Minhquan Nguyen Comic Reviews

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.

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.

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.

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.

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

Everything you want from Batgirl and so much more. Actually worth the hype in almost every way.

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!!!

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.

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.

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.

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

With all the material stuffed into one great-looking issue, you can feel satisfied that you're getting your money's worth.

Quite possibly one of the most remarkable and sophisticated commercial animated works in this hemisphere. Considering Batman: The Animated Series started DC on this path, it's only fitting that Batman would offer the material for one of their best efforts yet.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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

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

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 there's a Saturday Night Live of comics, this is it, as it cleverly breaks down everything that's silly about comics, but showing how those are exactly what makes comics so much fun.

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.

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.

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.

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

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

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

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.

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.

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.

For thirteen dollars, you get everything you could expect out of a superhero film, executed to a lavish degree. You don't need any political/philosophical commentary when your brain is drenched in cinema-induced adrenaline.

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

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

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.

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.

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

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.

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 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.

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

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.

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.

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.

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.

Marvelously entertaining, stacked with the humor, adventure, mystery, drama, and that little touch of moral weight that makes for excellent comics.

A Superman story that ventures into somewhat uncharted territory and finds fertile ground there.

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.

This issue maintains its gripping spell as it takes mainstream comics to brand-new dark corners.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Execution is everything, and between Tomasi and Gleason, they have turned fairly straightforward stories into thoroughly engaging reads that frequently have marks of brilliance.

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.

For sheer entertainment alone, this issue ranks up there for one of Morrison's best issues in the last year.

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.

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.

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.

Rich in detail and executed with crafty subtlety, this story is a prime example of solid storytelling paired with invaluably supportive art.

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.

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 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.

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.

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.

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 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.

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.

Self-contained, but with significant developments for two very interesting characters"antiheroes have never been dissected this well.

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.

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

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

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.

A direction for Selina that makes her the powerful woman she should be, not just Batman's guilty pleasure.

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.

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.

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.

There's nothing intellectual about the love between father and son, but it moves you in no less profound a way.

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?

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

Beukes fearlessly weaves folk tales and ghost stories to create a product that is far more than just a good mash-up.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

This issue proves that the Corps is where all the action's at, delivering outstanding character work and terrific art besides.

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.

One of DC's most reliable titles shows off its blend of action, adventure, and personal drama, all rendered in very becoming art.

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.

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.

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.

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.

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.

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.*

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.

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

A fitting coda to the most ostentatious and complicated of Avengers, overflowing with spectacle and story that largely manages to earn its time.

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.

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.

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.

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.

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.

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.

- 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.

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.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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.

While mostly muddled in regards to its core themes and motifs, The Dark Knight Rises ultimately keeps your attention fixed and delivers a story that will stay with you far longer than all the bombastic spectacle of other superhero films.

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.

Now this is the Avatar sequel you've been waiting for. The character moments are outstanding enough to make up for the less than impressive plotlines, and the show is beginning to have some real stakes to it.

Two episodes that remind you why you fell in love with the Avatar world in the first place, leaving you both disappointed and hopeful when they ultimately bring you back to the present.

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.

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

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

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.

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.

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

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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.

This arc may not have given me anything I expected, but it gave me everything I hoped for a Wonder Woman story and more.

The plot is simple, but there are some rich layers beneath the surface, and you can't beat Chiang's art.

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.

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.

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.

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.

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.

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.

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

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

Only partially substantial and largely unnecessary, but it's still a very enjoyable reading experience.

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.

The story suffers from both breathless pacing and unimpressive art, and a solid back-up feature can do little to help that situation.

The issue suffers from somewhat weak art, but otherwise shows Morrison in fine shape, delivering the kind of story only he can devise.

Though dragged down by mediocre art, Soule captures the essence of Lex Luthor's villainy, but also his appeal.

Pak's Action Comics is back in shape, ready to provide more classic Superman stories with a modern spin.

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.

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.

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.

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.

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.

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.

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.

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.

At once tender and mythical, it seems Johns has found the exact tone needed to make Aquaman special.

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.

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.

Here is where Johns hits his stride, veering away from meta jokes in favor of real, old-fashioned, long-term storytelling.

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.

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.

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.

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.

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

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.

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.

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

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.

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."

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.

It'd be nice to get some villains of real substance, but pure entertainment is a decent attraction, too.

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.

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

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.

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.

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

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.

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.

A downtime issue for the Bat-family that's actually not down most of its time, but with more family than you might think.

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.

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.

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.

As emotionally driven and action-packed as this issue is, content is a little lacking, which leaves it less exemplary than usual.

Tomasi doesn't make the best use of his guest star, but it's a spectacular good time nonetheless, promising more to come.

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.

Pretty much zero progress on the plot, but an outstanding bit of character interaction with great art.

Tomasi's strengths are readily visible, but whether he can overcome his weaknesses remains to be seen.

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.*

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.

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.

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.

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.

A fascinating interlude, but also somewhat contrived and beside the point. As Damian astutely points out, "Nobody knows the future," not even Batman.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Once again, Robinson delivers an intriguing glimpse into another of DC's least understood characters, though he raises even more questions in the process.

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.

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.

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.

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.

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.

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.

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.

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.

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.

A thoroughly respectable tie-in issue that just scrapes the underside of being original.

Layman delivers a good, old-fashioned, thoughtful Batman story. The ambition isn't amazing, but the execution is very well done.

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.

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.

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.

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.

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.

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.

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.

A bittersweet tribute to the Doom Patrol spirit, the issue takes some time to meditate before the team takes off for the finish line.

A very promising start to another whole new DCU, supported by Robinson's even writing and Scott's magnificent art.

Robinson is clearly taking full advantage of the blank slate given him, remaking the Earth with godlike strokes, with Scott bringing it into being.

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.

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""

Pure action from beginning to end, but from it you can get some valuable insights into our antiheroine.

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.