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.

A roiling mass of fiction, metafiction, and realism that threatens to gnaw itself to death, if only to yield new, even more potent life.

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.

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.

Call it an Elsewords, alternate universe, or out-of-continuity story, but regardless, it's a great one.

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.

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.

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.

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.

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.

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.

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.

On-the-ground storytelling at its finest, jazzed up by a Batman spin. You can't ask for better than that.

A fun idea, executed well, but with all the gloss and lack of depth as an excellent action movie.

Brubaker and Phillips pull off a convincingly grounded mystery with the smoothness of two people who know exactly what they're doing.

The characters' complications make them difficult to understand, even unsympathetic, but also enormously compelling.

A story so committed to its own terms and it doesn't have to try very hard to be compelling.

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.

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.

The art guarantees that every issue will always be extraordinary, but the writing has all the mystery and satisfaction of a well-crafted novel.

You can spend ages reading this issue, excavating the layers in both the script and the art.

- 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.

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.

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.

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.

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.

As good of a debut as you can possibly hope for"hip, intelligent, sensitive, and boldly imaginative, on both the written and artistic fronts.

Quite as intriguing as it was before, even if the developments have diminished somewhat at this point.

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.

Smart and biting, with plenty of heft, this issue continues Private Eye's tradition of being both imaginative and substantial.

There's some fantastic world-building going on, and every other part of the story runs as smoothly as you can hope for.

Vaughan, as always, fires on all cylinders and leaves no important part of the storytelling untouched.

A nice glimpse into the past as the present story keeps barreling forward.

A rock-solid issue that seems uncertain on how to communicate its overarching ideas.

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.

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.

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.

With strong plotting, character work, and art, this issue is just an embarrassment of riches.

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.

Everything you'd expect from this kind of story, yet totally unexpected at the same time. Elseworlds storytelling at its finest.

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.

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.

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.

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.)

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.

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.

A good sample of what make Swamp Thing an important corner of the DCU, with some really remarkable art to boot.

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.

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.

The best Vertigo anthology issue yet, teeming with stories and art that have all the finesse of the most practice witch's craft.

Even if it's not always clear what's going on, the amount of care and thought going into this unusual narrative is obvious.

A painstakingly, elaborately crafted mystery that will yield layers every time you read it.

Fewer connections and clues this time around, but with even greater investment in the characters.

All these patterns in the clues are deliciously frustrating, like feeling an answer on the tip of your tongue.

Much depends on how Spencer plays out the bomb he drops on us in this issue, but the explosion is nevertheless captivating.

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.

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.

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.

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.

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,

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.

A fitting, heartfelt farewell to a character who's become a valuable part of the modern Swamp Thing mythos.

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.

Certainly engrossing, though not completely free from predictability, craftily written and subtly drawn.

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.

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.

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.

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.

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.

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.

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.

Amazingly enough, Snyder delivers nearly as good of an end as you can hope for, albeit at the cost of an occasionally disappointing whole.

A powerful debut on nearly all levels, though only gently provocative, considering its subject matter.

If Young Avengers was superheroic social media experiment, The Wicked + The Divine is reality TV for gods.

There may be a deeper message on the nature of religion here, or it could all just be drama. Entertaining, either way.

Provoking in the most basic sense, often with thought, sometimes with the obvious.

A momentous development that doesn't quite rise to the level of a twist, and not much else.

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.

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.

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.

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.

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?

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.

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.

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.

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.

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.

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.

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?

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.

Another solid issue from Waid as he makes the most of Daredevil's civilian and superheroic lives.

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.

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.

Waid delivers another solid issue, although he rushes through some of the more interesting developments of his story, leaving them ever so slightly underdeveloped.

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.

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.

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.

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.

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.

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.

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.

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.

A near-perfect finale to the old Daredevil that transitions remarkably well to the new.

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.

Waid's contribution is by itself worth the cover price, and the other two features are generally solid, if not nearly as admirable.

Our latest antagonist is a bit derivative and easy to read, but he reveals enough layers to make him a formidable challenge.

Even a relatively uneventful issue of Daredevil is a sight better than most comics out there.

There are some weak spots in the scripting, but it's a rock-solid sample of Daredevil anyway.

Peter Parker can move over; Marvel has two outstanding candidates for its most truly relatable characters right here.

A crossover issue that doesn't actually have to cross over into anything. It's as good as it sounds.

Waid and Rodriguez more than make the most of a tie-in; they use it to their advantage.

Waid and Samnee at nearly their very best, although they cut short exploration of their latest villain.

The proportions of fun and drama are reversed, but are no less potent and satisfying.

The problem with the Purple people is almost too smoothly taken care of, but the aftereffects will be intriguing to keep track of.

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.

A fascinating read, one that fans your curiosity to know more about these worlds, these races, and their entire way of life.

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.

I'm a little impatient for something big and splashy to happen, but this issue more than satisfied me with its more grounded conflicts.

It feels good to add another item to the list of monthly must-read titles, and this one certainly deserves the honor.

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.

Ongoing pacing problems aside, Vaughan and Staples are simply incapable of delivering a less-than-solid issue.

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.

Light and entertaining, simple and pure, graced with some of the most graceful art. A solid outing for a consistently solid series.

Another great outing from Saga, delivering equal parts emotional depth and conceptual ingenuity.

A few questionable storytelling choices, but they are just that"questionable, neither damaging nor unreasonable.

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.

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.

Utterly satisfying, with sequence upon sequence of deeply sincere character exchanges that makes you feel with and for them.

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.

A relatively quiet issue that's nonetheless an excellent sample of Vaughan and Staples' craft as well as Saga's quality.

A momentous issue indeed, with almost every moment sold by Vaughan's foresighted scripting and Staples' visual dramatics.

Not quite as eventful as you might expect, but still rock-solid with the series' usual high pedigree.

It's almost disappointing to have such an easy, accessible read, as it makes the greatness of the issue pass even quicker.

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.

Despite the blaze of emotions involved, it's a straightforward issue for Saga.

An auspicious end to what's been a somewhat formulaic storyline.

Whether this is the beginning to a new arc or the end to an old one, it gets you excited for what comes next.

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.

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.

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.

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.

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.

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.

Nothing in this world is perfect, but this title does a pretty good impression. A joy to read, from text to imagery.

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.

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.

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.

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.

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.

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.

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.

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.

If you want to see the World's Finest women, Blackman-Williams are making a pretty good case that these ladies are it.

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.

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.

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.

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.

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.

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.

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.

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.

A solid transition issue to the big fight with the Batman himself, though we get little insight into how Batwoman plans to do it.

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.

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.

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.

A great sample of Brubaker's writing skills, though it's a little hard to tell where he's going with his latest arc.

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.

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.

It's the same old song with a different chorus, but still a rather tuneful one to hum along to.

The most complex portrayal of sex you'll ever see, revealing its ecstatic heights and anguished depths.

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.

A shining new piece to Gotham's already rich mythology, the issue almost lives up to all the hype that's preceded it.

The wheels spin just a little bit on the story, but the character relationships and plot threads all get fleshed out.

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.

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.

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.

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.

Another engaging and well-crafted read from one of Marvel's most deserving series. Here's hoping to bigger plot developments soon.

Fancy narrative techniques aside, the issue doesn't advance the plot very much, which disappoints my simple request from last month.

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.

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.

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.

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.

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.

A solid issue that finally pushes the series to where it should have been months ago.

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.

We finally get some much-needed answers and substance for Kate's LA misadventures, giving it a lot more heft beyond its witticisms.

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.

Entertaining enough, but it could have been so, so much more.

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.*

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.

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.

By addressing some interesting humanistic questions in its own thoughtful, if slightly clinical, way, a dependably entertaining title gains some nice depth.

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.

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.

Some good twists in the issue signal bigger, more important developments ahead, though the plot remains as straightforward as can be.

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.

Thunderworld's deficiencies don't stop it from being a marvelously entertaining and meaningful read.

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?

You can spend all day analyzing the metaphor in the issue, but only minutes with the character.

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.

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.

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.

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.

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.

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?

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.

Intriguing questions for both the plot and our protagonist's ultimate fate, supplemented by some terrifically zany action. Well worth your time and regard.

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?

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.

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.

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.

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.

Another rock-solid issue with only a couple hairline cracks in the writing, glossed over with eminently suitable imagery from the latest guest artist.

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.

Somewhat slow and dense for what should be the climax of a pretty fantastic story.

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.

Successfully gets you to want more, though rather inconclusive for a one-shot.

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.

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.

The issue gives you hope that not all the Futures End tie-ins will be a wash, although its impact is still limited.

One of the few tie-in issues that actually encourage you to keep reading the series after the month is over.

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.

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.

At times it seems a bit unoriginal, but it's crafted with a great deal of thought and panache.

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.

Like his art, Andrews' scripting seems straightforward and simple at first, but reveals surprising depth once you embrace it.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

A bit cumbersome in words, a trifle flat in art, but these are forgettable flaws for an otherwise ideal sample of a Superman story.

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.

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.

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.

Fully entertaining, though Snyder doesn't quite succeed in breaking old Superman formulas.

The character work is somewhat flat, which is unexpected from Snyder, but it's a marvelous bash-fest regardless.

An issue that restores Superman's reputation as a man of action, even if the pacing and message are a touch clunky.

No surprises on how solid the finale is, but on how it could have been so much better.

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.

Emotional and compelling, though the issue introduces even more mysteries to the table, while clearing up none.

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.

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.

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.

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.

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.

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.

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.

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.

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.

An effective opening issue to a comic that fulfills all the major criteria of a horror story.

It's not always clear what you're looking at in the issue, but you know it's something good.

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.

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.

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.

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.

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.

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.

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."

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.

If nothing else, this issue is proof of Litt's concept and that it can sustain a good amount of story for some time.

This endearingly oddball title stays strong, though not an exemplar of Vertigo material.

Emotionally satisfying, but the mystery is not much there.

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.

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.

An issue which shifts seamlessly between fevered imaginings and cold realities, never letting you decide which is dominant. Ruthlessly fascinating stuff.

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.

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.

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.

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.

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.

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

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.

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.

I understand necessity drives the pace of this title now, but that doesn't make the rushed feeling any easier to take.

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.

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.

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.

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.

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.

A very entertaining and smart read, one that keeps the pace, dialogue, and plot moving as quickly and intriguingly as possible.

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.

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.

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.

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.

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.

Snyder brings his usual A-game of mixing rich, storied plot with superb character work, always with a ripple of enticing uncertainty throughout.

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.

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.

Still a solid read, but weaker art and slightly clumsier writing renders this issue less exceptional than the others.

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.

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.

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.

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.

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.

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.

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.

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.

Snyder continues to produce the better half of the Rotworld storyline, although this time around the issue is marred by inferior art.

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.

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.

While the issue doesn't deliver the scope of conclusion you expected from Rotworld, it's nonetheless appropriate and effective, beautifully drawn.

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.

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.

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.

There's a lot of talk in the issue, but nearly all of it is useful and engaging, well-punctuated with bursts of activity.

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.

Not necessarily revelatory, but an important and insightful look into the villain nonetheless, with some gorgeously lush art besides.

A convincing set-up of enmity between our hero and villain, though it requires a slightly out-of-character moment from Swamp Thing.

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.

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.

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.

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.

Soule blasts through the plot a bit too breezily, but there's some wonderful character work that comes through.

Very talky and not terribly original, though it's all written and drawn very well.

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.

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.

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.

A little preachy and obvious with its message, but otherwise another terrific glimpse into an oft-ignored area of the superhero genre.

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.

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.

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.

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.

A bit repetitive in regards to the obstacles our heroine faces, but otherwise intelligently written, with plenty of material for you to mull on.

For once, an Astro City issue that reads like more of the same superhero nonsense.

Busiek tackles another untrodden area in the superhero genre and gets some very good material out of it.

Anytime you make Batman smile is like playing with fire, and fortunately, Tomasi manages to do it several times without burning himself.

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.

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.

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.

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.

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.

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.

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.

A very interesting and revealing issue, if in a mostly academic way. Sadly, the art provides little support whatsoever.

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.

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.

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.

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.

Wildly inventive, almost dangerously so, but worth it for anyone who claims they want to read something different from a mainstream publisher.

A fun, amusing break for the series, but one that puts a hold on still unsolved, half-formed mysteries.

Another baby-step forward for one of the most respectably unusual titles on the stands.

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.

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.

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.

Miville continues his hot streak on this ambitious series, but is somewhat dragged down by Ponticelli's loving but insufficient art.

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.

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.

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.

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.

An adaptation that makes me want to see the original"a pretty big achievement for any spin-off work.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

An intriguing start, with some beautiful art, though it doesn't quite strike you as the start of something special just yet.

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.

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.

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.

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.

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.

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.

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.

An important issue credibly done by its writer and artists, but its attempt at silence seems rather lacking in execution and purpose.

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.

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.

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.

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.

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.

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.

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.

Infused with so much charm and energy that you just feel good reading it.

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.

The art leaves a little to be desired, but the plot thickens considerably in spite of it.

A few minor flaws aside, it's a thoroughly entertaining issue that puts all of She-Hulk‘s charm on display.

Intriguing from front to back, though Soule's a little stingy with the facts.

Hats off to Soule for sneaking a Captain America story through the backdoor. It's a solid one, though predictable in almost every way.

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.

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.

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.

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.

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.

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.

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.

Interesting it may all be, beautifully rendered (for the most part), but discouragingly slow. When will we get to see the actual Agents again?

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.

Inappropriate art and sluggish pacing gets in the way of what would've otherwise been a compelling and commendably original mother-daughter tale.

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.

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.

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.

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.

So thoughtfully crafted in both writing and art that you can upgrade this title from "guilty pleasure" to pure "pleasure."

Thin on the plot, but chock full of fun imagery and really, isn't that what TMNT are all about?

Winning and enjoyable, if only for its sheer exuberance, and full of heart, too.

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.

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.

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.

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.

Dependable, harmless fun as always, though there might be a pretty epic TMNT tale waiting in the wings.

As we delve deeper into the Foot Clan's history, the TMNT mythos grows that much more intriguing, beyond its entertainment value.

A good monthly does of pure fun"without the guilt! A very nice thing, indeed.

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.

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.

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.

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.

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.

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.

A great blend of plot and character developments, of pathos and heart.

Although the issue makes some good developments on several fronts, it doesn't juggle them as fluidly as previous issues have done.

The issue quietly chugs through all the setup it needs for the upcoming blowout.

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.

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.

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.

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.

The story finally gets its plot moving in a coherent fashion, but you're still frustrated by the shortage of specifics.

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!

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

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.

A very definite resolution that nevertheless leaves a great deal unanswered.

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!!!

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.

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.

Still as unrepentantly silly as ever, but offering little that requires forgiveness, aside from a comparatively underwhelming epilogue.

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.

A very interesting character study on one of the most complicated characters in the DCU. Fitting for the son of Batman.

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.

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.

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.