Rob McMonigal Comic Reviews

So having gotten my attention, was the comic worth my time? Definitely. I was extremely pleased with the quality of the stories in this first issue, each of which gave just enough information to intrigue the reader about the premise and leave me wanting to see what happens next to these characters. The themes are not original, but Dave Elliott and W. H. Rauf do a good job of putting their personal spin on the ideas, especially in the areas of dialogue and characterization. Having read comics for more than 30 years now, I don't require original ideas so much as a good take on solid themes. A1 #1 provides that in spades and is recommended for anyone looking to try a new series.

The comic has a smooth, rounded feel, which conflicts a bit with the sharp nature of the plot, but overall, it's another good one-shot.

This issue is brilliant, challenging the reader to decipher Finn and Jake's dialogue. Shelli Paroline and Braden Lamb allow the word balloons to dominate and then come in at just the right moments with crowd scenes and details you can lose yourself into. Combined with a backup by Jeremy Sorese, this is a good trial issue for anyone looking to try Adventure Time.

Alabaster Wolves, with its mysterious story, variety of horrors, and an extremely clever integration of a latter-day Johnny Cash song, is everything that a mini-series should be. It gets stronger with every issue and leaves me on pins and needles waiting for the next issue. This is a haunting comic book that should be on your pull list this week.

Alabaster: Wolves is such a fine horror comic that gets everything right, from story to art to just the right amount of acidic wit. There's a potential for a letdown as everything must be resolved by next month, but I have confidence that Kiernan, Lieber, and Rosenberg can pull it off, based on the excellence we've seen so far.

Dancy ends by saying, "you just gotta wait and see what's next." I sincerely hope that it's another mini-series from Kiernan, Lieber and Rosenberg, because this one might be the best I've read in years. Anyone who is a fan of great comics where the story and art work in perfect harmony owe it to themselves to pick up Alabaster: Wolves , even if they aren't a horror fan per se. This is a story that surpasses genre, as all great stories do.

Alex gets an android to live with from his horny grandmother in a tech-saturated future that needs an infusion of something interesting quickly to be good.

If you like speed lines, has Marvel got a comic for you! Tradd Moore, in an otherwise visually appealing comic if you are a fan of OEL Manga, overdoes the impressions of motion, which hurts this otherwise innovative debut of a new take on a classic character.

Jim Hammond may be the original Human Torch, but it's the reader who's burned in a story with far too many problems.

Overall, your enjoyment of this one is going to depend strongly on your feelings about Peter David.

Combined with solid art from Moritat and Staz Johnson, this is still one of my favorite New 52 books.

Moritat and Staz Johnson did a great job with the art, but overall this was the weakest issue of this series so far, despite some great dialogue.

Hex's adventures with another member of the Arkham family begin in a story that does a great job with the premise of a man out of time. Co-writers Jimmy Palmiotti and Justin Gray play up Hex's mindset that challenges every paradigm of modern Gotham, knowing just when to let Arkham in on the truth to set up the next part of the story arc.

This one might get overlooked because of its steampunk-related sitting, but Amala's Blade should be in the pull list for adventure comic fans.

This mini-series slows a bit but still packs a punch. The pace of the story wasn't quite as frantic this time and I thought the actions scenes by Michael Dialynas lost some of their clarity and vibrancy as well, with too many darkened colors and characters placed too close together, unnecessarily obscuring the violence. The overall plot, however, moves forward nicely.

Writer Jeff Parker gives readers an old-fashioned fight while keeping the dialogue fresh, including bringing up the latent distrust between Aquaman and the rest of the Justice League.

Stepping back a bit from the multiple intrigues of the Geoff Johns run, Parker unleashes Aquaman's powers on a behemoth with murder on its limited mind. He does a great job showing what Arthur Curry is capable of, but also manages to get in some character moments and sets up subplots to pursue later.

Sean Chen's layouts are good, with an extremely thin pencil style that gives the characters a realistic took. He tries to keep the tension up, but can't save terrible dialogue and plotting of Jurgens that sinks the book.

With few jokes or satire, this one's just another grim and gritty book, albeit a well-written one.

Perez is able to match Van Lente's style perfectly, emphasizing the jokes of one of the best comics out there.

This gives the arc needed weight, making it more than just a romp where Perez gets to draw an army of "greys" ready to die for an American General or Armstrong launched from a catapult at a fleet of flying saucers. Knowing just how to place his characters to either heighten the drama or ramp up the comedy, Perez fits the bill for this highly recommended comic.

This is a comic in perfect harmony, and is a must-read this week.

It's fun to see the One Percent and the Sisters of Perpetual Darkness back, and new artist Khari Evans picks up where Pere Perez left off. He gives even the sternest characters rubber faces to match Van Lente's dialogue, starting with Akhenaten and rolling right up to the climax. His linework keeps the art style consistent as this new arc of my favorite Valiant series kicks off.

There's plenty of quips-and potentially a few clues-as Van Lente carefully steers Armstrong back to Archer, who is doing his best Frank Castle impression in a clever send-up. Evans' art keeps up with the romp nicely, using facial emotions and visual gags to keep the reader smiling right up to the inevitable reunion of the title characters of this great series.

I applaud Archie Comics for examining difficult topics, but this one falls flat as Tania Delrio can't decide between outdated gender jokes and serious commentary on the male bias in American society, leaving the comic to fall on its own sword by attempting to balance on the edge.

Tim Seeley absolutely nails Ash's character, shooting out witticisms almost as fast as bullets, which is a great contrast to the overly serious Cassie Hack. He does lose a few points for the requisite fight and origin exposition, which are crossover tropes by this point. Daniel Leister's characters explode off the page, coming at the reader from odd angles in medium to close-range shots that allow him to provide extensive character details (like Ash's perpetually smiling face)

Wheeler's artistic style is a bit grainy and thick, which makes even the most serious demon look comical. It's a great parody comic that fans of The Tick are sure to love.

Real Science Adventures #1 is a fun anthology with a few minor flaws that captures the feel of the pulp magazines its cover evokes. I recommend it to longtime fans and those who like their comics smart and irreverent. Neither will be disappointed.

The dialogue sings, as you'd expect from Superior Foes' Spencer, with snarky Bruce Banner and the Trek debates being a highlight. Stefano Caselli has to draw just about every active Avenger and manages it well, keeping the Avengers and the reader off-balance with a lot of panels drawn from an angle.

After the rapid-fire events that set the premise for this one, it's disappointing to see the focus placed on one story here, dulling the scope. The character work for Smasher is well done by writers Jonathan Hickman and Nick Spencer, but slows down the narrative.

I'm a big fan of the creators involved, and seeing the Ba/Moon team adjust their style to fit Mignola's world, doing even more with shadow than usual, is intriguing, but this needs to move faster in issue two.

Mike Mignola's dialogue is heavy on exposition from start to finish, wasting the talents of co-writers/artists Gabriel Ba and Fabio Moon, who are relegated to drawing backgrounds, character reaction shots, and a lot of trying to make two people talking interesting.

This issue is freed from writer Mike Mignola's info dumping prison, allowing co-writers/artists Gabriel Ba and Fabio Moon to show off why they are such highly regarded artists.

While Ryan Stegman does an awesome job with creating a Magnola-like setting and monsters that will terrify you in their abhorrent nature, he continues to draw his human figures with little to no expressions on their faces a majority of the time, which robs the art of a lot of its power. This is shaping up to be a good Baltimore story, but there's just not enough to hook a new reader. It's hard to recommend this one unless you are already a fan of the character.

This battle's been brewing for a while, and it's good to see it start here.

It's a wrap for Barbara - and writer Gail Simone - as the fight against Knightfall reaches a quick conclusion. Simone has to take shortcuts to get to everything she'd like before the new status quo, and she does her best here, even if certain things (like the fate of her brother) feel thrown in.

Despite seven line artists and a coloring studio taking art chores, this one flows well, with only Diana's face and body shape suffering a bit in the otherwise steady layouts.

The first Batman Black and White is still one of my favorite Batman limited series. So far, this new edition is setting itself up to be just as good if not better, and is a must-read for any Batman fan, making it my book of the week.

Overall, this series continues to be a treat for long-time Batman fans, giving all sorts of creators a chance to put their spin on one of the best known superheroes in the world. With strong stories and some really amazing art, this one is highly recommended.

The Bat Family continues to be stretched thin across the world in an issue that does nothing to address the series' weaknesses. Because of the need to address the many irons in the fire, scripter Tim Seeley has to over-explain, which means his usual strong dialogue is buried under lines like "Liquid nitrogen canister from the basement where they held those owl zombies."

The new Ventriloquist offers hope in a world of villainy, but it's those who trust her who are dummies in this story that was the best of the villain books this week

The plot moves quickly, aided by Parent's fast visual pacing with expressive faces, body language and clever quips in a story that should end just in time for Halloween.

This is worth picking up, even if you're not a normal reader of The Bionic Man.

I'm still intrigued enough to continue but this series definitely hit a sophomore slump in Issue #2.

The enemy of my enemy is still my enemy, as this mini-series picks up steam again. All the problems that plagued Issue #2 are gone, replaced by a fast-moving, action based plot that used both the main characters and villain quite well.

Dialogue and art combine for a great reading experience, building up to what should be an explosive conclusion.

This one didn't stick the landing, but otherwise was an enjoyable comic for five issues.

This remains an underrated book, but I hope it breaks new ground moving forward.

Their fight scenes are stellar again, but overall, this issue is a misstep that a lower-tier series like this can't afford.

The five artists who work on this issue do their best to keep things together, with dynamic layouts that keep the reader's eye moving across the page, but they can't save a bad story - or keep me reading.

Don't let the use of animal characters fool you " Blacksad A Silent Hell is one of the best noir comics you'll read all year, worthy of being placed on your shelf next to Fatale and other crime comic favorites.

The art this time is a lot less processed and better used, highlighting violence or things that aren't real. You can see the details of Manuel Garcia and Arturo Lozzi's lines more clearly now, and they show a great sense of realism and emotion in all areas, finally showing the potential of this enjoyable action-adventure.

Despite two pencillers (Manuel Garcia and Arturo Lozzi), the art has a crisp and consistent feel to it thanks to inker Matt Ryan.

Right now the only thing that stands out about Bloodstrike is artwork that rises above the pedestrian storyline we receive in this soft reboot of the character. It's hard to judge based on just one issue, but I left this one feeling like the action scenes were tripping over the characterization, leaving no clear path for either element to shine. Unless you really need another nigh-indestructible, cynical superhero comic in your life, you can live without Bloodstrike.

The mind-game aspects of Bloodstrike keep me checking in on this one.

Bloodstrike has come into its own after a rough start.

Francesco Gaston keeps the many threads of the story connected with multiple camera angles and shows just how pathetic the Bloodstrike team is against a Superman-level opponent (Suprema's face shows her disdain especially well), which makes the ending of this sleeper book all that more dramatic.

This level of craft isn't easy to pull off, but the mystery is compelling and recommended.

There's not enough room to cover all of the stories in Boo!, but there's definitely not a dud in the bunch, if you are the type of person who appreciates classic, old-school horror, layered with a dose of internet snarking here and there. You're not going to be terrified, like when you read Colder, but you will be entertained by this Halloween treat that goes perfect with leftover, on-sale candy, as a reminder that the best holiday of the year is only 360-some days away.

A rough start that doesn't look good for the future.

Fernando Dagnino keeps the script moving with rich and vivid characters who look like they could step off the page. Dagnino's eyes really hammer home emotions, even if the overall issue left me a bit lukewarm.

Andy Diggle/Ben Templesmith do a great job tweaking the morality police, I liked Chris Roberson/Roger Langridge's one-page argument over the nature of freedom, and David Hine/Doug Braithwhite's hope for the future are the highlights of the anthology for me. Overall, though, this is one you get for the cause, not the comics.

The script is tight (if vague) and as the issue closes I'm still a bit lost, but there's enough in this set-up issue to bring me back for more.

Conan the Barbarian #4 still has flaws, but it definitely worth a second look with this new arc, despite the art issues.

Conan the Barbarian #5 is filled with violence, the cruelty and greed of civilized man, and a figure who rises above the baseness of his world. This is Howard's vision on the page and Conan fans should ask for nothing less.

Layered in both story and art, Conan the Barbarian #6 is everything you could ask from a comic featuring Robert E. Howard's signature character. There's action, violence, and even romance in the pulp tradition, but, like Howard's original, so much more than that to offer the reader. This is a must-read comic right now, and looks like it it's only going to keep getting better.

While Cloonan's layouts are impressive and her figures expressive, I don't think she's the right fit for a series that is often brutal in tone, given her polished look. The idea of an impersonator is cool enough to carry me, but those looking for more like Issues #4-6 will be disappointed.

"I realize that there is a trend in comics right now to modernize classic characters and give them more depth, but Wood takes it too far here. Making characters flawed is one thing, but between Belit's inability to cope off-ship and Conan's bullying past that makes him hard to like going forward, I don't see why a reader would care enough to pick up issue #10.

Combined with villains returning before the series is even a year old, I left this one bored and wishing for the promise of Lemire-written issues.

The NuJustice League Dark team travels to Heaven but the story is stuck in limbo as this Forever Evil crossover feels very much like filler.

Uncle Creepy gets romantic with a spectacular theme issue. From Gilbert Hernandez using his own artistic quirks to create a shock ending to a teen romance that takes a turn worthy of the 1970s magazines, this is solid work all around with varied art styles that fit each entry well.

Every story except the reprint (another lukewarm Archie Goodwin story) is strong, and Peter Bagge once again gives a lighthearted touch to another really solid issue.

Mark Waid's script is a bit thinner than usual, as he has Daredevil reflect on the past while preparing to find out who is out to destroy his life this time.

The basic mission of Dark Horse Presents, at least in this first issue, appears to be the same as Volume 2-give creators a place to do one-shots with established characters to gauge interest and generate material to put out as one-shots. While it might have been nice to see Dark Horse have this new iteration push the envelope by inviting creators new to weekly comics or feature only one or two established characters, this is a series that does what it sets out to do arguably better than any other comics anthology except 2000 AD, and it will always be a welcome sight on the comics shelf, regardless of its format.

Those who like horror stories should check this out, even if you aren't already a fan of the properties.

Sea World really is evil, as the newest special issue featuring Deadpool shows in a fun story with a few kinks.

Writer/artist Stjepan Sejic shows his extensive time working with Ron Marz, with this series having a similar feel to Witchblade. The issue balances action with needed information, helped by having a great battle sequence, some good character moments between Sam (now known as Digger), Bernadette (aka the Reaper), and a smart-mouthed raven.

Only the vivid (and gory) painted art by Earl Norem livens up the comic, but not enough to make this one worth picking up.

Simon Fraser's not the strongest at capturing likenesses of the actors due to faces that seem soft and blurred, but the pacing and panel constructions really drive the action. This has the potential to be a highlight of Doctor Who's 50th anniversary year.

It's fun to see the Tiptons use a great incarnation of the Doctor to his fullest, managing to capture his arrogance, action, and guile all within a one-part story.

The plot is in keeping with the television series, but references aside, this didn't feel like it had to be a Fourth Doctor story.

nfortunately, the cartoonish art of Philip Bond doesn't work for the story. His Sontarans are cute and cuddly and the main characters shift like play dough in their features/size. Still, this comic tribute to Doctor Who is at the top of my to-read pile.

Writers Scott and David Tipton give us a very distinctive Doctor, exceedingly arrogant and angry, sniping at his human companion and destroying the monitor from which the Master mocks him. Unfortunately, the Master quickly gets lost and we have another artist whose work is lacking.

This was a solid issue all around, continuing the 50th anniversary celebration for Doctor Who.

His Overseers look like Marvel's Impossible Man dressed as pimps (complete with capes and canes) and the characters move about in frantic action as writers Scott and David Tipton keep the script moving in a story that's typical Doctor Who, putting him in just the right place to right a wrong, even as his companions continue to slip away in this series celebrating the 50th anniversary of the show.

David and Scott Tipton capture the feel of this incarnation of The Doctor. His aggression and destructive nature flare across the page. The choice of identity for the villain stealing the Doctor's companions is perfect but also extremely obscure, showing the Tipton's deep knowledge of Doctor Who.

Things never go well for the Doctor when he makes it to Hollywood as he finds aliens trying to upstage humanity in a story that doesn't quite capture the magic of David Tennant.

As with the best issues here, they dip into the rich history of the show and Smith easily changes eras as the Doctor seeks his prey. With Smith's stark, angular line work and extensive use of shadow giving the story heft, menace, and spot-on depictions, this might be the best issue yet.

Scott and David Tipton give every incarnation a moment to shine, with dialogue/action that perfectly nail their characters and even throw a few good companion moments in to boot. Kelly Yates gets the unenviable task of drawing this issue, and she meets the challenge head on.

Full of great twists and fake-outs, this is a solid comic that's worth your time.

Byrne isn't able to display his art talents quite as much this issue, but he makes up for it with great facial expressions and a respectful approach to his depiction of the aboriginal tribe they encounter. There's hope for a future, even in devastation, and I hope for more from Byrne.

Tom Taylor writes a story that would fit better on the Crime Syndicate's Earth, trying hard to shock readers by changing the entire nature of Batman's family history. Unfortunately, instead of being gripping, it reads like something Mad Magazine might conjure up if they wanted to mix Batman with Boogie Nights.

This series shows what New 52 could have been, had DC decided to be bold start everything from scratch. Writer James Robinson has been free to re-imagine anything he likes, similar to the work Brian Michael Bendis did in Ultimate Spider-Man, and his interpretation of the Lantern mythos is incredibly cool.

This take, while definitely not safe for work, is one of the best I've seen, ramping up the decay until everything quite literally collapses on itself. Horror fans need to add this one to their collection.

With some remarkable character changes, this What-If will leave you wanting to see more of Gwen's world.

A star-studded list of creators bring more science fiction horror to the shelf in this issue of Eerie that's even better than the first.

The Warrior's daughter might be unhinged, but her father is crazy, and seeing how Pak resolves this is going to be fun.

The interest on Cody's debt to a crime lord just increased to a killer rate as this noir series from writer Duane Swierczynski advances in complications but still trips over an unlikeable protagonist.

This could be something, but currently it's not enough to break from the pack.

I left Fatale 4 just as confused as I entered it, but that's a good thing in a crime story. Any fan of that genre needs to be reading this book now, while it's easy to catch up.

While it would be difficult to replicate Michael Turner's art, Alex Konat echoes the slick lines of the comic's creator, though his style is more rounded and smooth than Turner. He changes the angle of panels well, but a lot of the shots are from the same perspective. I thought he matched Wohl's script, though there's room for him to experiment more. Overall, Fathom was a pleasant surprise find for me this week.

As Fraction meta-comments in the story, FF isn't going to be a title for everyone. But if you enjoy quirky comic books, this is one of the best I've encountered. It drives the story by being strange rather than doing it for strangeness's sake. This book gets my highest possible recommendation, with this issue being a good jumping-on point.

Flash is worth reading for the art, but needs to find a strong story fast.

Co-artists Scott Hepburn and Andre Coelho do a great job with visualizing the large cast, but their action is a bit stiff, with panel choices that don't create a lot of tension. Still, this is one of the best things to come out of Forever Evil so far.

Skewing down to the all-ages set, Mike DeCarlo gives too much of a Warner Brothers-inspired exaggerated look to Garfield while Evanier pens a heartwarming message about being open to friendship that feels forced, given that Garfield is the one delivering it. This is a rare miss from Evanier and company.

Transformations abound as Garfield moves into the realm of magic and science in the twelfth issue of the series that's settling in for a few good gags and a few inside jokes.

Hirsch's Garfield-with-glasses is full of dry wit while Meynet's flat thin lines look more like modern animation, combining for a solid visual comic.

Any good story can use breathing space, and that's the case in this issue of Glory, which probably could have been half of a more tightly plotted storyline. I'm willing to give it a pass here, but the next chapter needs to feature more meat to it and less visual trickery in order to keep me interested in the future of these characters as the series goes on.

Though there was a lot going on in Glory #26, there are still many unanswered questions, impossible situations to overcome and great battles to be fought. As long as Keatinge and Campbell turn in work this good, I'm in with this book for the long haul. You should be, too.

Even in a weak moment, Glory is still worth reading.

Licensed comics are a tricky thing to get right, as not all properties make the transition from screen to comic very well. Godzilla by nature has a heavy emphasis on its visual elements, making it a good candidate for the move to the printed page, as long as the right writer is found who can craft a story that blends the two genres together. Swierczynski does that very well here with the aid of Gane. It's early yet, but so farGodzilla #1 is a great comic that monster movie fans will love.

It's that combination of attention to detail and faithfulness to the nature of the original Godzilla films that makes this new Godzilla comic such a pleasure. It's 22 pages of rampaging creatures and desperate humans, and I wouldn't have it any other way.

Godzilla is a must-read for the giant monster fan and lovers of action.

The little things that Gane brings to the table, from including broken glass in Claire's hair to debris littering the ruins of a mini-mall, work together with the higher concept ideas, like an homage to the (in)famous Godzilla flying through the air shot that we saw in so many movies. He's simply an incredible talent and is perfect for this book. Godzilla is in great shape under the care of Swierczynski, Gane, and colorist Pattison"even if the world they've created looks like it's still got a lot of punishment yet to take.

A two-page spread of Mothra steals the stage (with an awesome coloring job by Rhonda Pattison) as Swierczynski sets up for even more devastating action next issue.

Godzilla captures the feel of the movies within a comic and a is a real treat for fans.

James Stokoe pulls out all the stops for this one, returning to the idea of Godzilla as destructive savior of the earth. I love the way that we've built to this moment, where Murakami finally has enough power to be on the monsters' level.

We do get a few interesting bits, such as making reference to the prior series and hinting at the reason for the recent attacks, but overall, this one isn't clicking for me.

Unlike other Godzilla series, this one doesn't have any people the reader can attach themselves to and care about. The soldier is just too generic to fill the role, and the dialogue here is just about as stock as the characters.

Rodan takes on another of new creature while the research team discovers some countries have secrets they'd rather not reveal in this issue that's easy the best of the series so far.

Bullying is a huge issue for teens, and writer Troy Brownfield doesn't shy away from its darkest edges. He tweaks the story of Frost a bit, but I really like the idea that only exposure will stop bullying.

Scares and shocks are paced well by the writers and the gore is slasher-movie appropriate but misses an edge that could really take this book to the next level. What makes this recommended, however, is the twist story within the stories that I did not see coming, making for quite a treat for the reader looking for comic horror for Halloween.

This is a sleeper hit for me that horror fans should look into.

Angled panels don't evoke the horror needed here, but the plot's too good to pass up in this sleeper comic for horror fans.

This has been a great horror ride that genre fans should be reading.

It's mail-order madness as a man driven by the loss of his son uses a series of intrigues to find Cassie Hack through those closest to her, in an excellent fill-in issue. Writer James Lowder puts together a complex plot that uses creator Tim Seeley's cast well and lovingly pays tribute to the crazy catalogs you might find in an old comic book.

In the end, Cassie and her allies will fall, whether to the law or to the monsters they face. It's a sobering reality in this splatterhouse comic that's deeper than it appears on the surface and is definitely recommended.

It's hard to catch a story in the middle, but horror fans should give Hack/Slash a look.

Alex Medelin shows great timing in his panel construction, both in generating horror and setting up the jokes in the script. He's able to switch from killing teens to a sight gag all within the same page. This sharper outing is just what Hoax Hunters needed to make it stand out from other similar comics.

Hoax Hunters is a book horror fans need to be reading.

This is becoming an amazing comic that's a must-read for horror fans who like to have their thinking challenged.

This is a great series that keeps knocking it out of the park monthly.

This jam comic reminds me of the days when Marvel and DC would put quirky back-up stories in their annuals, and will be a treat for fans of the ongoing series.

Hulk Smash Avengers #4 is mostly about seeing superheroes fighting without any baggage. As such, it succeeds admirably, but those looking for depth won't find it here.

This isn't a great start for a Marvel icon who deserves better.

Heavy on visual gags and physical comedy, this is about as unlikely a book as you'll find in a comic shop. Recommended for any fan of fun who knows enough about Hellboy to get the jokes.

Doc Savage might have to team up with... Doc Savage in order to fix a broken timestream, as he goes back in time to the world of the Shadow and others in the start of a pulp hero crossover that gets caught up in its own references.

If you passed on Justice League Dark initially, give it another chance. Lemire and company have it solidly on track to be one of DC's best books going forward. It's a great time to jump on and enjoy the darker side of the new DC Universe.

Writer Jeff Lemire gives each group of this large cast something to do that feels like it matters, which is a first. Even in small doses, Lemire has a good handle on the characterization of everyone from Constantine to Wonder Woman.

This is how to do a crossover issue right.

Writer J.M. DeMatteis deftly keeps the team as dysfunctional as possible, highlighting the problem of a group of magic users with their own agenda. With yet another of their own turning against them, this has the feel of Peter Gillis' New Defenders run where the team began to implode.

Working as he typically does to put the spotlight on the lesser-known characters on a team, DeMatteis gives Deadman a nice heroic quandary that resolves without padding and redeems the character from some of the New 52 tarnish. The dysfunction of the Dark team, however, is wearing a bit thin.

Steve Trevor's League lurches into action against the New 52 version of the Secret Society of Super-villains but this series can't get any momentum even with writer Geoff Johns working his magic on the characters.

With great artwork from Cliff Richards, her fate in this series plays out according to a tattooed woman, but makes almost no sense whatsoever. Ann Nocenti seems bent on making her parts of the New 52 as strange as possible, which makes this hard to follow.

The art was a lot better this time, with inker Rich Koslowski laying down thinner lines that don't call as much attention to themselves while Parent's layouts and reaction shots maximize the comedic potential of this enjoyable current events story.

I don't care for the tone of the regular Conan series and was happy to see veteran writer Timothy Truman return to a more visceral take on the material.

A lot of the creepiness and danger of this installment is due to Giorello's visceral lines, whether it's a rotting skeleton or a man's eye bashed out. So far, this series is everything I want out of a Conan comic.

Writer Tim Truman adds narration that hits just the right note for a pulp story, mixing his own lines with Robert E. Howard's for a note-perfect comic.

Truman's prose flows freely around the art, enhancing the visuals and capturing the pulp age feel perfectly. His characters speak like they are Howard's but with a modern bent as this mini keeps going strong.

Laming's Phantom sections are the best, from his Batman-like first appearance to the subtle mark of the Phantom's sigil on a tribal guard's face. Parker takes full advantage, writing lines that tie directly into the visuals while also keeping his usual banter fresh and meaningful as the pair leave the reader on a cliffhanger that looks bad for the good guys.

Marc Laming and Jordan Boyd combine to keep this one of the best-looking books from Dynamite, with amazing scenes like making the Phantom's name into a literal interpretation or the splash page of the invading forces, which mix sci-fi and fantasy together along with multiple colors for a great ending image.

Co-writers Keith Giffen and J.M. Dematteis continue to entertain me in their latest pairing. Their fans will catch the familiar formula quickly, with Larfleeze's butler serving as the straight man this time while the Orange Lantern does his best latter-day Daffy Duck impression.

Larfleeze continues to get himself in more trouble while becoming the ultimate hoarder, with his butler as a hapless pawn trying to stay alive and intact. Developing Giffen's outlines, Scott Kollins has a Kirby-feel mixed with silliness, as Krackle and costumes contrast against farcical reaction shots. This is a must-read for fans of fun comics.

This one is still a must-read for those who like their funnybooks funny.

A twin billing of twisted tales that would have been at home in a Warren Publication make this a book worth looking for if you're fan of old Creepy magazines.

Elements evoking the Karloff movie, such as fades to black or movie-set dungeons, mix with societal clashes right out of Fitzgerald as this period horror piece continues to breathe new life into Shelley's story.

This one feels built only for fans of the character.

Doyle's swirling, Paul Pope-like lines curl the reader around this dystopia. Her Mara is full of life despite the constraints placed on her while Jordie Bellaire uses vibrant shades to emphasis Doyle's linework. The promise of more world-building by Doyle makes this worth reading, at least for now.

The Real Ghostbusters face an interstellar issue, taking on a set of undead invaders in this one shot that has a great idea lost in the execution. Writer Erik Burnham takes too long to get everything in place, leaving little room for the crossover to play out. Instead of a climax, the big fight seems like it's just another day for the boys.

This is an awesome take on a crossover and is highly recommended.

Masks has a story to tell, but right now, it's still an imperfect one.

This series has been interesting but flawed and looks to finish that way.

The art is big and bold here and less clouded than in past issues, wrapping up an enjoyable storyline nicely.

This issue of Mind the Gap is certainly not a jumping on point for new readers. It does show, however, that McCann has a plan for where this series is going and knows just how to write a thriller comic that's satisfying and doesn't leave the reader wondering why they'd set out on the journey in the first place. Despite some artistic issues and a bit of information overload, this is a series worth catching up on and sticking with into the second part of the story.

As with the other Mister X work I've read, Motter's visuals alone make this worth reading. His world is dark and sinister, yet features wildly vibrant coloring, like watching a 1950s vision of the future through a cracked mirror. This is a great comic for fans of Brubaker's noir work.

This is a great one-shot for crime comic fans.

Frankenstein's Monster mopes and murders in a meandering, dull first issue that feels incredibly padded and unnecessarily morose.

Gibson's detailed art keeps the world-building and emotional figures going strong, mixed between text narrations in this highly recommended digital horror comic.

Despite some rough edges, this should be Marvel's next breakout hit.

In this era where some arcs bloat over five or six issues without doing much, Paul Grist's work is a breath of fresh air, showing that a comic can do a lot in just 28 pages. While the art isn't perfect, Mudman continues to show that sometimes the old ways of storytelling are still the best.

Mudman #4 is probably my least favorite of the issues so far and shows that it can be difficult to do an homage to a particular era of comics without falling into some of its tropes. There are some things in this issue that could be problematic if they continue but I still feel like this is a solid series for those who find today's heroes just a bit too morally relative and violent. Mudman could sink under its own weight, but right now, it's still recommended reading for the right audience.

With so many comics on the shelves and in digital libraries these days, it can be hard for series that don't have a big name or character attached to thrive. Night of 1000 Wolves is a hidden gem that shines with spectacular visuals and a story that is both timeless and modern, and I strongly urge you to check it out.

Ending on a promise of future horrors to come for Harrick through no fault of his own instead of a bloody reckoning for past sins is just a bit too strong of an ironic streak in this story by writer/co-creator Bobby Curnow. Still, this is visceral and visual treat that horror fans should enjoy.

A bunch of Marvel characters who should know better are being led by the nose in an uninspired issue with recycled ideas that could have been covered in about three pages.

The problem with this lies in the art of Pow Podrix, who draws very well but often places the female characters in exploitative poses. His style reminds me quite a bit of Gary Frank, and it features dynamic action that drives the story. However, the cheesecake factor is so high that it does detract from the overall comic. If you can deal with the art choices, Pantha #1 is a fun pulpy adventure ride that looks like it's off to a good start.

As a pure pulp comic, Pantha delivers.

Schulz's work is deceptively hard to recreate, but this issue does it well and was fun to read.

Once again, we have the usual original Sunday reprints by Schulz and the two art teams of Stephanie Gladden/Justin Thompson and Vicki Scott/Paige Braddock make these the characters we know and love in a series that is always reliable but rarely innovative.

This issue tries too hard, and ends up being the weaker for it.

No stranger to crossovers, writer J.M. DeMatteis deftly uses the Forever Evil storyline to continue his overall theme of the Phantom Stranger's struggle for free will and the place of evil in the world, as he potentially defies God by working to save Zatanna and the others.

Writer/artist Ken Garing places the comic squarely in shades of brown and gray, giving a sense of desolation that fits this barren world of trapped refugees. His backgrounds are standard sci-fi fare, but there is an impressive level of detail, as you can see every gear on the ruined machines. The action scene is well done, and Garing makes some interesting panel choices. Planetoid is going to have to work hard to get an audience but is worth a look if you like space comics and different takes on the idea.

I worry a little that there's not a huge audience for Popeye #1, but I intend to enjoy it as long as the run lasts. Anyone who is a fan of the spinach-eating sailor needs to get on board now.

The second story also harkens to a trope best left behind. This time it's the badgering wife and her poor husband, who just wants to rest. The pair, Sappo and Myrtle, have Professor O.G. Wotasnozzle for a boarder, and soon, he's devising ways for the couple to either keep away or get at each other. Tom Neely shines at making innovating inventions and merging Popeye's visual style with just a hint of Robert Crumb, which was pretty cool to see in action. Overall, however, Langridge is just a bit too faithful to the source this time. Hopefully next issue will return to form.

Though I still wonder a bit about the target audience for Popeye, I'm happy to report that the comic, after a hiccup with Issue #2, is back to being a pleasure to read. This is highly recommended for fans of Langridge or classic cartoon characters revisited.

Popeye is a literal one-man army when he's asked to save Spinachovia from a rival country in another solid issue in the hands of writer Roger Langridge.

The art continues to be excellent, this time with Vince Musacchia seamlessly drawing Segar's characters in whatever situations Langridge can conjure up. Popeye remains a recommended comic for fans new and old alike.

The characters are unlikable and often cruel, making them the opposite of Popeye. Even with a questionable end story, this comic is still quite good and recommended.

Deconnick sets up mysteries but keeps it all together with the help of Rios' realistic depictions. Using varied panel shapes and structures, Rios, a la Paul Pope, helps make this a comic that should be at the top of your pull list.

Had there been more of this and less hammering home just how awful the others were, this issue would have been a pleasure to read. However, instead of telling a strong story that focuses on doing amazing work with a non-traditional character (such as Bold Riley) or spring-boarding off a trope to develop something new and positive (like Princeless), Princess Ugg can't get past the chance to make snarky digs at easy targets. Like Ulga herself, the reader is left longing for something more that Naifeh hasn't provided yet. The window for doing so is closing quickly.

After reading this first issue, I have absolutely no idea what is going to happen in Prophecy, and that's a good thing. With almost anything open to Marz save killing off the characters with their own ongoing books, this series can go almost anywhere. This might just be my pick of the week, and I strongly recommend you go back to your comic shop or digital reader to give this one a second look if you passed on it initially.

In only two issues, Ron Marz has built up big expectations for Prophecy, joining two literary friends' properties together with several others in what is shaping up to be an epic battle that is not to be missed!

There's still plenty of time for this story to show signs of weakness, but right now Marz, Geovani, and Lucas are doing everything right, from huge stakes to gorgeous art and a sense that anything's possible. Prophecy may be the best book you're not reading right now. Don't overlook it.

Prophecy is helmed by a great creative team at the height of their craft, playing with ancient legend, pulp favorites, and cult classics to make a story that's not to be missed. Don't let the licensed characters fool you into passing on one of the best comics out there right now.

The problem with the Punisher is that it's very difficult to make your story stand out. While there's nothing wrong with Kevin Maurer and Nathan Edmondson's plot here (Frank is captured at a weak moment, then inevitably busts out after being tortured), it's just a variation on a theme.

I really like Rucka's characterization of the Punisher, painting him as a desperate man who we truly believe is capable of anything. However, this loses a few points because "taking down Frank" has been done repeatedly over the year"though mixing in the Avengers definitely ups the ante.

Ming Doyle's artwork is stunning, never missing a moment to create a visual gag or facial expression to enhance the comedic style that writer James Asmus sets for the book.

"Red She-Hulk #58 isn't breaking any new ground in its introduction (anti-hero tries to stop unruly government project) here, but Parker's dialogue and good artwork covers a pedestrian plot, making this comic one to pick up if you haven't already.

Between Geovani's panel work and Simone's script, this action-packed story is building to a fight to the death and I couldn't be happier about that.

Simone's script has a ton going on but gives the characters strong speeches and a plot that's got a touch of Shakespeare in it.

Lightning may not strike the same place twice, but a Lightning Dragon has no problem attacking Red Sonja and her companions repeatedly in this jumping on story that has a good feel for fantasy but needs to tighten up on art.

This arc is shaping up nicely, now that the art works with the story instead of being a series of pin-ups.

Ending this run by having Sonja face her worst traits made flesh was brilliant on the part of writer Eric Trautmann. Not as solid was artist Marcio Abreu's chest-heavy Sonja, who poses more than she fights.

Resident Alien #0 shows that Dark Horse can also be a spotlight for innovative creator-owned projects and not just adaptations such as Star Wars or Conan. This is an amateur sleuth story like you've never seen before and is not to be missed by fans of crime comics.

Ed Brubaker and Greg Rucka get credit for their crime comics work, but I'm ready to add Peter Hogan to the list with Resident Alien #1. It's a great mystery with just a hint of sci-fi, and looks to only be getting better as it moves on.

Both writer and artist save the best for last, with a bombshell that has a huge potential for fallout in the issues to come. Saga might be Vaughan's best work, and that's saying something.

The book is visually appealing, but it's just too obtuse to jump in right now.

Larsen makes jumping in a bit easier here with some dialogue lines that ease transition. Meanwhile, Larsen's art, while flat in places, really pops in the action scenes. Dragon and Mako wail on each other in panel after panel of brutal punches filled with energy from speed lines. This is a multi-month investment, but one worth looking into.

This might not be the usual fare for this book, but it's a great story and worth picking up.

Best of all, Holmes' deduction skills are on display early and often, a key piece to creating a good adaptation. This looks like it will be a fun series that treats Doyle's characters with respect.

This is still a story that gets Holmes right, even if it has a few flaws.

This is JMS playing with the idea of how things can go very wrong for a hero, and it's a great start.

Flyboy gets a glimmer of hope from an unlikely source but it only leads to further problems as this great series from writer J. Michael Straczynski drags its protagonist further down in the second issue

Juggling dual plotlines, writer J. Michael Straczynski skimps on Flyboy's attempt for a new life in order to tell us more about the mysterious woman who visits him, which hurts the story. She's not interesting enough to carry that much of the issue. The dialogue felt rushed, too, with lines that feel more directed at the reader than the characters.

Sidekick started out intriguing, but now it's just clichd, broken-hero fare that's covered better elsewhere.

Writer Dan Slott tries his patented wry humor, with the Surfer as straight man. The attempt at a light touch doesn't work for such a serious character and pairing him with an Earth woman who feels responsibilities doesn't help matters.

This is a fun but flawed comic.

Huang's characters live as large as the script, with expressive faces, free-flowing bodies and a few panel tricks thrown in for good measure"all tightly illustrated, too. Skullkickers is a comic that lovers of fun need to try.

The greatest generation of robots slugs it out in this World War II-era story set in the Hellboy universe that opens with a lot of promise. This story was years in the making, and the time taken by Mike Mignola and co-writer John Arcudi shows.

The story of a World War II robot that could change everything concludes in a comic that's really good but feels rushed. Mike Mignola and John Arcudi work hard to try to tell a war story and link the mysterious suit to the Hellboy mythos, but it leads to story jumps, including cutting out a crucial fight scene that I would have loved to see Jason Latour illustrate

This one's only recommended if you are a huge fan of Jock's artwork.

Spawn is a pleasant surprise that is worth checking out.

Mind games abound as the reader's perceptions are taken for a spin when a Star Slammer is captured in the beginning of writer/artist Walt Simonson's second arc. Reprinted with new colors by Len O'Grady, this is Simonson at the top of his game.

Star Trek continues to be a solid adaptation.

I really like this blending of old and new in one of IDW's best licensed books.

Molnar still isn't very dramatic in his panel designs, but I really like how he uses various devices to show Keenser's unusual size"whether too big or too small. The result is an everyman story that fits in well with this tie-in comics' universe.

This story stands on its own and has me excited to see the movie, which is exactly what it should do.

Star Trek: Next Generation/Doctor Who #1 looks like it's going to be everything a fan of both shows would want " big action, a villain so powerful neither can defeat it alone, and the spot-on portrayals of characters we know and love. Fans of either show really need to pick this one up when they do their shopping tomorrow.

Pairing Star Trek and Doctor Who together is a thankless task, filled with double the usual licensed comic fan angst in terms of getting things just right. All of the parties involved here are doing a great job of juggling expectations while still telling their own story. This is not a perfect comic, but it's a lot of fun for televised science fiction fans.

Writers Scott and David Tipton weave everything from the Borg War to Bad Wolf, deftly using a reader's background knowledge to give this issue more depth as the Doctor tries to save universes against impossible odds.

The ending is perfect all around, avoiding possible pitfalls to provide a great closing chapter.

Hardman's linework reminds me of Steve Lieber in its extensive detailing, but just a bit scratchier, teasing out hints of a larger world. This is a one-and-done that I hope gets a sequel.

There's madness in the music as Steed and Peel have a quiet evening interrupted by a master manipulator in a story that tries to capture the feel of the television show but falls short.

Lapham does an amazing job of picking up the threads, moving the story while also filling in backstory for those who never read the initial run.

This one hooked me in a hurry.

This superior comedy keeping doubling down on the antics and action every month.

This comic's survival remains one of the most "superior" things at Marvel.

There's a little less zing in the dialogue here, as Dan Slott plots the issue with Christos Gage completing the script that sees Otto's sins come back to haunt him. Even still, this fresh approach to handling potential crises (such as a prison break) remind us that Otto really is improving on Peter's work.

Cracks in Ock-Spidey's plans start showing as he battles at the Bugle in an issue that doesn't give any of its many storylines room to breathe.

Supreme #63 is the book of the week for me. It shows what can be done when craft and care are taken, from plot to script to art. Is it May 2 yet?

Supreme continues to be a great read three months into its reset.

The plotting is still excellent, with the return of a "fowl" villain and Larsen has the perfect art partner in Corey Hamscher, who makes the clash of alpha-class characters feel like it's playing out on an epic scale. There's devastation everywhere and a climactic splash page that explodes on the reader. This is recommended, but might read better in trade.

The art and story are as depowered as Supreme himself in this final issue of Erik Larsen's run on the title that feels unfinished on multiple levels

Despite the many creatures Duncan must draw, there's plenty of emotion on the faces, even in the action scenes as he continues the anime look of this great series.

Balancing plot resolution with conflict resolution, TMNT #12 is everything you want as a Turtles fan.

Andy Kuhn, the new artist, moves to a more rounded feel for the art, working in looser lines that are sketchier and not as defined. Unfortunately, this hurts the emotional range of the Turtles, who tend to either grin or shout here. TMNT's strong story keeps this one recommended.

The Turtles have a killer family reunion when another of Stockman's experiments escapes in a new story arc that just starts too slow. Writers Tom Waltz and Kevin Eastman are usually pretty good about getting to the action, but this time we have a drawn-out origin of the new creature mixed with an entirely-too-long moving house sequence for the Turtles.

Ben Bates continues as a major upgrade on art duties, giving the aliens an OEL manga look that sets off the "normal" look of the Turtles. I also love his facial features, which help liven up the script, which I hope returns to earth soon.

The intricate plotting of Kevin Eastman, Tom Waltz, and Bobby Curnow shows here, as they bring back ideas seeded long ago, including doubting the truth of Splinter's claim to the paternity of the Turtles.

We move from point to point, letting Santolouco stir the pot by showing the desperation of the Turtles and Leonardo's inner struggles in another strong issue that sets up future fights to come.

Putting aside the familiar characters, this is solid story that's not letting up one bit.

It's a deep story that's harmed a bit by the choice of artist. Charles Paul Wilson III does not seem to get Splinter's body shape right while in rat form, though I liked how he choreographed the battle scenes. Wilson does a better job with the flashbacks, but even those felt a bit flatter and stiffer than you'd expect from a martial arts story. Overall, this issue of TMNT Microseries follows in its predecessors' footsteps, expanding on the spotlight character and providing a great story for fans of the Turtles.

Fugitoid is a character who keeps making tragic mistakes and looks like a great addition after this strong debut.

Blood Queen #1 should definitely appeal to those who have read Brownfield's other print comics or who are looking for a comic that echoes elements of Game of Thrones without trying to be a carbon copy. It will require overlooking the mediocre artwork, but those who do so should be entertained and intrigued enough to stick around to see what happens next.

With the art catching up to the plot, this has a lot of potential for the Game of Thrones fan set.

The Darkness is becoming a favorite comic each month.

The Fox is a lot of fun to read and shows potential. The biggest problem for the comic is going to be finding an audience. This feels like a comic written for comic fans, but it's published by Archie, so some may dismiss it as a "kids" book. (In fact, while there's nothing adult in the material per se, the script and references definitely make this one for parents.) This one may be doomed to collapse like so many of the Red Circle books before it, but in the meantime, those looking for something different from the capes and tights set would do well to give The Fox a try.

If you're looking for a series that relies on techniques that haven't been invented yet and rocket jet chase scenes, then The Fuse isn't for you. However, if you've seen every episode of Law and Order twice, this is one of the best attempts in comics to take that mindset and use it to tell a story, and is highly recommended.

Felicia Day and Will Wheaton succeed in making Fawkes a jerk, but by the end, I have no desire to read more. This issue seems like a strange choice to capitalize on any goodwill from the free offering and is probably only for those who are fans of the series already.

This is Byrne being original again, and it's a treat for his long-time fans.

The Massive looks to be an extremely promising comic, but be aware the start is a bit slow. I have a feeling that it's going to be worth it, so start reading now.

Donaldson continues to excel at getting the most from the script with reaction shots, but Brian Wood is moving too slowly here, and I've lost interest in what The Massive might become.

A band of stereotypical rogues take on odd sea jobs and the look of a rejected Cartoon Network pitch in this opening issue that does little to establish itself.

Ghostbusters is a series in transition right now, with a few kinks to work out.

Mind games abound in another strong issue of this licensed property. Side character-focused issues can be hit or miss. Writer Erik Burnham makes it work by picking out pieces of the Ghostbusters canon and showing them from Janine's perspective.

After a bit of heavy-handed political commentary, Mark Waid's story kicks into high gear, hitting a note-perfect characterization of Eisner's creations and mixing them well into the Rocketeer's world.

Three not-quite-current-event stories are given an unsubtle Serling treatment in a one-writer anthology that tries too hard to imitate the television show.

I like the way Harris paces out this issue, creating drama and tension from page one. Michael Walsh does a good job with likenesses, but the action is stilted, which hurts the overall feel of the comic. He has a very Sean Phillips-like style, which works for this series but the characters mugging to the reader gets annoying.

Writer Joe Harris broadens the scope of this new conspiracy, adding a timely reference to a pipeline and a last-page surprise that involves a fan favorite character. What's great is that he does this without spreading the plot too thin, giving us plenty of time with Scully and Mulder and a reminder to be careful next time we're in Arlington.

Michael Walsh nails some of his pages this time, using shadows to ramp up the creepiness in several places. Unfortunately, he's still stuck on having characters face the reader and talk, but even with that complaint, this series continues to be solid and worth reading.

Writer Joe Harris does his best to keep both the characters and the readers off-balance, as Scully loses her ability to trust her senses in an understated way. The confusion of the script feels natural, not purposefully obscured, revealing as much as it hides.

The truth is out there - but it might not be the truth you're looking for, as this series ends its first arc a bit more shakily than I'd hoped.

Overall, this one works well for what it's trying to do but Harris needs to find an arc soon.

This series tackles a difficult political subject head-on, with a personal touch that makes it recommended.

The brutal and cruel world of Sparta comes to life thanks to amazing visuals from Ryan Kelly in this new series that sets its tone-and opinion of the Spartans-early and often.

The star of the show here is Kelly, whether it's showing the explosive fight scenes or drawing individual Spartan houses or the splash page that portents more blood to come.

Three pulls no punches in telling a story that is as compelling as it is ruthless in its depiction of the glory-free nature of Sparta.

The juxtaposition of a precision operation against a gigantic robotic dinosaur puts the improbability of the situation front and center, allowing Scioli to up the ante of ridiculousness without feeling overblown in a comic that's unabashedly Silver Age.

Pandora's put back in her box for later use as this series wraps up weakly. It's never a good sign when you've been relegated to vampire-hunting, and while writer Ray Fawkes does his best to make it creepy and tie into Pandora's theme of redemption, it's a forgettable battle that only serves to move the character into S.H.A.D.E. in case they need her.

The depiction of destruction and the battle itself show that Byrne hasn't lost a step at all. The sea monster is impossibly big, but scales perfectly to the characters around it. He does an amazing job of showing the way each person's powers work, such as having Paper float. We can gasp as the powerful Rock is dangled in the air by the stand-in for Namor. This is simply a beautiful comic, which makes up for some flaws in other areas, and continues to be a fun read.

Byrne's ability to make epic battles convincing and evoke emotion through art are second to none, but Trio really needs a dose of original story ASAP.

Byrne is still skipping scenes the reader should be seeing but he does a great job of twisting expectations and creating surprises.

A bit more fluidity in the art is the only misstep in this excellent debut issue. If you're a fan of caper comics with compelling characters, great dialogue, and an intriguing mystery, grab a copy of Uncanny this week at the store or on your favorite digital tablet. You won't be disappointed.

Uncanny is a bit different from the usual Dynamite book and shows them branching out as they mature. If the story keeps up being this good, Diggle has a chance to catch Brubaker and Rucka for best crime comic writer in 2013.

I really dug the first two issues of this series, which showed writer Andy Diggle at his scripting best. But this time, he opts to do more talking than action, and it hurts the flow.

Andy Diggle starts with a clever con and runs Wheeler through a heist that involves-of all things-a garbage truck. Just as things look good, Diggle again pulls the rug out from Wheeler, and it works perfectly.

Overall, this feels like padded storytelling with clever dialogue and Diggle is capable of a lot more.

Writer Andy Diggle doubles down on the deception, veering things back to the Styles-as-bad-guy side of the spectrum while unleashing the character's destructive potential and creating more mysteries for Wheeler to solve.

Matt Kindt's script is brutal, with the death toll climbing higher and higher as artist Doug Braithwaite draws detailed scenes of every destructive moment.

New artist CAFU isn't quite as vibrant as Doug Braithwaite, with layouts that are less dynamic. He's not able to make Kindt's word-heavy story stand out, but the character designs and line art closely resemble Braithwaite, giving a smooth transition.

The plot of writer Nate Cosby isn't all that special at this point, but Jose Luis, whose work on the Bionic Man vs Bionic Woman comic really impressed me, knocks this one out of the park

I was a big fan of writer Tim Seeley's first arc on Witchblade, but it's falling apart at the seams, especially with some clunky integration to The Darkness and Artifacts. There are flashes of promise in Seeley's dialogue and he handles female characters quite well, but we're back to the bedroom scenes and tight corsets that kept me away originally

Artist Laura Braga, with colorist Betsy Gonia, makes this issue shine, giving Sara a swagger and sensuality that shows from her hip-swinging first appearance. She's equally at ease providing expressive faces and postures, driving the action as this series receives a much-needed shot in the arm.

Laura Braga and Betsy Gonia make a great art team, with Sara looking attractive even in a hospital gown, but never shown in an exploitative fashion. The linework is soft, but features many different facial expressions and framing that puts the reader's eye in off-beat or key areas of a scene in a comic that continues to be recommended.

Laura Braga and Betsy Golina once again hit all the right artistic notes, showing Angelus' desperation that leads to less than virtuous acts and the determination on Sara's face.

Maan House gets the unenviable task of following Laura Braga on art, but he has very little to work with. Using a thin style that's a bit like Jae Lee but with heavier shadowing, the effect does create a creepy atmosphere for a run-down park. Unfortunately, there's no originality in the layouts to compensate for being part of a holding pattern story.

Greece's Old Gods meet Kirby's New Gods and take Wonder Woman along for the ride as this series continues to be excellent, if mislabeled.

Wonder Woman finds Highfather to be just about as insufferable as the gods she's familiar with in another great issue - if you are okay with Diana as a side character in her own book.

Working hard to tie up loose ends before the Trinity War crossover, Brian Azzarello writes a masterpiece of a story that shows he has a better handle on Diana than I thought and gives a character one of the best death scenes I've read in comics.

Youngblood #71 can't hold a candle to the other Extreme reboots and is only for the most nostalgic '90s comic reader.

Political commentary in a comic is a tricky thing, and Zero doesn't quite made the grade in this first issue that features a future where Israel and Palestine send super soldiers at each other and the US tries to clean up the mess.