AGE OF X-MAN: PRISONER X #1 is what other comics strive toward.

No matter your feelings on X-Man, AGE OF X-MAN ALPHA #1 is undoubtedly a good read. Both politically and visually engaging, this issue presses the boundaries on what alternate realities are supposed to convey. Thompson and Nadler hide the dystopian element beneath layers of carefully crafted dialogue that will leave you craving more.

Exiles #4 takes readers on a fantastical journey through multiple storylines and dimensions. Fast-paced and action-packed, this issue doesn't leave a lot of room for deeper characterization but it does offer a nostalgic return to the classic days of comic books.

X-Men fans rejoice! HUNT FOR WOLVERINE: MYSTERY IN MADRIPOOR #1 is the perfect testament to the mutant team and their connection to Wolverine. Zub, Silas, and Sobreiro are a creative dream-team that can easily make MYSTERY IN MADRIPOOR the best HUNT FOR WOLVERINE miniseries on the shelves.

Hunt for Wolverine: Mystery in Madripoor #2 takes us another step deeper into the underbelly of the mysterious city of Madripoor. The combination of developed world-building, fantastic art, and witty dialogue makes for a solid issue in what's proving to be a promising miniseries.

INHUMANS: JUDGMENT DAY #1 takes Medusa on a climatic journey to the astral plane where she saves humanity and regains her own inhumanity.

Wonder Woman takes Kara on a ride to a mysterious forest to get some new ink. On the way, the pair learns a lot about where they came from and where they're going.

The final installment in the "Old Woman Laura" arc is exactly what ALL-NEW WOLVERINE needed to cap off an amazing series. Just like everything else Taylor has delivered, ALL-NEW WOLVERINE is full of surprise twists, kick-ass action scenes, and one or two tear-jerking panels. If you enjoyed Laura's adventures as the Wolverine, make sure to pick up this last issue. It's definitely worth a read!

ADVENTURE TIME COMICS #19 delivers three colorful and kid-friendly stories that touch on the importance of friendship and acceptance in the wild world of Ooo.

The Riverdale and Gotham girls are switched no more! With her plant-powered body back, Ivy is more determined than ever to save Sweetwater Swamp from Lamprey's evil clutches. Writers Marc Andreyko and Paul Dini deliver a punch-packed issue, complete with a surprising amount of realism hidden behind the silliness.

The Age of X-Man is upon us! AGE OF X-MAN: THE MARVELOUS X-MEN #1 brings us deeper into X-Man's fabricated reality, where "individualism" reigns over relationships, both familial and romantic. This issue begins to tackle some of the larger questions presented in AGE OF X-MAN ALPHA #1 but doesn't give answers quite as satisfying as I would've hoped. In a way, this is a good thing. Thompson and Nadler are bringing us on a ride that takes longer than two issues. Let's just hope they don't leave all the interesting tidbits for the last issue like a certain PHOENIX RESURRECTION miniseries.

All in all, AGE OF X-MAN: THE MARVELOUS X-MEN #3 did not disappoint. Unfortunately, it also didn't impress. This issue really needed to push the entire storyline into something new and exciting. Instead, Nadler and Thompson chose to focus on characterization over significant changes in plot. Storm and Magneto's characterization is close to perfect, but it doesn't make up for the slow pacing.

Finally, the Age of X-Man is getting interesting again! After a stint of boring issues (that didn't have much to say) AGE OF X-MAN: THE MARVELOUS X-MEN #4 gives readers the twists and turns they've been looking for. Paired with some great art, this is one of the few AGE OF X-MAN issues that manages to stand out.

From the cover, DC Superhero Girls may seem like just another kids book, but don't be so easily fooled. While I'm sure your daughter or son would enjoy this comic, you can enjoy it too. Fantastic art and a wide variety of characters make Search for Atlantis the perfect read for any comic book fan -- young or old.

AGE OF X-MAN: NEXTGEN #3 isn't for everyone but if you like the occasional high school soap opera mixed with a surprisingly serious underlying plot, this one might just be for you. Although I do think the characters in NEXTGEN could become major players in the Age of X-Man world, I'm nearly certain Brisson is more or less just giving readers something entertaining that will help round out their understanding of Nate's strange reality.

Jean Grey is determined to save modern mutantkind, but the task isn't quite as easy as she thought it would be. Tom Taylor sets the stage for a complex series in X-MEN RED #1 by blending old and new X-Men themes and characters, creating something that is both fresh and familiar.

X-MEN RED #2 gets right what a lot of X-Men comics get wrong. Taylor brings back the classic theme of saving mutants while also incorporating fresh new characters that give the comic a modern feel. Asrar's art falls a little flat, but the minor facial distortions aren't enough to stop this issue from being a show stopper.

X-MEN RED #3 delivers an action-packed issue full of Sentinels, mutant-hating propaganda, and evil schemes. While it may not be the best issue so far, what it lacks in art and plot it makes up for in genuine characterization and an honest agenda.

Tom Taylor, Mahmud Asrar, and Rain Beredo's X-MEN RED #4 explores real life technology issues that hit surprisingly close to home. Storm and Jean's friendship is left unresolved and Asrar's art struggles to keep up with a growing cast of characters; but overall, the issue's relevance and awareness helps to make it a solid read.

Tom Taylor, Mahmud Asrar, and Rain Beredo let loose a creative whirlwind in X-MEN RED #5 that harkens back to classic X-Men comics. Asrar and Beredo step up their artistic game from previous issues and Taylor brings the series back to its original purpose: the travesties of mutant persecution. X-MEN RED #5 is the best issue in the series since its introductory issue and is definitely worth a read if the slogan "Mutant as a Metaphor" piques your interest.

X-MEN RED #6 isn't the most exciting issue in the series so far, but it does feature a few pivotal points. While I would've liked to see a little more action, Taylor's organized storytelling and Carnero's sensational art work makes this issue, overall, fairly successful.

X-MEN RED #7 keeps readers chasing the conflict between the Red team and Cassandra Nova. Not a whole lot comes to fruition, but Taylor's teasing game is successful: we're already excited for X-MEN RED #8. Combined with Carnero's beautiful linework, Taylor's empowering dialogue makes this issue another solid addition to a series that is stunning readers.

X-MEN RED #9 is a fun read, with a lot of action and a lot of quality Jean Grey panel time, but it doesn't deliver a story half as intriguing as previous issues. The plot is so slow that this issue feels disappointingly similar to previous issues. Rachel is supposed to be a major player, but her role is surprisingly small. X-MEN RED is a great series, but this issue will fail to impress dedicated readers.

This week's issue of X-MEN RED metaphorically checks all the boxes for me. Taylor includes characters that we haven't seen before and broadens the series' horizons. The art, while not perfect, does a good job giving the series' star, Jean Grey, the spotlight.

Jean Grey's time as leader of the Red team has come to an end, but that isn't necessarily a bad thing. X-MEN RED #11 is an explosive issue, with tons of excitement and character development. As an added positive, the surprise ending offers something for X-Men fans to look forward to in future titles.

X-MEN: WEDDING SPECIAL #1 might not be much of a serious read, but that doesn't mean it's not good. Instead of being purely about kicking ass and being a superhero, this issue focuses on Kitty's past and her relationships with both Colossus and other mutants, like Callisto and Wolverine. While it may not be required reading for X-MEN GOLD, it's a nice companion piece that pushes Kitty's character development a step further.

UNCANNY X-MEN #1 is a must-read for anyone who considers themselves a true X-Men fan. While not perfect, the issue gives readers a full cast of characters and an enthralling plot that will have them eagerly awaiting next Wednesday. Brisson, Thompson, and Rosenberg don't rely on flashy, shocking moments. They use masterful storytelling and classic X-Men elements to weave the beginning of a very promising tale.

As with all comics, there are a lot of problems with UNCANNY X-MEN #2. Jamie Madrox is probably the biggest one. Still, there are also a lot of positives. With a series with as much weight as UNCANNY X-MEN, the writers are doing a good job creating a well-paced story with a diverse cast of characters. Creating a weekly series isn't easy but Brisson, Rosenberg, and Thompson are making it look as if it is.

UNCANNY X-MEN #3 is a fun, well-paced read with quality art and quality writing. If you think the UNCANNY X-MEN relaunch is a little gimmicky, give this issue a try. You won't regret it. Thompson, Rosenberg, and Brisson are finally giving the X-Men the makeover they deserve.

UNCANNY X-MEN is the series X-Men fans have been waiting for. Every single issue has delivered action-packed panels, compelling mysteries, and well-written dialogue. UNCANNY X-MEN #4 introduces a character who, in the past, hasn't been a fan-favorite but somehow, Rosenberg, Thompson, and Brisson make him an instant X-villain classic. If you love mutant-kind and aren't reading UNCANNY, you should be!

Rosenberg, Thompson, and Brisson send the X-Men, and the entire world, into a chaotic, post-apocalyptic dream in UNCANNY X-MEN #5. Beautiful visuals, mixed with masterful dialogue, make for a dynamic issue that's well worth the cover price. If you're thinking about buying UNCANNY X-MEN #5, but you're unsure if it's worth it, I promise you it is. For X-Men fans, this is a must-buy.

With every issue of UNCANNY X-MEN, we've been learning more and more about a character that, for as old as he is, we honestly don't know much about: X-Man. In UNCANNY X-MEN #6, Jean and Armor begin the tedious process of uncovering just who this mysterious being is. With strong art, dialogue, and a compelling storyline, UNCANNY X-MEN #6 is another successful installment in what is shaping up to be one of the X-Men's best adventures yet.

UNCANNY X-MEN #9 lacks the big steps in plot development that previous UNCANNY issues had. Yes, X-Man gains the upper hand again but since he's mostly had the upper hand for the entire storyline that isn't much of a development. Still, there are a few golden moments throughout the issue that make this one, at the very least, an entertaining read.

The final chapter in the "Disassembled" storyline doesn't disappoint. Plot twist after insane plot twist help make UNCANNY X-MEN #10 something that is both familiar for veteran X-Men fans and something entirely unique.

What's happening to the "leftover" X-Men while the others galavant around the Age of X-Man reality is an important story that needs to be told. The problem is, Matthew Rosenberg attacks this story in a way that makes it seem redundant and unnecessary. While many parts of the jumbo-sized UNCANNY X-MEN #11 were entertaining and action-packed, none of it invested me as much as the concurrent Age of X-Man storyline. Confusing dialogue, little action, and a jumpy, fragmented structure yield poor results. UNCANNY X-MEN #12 really needs to show readers why the story it's telling is necessary.

UNCANNY X-MEN #12 is the perfect counterpart to the other ongoing X-Men storyline, AGE OF X-MAN. Gritty, depressing, and yet strangely hopeful at the same time, Rosenberg shows readers how the X-Men, when together, can overcome just about anything.

Rosenberg brings everything a reader could want in UNCANNY X-MEN #13: lots of action, quality characterization, and classic X-Men uniforms. While still not quite as exciting as AGE OF X-MAN, Rosenberg is doing a good job with the 616 roster he got.

Rosenberg and Larroca struggle to deliver an entertaining and comprehensive story in UNCANNY X-MEN #14. The timeline of the issue is too complex and disjointed for readers to easily grasp -- even though everything that happens in UNCANNY X-MEN #14 is fairly basic stuff. UNCANNY X-MEN is looking more and more like a filler series made to keep Cyclops in the spotlight while the other X-Men endure the Age of X-Man. In order to reorient this series, Rosenberg needs to give the current arc a stronger goal that will keep the storyline and the characters on a more definitive track.

UNCANNY X-MEN #16 isn't what it could be. Rosenberg knows the X-Men but he continues to throw way too many plotlines and random characters into each issue instead of focusing in on the cast he already has. Until Rosenberg can tell a complex story without having to add so many additional (and confusing) elements, the fate of UNCANNY will remain in question.

UNCANNY X-MEN #17 slows the series' feverish pace way down and gives readers a closer look at Wolverine. Because Cyclops has been the star of UNCANNY, Wolverine hasn't had as much time in the spotlight, so Rosenberg's decision to give him a few scenes to himself was a good choice. The change in art also adds to the issue, making it one of the better ones in the series thus far. Still, this is Rahne's issue, and the lack of focus on the New Mutants is a little concerning.

UNCANNY X-MEN #18 is not what I was expecting. This issue does have more of the overdramatic plot points (aka deaths) that Rosenberg loves to add in, but it also has a lot of the cathartic characterization that we haven't seen much of in previous issues. While the art is still lacking in certain panels, UNCANNY X-MEN #18 proves that Rosenberg still understands how to make an entertaining X-Men comic.

The addition of Venom not only makes this issue more entertaining but also makes it more serious. The X-Kids are growing up, and they're having to face bigger challenges -- whether they want to or not. This issue is a standout because it highlights that realistic change into adulthood.

While this issue isn't perfect, it does an excellent job showing how successful a crossover can be. Bunn's choice of including Killer Thrill was a bad call, but he makes up for it by giving Jean and Cyclops the character development they deserve.

X-MEN BLUE #23 sees the change from one Blue team to another. While this is exciting, the issue doesn't include enough explanation for new readers. With so many complex backstories on the table, exposition is more important than ever and X-MEN #23 struggles to deliver this.

The second installment in the "Cry Havok" arc delivers action-packed stories -- but there's just too many of them. As enthralling as they are, the issue juggles one too many subplots. Still, using those subplots, Bunn is able to revitalize Polaris' character and bring in some classic X-Men themes.

X-MEN BLUE #25 is exactly what this series needed to return to its former glory. It's action packed but is still able to focus on the larger plot. It has a lot of characters but it avoids confusion. It may be different than what readers signed up for with issue #1, but that's what comics do: they change. And in this case, change is good.

Bunn and co. deliver an electrifying issue that sees the expansion of Mothervine and the creation of a new breed of mutants. As scary as it is to see a world so overcome with cruel, forced transformations, Bunn's masterful storytelling and Silva's linework will leave readers ready to take on the vicious Havok themselves!

Bunn, To, and Beredo are a force to be reckoned with in X-MEN BLUE #27. This issue continues to build the Cry Havok Arc into one of the most successful arcs in the X-MEN BLUE series so far. Polaris and Emma Frost -- two characters who have been neglected in recent years -- are masterfully developed by Bunn while To and Beredo give a needed gravity to the arc with realistic artwork. Even if X-MEN BLUE has not been your favorite series in the past, I urge all X-Men fans to give the series a shot. You won't be disappointed!

X-MEN BLUE #28 may be rushed in places, but that doesn't detract from the classic cast of characters and the fantastic art. Bunn has struggled to create a successful arc in "Cry Havok" -- what with the poor beginning issues. However, I definitely think that, with this latest issue, his goal has finally been achieved. The Mothervine story is unique, entertaining, and aesthetically beats most of the X-MEN BLUE arcs that have come before it.

Writer Cullen Bunn and artists Nathan Stockman and Matt Milla bring X-MEN BLUE back to Poison-X with the first installment in "The Search for Jimmy Hudson" arc.For some readers, this may be a good thing. But for others, the Poison plot-point may feel a little abused. After so many arcs and miniseries pitting the X-Men against the Poisons, I think most of us can agree it's time to move on.

Like the previous issue, X-MEN BLUE #30 continues to recycle the Poison plot, ignoring the series' need to move forward. This and the strange combination of childish character designs with graphic violence makes X-MEN BLUE #30 an underwhelming issue.

The end is near in X-MEN BLUE #31 as Bunn begins the series' last storyline. While that may sound like a bad thing, Bunn has so far made this final adventure an interesting one, with plenty of quality characterization.

This issue is, essentially, a long fight scene. However, Bunn still manages to weave intriguing dialogue and characterization into this action-packed thriller.

X-MEN BLUE #33 feels like half of an issue. Whereas ordinarily, a writer might use half an issue to introduce a new plot, Bunn uses the entire issue. He neglects everyone but Magneto and gives the reader hardly any action. With the series ending soon, I'm a little unsure why Bunn chose to give readers an issue where pretty much nothing happens.

With X-MEN BLUE wrapping up next month, Bunn struggles to conclude the series with a compelling ending. The element of time-travel makes X-MEN BLUE #34 confusing and in need of some serious exposition, but Marcus To's beautiful illustrations help give the issue a few positive points.

Bunn, To, and Milla finally deliver the issue we've all been waiting for. With the Blue team set to go back to the past soon, Bunn delves into their personal fears and reservations surrounding the journey. He sets up a compelling dilemma and gives these action-packed characters a moment of true emotion.

Bunn, To, and Milla say their final goodbye's to the Blue team in a surprisingly neat and tidy final issue. Every loose end Bunn ever created finds a proper tie, leaving readers with the distinct feeling that the series is finished -- not just over.

Writer Sean McGuire refuses to disappoint in AGE OF X-MAN: AMAZING NIGHTCRAWLER #1! By broadening the Age of X-Man world and bringing in some classic X-Men characters, McGuire gives fans something new and exciting that hasn't been broached in previous AGE OF X-MAN installments. His exploration of Nightcrawler's relationship with Meggan is both fascinating and historically accurate (which is a nice change of pace from writers who don't actually read comics). Even if you don't consider yourself a Kurt fan, AMAZING NIGHTCRAWLER is worth a read.

AGE OF X-MAN: AMAZING NIGHTCRAWLER #2 is successful in that it's entertaining. The characters and the plotlines are intriguing but the execution is where this issue falls apart. Frigeri and Davis struggle to use art to tell a cohesive story. With so many complex plotlines going on, the art has to be strong enough to hold it all and, for AGE OF X-MAN: AMAZING NIGHTCRAWLER #2, it isn't. Still, that doesn't mean this issue isn't worth a read. If you're a Nightcrawler fan, this one is still a must-buy.

X-MEN BLACK: MYSTIQUE #1 doesn't try to be more than it is. McGuire delves into Mystique's character, giving readers some new titles and slivers of her identity, but it doesn't become over-ambitious, which for a one-shot is good. Sill, I think this issue could've given readers a little more information about Mystique's current standing when it comes to the X-Men. The bigger world of superheroes and mutants is largely left out.

This issue is exactly what the X-MEN BLACK one-shot series needs. It doesn't take itself too seriously yet still delivers a story that will stay with readers hours after they put the issue down. The art is good, but disjointed, which is the only real complaint I have about the issue. Other than that, it's an almost perfect issue that's truly enjoyable to read.

Claremont knows the X-Men better than anyone, and this issue shows that. He's really digging into Magneto's character and his ideals, but there just isn't enough time in this issue to explore such huge ideas. The grave tone of the comic fails to be felt thanks to the lighthearted art and the overall product is lackluster. While I enjoyed seeing Claremont play with this character again, the issue failed to be coherent and realistic.

X-MEN GOLD #20 delivers weak characterization and random romance as the X-Men fight for survival on an alien planet.

The X-Men Gold team faces external and internal trouble with the reappearance of both Mesmero's Brotherhood and Rachel's hound identity. Marc Guggenheim and Diego Bernard's issue falls flat in the villain department but redeems itself by hinting at a new future for the team.

X-MEN GOLD #22 focuses too much on reusing past villains instead of concentrating on a few developed characters. Rachel in particular gets cheated after being on the cover but having only a few lines of dialogue within the issue.

Guggenheim's semi-successful series has been waiting for an issue like X-MEN GOLD #23. The birth of a new team, the addition of a complex antagonist, and the beginning of a new arc combine to make a surprisingly successful installment.

Guggenheim's semi-successful series has been waiting for an issue like X-MEN GOLD #23. The birth of a new team, the addition of a complex antagonist, and the beginning of a new arc combine to make a surprisingly successful installment.

X-MEN GOLD #27 brings a surprising amount of character development -- not just for Kitty and Colossus but for Rachel Grey too. The mutant virus storyline feels a little recycled, but with how well Guggenheim is handling the characters, I have hope that the next few issues will be just as entertaining as this one.

X-MEN GOLD #28 lacks the exciting climatic and expositional moments a mid-arc issue needs to succeed. Writer Marc Guggenheim has a great cast of characters and an interesting storyline, but he doesn't give this issue enough room for growth. Because of that, it feels a bit like a filler issue instead of an independent comic.

X-MEN GOLD #29 finally sees the climatic end of the "new" Legacy Virus, but it does so at a heightened and unnatural speed. Geraldo Borges and Arif Prianto add to this failure with art that lacks a sense of grounded reality. Instead, this entire issue -- and the arc so far -- feel like a dream. Whether that's a good thing or a bad thing for a wedding themed arc is up to individual interpretation.

X-MEN GOLD #30 finally pulls the spotlight away from Kitty Pryde and shines it on some other characters. While the decision to wed Rogue and Gambit is probably only due to fan demands, it at least shows Guggenheim is capable of writing characters other than Colossus and Kitty. Combined with stellar art, the plot and characterization of this issue make it one of the best in the series thus far.

X-MEN GOLD #31 brings Rachel into the spotlight for the first time while giving Kitty and Colossus a more minimal position. With the series ending soon, Guggenheim's plan to give more characters needed panel-time is a wise move.

Rachel's nightmare continues in X-MEN GOLD #32 as Guggenheim tries to make up for lost time. Although I would have liked to see a little more originality in this issue, I wouldn't call it unsuccessful. Perez's linework and Guggenheim's dedication to Rachel's character makes it an okay read.

Guggenheim finally approaches X-MEN GOLD like a team-centered series. Storm, who's largely been ignored for the past thirty issues, gets the spotlight in X-MEN GOLD #34 and it's exactly what we've all been waiting for. If you love Storm, this issue is for you.

Marc Guggenheim ties up the much-needed Storm-centric "Godwar" arc with a few too many perfect ribbons. Although an entertaining read, X-MEN GOLD #35 lacks the depth that an issue centered around such a personal topic should have. Still, Guggenheim does give Storm some needed characterization and artists Simone Buonfantino and Giovanni Valletta deliver some amazing work.

For a final issue, X-MEN GOLD #36 is a bit of a letdown. While more successful than most of the series' past issues, this final installment doesn't have enough time to deliver an impactful story. The strong focus on Kitty only reminds readers how strong a focus the entire series has had on the character.

Tom Taylor, Pascal Alixe, andChris Sotomayor bring the past to the present with the final piece in Jean's resurrection arc. Fans of X-MEN RED will enjoy seeing some much needed interactions between Jean and other characters, but they might be disappointed by the lack of depth.

Bunn gives us exactly what we might expect from an Asgardian team of superheroes: tons of action. A long, cosmic battle takes up most of this issue, leaving little time for character development. I hope future issues give characters like Valkyrie and Angela a little more in-depth panel-time -- beyond just throwing axes.

ASGARDIANS OF THE GALAXY #3 isn't for everyone. Actually, I don't think it's probably for most people. Bunn is really struggling to give the series an identity beyond INFINITY WARS and the MCU. With Angela on the cover, you might assume she's going to have a starring role, yet Bunn refuses to give her much characterization beyond a few lines. Nebula and Kid Loki's roles are a little too strong and the pacing is noticeably off. The art in the issue is really it's most redeeming quality (and it is pretty breathtaking).

Much of what happens in Batwoman #16 is repetitive -- particularly the inclusion of Batwoman's sister. The issue redeems itself thanks to Blanco and Rauch's artwork, which is some of the best the series has seen thus far.

Because Batwoman is ending soon, it's hard to enjoy this issue without wondering how Bennett is going to finish the whole series. Still, from an individual perspective, Batwoman #17 tells an interesting story that hasn't been told before. Without considering the series' future, this issue can definitely be called successful.

This series got off to a rough start but has recovered surprisingly well since its Orm-centric first issue. Instead of putting all the attention on other characters as Abnett has done in past issues, he finally gives Mera the undivided spotlight. While it's sad to see this gem of a miniseries go, I'm excited to see where Mera's character goes next.

Leah Williams hits a sensitive nerve in AGE OF X-MAN: X-TREMISTS #1. As modern readers, the idea of living in a complete police state doesn't seem that far off, so it's an easy theme to latch onto. Where the issue fails is in art and characterization. Psylocke (the girl front-and-center on every cover and variant) gets less than a few lines of dialogue while Iceman dominates the issue. Even though the series is about a serious topic, the art is heavily stylized and brightly colored. While there are a few scenes that stand out as unusually well-crafted (particularly Jubilee's conversation with Iceman about the use of pronouns), much of the issue lacks needed darkness.

Leah Williams brings complex characterization and an enthralling, romance-lined plot in AGE OF X-MAN: X-TREMISTS #2! Fred and Betsy steal the show with emotional dialogue and moving monologues that most readers probably aren't expecting. Artistically, the issue falls short due to distorted facial expressions and, more generally, a misguided choice in penciller and colorist.

Leah Williams gives readers a different, more emotionally in tune version of a superhero comic book with AGE OF X-MAN: X-TREMISTS #3. Poignant dialogue and unique approaches to the Age of X-Man dilemma show readers Williams' talent as a writer firsthand. Although Psylocke and Blob shine as the strongest characters, Moneta proves to be an uncomfortably accurate reflection of modern culture.

Williams hones in on Northstar like few comic writers can. The way she manages to develop his character in leaps and bounds in only one issue is more than impressive. What isn't so impressive is the artwork in AGE OF X-MAN: X-TREMISTS #4. The contrast between Williams' lofty writing and Jeanty's cartoon-ish pencils keeps this issue from getting a higher score.

VENOMIZED #1 is just what Marvel needs to kickstart an exciting summer! Bunn masterfully creates a venomous world full of Poisons, symbiotes, and spiders. While the cast of characters is big, the storyline is clear and doesn't become convoluted like other crossover series. Anyone who is looking for a new and unexplored Marvel adventure needs to pick up VENOMIZED #1 today!

VENOMIZED #3 struggles to deliver climatic moments that point towards the end of the five-issue miniseries, but it does have some amazing art and a unique plotline. In order for the next two issues to receive high scores, Bunn needs to remove the extra fluff scenes and focus on the bigger picture.

While VENOMIZED #4 begins the climax that past issues have neglected, it struggles to find a genre it can belong to. Silly dialogue and plot points are boldly contrasted against morbid themes, forcing me to wonder what Bunn's true intentions are for the series.

VENOMIZED is not without fault, but Bunn helps the series' reputation by delivering a solid conclusion in VENOMIZED #5. By bringing in Jean Grey as the resolution for the series, Bunn pulls together multiple Venom arcs and gives the multi-series Venom comic event a suitable close.

Seely gives Dazzler, Kitty, and Apocalypse exceptional introductions into the Age of X-Man world that any X-Men fan will enjoy reading. Plot-wise, not a lot happens in AGE OF X-MAN: APOCALYPSE AND THE X-TRACTS #1, which is perhaps its biggest drawback. Still, since it's a first issue, Seely concentrating more on world-building isn't much of a problem, especially since he does such a good job with characterization.

AGE OF X-MAN: APOCALYPSE AND THE X-TRACTS #3 is a great example of what a spin-off miniseries issue shouldn't be. An absurd plot, lackluster characters, and sub-par art make this another disappointing installment in the never ending Age of X-Man storyline.

X-FORCE #2 doesn't bring the sophistication that the new X-Men series promised. The blatant lack of characterization and the predictable plot abase an issue that could've been much better.

While Sevy's art detracts from the overall quality of this first issue, Lanzing and Kelly's writing allows new Tomb Raider fans a place to begin.

Lanzing and Kelly put such a strong focus on supporting characters that the series star, Lara, gets lost. The only thing that somewhat helps to redeem this issue is Sevy's improved linework.