The art is half the story, and artists Maleev and McCaig did everything they could to make this bookworthwhile. However, until the writing improves, this book will just be a collection of pretty pictures.

This Futures End issue strays too far from the norm, and suffers as a result. Gone are the fun and humorous moments that make Infinity Man and the Forever People great. Replacing those elements are poorly expressed love combined with over-abundant references to events that most readers will not understand. The tone of the book is much too dark, making this book difficult to enjoy.

This is a comic. It happened. Most important, it will get a sequel of sorts as Convergence rolls on into May. The book is average at best, and one can only hope that we get to know our characters a little better in next month's issue. If not, maybe we can get some real action sequences. As long as Ralph and Sue are involved, there's hope for the future.SCORE: 5/10

While Infinity Man and the Forever People is not perfect, it's a satisfying read that does a great job of bringing back Kirby's characters and a lost age of comics. Most importantly, it succeeds in making comics fun.

Overall, the book could use some more New Gods/Infinity Man-type action and a little more clarity. These characters come from the mind of the great Jack Kirby and are packed with potential. With just a little more oomph from the creators, this book could be outstanding. Instead, it's hovering around okay. With any luck, the upcoming crossover will give it the boost it needs.

Brown's art continues its strong performance throughout the rest of the issue. The dream sequence on Czarnia is especially powerful, and Brown did a great job giving the reader just enough detail to really get them hooked on Lobo's new backstory. Considering how violent this book is, it's incredible just how clean and understandable Brown's artwork is. The art will be the strong constant that carries this series as long as Brown and colorist Pete Pantazis do the heavy lifting.

The quality of the action sequences is a mixed bag – specifically the layouts. On one side, the opening sequence is rushed and lacks clarity. It's impossible to decipher how Lobo takes out his enemies so quickly, which is disappointing. More panels would definitely helped to have clarify things. The proof can be found later in the issue, as Lobo versus the zombies has enough panels to create a clear and exciting moment of action. The art in this book shows a lot of promise, and once it commits to delivering more of those top-notch action sequences, Lobo will be a book to be reckoned with. Until then, the book will continue to hover around average.

Federal Bureau of Physics #8 is an exciting, intriguing read well worth the cover price. The creative team is rolling on all cylinders and producing a thrilling adventure unlike any other science-fiction book on the market. The art is beautiful, and the story is laying the groundwork for another fantastic arc.

The biggest problem with FBP #9 is that it seems that nothing is coming any closer to being resolved. Even more questions are asked, and characters seem to behave in mysterious ways, accelerating the plot at an uncomfortable pace. So many actions are occurring within a short frame of time, and it becomes difficult to catch why characters are doing the things they do. That being said, Oliver does deliver a nice bit of character growth for Adam, and displays that the male protagonist is learning how to care for someone other than himself. Also, the inclusion of the Nakeet mythology serves an an excellent narrative for the story. It provides the only sort of explanation for the events taking place, and it asks intriguing questions about the true nature of the universe. As the story's scribe, Oliver definitely had strong points in this issue, but it moves along a little too hastily, and the writing isn't able to compete with the fantastic art as a result.

Though the story may have suffered this time around, this is still a book worth picking up. Rodriguez's art makes the book fun, more than making up for any temporary failures on the other end. Now that Rosa's story is free to progress, the book should (hopefully) rebound next month.

The rest of Rodriguez's artwork is top notch as well. The physics-defying moments are the highlights of the issue artistically, and he nails them. Outside of that, the art is emotional and detailed. Rosa's moments lack a little clarity, but she is hardly the focus of the issue. All of the important moments are incredible, making the issue a visual pleasure to read.

This book is too difficult to appreciate due to its complicated nature. Oliver needs to find a way to make the book a little more accessible, because Rodriguez's artwork can't carry this book forever. That said, things are headed upward, and this issue was still pretty fun to read.

The book ends with the announcement that this will be Rodriguez's final issue on the series, and one can only where the book will go from here. Rodriguez is the man who really set the tone for this series and breathed life into all of Oliver's crazy ideas. As his run fails to end on a high note, and the book will move forward with a new artist. It appears that the world of Federal Bureau of Physics seems to be crumbling before our eyes.

The book was good, but not great. It gave us a good look at Jasons character and desires while givingus a predictable story set in the past. Next months battle with Ras Al Ghul promises to be much better.And cheaper, too.

The issue has several successes that will hopefully lead up to a fulfilling finale to Tynions story arc. An emotional, exciting story mixed with mediocre art ends up being a pretty darn good comic.

Trillium #6 is by no means perfect, but Lemire does an outstanding job of juggling plot,characters, intense emotion, and beautifully complicated art. His illustrations have their not-so-wonderful moments and the rotation, as stated, does grow tiresome. Other than that, this is a top-notch book.

Lemire delivers a solid issue with some heart-touching moments that reveal more about the love shared between Nika and William, but this next-to-last chapter lacks the power expected from the author. It has its dramatic moments (but not in the expected fashion) and also has its fair share of stunning artwork. Trillium #7 sacrifices itself in order to set up a conclusion that will hopefully be more than satisfactory.

At the end of the day, the story is a success overall. While it may be laying a lot of groundwork, there is a lot to be excited about in Batman Eternal. The creators are beginning to flesh out the promises made about a celebration of Gotham and all its characters, and Jason Fabok is proving that he can draw the Batman in all his glory.

The story of Batman Eternal is continuing to expand, but there are still plenty of little moments that can excite readers new and old. This celebration of all things Batman is a great blend of art and story that seems to be successfully touching all corners of Gotham.

At the end of the day though, Layman's work was not the biggest problem with Batman Eternal #8. Guillem March's artwork really drags the issue down. It lacks detail, especially in facial expressions, throughout the story. Moreover the artwork is often very dark and difficult to decipher. All of this contributes to a lack of clarity that prevents any sort of emotional connection to characters or a complete understanding of the story.

Batman Eternal #11 is chock full of awesome writing and art that is reminiscent of the Morrison era of Batman, making this issue a must-read. Seeley's is scripting two more issues in this arc, and if they are anything like this one, they will be a blast.

Batman Eternal #14 is the perfect combination of beautiful artwork and long-form storytelling coming to a natural and satisfying ending. The combination of artwork and script tell a meaningful and believable story about the violent end of a violent age in Gotham. It is a brilliant work all around.

Nguyen and his art team of Derek Fridolfs and John Kalisz do a great job this issue in setting up a bleak tone without getting consumed by it. They transition well to the lighter moments above ground, but still keep the entire issue feeling mysterious and dark. The action scenes are fun, but never over the top, and there is an incredible feeling of brutality that emanates from Batman's showdown with the Deacon. Art is truly powerful when it is able to speak on its own, and Nguyen's does that in this issue. By pairing the familiar team of Nguyen and Fridolfs with colorist John Kalisz, the book is able to take on a tone very similar to that of another great Bat-book, Batman and Robin, which Kalisz also colors.

Hinterkind #2 had some great moments and several surprises, but it also had its fair share of disappointments. Inconsistent art and rushed storytelling left more to be desired from this book. All in all, it's a title worth reading based on the potential and monsters that it contains.

Hinterkind #3 is an excellent read and a major improvement over the second issue. Edginton stepped up to the plate and delivered a much stronger story that seriously thickens the plot of his fantasy tale. Meanwhile, Trifogli and Peter continue to exceed expectations by creating a rich world full of magnificent monsters and myths.

Not only was this the best issue of Hinterkind, it was one of the best single issues in comics in quitesome time. Every moment of the villainy that played out amongst monsters and humans alike is quiteenjoyable. Despite the fact that we see apocalyptic material all the time in this day and age, Edgintonand Trifoglis take feels fresh and fierce. It truly is a great story.

Overall, Dodson and Lemire do a great job introducing the Teen Titans of Earth One. The characters are intriguing and eye-popping, the story is imaginative and fulfilling, and the future looks bright for Earth's young heroes.

There is little to complain about with this book. The only faults are minor; Sorrentino's art hadsome confusing moments, and some may find Lemire's writing too formulaic. However, if readers arewilling to look past small details, they will find an excellent comic book experience awaiting them.

Despite an anticlimactic ending, the creative team weaves beautiful storytelling yarn that spotlight's Oliver's shining supporting cast while also moving the overall plot along at a pleasing rate. The art team continues to blow the competition out of the water, delivering some of the best art seen in comics.

"The Outsiders War" is at an end, and "Broken" is on its way. Oliver Queen certainly faced his fair share of emotional and physical damage in Green Arrow #31. Lemire's writing wasn't perfect this time around, but it's good enough to get the job done. Meanwhile, Sorrentino and Maiolo continue to make their case for the best art duo in comics.

The creative team is setting up yet another thrilling chapter in the pages of Green Arrow. An interesting and compelling cast of villains, combined with the increased use of John Diggle and powerful art from Sorrentino and Maiolo make Green Arrow #32 a great jumping on point and a must read book.

If Lemire's writing and Sorrentino's art had not hooked you already, it will after this issue. On top of an excellent script, Green Arrow comes packed with some of the best art and colors in all of comics.

Despite the fact that Lemire and Sorrentino's run will stretch into September's Futures End event, this issue acts as the ultimate ending for the story they've been telling. In an issue packed with emotion and action, Green Arrow #34 is and ending well worth reading.Score: 9/10

This is a seriously fun story that features great characterization, exciting villains, bombastic action, and fantastic artwork. It's an awesome combination that is quickly becoming one of the best books DC has to offer. By not trying to do too much, Justice League United is able to exceed any and all expectations.

There are very few downsides to the book. It gets wordy at times, especially when Lemire uses Sardath in an attempt to explain how Ultra the Multi Alien came into being. The balance between talk and action was not quite even in the issue, but it's an acceptable amount of explanation that will hopefully enhance the story going forward. Supergirl's entrance to the team comes off as being a little random, but the drama of the moment helps to alleviate some of that randomness.

Artist Mike McKone, along with colorists Marcelo Maiolo and Andrew Dalhouse, once again do a fabulous job in the pages of Justice League United #3. The use of changing background colors continues to make for exciting, dramatic moments in the issue. McKone captures the aura of each of the characters with unbelievable facial expressions and posture. Lobo is snarky and violent, Supergirl looks angry and determined, and so on. The only complaints come from a moment where the art and words don't really line up. There comes a time when Green Arrow demands that Lobo "Drop him!" but it's quite clear in the art that Lobo is not holding anyone. And if he is holding someone but the art lacked clarity, it would have been Supergirl. Whether fault lies with the script or the artist, one can't be sure. That little lack of clarity is bothersome, but all in all, this is a fantastic issue.Score: 9/10

This is a book that most should be reading. Justice League United is a book that can appeal to those who love thrilling and adventurous storytelling. After ending their first arc in such a successful manner, it appears that the creative team is firing on all cylinders. As a result, they are putting out one of the best comics DC has to offer.Score: 9/10

This book is the product of a creative team firing on all cylinders. Snyder, Murphy,Hollingsworth, and Fletcher are delivering an incredible product that acts as both an introductionto a new story and the continuation of an old one. They seamlessly blend two polar oppositestogether into one outstanding issue. As of issue six, The Wake will never be the same again. It'sonly going to get better.

Snyder's continues to build up the world of The Wake in this issue, adding The Outliers into the mix. A group of ingenious pirate cannibals that are rumored to sleep with the Mers certainly adds another interesting dimension to the book and will likely be important to the book going forward. The surprises and action combine to make for an exciting book, but even when shocks are not being thrown at the reader, The Wake #7 never loses its intensity. Snyder is able to juggle and weave plotlines together very well, and with only three issues left, will likely begin to bring them all together very soon. Full of meaningful dialogue, exciting action and immense threats, Snyder has crafted another great chapter in this thrilling tale.

The only negative that can be said about The Wake #8 is that it has its fair share of head-scratching moments. In particular, the conclusion moves a little too rapidly, leaving the reader wondering exactly how things occurred. Whether it requires a re-read or a simple acceptance that anything is possible, the minor hiccups that The Wake #8 faced can be easily solved. This was just one more outstanding chapter in what has become a magnificent series.

Snyder has conceived one of the greatest comic book stories seen in quite some time. There is so much to be explored in Leeward's world, and Snyder manages to balance his grandiose vision of the world with the small emotional moments very well. Despite all of the exploring and big ideas, Snyder still comes back to the important pieces, delivering strong moments with Captain Mary, Leeward, and others that remain unmentioned. The Wake has been incredibly broad in its scope, spanning thousands of years and the entire globe, but Snyder has found a way to bring it all together to conclude in one final issue. It's an incredible feat that seemed unimaginable halfway through the series, but has been executed perfectly. The final pages of The Wake #9 are just awesome. It's a perfect set up for the impending conclusion.

The Wake #10 is a great book that delivers an extremely satisfying end to a remarkable series. This creative team has accomplished something truly amazing that is worth checking out.

Latour's fight choreography is violent; it hits you hard, right in the gut. But Aaron's writing manages to deliver an even stronger punch by the story's end. The first four issues of this series have built up to this final conflict between Earl Tubb and the people of Craw County. As a reader, you want so badly for things to go smoothly, for the conflict to be solved, and for things to turn out for the best. Without saying anything more, Aaron heart-wrenchingly decides that Southern Bastards will not be as happy as we all want it to be. Aaron's writing is realistic, and it's incredibly painful to read. That kind of writing is the best kind.

In truth, the issue's only fault comes with the introduction of the rest of Craw County's bastards. While Aaron clearly wanted to introduce readers to the rest of the cast, and the problems that Craw County faces, the intro didn't feel organic to the story. It was a classic comic book style introduction, but it didn't work as well as intended in a book that so often goes against comic book creative conventions.

This book is absolutely fantastic. The Fade Out is a culmination of a fifteen-year partnership between writer and artist, and issue one proves that this team is working in perfect harmony. Be prepared for a wild ride through the dark streets of Hollywood. If this issue is any indication, it is going to be awesome.

The Fade Out #2 is a perfect execution in comic book making. The writing is intriguing and envelopes the reader in the world of The Fade Out, and the art's realism creates emotional beats that elevate the book to an entirely new level of greatness.

Overall, it's hard to find anything wrong with the work done in The Fade Out #3. From absolutely beautiful art to a script full of character, Brubaker, Phillips, and Breitweiser are building an incredible world within the pages of The Fade Out. It's an outstanding read.