire-Fawkes deliver a fairly solid script that gives a new spin to an old plot.
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Not exactly a game-changing debut, but a credible one nevertheless that gets you very interested in the title's future.
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A somewhat underwhelming main feature, boosted, surprisingly enough, by a rock-solid back-up. Johns and Finch need to put in a lot more energy and action for this title to be up to Justice League standard.
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A solid effort for a character who apparently has a lot to prove. It's as much as you can expect from any comic book debut: a likable hero, an interesting premise, some good action and drama, and strong art.
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A great-looking title which now has a solid writer on board bodes well for the future.
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I can't say it's an instant hit, but it is definitely Nocenti's most respectable DC work in the last year and it has a lot of rather unique qualities going for it.
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Like experimental punk rock, you have to let yourself get carried along with the sudden turns in music; commit too much to one movement and you'll easily get lost. Still, there's some good ideas and fantastic art here.
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A more sober, but still compelling read on the British dynamic duo. By the issues end, you should have a better sense of the characters seriousness beneath their wit and banter, but youll also be raving for bigger, more explosive things for them to do.
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A visual triumph, even compared to previous issues, but rather flat, story-wise.
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Nothing more nor less than a fun romp with a classic genre. Admittedly, the title may be the best thing about the issue, but there are other bright spots as well to make it a worthy read.
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The great metafictional tensions of the third act almost make up for the lame heist that dominates most the issue, and there's strong art throughout.
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The plot doesn't go anywhere, really, but it's a highly entertaining issue with some interesting set-ups for the future.
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An intriguing start, with some beautiful art, though it doesn't quite strike you as the start of something special just yet.
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An important issue credibly done by its writer and artists, but its attempt at silence seems rather lacking in execution and purpose.
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McCann maintains his quiet kind of excitement in this issue, although it falls short of the stimulation you got from last month's storm of twists.
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The pacing feels a little off and there is the matter of McDaid's art, which feels out of place even by the standards of Mind the Gap's usual guest artists. Still, it's a well-crafted read, and it leaves you with much to think about.
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A complete tale that works perfectly well on its own terms, and like Lemire's Eternity, entices you enough that you actually want to see how it'll all work out. But such hopes seem fruitless when there's such clear contradiction between what's written and what's already established.
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A warm look at Dick as his own man, rather than the guy who took over all the Batman titles for a while. No fancy frills here, but solid efforts from both writer and artists.
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Theres no sophistication to this kind of story, but it makes for a fun read and works to Winicks strengths. I would not mind seeing him continue this format for the rest of his run.
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A slow start that doesn't thoroughly convince you that you have a winner in your hands, but does get you invested in its self-assured uniqueness.
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It's certainly got its fair share of intrigue, but in terms of substance, you're more attracted to the suggested possibilities than what's actually there.
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At once interesting to read and beautiful to look at, the issue doesn't give our lead much time to show his personality, nor does it establish a clear direction for the title, but it's quite nearly there.
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The art is a treasure, the story less so, but Montclare spins a well-worn plot with enough of his own ideas to make it fresh.
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What should be one of the greatest titles on the stands turns out merely enjoyable. To really take it to the level it aspires to, it needs to drop the humanities lessons in favor of just advancing the story. Maybe it will do that next issue"two months from now.
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There's some fun stuff in here, though I wouldn't go in expecting it to act as bridge between the two S.H.I.E.L.D. volumes.
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A strong start with plenty of fresh spins to an old genre, one that's fallen out of favor in recent years. It's far too early to tell if this series will do anything to reverse that trend, but there's a lot of promise here.
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You may not come out of this a believer, but Cornell will grip you nonetheless in this tale of extraterrestrial paranoia. Well worth sticking around for the character dynamics, if nothing else.
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Cornell has been playing this tightrope game of working with clich while deliberately breaking out of it in the most controlled way possible, and once again, he stays on his toes. A daring issue that just manages to work.
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If nothing else, Cornell always delivers a fascinating story, forcing you to receive a story in entirely new, usual ways"even if he deprives you of action for two issues.
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With so much to wrap up, there's really nothing Cornell can do to give us the ending we want from the series, but he makes a valiant effort anyway.
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I understand necessity drives the pace of this title now, but that doesn't make the rushed feeling any easier to take.
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Had this been the thirtieth issue, this would have been a terrific finale (or better yet, a perfect mid-series climax). As is, it works pretty well, tying up some important points while leaving the future open-ended, as it should be.
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For those expecting an immediate return to the old Secret Six magic, disappointment awaits. What's here is a solid start to a potentially intriguing, relatively original series.
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The art leaves a little to be desired, but the plot thickens considerably in spite of it.
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Hats off to Soule for sneaking a Captain America story through the backdoor. It's a solid one, though predictable in almost every way.
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A fun, fairy tale-like story that doesn't aim to be more complicated than that.
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Thoroughly enjoyable as a sample of Miller's work and an homage to the show it purports to continue, but as a Superman comic, it has a ways to go to rub shoulders with the majors. In short, it needs to go beyond Smallville.
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Interesting in spots, and its sense of humor is much appreciated, but the title still hasn't quite made the case for popular appeal just yet.
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I'll be around for one more for the road, but after that, it's regretfully down to the Drop List.
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A fun read that zips along and stays true to the character's origins, but still has a ways to figure itself out.
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Stellar action and plenty of fun moments, but it's still missing that bit of oomph to really drive it into the cream of the DC crop, besides being rather repetitive at times.
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I'm not so proud that I can't admit when I've made a mistake, and I think it was a mistake for me to discount Suicide Squad so strongly from the start. I'm definitely down to see where this title goes from here on out.
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A very different kind of Suicide Squad story, being more farce than thriller, but Glass makes it work, to the point that it even has echoes of Secret Six at certain points"and that's high praise indeed.
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The issue is gripping enough, though it doesn't exactly tread new ground for the characters in question. Still, Glass does a good job giving you a completely batty Harley, yet one who somehow retains a bit of charm.
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A bunch of storylines take steps forward in this issue, and it looks like now that the preliminary character work is done, Lemire is free to put the pedal to the metal and go all-out in giving Superboy some definitive adventures. Well see how it works out next issue.
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Green-Johnson craft a very complex, believable, likable Supergirl, but seem less inspired in the creation of her first villain. Nonetheless, a thoughtful, enjoyable read.
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A lot of action that leaves plenty for our star to do in the next issues, as well as seeds sown for bigger plotlines down the pike.
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A dependable read, one that lays a lot of the groundwork for plotlines to come, but the time is ripe for Supergirl to become more of her own woman, rather than the pawn, punching-bag, or prize of others.
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Busiek delivers a deeply sentimental story, but so out of context with the ongoing story arc on this title you can't help wondering how you even came to read it in the first place.
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Several familiar dilemmas are exchanged for a brand new one. It's a worthy trade.
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There'd be a more challenging story here if the plot didn't flee towards the most convenient escape hatch.
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A gripping cliffhanger doesn't quite make up for a fairly predictable plot, but it helps.
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Mostly entertaining and well done, but the story itself is proving to be nothing special or important.
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While Soule's execution is relatively faultless, the material, especially with his two leads, doesn't quite have that zing you're looking for just yet.
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You definitely get a sense that the issue falls just short of its potential, a result of odd storytelling choices and points that don't quite make it to completion.
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In an otherwise tepid sort of plot, Soule manages to infuse some real moments of character, making for a credibly uncomfortable read.
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The art is great, and the character work is Tomasi's usual best, but the plot needs to slow down a bit to gain some heft.
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Snyder crosses the line into getting too cerebral with the writing, slowing down the pace of the issue and minimizing the character work in the process.
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The character work is somewhat flat, which is unexpected from Snyder, but it's a marvelous bash-fest regardless.
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An issue that restores Superman's reputation as a man of action, even if the pacing and message are a touch clunky.
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No surprises on how solid the finale is, but on how it could have been so much better.
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A pretty dense second issue, but it sets your footing firmly in the series' history, leaving the path clear for pure plot development from now on.
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Still a solid read, but weaker art and slightly clumsier writing renders this issue less exceptional than the others.
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Just as fascinating now as when it first came out, but Snyder's slow and steady style, along with the narrow focus of the story, makes you feel a bit starved for more substance.
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I'm not so sure the issue really takes a big step forward in terms of advancing the story, but it's a solid read, nonetheless, and that last page definitely gets the heart of any Swamp Thing-Animal Man racing.
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All in all, a less than spectacular first outing on one of the most highly anticipated storylines of the year, but it has plenty of potential to redeem itself"once September is over.
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A little more integrity than its sister issue, but not much more so, and a lot of it has to do with Paquette's gorgeous"stylistically, not substantively"art.
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As solid a start as you can hope for, with an interesting premise and voice to start, although it's unclear where Soule plans to take the series.
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Soule proves that the integration of mainstream superhero and indie monster can be a good thing, each having a little bit of wisdom to exchange with the other.
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For an issue full of game-changing moments, there's a distinct shortage of impact, probably because it moves too fast to have as much as it should. The execution is sound; the timing is not.
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Hello, and welcome to my 2,000th"just to ensure there's no debate about typos, that's two thousandth"review for WCBR. Funny. It just occurred to me that despite the number, this review really isn't much different from any other, except that it's slightly shorter thanks to the space I wasted talking about how it's the 2,000th review. Let's take a moment to meditate on what kind of metaphor we can glean from that.
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A solid effort by the creators to tell a more realistic tale, although worn with a few clichs. You'll find little to complain about, but also little to love.
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A baby step forward in the right direction, though neither the main nor back-up features have shown much in the way of originality just yet.
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Some solid teamwork between two very different, yet complementary stories, though lacking in the kind of substance and complexity you'd expect of grown-up fantasy.
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The weakest issue so far, although theres still a lot to like: tremendous character work, subtle drama, strong artwork. But the action remains lightnot a good position for any superhero title. However, next issue seems to be the turning point for the story, so lets count on a big payoff there.
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The plot still seems to be dragging its heels in mud, but at least it feels like we're finally getting somewhere. The strength of the writing and art team can only do so much to cover up a plodding story, however. It's time to go big or go home.
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Interesting it may all be, beautifully rendered (for the most part), but discouragingly slow. When will we get to see the actual Agents again?
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Smartly and lovingly written as always, but still struggling to assert itself in a renewed universe.
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Some interesting exposition, and plenty of tension bubbling under the surface, but also a bit slow and artistically bland.
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A sobering issue full of Spencer's trademark suspense and smartness, though a bit flat in the art department. It doesn't feel like two issues is enough to put a wrap on his story or these characters"hint, hint, DC.
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Some superb art and a small lift in the writing equals a solid issue, even if it is just a hopeless spin-off. Definitely one for Night of the Owls fans.
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If this issue is an example of what we can expect to come from Talon, then it may prove itself as more than just a cravenly exploitive series.
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Would I say Team Seven is a breakout powerhouse? Decidedly no. But it does have enough going for it to potentially grow into a sleeper hit.
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It takes some craft and much love to make a bunch of oversized, mutant turtles who like pizza into credible protagonists, and that's exactly what the creative team has done here. I'm happily onboard for now.
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A bit thin on the plot, but still entertaining throughout as the cast finally comes together and executes their first official mission as a team.
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Thin on the plot, but chock full of fun imagery and really, isn't that what TMNT are all about?
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It's not so much the substance of the issue that's disappointing, but the timing. I'd appreciate more levity in my Turtles, please.
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What it lacks in big-screen appeal, this series makes up for with its faithfulness to detail. The creators have still only just started to break out from old formulas, however, and more effort in this respect is needed to make the title last through a new generation.
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A bit of a narrative cop-out where the more complex material is concerned, but a thoughtfully written tale of turtle-vs-turtle conflict nonetheless. Art-wise, Dan Duncan is sorely missed, though his replacement puts up an acceptable effort.
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Dependable, harmless fun as always, though there might be a pretty epic TMNT tale waiting in the wings.
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Another solid effort from all involved, although the issue takes a few liberties in getting where it needs to go, undermining the credibility of some of the characters in the process.
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An appropriately low-key issue that doesn't quite take advantage of the downtime to explore new territory or material, but is pleasant and digestible nonetheless.
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Although the issue makes some good developments on several fronts, it doesn't juggle them as fluidly as previous issues have done.
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The issue quietly chugs through all the setup it needs for the upcoming blowout.
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For a title that could have gone horribly wrong in so many ways, it succeeds in delivering a solid debut, though it'll need to find itself a point before long.
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The art is the more attractive feature, honestly, but the story's not bad. Despite a slight lack in character work and plotting, there's good intrigue in the mystery being woven.
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A rock-solid issue that seems uncertain on how to communicate its overarching ideas.
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Some significant shortcomings in the character work and plotting, but otherwise an appropriate and entertaining tribute to the classic pulp era.
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Williams takes an intriguing "What if"?" question and plays it out well, although it could use some more textual and visual flair.
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Quite a lot of talking and not much doing, but with Shade, even sheer chatter can be fascinating. Besides, Robinson sets things up to make the final two issues a blowout of godlike scale.
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The lead story works as classic detective stuff and the backup is harmless fluff, but at the end of the day, the success of pulp fiction relies on how colorful its world and characters are, despite their lack of dimension. However, Will Eisners iconic contribution to comics is the perfect medium for better, riskier storytelling with old plot structures. Lets hope Hine takes that risk.
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As faithful as it is to the pulp tradition, The Spirit has always been striven for more from the genre, and Hine continues that ambition.
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Not quite as productive as last issue, but the wheels of the story, if anything, spin even faster towards what feels like a massive climax.
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A momentous development that doesn't quite rise to the level of a twist, and not much else.
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Potentially can go somewhere interesting, though too much of an X-Men rip-off for the time being.
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I generally try to be as objective as I can for these things, but I'm only human. Every now and then, a story makes a point I find so disagreeable that it infects my reading ever afterwards. Basically, I read something I personally don't like and it makes me so cranky that I end up hating the rest of the story. On the other hand, if I can manage to contain my nerd-rage to that one point, it can expose serious flaws that actually are worth talking about.
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Another solid read with equally solid art, though it doesn't do much to further flesh out one of Thunderbolts' principal characters as it should.
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Again, mostly a series of fight sequences, but the dramatic character play in the second half of the issue leaves you feeling like some momentous events are on the way.
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Not exactly what you might expect from the publisher that produces it, but pleasantly engaging regardless.
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It's not often that an issue mostly full of chatter can feel engaging, but Hogan manages to do it, although he gets lots of help from Sprouse, who makes the most of even brief moments of activity.
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Tonally a little flat and not quite as exciting as previous Vertigo showcases, but still a well-crafted offering nonetheless.
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For one-shot shorts from mostly unfamiliar names, it's a worthwhile read, and certainly they're different offerings from the other publishers'.
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A lot of mysteries at work in this espionage-thriller, as well as solid writing, character work, and art. Not sure if it'll rise up to the top of the pops in DC's 52, but a strong middleweight nonetheless.
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Some crucial bits of information come into play here, and a pretty terrific guest appearance by a Green Lantern. Marz continues to deliver an entertaining read, one that deserves more notice than it's getting.
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Were clearly experiencing the slowdown that tends to haunt the second acts of stories, though some writers handle it much better than others. Its worth pointing out the art of all three features keep their strengths, but are limited by the material their scripts give them.
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While you feel secure that the story's moving along in a good direction, its speed is getting a little too conservative, and you long for our heroine to finally get a chance to hit something.
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The series, of course, has a lot of integrity, but you can't help feeling that we're only still just building up to the real big moments. Besides, the art isn't quite up to its usual par.
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Azzarello has done a first rate job introducing a ton of juicy plotlines; now he needs to concentrate on weaving them together and using them to make Wonder Woman, the character, as compelling and easy to love as Wonder Woman, the title.
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Like Hermes, Azzarello guides you to your fated destination, though you're left bewildered as to where. Still, he and Chiang keep you enthralled along the ride.
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Definitely not your typical Wonder Woman story, but a hugely fascinating one nonetheless.
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Azzarello sticks to his guns and his slow burn of a story, though you can definitely sense that the big blow-out is near.
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A solid introduction to a new arc, and a nice sample of art from Akins, but without much in the way of revelation or major movement in the plot.
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On a technical level, you have to admire and respect what Azzarello is doing here, although your investment in the series is more on faith than anything else. Akins has proven an able fill-in artist, but tends to disappoint as much as fulfills expectations.
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Steadily intriguing is the best way to describe this book, for even when the action is hardly there, the plot offers plenty of material to keep you speculating and interested.
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A bit repetitious on the plot side, but tonally a wonder, making you rightfully anticipate the next issue.
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From an intellectual standpoint, it's hard to criticize Azzarello's intentions with his story, though the execution could stand to appeal to the heart more than the brain. Chiang's art manages to enliven the proceedings quite a bit, however.
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At times, it's hard to tell if Azzarello is trying to accomplish too much or doing too little. There's much to like here, in both the script and art"especially the art"but there's even more left wanting.
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Though the timing of the issue is quite questionable, Azzarello mostly succeeds in giving a neat finish to a plot and to several themes nearly two years in the making.
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The appeal of this series remains subtle, especially given the flatness of its protagonist, but there's a lot of interest to be mined from Azzarello's subtlest work.
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As always, Azzarello leaves you with plenty to keep you interested to see how the next issue plays out, though the issue in had is not as satisfying as it can be.
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A not entirely unsuccessful attempt to capture the epic feel of the early parts of the series, though our heroine still doesn't seem an integral part of it.
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A surprising uptick in the art and some big moves from our heroine prove that Wonder Woman is starting to build up his momentum again.
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Mostly setup for the next adventure, and what an adventure it's looking to be. Traveling an interdimensional spiral staircase to a floating, invisible kingdom will do that.
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There's a lot of flash and glam going on in this series, surpassing even what you've seen in promotions, but there's signs of a real story percolating underneath it all.
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A solid second issue that has plenty to get you interested, although the signs of greatness remain far on the fringes.
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Aside from a bit of copycat material, this issue provides a solid finish to a most promising series. Already it's learning to provide as much substance as it does style.
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Skips over a bit too much material in its attempt to keep the plot on track, and delivers a poorly founded twist. Otherwise, the script and art are as hip, cool, and entertaining as they've always been.
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For an arc that demanded our heroes to travel universes, encounter dimensional phenomena and ancient goddesses, and ask some hard questions about themselves, we get some very low-key results out of it, though plenty of food for later thought.
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So fixated on one character that calling the title Young Avengers may be a misnomer, but engaging and visually stunning nonetheless.
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A solid issue in its own right, but one that also exposes many of the defects of the series as a whole.
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A solid hitter, if not the big hit that it looked to be at first. While I'm not exactly torn about the end of the series, I will miss it, nonetheless.
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An entertaining done-in-one, but not nearly as strong as it could be.
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A fine, enjoyable filler issue, but one that shouldn't have been a filler.
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Azzarello tackles one of the most volatile combinations in humanity"religion and sin"and manages to render a compelling portrait, which grasps at some kind of truth about faith in the real world. His plot could use greater definition, however.
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Now we've really got a story on our hands, what with all the different forces gathered in one place and ready to combust at a single spark. Light it up, I say!
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The issue keeps you very much interested in the outcome of Lono's path toward redemption by giving you something of an early climax, but puts quite a few plotlines on the backburner in the process
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A very definite resolution that nevertheless leaves a great deal unanswered.
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Only partially substantial and largely unnecessary, but it's still a very enjoyable reading experience.
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This is easily one of the least flashy versions of the Man of Steel yet, but also the most approachable. A strong start to what may or may not be a new golden era for comics' greatest icon.
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The story suffers from both breathless pacing and unimpressive art, and a solid back-up feature can do little to help that situation.
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The issue suffers from somewhat weak art, but otherwise shows Morrison in fine shape, delivering the kind of story only he can devise.
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Though dragged down by mediocre art, Soule captures the essence of Lex Luthor's villainy, but also his appeal.
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Pak's Action Comics is back in shape, ready to provide more classic Superman stories with a modern spin.
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It's hard to write a Western that breaks out of the strict trappings of the genre, but Gray-Palmiotti are actually starting to do it, in two stories at once. Here's wishing them even more progress in issues to come.
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By far the strongest issue we've had so far on this series, which just goes to show there's room for an old genre to grow, after all.
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An enlightening reintroduction of Animal Man to a new generation, with strong art. For the loyalists, there's stuff to enjoy, but it won't be quite as substantial.
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Call it a movie or a comic, but either way, it makes great reading. Lemire's still redefining what it means to create a mainstream comic book, and if others take his lead, there's a great future ahead for the medium.
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An important expository issue in the sense that it sets up the type of family drama we can expect from the story from here on in, as well as the losses at stake should things turn out for the worse.
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The scary moments never stop on this title, and the odds just get worse and worse for our heroes"which, if anything, makes you more invested than ever in their fates. Even if Lemire somehow delivers the worst-written issue ever next time, you'll still be in for the long haul.
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There's a lot happening here, but it's mostly world-building and groundwork for the next major showdown. Still more than substantial enough for your money, though.
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Not the most punchy ending to an arc, but Lemire's solid writing, with strong guest art from Ponticelli, make this a quietly gripping one.
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At once tender and mythical, it seems Johns has found the exact tone needed to make Aquaman special.
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Arthur's popularity may continue as a recurring motif in future issues, but after this one, you'll understand it's immaterial. Our hero doesn't care what you think of him; he'll do the right thing anyway. Slow pacing aside, this story packs good substance and deserves attention.
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While more complete and substantial than most issues, ultimately this one still serves as a prelude to a bigger story, albeit a very good one.
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Here is where Johns hits his stride, veering away from meta jokes in favor of real, old-fashioned, long-term storytelling.
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Though a bit slow and stingy on details, the issue has a strong emotional pulse which quickens when the action gets going, and you can't deny Johns introduces a number of interesting plot elements here.
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For those of you who remember Johns' superb early work on Teen Titans and the rebirthed Green Lantern, he's bringing some of that same magic here.
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Since I'm a bit of an Aquaman fan, it's no shocker for me to say this, but I imagine it'll be shocking for many of you who share my sentiment"this may be on its way to becoming one of the most purely enjoyable superhero comics I'm reading.
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It would not be out of the question to say that Johns' Aquaman will become one of the, if not the definitive runs for the character. If this doesn't merit our favorite undersea king his position as one of DC's icons, nothing will.
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Successfully gets you to want more, though rather inconclusive for a one-shot.
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From the moment you start reading, it's clear Busiek gives you a story quite unlike anything else on the stands right now, but we know too little to know whether this is a masterpiece in the making.
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Though entirely focused on the purely superhero half of the series, Busiek doesn't lose sight of the humanity which makes the title's spirit.
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Busiek tackles another untrodden area in the superhero genre and gets some very good material out of it.
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This issue gives you the more serious side of Batgirl"and it's a good look. I wouldn't mind a little bit more of this kind of thing, since Miller does pretty well at it.
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Story-wise, we'll have to give up the plot as a wash, but the issue is the perfect reminder of why this series and character have so deeply captured our affection. But save your tears; as Steph says, "It's only the end if you want it to be."
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Come to this title with no prejudices, and the smart writing and luscious art will soon worm its way into your heart. Barbara Gordon may just earn her bat again, if Simone capitalizes on her momentum here.
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It'd be nice to get some villains of real substance, but pure entertainment is a decent attraction, too.
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While some of the novelty has worn off, it reveals a surprisingly solid bit of storytelling underneath with plenty of laughs still attached. If we can get Case to draw the whole issue every issue, that'd really ice the cake.
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Still as unrepentantly silly as ever, but offering little that requires forgiveness, aside from a comparatively underwhelming epilogue.
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It may not be the best or most outstanding new series from DC right now, but it has the virtue of being the most surprising, practically all of it in a good way.
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A reader who comes in with any kind of foreknowledge won't find much stakes to hold onto, but there's still plenty to enjoy from the script and art, regardless.
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A very interesting character study on one of the most complicated characters in the DCU. Fitting for the son of Batman.
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Other Bat-titles may deliver greater action, more potent mystery, or zanier plots, but none have made the Dark Knight and his sidekick seem so sympathetic and accessible. And anyway, this title's not short of action, mystery, or zaniness by any means.
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Among the pure superhero dramas being put out by the new 52, this one counts among the best, weaving tremendous character work and gripping plotting at the same time.
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It's a very different kind of drama and Batman story Tomasi's telling here, but a powerful one just the same, very much the rival of Scott Snyder's acclaimed work on Batman.
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A downtime issue for the Bat-family that's actually not down most of its time, but with more family than you might think.
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Tomasi kicks off his tie-in to the big Bat-story of the year with much pizzazz and not a little disgust, and the art only enhances both elements.
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Touching and full of soul without ever emasculating the characters, although lately we've gotten a bit too much of this kind of thing instead of actual plot.
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Full of emotional swerves, this issue actually succeeds in making Jason Todd a figure of sympathy even as it pushes Batman ever closer to the edge of self-destruction.
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As emotionally driven and action-packed as this issue is, content is a little lacking, which leaves it less exemplary than usual.
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Tomasi doesn't make the best use of his guest star, but it's a spectacular good time nonetheless, promising more to come.
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One of the rare occasions when less substance and more action would've profited the issue, but it's a good adrenaline rush of a read all the same.
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Pretty much zero progress on the plot, but an outstanding bit of character interaction with great art.
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Tomasi's strengths are readily visible, but whether he can overcome his weaknesses remains to be seen.
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Any comic book geek worth his salt has wondered what would happen if Gotham had the kind of superheroes that Metropolis and Central City does, and the conclusion is Gotham probably wouldn't be a crime-infested disaster for long. This would definitely be the case if Bruce were somehow to gain superpowers. You know he'd figure out every application of every ability, no matter how minute, and he'd whip that city into shape faster than Justin Bieber makes an asshole of himself.*
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The chain of events is entirely traditional to what you already know of Bruce and Dick, but the execution reveals new layers to their relationship and mutual past that is much needed in this new continuity.
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Not too many writers can scrabble together so many players into one issue and make each feel like an important cog to the whole work, but Morrison manages to do just that.
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It's very hard to pin down the appeal of this series, but I'd wager it has much to do with the anything-can-happen energy you get from the script and art. Morrison hasn't lost a beat in the long hiatus; Batman Inc. is quite as entertaining as it was before.
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One of the most effective and thorough character pieces I've seen of a person who's been a bit poorly defined up till now.
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As always, I applaud Morrison's ability to write something which is just purely entertaining, yet rises above a guilty pleasure. Still, it'd be nice to get some movement on the big, underlying plot though.
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A fascinating interlude, but also somewhat contrived and beside the point. As Damian astutely points out, "Nobody knows the future," not even Batman.
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Whether bound in continuity or not, it really feels like the end of days for Batman and all he cares about. The brilliance of Snyder's Batman notwithstanding, Morrison's is very much worth a look as well.
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While I still question the ultimate necessity of Damian's death, I can't deny that within Morrison's greater work, it is completely well-earned.
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A fun idea, executed well, but with all the gloss and lack of depth as an excellent action movie.
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Honestly, an issue full of Nguyen's miniature figures is worth the price of admission alone, but with some fun storytelling and decent jokes, it's really as good as you can hope for.
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Somewhat less suspenseful than the opening arc, but just as focused and driven in telling a good story. Batwoman continues to impress, remaining a solid performer in DC's line of titles.
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Each plotline proceeds smoothly, allowing the big picture of the story arc to come into focus. Batwoman has become an incredibly dependable title for getting a balanced dose of action, character work, intrigue, and the supernatural.
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At this point, Batwoman's vendetta against Medusa comes second to the personal drama happening among all the characters, but the creators keep you invested on both fronts.
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I still consider this to be one of the most consistently well-told series on the stands right now, where even when it's not as good as it can be, it's still very good.
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This is certainly a return to form for the title, as it offers high-paced action and bold character work hand-in-hand. That said, more developments to the plot would be much appreciated.
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As always, the action goes at a rollicking gallop, dragging plenty of strong character moments along for the ride. While it's questionable if we'll get anywhere out of the ordinary, I'm in for the long haul.
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With the Birds, you get a little bit of everything, written and drawn with a lot of expertise and craft. Rock-solid, with only a few hairline cracks in the plot.
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Kelly Sue DeConnick, writer of the upcoming Captain Marvel, challenged readers to prove that a "female-led book about the power of the human spirit, about the many guises of heroism, a book wherein no one gets raped or puts her cervix on display, can break six issues". With all due respect, I'd like to say the point has already been proven in Birds of Prey, as you don't get more female leaders, more spirit, or more heroism than here–and it's lasted seven issues.
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All these patterns in the clues are deliciously frustrating, like feeling an answer on the tip of your tongue.
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Much depends on how Spencer plays out the bomb he drops on us in this issue, but the explosion is nevertheless captivating.
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If you read this issue only once, and with the same investment you'd give to most comics, you might be tempted to put it down after you're done and wonder, What the hell did I just read? You'd think after seven solid issues, you'd have a firm grasp on the story and all you have to do is coast towards the resolution. But Spencer's not interested in giving us an easy ride, even in the series' final hour. If you want to get the most of the issue, you're going to have to give it all your focus, just like its predecessors.
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There are a lot of assumptions going on here and the satisfaction Captain Marvel feels at the end is mostly unearned, but otherwise a well-written and well-rendered issue.
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It's lonely at the top. That truism has always applied to Selina, ever since she took over the Calabreses, but after ordering Nick's death, she's more isolated than ever. The issue opens on three panels, one of her sitting in a car with Antonia, another of her surrounded by revelers at a party, the third alone in the shadows of an empty room. Three different settings, but they all depict the same thing: whatever burdens she carries, she carries alone.
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Still as fun a read as the very idea, you've never been quite so convinced that a once downtrodden, bedraggled girl can elevate herself to fairy tales' finest secret agent.
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For a story where gravity will occasionally and sullenly cease its predictable work, Collider is delightfully grounded, though no less capable of sending your imagination spinning so high that indeed, you might experience a bit of Vertigo.
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The bulk of the surprises were used in the last couple issues, but this one has more than enough gripping material to make it a worthy read.
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Waid delivers another solid issue, although he rushes through some of the more interesting developments of his story, leaving them ever so slightly underdeveloped.
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A very strong conclusion to a gripping arc and an even more gripping storyline, though overall, it doesn't quite capitalize on all the potential drama it could have.
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Waid's contribution is by itself worth the cover price, and the other two features are generally solid, if not nearly as admirable.
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Our latest antagonist is a bit derivative and easy to read, but he reveals enough layers to make him a formidable challenge.
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Even a relatively uneventful issue of Daredevil is a sight better than most comics out there.
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There are some weak spots in the scripting, but it's a rock-solid sample of Daredevil anyway.
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A crossover issue that doesn't actually have to cross over into anything. It's as good as it sounds.
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Waid and Rodriguez more than make the most of a tie-in; they use it to their advantage.
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The problem with the Purple people is almost too smoothly taken care of, but the aftereffects will be intriguing to keep track of.
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Given the never-ending nature of comics, it's not unheard of for me to lose sight of certain details, even big ones. But some moments I remember months and months after they happen, by virtue of their sheer power. You can bet I count Kirsten's rejection of being known merely as Daredevil's girlfriend as one of those moments. There was more than a little metafiction in that speech, but it was also a demand for respect and a commitment to always fight the label of romantic interest.
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Once again, Robinson delivers an intriguing glimpse into another of DC's least understood characters, though he raises even more questions in the process.
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I don't know if this makes me want to pick up Red Hood, but it does make me wish for an Arsenal ongoing with Keatinge and Ricken on creative duties.
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If nothing else, this issue is proof of Litt's concept and that it can sustain a good amount of story for some time.
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This endearingly oddball title stays strong, though not an exemplar of Vertigo material.
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Emotionally satisfying, but the mystery is not much there.
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As one of the best crafters of character in the business, Cornell ensures the issue has plenty of zip and remarkable lines, but it also happens to have a strong, engaging plot and lovely artwork. A winner, in my book.
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The title is a fantasy fan's dream come true, but it also has great plotting and character work that would enrich any story, regardless of genre.
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Still one of the heavier middleweights in DC's arsenal, this series rarely seems to take a break from its nonstop action"which is fine by me, thank you very much.
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A very hectic, engrossing issue, jam-packed with material, and at the back of it all, a lingering taste of the bitterness of war. A strong first arc, though not one with much hope to it.
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This is classic fantasy stuff we're dealing with here: a land overrun by monsters, an evil queen in an unassailable tower, noble champions in bad odds–great material for sword-and-sorcery enthusiasts.
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An informative issue, but a transitional one, meaning what you learn comes at the expense of a slightly quiet plot, despite taking place in the fires of Hell.
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While the meat of the plot is still up in the air, and the back-up feels a bit superfluous, Layman offers a very different flavor of Batman, one you can appreciate among a whole stand of Batman titles.
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A thoroughly respectable tie-in issue that just scrapes the underside of being original.
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Layman delivers a good, old-fashioned, thoughtful Batman story. The ambition isn't amazing, but the execution is very well done.
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Once again, DC proves its devotion to oddball concepts in this surprisingly enjoyable debut. Miville clearly has a long-term vision for this series; let's hope it garners enough attention so we can actually see that vision come to fruition.
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While you can't tell right now if there's a storyline that'll be worth your time in the end, you definitely have a lot to be interested in.
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Well, I must say I've never read anything like that before. While I personally enjoy the experience, I have to imagine you'd need a pretty indulgent attitude like mine to feel the same.
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Wildly inventive, almost dangerously so, but worth it for anyone who claims they want to read something different from a mainstream publisher.
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A fun, amusing break for the series, but one that puts a hold on still unsolved, half-formed mysteries.
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More than just thought-provoking, this issue is downright thrilling in a way that has nothing to do with typical superhero action. Long may the series live.
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Miville continues his hot streak on this ambitious series, but is somewhat dragged down by Ponticelli's loving but insufficient art.
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Miville's frenetic story might threaten to lap you at times, but he makes it easier than ever to stay abreast of the rapidly developing plot and appreciate its imaginative strengths.
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Although Miville is hampered by the rushed, limited confines of his finale, he still gives us the kind of material we've come to expect from him: bold, imaginative, and novel.
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An adaptation that makes me want to see the original"a pretty big achievement for any spin-off work.
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The issue thrives on a combination of high-precision action, every beat speaking for itself with full impact, as well as some light-footed and barreling dialogue.
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It's unclear what kind of message Tarantino-Hudlin want people to get out of this, but it's obvious that there's a message lurking here.
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The art is not impressive, but the story never drops the ball of engagement, revealing layers of character even as it goes for big moments of spectacle.
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In a way, its fitting that the Doom Patrol, the team that can never catch a break, dont get much out of their harrowing experience, as long as the experience itself has some fun and thrills, which it does. Heres looking forward to the Patrol getting higher-stakes adventures in the future.
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A bittersweet tribute to the Doom Patrol spirit, the issue takes some time to meditate before the team takes off for the finish line.
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A very promising start to another whole new DCU, supported by Robinson's even writing and Scott's magnificent art.
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Robinson is clearly taking full advantage of the blank slate given him, remaking the Earth with godlike strokes, with Scott bringing it into being.
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With one sharp turn, Taylor finally puts to rest one of the most sustained conflicts on any Earth of the DCU, and Scott nearly surpasses herself.
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It's also worth pointing out that Blackman simply has one of the most descriptive narrative voices in comics, one that manages to capture details that even Del Mundo's expansive art can't contain. Take Lips' painfully chaotic visions after Elektra thrusts a tsai straight into his skull: "All I can see are flashes in my brain"red yellow blue green they burn the back of my eyes"so bright can't see can't think can't heal"one last flash then darkness""
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Pure action from beginning to end, but from it you can get some valuable insights into our antiheroine.
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As storied and well-written as its fans make it out to be, Fables is well on its way to making me yet another of its devotee. If you try it, you'll likely wind up the same.
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An enjoyable palette-cleanser to the fairly dire stuff we've gotten lately, and a valuable epilogue to an older plotline
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Another story arc begins for Fables, and if precedent is any indication, this one will be a winner.
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We don't have any massive force of darkness descending upon our fairy tale characters, but the stakes are just as high.
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A praiseworthy issue, if only because Willingham tackles an exceptionally sensitive and outrageous subject with such care that it never once feels unnecessary or gratuitous.
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But for a pointless back-up, this would be a really enjoyable interlude issue, bolstered by some lovely art.
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The story and art of a fantasy lover's dreams, saddled with an unbecoming and inert back-up.
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Willingham once again proves himself a master of pacing and direction, delivering another solid issue that gets you interested in the one to come. Little wonder that Fables has become the most venerable title on my pull list.
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On average, Willingham always manages to keep at least one plotline engaging, but when he's really on his game, as he is here, every plotline"and there are many"has something to look forward to.
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A quietly engaging read that gives you much to think about, both for the story at hand and for your after-reading reflections.
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The strongest outing yet from this series, one convincing me it deserves a life of its own. It was touch-and-go for a while there, but this issue makes you feel it has something special to offer.
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In comics, a good brawl makes up for a lot, and this one has the added bonus of involving some very original combatants. Good times.
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While not exactly the breakout hit you might expect from the creator of Fables, it's an appropriate successor to his trophy title, and at the least, it's provided some outstandingly beautiful art.
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You could do without the passionless romantic tension, but overall, another impressive outing by Beukes and Miranda.
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A light and entertaining interlude between arcs, but like all light and entertaining stories, it has a hard time keeping a hold on you after you finish reading.
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Never has the darker side of fiction seemed so appealing as under Brubaker and Phillips' creative prowess, even if it gets a touch predictable at times.
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Some highly kinetic art and very good forward movement here, though the issue perhaps signals its next moves a little more loudly than it should.
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This collection of comics shows that at least some people were aware of the ridiculousness of their times. Even though the stories are undeniably silly, they're silly because they mean to be, which gives them a kind of sophistication even above the more famous Simon-Kirby works.
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John Carter meets Phileas Fogg and Doc Savage. For all those who yearn for a pure escapist adventure, your prayers have been answered.
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The story keeps up its pace of old-fashioned excitement, and adds some interesting plot developments on top of it.
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A fun read that brings all the qualities that make enjoyable, if not exactly genre-busting, comics.
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Entertaining from start to finish, with great character moments and well-woven plotlines, Manapul and Buccellato prove, with a few exceptions, they're really getting a handle on this writing thing. A very promising trend for the series.
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A very strong, promising start to DC's most talked-about storyline, though much depends on the follow-up.
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In previous weeks we've gotten a lot of Flashpoint tie-ins where the creators seem like they winged the whole thing, but with a story from Snyder (penned by the very capable of Francis) and art from Ha, this is one tie-in that's getting first-class treatment.
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An enjoyable glimpse into the truth behind the biggest drama in Flashpoint, though it opens more questions than it answers.
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The action and adventure go non-stop, and the ideas keep flying, some old, some new, all engagingly written and drawn. Sheer fun in less than thirty pages.
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If you need a spoonful of pure, unadulterated fun that never once crosses over into the thoughtless, pick this title up. I will be crushed if this title doesn't last for at least a few years to come, so don't disappoint me!
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With this first mini-crossover of the new 52, Lemire sets a good example for crossovers to come: entertaining clashes of characters, a solid basis for the plot, and some substance for the title's personal direction.
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Yet another title that promises pure, never-ending action, but so well-crafted that it elevates itself to art.
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You have to admire Lemire for consistently wrapping up stories in less than six-issue arcs, but this one has so many emotional ramifications and leaves open so many questions that an extra issue would not have hurt at all.
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It takes a special writer to pull off an old-school monster book in the comics industry nowadays. While it's sad to see Lemire transfer that talent to Justice League Dark, at least we won't be deprived of our monthly servings of his work.
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The placid, straightforward pace of the last couple issues made me wonder whether Gotham Academy was really as good as it was cracked up to be, or whether it was just okay beneath a gorgeous surface. The story had interesting pieces, but nothing that you could examine all over to invest in, and the characters were mostly likable on their own, but weren't totally clicking taken together. Up until last issue, I could still see the series going either way in the awesome/blah department.
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Finally, DC might have the occult title it's been waiting for, with its second issue proving as solid as the first.
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Only Dick, among all the Bat-characters, can fully pull off the secret agent look, and Seely-King- Jann make him look good doing it.
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The issue gives you hope that not all the Futures End tie-ins will be a wash, although its impact is still limited.
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Few surprises here, but the ones that do exist are entertaining enough. Sorrentino continues to be DC's biggest artistic daredevil and Green Arrow's greatest asset.
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One of the few tie-in issues that actually encourage you to keep reading the series after the month is over.
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Heart-thumpingly explosive and full of swerves that'll leave your head spinning. Not much dramatic depth to be found here, but a pretty consequential conclusion to DC's Event that is not an Event.
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By all accounts, the issue doesn't get very far, but it sets some very substantial storylines in motion and generates a great momentum. Unscathed from the relaunch, it just goes to show: if it ain't broke"
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It seems like no matter what else happens to Johns creatively, Green Lantern will always be a solid hit for him, especially if he has the superb Mahnke to back him up artistically.
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Admittedly, there are really no new developments in the plot, but the character work is pretty outstanding, and the series never fails to be thrilling.
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Purely entertaining across the board, but slow to advance the plot.
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Johns' talent lies in convincing you to drop your cynical scrutiny and just enjoy the ride he offers. True, you may end up regretting this in the end, as you often do with sketchy rides, but at least you'll come away with a very interesting experience.
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A great showing for the latest addition to the Green Lantern family. You may not be sold on him as a superhero yet, but perhaps more importantly, you'll be sold that he's a good man.
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A reminder that the Green Lantern universe remains a bedrock for DC, that its biggest stories have yet to be told. An impressive use of the annual format to launch what is bound to be the splashiest Event of the year from the new DC.
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A high-paced, beautifully drawn issue with a lot of enjoyably mindless action, although it doesn't do the characters many favors in the depth department. A little more care in creating more gripping drama would really take this title to the next level of quality.
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It's a familiar story, but Tomasi reminds you why it has such appeal. Although Tomasi leaves a few open questions, he dives deep into Guy's personal life.
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With Pasarin back on board, and a lot of great developments, this title's back to being on top of the middle-weights, and has all the potential to rise even higher.
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Even when there's little action going on, Tomasi manages to deliver an exciting, enjoyable read, thanks in no small part to Pasarin's excellent artistic support. A more than solid effort all around.
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While the story takes a few logistics for granted, that does nothing to undermine its overall integrity. You can't really beat solid plotting, character work, and art.
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A pretty strong blend of space opera and courtroom drama, with Tomasi putting on his best Law and Order writer's cap.
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An almost shockingly strong start to a fairly unconventional series from DC, proving that taking risks really can produce the most profitable results.
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Fraction definitely has the problem of missing the forest for the trees. As strong as each individual issue has been, and this one is no exception, the series as a whole has been fairly uneven and meandering.
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We finally get some much-needed answers and substance for Kate's LA misadventures, giving it a lot more heft beyond its witticisms.
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It's Kate Bishop taking a solo road trip to Hollywood. How can that not be guaranteed entertainment? Too bad it's not quite as fully realized as it could be.
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Not much progression on the overarching storyline, though you can't deny Herc gets plenty to do in this issue.
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I don't often suggest a story can be improved by writing more, but this is one case where there's enough underdeveloped material that bears more attention and resources.
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As massively fun as ever, though a little too hurried and underdeveloped to break the ceiling into greatness.
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I, Vampire has no intention of falling victim to any genre stereotypes or popular trends. It has a dark, yet deeply hopeful voice of its own that clearly separates it from the massive amount of vampire fiction out there.
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At times it seems a bit unoriginal, but it's crafted with a great deal of thought and panache.
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No progress on the story"or not much, at any rate"but some great development between Danny and the closest thing he's got to a supporting character.
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Andrews doesn't shy away from the ugly in his writing, so naturally his art won't either. While the sight of Danny's body, looking very much like something spat out by a giant lawn mower, is pretty hard to look at, the most horrific visual by far is that of his destroyer: a massive growth of coiled wires and metal appendages, the torn faces of Danny's fathers and enemies planted among them. It's the stuff of your sci-fi nightmares, with nothing remotely cheesy about it.
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For the past couple weeks, DC comics have sported an ad for The Flash with the tagline, "Lightning didn't strike him. It chose him." It's a great tag, but its essential message is applicable to a whole lot more people than Barry Allen. The force of fate drives all superheroes to some degree, but for some, like Barry, there's more than fate or chance or any abstract power at work in their lives.
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As individual stories, these pieces are worthy of appreciation, even entertainment, but little more. As a tribute to one of the formative comic book artists in comics history, these pieces are loving and appropriate.
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This issue once again gets solid marks as a piece of history, more than anything else. I don't know if you can say these are seminal works by the creators, but they do represent something of the styles that make them honored.
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What didn't translate into a feature film, despite gross sums of investment, comes to amazing life in twenty-something pages of word balloons and art, proving the unique strengths of the comics medium for storytelling.
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The action goes so fast that at times it leaves you a bit winded, but it's a substantial and satisfying read nonetheless, with art from Prez to make it look like a first-rate production.
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While the pace of this series goes blindingly fast"blink once and you'll miss it"it is so unadulterated in action and adventure that you feel hyperactively full by the end of it.
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While not the most original starting point, Millar does take the story in several interesting directions, and there's some magnificent layers of meaning to what he writes. Quitely's art is both lively and profound.
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The enthusiasm emanating from this title is palpable and infectious, but ends on a rather dull note with an underwhelming back-up.
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In terms of classic superhero comics, this title might prove to be a great example of the genre's appeal and popularity: pleasurable and exciting, if not exactly literary.
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All-out superhero action with some truly stellar mainstream art; this is the DC anchor book we've been waiting for.
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As a sample of pure pop comic bookery, this is exactly the kind of issue you'd want from the Justice League, bolstered by some tremendous art.
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Could it be that Justice League is becoming the anchor title it holds itself out to be? The signs sure are pointing that way.
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There's definitely a childlike sense of play and fun which takes advantage of the story's simplicity to make it more enjoyable than it has any right to be, and Frank's art gives it incredible class.
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Some rather sophisticated work from Johns-Gates, though perhaps not quite as informative as it should be. Kudranski once again proves that he has no equal when it comes to drawing villains with both menace and sympathy.
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With a fresh vision courtesy of Johns and Reis, the new Metal Men are not merely throwbacks to the past, but endearing in a way that only classic DC characters can be.
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A solid issue built around a fantastic moment.
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Though I still think, with some regret, on what this series might have been had Lemire wrote it from the start, I'm more than ready to enjoy a solid occult title from here on out.
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You won't necessarily get the answers you're looking for, but Kindt gives you a whole lot else to chew on and Mahnke's art is always a treat.
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The strongest read yet for Cornells latest attempt to broaden DCs canon of Anglican superheroes, but still lacking the punch it needs to truly sell Knight and Squire as the more jolly analogues to Batman and Robin. For non-Anglophiles, the fun of the series will be lessened, but still as easy to digest as tea biscuits.
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The series is very specific about what it wants to be: more cerebral than action-driven. As a cultural, critical, metafictional piece, it's excellent, but don't expect much in the way of brawling, energy beams, or bombs.
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A must read for Legion fans who'd like a more current take on the characters. The issue sings with action and humor, and promises even more to come.
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Significant improvements and advances in the story and art. Letter 44 is starting to reach for the greatness it always had the potential for.
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Lobster Johnson always had the potential for greatness, and this issue is strong evidence of it. The artistic efforts are better than ever, and the script actually has some weight.
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A very entertaining first outing that perhaps gets a little overexcited and rushes through its various components, though it's all well put together.
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An impressive bit of metafiction that's also remarkably entertaining, with perfectly pleasing art.
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While the direction of this series has already changed several times in the last year, at its core it remains a story about Loki trying to change who he was and who he might become. It's questionable whether forcibly revising his past was the right way of going about it, but even if it worked, there's always that damned "crime that will not be forgiven" thing hanging over his head. To say that it won't be forgiven means that it also won't be forgotten, which means Loki can do right for the rest of his life and still never find relief.
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This could very well be the start of something big, given the innumerable threads spiraling from the central figure's predicament. If McCann can maintain this steady momentum, it'll be worth sticking around for.
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McCann intends to inch us forward on this story and as long as he keeps the cord of tension this tight, you'll be down for the whole mile, no matter how long it takes.
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Although the switch in art styles in the middle seems a bit unnecessary, the issue still runs as smoothly as ever, answering questions and opening new ones simultaneously, maintaining the perfect balance of revelation and mystery.
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I find myself frustratingly and helplessly caught up in the intrigue, as usual, even though the story has purposely avoided giving up much of anything. Story of my life.
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The sad part, of course, is it feels like we haven't even come close to scratching the surface of what's happening to Elle, but McCann keeps you deeply invested nonetheless.
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While I'm more than ready to learn more about what's really going on, I have to admit there's a kind of pleasure in keeping your curiosity so relentlessly unsated.
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This issue definitely gives you the motherload of plot twists (in relation to ones prior), revealing just how much groundwork McCann has done all along.
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For a Big Fat Middle issue, even one with a slightly overused plotline, this is a remarkably strong one, subtly weaving theme and plot together seamlessly to make an engrossing and entertaining read.
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These have all the makings of rather high drama, which isn't something you get from your typical western, but this isn't your typical western.
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Red Robin does pretty much everything"mystery, thriller, action, romance, teen drama"well, although it lacks that oomph to really become a top-tier title.
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Nicieza has really let Tim carve out his own niche in the ever growing Bat-family, and issues like this one show why Red Robin deserves his own special place in the DCU.
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Some good twists in the issue signal bigger, more important developments ahead, though the plot remains as straightforward as can be.
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Its certainly an ambitious comic, with a lot of grand, far-reaching ideas. Its not clear what place this title will end up having in the Marvel canon, but regardless, a lot of great sci-fi fun.
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A fascinating read, one that fans your curiosity to know more about these worlds, these races, and their entire way of life.
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If not for Vaughan's sense of humor and depth of character work, you'd be less inclined to overlook the creeping pace, but his writing keeps you well entertained despite the deficiency in plot.
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I'm a little impatient for something big and splashy to happen, but this issue more than satisfied me with its more grounded conflicts.
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Ongoing pacing problems aside, Vaughan and Staples are simply incapable of delivering a less-than-solid issue.
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There's no denying the attraction to the characters, especially by now, but it seems time to get a move on the other plot threads Vaughan has laid down.
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Light and entertaining, simple and pure, graced with some of the most graceful art. A solid outing for a consistently solid series.
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A few questionable storytelling choices, but they are just that"questionable, neither damaging nor unreasonable.
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An issue that feels like the series taking a deep breath before it plunges into some real drama. Even infected with a bit of controversy, it shrugs, and moves on.
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While the plot is slow to advance and reveal its stakes, Vaughan continues an unbroken streak of solid character growth and Staples once again turns in an artistic masterwork.
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Still solid, this issue has all the dramatic and artistic strengths you've come to expect from your monthly dosage of Saga, even if it's relatively uneventful.
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Despite the blaze of emotions involved, it's a straightforward issue for Saga.
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An auspicious end to what's been a somewhat formulaic storyline.
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Funny that it's taken twenty-five issues to get a real, sustained look at the war that started it all. In a way, there's something brilliant to reducing a galaxy-wide conflict responsible for changing and ending so many lives to the periphery of the story. You can read that in a lot of different ways: our ability to get used to anything if it goes on long enough; how we distance ourselves from the unpleasant until it grabs us by the collar and stares us right in the face; the distinction between war as a social and political tool and the actual hostilities between parties.
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An issue which shifts seamlessly between fevered imaginings and cold realities, never letting you decide which is dominant. Ruthlessly fascinating stuff.
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Not your traditional superhero book, but a very worthy superhero book all the same, perhaps all the more so because of its very lack of tradition.
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A few minor flaws aside, it's a thoroughly entertaining issue that puts all of She-Hulk‘s charm on display.
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I can think of worse series to invest in than a modern-day, sci-fi fairy tale, especially one that's written and drawn with such cheeky warmth.
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A mostly productive issue whose greater purpose, which it accomplishes beautifully, is to remind you that its star is indeed a badass.
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Even if you have no familiarity with the characters whatsoever, by the end of the issue, you'll feel as though you've known them for years. The perfect vehicle for the former Dr. Who writer's grand and zany ideas.
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The title has really gained momentum now, as it offers surprisingly developed characters, fun interplay, creative sci-fi concepts, a strong plot, and tremendous art.
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A very entertaining and smart read, one that keeps the pace, dialogue, and plot moving as quickly and intriguingly as possible.
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A big step up on all levels, this issue gives the title the grounding it needs to make sure theres some substance behind the sci-fi zaniness Lemire is running with. The characters, as does the story at large, take big steps in the right direction, with signs that the pace will only ramp up from here.
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A relaxing issue which manages to be enjoyable, while also tying together some of the different plotlines Lemire has set in place. However, it's strangely moody for such a fun premise, and certainly more could have been done with it.
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Lemire at last hits his stride on this title as he finally gets to play out the story he teased from the very beginning.
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A lot of very enjoyable shenanigans, but somewhat random and not completely gelled together yet.
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We've had promising starts fizzle into disappointments before, but call me an optimist: I say this could be the start of something big"at least, until the title gets relaunched with a skirtless Supergirl come fall.
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A very strong, poignant introduction to the character, one that already sets her apart from her iconic predecessor, and well-balanced between emotion and action.
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We don't get too much further in terms of plot from where we were last time, but Kara becomes nearly fully-formed in this issue, laying down a very exciting potential for her evolution in her newest incarnation.
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No drastic or radical changes here, but very much your quintessential Superman issue, cleaned up to feel comfortably refurbished, if not sparkling new.
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The gang at The Daily Planet has never sounded better since the relaunch. Once again, Johns proves his knack for taking the old and making them like new.
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Relatively sophisticated and understated for Johns, at least in parts.
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A surprisingly enjoyable romp with the Superman family, featuring generally stronger art than writing, though there are some good stories in here. Maybe not worth the total six bucks it's priced at, but certainly deserves the consideration, which is no small feat.
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A very good start to a series that may, as its title suggests, finally allow Superman to break free from the conventions that have kept him grounded for so long.
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Fully entertaining, though Snyder doesn't quite succeed in breaking old Superman formulas.
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Like Animal Man #0, a careful blend of Vertigo dogma and the modern mythology that Snyder has lain down. If you don't take Anton Arcane seriously after this, nothing will change your mind.
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We're still baby-stepping our way to this first arc's climax, but with our heroes about to confront their necrotic-empowered foe in a slaughterhouse, events will spiral out of control very quickly.
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Not quite as compelling as its companion title in Animal Man, but engrossing in a more abstract way, not to mention more lavishly rendered by two terrific artists.
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While the issue doesn't deliver the scope of conclusion you expected from Rotworld, it's nonetheless appropriate and effective, beautifully drawn.
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A well-crafted issue and storyline, though it doesn't quite live up to its ambitions. It's clear, however, that in terms of both story and art, Swamp Thing still has a very bright future ahead as one of DC's smarter titles.
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Not necessarily revelatory, but an important and insightful look into the villain nonetheless, with some gorgeously lush art besides.
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A convincing set-up of enmity between our hero and villain, though it requires a slightly out-of-character moment from Swamp Thing.
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Slight gaps in the corners of the art and script prevent the issue from rising to a truly memorable level, but facially, this is a more than solid product on most levels.
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Soule blasts through the plot a bit too breezily, but there's some wonderful character work that comes through.
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Very talky and not terribly original, though it's all written and drawn very well.
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It's a compliment to Snyder's (and Tuft's) prowess that despite all the weird structural problems in this issue, it still works. Getting Cloonan on art doesn't hurt either,
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Quite nearly as good as people make it to be, Sweet Tooth under Lemire's hand easily takes you into the threatening quiet of its world, even if you've no familiarity with it whatsoever.
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Emotional and compelling, though the issue introduces even more mysteries to the table, while clearing up none.
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Though not completely sold on the originality of either feature in this title, both have plenty of strengths working for them that I can imagine a fairly devoted following beyond the cult.
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Though a solid read, the returns on the storytelling aren't what they should be. Let's hope this history stuff is out of the way, and the next issue makes up for it with more substantial developments.
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As always, Spencer delivers a lot of food for thought in addition to the fun stuff, and always in perfect measure. It's a shame the series isn't an ongoing"hint, hint, DC.
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This is one of those rare titles where it's a pure pleasure to read. While it doesn't have quite the drama of other books, it has a thoughtful tension all its own that raises it above childish nostalgia.
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Somehow, the creative team of this series has managed to make the Teenage Mutant Ninja Turtles a viable if unconventional superhero team worthy of as much attention as teams from the Big Two. Great entertainment, from start to finish.
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So thoughtfully crafted in both writing and art that you can upgrade this title from "guilty pleasure" to pure "pleasure."
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Winning and enjoyable, if only for its sheer exuberance, and full of heart, too.
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It's always a nice break to catch up on the Turtles' adventures, even if the drama is a bit light in the darkest of times.
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As we delve deeper into the Foot Clan's history, the TMNT mythos grows that much more intriguing, beyond its entertainment value.
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A good monthly does of pure fun"without the guilt! A very nice thing, indeed.
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As always, it's TMNT as they're meant to be read and seen. Although the storyline is quite familiar in several places, our writers execute it well and Santolouco's art puts it right on the edge of excellence.
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Though secure in your knowledge that some endings simply have to happen, at least you can still enjoy the fact that the road has plenty of twists and turns left in it"and it'll be plenty scenic, too.
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As the calm before the storm, the issue accomplishes much of its preparations for next month's blow-out, though it short-shrifts certain characters and storylines in the process.
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A great blend of plot and character developments, of pathos and heart.
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I thought last issue would be the end of all the table setting we need to finally get to this arc's big blowout. Apparently, the blowout's going to be even bigger than I thought, as the set-up isn't quite done yet. Disappointing as it is to be put off from the major action fest you're hungering for, this is probably a good thing. It's a bit too simple to pit Krang and Shredder against each other and expect our heroes to just do their own thing scot-free. Turns out the plan and the subsequent obstacles are going to be a bit more complicated than that.
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The issue doesn't quite fulfill its goal of adding new dimensions to the Foot Clan or its leader, but it does add some valuable history. Besides, Santolouco's art is worth the price of admission alone.
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A compelling premise that'll require a good amount of craft to follow through credibly. It's unclear from this first issue if Masters has that craft, but he offers a solid start.
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It's easy to judge women who get involved with bad-news guys and wonder why they don't just get away as fast as they can. I work in a line of business where I see women who not only hook up with these bad boys, but come back to them again and again. I don't think I have any special insight into the problem, but what I see is it doesn't matter how much support the woman gets from her friends and family; unless she feels strong and secure in herself, she can't break free from that relationship.
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One of the reasons I love Morrison comics is because I get to say sentences like this: At the heart of stories about Superman as Nazi or Communist is the question of nature versus nurture, which secretly is a question of whether moral absolutism exists. Is Superman good because that is who he is or because that is the way the Kents raised him to be? And if Superman was raised to believe such things as genocide are the correct course of action, would he ever recognize them as wrong? And if he doesn't, are right and wrong thus social creations, not inherent values?
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You can spend all day analyzing the metaphor in the issue, but only minutes with the character.
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If you want to draw a comic of Golden Age lookalikes, you can't do better for an artist than Sprouse, who knows his way around a man's chin and woman's hourglass figure. His design sensibility is right on point, full of that Art Deco love of geometry and the exotic. Thus you have Doc Fate wearing his helmet, amulet, and gloves over fitted tunic and chinos, while Felix Faust tops purple collared shirt (with rolled sleeves!) and jeans with his usual keffiyeh. The power sets aren't too flashy, but these characters may win the award for Best Dressed.
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Quite as intriguing as it was before, even if the developments have diminished somewhat at this point.
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A nice glimpse into the past as the present story keeps barreling forward.
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Even for a beautifully crafted issue like this one, five months is a long time to wait, though Gaiman and Williams offer far more in one issue than many writers do in five.
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A very strong start to a title focusing on one of the more eccentric and original characters in the DCU. Fine writing and terrific art sure work wonders, don't they?
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Intriguing questions for both the plot and our protagonist's ultimate fate, supplemented by some terrifically zany action. Well worth your time and regard.
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Given Robinson's forte for reimagining Golden Age heroes, and his affinity for that period in general, how can the issue be anything other than, to use a word sadly out of use nowadays, wonderful?
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I must echo the sentiments of other reviewers out there in my dismay at how poorly the sales are faring for this series, because it is one of the best things DC is putting out on a textual and artistic level.
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A bit anticlimactic on the fighting end of things, but a momentous issue nonetheless, as it shows us this mini is really a story about a shadow putting roots into the world again.
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It's hard to believe we only have four issues left. Robinson has introduced so many fascinating elements to his story and star that you can stay engrossed for much, much longer.
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Once you resign yourself to the fact that you'll never get as much out of The Wake as you want, you'll see what it does give you is more than what many other titles with longer runs do.
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There may be a deeper message on the nature of religion here, or it could all just be drama. Entertaining, either way.
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I'm a homebody. I'd rather have a good dinner and quiet evening at my own place than any number of more exciting things"basically, everything other than a good dinner and quiet evening at my own place. But every now and then, even I see the appeal of putting on an A-list outfit, hitting a club, and just lose yourself in the music and crowd for a few hours. I say "lose yourself" specifically because that's how these things often feel. Some people do it just for fun, but I suspect most people do it to push out the other things weighing on their minds.
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A compelling glimpse into one of the more compelling Marvel characters, as well as a nice perspective on what drives the Thunderbolts and sets them apart.
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Books of pure fun, yet not lacking in craft, are sorely lacking these days, which makes a title like this one all the more precious.
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Goes by a bit too quickly, but it sure delivers a lot of enjoyable material. Parker's just having a good time, and Walker's partying with him; you'd do well to just breeze along for the ride.
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At eight bucks, this is a pricey collection indeed, but given the high quality level on most everything featured within, it's much more worthwhile than not.
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Lemire sure knows how to write for the long haul. With so many mysteries teasing out from the plot, how can you resist staying on?
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Two out of threethats not so bad. And its not as if the one feature was awfuljust predictable. This series successfully introduces some intriguing brand new characters and enriches DCs somewhat neglected cosmic and horror territory. Theres a lot of fun to be had here; lets hope the series continues to live up to its promise.
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As we hit the second act, these storylines take some steps back to gain some steam for their push towards the end. Even though much depends on how the creative teams play things out, Im already starting to feel like itll be very hard to let go when this series concludes.
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Like much of Azzarello's work, the underlying themes of his stories aren't clear on the surface, but spontaneously reveal themselves when you pay closer attention.
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While you might wish that the DCU at large felt the reverberations from this story a little more, it's pretty impactful on its own.
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Azzarello doesn't do the best job tying loose ends together, but despite a few knots, you won't find too many stray threads.
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An effective opening issue to a comic that fulfills all the major criteria of a horror story.
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It's not always clear what you're looking at in the issue, but you know it's something good.
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After two disappointing issues, the energy returns to this title, finally starting to live up to the promise it displayed when it first came out.
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This issue offers a stronger outlook on the series future than the last, thanks to more focused, less formulaic storytelling from Dini, a lively co-feature from Beechen, and strong art overall. It all depends on the next issues wrap-up to see if this series has what it takes to make it in the long-run.
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Fun and delightfully imaginative, supported by quite possibly some of the best art in the land, it's a generous send-off for a title that never got on its feet.
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There may be more ambitious Superman stories elsewhere, but the character's output will have a whole lot more integrity if issues like this one became the textbook example of a Superman story for our times.
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Crazy as it sounds, Superman is actually becoming fun again. If Pak-Kuder can continue this streak, DC's first and biggest icon may recapture the glory that made him a star in the first place.
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Marvelously entertaining, stacked with the humor, adventure, mystery, drama, and that little touch of moral weight that makes for excellent comics.
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A Superman story that ventures into somewhat uncharted territory and finds fertile ground there.
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With these "Dark" titles, DC wanted to bring some new flavors to the selection of mainstream comics, and if this series is any indication, they have a good chance of succeeding. It makes me very happy to think you can see a title like this side-by-side with The Avengers and Batman.
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This issue maintains its gripping spell as it takes mainstream comics to brand-new dark corners.
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Like any good work of horror, it keeps you gripped the whole time you're in it, dreading and anticipating when things will take a turn for the even worse.
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The best scary stories are the ones that keep you wanting more in spite of your fear, and Animal Man certainly has that quality going for it. Even better, it looks like Lemire and Foreman are just getting to the good stuff.
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It troubles your mind and stomach for all the right reasons. This series continues to hold you in its grip as it gradually progresses to the inevitable crossover with Swamp Thing, the very idea of which grows more exciting with every issue.
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A great sample of what the modern superhero comic should be. Even with all the action and outlandish ideas, there's room for heartfelt emotion from both script and art.
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Johns has always striven to find reflections of real life in the most implausible superhero stories and this issue has him succeeding beyond our expectations. Reis, as always, delivers top-notch superhero art.
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Busiek continues to prove the master of finding the universal elements in extraordinary circumstances, and at the rate of Anderson's artistic evolution, we'll have a near-perfect series before long.
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A little preachy and obvious with its message, but otherwise another terrific glimpse into an oft-ignored area of the superhero genre.
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The art is comfortable, though not ideal, but the scripting remains a treasure. Busiek may be the most cost-effective storyteller in the business, delivering more meaning and substance in one issue than most can in six.
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Still one of the"I'm just gonna say it"funnest products from DC nowadays, Batgirl lets you into a sunnier side of Gotham. The inclusion of Damian Wayne into the mix offers one of the best characterizations of him yet, and adds a whole 'nother level of entertainment to the issue.
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Two lovable characters in total sympathy with each other, a foreign setting, fully-realized, oddball villains with a hero-and-world threatening plot, with a lot of laughs tossed in? If this isn't what comics are for, we might as well just stop reading.
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Density's usually not a virtue in comics, but it is when every line of text simultaneously offers necessary information, advances the plot, fleshes out a character, or expands the world of Burnside, doing the same amount of work it would take other comics several issues to accomplish.
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Tomasi delivers what so few writers do: a satisfying conclusion to his story, where you feel a real sense of accomplishment, of major development. The emotional rewards from this arc feel like good compensation for your time and interest indeed.
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A worthy read from top to bottom, which only lacks so far in knowing exactly where the original source of all the tension comes from.
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This isn't likely the last time Damian will face Joker, but it surely has to go down as the definitive confrontation. An action-packed issue that's also emotionally charged under the surface.
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Plays directly to Tomasi's strengths as a pure character writer who enjoys layers of symbolism and meaning, which in turn plays to Gleason's strengths as an inventive and thoughtful artist.
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Again, there's not much in terms of plot going on,* but the studies in character are more than engaging enough for the issue, especially with some outstanding art behind it.
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The issue reminds us that you can't bring back what's lost, but you can always repair what's left. While Gleason gives life to a wishful fantasy, Tomasi gently guides us towards the last stages of Batman's grievance cycle.
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Execution is everything, and between Tomasi and Gleason, they have turned fairly straightforward stories into thoroughly engaging reads that frequently have marks of brilliance.
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It's not often that the civilian part of a superhero's life is the most interesting, but Tomasi makes it more than that in this case. Bruce's personal problems are part and parcel of his problems as Batman and even more compelling in many ways.
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For sheer entertainment alone, this issue ranks up there for one of Morrison's best issues in the last year.
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In many ways, you have to earn your own reward from a Morrison script. On the plus side, this one's a real doozy, and what you get out of it, should you try, is equally rich.
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With all the material stuffed into this one issue, and with great treatment from both writer and artist, you're getting a bargain at DC's held-$2.99.
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A very strong start to what may be one of the great Batman stories of the year"you may not want to trade-wait this one considering its terrific merits.
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Rich in detail and executed with crafty subtlety, this story is a prime example of solid storytelling paired with invaluably supportive art.
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More story-driven than ever, this series is starting to find the right balance between cute and consequential. Even if it weren't, the silly gags and Nguyen's irresistibly charming art is worth the price of admission alone.
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While I highly recommend handing over your hard-earned money for this light, adorable series, I can't see myself reviewing it perpetually. Amicably Removed from Coverage.
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A remarkable arc in every way for Batwoman's first time out solo, resting on her own laurels. This is easily one of the finest offerings DC has in its collection of titles, and absolutely deserves every bit of praise it's been given.
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If you need any evidence that Batwoman has every capability to be the equal of its more famous counterpart, look to this issue. It may not be as wildly ambitious in its abstract concepts, but its more grounded tone, if anything, resonates with you eve more.
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With another rock-solid arc to its name, Batwoman retains its position as one of DC's strongest titles, offering first-class art, emotional and entertaining scripts, and simply a distinctive flavor of superhero all its own.
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If you want to see the World's Finest women, Blackman-Williams are making a pretty good case that these ladies are it.
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While the big baddie isn't quite the threat you thought she'd be, she's definitely a threat of the world-ending degree. Our writers honor their chosen heroes with the scale of this story, and our artist depicts it with a mythic beauty.
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A tad slow to reach the grand finale and ever so slightly repetitive in certain parts of the script, but a wonderfully rich issue nonetheless, and the art puts it over the top.
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I still consider this series as one of the most well-crafted of DC's products, and issues like this demonstrate why. It lacks hype, but deserves as much attention as any of the pop or cult favorites out there.
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It would be a more perfect issue had this interlude not come so unexpectedly, but there's no doubt that Killer Croc ends up in a much, much better position as a character than where he started, and that's as much as you can ask for.
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Self-contained, but with significant developments for two very interesting characters"antiheroes have never been dissected this well.
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Between this and the outtasight issue of Secret Six last week, Simone's in fine form this month, as it finally feels she has got her mojo back on the title that made her name in DC.
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Even if it's not always clear what's going on, the amount of care and thought going into this unusual narrative is obvious.
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Fewer connections and clues this time around, but with even greater investment in the characters.
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Whatever Marvel's female-led titles lack in quantity, it almost makes up for it with quality. This title finally gives some definition to one of the premier women of the Marvel universe.
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A direction for Selina that makes her the powerful woman she should be, not just Batman's guilty pleasure.
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A true gangster story set in the world of Batman. It's an idea too good not to work, even if there are one or two things wanting.
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As with any spy thriller"even one involving fairy tale protagonists"success depends on the credibility of the villain and the plot twists, and we get some good ones this issue.
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A happy breath of fresh air that seems on the verge of dissipating all too soon, inviting you to enjoy it for as long as it lasts.
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There's nothing intellectual about the love between father and son, but it moves you in no less profound a way.
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Just as well-crafted and compelling as everyone makes it out to be. Instead of all this Avengers vs. X-Men nonsense, how about reading stories that will outlast the yearly gimmicks?
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Another solid issue from Waid as he makes the most of Daredevil's civilian and superheroic lives.
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Daredevil is one of Marvel's finest titles and issues like this one show you why: smart, credible, and full of heart, with superb art to boot.
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It's not often that a hero gets driven to the breaking point without any fancy superpowers involved, which makes this issue a superb showing by Waid and Samnee on any level.
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The issue starts off strong, but gets a tad sluggish in its second act due to a questionable amount of exposition. Still, a site better than most of the other mainstream books out there.
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A superb done-in-one, although a little hurried and without taking full advantage of the possibilities lent by its own ideas. There's no doubt however that Waid and Samnee are working at the peak of their abilities to deliver classic, timeless comics.
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For anyone who questions your attachment to reading superhero comics, say nothing, and simply give them a copy of this issue. The work speaks for itself.
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From almost any other writer, this issue would be the comic book version of jumping the shark, but Waid and Samnee blithely pull off the change in direction like it was meant to be.
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The arc cries for a strong resolution to the enemies that have plagued our hero for so long, but this issue doesn't quite provide it, though it offers so many other great qualities besides.
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The issue gracefully moves the series towards its dramatic conclusion, displaying all the strengths which has made the title a solid read nearly every month.
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A near-perfect finale to the old Daredevil that transitions remarkably well to the new.
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Peter Parker can move over; Marvel has two outstanding candidates for its most truly relatable characters right here.
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Waid and Samnee at nearly their very best, although they cut short exploration of their latest villain.
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The proportions of fun and drama are reversed, but are no less potent and satisfying.
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With strong plotting, character work, and art, this issue is just an embarrassment of riches.
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If this issue had launched this series, it would be in a much better position today than it is. If this series can at least continue to deliver issues of this caliber, it might still make itself worthwhile.
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The ending is just bitter"no sweetness here"but some of that once in a while is not a bad thing. While the story itself is not new, the delivery has such impact, you're left reeling from its emotional beats for quite a while afterwards.
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If this title is meant to be a platform to test out concepts for long-term viability, let me do my part and say this is a concept that should be capitalized on as soon as possible. We can all use a dose of pure fun every month.
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Once Cornell gets his footing, he's quick to build up speed, and the series ramps well into high gear in this issue. Even if you don't love fantasy, you'll appreciate the pure fun of this one.
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I'm not sure I can really hope for a sudden, last-minute, Manhunter or Blue Beetle save of the series, but it deserves one just as much as those titles did.
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As good of a beginning as you can get, with just the right amounts of appealing character work and intriguing plotting, rendered in a unique, attractive visual style.
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Beukes takes advantage of the possibilities of her subject's world to produce an astonishingly strong debut, breaking a streak of mostly unremarkable issues. Miranda's art is bombastic, fueling the storyline with even greater energy.
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The pieces of the puzzle are falling into place, though the big picture is far from revealed. Still, what you can see is very alluring, especially when rendered with such rich, eye-catching art.
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Beukes fearlessly weaves folk tales and ghost stories to create a product that is far more than just a good mash-up.
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Supernatural comics don't get much better than this, and it looks as if Beukes and Miranda are likely to produce an even better showing next month.
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I wasn't entirely convinced Fables needed a spin-off, but Beukes has made me a believer in not only the concept but the series as well. Bring on the next one, I say.
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While most works that end with the deaths of nearly all the characters usually fall into the soap opera category, Brubaker-Phillips bring enough sense and taste to give all the deaths meaning.
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Not a conclusion to cheer or smile over, nor a particularly conclusive one, but it's still quite powerful, and there's definitely nothing like it out there.
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If the stories of this altered universe are going to be this solid, then I'll be sad to see it go when it inevitably does.
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Much like its counterpart in Batman " Knight of Vengeance, this tie-in strives for the unpredictable, and scores big because of it. Congrats are in order for Francis and Ha; not many could have pulled a story like this off with such taste and integrity.
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You can have your simmering dramas and high-concept plots; for my money, Lemire's go-for-broke, wild and wacky monster tales are just about the funnest reading around.
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A shining new piece to Gotham's already rich mythology, the issue almost lives up to all the hype that's preceded it.
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The wheels spin just a little bit on the story, but the character relationships and plot threads all get fleshed out.
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This is Johns getting into his groove on the title which he made into a household name. This is straight-up superhero stuff written in the most credible way possible, and it feels good.
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This is Johns doing his most consistent work on a title for which he has an obvious love and endless imagination for. Solid throughout and a good return to form.
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Sometimes a Johns series feels like it proceeds one hour at a time per issue, but like 24, that one hour sure packs a lot of material.
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Layered, sincerely touching character work, a tense, high-stakes mission right off the bat, and superb art. Between this and Green Lantern, I say GLC starts off on the stronger foot.
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This issue proves that the Corps is where all the action's at, delivering outstanding character work and terrific art besides.
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Tomasi once again offers another piece of evidence that he's a master of pulling your heartstrings through superheroes, and Pasarin proves the ideal director for that ambition.
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One of DC's most reliable titles shows off its blend of action, adventure, and personal drama, all rendered in very becoming art.
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A beautifully rendered modern fairy tale, one that has a joyful, strangely innocent tone despite the cynicism of its characters, but without much of a message to absorb.
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I cannot express how much envy I feel that Alex gets to review this series every month, but I'm delighted to cover for the time being, given the quality of the series.
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Ultimately, it's a sentimental aside of an issue that underplays the emotions contained within, but that doesn't take away from its sincerity and depth of heart.
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Another engaging and well-crafted read from one of Marvel's most deserving series. Here's hoping to bigger plot developments soon.
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It's not often you get a whole issue to learn about the latest villain, and although it's very familiar character work, Fraction and Francavilla execute it with a masterful touch.
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Certainly something of a breakthrough in storytelling for this medium, although purely in terms of substance, it depends too much on a reader's familiarity with the ongoing plot to be effective.
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It's a testament to Fraction and Aja that even with an issue that's mostly bridging the spaces between prior events, it still feels substantial and moving.
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From a textual and artistic standpoint, a Kate-centric issue is easily the equal of a Clint-centric issue and is, appropriately enough, even more focused and purposeful. Already looking forward to the next one.
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It finally feels like the plot is about to wrap up, and about time, too. Meanwhile, the issue is a creative breakthrough for Fraction and Aja, though it'd be frankly just as strong without the creativity.
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Oh, for crying out loud, we're still not through with this arc yet? I started covering Hawkeye with #5 at the tail end of 2012. Two years later, and the series still doesn't have two dozen issues to its name, which says a lot about its pacing. It wasn't all time well spent, either; for every brilliant page of character development, there was also a page of Clint scratching his head as to what's going on, a lot of brain-farting, or a bunch of guys saying "Bro" a thousand and one times.*
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Jam-packed with action, yet still laced with generous amounts of humor and moments of sincere pathos for the struggling Herc. It's a plot that could've worked with or without the Fear Itself stamp, which is a great achievement indeed.
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Like his art, Andrews' scripting seems straightforward and simple at first, but reveals surprising depth once you embrace it.
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A straightforward, engagingly told tale with all the requisite winking Easter eggs, but also with plenty of thoughtful ideas to consider and reflect upon the age we live in.
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We've seen major advances and inspired uses of the comics medium in the last year, but it's been a while since we've experienced the sheer pleasure of it. This mini is a great reminder that comics can succeed simply by making you happy.
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An appropriate finish to a very unusual series. Its satisfying in a thoughtful way, though you kind of wish it had done more in the action department.
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Admittedly, I'm dying for some major revelations to start dropping, but I expect that's just playing into McCann's game. Devilishly intriguing from front to back.
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Mind the Gap has really gained some momentum now, and it begins to drag all of its characters with it, even the ones previously on the fringe. With strong artistic support from Basri, this title has finally started to reveal signs of brilliance.
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I was in a good place, Marvel-wise, last year, but now I'm finding myself starting to run lopsided towards DC again, especially with Hawkeye, Iron Fist: The Living Weapon, and She-Hulk coming to an end. So lately, I've been scoping around for a good Marvel title or two to staunch the wound, and Moon Knight seems perfect. I know next to nothing about him and it continues my trend toward solo characters in this universe. (For full disclosure, I actually picked up the series a couple months ago, but time has not been kind enough to let me review it.)
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If I were to have a misguided rubric for reviewing comics, the most points would definitely go to novelty. Many's the time when an otherwise unremarkably executed comic stayed on my pull list for ages just because it offered something different to a market full of reiterations of the same handful of plots. That's my attraction to Morrison, who's always original even when he's blatantly riffing off established works. You can only imagine the result when he's writing something purely of his own conception.
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- Praise to one of the first minis of the new DCU, showing an impressive understanding on how to take advantage of the format to tell a tightly controlled and intense character piece.
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This series has been strong from day one and it looks set to finish on a high note. By this point, even if the last issue goes nowhere, there's enough to make the story overall a really impressive take on a formerly unimpressive character.
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By addressing some interesting humanistic questions in its own thoughtful, if slightly clinical, way, a dependably entertaining title gains some nice depth.
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Bright, upbeat, and full of life, the debut issue of Rocket Girl snatches you up in its blazing trail, leaving you almost no time to notice that it's still in the theoretical stages.
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Montclare smartly slows things down just enough for you to appreciate where you're at before continuing the wild trip, and Reeder's art has never looked so fearlessly lovely.
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It feels good to add another item to the list of monthly must-read titles, and this one certainly deserves the honor.
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Quite deserving of nearly all the hype, this is absolutely one of the titles you should be reading if you consider any kind of serious comic book fan. Otherwise, feel free to collect all the variant covers to Avengers vs. X-Men.
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Another great outing from Saga, delivering equal parts emotional depth and conceptual ingenuity.
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A momentous issue indeed, with almost every moment sold by Vaughan's foresighted scripting and Staples' visual dramatics.
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Not quite as eventful as you might expect, but still rock-solid with the series' usual high pedigree.
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It's almost disappointing to have such an easy, accessible read, as it makes the greatness of the issue pass even quicker.
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It's not exactly pleasant to see people's lives fall apart by their own doing, but it's hard to take your eyes off as it happens.
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Whether this is the beginning to a new arc or the end to an old one, it gets you excited for what comes next.
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One of my favorite shows, which is dearly departed now, is Parks and Recreation. While it had a powerful weapon in its core cast, the show kept adding characters to its tool-belt, reusing them as needed until you knew and loved them as much as the main players. This collection of characters played a huge role in P&R's longevity; after a certain point, the show could generate plotlines and whole stories just by mixing and matching one character with another.
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Cornell has taken a worn-out storyline and given it so much substance that an online review is barely adequate to scratch the surface of intrigue in store. That by itself deserves our respect.
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This is easily some of the most complex and layered material that Cornell has ever written, and it has all the potential to build into a real masterpiece.
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The interweaving conspiracies have become so complex that even without much happening, you have a lot to occupy you"and you have plenty happening in this issue.
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An appropriately strong first outing that embodies all of the title's appeal and creative power, even if the plot resolves itself a bit too conveniently.
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Infused with so much charm and energy that you just feel good reading it.
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Intriguing from front to back, though Soule's a little stingy with the facts.
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Pulp at its finest. A terrific sample of the genre, proving that you can have sex, drugs, and violence in a story and still keep it classy.
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Enthusiastically imaginative yet sincerely bittersweet, this issue almost perfectly sets up the rest of the series to come, though we have yet to see if the introductory conflict will pan out to something worthwhile.
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This series' potential finally reveals itself as the title where quite literally anything can happen"and probably will. The action goes nonstop, with plenty of great character beats along the way.
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It's too soon to say whether this series will become a sleeper hit with Kot and Zircher in control, but it definitely has new life, as if it's launching for the very first time.
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Kot and Zircher have seized control of this title with the deftness of master puppeteers, matching their cast of characters as manipulators of the highest degree.
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Exciting, funny, with a convincingly credible conflict and some tense stakes, Supergirl is a fine example of what the everyday standard of adventure comics should be.
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No disrespect to Sterling Gates' respectable run on this title, but DeConnick delivers quite possibly the best take on Supergirl in years, a taste of the series we might have, could have, should have had all along.
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As big and splashy as you could possibly hope for from a comic like this, with a pretty high caliber of quality that's unexpected for a series so poised for disappointment. A pleasant surprise in almost every way.
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A bit cumbersome in words, a trifle flat in art, but these are forgettable flaws for an otherwise ideal sample of a Superman story.
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Powering through its slight flaws, the issue continues its locomotive momentum, declaring, in both words and art, that Superman's ready to make some noise.
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If you read this Superman book, you don't really need any of the others. Snyder gives us a series that is unabashedly in love with superhero conventions while also aspiring for more.
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For those of you who doubted the wisdom of bringing Swamp Thing back into the DCU prime, well, this title should make a believer out of you in time, so long as Snyder and Paquette continue to bring this high level of play every month.
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Snyder brings his usual A-game of mixing rich, storied plot with superb character work, always with a ripple of enticing uncertainty throughout.
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It's like having a great horror movie in your hands. The twists come fast and suddenly, and you often feel like you have no idea what's coming next, which makes it all the better.
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A rich, deep issue deserves a rich, deep review. Snyder is a worthy successor to the illustrious Swamp Thing tradition, proving this title really deserves all the hype attached to it over the years.
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Don't be surprised if you find yourself pinching yourself every few pages, wondering if this is really a mainstream DC comic you're holding in your hands. Sure seems like an original masterpiece to me.
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It would be the deepest blow to you if after a year of unbelievable success, Snyder's most ambitious storyline failed. Let's be grateful he's managed to push himself out of the mire into much more desirable territory, with help from some amazing art.
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It's not exactly the Swamp Thing we fell in love with at the beginning, but it's no less lovable grown up and mellowed out.
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There's a lot of talk in the issue, but nearly all of it is useful and engaging, well-punctuated with bursts of activity.
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If you ask me, Swamp Thing hasn't been this consistently good since its early issues with Scott Snyder and Yanick Paquette. For those turned away by Rotworld's endless horror, now's a good time to return to the fold.
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Our hero may be more passive and morose than you'd like, but there's more than enough activity going on around him to keep you highly intrigued.
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This is what an annual should be used for: to build story-worlds in a way that the pressing demands of a typical monthly issue won't allow. It's even better if you have strong creative power behind it, as you do here.
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A fitting, heartfelt farewell to a character who's become a valuable part of the modern Swamp Thing mythos.
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A good sample of what make Swamp Thing an important corner of the DCU, with some really remarkable art to boot.
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Despite slow pacing and a focus on drama, Spencer still manages to make T.H.U.N.D.E.R. Agents enjoyably readable, helped by very supportive artwork. Whats next is to make sure the team dynamic and mission doesnt get lost in the midst of all his superb character work. Once those elements are reigned in, this series will easily upgrade from good read to great.
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Despite slow pacing and a focus on drama, Spencer still manages to make T.H.U.N.D.E.R. Agents enjoyably readable, helped by very supportive artwork. Whats next is to make sure the team dynamic and mission doesnt get lost in the midst of all his superb character work. Once those elements are reigned in, this series will easily upgrade from good read to great.
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So here's the verdict on Spencer's first arc"a well-crafted storyline with strong character work and enormous art. Please do the title a favor by giving it a chance and hopping aboard for its next arc. I believe you'll like what you see.
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With this issue, the Turtles take one confident step into being more than just a cartoon given the gritty treatment, but a completely serious series that operates on its own terms, strange as they are.
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While the story itself is about as well-rendered and credible as you can hope from this franchise, Santolouco's art goes way beyond that, giving you the TMNT issue of your dreams.
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The characters' complications make them difficult to understand, even unsympathetic, but also enormously compelling.
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A story so committed to its own terms and it doesn't have to try very hard to be compelling.
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This is Morrison at his superhero best; while Multivesity doesn't break ground he hasn't trodden before, it's probably the most refined version of his ideas and theories of the superhero genre.
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Thunderworld's deficiencies don't stop it from being a marvelously entertaining and meaningful read.
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The art guarantees that every issue will always be extraordinary, but the writing has all the mystery and satisfaction of a well-crafted novel.
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The series reads like a mix between thriller, caper, and spy. There really is nothing like it on the stands right now, and it packs a lot of bang for its buck.
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I can fill a book with all the things I'd like to say about this issue, nearly all of it praise, but I'll make do by telling you it is absolutely worth a read, a beautiful piece of work both in script and art.
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Another rock-solid issue with only a couple hairline cracks in the writing, glossed over with eminently suitable imagery from the latest guest artist.
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Some truly stunning art accompanies a solid resolution to what has been one of the more unusual stories from the Big Two in a while, unusual because it involves a lot of reflection and introspection, things that most comics hardly ever engage in.
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If this is the future of pulp comics, then consider me onboard"smart writing and ridiculously suitable art make for a story that rises above the conventions of its genre.
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While not clearly illuminating on the secrets behind the Unwritten, there's a wealth of information to be gleaned from between the lines of the issue, the very kind I suspect they would wish to destroy. As always, this title is amazingly and compellingly literate.
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Snyder explores yet another side to the horror genre, plumbing the depths of the sea for the terrors it holds. Everything, from the narrative structure to the character work, puts his talent on display. Murphy's art, given color, is completely supportive, enhancing the impact of every beat in Snyder's script.
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Certainly engrossing, though not completely free from predictability, craftily written and subtly drawn.
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It's not often that a piece of horror can also feel profound, but Snyder and Murphy manage it, even if they're a bit coy with the plot development.
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Amazingly enough, Snyder delivers nearly as good of an end as you can hope for, albeit at the cost of an occasionally disappointing whole.
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A powerful debut on nearly all levels, though only gently provocative, considering its subject matter.
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Provoking in the most basic sense, often with thought, sometimes with the obvious.
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I had an outline prepped for this review that, in one of those unfortunate moments of distraction, I accidentally deleted. As any of you who've pulled this trick knows, it's the kind of mistake that makes you question whether it's worth it to start over. Obviously, I decided it was, and not just because I'll be damned before I not finish what I started. The Wicked + The Divine, despite its indulgences, is a compelling story that has something more to tell us than it's saying.
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The best Vertigo anthology issue yet, teeming with stories and art that have all the finesse of the most practice witch's craft.
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This ain't your usual time-traveling doomsday premise. The plot has emotional gravity and a despairing note of poetry that sets it clearly within Lemire's narrative and artistic wheelhouse.
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Not exactly the most productive issue, plot-wise, but a powerful example of natural character writing. The art has to be accepted on its own terms, but once you do, it reveals surprising depths.
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This triple-feature format is really starting to sell itself. With each feature now a solid product, it's a great sampler of DC's sci-fi tradition. If future issues are this solid, DC should consider continuing or expanding the format for other genres.
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Unlike some of the other #0 issues, this one doesn't really offer major revelations or clear hints of what's to come, but it does provide some insights that may prove more valuable in the long run.
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If you're out to take a classic character and simultaneously remind people why she's great and revitalize her mythos, this is the way to do it. The story stays true to Wonder Woman's core elements yet reveals a compelling new side to her.
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Little moves plot-wise, but the dramatic tension is off the hook, and the twists deliver just the shock Diana needs to break out of her reserved air and aggressively take on the iconic role she's meant to have.
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It's still too early to make conclusive judgments about this series, but so far, it's a powerful, brilliant rendering of DC's first lady and her world.
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This arc may not have given me anything I expected, but it gave me everything I hoped for a Wonder Woman story and more.
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The plot is simple, but there are some rich layers beneath the surface, and you can't beat Chiang's art.
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It's always remarkable how many connections and layers you can find in Azzarello's script when you try, and this issue is no exception.
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Congratulations are in order for Rozums crafty blending of science, religion, and the occult, all in one chilling issue. Give it a tryyou certainly cant say its not original.
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Everything a supernatural/occult title should be; it's like getting a Vertigo title in a mainstream comic book"and frankly, that's not a bad standard for mainstream titles to aspire to.
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This issue has it all: touching moments and humor, high-paced action and low-key drama, and with skillful writing and incredibly suitable art to bring it all to life. DC"make that all comics publishers need more titles like this.
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It's hard to swallow the fact we have one issue left before this title disappears yet again. I try not to get too subjective where my reviews are concerned, but this series has grown very dear to my heart. I think I may have to write in a physical letter on its behalf.
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I won't speak for anyone else, but I think it'd be terribly cruel if DC really gave this title a second life, only to kill it once more just as it was getting back into its groove. If my opinion means anything at all, please consider bringing it back someday in the very near future.
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It's not exactly the most revealing or productive issue, but it's well on its way to being both, and it has more than enough entertainment to keep you occupied.
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The issue doesn't do much to push the sluggish pace of the series, but its revelations are quite tasty, promising much more activity to come. Kudos also to the art team, who continue to provide as close to ideal comic book art as possible.
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Despite the lack of anything remotely resembling explosions, the drama in this issue is just as intriguing to read. And with Larfleeze as the nest issue's guest star, an explosion is only a matter of time.
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It's been a very strong run for Cornell and Luthor on Action Comics, and this issue, good as it is, makes you wistful that its end is near. Only the promise of the ultimate blow-up can resign you to wishing the end will come as soon as possible.
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A roiling mass of fiction, metafiction, and realism that threatens to gnaw itself to death, if only to yield new, even more potent life.
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Everything you want from Batgirl and so much more. Actually worth the hype in almost every way.
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I'll let the issue's appeal speak for itself. The Riddler is confounded by a riddle left where he his final prize should be: "What arrives / at any time of day or night / always ready / to fight the good fight?" From the rafters, Robin leaps out, "Answer?" and Batman joins him: "Justice!"Ka-bam!!!
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About the finest depiction of life after loss in a superhero comic as I've ever seen. This is Tomasi and Gleason at their very best working on material that not only plays to their strengths, but also goes beyond the contours of the costumed caper genre.
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This issue really worked well on every level. There is still some doubt as to the value of multiple Batmen, particularly since the original is portrayed so vividly here. Even compared to the characterization of Catwoman, the Japanesecharacters lacked depth and credibility. It would have been valuable to have more layers to Jiro or Lord Death Man's personality and backstory revealed, but the issue is packed and satisfying, regardless. If this first issue is an indication of thecaliber of work to come, then there is a lot to look forward to from this story and its team of creators.
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Honestly, the concept of Batman Incorporated still has some ways to go before its success in the long run can be seen, but at least the idea is driving some exceptionally enjoyable stories. Issues like these prove just how boundless creativity can really get in comics. If this series can maintain that feeling, there's no doubt it can be one of the best comics in the next year.
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Excepting a bit of Morrison-esque confusion in the dialogue, this issue is a reward and treat for those who waited patiently those three months for its return. If the quality stays this high, I personally don't mind the wait.
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It seems Morrison has only scratched the surface of what Batman Inc. is really going up against, as you can come back to read the issue again and again, and still find something new each time.
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On-the-ground storytelling at its finest, jazzed up by a Batman spin. You can't ask for better than that.
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With all the material stuffed into one great-looking issue, you can feel satisfied that you're getting your money's worth.
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Like reading a chapter out of a good novel, the script carries you along with it, no matter how wordy or involved it gets, and the art completely immerses you into the story. Just great, human storytelling through and through.
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Absolutely one of the strongest titles in DC's current roster. It does not break ground with its ideas, but it takes the simplest concepts and makes them like new with a great combination of thoughtful writing and outstanding art.
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Nothing in this world is perfect, but this title does a pretty good impression. A joy to read, from text to imagery.
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About as perfect an opening to a story arc can get. It offers you everything you'd want: meticulously crafted writing, breathtaking art, superhero fan service (in the most innocent sense of the word) to beat the band, and, most importantly, gripping, engrossing stories.
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It's a risk spending so much time developing a character who's not the star of the show, but for Williams-Blackman it pays off beautifully. Maggie Sawyer might not become a supporting character in the popularity league of Lois Lane or Aunt May, but she proves to be just as fascinating a figure as her more famous girlfriend.
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A painstakingly, elaborately crafted mystery that will yield layers every time you read it.
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It's hard to believe we're nearly at the end of this series, and I still barely have an idea of what's going on. It's a testament to Spencer's masterful storytelling, of course, but it's also a humbling experience for a semi-professional analyst of fiction. By the same token, it's that much more rewarding when you find your educated guesses are on the right track after all. Bodies can thus be a cerebral rollercoaster ride, disappointing one well-crafted theory and supporting another in the same issue"occasionally at the same time.
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Despite being such a mash-up of different tones and subject matter, or maybe because of it, this title achieves an almost ideal balance of weird, silliness, sobriety, and darkness.
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Now this is how you start off a big sci-fi series. Superb, seamless blends of high-octane action and quiet moments of real emotion; clearly defined, interesting characters; a premise that's at once familiar and fresh; and art that loses none of its smartness by aiming for the spectacular.
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A treasure for new and old fans alike, this issue perfectly encapsulates what has made Waid and Samnee's Daredevil a hidden gem for the last few years.
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Absolutely the best product to come out of Villains Month thus far, offering revelatory portraits of Scarecrow and several of his compatriots, with appropriately striking art to boot.
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The most complex portrayal of sex you'll ever see, revealing its ecstatic heights and anguished depths.
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Too bad this series ends with the next issue. First Wave is a good reminder of why comics ever gained popularity in the first place, and why they remain an important part of entertainment fiction. In place of subtlety and far-reaching concepts, it takes creaky genre clichs and makes them fresh and fun for a modern audience.
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Call it an Elsewords, alternate universe, or out-of-continuity story, but regardless, it's a great one.
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Everything you'd expect from this kind of story, yet totally unexpected at the same time. Elseworlds storytelling at its finest.
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If you want to have an anthology, this is the way to do it. There are stories of every kind from every angle and more likely than not, you'll at least appreciate all of them, some more than others.
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I am agog at how well-crafted this issue turned out to be. Even on the admirable Aquaman Johns hasn't been this rock solid in a long, long while, and Mahnke's brilliant art just sends the quality over the edge.
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Who knew that a series starring the Penguin could turn out to be one of the most harrowing, compelling stories of the year? Of course, we've had many minis start out strong and peter out, but I have a good feeling about this one. Definitely worth a look.
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The ideas may be old, but the execution is spot-on and of the highest quality, making this easily the best miniseries out of the new DC so far.
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Utterly satisfying, with sequence upon sequence of deeply sincere character exchanges that makes you feel with and for them.
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A relatively quiet issue that's nonetheless an excellent sample of Vaughan and Staples' craft as well as Saga's quality.
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A momentous issue in every sense of the word, pushing Saucer Country from a respectable read to an important one. With Karen Berger stepping down, Vertigo needs comics like this to maintain its integrity in the comic book world
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Honestly, the issue is strong, but not exceptional, but I feel Cornell deserves the higher grade on his last outing for a series that has been rock-solid from beginning to end. I'm actually a bit grief-stricken to think he won't be guiding the stories to come.
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The previous writing-art team on Supergirl will be duly missed, but the new is shaping up to be just as good, if not better. It remains to be seen if Peaty will deliver on Spencer's brilliant start, but so far, the future for the Girl of Steel is looking very bright.
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Soule quickly builds his stride on this series, engaging us with new ideas that are not only full of potential, but which develop his running themes as well. If that's not enough, you get Saiz delivering one of the best-looking issues of his career.
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Brubaker and Phillips pull off a convincingly grounded mystery with the smoothness of two people who know exactly what they're doing.
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As good of a debut as you can possibly hope for"hip, intelligent, sensitive, and boldly imaginative, on both the written and artistic fronts.
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The more original a story, the easier it is for it to stands on its own standard, and for this Vaughan and Martin's story, the standard is very high indeed.
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Smart and biting, with plenty of heft, this issue continues Private Eye's tradition of being both imaginative and substantial.
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There's some fantastic world-building going on, and every other part of the story runs as smoothly as you can hope for.
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Vaughan, as always, fires on all cylinders and leaves no important part of the storytelling untouched.
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In a single issue, Overture establishes itself firmly as the crown jewel of not only Vertigo's current renaissance, but of nearly all the comic book output there is.
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You can spend ages reading this issue, excavating the layers in both the script and the art.
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This issue not only pays perfect tribute to The Spirit's importance to the comics medium, it encapsulates the value of comics themselves to our culture in deeply enjoyable way"which is how good comics should be.
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Disappointment does not begin to describe my feelings on this title's impending and indefinite absence from the stands. It's hard to find a comic nowadays whose agenda is simply to tell the best story possible with the most appropriate words and art possible.
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As close to delivering the visceral fear of a horror film in a comic as you can get, Snyder and Murphy work in perfect unison to produce a top-notch sci-fi thriller with actual scientific thought behind it.
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It's not often that you enjoy seeing the last throes of humanity as it perishes, but Snyder uses a winning combination of genres to make The Wake's Armageddon a blast to read, while Murphy pulls out all the stops to make it a blast to see.
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An engrossing world, a kickass protagonist, and the highest stakes possible, written in Snyder's flowing narrative and rendered by Murphy's sharp, elegant art.
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If Young Avengers was superheroic social media experiment, The Wicked + The Divine is reality TV for gods.
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The art kicks it over the top, but Azzarello's script is in top form, abandoning the conventional superhero plot entirely for a special blend of myth and drama.
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McKelvie proves that you don't need much plot to sustain a story when you have strong characters to carry the day, and Brown proves that you don't need much fanciness to draw a story when you make smart, artistic choices.
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Whether Azzarello intended to or not, he's turned out a multilayered story that works and can be dissected on many levels, and is completely reader-friendly and approachable at the same time. For that it deserves the highest praise possible.
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Its a crushing disappointment this series isnt an ongoing. DC should consider sending someone (Ill gladly volunteer) on their hands and knees with bags and bags of money to get Spencer to come back to it.
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