This is how you reinvent a character. By basically doing everything in contrast to the rest of the Bat-titles, DC has put together what is easily their best book and what is unequivocally the best take on Barbara Gordon since Batgirl: Year One.

My favorite part of any hero story is when the hero has to double down on their resolution to become a hero, because they realize that it's a lot harder than they thought. This is that moment for Batman. This is that moment in Scott Snyder's run. This is a creative team saying, "we've put this guy through hell, but even happiness itself can't stop him." And that's why people love Batman. Because against all odds, this guy, millionaire or not, ninja or not, gets up and decides to be a hero. And I think that's how most people want to view themselves. Snyder's Batman is a reflection of our innermost desires and our purest intentions. If you've ever tied a towel around your neck and snuck around in the shadows ready to leap to action at the first sign of injustice, this one is for you. Bruce Wayne is dead. Long live Batman.

Calexit is a triumph not just because the craft and the storytelling is good, but because by the end of it, it asks "so what are you gonna do?" Moments like this never last. Books like this don't either.

If art crime and espionage-flavored superheroing interests you, Catwoman should be right up your alley.

Christopher Sebela and Hayden Sherman's Cold War is exactly the punch in the mouth that comics needs right now.

Howard the Duck #1 might be the best superhero book on the stands this week and that's nothing to quack at. It's not concerned with crossovers or big events but even if it was, the creative team has created a unique lens to see those events through. Howard's a very lovable curmudgeon that is sure to worm his way into the hearts of even the most hardened Marvel fan and it's his view of the Marvel Universe that really informs the book. Combined with Quinones' art and Zdarsky playful riffs on fan favorite characters (his work with Spidey is particularly funny), Howard the Duck stands to be a breakout hit.

Mister Miracle is a pure force of nature disguised as a comic book.

I don't think it's hyperbole to say that Mister Miracle is the best superhero comic on the stands. It's consistently been one of the best of the year, and it should cement King and Gerads as one of the all-time great duos in comics.

There's no denying that Prophet is one of the best books out right now. Graham's vision (and especially the last few pages in this issue) would make Jack Kirby a very happy man. "Bigger is better" and "less is more" might seem like two opposing mantras but here they work swimmingly.

Supreme: Blue Rose is as rare as its namesake. Books like this one don’t come around all that often, and the pairing of Warren Ellis with a brilliant new artistic talent in Tula Lotay will remind you why. By placing the initial focus on Diana Dane, Ellis and Lotay are able to ground this superhero story with a fleshed out human character that is not content to play the victim. Ellis might be playing in someone else’s sandbox, but he’s taking the property into new territory. Fittingly, so is Lotay. This is only the beginning of what’s sure to be an interesting examination of the superhero archetype.

The Wicked + The Divine embodies some of the weirdness of 90s Vertigo combined with the populism of more standard superhero fare. For the uninitiated, this might be the best introduction to this creative team’s work. It’s big and bright and over-the-top. It has all of Gillen’s trademark snark and that’s amplified by McKelvie’s continually improving grasp on expressions and body language. This is pop comics. It’s that song that comes on the radio that you’ll have stuck in your head for days. The beat is good. The lyrics hint at something bigger and you can’t help but wonder. Although what you are about to read is a work of fiction, it should never the less be played at maximum volume.

If The Wicked + The Divine’s bombastic debut issue didn’t do it for you, Issue #2 is sure to change your mind. Kieron Gillen, Jamie McKelvie and company have already set up the concept and themes that they’ll be exploring, but now they get a bit more character-driven, and it really helps the books move forward. McKelvie and colorist Matt Wilson really expand the visual language of the book as well, allowing the narrative room to get even weirder as the team truly kicks it into a higher gear in the final pages.

There's a great balance of humor, action and the mounting threat of Malekith. Thor #4 proves that sometimes one comic book can have it all.

X-Men: Grand Design is a must-read for X-Men fans but also the perfect primer for those who might feel a bit overwhelmed by years and years of continuity. For Marvel, it represents a really great way to provide historical texts of their universe and show how they fit together on a more macro level without aping the resources already provided for free on the internet. Ed Piskor is an incredible talent working in comics today and he treats the source material with love and respect. This is a truly for fans by a fan, and it's so much better for that.

It might not jive with the rest of DC's Superman output, but Greg Pak is writing the best Man of Steel comics right now.

Action Comics #42 is an incredibly powerful issue, and a return to form for one of America's most enduring heroes. Pak and Kuder handle their premise with poise and maturity. While some readers will decry this as another attempt by comic book creators to infect "Big Two" comics with their own personal politics, it should be seen as a stark reminder that the times we're living in are dark and getting darker. Even our greatest heroes don't stand a chance against systemic oppression, and that should be something of a wake-up call. Pak and Kuder have managed to call attention to a problem that has permeated our culture so deeply that we've let it become an acceptable status quo. But Superman can't let these injustices stand, and neither should we. Clark Kent is just like you. He barely has any superpowers now. So what's your excuse?

Boom! is continuing to pump out quality Adventure Time work and The Flip Side is no exception. Coover and Tobin are clearly familiar enough with the property to what works and what doesn't. They're packing in so many jokes that this issue will beg a second read. They have the benefit of being coupled with an artist with a talent for visual gags in Wook Jin Clark, as well. This a definitely must read. So Adventure Time fans who have plenty of time, now you know the way.

While this book might not feature stalwarts like Wolverine and Cyclops or seemingly be connected to the prime Marvel Universe, it feels like the X-Men have finally broken the shackles of rote monotony that has defined much of the line over the last few years. Finally, there is some joy to be had with the unknown, and with Age of X-Man: Alpha, Thompson and Nadler have injected some of that joy back into the X-Men.

Steve to Sam with an opening narration that nails down Sam's character for the uninitiated. From then on out, this book is non-stop fun.

Duggan writes some really big, silly stuff into his script and Kuder doesn't shy away from it at all, proving that they're just the creative team to bring out the best in this ragtag group of intergalactic flarknards.

While some might write this off as an anthology comic that's simply marching toward to inevitability of a big event, I see it as crash course in X-Men mythology for the uninitiated. Sure, it might not be familiar and it might not even be showing things that are going to happen. But the beauty of comics is that on any given page you might be seeing something incredible. The narration is big and sweeping, enveloping readers in a grand scheme that may never come to be. For readers new and old, there is something intrinsically exciting about that. Comics are about infinite possibilities and while the modern media machine seems to have stripped them of that quality, All-New X-Men #25 reminds us that it still exists.

All-Star Batman works in tandem with the other titles in the Bat family to create a really complete picture of the world of the Batman. This is definitely the strongest that the line has been in a while and where the main Batman title might be the brain, All-Star is the heart, pumping lifeblood elsewhere in the line when needed. These stories feel like the essential takes on certain characters that we saw with Batman: The Animated Series. While the medium is different, the idea that these arcs deepen the established roles and continuity of these characters is really powerful. Not many other families of titles can claim to have an emotional core that keeps evolving. Add to that the fact that Snyder has a murderer’s row of talent joining him on the title, and you’ve got one of the best books currently running in superhero comic books today.

Writer Dan Slott really steps up his game here, turning in the best issue of Amazing Spider-Man in about six months.

Spidey definitely swings out on top this week as we are treated to a near-perfect amalgam of his world.

If this issue truly is a sign of things to come from this creative team, then face it tiger - we've just hit the jackpot.

The change is here. It’s right now. It’s going to wreck everything. And comic books will be so much better for it.

Animal Man has really come back into its own thanks in large part to Steve Pugh's phenomenal work. This book is at its best when Lemire continues to expand our knowledge of Animal Man's mythology while still grounding the conflict with his family, some of the greatest supporting characters in comics ever. A great comic satisfies you with answers but always leaves you with questions and this one fits the bill.

This final issue serves as a warm reminder. It's like the night before graduation and you're sitting on the hood of your buddy's car drinking a beer saying "Hey, remember that time..." The memories flow out of you. You think about where you'll be next year. What's going to happen? But you take comfort in knowing that you'll always have the past, even while you are thrust into new beginnings. This isn't the last we'll see of Buddy Baker or Animal Man. This isn't even the last time Lemire will write him. This wasn't a run without any faults but it's important to relish the good stories because you don't know when you'll get the next one. On the whole, Animal Man was a good story. It's sad to see it go.

While you might see the ending coming, Johnson is still able to adequately tug at your heartstrings.

This comic is slow-moving but it's the kind of thing that makes you want to really dig into the world and see what it's about. This is a great debut for this unique mini-line.

If Iron Fist or high octane, kung fu comics are your jam, you're in for a treat with Avengers #13

If Marvel is trying to rope in lapsed Runaways readers with this mini-crossover, this is a good way to do it. It not only progresses the Avengers Academy story but the Runaways one, too. Even if this is all we get, this issue (and hopefully the next) will go down as one of the best issues in this run.

If you're hankering to fill the void left by Young Avengers, this is a book to watch.

Creating good all-ages comics is a difficult task but the Nicolle brothers make it look easy.

This has probably been my favorite of the "Zero Year" tie-ins. Scott Snyder brings his conflict to a head with the drama and tension of the superstorm juxtaposed with the infamous events of Crime Alley.

All around, this is an excellent issue that'll have fans foaming at the mouth for next month.

Overall, this is a strong showing and a great reminder of the abundance of stories that can be told with Batman at the center.

This is truly a World's Finest story for the ages.

"Cold Days" is an exciting return to form for Tom King that does a lot to breathe new life into the second half of his purported 100-issue run.

"Robin Rises" is off to a great start, and this issue is the complete package.

Peter J. Tomasi really nails the Bat family dynamic better than most writers at DC right and as Bruce embarks on this suicide mission to save Damian, he gives his family their own mission: keep Gotham safe.

Tomasi keeps going bigger and bigger with this story, never shying away from using his characters to their full potential. (You'll see what I mean during the Cyborg scenes.) That might be why Batman and Robin is the most consistently entertaining Batman book on the stands.

Patrick Gleason's art is sublime. He curates a perfect balance of action, comedy and dramatic tension that brings out the best in Tomasi's script. This team is truly one for the ages.

This book oozes emotion and it's a great addition to the web of Futures End.

This is a Batman story unlike any other that explores a lot of the reasons why people love and relate to the character. Kurt Busiek and John Paul Leon are completely letting loose, telling a story that feels instantly timeless.

Batman Eternal is trying to bring it all home and if it keeps up this level of quality, we're in for a great conclusion.

Altogether, this is a great book that's taking a stand that many others might be afraid to.

Bitter Root is more than worthy of a place on your pull list.

Lonnie Nadler and Zac Thompson bring their Cable arc full circle this issue as they double down on the themes that make Cable one of the most compelling X-Men characters.

Armed with monstrous thrills and a killer new hook, Venom #1 is a big win for the returning antihero.

Coda looks to be another hit for BOOM! Studios.

This isn't an issue you can afford to miss if you're a Hellblazer fan.

This creative team hasn't disappointed yet and they're showing no signs of stopping.

For anyone turned off by young Scott's pangs of angst in Issue #1, I offer up this issue as proof that Cyclops isn’t navel-gazing, woe-is-me-isms. Scott and his father’s relationship is still in its early stages, but it will be tested - and Scott will have to decide the kind of person that he wants to become. He’s seen what following Xavier’s path gets him, but he’s also starting to understand who his father really is. These ideas are at odds with each other, and I don’t think that Scott is discerning enough just yet to recognize the best parts of either ideology to let those inform his actions. There’s even still a chance that he decides against both and forges a new path for himself. Cyclops is doing what any great superhero comic should: make its readers reflect on themselves and their own humanity while still being incredibly entertaining.

Waid and company provide a nuanced story with a healthy helping of superheroics, suspense and real-life drama. The twist ending could potentially be a big one and so it's unfortunate Waid takes a pretty weak route to get there. But for the most part, Daredevil remains one of the gold standards in superhero comics today.

Chip Zdarsky and Marco Checchetto's Daredevil continues to be an excellent treatise on guilt and compassion through the lens of one of Marvel's most tortured characters.

Dead Body Run #1 is a great debut by a talented creative team. They've managed to take a fairly stock concept and turn it into something worth reading. The mystery teased in the last few pages will give Jordan some room to make this book really unique. It's exciting to know that we haven't really scratched the surface yet and Scalera is already on top of his game. As long as the action and intrigue stay at high levels, Dead Body Road will definitely be a winner.

This is good comics, plain and simple.

Descender is an stunning debut. It's obvious why Hollywood jumped on this train early. Lemire and Nguyen are building their world at a rapid pace without leaving their characters behind. They've created enough questions to entice readers to read the next issue but haven't forced too many concepts that the main narrative gets lost. Science fiction is experiencing a new renaissance in recent years and Descender looks to be finest addition from the comics medium since the debut of Saga.

Francis Manapul and Brian Buccellato continue to redefine Detective Comics, and they're starting to make the case that this should be the only Batman book you're reading.

In some ways, Die has a similar structure to starting a new campaign of your tabletop RPG of choice, and this issue is essentially the character creation step. We're meeting characters already in progress, maybe far past the point where their stories should have ended. But maybe their something to be rediscovered, maybe there's something to be regained. Maybe the things lost in the pursuit of obsession can be found again. Die wants to explore that and with Hans' artwork providing the vehicle, it's off to a spectacular start.

The secrets of Die are really only just beginning to reveal themselves, but the heart at the center of it all is still beating strong. Maybe for some readers it’s not a tabletop game, it’s a sport or a band or a video game - but we all have these connections to people. And no matter how much life gets in the way, there’s always a way to come back. And we’ll get together again, maybe have a few drinks, and we’ll talk and we’ll play. And it’s like no time has passed, but we’re older and wiser than we ever were. And suddenly, we’re home again.

This is one of the strongest books on the shelf this week and just goes to show that sometimes embracing the over-the-top, weird tendencies that a property has can make for good reading.

This creative team is clicking and this book is starting to live up to the hype.

Patrick Zircher and Matthew Hollingsworth are, once again, absolute powerhouses on the art side. They bring a darkness to the story that hangs heavy over the normally bright Central City and it perfectly suits the nature of this arc.

Heading into Flash War, Williamson has readers right where he wants them, and that's great news for Flash fans.

This is the beginning of another great chapter in Barry Allen's story.

Williamson's run on The Flash remains one of the most solid book on the stands.

Grayson is off to an excellent start. A strong narrative vision, couple with good character work, a refreshing change of scenery and a great visual style make it a clear cut winner and already one of DC’s better books. Hopefully, the creative team can really up the ante in the coming months but judging from the early goings, that should be a problem. Seeley and King have done a great job bouncing back from their issue of Nightwing and are poised to have even more success than that book did. Mikel Janin is only just beginning to show us what he can do and that’s a scary thought. Look out, All-New Marvel Now!, Grayson might be the breakout hit of the summer.

Aftershock Comics has repeatedly proven that they are arbiters of extremely good taste and this is no exception. Hot Lunch Special is not to be missed.

This is the X-Men as you've never really seen them before and possibly, the best they've ever been.

I can’t remember the last time the X-Men was this good. It feels fresh, relevant and important. It feels more like the minority allegory that it’s purported to be than ever before. In true X-Men fashion, there’s interpersonal conflict and big superhero stakes building side by side creating a powderkeg that is sure to explode with the release of the finale of Power of X next week. Hickman, Larraz and the rest of the creative team have created something that is as status quo changing as Giant Size X-Men #1. It’s a great time to be an X-Men fan.

The follow-up to Chip Zdarsky and Joe Quinones' debut isn't as laugh-out-loud funny as the first issue, but it still stands up as one of the best examples of humor in capes comics today.

Inferno follows in HoX/PoX's footsteps as the next big plateau in Hickman's vision for the X-Men. It's another watershed moment, and even though it's basically a fastball thrown middle-middle, and we know it's coming, he still manages to blow us away.

The script is all over the place, bouncing Jean from locale to locale but the art team doesn't waver, upping the ante page after page until Jean's face off with the Phoenix.

If you like over-the-top, constantly evolving adventure stories, you need to be reading "Drowned Earth."

Scott Snyder and Jorge Jimenez kick off their next Justice League epic by taking readers to the Sixth Dimension, and this issue has everything you'd want from an introductory chapter.

Deftly taking us around this world, this isn't a very action-packed issue but Snyder manages to increase the tension, foreshadow what's coming and provide some very fun character moments. (If you don't instantly love Jarro-Robin, you've lost your sense of wonder.) Justice League is bonkers in all the right ways.

Justice League #21Written by Scott SnyderArt by Jorge Jimenez and Alejandro SanchezLettering by Tom NapolitanoPublished by DC ComicsReview by Pierce Lydon‘Rama Rating: 9 out of 10

Longshot returns to the first issue's former glory by basically just throwing everything at the wall.

Jonathan Hill delivers the best art that we've seen on this book so far. A flashback page featuring the leader of the Emerald Spear and his connections to previous arcs reveals his motivations with a beautifully laid out page that oozes emotion. Plus, longtime Mega-fans finally get a good look at a fan-favorite character. All-ages comics are rarely ever better than this.

Mind the Gap #1 is an excellent debut of what's sure to be an incredible series. McCann is a master of pacing and left-hand page reveals that are sure to keep readers guessing. The art team of Esquejo and Oback is perfectly in sync with eac other and the vision that's been laid out for this book. The mystery at hand is compelling in ways that Lost was and Morning Glories is. This is a "whodunit" done right.

Despite some exciting moments, this book is a bit of a slow burn but if you're paying attention, it's an incredibly rewarding one.

Once again, Hickman proves deft at remixing familiar elements just enough to make them interesting, and while the questions posed by his narrative have no easy answers, the journey to finding them and exploring this new status quo is the most exciting the X-line has been in quite some time.

A book like this is definitely a risk for a publisher that makes its money on capes and cowls, but it's exciting to see DC truly expanding their publishing line in a way that their competitors haven't.

Prez continues to be a pitch-perfect send up of the American political system.

Red Lanterns continues to be an underappreciated gem that's been flying under the radar for too long.

Let a creator work on a character they feel strongly about and they'll turn in their best work. Gleason's clear affection for Damian shines through this issue and makes it easier for readers to appreciate what he's doing with the character. While other books rely on snap status quo changes and divisive retcons in order to bring curious readers in, Robin: Son of Batman treads lightly on established continuity to create something fun and exciting that doesn't inherently change anything about the character or his world. That's how you build a character up. Gleason and company are providing the perfect balance of reverence and strong storytelling.

Secret Warriors is one of the best things to spin out of Secret Empire so far, and it really helps flesh that story out. I honestly don’t know how someone could read one without the other. This book stands as an examination of a more intimate betrayal of trust, reminding readers that smaller stories that still have big implications are historically some of the best in Marvel history. You only need to look to the original Secret Warriors for proof. Matthew Rosenberg is solidifying himself as one of the best writers in Marvel’s stable right now, and artist Javier Garron is certainly no slouch, either. Secret Warriors #1 is on track to be the definitive Daisy Johnson story, and that’s a very, very exciting thing.

But overall, Secret Warriors is a complete package. Rosenberg’s writing is witty and fun while never losing sight of the stakes of the plot. Garron’s art helps the jokes and characterization in the script land while also providing strong visual storytelling. This iteration of the team has a lot in common with another group of misfits that came together in the wake of an event: Dan Abnett and Andy Lanning’s Guardians of the Galaxy. There’s a sense that this squad has everything on the line, and they’re going to stop at nothing to complete their mission, even if it means they’ll die trying. Secret Empire might not be for everyone, but Secret Warriors might just be the reason is was all worth it.

Marvel's slice-of-life comics are some of the best in their publishing line right now. Saving the world is relative, and Charles Soule starts us out with a done-in-one story to set the stage for a book that fits on the shelves right between Daredevil and Hawkeye.

Southern Bastards is just beginning but so far it has all the makings of a riveting crime-noir. By using the American South as their setting, Aaron and Latour are firmly in "write what you know" territory and it's working for them. This issue makes it evident that hey have an excellent grasp of where they want to take this story and what they want to accomplish. As Earl gets sucked deeper and deeper back into Craw County, we'll learn more about the town and how the places that you grow up can grow to define you. Southern Bastards is a country-fried gem of a comic book dripping in blood and BBQ Sauce. Can I get a hell yeah?

It's excellent to see such a fully-realized one-shot, and I think Latour and Lafuente really make the case for something of a Spider-Ham ongoing with their work here.

This is title is a must-read for Star Wars fans of all ages.

Super Sons might have taken a long time to get started but it's been more than worth the wait.

Super Sons needs to be on your pull list if you're into solid, over-the-top fun in your capes comics.

DC should be doing whatever they can to keep this creative team together because it feels like there's absolutely no stopping them now.

The Fade Out is already looking like another highlight in the prolific partnership between Brubaker and Phillips. It's always fun to have creators that so consistently work together and turn out a great product. This book might be a bit lighter than some of their other noir but there are plenty of openings for it to take more violent and unexpected twists and turns. The Fade Out is a master class in art and writing. And it's definitely a book worthy of your dollars especially if you're looking for a break from the usual slog of the monthly spinner rack.

Multiversity: Pax Americana is a dense book. Every page is packed with panels. Every panel is packed with symbolism and it's all serving Morrison's bigger ideas for this series. Readers might be turned off by Morrison's somewhat haphazard approach to time in this issue, but it's almost as if he's letting the characters control their own fates. Atom loses some awareness of where and when he is the same way that the reader might. Time flips between forward and backward on a whim and without warning. Morrison and Quitely challenge the idea that anything you read is ever all that straightforward, and that's a scary thought. If you could prevent something from happening just by turning back a comic book page, would you?

Multiversity has featured an approach similar to that of Morrison's Seven Soldiers but instead of just focusing on one character at a time, we're getting a new slice of the Multiverse. That could make it tough for some readers to keep up but Morrison includes enough callbacks to his previous work that parsing together the plot shouldn't be all that hard. Plus, these issues have played very well as standalones even without the context of a larger whole.

The Plot is an invitation to become enveloped by the world that this creative team is presenting, and I can't wait to dive in further.

The conclusion of "The Fire of Creation" ends with a bang as Garth Ennis and Aaron Campbell continue to blaze a trail with their run on The Shadow.

Jason Aaron clearly cares deeply about this character and this book marks his 50th issue (across a few volumes) writing Thor. A this point, he’s crafted a story that it seems only he can truly finish and his collaborators are onboard with bringing that vision to light. Corporate superhero comic books rarely see a creative team this in sync this early on just because of the nature of the medium and the process and yet, this team rises above. The book ends with a fun reveal and a lot of hope and excitement for the direction that the narrative is moving in. Aaron is creating a newly definitive take on this character. In thirty years, we’ll be talking about his work on Thor with the same regard we hold Walt Simonson’s.

Altogether, this issue is excellent and Gillen and McKelvie are continuing to set the bar high for their next creator-owned work.

This story is dutifully moving forward while the stakes are raising, proving that you don't need a line-wide crossover to make a big event. Tight, high concept storytelling and strong art can always win the day.

Uncanny Avengers should be at the top of your reading pile every month. It's that good.

Gillen writes an issue that is a combination of the best Star Trek episodes and the greatest X-Men stories tat still works under the umbrella of Cyclops' new mission statement for the team. X-Men and aliens aren't always a sure bet but keeping our favorite mutants' feet on the ground rather than up in space definitely helps the issue out. It's a shame that Gillen didn't have a better collaborator for such a well-written script, but Land puts in a rare satisfactory performance so it isn't all bad. The conclusion to this arc is sure to be a doozy " if Gillen keeps going at this rate, it's going to be interesting to see how he tops this one.

Venom fans do not want to miss out on this one. It's a love letter to everything we remember about that most sinister of symbiotes.

People tend write teenagers off. Their intentions are too idealistic. Their view of the world is too naive. Their ideas are half-baked. And while some of that may be true, where's the joy in killing that kind of optimism? While the new Batman has already reprimanded the Robins for getting involved in Gotham's affairs, it's easy to understand why they wouldn't listen and why Troy's death would strengthen their resolve. Bermejo and Harvey deliver a compelling character piece that stands as a thesis for just about every teenaged hero that's ever existed. To quote the great American Football, "All my teenage feelings/ and the meanings/ they seemed too see-through/To be true." The Robins mission is simple: do good. That's a concept that, understandably, might be too pure for adults to wrap their heads around. It's a good reminder that as we grow older, we lose some of that idealism but if we didn't we might be better for it.

This title is unabashed fun. Jason Aaron is doing his best Conan riff with a forgotten Marvel analogue in Arkon, and Mike Del Mundo's art is simply inspiring.

West Coast Avengers deserves to be on your pull list, even if you didn't have a lot of faith in the roster right away. Thompson and Caselli will make you a true believer.

What If? Magik works so well that even big New Mutants/Magik fans will want to see more of this path not taken.

The Wild Storm #1 is an exciting beginning. It’s important to remember that while Ellis may have played with some of these characters before, he’s never been able to completely redefine them. So in a way, this isn’t a retread. He’s already promised that we’ll see Henry Bendix and possibly Apollo and Midnighter somewhere down the line so there’s a lot to look forward to. Hopefully the imprint is able to hold onto Davis-Hunt for as long as possible because having his visuals at the center of the universe creates something for the rest of the books to rally around and demonstrates the approach that Ellis probably means to have employed across the line. This might not be the WildStorm you remember, but it has the potential to be even better.

If Wonder Woman isn’t already on your pull list, I’m not quite sure why. The character is being written possibly better than she’s ever been, and Rucka is exceptional at keeping up the intrigue in his plots. Even as this arc ends, the stakes feel huge for what’s to come. Readers might be put off by the dubious nature of the truth in this story but Rucka is making sure it’s clear that something much larger than what we’ve seen is at work. Liam Sharp and Laura Martin continue to be a dynamic duo and Sharp in particular will be missed as Matthew Clark takes over the next odd-numbered issue of this series. Rucka’s take on Diana is refreshing and fun, even if the future is a little bit uncertain for her, that’s a good place to be.

This is a slower issue than many others during this run, but it's stuffed full of really intense, human moments that are communicated perfectly through the art.

X-Men: Blue #2 is the strongest of the new X-Men lineup so far. It's a return to what makes the X-Men great: melodrama and intrigue buoyed by strong character work and effective, emotive art. And it's becoming clear that Bunn is not satisfied to just riff on what Claremont did in the past. Instead, he's taking the core approach from those books and applying it to the idea that he finds the most fascinating in the Marvel Universe.

While Piskor's approach does strip some of the emotional resonance away from Marvel's greatest superhero soap opera, it does help readers navigate the various retcons that have happened over the years, allowing for a chronological understanding of the X-Men that the comics themselves are hard-pressed to provide.

Who would've thought that what essentially amounts to a history book could be so charming? Ed Piskor's retelling of the X-Men's winding, whimsical continuity is an absolute pleasure.

The craft in X-Men: Red should have other X-Men creative teams taking notes.

Goodbye, Young Avengers. If we had the chance, we'd never let you go.

This anthology does a good job of trying to get to the heart of each of these Robins, and it makes for a solid Wednesday read.

With this issue, Morrison is truly beginning to show us his hand. He has huge plans for the book but with this issue we truly begin to understand just how encompassing they may be.

When Brian Michael Bendis is on, he's really on. Action Comics #1006 stands as further proof that DC made the right decision putting him in the driver's seat for their flagship character.

"Leviathan Rising" still has yet to give us many answers but if the team can keep this level of quality through the build up, we might be in store for a really special story.

All in all, Adventure Time with Finn & Jake #1 marks a promising debut for the all-new ongoing title.""

Time travel is awesome. Time travel Adventure Time might be even better.

The opening is a bit overwhelmingly dialogue-laden, but North turns on the charm after a few pages, teaching us how ghosts work in the land of Ooo and having Princess Bubblegum team up with Anti-Ghost Princess, the warrior princess.

All in all, another quality entry in BOOM!'s Adventure Time catalog that stays true to the source while forging ahead with fun stories.

This is a joyful, fun book. It may not have the world-altering consequences of many other titles in the DC Universe, but it's a nice bit of levity, and that's enough.

Nextgen is rounding into one of the best books in the "Age of X-Man."

Age of X: Marvelous X-Men #1 is a solid addition to this event providing some more context for the world and showing that there is more to this utopia than meets the glowing eye. But it treads water a little bit while waiting for its companion titles to come out. The art is similar in that Failla seems more content working in concert with what Rosanas has already delivered rather than forge his own identity on the book. That said, “Age of X-Man” is off to a captivating start, one that will have X-fans foaming at the mouth for more.

As X-Man's control is wavering, Nadler and Thompson are honing in on the things that make the X-Men the X-Men and that's a strong choice.

The zipatone effect is a little heavy in the opening scene but on the whole, this is one of the more satisfying issues of the entirety of the "Age of X-Man."

All-New All-Different Avengers is an interesting addition to the Civil War II canon. Waid, Whitley and company stay away from the main fray and craft a careful character study that puts into words some of the feelings that readers themselves have about the current state of superhero comic books. Kubert is as effective as ever, despite a couple of odd shot choices, but he’s able to deliver Waid and Whitley’s script here with aplomb. This issue of Avengers might not be what most readers are expecting, but over time it should stand out as one of the better tie-ins to come out of Civil War II.

If you aren't reading All-New Guardians of the Galaxy, what the flark are you waiting for?

Irving is a master at creating mood with his artwork, but some of his stylistic tendencies can overwhelm the clarity of the narrative at points. But overall, Irving's art works well with Duggan's haunting script and provides some additional depth we didn't have before.

All in all, All New X-Men has been a really fun book thus far, even if the plot seems to be spinning its wheels a bit.

The real MVP is letterer Steve Wands, who packs pages with text when needed but never makes the pages feel overwhelmed. He deftly works around Jock's penchant for not leaving enough negative space when Snyder's waxing poetic and really holds the book together.

It's incredible how easy Dan Slott falls back into writing Peter Parker. This issue is more of a set-up issue than the last one, but it features a lot of the old Peter Parker charm.

This issue is another win for the Spider-Man office. Slott is constantly resolving plot points with satisfying answers while still bringing up new questions and that's one of his greatest strengths, the ability to keep moving forward without leaving any dangling plot threads. With Silk, Black Cat and Parker Industries all vying for Peter's attention in some way, we're sure to get some interesting new stories. Plus all of these storylines have the potential to link back to Spider-Man's central maxim, "With great power comes great responsibility," and that's how you know you've got a creative team that's on the right track.

"Spider-Verse" is off to a good start. We'll have to wait and see what Slott does with the idea that Peter Parker is the greatest Spider-Man in the multiverse. That's an intriguing title considering that we know that he isn't even the strongest member of all the Spiders currently assembled. Slott is doing a good job of keeping all the mysteries at play fresh in our minds. Olivier Coipel is a great fit for this event. His involvement is the shot in the arm that this title needed to remind everyone that this isn't your average Spider-Man story. I think it's easy to get caught up in the fact that there are so many different versions of Spider-Man featured in this book but it's important to remember that there's a larger story underneath it all. Slott's always writing for the long game and so far this one should be keeping everyone guessing.

This already feels like a story that will have fans missing Slott as soon as he's gone.

This series feels notably lighter than what we saw even in Dan Slott's status quo-changing run, but it's clear that it's a great time to be a Spider-fan.

Overall, Amazing Spider-Man #850 is a celebration of Spider-Man has been and will always be and a testament to the narrative flexibility of the character.

We haven't seen too much direct Secret Wars influence to this point, but Renew Your Vows is a really fun read and a return to form for Slott after an overlong Spider-Verse event.

The opening pages are rocky, but the creative team overcomes a bad start to deliver a fun debut issue that sets the stage for what's to come. Angela has become a character that thrives in just about any story she's been placed in, so fans worried that she might seem out of place can breathe easy. The final page reveal gives us a reason to keep checking in on Angela, as her tenuous relationship to her newfound family is sure to keep this book going for at least the first couple of arcs. The editors made the right decision by putting two artists on this issue, as they're able to provide two different looks that enhance the reading experience and don't overwhelm one another. Angela is a good start to this book and a reminder that while they might stumble once in a while (ahem, Spider-Woman), Marvel isn't afraid to give a diverse cast of characters a spotlight.

I was a little bit skeptical that an Angry Birds comic book would work. I mean, the game itself isn’t the most original app on the block. But the entire team puts together a convincing package. This might not be the kind of book that you’ll buy month in and month out but if you need to keep your kid entertained for a few minutes or you’re trying to introduce an otherwise video game-obsessed kid to reading, this is a solid purchase.

Animal Man is hurtling towards an ending, and Jeff Lemire is making sure it goes out with a bang.

This isn't the old Archer & Armstrong but Van Lente and Henry are definitely off to a good start. They've packed an impressive debut full of punches and punchlines that are sure to enthrall new readers and jog some old-timers' memories.

Noto is very rarely going to knock you out with his sequential work the way he can with his standalone illustrations and design, but he helps make this script s

There's a little bit for everyone here. Anthologies are great primers for new readers and Clevinger wisely crosses over into video game territory to maybe try and bridge that gap. Despite multiple artists, the different visual styles all suit the story at hand and more importantly the Atomic Robo universe. Three out of four solid entries isn't bad for this kind of book and I'm sure that time will prove the one outlier to be a quality addition to the Robo mythos as well.

Atomic Robo and the Flying She-Devils of the Pacific #1 is the beginning of what is sure to be another incredibly entertaining Atomic Robo epic. Clevinger and Wegener are a team in perfect sync with one another and it shows. Some readers might be disappointed in the overall lack of any really heavy sci-fi beyond jetpacks but there's still time for that. Remember, the beauty of Robo is the build-up, and this only the beginning.

Avengers is going big with its story while still maintaining the heart of Marvel Comics: the humanity of its characters. There’s a lot of fun to be had with something that feels this larger than life and is still told without changing what makes these characters great. Marvel would be wise to pay attention to what’s happening with this book the next time they plan a big event. You can have big, weird stories that take some effort to fully grasp if the characters within them are written well. Avengers is one of the better books in this post-Civil War II iteration of the Marvel U because it doesn’t force you to accept anything about the characters themselves that don’t hold true elsewhere, it only asks you to come along for a ride. That’s the whimsy that corporate comics are, sadly, usually missing.

It may have taken a little while for Jason Aaron and the Avengers to gel, but they absolutely have.

Superhero comics are frustrating sometimes because the characters never really change, but Hopeless is making sure that these characters have no choice but to, making Avengers Undercover one of the most fun reads in the Marvel Universe.

No Road Home is a story that is realizing its potential and it'll be interesting to see the effect it could have on the larger Marvel Universe when all is said and done.

B.P.R.D. 1948 #1 is another great addition to the mythology of Hellboy and the B.P.R.D. Some origin stories feel shoehorned in after the fact but the Secret Origins trilogy has continued to build on an almost unparalleled mythology without alienating readers. The dynamic collaboration between Mignola, Arcudi and Fiumara is one that should be kept together even after this miniseries is finished.

Monkeybrain Comics has a lot going for it right from the outset. We expect quality work from quality creators. Tobin and Coover absolutely deliver here. Bandette is a reminder that all kinds of comics have the potential to be good even if they are far from what's generally out there. It's just a matter of strength of execution.

Batgirl and the Birds of Prey is a good book, and one that lives up to the significance of its title. Both Batgirl and Birds of Prey have historically yielded great stories about women and, even more importantly, great stories coming from great female creators. It's clear that the Bensons are comfortable working together and their scenes flow together so well; this isn't a case of two different writing voices being mashed together. It's nice to see the Bat-family open up a little bit without involving Bruce Wayne or Dick Grayson right off the bat. The women in Birds of Prey are more than capable without leaning on A-listers to help sell the book. There is an obvious connection but these women are carving out their own niche in the DCU, and that's a very, very good thing.

If this doesn't win back lapsed readers exhausted by Zero Year, I don't know what will. Scott Snyder and Dustin Nguyen tease the future of Batman Eternal in this one and its got a little bit for everyone.

"Superheavy" has felt like it was holding back until now, but if you dropped off the title because of Robo-Bunny Batman, now would be a good time to catch up and pretend you never left.

Right off the bat, it's easy to fall in love with Wagner's artwork. It's been a minute since the Mage creator took on the Dark Knight but he settles in quickly and Tom King gives him a few funny villains to render as well.

This definitely a weird story, but it's a fun one and a nice reprieve from the usual Batman doom and gloom.

With the end of King's run in sight, Batman #83 should tug at your heartstrings, as we gear up for the Dark Knight's final confrontation with Thomas Wayne.

Batman #90 is a breath of fresh air for a run that feels like it's been dawdling to this point, formulaically biding its time while holding back on the meat of the story. And maybe that's by design (no pun intended) to ensure that we get multiple issues of Jimenez in a row. But you could just as well skip the issues leading to this point and have no problem jumping in Tynion still hasn't tapped into the heart that I think is the signature of his work but he's managed to remind us that he's no slouch when it comes to the design of a story.

Some readers might take issue with the fact that Tynion is a very deliberate writer. There's a lot going on here, but not a lot happens, if that makes sense. For an arc called 'Joker War,' there's not even really an abundance of the Clown Prince of Crime just yet " but it's tough to ignore the good work here. Readers already recognize that Joker is a threat, but he's been foiled so many times before. Tynion and Jimenez have to show how this time is different, and that's the fun of this part of the ride.

Keep abreast of the latest Dark Knight stories with our ever-refreshing list of the new Batman comic books, graphic novels, and collections in 2020 and beyond.

All right! Now we're getting somewhere! Some meaningful plot development shows up here and sets the stage for what's to come in this weekly series.

All in all, this is a quick read because it's a fun one and that's what should be expected from a weekly series that's working.

This might sound reductive but this book is exactly as advertised on the cover: Ellis, Hitch, Batman. 'Nuff said.

This is comic books as a big-budget action thriller, a much-needed respite from more tedious world-building.

Where has DC been hiding Ian Bertram? A mix between Ramon Villalobos and Frank Quitely, Bertram's art is a welcome change of pace for Batman Eternal and that he gets a good script to draw is a bonus.

Eternal has rebounded from a few duller issues and is delivering solid story at an exciting clip.

Eternal is at its best when the pacing is good. Unfortunately, not every writer is up to the task of balancing each story line every time out. Tim Seeley nail it in this one, though.

R.M. Guera is a welcome sight in Gotham City. The artist, who made his name on his grim n' gritty collaboration with Jason Aaron Scalped, injects Eternal with the adrenaline it needs as Hush makes himself more known and the Bat family pulls together.

The unlikely team-up of Bane and Alfred alone is worth the price of admission for this one.

Things are really moving at a faster pace as we approach some kind of inevitable reveal. I think the fun of this issue is that James Tynion IV and the rest of the consulting team have injected some mystery back into the plot.

A good script, great art and a bunch of fan-favorite characters place this issue of Eternal firmly in the win column.

Kudos to DC for putting this selection together and choosing a bunch of creators who put together a good showing.

We've seen some cringey political commentary and some "current comics is bad" meta-commentary from Batman: White Knight, but the art has always been top-notch.

It's a sweet, heartwarming and human tale that should remind readers why representation is so important. This book exists now for a whole new generation of queer folks and people of color to see themselves in. It may not be perfect, but it's a whole lot better than the options those readers had before. It's a reminder that there is a place and an audience for every kind of story, as long as it is crafted with honesty and without pretense.

Black Panther isn't for everyone yet. The book is knee-deep in its own world for now, and that might be off-putting for some readers that are hoping to jump into something a little bit less dense. But it does stand as a great way to take continuity and make it your own. Coates is unapologetic about the things he doesn't like about Black Panther, and so he sets out to change them. But he doesn't so that wholesale, making changes that run counter to the character or previous events - instead, he seeks to lead the narrative in a way that the changes he wants to see are part of a natural story progression. That's something we don't always see from writers. Stelfreeze continues to be one of the best and my nitpickings with the color work are minor compared to the wholly effective work that's present and the scale of this book. Black Panther's a winner that should be making it on to pull lists everywhere as soon as possible.

This is a tried and true Marvel formula at this point but Kibblesmith and the art team make this one is a win for Marvel.

Blossoms 666 #1 is a great comic in its own right, but with the artistic depictions and theme-heavy plot, the devil is in the details.

Blue Beetle: Rebirth #1 is a very pleasant surprise. Giffen and Fajardo work together to remix the idea of a teen hero in the 2010s very well. It's too soon to call this DC's answer to a title like Ultimate Spider-Man, but it definitely has that feeling. When books are working this well, the powers that be would be remiss not to pay attention. The seamless integration of Doctor Fate makes this book one that holds keys to understanding the new limits of this DCU. But on a smaller scale, there's a really fun superhero book about a kid who just wants to get to school on time and happens to have some really bad luck along the way. DC has long lacked a human element, opting to present their characters (even the solidly human ones) as mythic, godlike figures. But with Blue Beetle, it seems like the times, they are a-changin'.

Yep. They defeat sexism and a banana is proud. If that last sentence seems like something you're into, you'll dig this book. It's fun and silly and a reminder that not everything has to be dark and brooding to be good.

The front cover of Buzzkill has a quote from Mark Waid saying, "God, I wish I'd thought of this." That's a hell of an endorsement and so far, it's kind of book that'll make you say that. The art is engaging and visually stimulating. The writing has kept everything pretty simple and straightforward while still allowing room for twists and some unanswered questions. Cates and company's first issue is a good reminder that sometimes less is more especially when remixing a genre that many believe has been done to death.

It’s a simple and straightforward story, and Tartakovsky doesn’t lean heavy into the era’s bad scripting habits (particularly with dialogue) that would make modern readers cringe. The art is expressive and outsized. The pacing comes at a good clip. The script has a couple of fun cameos. It might stand in stark contrast to the Cage we see on the small screen but Tartakovsky’s reverence for the character is clear. This is his love letter to an era of comics that he grew up reading and that’s why it works so well. It combines his unique sense of humor with the best parts of ‘70s Power Man, while leaving the more problematic bits by the wayside. Ya dig?

Captain America is continuing to shine, even with only a shell of its main character.

The writing provides a good balance between drama and humor. Carol Danvers feels like the kind of superhero that you could be best friends with, and coupled with David Lopez's incredible visuals, that's enough to best any stagnation with the plot.

It was immediately clear that Jason Aaron was born to write Conan the Barbarian after the debut issue, but Aaron has definitely avoided a sophomore slump with the second entry in the series.

This is a great debut for this creative team and this iteration of the character. It doesn't require any knowledge of Constantine before this point and it's a fun, self-contained story. Doyle and Tynion are clearly attuned to the charms of Hellblazer and put them on full display here. Rossmo is particularly talented at exploring John's corner of the DCU and rendering it in such a way that it looks like nothing else in any other DC book. This Constantine isn't as weathered as many readers are used to him being but this book is sure to satisfy new and old fans. You'll feel like there's real darkness and evil here but that Constantine can handle it with a one-liner, a shot of whiskey and a half-remembered incantation. This is the Hellblazer we know and love and have missed.

This is about as satisfying an ending as you can get for a miniseries that really came out of nowhere.

Cyclops is serving up teen angst in space and I'm sold on it. Scott's dealing with a lot right now. He misses Jean but at the same time, he's struggling with it. He's not sure if he made the right decision by running away with his father. And he hasn't really even gotten to the moral ambiguity of his father's profession. He says he wants to be good. But does he know that his father is good? He might be away from the insanity of the X-Men on Earth but he can't really know what he's gotten himself into. So far Rucka is writing this like the best television sci-fi. It hits beats as well as Farscape or Firefly and it's just as much fun thanks to Russell Dauterman's artwork. If you aren't a fan of the current, older incarnation of Cyclops, I suggest you get onboard with this one.

This book continues to have a lot of heart, and if Corsair succeeds at being a father to Scott where Professor X may have failed, we might have the beginnings of a sea change in the X-Universe.

It's nice to have ol' Hornhead back in the red tights with a creative team that fits him like a glove.

Dark Nights: Metal is a great event book because it is true to its characters and it's deeper than just its surface "Justice League vs. Evil Batmen" premise.

Both stories honor the King, his creations and his worldview in a way that so many other recent tributes have not been able to. This is a must-read for Kirby fans.

Some might knock the almost stock concept of this book but Jordan and Scalera are making this one their own.

A lot of your enjoyment of this title will hinge on your feelings about Brisson as a writer. His own personal quirks are fully on display here and when they work (i.e. a side-splitting Glob Herman/Forge scene), they’re streets ahead of the duds (i.e. “Really? Was ‘Lady Bad Guy’ already taken?”). Henderson delivers some really solid cartooning that for the most parts weaves together well with the script he’s been given. It’s strange that a book like this doesn’t feel like more of an event, but readers looking for a conclusion to four years of Old Man Logan appearances will almost definitely find something they like here.

Brian Posehn and Gerry Duggan have turned in some fine Deadpool comics lately. They've added high stakes and gravitas to an otherwise silly character, but that doesn't mean they've forgotten how to have fun.

Death of the Inhumans is the story that these characters need right now, even if it might be the last time we see them for a while.

Even if the Inhumans aren't your thing, this is a mini worth checking out as it seeds their next chapter.

Aftershock publishes a wide range of stories and Descendent feels like it was an easy green light considering that conspiracy theory stories are quite popular right now. But what's most impressive is how tight the script and storytelling is. It's not often that you see a creative team this locked in from the outset and that speaks to Phillips and Bornyakov's ability to put this thing together.

Francis Manapul and Brian Buccellato up the ante in their second issue of Detective Comics in terms of both art and storytelling.

There's an aspect of this book that feels like a break from Detective Comics' regularly scheduled programming but after the event of the last two arcs, it's nice to have a bit of a breather. This is a relatively breezy book that has a lot of heavier implications. Ben Oliver is a big reason that's the case because his narrative sense is on point. But the big reveal at the end notwithstanding, Tynion and Bennett have worked together to make Kate's story have weight.

This is a speedy read, in part because the art team is doing their jobs so well. It should always be this easy to read a comic. But it does highlight just how little Tomasi moves the plot. So while his character interactions are really fun, Tomasi fails to drive home the weight or the stakes of the story he's telling because he runs out of pages to do so. "Medieval" is off to an interesting start, albeit a slow one.

Humphries' pacing is still a little on the slow side as he tends to serve the bit over pushing the story forward but there's no denying that Dial H for Hero is a fun and inventive title.

Die continues to be a worthy successor to Gillen's other work.

It might be some time before this run is remembered as fondly as Mark Waid's Daredevil or Matt Fraction's Hawkeye, but that's because Aaron's aspirations have always been so much bigger. Marvel's solo title have recently tried to remain a little bit insular, to provide heroes with smaller conflicts that they can handle on their own. But Aaron has always had a "go big or go home" mentality. When he wrote Wolverine and the X-Men, he made Krakoa the site of the school grounds. When he wrote The Mighty Thor, his big arc was called "Godbomb." With Doctor Strange, his plan is no different: tell a huge story that speaks to the heart of the characters involved. Aaron is lucky enough to have a collaborator that is suited for these particularly sensibilities and as the the "Last Days of Magic" approach, the writer looks to keep deliver a story that's right in line with his mighty Marvel tradition.

Doctor Strange has a good bit of momentum heading into Damnation, and it will be interesting to see how Loki's foreshadowing plays out.

Regardless of your feelings about Damnation as a whole, it's clear that Cates and company are still doing exciting work with Marvel's Sorcerer Supreme.

Donny Cates and Nick Spencer's script does its best to live in the same territory that Spencer's Superior Foes of Spider-Man did, delivering quick-witted character interactions that are fun to read and then relying on artist Szymon Kudranski to package them in a way that draws out the humor.

Damnation is a delight right down to the last panel.

Doctor Who #1 is another solid entry in the storied Who franchise. While it may not hold immediate appeal for anyone wondering just what this Doctor guy is all about, it should be enough to at least pique some curiosity and send them diving backwards into glut of material from the past. Diggle remains true to the current status quo of the series, and fans will get to spend some more time with the Ponds.

E Is For Extinction is another one of the better Secret Wars tie-in books. It's faithful to it's source material without being slavishly devoted to it and the influence of the overarching event is present without being stifling. I'm very excited to see more from this creative team, and I'm eager to see how they continue to expand this concept. Some of the Secret Wars tie-ins have recalled other events in name only and they were worse for it. This book borrows its title from the first arc of one of the best runs on X-Men of all time. We can only hope that a strong debut issue signals a similarly strong outcome.

Event Leviathan may not be everyone's idea of a marquee event book and it still has a lot of room to fail, but to this point, it's been fun and effectively told. Bendis and Maleev are doing work that stands up next to some of their best team-ups, and the mystery has some legs.

X-Men fans new, old and lapsed need to be checking out Extermination. Brisson and Larraz have made the X-Men exciting again.

An event book with this level of impact that feels this organic probably hasn't existed since the "Messiah Complex"/"Messiah War" era. (Yeah, it's been a while.) There's a lot of good work here that hopefully signals a bold new direction for the X-line.

This is a grim Flash story because it needs to be and it's a nice change of pace from the more colorful Francis Manapul era.

Venditti and Jensen's narrative approach props up solid, if unspectacular, artwork. It's a flip of the dynamic that existed before. Manapul and Buccellato's work was plagued with pacing problems, especially later in their run. Barry Allen might not be as strong as Superman or as cool as Batman but he's a hero through and through. It's good to have the writers remind us of that but it's clear that we're being set up for a fall. I'd be remiss to not mention the arrival of a long-awaited character to the New 52 but it's really too soon to tell what the writers are planning. But if the blend of characterization and big concepts that's on display here continues, I'm sure we won't be disappointed.

The start of a new arc, "Negative," serves as a good jumping on point for fans curious as to what Barry Allen's been up to lately and does a solid job of priming readers for what's to come.

"Flash War" continues and Joshua Williamson turns the melodrama up to 11 with an issue that's extremely well-paced.

If you are picking up on Brubaker’s inspirations for this story, you are going to love what he’s created here. But even if those who aren’t familiar with those specific touchpoints are going to enjoy Friday as a lovingly crafted mystery story that teases a lot of heart and is executed with a ton of style. Martin and Vicente have created a visually stimulating world while Brubaker’s words almost do everything they can to stay out of the way, illuminating the art only as much as a flashlight in the dark, and that’s part of the fun.

This is a great start to DC's current foray into the world of Hanna-Barbera, and one that should leave fans hungry for more.

DeConnick, Sebela and Sook pick up right where the last volume left off but add a last page twist that will surely define this iteration of Ghost. The dialogue does get a little over-expository at times (especially considering how succinctly the recap page can bring you up to speed) but not enough to affect the quality of this book. Consider this one another feather in the cap of Dark Horse's superhero lineup.

Glory is an interesting character. She exists as an antithesis to typical superhero ladies. This is no exercise in T&A. This book doesn't pander to the clich comic buying crowds by serving up cheesecake on a silver platter. It's about time, comics. It's about time. But all in all, crazy sci-fi, enough strong female characters to pass the Bechdel test a thousand times and intense, psychedelica-infused artwork; what's not to love? Glory is definitely flying under the radar but Joe Keatinge and company are creating something special that is both brutal and beautiful. It's brutiful. Yeah, let's go with that.

Glory is a great book for anyone looking for a little ugliness in their superhero comics. These characters aren't perfect and some of them aren't all that attractive. They're weird and conflicted but they're trying. It's easy to get caught up in the off-the-wall aliens and the less-than-normal proportions of our heroine but in the end, the first part of "Bloodshadow" is a sibling rivalry story on a grand scale that many of us can relate to.

God Country is without a doubt one of the best books on the stands this week.

It's so hard not to like this book. The art is just that good. Karl Kerschl has created a world and characters that you can't help but want to get to know more and more intimately

This is an efficacious start for this book. Fawkes puts all the major players in place. The hook is efficient and easy to understand. Templesmith's color work provides a few excellent moments that help improve a story that's similar to ones we've seen before. A supernatural police procedural is nothing new, but Fawkes and Templesmith are able to put their own little twists on it. Mark Doyle's continued reinvention of the Batman line is a bright spot in the DC publishing line and other editors would be smart to take note. Superheroes are incredibly flexible characters that can allow for almost limitless permutations of their concept. Gotham By Midnight is a good example of that now and it looks to only be getting better moving forward.

Readers who aren't caught up might be left scratching their heads a bit, but if you have been onboard for Morrison's journey into the heart of human willpower, then you'll be satisfied with this chapter.

Fans of their previous work together won't be disappointed with what Morrison and Sharp are doing here.

Early issues saw a pretty formulaic approach to this crossover, but Sam Humphries nails the landing for a satisfying conclusion that leaves our characters and the circumstances that surround them changed.

While the "Planet of the Symbiotes" arc might feel a bit overlong, the conclusion is satisfying in that it gives context to the symbiotes' presence in the Marvel Universe and effectively explains their characterizations over the years.

The stakes feel a little low, but they're telling a good story, and that's always got to be a team's first priority.

Hawkeye: Freefall deserves a place on your pull list. While it doesn’t have the crazy scope and scale of other Marvel titles, Rosenberg and Schmidt make a great case that it doesn’t need to. This is about as street-level as Marvel’s street-level books get and proves that the bland interpretation of the character in the Marvel Studios films is the wrong approach altogether. (Seriously, who is that guy? He better be a Skrull.) If you’re looking for a fun and legitimately funny Marvel book this week, look no further than Hawkeye: Freefall #5.

The X-Men feel (almost) all-new and all-different for the first time in a while, and that's an exciting prospect.

This may not be the story that you're looking for if you're a Hulk fan. But then again, Hulk #2 isn't really a story for traditional Hulk fans. Tamaki and her art team are trying to tell a story about coping with reality. This might be an imaginary story but the weight of the proceedings is very real. Jen Walters is coping with loss in the same ways that the creators themselves and likely the readers of this book do as well. Hulk comics don't usually have a reputation for being all that cerebral, but this creative team saw that as a challenge. They're finding out what the Hulk means in 2017, and it's a captivating new exploration.

Pornsak Pichetshote and Aaron Campbell's 21st century horror story hits something of a climax in this issue, and the tension is real and exciting.

Infinity Countdown is a weird little book in that it’s the set-up for an event, but also includes some big changes on its own. It’s hard to know what those status quo shifts mean for the future, but Duggan and Kuder are at least trying to get readers’ attention. The end of the book leads right into the next piece of the Infinity Stone diagram as we see where the Space Stone is and who is now in possession of it. That’s a great framing device for this miniseries, as it helps contextualize the flow of the book. By the end, we should be primed for what’s next and if we’re not, that’s a failure of the mini - pretty straightforward there - but marrying the issues to the diagram allows Duggan to check off the boxes pretty easily. I like Infinity Countdown so far. It feels like a more organic set-up for an event than we’ve seen in a while, and that’s a very welcome change from the last few years.

While the larger Infinity Countdown story will likely only bear a passing resemblance to the upcoming Avengers films, if the creative team can keep up this level of quality, that's okay. So far, this event feels a bit more sequestered to cosmic reaches of the Marvel U (despite Wolverine walking around with an Infinity Stone), but that might be a good thing " it seems that Marvel has learned from the recent past, limiting the main throes of this story to a mere six issues with only a few tie-ins.

Ol' Wingclaw is back and honestly, he might just be better than ever.

This Justice League has more in common with the Justice League Unlimited version of the team than the recent big screen counterpart and that's a very, very good thing.

This is the kind of big, ridiculous comic book nonsense that DC's top superhero team deserves.

Snyder is a well of creativity that is ensuring the future of DC's shared universe by creating events with big stakes, no obvious solutions and, inevitably, lasting consequences. With Manapul backing up his work with stellar visuals, Justice League is the best its been in years.

Scott Snyder and James Tynion IV are able to lay out big plot points of the last couple of years while indulging some of Jarro's fantasies and it makes for a funny, heartfelt break from the usual big picture plot machinations we get in Justice League.

"Drowned Earth" may feel much smaller than recent DC events like Dark Nights: Metal, but that's by design. It's an Aquaman-centric story with a scope that requires the rest of the Justice League to get involved while still keeping the core character focus on Arthur, Mera, Black Manta and Orm. Credit to James Tynion and the editorial team for doing a good job catching readers up to the happenings around this event.

All in all, Odyssey is a surprisingly solid debut.

Justice League Odyssey might be the rare Justice League title that's actually flying under the radar.

This creative team is singing the same song, and I can't wait for them to get to the chorus.

Lois Lane is a great reminder that the human element is often what’s missing in our superhero stories. Sometimes the most unsung heroes in these world’s aren’t the ones with sci-fi gadgets or super powers. Greg Rucka excels at showing us that vision of the DCU, and it’s great to have him back in his wheelhouse here. Perkins and Mounts are a good fit for the writer as well, and I suspect that their work will only improve as this maxi-series continues.

Longshot is a goofy character. He's got a goofy new haircut. This is a goofy comic. And that's why it worked for me.

Lost Vegas proves that McCann and Lee have a lot more up their sleeves than all-ages allegories. The fresh setting for this story is sure to be a hook for many readers but the mash-up of influences could overwhelm the story if they're followed too closely. If their Eisner proved anything, it's that this creative duo doesn't need to borrow to create a good story.

Marauders is the kind of book that I didn’t realize I missed so much in its absence. Duggan has developed a great rapport between these characters and is doing his best to have his story as fully informed by this new era of X-Men as possible. (Though, it is odd that Kurt calls Kate “Katya” in his e-mail to her rather than “Katzchen.” Is Colossus borrowing Kurt’s computer?) Caselli is doing his part to make sure that Marauders feels like an essential X-title despite not technically having an X in the title. In a lot of ways, this is the platonic ideal of an X-Men book. It was missed.

The book isn't meant to be scary, but it is meant to feel alien and Rossmo achieves that splendidly. Martian Manhunter is one of the strangest, most delightful books out there.

For a lot of other creative teams, an issue like this would kill the momentum of the book but Riley Rossmo has such a singular visual style that it's impossible to stop turning the pages.

It's understandable that a book like this that seems to almost purposely obfuscate the whole story to force you to hone in on the characters themselves might not be for everyone but it remains one of the most exciting and forward-thinking books in DC's publishing line.

Legacy doesn’t fix anything. But it has promise. It has hope. It’s been a while since we’ve had anything resembling actual hope in a Marvel comic book and it’s nice to see that returning. Aaron recognizes the things that make the Marvel universe work. It’s more than heroes fighting heroes or heroes fighting villains or who wields a hammer or shield. It’s about exploration and pushing forward and charging into that great unknown to find the impossible. Marvel revolutionized comics book once upon a time and it’s clear that they want to again. Only time will tell if the creators themselves can reach the heights of their legacies.

Chip Zdarsky is more than just a funny guy. He writes Marvel 2-in-One with a pathos that's necessary for the Fantastic Four and for Doctor Doom most of all.

With seven more issues to go, it'll be interesting to see what Roberson and company are able to do. The length of the mini could allow Roberson to more deeply examine each individual character and the ways in which they relate to and differ from each other. For now, Masks is a pretty typical comic book with outstanding artwork that might be fun for new fans looking for something different.

Mega Man is a book that's expectations were definitely buoyed by nostalgia but Flynn and co. have expanded the scope of their storytelling and created a comic that's a delight to read. By not overly relying on the boss battle formula of the Mega Man games, they've been able to challenge readers while still having fun in an age-appropriate way.

Overall, this is an improvement on the debut that reveals the heart that was missing previously.

Mighty Avengers didn't inspire much confidence when it was announced, but almost a year later, it's a book thats right in line with Marvel's plan of telling quality stories with a broad range of characters. In a superhero landscape where minority characters are only trotted out to show that they'll fail, it's refreshing to see the existence of a book that doesn't attempt to pander to anyone. Ewing and Schiti are doing an excellent job that's, unfortunately, gone under the radar. Hopefully, the presence of a larger threat can up the profile of this book before it gets cancelled and is wrongfully used as evidence of why publishers won't publish comics with more diverse lineups.

Ms. Marvel is more than deserving of a spot on your pull list every month.

Negative Space is another great comic book from a couple of creators who should soon be household names. It's a combination of a big concept relating to a smaller idea and strong execution that makes this one hold up. Lindsay and Gieni are a great team with strengths that definitely complement each other. It feels a little bit like this will read better as whole work, not broken down into individual issues but this is a strong start.

At its conclusion, New Mutants: Dead Souls stands as a love letter to the New Mutants, and a new beginning for them.

It's a really quick read, with Robinson getting the hell out of ACO's way and letting the artist rock through multiple double page spreads.

This is a solid start, a book whose opening salvo appears to be on target - it just remains to be seen whether or not Old Man Hawkeye has enough uniqueness in its story trajectory to truly hit the bullseye.

Oliver #1Written by Gary WhittaArt by Darick Robertson and Diego RodriguezLettered by Simon BowlandPublished by Image Comics‘Rama Rating: 8 out of 10

The next great Marvel event? It's probably too soon to tell, but this definitely isn't a bad start.

Overall, this is a hidden gem in BOOM!'s publishing line that deserves more attention.

AfterShock has given a home to another great sci-fi adventure with Patience! Conviction! Revenge! #1, a rousing debut that delivers on the promise of its opening pages.

Thankfully, Quinones is a seasoned Zdarsky collaborator and he mostly nails this team-up of two Spider-Men, the only problem really being some clear struggles to vary up the panels a bit when Peter, JJJ and Teresa are in young Peter's room. But overall, Peter Parker: The Spectacular Spider-Man is a nice change of pace from the usual flavor of Spidey stories.

Chip Zdarsky may have a reputation as a goofball, but he can tug at those heartstrings with the best of them.

The longer and longer this creative team works together, the more their brilliance crystallizes. It's amazing to see a team work this in sync with each other. This volume of Phonogram is bar far the weirdest and most ambitious yet and the whole team is up to the challenge. There's a lot about this book that might turn people off. It's joyfully weird and unapologetically silly sometimes. And for the people that doesn't work for, I'll point you to the back-up story in which David gets a girl to leave him alone by unabashedly enjoying something he loves (in this case, My Chemical Romance). Gillen and company aren't going to change. They're exploring the reasons that we are the way we are and doing it the only way they know how - with no guilt or shame about how much of the stuff they love they can cram into a comic book.

Polarity looks to be a breakout hit for Boom! and not just because of the background of its writer. While Bemis brings a very dedicated fanbase, he's at least created something here that doesn't require any previous knowledge of his work to get into. Coupled with excellent artwork of Coelho and Sobreiro, this issues sets to the stage for what is sure to be an entertaining miniseries that fans of Infinite Vacation and Luther Strode would definitely be into.

Powers of X remains the more "big picture" part of this budding X-Men era but Hickman's intentionality and attention to detail has made it as much of a must-read as its companion title.

Powers of X continues Hickman and company's winning streak by echoing the past but pushing forward to the future. Weekly series usually suffer from an extreme lack of momentum from issue to issue but slight shifts in focus and the introduction of exciting new concepts have kept the books feeling fresh. This is appointment reading, straight to the top of the pile each week and it would be a mistake to miss it.

This has been an incredible journey so far and if this couldn’t get you onboard for what’s coming, I’m not sure what will. Hickman’s work can be knotty and difficult at times, but pushing a 50+ year old franchise forward is no easy task - especially a franchise as mired in nostalgia as the X-Men. That said, Hickman is finding inspiration in the stories that came before. He’s trying to piece them together. He’s trying to make everything relevant because he knows how frustrating it is for fans to see their favorite characters and concepts tossed aside by a new creative team. Ultimately, House of X and Powers of X landed exactly where it needed to - it set up the next bunch of stories and said to readers, “Welcome to the X-Men. Hope you survive the experience.”

Prophet is not for everyone. This is a far cry from what people will think of when they think about the words" Rob Liefeld's Extreme Studios" but that's what so perfect about it. The willingness to take a chance and allow this kind of work to sit on the same shelves that are inundated with spandex and cheesecake and zombies each week should be applauded. This book is for the kinds of people that don't want the main premise explained succinctly in the title of the book. It's for the kinds of people that would rather read than watch TV. It's for anyone that believes that comics can be good art and that good art should make you think.

If you haven't checked in on Matthew Rosenberg's run on Punisher, you're definitely missing out. The book has evolved from its initial "Punisher plus War Machine armor" pitch by placing Frank Castle in the crosshairs of the Marvel Universe as he seeks some sort of reconciliation for his role in Secret Empire.

The beauty of Punks is that it doesn't take itself seriously. There's a story called "Depression" with a very quick reference to Morrissey, because of course there is. At one point, Abraham Lincoln straight-up tells the reader that the next story will be split in two just so that they have to buy the second issue, a hilarious nod to the way comics are traditionally formatted - and this one is clearly anything but. Image Comics has always been standing in front of the rest of the comic book industry shouting "Let creators do what they want and it'll work out." Punks is an obvious testament to that.

Quake #1 is a great reintroduction to a character that many readers may not be familiar with. Rosenberg and Kindlon display a deft understanding of Daisy Johnson and her role in the Marvel U without leaning heavily on the Avengers to give her importance. They also remain true to their roots, writing a book that features the same outsider themes of their previous work. Daniel Warren Johnson and Jason Keith's contributions definitely help enhance the script, providing just enough of an edge balanced out with strong visual storytelling. As for Daisy Johnson, the writers have left her in a good spot. Maybe this is a sign of things to come for Daisy Johnson/Quake/Agent Skye (her TV counterpart), or maybe it's not. Either way, this issue serves as a decent primer for the character and sheds some light on an important part of her history.

Charles Soule has established a great voice for Guy Gardner and his team. He handles a very large cast with aplomb in this one before eventually getting down to the Supergirl portion of the story.

Saga is unstoppable. In it's second issue back from a brief reprieve, we still find Brian K. Vaughan and Fiona Staples "firing on all cylinders" and other critical cliches that we usually only reserve for Batman and the first six months of those DC Dark books.

On the first page, Jack slowly rises over a ridge, and it's evident that Zub and Suriano know what they are doing. By combining their reverence for the source material with a strong desire to move it forward, they've created a new beginning for a character with a considerable history and made it an excellent jumping on point for new and old fans alike. They've done a good job translating what was once animated to a static format but they've left a lot of room to grow and I suspect they'll only get better at it. Samurai Jack is more than just a trip down memory lane. Zub and Suriano may be nostalgia surfing, but they're also shredding new and exciting waves.

Still the artwork complements the story and as the book enters the final issue of this arc, it's clear that Remender has something special brewing.

Two universes are colliding and while there's a lot of potential for confusion down the line, Secret Wars is off to a big, fun, bombastic start.

Secret Wars has a lot of silly superhuman dressing for what is ultimately a story about humanity, morality and the burden of power. It's right in line with the kinds of stories that Marvel has been putting out for over 50 years. But we're still in the early goings of this event and many other events have started similarly strong only to completely lose their way when trying to stick a landing.

Lemire and Jacinto are building a very solid foundation for Bob Reynolds that may just see the Sentry into more modern-day relevance.

Dale Eaglesham has been sorely missed in comics over the past few years and he's a perfect fit for Cullen Bunn's Sinestro, a book about a tyrant's reclamation of power. Sinestro is one of the most interesting villains in the DC Universe and arguably, Hal Jordan's most worthy foe.

All too often, stories change for the worse when they are translated across mediums, but Hallum and Bandini maintain the spirit of the original work in Spider-Man: City at War, which doesn’t try to reinvent the wheel and thereby makes a pretty effective adaptation. Fans of the game will find some fun behind-the-scenes content in the back matter, which is a fun bonus. But for folks who don’t care for video games, this still stands on its own as the beginning of a good Spider-Man story, and that’s what’s most important here.

The tone and the unique little hook in this arc is sure to engage readers new and old.

I'm really starting to like this Jessica Drew. A huge departure from what we're used to seeing from the character, Dennis Hopeless' take on Spider-Woman has a lot of heart.

But overall, the Force is with this one. Big-time Cassaday fans will definitely overlook some of the artistic shortcomings, but it's really Aaron's script that's the draw here. Even at a whopping 36 pages, Aaron provides us with action, humor and gravitas. Most importantly, the characters that we know and love are recognizable through their actions and dialogue. There was a lot of bellyaching about Marvel relaunching the Star Wars comic book universe, but it turns out that we should all have a very good feeling about this one.

Peter J. Tomasi has another great debut for his resume, and Jorge Jimenez is a big part of that. Most artists have a blindspot when it comes to drawing kids but Jimenez embraces the challenge and delivers greatness. It's so exciting to see the potential for these characters to grow over time. It's not something we get to see all that often.

Super Sons is one of the most genuine and resounding books on the stands right now and it definitely deserves a place on your pull list.

Super Sons has been a very solid book to this point, and this annual stands as a reminder that comics are, can be, and should be as fun as possible sometimes.

We're backtracking a little with this issue, since it takes place before recent events in Green Lantern and Red Lanterns, but it's a solid issue.

Supergirl definitely stumbled after the "Red Daughter of Krypton" storyline but it looks like it might be picking back up here.

Superior Foes is still a must-read month and month, because if we could, we'd all at least try being super villains - just, y'know, not very evil ones.

"Spider-Verse" has proven to be a lot of fun so far, and this issue is no different. Eight different Spider-people team-up against a common foe (spider-energy vampires?) and Christos Gage proves once again why Otto Octavius is such a great Spider-Man.

Superman #32 might be lacking in a truly a original hook (for now) but it does wipe the slate clean for readers. It's a snapshot of Clark's life at this point and it lays the groundwork for future stories. Johns' pacing is excellent and gets better on multiple reads. Both he and Romita include small, unmentioned details that enrich this book and bring it to a certain level that hadn't been seen before. Going back to what's familiar might be a new approach for this book but it's definitely a good one. There's a tendency to overcompensate during reboots and change too much of a character in order to facilitate newness. By bringing Superman down to Earth a bit and reminding readers of Clark's place in the DC Universe, Johns and Romita have managed to make Superman someone you want to root for again. There's a solitary sadness here and beginnings of hope. The latter has been sorely missed from this title for some time.

Lee Weeks' pages are a dream. They perfectly capture the size and scope of the story and the impactful nature of the choices these heroes have made.

Superman #1 is head and shoulders above the rest of the Rebirth titles despite its flaws, because all of the awkward hoops that needed to be jumped through to get us here are in the past. Tomasi and Gleason get to actually dive into their concept rather than make excuses for it (a la Wonder Woman), and we start to see the true potential of the book. Add that to the fact that Gleason, Gray and Kalisz are such a cohesive artistic unit, and you've got something really special on your hands. This creative team might be going back to the well with a central idea but they've proven that they can twist that concept in the past to tell great stories. Their work here is no different. For the first time in a long time, we are getting what feels like a truly definitive take on Superman.

After plenty of fits, stops, relaunches and revamps, the Man of Steel is back. Tomasi and Gleason have a clear concept for the character that works on every level and provides new and exciting lenses to view him through. Lois kind of gets the short end of the stick here as it seems like they might have tried to wrap everything up a little bit too neatly from issue one but that's hardly a grievous mistake. Despite the fact that it still feels like the team is testing the dynamics of these characters to see what they can do with them, the heart of the book remains strong. There hasn't been this much fun in the DC Universe for some time, so it's good to see the company returning to its roots.

Superman continues to be a pillar in DC's new lineup and that's exactly how it should be.

This is just a brutal, brutal book. Peter J. Tomasi and Patrick Gleason have been really good at winding up readers and making the revelations of the mysteries they're weaving very impactful.

All in all, this is a solid issue that might be overlooked considering its lack of relevance to the DCU at large, but it's a reminder that you don't have to do too much to make Superman a compelling character.

Superman Smashes the Klan says just about everything you need to know right in the title, but Yang and Gurihiru make it so much more than that. This is about growing up knowing you’re different than everyone else and learning to deal with it. This is about learning to stand up for yourself in the face of bullies and hate. This is about learning that hatred and prejudice can come in many different forms and no one is immune to their effects. This is a story about good versus evil but not just because Superman is there to save the day. It’s about learning that we have it in ourselves to stand up to bigotry whenever it rears its ugly head.

This is a special book, and an especially fun one.

All in all, Superwoman #1 is a great outing with a bit of a surprise ending. The Superman family of titles might seems a bit crowded at times, but I like this as a way into the mythology. It's a totally different flavor than what we're getting in the other Super-titles, lending DC the kind of variety that was lacking in the "New 52." Some may argue that imbuing so many characters with Superman's gifts might make him less special, it does allow for DC to touch on a few different aspects of the idea of Superman without having to cram it all into one book. In the same way that it's felt like there's a type of Batman title for many different readers, this is a way to make the Superman concept broader and potentially more palatable, as Jimenez is able to utilize some supporting characters in a way that enriches Clark Kent's world. Superwoman isn't your average Superman title, and that's its biggest strength.

Tales from the Dark Multiverse is far from essential reading, but does provide at least an interesting remix on some classic stories.

The lettering in this book is really busy and the pacing could used a punch-up but overall, this is a satisfying tie-in despite the lack of the Titans.

As a package though, Teenage Mutant Ninja Turtles is an absolute joy to read. It's clear and concise enough for new readers. It's compelling and enticing enough for old fans. And best of all, it's a comic that transcends age. All-ages books can be done right, and this is one of the best examples of that.

The TMNT Micro Series is a must-read for dedicated fans of the mutant martial artists. It provides an additional layer of characterization on top of what the main series already delivers. It's refreshing to read about the solo adventures of the turtles because we're so used to seeing them together all the time. It's exactly what you would expect for a TMNT story: something fun, easy to read and a combination of totally radical and tubular. Or as Donatello would say, "Perestroika?"

Is it too soon to call "Thanos Wins" a modern classic? I don't think so.

Cates has a penchant for purple prose that fits the tone of this story like a glove (pun intended? You decide.) and by working in that mode, the issue feels a bit like a love letter to Marvel's past - namely, the works of Starlin, Claremont, Simonson and Lee.

The Archies one-shot doesn't take itself too seriously, and that's a very good thing. It's a heartwarming story about the birth of the Archies complicated by egos, just like so many other bands before them. And I think that speaks a little bit to the enduring nature of these characters and the concept of Archie comics.

The Batman Who Laughs is another interesting entry in Snyder’s legacy with Batman. It takes ideas that he’s been toying with for a decade and turns them over and inside out to provide new insight into an old character. But it also works in the larger meta narrative of the DCU. This book pushes forward to the next big story element - Snyder isn’t one to leave his fellow DC writers completely hanging just because he wants to do a character study, and we’ll see what’s next in Josh Williamson’s Batman/Superman. Overall, this is a must-read for fans looking for more Snyder Batman and fallout from Metal.

It will still be a few weeks before we know if this story is actually worth whatever weight in gold DC had to pay Bendis to woo him away from Marvel, but as it stands now, this is a good book and more importantly, a effective Superman story.

The Mighty Thor is a solid book. It's a light read right now but the danger is really mounting against Jane Foster and despite Loki's sinister machinations, the odds might be stacked against him as well. Dauterman really anchors the book but Aaron clearly has a vision for the future of the title. By calling back to so many different pieces of the Thor mythology and combining them in new and interesting way, the creative team is able to keep things fresh without overdoing it the way some of the other "All-New, All-Different" books have tended to.

The Mighty Thor continues to quietly be one of the better superhero books on the stands. Aaron seems to be directly addressing any opposition that people had to putting Jane Foster under the helmet within his narrative while also telling a good story. He's blessed with the opportunity to continue working with Russell Dauterman. They are proving to be one of the strongest creative teams in the post-Secret Wars Marvel Universe, and that's no small feat.

Mighty Thor might be off in its own little cosmic corner of the Marvel Universe, but it's definitely one of the most bombastic books on the stands.

There are a few slight missteps in this one but nothing that should really take reader out of it. Instead, it’s Grant Morrison doing some of what he does best: repackaging and redefining a basic take on caped crusaders by turning expectations on their head and amplifying the stakes. Sure, most superheroes have to save the world on an issue by issue and arc by arc basis. But what’s bigger than saving the world? Well, Morrison thinks it’s saving every world and fighting off a foe that threatens the very fabric of existence. If you can get behind that concept and you want to see a patchwork group of heroes pull together to save the day complete with all the twists and turns of a Morrison story, then Multiversity is for you.

Multiversity: The Just might end on an obvious note, but I think it's the one that anyone reading would want to see. The characters are starting to wrap their heads around the idea of these comics leaking through from other worlds. The writing is on the wall, er... it's literally in those books, and the heroes that are able to put it together quickly will be the ones who will be saved or able to save others. Morrison simultaneously puts the "lowest common denominator" superhero plot and the "heady deconstruction" of the superhero on the same pedestal in this issue, taking shots at both while still making it clear that he reveres both idea and that they have place in the same narrative. I think that Sister miracle's tweets at the end just about sum it all up. "The mayhem begins. #party to end all parties. Parallel world! Isn't it nuts?" Indeed, it is.

Ridley examines how the prejudices, both personal and societal, that affect our world also affect the world of our favorite heroes and villains. This is meant to be a statement piece about how the world on paper isn't all that different from the world outside our windows because it's still informed by similar structures. Those systemic issues don't just go away when rendered in two dimensions instead of three.

The latest issue of Cullen Bunn and Brian Hurtt's The Sixth Gun begins a new arc that kicks off with the Sword of Abraham and Gord Cantrell, and Bunn does a good job setting up conflict for what's to come.

This feels like a book that’s going to make a certain section of comic book readership angry and I kind of hope it does. Science fiction, fantasy and superheroes have always existed as safe havens for outsiders but over time, they started catering only to certain sections of their fanbases. We deserve to get more stories that feature diverse casts, diverse experiences and diverse points of view. As readers, we deserve to see ourselves in the stories that we read. The Unstoppable Wasp may hew close to Marvel’s past success with Ms. Marvel in terms of approach but it is not apologizing for putting women at the center of its story. When was the last time you could realistically grab a Big Two book off the rack that someone of any age and any gender could realistically enjoy? It’s probably been a while but look no further.

Secret Wars has only just begun, but I'm eager to see where Thor fits into all of this. Marvel has really been playing up the idea of legacies for all their characters and creating those for new readers is important. Giving new readers new characters to latch onto without the weight of hundreds of issues of back story and multiple characterizations over 50 years of comics makes them much more palatable. Aaron, Dauterman and company have excelled in giving Jane Foster's Thor a solid base from which to grow. I just hope that this isn't the last we see of this creative team on a solo adventure for her.

Like I said, some of the art choices do get in the way of the flow of the story but overall, this is another great entry in Aaron's continuing Thor epic.

Overall, it's enough for comics to just be fun, and that's what this issue accomplishes in spades.

All stories have to start somewhere and after DC mucked up some of their characters in the "New 52," they’ve remained steadfastly dedicated to getting back to basics during "Rebirth." Trinity represents a doubling down on the hope and optimism that has been exhibited elsewhere in the line and Manapul proves that he’s the guy to bring these three characters to the top of the heap together. Artistically, the script is executed just about perfectly and while there are a couple of issues with dialogue and characterization, they aren’t big enough to derail the issue at all. It’ll be interesting to see what kind of threats these three will face considerings they have to be bigger than in their solo titles but smaller than a full-scale Justice League adventure. But if Manapul can mix in meaningful character work along the way, Trinity could be one of the books that makes DC Comics great again.

Even if you're not caught up with U.S.Avengers, this issue is worth a read.

This stronger, more focused direction could be the springboard that this title needs. Hopefully, it will stick even in the wake of the upcoming "Divided We Fall" summer event.

Another month, another great issue of Rick Remender and Daniel Acune's Uncanny Avengers. These two creators are churning out quality issues on a consistent basis and this one is full of the kinds of "go big or go home" moments that we've come to expect.

This is a huge issue with a higher price tag, but Rosenberg's narrative weaves through all the stories really well, allowing each story to stand on its own but also illuminate the events of the others. That's no small task.

As far as first issues go, this has to be considered a win. It's good enough t to hook readers because it poses many opportunities for Orlando and Trakhanov to explore different themes and potential plotlines. It'll be interesting to see where it goes moving forward. Trakhanov's art is definitely a little off the beaten path but only in the best ways. IT has an off-kilter weirdness to it that reminds me of a messier Eduardo Risso. Once he gets a better handle on communicating location a bit more effectively, the art will truly sing. Undertow is still finding its sea legs but this is a good debut from a brand-new creative team.

Veil #1 is an exciting series debut. This issue raises a lot more questions than it answers, but Rucka and Fejzula's approach promises that we are only seeing the seeds of a great story being planted here. Fans of Dark Horse's other forays into the horror and mystery genres would be remiss to pass on this one. Rucka is pushing the comic book medium into new and invigorating territory and he has an excellent artist in Toni Fejzula, along for the ride with him.

This is a brave new era for Venom.

I think this book is finally coalescing, and the result is a title that I genuinely enjoy.

There's a lot to like about Web of Venom: Ve'Nam, as long as you're on board for all the weird dragon god Symbiote stuff that's been building. Cates draws from a number of obvious influences, but he's proven to be adept at remixing them and inserting them effectively into the Marvel Universe. Juanan Ramirez and Felipe Sobreiro deliver on the notes of horror in the script and communicate the time period without beating readers over the head with it. Usually, adding stuff to a character's backstory only serves to make them more complicated and less compelling (just look at ol' Canucklehead), but Cates and company avoid those pitfalls. Ve'Nam is a solid book that actually opens up the Lethal Protector for more interesting stories moving forward.

There are still a lot of questions but even in a short scene, it feels like we're getting relevant information. Not a lot of writers are able to do that, and The Wild Storm is better for it.

Wolverine and the X-Men is coming together. It's promising big things with the plot but it's filtering them through an interesting examination of these characters. This direction was hinted at in issue one but got a little lost under the weight of exposition in issue two. If Latour can maintain the balance that he shows here in future issues, then this book will definitely become one of the better ancillary X-Men titles.

The cover of this one is a bit misleading, but Jason Latour and Mahmud Asrar come through with the best issue of their run yet.

What Rucka has done really beautifully is remind us that there are many different ways to be strong. So while the ending might feel anticlimactic to some, it's really the only way that Rucka could close this arc out while remaining true to the main ideas and concepts he put forth.

It's hard not to find something to like about X-Men. It has exactly the kind of broad appeal that the main title in the line should have.

Hickman and company have been smart about the way they've built this event but they've made it clear that it's going to be extremely different from the traditional superheroics that many Marvel fans are used to and will be extremely additive to the mythology of these characters. But they have delivered on those two basic tenets every step of the way and X-Men #13 is no exception.

It's clear to see why Tom Taylor and Mahmud Asrar's X-Men: Red has jumped to the top of the pile of X-titles.

Thompson and Nadler aren’t doing the heady exploration into superhero psyche that we’ve seen some of their contemporaries do, but that’s because Yondu isn’t a superhero - at the end of the day, he’s a man just trying to survive in a universe that he probably cares about more than he lets on. McCrea is an artist who can incorporate great humor and worldbuilding into his work and the scripting has that in mind. Yondu surely doesn’t feel like essential reading yet, but it has the potential to be an interesting character study if done right.

McKelvie turns in one of the best issues of the run with dynamic spreads during an epic battle sequence and a shot of Miss America that cuts right to the heart of this issue.

Young Justice is back, and it's setting the bar for Wonder Comics exceptionally high.

Is Absolute Carnage a perfect event? No, but few are. This issue isn’t even the best the series has been so far, but it does lay some important groundwork for where the series can go from here, not only from a plot and action level, but from a character level as well. There’s a feeling that if Cates can really stick the landing, there’s an extremely satisfying catharsis coming for Eddie Brock and a further upheaval of the role of symbiotes in the Marvel Universe. That feels like what this creative team has been aiming for with this entire run, and they’re clearly still on that path.

All in all, it's a good effort - it's not the kind of finale that will blow you away, but it serves its characters well and will have lasting consequences for Venom moving forward.

Superman fans yearning for some old-school Kryptonian action will want to check this one out.

Action Comics #976 feels like it has really large implications for “Rebirth” as it moves forward, but it’s hard to entirely see the writing on the wall. This crossover has definitely existed to move certain pieces into place and it might frustrate some readers that there’s very little clarity as to whether or not what we’re seeing is as real as it seems. But the art team does a really good job of upping the stakes and overall, “Superman Reborn” puts the Superman family in an interesting place. We’ll just have to wait and see if the creative teams on these titles can deliver on this mounting uncertainty.

At this point, Bendis is a very known commodity. Whether you love him or hate him, this issue isn’t going to sway you to the other side and will likely only reinforce the opinion you already hold of him. But art fans who want to see how an artist can keep their style fresh and resonant even when they’re treading familiar territory should be following Gleason’s every move. He is without a doubt one of the best Superman artists of the last decade, and he’s continuing to build his legacy here.

The biggest knock on this series is the length of each chapter. Because what you're reading is essentially half a comic book, there's a feeling that things don't really get going. That said, it still works in terms of giving more to fans of the show who might not have interacted with comics before now. The team has a great handle on the tone of the show and translating into something palatable for a new audience. With the support of the show and a lack of messy continuity, I wouldn't be surprised to see this Supergirl overtake the current DCU version as the preferred take on the character.

It's just about everything you'd want from the swashbuckling savant but it doesn't as additive to the "Age of X-Man" at this point as maybe it could.

Seanan McGuire and Juan Frigeri's The Amazing Nightcrawler keeps chugging along and mostly stays in the same lane as the debut.

I wonder if the layouts could have been improved to really take this book to the next level but for fans of fast-paced, fun superhero action comic books, this one is a winner.

Stuart Immonen's artwork is on point. He continues to show more and more range with regards to his expression work, shot selection and panel layouts. The visual language of Sam as Cap is (and should be) different than Steve Rogers as Cap. Immonen recognizes that and is able to give this book its own unique visual flavor.

Brian Michael Bendis has a lot of fun having the All-New X-Men interact with the Guardians of the Galaxy. It gets a little tiresome when he leans on Iceman and Rocket Raccoon for humor but its pretty much par for the course for a Bendis title.

Brian Michael Bendis and Stuart Immonen team up for an incredible first half of an issue but they can't sell the rest as they try to further the plot

Slott has worked with Spidey/Peter analogues in the past (remember Alpha, everyone?) and their storylines always come to a similar conclusion: if you don't learn that with great power comes great responsiblity, then you can't be a hero. It looks like we're getting set up for that again. But, on the whole "Learning to Crawl" is more enthralling at the moment than Amazing Spider-Man proper.

"Learning to Crawl" is an interesting case. Considering the sliding timeline of Marvel's heroes with regards to their continuity, it makes sense that we would eventually see a teenage Peter Parker in the Internet age, but the retroactive inclusion of "Clash" is a little bit heavy-handed.

Slott's dialogue is not at the level is usually is as he tries to balance the large cast, but the book does deliver some big moments (can you say Leopardon?) that keep it fairly entertaining.

We're ready for a big finale but issues like this feel more like they're biding time for the big round number rather than revving up the story in wholly meaningful ways.

The high concept in Nick Spencer's Spider-Man is so far a solid one - splitting Power and Responsibility and pitting them against each other works from a structural standpoint. But four issues in, Spencer's narrative has lost steam.

This one very much feels like a middle chapter in a story, and that's okay.

"Hunted" feels like it's losing momentum, and that's not quite a problem yet, but it's getting there.

Amazing Spider-Man: Renew Your Vows could have been campy fan service, but it avoids that with an almost-twist ending. That sets the stage for what's to come in a big way. Dan Slott and Adam Kubert took a good approach to this one and executed very well. Minor hiccups abound, but they're not enough to take you out of the story or affect the readability of the issue. While it's hard to gauge how important these miniseries are to the main narrative, some of them have undeniably been fun, and Renew Your Vows is no different.

The concept is strong, the Secret Wars tie-in is enough to pique interest but not overwhelm the book, and the return to this family dynamic for Peter and MJ is really refreshing. Slott lets us all take a breath here while also giving Annie May Parker a chance to show us what she's made of. The art team's work as whole may not be the best that it's been but they have an issue to pick up the slack. Overall, this is a well-balanced issue that readers who have been sticking with the series will enjoy.

Amazing X-Men #2 is by no means a bad comic. It's really fun, with lots of action. But the lack of real stakes and worthwhile characterization - not to mention the absence of the main attraction - make this issue something less than the debut. This issue will read so much better in trade when you can immediately get to the next issue. If the point in slowing this story down was to get five issues of McGuinness' art, then I'm all for it. Ultimately it succeeds in making me want to read Issue #3 and one some level, that might be all that matters.

America weathered a couple lackluster issues, but comes roaring back to life here. Rivera tones down some of the trademark quirkiness in her writing, trading sass and one-liners for some genuine emotional stakes - and she's finally got a vice grip on who America is

Gabby Rivera's narrative to this point has settled in and centered itself around themes of family and friendship, allowing Rivera to really play to her strengths as a writer. There's a still a healthy dose of Marvel Universe weirdness on display (Arcade, the Mindless ones and a bevy of supervillains), but by drilling down to the interpersonal conflicts between America, Madrimar, Kate and Magdalena, Rivera is able to tap into the heart of her book.

Apocalypse Al is the kind of book that wouldn't be out of place on any primetime network if it was a TV show. The question is, is it better than the offerings that are already on the shelf in this crowded genre? JMS' vague "Book of Keys" that serves as the center of conflict might not be enough for seasoned veterans even though the writer does bring in a supernatural heavy hitter in the finals pages. The miniseries is only four issues so it might be worth taking a chance on. IT's solid and unassuming. It achieves exactly the goals that it sets out to. But don't be surprised if you get burned by another fire and brimstone narrative in a world chock full of them.

"Getting the team together" issues can be a little hit or miss sometimes, and while Avengers #12 is light on action, Jason Aaron does a good job balancing a huge cast and helping readers understand why this motley crew of heroes can be useful to the Avengers.

Aaron and McGuinness definitely deliver some really enjoyable moments across the issue and Aaron's foreboding Silver Surfer is always a good turn for the character. But your mileage may vary on this issue if you aren't all-in on this Starbrand story that's been brewing. There's just not much else there.

The writing is a bit saccharine and the conclusion is fueled by a pretty big deus ex machina, but Dennis Hopeless and Tigh Walker send Avengers Undercover off in style.

The plotting may ultimately betray the characters and concept in this issue, but on the whole, it's not a bad effort. good writers can make bad decisions and hopefully, this is just a case of the team hitting an early bump in the road. (We are only three issues into their run, after all.) And for it's narrative flaws, Barbara Gordon is still a very strong character. I'm hoping that she'll start to come up against some bigger villains or at least more inventive ones (a la last issue's motorcycle ninjas). Despite this issue's flaws, Babs Tarr should be the real draw for most readers. She's continuing to make this book a great read for new and old fans alike.

There's a lot to like in this script. It's an origin story for Gotham and Gotham Girl but even more so it reminds readers why Batman is an inspiration to be a better version of themselves.

Regardless of how you feel about the Batman/Catwoman engagement, it's clear that Tom King has found some space to explore family dynamics in the Bat-titles that we haven't seen before.

While Tom King's Batman run has a larger game plan in mind, certain installments like this issue can feel a bit slight.

Bravo to Mikel Janin and Jorge Fornes for delivering a real page turner. This is probably the best that Janin's work has ever looked and even the transition from him to fornes' more David Mazzuchelli-inspired lines and inks works well for the book.

Batman #82 is a decently crafted comic, but not one that speaks as directly to the approach of its writer's past work.

From a technical standpoint, this is a well-told piece of comics. But it's hardly doing anything new. It's hardly doing anything exciting. Tynion delivers on a couple of solid emotional beats. Daniel gives us a couple of nice splashes. But this high floor, low ceiling storytelling - it's too safe to really be revelatory.

If DC was concerned that they had moved Batman too far away from his roots during Tom King's run, then a run like this one is necessary to ground the character in something familiar for fans who may have fallen off. I think that Tynion is too smart of a writer for this to be the story that he wants to tell with Batman, but it is definitely the one that will make his bosses and fans happy.

In a lot of ways, the beginning of 'The Joker War' feels like the beginning of the Tynion's first arc " it checks all the boxes for what you might be looking for in a Batman story. But the big difference here is that this already feels like the story that the writer really wants to tell rather than the necessary set-up for that story. Jimenez is a strong artistic collaborator for Tynion and should complement his work even more moving forward as they learn each other's quirks. Tynion is clearly interested in telling a really memorable story here, as the nods to Batman and Joker's history feel especially deliberate. While the title feels like one they just had lying around the DC offices, Tynion has proven himself to have some tricks up his sleeves in the past and he's laid out a compelling enough pledge here for fans to come back for more.

I like what Tynion does with Bruce here because I think it reminds us of Batman's roots without beating us over the head with the same old tragic backstory. Batman has evolved since Crime Alley and more writers should be reminding us of that. Jimenez and Morey turn in a stunning bit of work in this issue and as we build to a hopefully big finale, it's going to be exciting to see how they push themselves further. So the Batman is back but 'The Joker War' still feels like it's missing something. I think a lack of the titular villain makes this something that will read slightly better in trade, but this is still a solid effort.

The fight promised at the end of #1 is here in full force, and thanks to artist Dave Marquez it looks incredible.

James Tynion, Ryan Ferrier and Freddie Williams turn in a really solid issue with Batman/Teenage Mutant Ninja Turtles II #3.

This is a solid fight comic through and through. The "boss battle" is coming up, and it looks like it'll be a doozy.

I hope Patrick Gleason always draws Batman books. If there was ever a worthy successor to Greg Capullo on the mina book, Gleason is it.