It remains to be seen how well and intelligently the Prometheus story elements will be interlaced into the AvP fabric — but this first issue has got me feeling pretty damn good about it.

Otherwise, you'll have to get like me: patiently waiting for the next issue, hoping that the whole shebang comes together in a more satisfying route than the one we're being led towards now. (And the Aliens and Predators get to prove they're not second bananas to the newcomer.)

Sebela's writing has its charm; we've only seen AvP: Fire and Stone's strong beginning and lackluster middle, though — can the climax clamber its way back up and prove to be just as impressive as the first act? Here's hoping.

If you're a fan of the respective universes, give the series a look-over, but don't expect anything that contributes much to the established mythos.

I wish we could've seen a little more to differentiate this first issue from countless other Alien narratives, but I've got hope that Roberson is holding some aces up his sleeve. And this guy'll be there to check it out.

All-New Captain America #1 is a solid start to a brand new series. While mostly just action, the first issue does a solid job of introducing our hero and showing why he is worthy of the Captain America role. With solid writing and great looking artwork, this appears to be start of an impressive new series.

It'll be interesting to see just how far de Campi's script dials up the violence, how long the characters remain ignorant to the fact that the Predator is among them and how well these elements continue to be integrated in "Archie-style" by Ruiz but so far, so good.

Archie vs. Predator #2 kicks the narrative into high gear and despite not taking itself too seriously remains brutal and gruesome enough to keep Predator fans sated. Another surprisingly strong issue that has me looking forward to the next. Worth a look for fans of both series.

Bane: Conquest #1 won't blow you out of the water, but it's a solid setup issue for a character who has deserved his own series for some time now. If you're here to see Bane stomp heads, spout badass one-liners and get some shine in the spotlight away from Batman, you won't be disappointed. Just don't expect the invincible force of nature you saw in "I Am Bane."

Even still, there's hope moving forward. Despite the enigmatic air surrounding Catwoman's alleged murder-spree (a narrative choice that has had Selina Kyle fans the world over clamoring the phrase "character assassination"), King has handled her quite well; he's treating her like a big-time character, giving her some shine and this is the most capricious and dangerous I can remember her ever being. I look forward to some great synergy between she and Batman in upcoming issues.

In Batman #14, King's spirited narrative and Gerad's immersive art combine for the sort of timeless Batman tale any Bat-fan should be happy to read again and again. Those of you hoping the enigmatic circumstances surrounding Catwoman's prison sentences would be cleared up in this issue will still have to wait, but the rapport King has established between Batman and Catwoman is so impressive and absorbing that you won't mind sticking around another issue (or three) to find out.

We've asked King to write us an interesting Batman story. And sure enough, he has.

Batman #16 is another solid story arc start from King. Although this issue is void of action and the decision to leave out what Bane has been up to seems ostensibly amiss — his dialogue is as sharp as we've seen and by the end you'll be cogitating every story seed that King has sown, wondering what actions each and every character will take and most importantly, craving more.

Although the Dark Knight continues to make decisions that vex and the story has been somewhat haphazard and disjointed, now that King has moved the pieces around on the board to his liking and brought us to the inevitable Batman vs. Bane showdown, Batman has become too thrilling to put down for even a moment. Batman #18 can't come soon enough.

Batman #18 further reinforces that notion and leaves us once again on the edge of our seats, craving the next issue thanks to a discomfiting, yet intriguing narrative and larger than life art.

Is It Good?Batman #19 comes roaring through the gates of Arkham a violence-fueled locomotive that steams along and never once abates. Stocked with interesting villain vs. villain character exchanges, further parallels between Bane and Batman and an ending whose air of unpredictability should leave even the most ardent Bat-fans wondering what will happen next, the issue is one of King's greatest successes in the series yet and perfectly complemented by Finch's delightfully hyperbolic art.

A strong conclusion to King's overarching Batman narrative and one that shows he has a deep understanding of/appreciation for what the character represents...

Batman #23 is an accomplishment not only for King's Batman run, but for his oeuvre

Batman #25 is a fine first installment to the "War of Jokes and Riddles" arc. The stage has been set for a battle of epic proportions between two of Batman's deadliest foes " and even though we've seen so little, the conflict between them promises to be every bit as powerful a the desperate measures Batman will be forced to take. Recommended.

Batman #26 is a pretty good second installment of the "War of Jokes & Riddles" storyline that continues to put an interesting spin on two of Batman's most infamous villains with an air of ominousness and intrigue looming above it all. Although we're given some interesting developments between Joker and the Riddler, the war still seems like it's in the build-up stages, which ultimately doesn't give Batman much to do but bemoan for the second issue in a row.

Batman #27 is The Killing Joke for Kite Man. Which is every bit as ridiculous, impressive and thoroughly enjoyable as it sounds. Hell yeah, Tom King.

If Kite Man's tale was the impressive, ahem, King's Gambit opening in writer Tom King's supervillain chess match, Batman #28 sees both sides still testing each other out for weaknesses and establishing board presence. Though not as remarkable as last issue, this is still a strong installment that will leave readers hungry for issue #29.

Though unconventional and more leisurely paced than some might expect for a war " King and Janin come prepared and correct with Batman #29 and deliver another strong installment in the "War of Jokes and Riddles."

Batman #30 is filled with action, humor, heartache, pathos and poignancy " all through the viewpoint of a character six months ago we'd all have scoffed at Tom King for even thinking of enlivening. But he does it. And adds what will surely go down as another classic to his Batman run.

I'm starting to sound like a broken record, but this is yet another excellent installment in "The War of Jokes & Riddles," one whose final page ends on such a gripping note that you'll be fiending for the same Bat-time, same Bat-maestro in very short order. And best of all? We get to see if Catwoman says "yes" to Batman's marriage proposal next time around in the wake of Batman's startling revelation.

Powerful, poignant characterization, top-notch dialogue and superb art combine to make Batman #35 a must-read.

A strong issue wherein King skillfully weaves a deep analysis of friendship, fear of fraying that friendship and mutual respect with a conventional superhero team-up. Batman #36 is the first part of a story that fans of both characters should find charming, relatable and highly enjoyable.

Batman #37 is a fun, charming comic " plain and simple. A Silver Age story infused with a modern day twist, "Superfriends" Part Two will make you laugh, make you think, and by issue's end, unable to wipe the smile off your face.

here's a question posed early on in Batman #38, the nature of which will take on a very different meaning by issue's end. "Who doesn't love Bruce Wayne?" A better question might be "Who doesn't love 'The Origin of Bruce Wayne,'?" the latest notch on Tom King's Bat-Scribe Utility Belt.

Batman #39 is a visually stunning issue with a fun premise; however, the narrative is difficult to judge on a single issue basis. We'll need to see the conclusion next issue to see whether characterization inconsistencies and insufficiencies were due to seeing only one face of the overall prism or if the whole thing was merely for soap operatic shock value.

Joelle Jones (pencils, inks) and Jordie Bellaire's (colors) are once again nothing short of spectacular. From the burning orange glow of the cavefire around which Batman and Wonder Woman's forehead-touching, eye-locked "will they, won't they?" kiss revolves in the opening scene, to the looks of surprise on Julian's wife's face when she answers the door and bliss on Wonder Woman's when she's engrossed in battle " the art in this issue is awesome, top to bottom.

Praise be to Tom King's Green thumb.

We still have one more installment of "Everyone Loves Ivy" to go, though and if Batman #40 taught us anything " one can't adequately judge King's work until all is said and done.

Overall though, "Everyone Loves Ivy" is another enjoyable and exciting story arc in King's run and one that further bolsters the beautiful synergy and loving relationship that King has established between Batman and Catwoman. And with the wedding finally upon us next month, that may be exactly what we needed " even more than another overly-impressive Batman prep-time feat.

Despite the novelty beginning to wear off just a tiny bit, Batman #44 is another much-needed, touching recognition of Batman and Catwoman's storied history together. With the two set to marry in the upcoming Batman #50, I look forward to seeing how King will even further bolster a bond between the two that is the strongest it's ever been.

I'm starting to sound like a broken record, but Batman #45 is another solid start to a King narrative that has me fiending to find out what happens next. The art is solid from top to bottom and as much as I like the Bat-Cat relationship, the alternate universe presents a fun, enigmatic change of pace. Grab this one.

We aren't done with Booster Gold's wild, bumbling ride yet but this issue will have you smacking your forehead and wondering what (again, I say this will all due respect) jerk move King has planned next. And how/if he'll right the ship.

Although "The Gift" is essentially an Elsewords story, the best ones in the category both question what could have been under different circumstances (even if those circumstances seem ostensibly better for the character overall) while reinforcing the importance of our protagonist's existence. This is one of those stories.

I think, as I did with many of King's multi-part story arcs (like with Batman #40 for example), I'll come to enjoy the concluding episode of "The Best Man" narrative more than I did the first. Notwithstanding, Mikel Janin (art) and June Chung (colors) do a fine job of bringing the issue to life.

As we head into Batman #50, the wedding is (as far as we know) still on. The most fascinating thing is, we're left as readers to ponder for the first time in a long time, not "is Batman truly happy and in love?" but does the essence of Batman truly prevail if he's found happiness?

Overall, Batman #51 is a strong setup issue and an intriguing first step into the second act's new narrative direction.

Any interaction between Bruce and the jurors is entertaining, but the scenes where Bruce gets to know them during deliberation breaks, like one with Fred, formerly from Metropolis, are poignant and as well " which only further reinforces the air of authenticity which propels the narrative.

The narrative looks to be taking an interesting twist in the near future; if King's doing what I think he's doing, Batman #53 could turn out to be one of the most groundbreaking Batman issues we've read in some time. And for that reason, I say: go read it now.

All in all, Batman #54 is an engaging, emotional ride from start to finish. Much like Grayson himself, this issue, especially after last arc's melancholy, is like best friend that comes to kick it with you after a bad break-up to cheer you up " one to be grateful for.

Still (and I'm starting to sound like a broken record here), this is yet another issue where King has managed to write a stirring, emotionally impactful story that has us dying to find out what happens next. I'm reminded of the Iron Maiden lyric, "For the Devil sends the Beast with wrath." King has done just that. (Does that make him the devil to our Bat-God?)

Batman #56 is another absorbing chapter in King's "Beasts of Burden" storyline and one which masterfully builds towards the big showdown next time around. Pick this one up with the quickness.

And overall, King has given us a skillful, suspenseful series of issues that have set up an overarching mystery " one which, at this point we can only assume, is setting up to an even bigger showdown than the ones we've witnessed already in his run. Which means, once again, King has succeeded in making the release date of the next issue one that can't come soon enough.

All in all, an auspicious start to "The Tyrant Wing" arc and one that portends plenty of compelling interaction and synergy between Batman and the Penguin. Flock to this one.

Batman #59 continues the trend of last issue with another absorbing, well-crafted installment that looks great from start to finish. Tom King progressing the overarching narrative at such a fast clip is a welcome surprise and the narrative twists are well-played. Does Batman's greatest hope truly lie with the Penguin? And just what the hell does Batman's "unseen enemy" have planned as retaliation after the events of this issue?

King has steeped the narrative deep in mystery, and although the fact Batman is seemingly no closer than he was five issues ago to making any headway into said mystery is sure to ruffle feathers, the ride remains undeniably enticing. Bring on the next installment.

The story kicks off with Kaiyo, the demon trickster shedding more light on why she's been mind-humpin' around with our Batman/Supermen protagonists for the past two issues. And we even get a peek at who she's working for. (Non-spoiler alert: He's on the cover.)

It's alright; pick it up if you've been following the first three issues and want to see the pay-off, but temper your expectations for a conclusion as satisfying as the build-up.

For Batman doling out sweet, painful justice is his anti-drug and to see him so zealous, thirsty, and downright mean is a good wake-up call of what he's capable of. Sure he's a calm, brilliant strategist described by Superman as the "most dangerous man alive," but if you push him he becomes something truly frightening. A Batman with less restraint is always interesting to watch because it's a line he so rarely crosses without devastating repercussions as a result. And one poor guy definitely gets the short end of the Batman on a bad day stick. 9.0 Great art by Gleason.Tomasi makes this a bad-ass, fun ride despite the gravity of it all.Carrie Kelley is annoying, but I'll give her some more time.

Everything culminates with a showdown at the Batcave between Batgirl and Batman. Batgirl seems willing to make amends but Batman ain't having it. After severing his ties with Red Hood last issue, at this rate the comic book might be called Batman and His Own Bad Self in a few short months. 7.5 Solid art by guest penciler Cliff Richards.Needed to see this interaction between Bats and Barbara.Nice “exchange” between Batgirl and her father.Not much happens besides thugs getting shit on.“Bats gone off the deep end” premise needs to lead to something more.

So much of Morrison's work is setup layered upon setup, smattered with foreshadowing, and topped off with more setup " but some big stuff goes down here and the payoff looks to be nothing less than monumental. Great stuff.

The whole issue evokes an Adam West Batman meets Super Sentai meets Manga vibe, with a smattering of post modern Jack Kirby-nodding thrown in for good measure. Also, Power Rangers with toilet humor. If a thing like that even makes sense. Of course, let's not forget the fine job by Jorge Lucas, whose artwork fits the mood perfectly. Burnham stated that Jorge "is an absolute master at drawing outlandish Kirbyesque environments. The splash page of Jiro and Canary transforming gets me excited every time I see it." Can't say we disagree with him too much there. Bad-ass splash incoming:

Excellent issue from start to finish. Get on it. My only gripe is that we have to wait so damn long in between issues.

This is the kind of comicbook that makes you proud to be a fan; makes you apathetic to the derisions of those uninitiated to your hobby because " who gives a damn? What you just read was truly laudable. A story resonant and thoroughly felt. One of mythic quality. One that you'll read to further scrutinize, to more deeply possess, and most importantly " enjoy anew.

Interesting collection of Bat-related stories.Strong, varied art.Fun little tales.If you aren't already a fan of the characters, this probably won't sell you.$4.99 price tag.

A must-read for any Ninjak fan or anyone looking for a tale of true heroism. The character is at his most courageous, disciplined, admirable and dare I say likeable? Recommended.

Does Matt believe him? Will he take on the case of his former tormentor? I won't say here and spoil all the fun (unless you mouseover the blacked out text of course), but let's just say that you'll be blown away by the actual court scene. Well, maybe not as much as a certain somebody… but, well — just go read it and find out. 8.5 Solid, crisp art by Javier Rodriguez.Clever, subtle displays of Daredevil's powers.Nice flashbacks of Daredevil's father and also his bully.A little devoid of action.

If you balked at the incongruous notion of Daredevil sharing the same page as the Sentinel of the Spaceways, read this issue before you judge. And if you're sick of hearing others gush about how great Waid's run on Daredevil is, grab this as it's a great jumping-on point that doesn't require much previous reading.

Deadpool & The Mercs for Money #1 is a charismatic and eye-catching, fun-filled romp that should have Deadpool fans clamoring. If you weren't sold on the Mercs for Money over in the main Deadpool title, give this issue a chance and see if it can't win you over like it did me.

Deadpool & The Mercs for Money #4 is cleverly-written, self-aware and fun from start to finish. Even if you're not a fan of the concept of Deadpool leading his own squad, give this issue a look.

That it is. Deadpool & The Mercs for Money #4 is another fine fusion of action, fun and humor that Deadpool fans old and new alike can appreciate. For those of you who were growing tired of Deadpool's synergy (or lack thereof) with Solo, Foolkiller, Slapstick and the other Mercs for Money — this is the perfect jumping on spot — both for Deadpool's individual efforts in this installment and the anticipation of how he'll mesh with his brand new gang.

The good: The art by Mike Hawthorne is solid as usual: he's found the perfect marriage of cartoonish realism which at least make the fight visually appealing. Duggan and Posehn have also set us up for a premise involving Deadpool's more dark and twisted side, which looks to be very promising. 6.0 Great artwork by Mike Hawthorne.The Vetis storyline finally sees its conclusion.The issue-spanning fight between Vetis and Deadpool is kind of boring.Not nearly as funny as last issue.

Declan Shalvey's art is magnificent. His pencil strokes are thick and sexy, his details razor-sharp, and his backdrops haunting, ethereal, and atmospheric. His talent is evident in every raw sinew that swells from beneath Wade's boiled flesh; in the dynamic choreography of each ruthless fight scene; in the anguish or hatred evoked in every facial expression. The dude's quickly becoming one of my favorite artists: His work reminds me of a more refined John Romita Jr., only far less distorted and caricaturish and with a style that is very much his own. 9.0 Story arc that's compelling and feels important.Beautiful art by Shalvey.Deadpool ain't nothin' to f*ck with.They keep saying they cured Deadpool's cancer? I thought it merged with his healing factor?

It's a shame that Posehn and Duggan's run is coming to a close soon, but we should be thankful that they're bringing stuff to the table overall that could rival Joe Kelly's when all is said and done.

If you're a fan of Deadpool (or have even thought about being one), grab this issue and fall in love just like Ne-Yo. Also, (Warning: Spoilers) the following shot has become one of my favorite Deadpool pages/jokes of all time.

Another strong issue full of action, surprising pathos, hilarity and nookie as we continue the march towards Deadpool's dirtnap. Duggan and Posehn have earned the admiration of this longtime Deadpool fan " I'll look back fondly on their run, miss them when they're gone and for the time being " look forward to the giant-sized final issue.

There's a decent, if underwhelming “Roast” of Deadpool at the end and some brief backup stories featuring ancillary characters like Shiklah and the ghost of Benjamin Franklin that are worth a quick glance but ultimately the $10 price tag is going to come down to how much you want to see Deadpool's "final" death and what other characters have to say about him in the Roast.

It's worth a look for those that want a fairly interesting start and some decent action, but as of yet the chess pieces have only been set up on the board — still untouched.

Deadpool #34 is another excellent Secret Empire-tie-in-issue that adds further gravitas to the harrowing decisions Deadpool must make under the employ of Captain America's Hydra. Duggan is at the top of his game here and with the help of solid, forceful art from Lolli and Hawthorne delivers a story steeped in humor, pathos and grisly violence.

Nitpicks aside, the issue ends on a cliffhanger and will have me checking out the rest of the series; it's worth a pick-up if you're a fan of either character, but don't expect anything mind-altering. And hopefully when the symbiote merges with Deadpool we get something a little more interesting than Venom-Pool.

Put another one in the win column for Deadpool's Secret Secret Wars. Issue #2 is full of action, gorgeous art and Deadpool sticking his nose where it doesn't belong but" sticking around nonetheless, pestering the shit out of everybody the whole while. Just how we like the guy.

Also, there's a strange three panel sequence where Darla/Ms. Thing prattles off her rockstar resume and number of "FaceSpace followers" while Blastaar, seconds away from mashing her into the floor, just stands there and listens. Sure, it gives us an interesting snippet of Ms. Thing characterization, but was that really the most logical time for it?

Arguably the best issue to come out of the Deviations line, G.I. Joe: Deviations is a funny, self-aware and realistic look at a Cobra-ruled world that lives up to its billing as a love letter to the G.I. Joe franchise. A must buy for any Joe fan.

God Country #1 is a strong first issue, one replete with genuine dialogue, impressive characterization and plenty of emotional resonance. Writer Donny Cate's pacing, which simmers at the perfect temperature only to boil over admirably by issue's end is also to be lauded.

Although there isn't as much action as some fans might like, the setup stage isn't lacking — and this is a premiere issue after all. Also, the hip-hop variant cover mimicking 50 Cent's Get Rich or Die Tryin' is easily my favorite one yet. Recommended.

Hells yeah. This is everything you want from an Iron Man comic: exciting action, poignant character development, impressive tech displays from the Iron Man armor, humor, amazing art… I could go on. Invincible Iron Man is just a fun ride, point blank. If Bendis and Marquez haven't sold you yet, grab this issue.

The action and intrigue takes a backseat so that the consequences of Rao's arrival on Earth can unfold. Doesn't have quite the impact of the first issue, but the pieces are in place for an enjoyable, if perhaps a bit predictable narrative. Although the storyline seemed more imaginative and mysterious in the first issue, Hitch does an excellent job of characterizing the JLA members and dishes out solid artwork to boot. Worth a look.

Not bad. Strong artwork and an interesting storyline" that's unfolding at a sluggish pace after this issue. There are plenty of questions raised, which is always good, but we need to start getting more answers.

Solid art and an entertaining narrative combine for an issue that's worth a look" although the restrictions on what Batman does despite all his newfound power leaves less of a lasting impression than I'd hoped for.

8.0 Great artwork and monster design.Great use of color, atmospheric New Orleans setting.Werewolf mobsters.Not much revealed about the protagonist, but I'm sure that's to come.

In a good comic book the writing and the art tell the story equally; Ferreyra's stuff is doing a whole shitload of telling: Beautiful fight scene choreography, a wide range of facial expressions and spatial awareness every panel, and on top of it all " gruesome close-ups that will have you wincing in disgust and wondering what the hell happened to this kid when he was little, like did he have some kind of traumatic experience or his mommy didn't hug him enough maybe? Sick and creative, but I can't say I don't dig on it big time.

Bunn's most interesting narrative on the title to date; combined with last issue, he's really starting to hit his stride with the character. Moon Knight #17 doesn't require too much prior knowledge of Moon Knight beforehand, so it serves as a good jumping on point. Recommended.

The story hasn't fleshed out yet but Duggan's clever introductions, Espin's lively art and the unique characters/premise have already piqued my interest for what's to come in issue #2.

Fun the whole way through, visually enthralling and set up keenly by Kindt in a way that should reap only finer issues to come. Cop this issue quick.

Even better than last issue. Ramps up the action, delves deeper into Ninjak's skillset and past and by issue's end sets the stage for a throwdown that should have every Ninjak

Some of the best Ninjak characterization yet combined with a tight new narrative direction and clean, captivating art. The Lost Files back-up story featuring the first meeting between Colin and his handler Nelville Alcott is also a cleverly crafted tale with plenty of the story evoked solely through Butch Guice's striking visuals. It's all good, baby.

Ninjak #9 is a fun, action-filled, satisfying conclusion to "The Shadow Wars" arc that atones for the previous two issues that failed to hit the mark. Recommended.

Although the ending swerves the plot into what looks to be a completely different direction — it's still good stuff and I eagerly await the second issue. Recommended for those in search of a solid, retro, non-superhero yarn.

Nothing off the chains yet, but there's promise.

Definitely worth a look if you're a fan of the movies and have been let down by the lack of backstory/involvement of the Predators in the other Fire and Stone tie-ins.

Predator: Fire and Stone #4 will have to come correct if it wants to match the first three. I'm looking forward to it.

My clear-cut favorite of all the Fire and Stone offerings and a strong lead-in to the upcoming Prometheus: Fire and Stone — Omega.

Abnett is taking his time to establish the first set of players in a game that will be sure to include the familiar, frightening faces of the Aliens and Engineers soon — so the slow burn in this first issue may very well be the calm before a varicolored bloodbath. Worth a look.

And that art, though. Even if you're not familiar with Corben's work, the book is worth a flip-through on account of its uniqueness, its idiosyncratic style. I almost wish that Corben had worked with another writer so that he could focus more on the art and tighten up some of the dialogue and pacing, but this is his baby to tell and it's worthy of waiting to see how it all unfolds.

Rat God #2 provides a few more answers and many more questions to the unraveling mystery at hand. Although the writing isn't too bad, Corben's artwork is what continues to carry the title. I look forward to seeing where the story leads, although the main character isn't nearly as interesting as the fascinating visuals. Worth a look just like the first issue.

Julius Gopez' artwork is solid: Last issue he had a tendency to make some of the characters' faces look inexplicably grisly looking, or in Jason's case, resemblant of Gary Busey, but no complaints this time around. It's a shame that we couldn't see more from Filipino artist Mico Suayan, as his covers are downright beautiful. 7.0 Nice revelations of the characters' motives and history together.Great use of color and solid artwork.Tynion IV imbues each character with realistic, emotive dialogue.Flashbacks and filler. A comic book and sitcom fan's worst nightmare.

Cheshire's poison-based powers are a bit undefined, but fun to watch in both their application and the havoc they wreak on others. She's also a bad-ass woman — taking on nearly the whole Outlaw team plus Green Arrow by herself at one point. My only problem? Tynion IV writes her dialogue like a conflation of the horniest highschool cheerleader ever/the Kardashian sisters/and that teen mom who just did a porn. That is to say, 99.5% of her dialogue includes her calling someone "cute, hot," some combination of the two, or making a thinly-veiled, embarrassing sexual euphemism. So basically how every guy that goes to comic book conventions acts when they see a booth babe.

A well-paced introductory issue with a fun premise that should appease the action-movie lover in us all. Fans of Red Skull might be disappointed at his lack of involvement in the self-titled introductory issue, but Williamson's build-up is on point and to quote a good ol' Oklahoman gentleman: "Business is about to pick up here."

An excellent first issue that features a fascinating, well-designed cast of characters, outstanding visuals and a thoroughly engrossing narrative. Red Wolf is one of the strongest showings from the All-New, All-Different Marvel movement and a must-have for anyone with even a fleeting interest in the Western genre.

We've been given only breadcrumbs so far, but Rumble #1 has me hungry for the next course. A good (though purposely vague) first issue for what should be a series to closely watch in the next few months. Highly recommended.

Rumble is a well-oiled machine that continues to impress. The action is powerful, the artwork is bewitching and the steadily unraveling storyline intrigues. Get you some if you haven't already.

Now that we know the reason behind Rathraq's initiative, the series' motif has shifted from "there are some pretty bad-ass things going on here and it's pretty cool but I have no idea why," to "I see you Rathraq. Do the damn thing." Excellent stuff.

Read it now. Read it well. Grin from ear-to-ear the entire time.

The fusion of epic myth, gritty street life, crackling dialogue and fully-realized characters make for a mesmeric, highly enjoyable experience that shouldn't be missed.

The issue culminates with a brutal, bloody prison brawl between Mako and Dragon that spans several pages and some foreshadowing for the return of a few familiar villains (with one of them staking a claim as leader of the Vicious Circle Gang.) 8.0 Crisp, attractive art by Larsen as is custom.Brutal fight scene between Mako and Dragon.Won't take much more than 5-10 minutes to read.

Savage Dragon #200 is a big-ass issue filled with plenty to like for fans of the fin-head. It's not the perfect jumping on point, doesn't change the narrative game too much and features action sequences that aren't quite on par with Larsen's best work/choreography, but it is a fun ride that's definitely worth a look — especially if you're already a fan.

Silver Surfer #14 is a fun, curiosity-inciting, charmingly illustrated comic that should do nothing short of satisfy. I eagerly await the next issue.

Though a bit subdued in this first issue, overall there's only one thing to do: thank Marvel for getting the crew back together and letting us savor more of that sweet Slott and the Allreds Silver Surfer flavor.

Fans of Slapstick from Deadpool & The Mercs for Money (there are a few of you out there, yeah?) or those looking for a fun (though gruesomely comedic), carefree diversion could do worse. I'll be around for Slapstick #2.

The reveal at the end of this issue suggests some awesome things to come though, so pick this one up with tempered expectations and get ready for what will surely be an even better second showing.

Gimme a hell yeah. Kelly, McGuinness and colorist Jason Keith are creators at the top of their game bringing us Spider-Man/Deadpool action that should more than satisfy fans of either character. A big step up from an already impressive first issue. I'm locked in for the ride now.

McGuinness continues to slay on art duty: his character designs, insight of human anatomy (and the multiformity displayed between characters) provocative scene compositions (that Thor entrance, though) and facial expressions/body language are all top-tier stuff and firmly situate this book into "must-buy" territory every month.

And as is custom, artist Ed McGuinness holds his weight and then some. I'm starting to sound like a broken record in my reviews of this series but McGuinness' art is top tier. Kelly gives him plenty to work with this issue — from surrealistic, hellscape imagery to gruesome monstrosities to Deadpool staring in the mirror sans mask with little tufts of blonde hair cropping from his cancer-scarred head — and he nails every aspect. His panel composition, dynamic perspective and broad range of character expressions and anatomies are excellent and combined with Jason Keith's skillful coloring, the ambiance of this issue shifts from despondent to void-like emptiness to ethereal to unnerving in consummate fashion. Simply put, Spider-Man/Deadpool #5 is a visual feast on every single page.

Spider-Man/Deadpool #10 brings top-notch dialogue, excellent character synergy and impressive artwork to the table — but stumbles a bit due to the formulaic outcome and lack of characterization for the villains. Definitely worth a read, but temper your expectations when it comes to sating your curiosity with the “Manstrosity/Patient Zero” storyline.

Force-feeding us Penn and Teller in this issue made about as much sense as Deadpool shaking hands with Alf or the Kool-Aid Man. In fact, the latter might have been even more enjoyable. That being said, I don't actually think Penn Jillette is a bad comic book writer, per se, especially given that it's his first Marvel effort; he just needs something that isn't so self-indulgent to show off his chops (and an editor to tell him “No,” when he decides to actually *be* in the comic he's writing).

That and we're only one issue into 2017 and already we have a qualifier for best Deadpool quote of the year: "I haven't pulled that much metal out of someone since I lifted ol' Grammy Wilson's gold fillings to buy my first gun."

Spider-Man/Deadpool #14 further wrests the characters from their conventional roles and threatens to spin them out of control while retaining all the usual humor, intrigue and fun we've come to expect from the series. Bottom line: when Kelly and McGuinness are together on this top tier title, it's a must buy.

Pick this up if you really like monsters and Shiklah, but temper your expectations when it comes to story progression, character motivation and Deadpool jokes.

Worth a buy for all Spider-fans and certainly worth a look for those on the fence looking to jump in.

Now if you'll excuse me, I'm hitching next transport out of here. And if an irate Wookie asks who reviewed this issue, in the words of Shaggy (pun): "It wasn't me."

Darth Vader #2 switches it up and shines the spotlight on some oft-overlooked abilities from the Sith's impressive skillset. The issue also explores the underlying tragic aspect of Vader's nature but never wallows or makes things too maudlin. Combined with the striking art, Marvel's Darth Vader is a series that is worth a shot for all Star Wars fans, no matter how extensive.

Darth Vader Annual #1 features a tight, action driven narrative bolstered by dark, gritty visuals. The story's over quick and doesn't shake any foundations " but packs a punch. Recommended.

Worth a look as there's plenty of fun and energy within, but those fans of both franchises looking for something more than a bunch of fight scenes strung together might end up feeling a little disappointed.

A little better than last issue as a lot more transpires and there's some key character development for Thanos, but the overarching feel doesn't yet exude "This. Is. Thanos." quite yet. Not to say Aaron can't get us there, but we need to see a bit more from the series than what we've been given thus far.

No, there has only been one thing that has truly galvanized Thanos in his life thus far. He returns home to Titan to find it. Or should that be… well, maybe you should just find out for yourself. 8.0 Simone Bianchi's dark, eerie art once again fits the mood.Feeling a bit more like a befitting Thanos origin comic.Only one issue left in the series — hopefully not too much is crammed into the final one.

Other than that, not much happens in this issue. We've got one issue left and this one is pretty much setting up the return to his home planet of Titan next issue where Thanos will have to face off against his Pa Dukes, A'Lars (who still can't believe Thanos is batshit crazy) and most certainly his grandfather Kronos, as this panel suggests:

There's a reticent Sith warrior becowled in black. A princess named Leia. An Emperor with visions of grandeur. (And Brainiac's forehead, apparently.) A young Darth Vader with a crew cut and a glaring lack of body spanning fourth degree burns. And even" George Lucas on the Keto diet?!

I'm a huge fan of Aaron's epic prose narrative but after so many issues it's starting to wear in certain spots. When every swing of Mjolnir is "bone-rattling and muscle tearing," and Thor keeps swinging "harder than ever before," and we're being bombarded by description after description of "Thor the Father. The Lord of Asgard. Thor the King of Kings," or "Thor the Holy Hero. Champion of the Cosmos" accompanying every panel — the emphaticalness begins to fizzle and starts treading on purple prose territory. The grandiosity keeps with the theme we've had in pretty much every issue in the God Butcher/God Bomb saga but a little more show and less tell wouldn't be so bad. Or as old Thor might say, "Tone it down, lad." 8.0 Great fight sequence between the three Thors and Gorr.Solid art by Esad Ribic as usual.The epic narrative gets a little superfluous at times.

Esad Ribic's artwork continues to shine; crisp, vibrant, and easy on the eyes as always. 9.0 Finally see the end of the Godbomb saga.Solid artwork by Ribic.Aaron started strong and finished strong with his story.Read the spoilers above if you must know. Can't spill the beans here.

Transformers vs. G.I. Joe #4 maintains an exciting pace with tons of action on every page as well as multiple story lines (which can be somewhat confusing). Tom Scioli's artwork continues to shine not only in being unique but also having the ability to evoke the characters' powerful emotions.

Transformers: Deviations #1 is still worth a look, especially to those who'll derive plenty of enjoyment by comparing and contrasting the subtle nuances between it and the Animated Movie — but I think overall the book would have benefited more if Easton had been given more creative freedom. As it stands, this issue of of Transformers: Deviations could probably be more accurately called Transformers: Slight Alterations.

Whether the concept sits well with you is probably going to come down to personal preference and how much of a hard-on you have for Ultra Magnus 

Great artwork and robot design. Intricate, interesting story by James Roberts.Getaway is a funny bastard.You might need to read the dialogue and story over a few times to fully absorb what's going on.A little too much "tell" and not enough "show."

Although Dille was likely the more knowledgeable of the two writers in Cybertron lore, you can feel the impressive world-building scope that Metzen's writing brings to the mix. (The fact that Optimus and Ironhide are even scaling a Grav-Haraan Glacier in the first place is just balla and good fun.) Big players in the Transformers pantheon are making big moves and the writers have already efficiently hammered home the notion that the stakes will be high and Cybertron spanning.

We Are Robin #6 is a great conclusion for this series' first arc. Everything in the story and with the characters comes together in a strong way, leading to an exciting ride and an appropriately somber ending that makes you wonder what the future holds for these characters and the title. I'm more eager than ever to see what comes next, especially with Robin War on the horizon. If you haven't checked out the comic yet, make sure to take a look now.

The issue also ends on a fairly intriguing note and raises questions as to the true nature of Shanhara, the X-O Manowar itself. A good jumping on point for new readers as well. Snag it.

X-O Manowar is nothing short of excellent. Venditti establishes a powerful threat that hits like a megaton bomb and then doesn't let up. If you're an invasion scene junkie or just a fan of well-crafted sci-fi in general, there's no way XO-Manowar #34 won't have you craving more by issue's end.