Shawn Hoklas Comic Reviews

This is by far the my favorite of the 100th Anniversary issues, and it's something that you should experience. If you're not familiar with Stokoe's independent work, this is the perfect entry point into his art with characters that you already are likely to know and enjoy. Stokoe proves that he's a modern legend in the field, and it's exciting to see him back working on Marvel again (he did a story in Strange Tales II in 2010). Stokoe's work isn't plentiful considering the amount of detail that goes into each page, so do yourself a favor and become familiar with his work here. Then seek out his other comics if you like it. You will not regret it.

The issue ends with a short little story at the end, similar to those found in Detective Comics. As mentioned above, I'm glad I gave this issue a try and I'l be back for next issue. I know I'll be pleased with Kuder's art, I'm hoping I can be just as pleased with Pak's characterization of Superman.

Action Comics continues to impress and is a book that's worthy of $3.99 price tag. Although this issue wraps up the current storyline, going back to try and find the previous three issues would be well worth it. With the re-introduction to a long time villain, Kuder's amazing art and a solid story by Greg Pak, Action Comics shows us yet again why this is the Superman book you should be reading if you're going to pick only one.

I was tempted to write this entire review in Bizarro speak as I enjoyed this issue so much. This is a Silver Age book with modern day talents. Pak and Kuder take the craziest ideas of Bizarro and write a serious story that never takes itself too seriously. This book will make you laugh throughout, and will encourage multiple readings to see all the little things that Kuder has hidden within the art. I wish this was a multi-part story as I'd like to stay on Bizarro world for a little longer, but with a new Bizarro book on the horizon, here's hoping they use this issue as inspiration.

To say that I was pleasantly surprised by this book would be an understatement. I'm so on-board with this series and hope that it can continue for the foreseeable future with this creative team at the helm. I've already read this issue twice and plan on reading it one more time before the second issue hits. Who knew an Archie book could be one of my favorite books of the year?!

This continue to be one of my favorite books of this year. If you're not reading this book, do so! It's still only two issues in so you still have time to get on board. You'll be glad you did.

If you lost interest in or gave up on the Age of Ultron series, I would strongly recommend giving this issue a try. Unfortunately like the cover, the numbering of this issue is confusing and misleading and may keep readers away. This issue is all about Hank Pym and Ant-Man and only briefly touches on the storyline that the title is based on. Do yourself a favor and don't judge this book by it's cover. This is a fantastic origin story that provides a new and refreshing direction for this long-standing Marvel character.

Robinson's abrupt switch towards the end feels almost like a different book entirely. If I hadn't read the 1872 Secret Wars title, I'm not sure I would have known that was the time period/world I was reading about. There are no caption boxes to hint at the transition, and seeing Hank Pym in this time period after seeing him in the flashback sequence adds a layer of confusion to a book that read so well in the beginning because of it's simplicity. The concept of this series is strong and I'll be coming back for more because of it, but hopefully we go back to where this issue started and back to the fun of watching robots versus zombies.

It's a slow but enjoyable introduction to this world and it's characters so far. I really have no idea which direction this series will go next and that's exciting, I'm hoping they continue to take their time with this series, making us feel for these two characters that much more.

Despite my not loving this particular issue it's still a solid installment in what has been a great series, and one that I hope will run for quite some time. If you like the Aliens franchise haven't read this series yet, I'd encourage you to do so as you can now find the first collected trade. Although this may not be the best single issue, this series has become one of my favorite Aliens stories and that's saying a lot.

As a whole, the Fire and Stone event has been a fantastic read and this issue of Aliens despite its flaws fits nicely into the overarching story. Most of this issue deals with survival against terrible odds but the quiet moments with Russell stand out the most and provide the most fascinating parts of the story. With only one issue left in this mini-series, it looks as though a lot of the focus will be on Russell and his journey to find answers, and that's an exciting prospect as this mini-series moves towards it's conclusion.

Javier Garcia-Miranda's art is solid for the most part, but like the writing of the characters, at times you can't tell them apart. There's a few panels where you don't know who's talking, and because of the issues mentioned above, it feels generic. His Alien creatures looks good and there's a wonderful scene of a Vampire and Alien fighting at the beginning, but the slow action and focus more on the setup doesn't play to his artistic strengths. I wanted to love this first issue since it has all the ingredients to be successful, but it never gets past the point of being just a cool idea. There's still time for this series to turn around, I just don't think I'm interested enough to find out.

Rick Remender and Stuart Immonen deliver a fun, exciting and wonderful looking first issue that starts a new era for Captain America. Immonen shows just why he could be considered one of Marvel's best pencillers as this heavy on the action first issue allows him to choreograph some intense and exciting action sequences with a last page will leave you wanting more, as it looks as though things are about to get even tougher for Sam. We all know Steve Rogers will be back sooner or later, but for now it's good to know that Sam Wilson and this creative team seem more than capable of delivering some "All-New" stories about this "All New" Captain America. It should be fun while it lasts.

It's too bad that this series has to come to an end to make way for Secret Wars as I thoroughly enjoyed it. I was a huge fan of Remender's Cap series before this, and I honestly think I like this All-New series better. The good news is that this issue ends on a surprising cliffhanger that will lead nicely into a series focusing in on Hydra written by Remender, while the bad news is we won't be getting a monthly Sam Wilson as Cap book for at least a little while. We'll have to settle for following him into the All-New, All-Different Avengers book which I hope does him as much justice as this series has.

Overall, Fear Him is shaping up to be an entertaining story even if it doesn't always feel like a Captain America story. It's fun to see the Scarecrow get some more attention, and Nomad starring in this book gets just as much time as Captain America. Although this was originally released as an Infinite Comic, it works well on the printed page and I'm looking forward to seeing just where this story goes next.

In this issue, Robbie Reyes (Ghost Rider) has a conversation with the Ghost Rider spirit, while Mr. Hyde searches for the stolen contraband that had been taken in the first issue. These drugs give the user the ability to turn into an all powerful monster, which is making Ghost Rider's life a bit more complicated. As far as villains go, this one is a bit lacking, but it's still a fun read and allows writer Felipe Smith time to flesh out this new hero, rather than focusing his time on a villain. I'm so excited for the future of this series and if you haven't already done so, I'd encourage you to check it out. Moore's art, while definitely not "Marvel super-hero standard", is something that deserves a look, and then a few more looks after that.

Although the Fraction and Aja Hawkeye series has yet to wrap up, this All-New Hakeye series doesn't live in that shadow. This first issue is a must read. Ramon Perez is creating artwork that's memorable and powerful, while Lemire is writing a story that is taking two time periods and weaving the effects of the past into the present day. Lemire is showing us how Barton's childhood influences his thought processes in the present, not by forcing the point home through caption boxes, but by using a combination of flashback art sequences and minimal dialogue. The results hit the mark and I have a new must-read series.

So far this was a Jim Hammond story. That'd be fine, but Hammond comes off as dull and the dialogue throughout the issue seems a bit overdramatic. I've liked what Robinson has done in the past so I'll give him the benefit of the doubt and follow this series at least through the first storyline. This is a comic that seems to have fallen prey to "first issue syndrome" and will likely read better when collected into a trade paperback. As the rest of the Invaders take on a bigger role within the story in future issues, I'm hoping Robinson's writing lives up to my high expectations of this series.

Overall this is a solid first issue where we'll get to see David write not only some great super hero dramatics, but also explore how Serval Industries will fit into the larger Marvel Universe. Peter David's writing has always been consistently good, it looks as though he's done it again.

Throughout this issue we also get to see some humorous interactions between Wolverine and Beast, as well as some fun with Cyclops and Iceman. It's a lighthearted issue that gives the reader a breather before the big X-Men crossover starting next month titled Battle of the Atom. Aside from the awkwardness, it's a well written issue that gives these "new" X-Men more depth. Bendis' writing style fits this type of issue perfectly. I'm interested in next month's event and feel that this issue may be the calm before the storm.

I really feel as though this series is the best work of Immonen's career. He is able to put so many characters on page, yet never make the page feel cluttered or tight. Each character is spaced to perfection and the battle scenes are clear to follow. He gives each character their own level of detail, and you can see the effort he puts into each page. That's why the pacing at the end is so disappointing. Immonen had a chance to show us something special, and we just don't get to see it. That complaint doesn't take away from my overall enjoyment of this issue, and this larger story. All-New X-Men continues to be one of Marvel's best titles, and I can't wait to see what's in store for next month's twenty-fifth issue.

Bagley's art is exactly what you'd expect with a cast like this. I was brought back to his lengthy and fantastic Ultimate Spider-Man run, and he makes handling the large cast of characters here look easy. The colors Nolan Woodard uses are bright, but he's still able to make the Blob and some violent scenes involving him look gruesome. The ending of this issue will tie back to the series before Secret Wars so fans jumping on board with this new team may not feel the last page impact, but it did enough to bring me back for at least another issue before I decide if I want to keep reading about this teenage X-Team.

There's also a back up story starring the new "Robin" Duke Thomas who was introduced in We Are Robin. Although I loved the art by Declan Shalvey, the story didn't grab me as of yet, but you can tell that this is just a set up for what's to come. All Star Batman looks as though it will be DC's flagship title and you can see that not only by the creators involved, but also by the quality of the package. This is an oversized issue with a cardstock cover and carries a $4.99 price point so be aware, but I feel it's worth the price after reading this first issue. If you like Snyder & Romita as much as I do, I believe you will too!

Some of the changes Peter has to deal with are played out within the main story, while others are covered in back-up stories, the best of the bunch being the one with Black Cat. Things didn't go well for Black Cat when Peter wasn't in the costume, and now it looks as though things won't go well for Peter now that Black Cat is back in hers. Since Slott also writes this story, you know this will be dealt with soon. There's also a couple of engaging stories by Peter David and Chris Yost that make this over-sized issue worth its price. I would have preferred something else Spider-Man related rather than the full Inhuman number one issue they included, but for those that haven't read it yet it's a smart move by Marvel as a promotional item. Although I'll miss Doc Ock in the Spider-Man costume, I'm excited for this new journey. Welcome back Peter Parker.

Overall, while this annual isn't a must read it's still a fun read. I wouldn't recommend paying the full cover price of $4.99 for this unless you're a Spider-Man completist. Best bet is to watch for this one to show up in the bargain bins at your local comic shop or convention.

The writing isn't bad, despite Parker seeming to be just a bit out of character at times, it's just that the story never seemed all that interesting and the guest starring Santerians didn't have an impact that made their appearance all that worthwhile. Adding to that, Bianchi's art to me isn't a style that's fitting to a character like Spider-Man. His lines are too sharp, and in more than a couple panels, Spidey's head looks off, almost as though Bianchi was trying to conform the mask to Peter's face. I won't be back for future "point" issues in this series and once again, my knowledge and care for the Santerians will remain low.

This is a fun first issue that both Venom and Spider-Man fans should enjoy. Although I hope after this story is over we get back to simplifying Venom, I'll be around for this storyline as I'm currently reading both titles. I'm just hoping I enjoy the rest of the storyline, despite the direction it took at the end, as much as I did this first part.

I can't wait to see what happens next and how Nightcrawler comes back to the X-Universe. This is a fun and nostalgic book, with art that fits that feel and you can see how it all starts with the cover. Another surprisingly well done first X-Men issue"Marvel's X-Universe is on a roll!

This story looks as though it could be one of those classic X-Men tales though with X-Men and Alpha Flight teaming up, Colossus getting back into this team's rotation, and a classic marvel villain. There's a lot to like here as Kyle, Yost and McGuiness look to put the emphasis on action and fun with this Amazing X-Men arc, and fortunately we're just getting started.

Ultimately, despite a solid opening chapter of a story that will hopefully bring back the Juggernaut that most people know and enjoy, the art fell short for me. I'm invested in these characters though, and while the art wasn't necessarily to my liking, I'm confident that Yost can still deliver a fun ride while leaving some of the continuity baggage behind. I for one am ready for the return of the Juggernaut, let's hope Marvel and Yost feel the same way.

American Monster is well done, it truly is. It's just not a story that ever made me want to read more because of the completely unlikable characters that I couldn't make a connection with. I may visit this series again down the road since I love the creators involved, but it may be a while before I return.

That decision also pays off due in large part to Rosanas art. Rosanas is able to capture age realistically and his clean lines make the whole issue look a bit animated, but realistic at the same time. He has a great handle on both body and facial language, and scenes involving both Scott and the Slug are pretty funny since he's able to render the characters so effectively. His pencils are minimal but effective and you can see his strengths in the choice to not include so many lines. What I didn't see coming is the ending, and although it seemed to have come a bit out of nowhere, the prospects for future stories are rich. Although its sad to see this series go, the creators will be back with an all new series starting in October titled, The Astonishing Ant-Man. The last few pages look as though they may lead into the next series despite the world coming to an end… and because of that I'll be back.

Overall, a fun book that can be read by all ages. I'm happy I gave this book a try, and if you're a fan of Cthulu, this is a fun and different take on that mythos.

Overall this first issue does what it needs to do to hook a new reader, it just does so rather quickly, and if you haven't been reading Batman Eternal then these changes in Batman's life and location will seem even more abrupt. This first issue sets up a murder mystery that will have Batman working in a familiar, but drastically different locale and just how this will affect him and those he's closest too. The ending cliffhanger will be reminiscent of story lines that we've seen before in titles like Shadow of the Bat, but it's still a solid setup that has a premise much like the one that this series has been built on for future stories.

Given more time on this title it feels as though Duggan and Crystal could have done so much more. There's potential inside the walls of Arkham Asylum no matter what building it's housed in. Hopefully DC will revisit the Manor again post Convergence, but even if they don't, these six issues provide a wonderful story and excellent art to revisit over and over again. If you happened to miss these issues as they were coming out, do yourself a favor and pick up the trade when it's released as you'll be able to get the whole series in one single volume.

Although it's tough to recommend this single issue, it shouldn't make you stay away from this series. Hickman has a proven track record and this summer's Infinity event looks like it could be something special. Hopefully the plot-lines introduced in this issue will pay off during that storyline, but as a single issue it just didn't satisfy now.

Finally, in regards to the numbering of this issue mentioned above, just for simplicity sake, I wish Marvel would just choose to go one way with the numbering of their series rather than try to please so many. When looking at the cover, it's not only a number 1, but it's Rogue Planet #1? And then when looking at the bottom right hand corner, it's also 024.NOW" As they attempt to gather new readers, that can be confusing. Looking at this month's issue of Uncanny X-Men for example, it's number 015 with a .INH underneath that, short for Inhumanity. Again"just confusing for a new reader looking to jump on board and something that can easily be avoided by simplifying. It's a minor complaint that has no affect on my enjoyment of this issue. Hickman looks to be starting another epic story and I'm eager for the next part.

There's still one issue left in this event so there's time for this to have a really strong conclusion, but it may not be enough to make this story stand alongside recent events like Infinity or Battle of the Atom. This issue, much like the event itself lacks depth which is disappointing considering Remender's work and lead up to this story in Uncanny Avengers. I'll be back for the final installment, but I find myself waiting for this series to end, rather than waiting for the next issue.

Overall, these complaints didn't take away from my overall enjoyment of the title. When looking at the more "B-List" cast and personalities involved, you wouldn't think this title would work as well as it does, but to Humphries and Araujo's credit, they've made them gel together. However,because of the lineup involved, this title could turn into one of thosefan-favorite, butunder appreciated series. Here's hoping that won't be the case.

The art by Matteo Buffagni is a nice fit for the story as well as the characters with his clean, yet detailed line. Spider-Girl looks the age she is, adding to her endearment. Many times younger female characters can look older than they are based on the artist drawing them. Not so here. He's also able to draw the action scenes well, pulling back when the story calls for those great dialogue moments, using some slightly exaggerated facial expressions to sell the scene. Overall, this issue and this storyline has been such a pleasant surprise. I'm now hoping that we'll get to see more of this character as it just goes to show that with the right creator, there's really no such thing as a bad character.

The art by Mark Bagley is solid in its storytelling and does a nice job of keeping it exciting despite the majority of the issue being light on super heroics and costumes. Bagley's tenure with super hero comics shows just how easy he makes a story like this look. I'm not the biggest of Bagley fans, but he's such a solid go-to artist and I appreciate his abilities to tell a clear story with emotion and heart. Avengers Standoff has me interested in what's ahead with Marvels' next event, even though that event feels like it's coming on way too soon.

Hobgoblin is satirical and humorous throughout, but with a darker ending that will leave you guessing just what direction this book will go in. If you're a fan of the villainous and scary Hobgoblin, then this book may turn you off a bit as it's not your typical Goblin/Spidey story. It's a humorous look at the world of branding and marketing with a character who's now even more interesting than he once was. You don't need to be reading Axis to enjoy this tie-in issue, even though it says to in the book's opening page. Shinick and Rodriguez are telling a wonderful story that so for makes me sad it will only be three issues since there are so many great ideas presented, and such wonderful and colorful art to be explored.

Axis: Revolutions isn't a must read, but if you're looking for an entertaining story that ties into Marvel's current event to give you a little more flavor of the world, this third issue will satisfy that need. Both stories although short and quick reads are well done, making this issue the best of the series so far. Even if you were looking to avoid the Axis event and just wanted a solid read with an inverted version of character(s) you enjoy, this issue is more than worth it.

After all these years, I was glad to have finally read about a character I've always had a fondness for from afar. In the next issue preview, it's listed that Tony Akins, whose work I love, will be penciling the next installment. That may bring me back for at least one more issue, but after that second chance we'll have to see. I'm not sure how long I'll stick with this since the writing failed to connect with me in this debut issue.

What we do get in this first issue is a story that's setting up Bat-Mite to have interactions with DC characters and villains that aren't Batman, making Bat-Mite the star rather than the supporting character. This is a character that plays well against the straight-man and no nonsense Batman, and how he stands on his own remains to be seen, but Jurgens did pick a character for next issue that can potentially play that role. I'll be interested to see if this all ages book set in the main DCU can work, but so far I'm not confident it can.

It's great to see Fernando Pasarin handling the art for this issue. His previous work was on the Green Lantern Corps and here he's just as strong. He's able to handle multiple characters on page, and make each character, most being out of costume, look different and unique. The only downside is that Batgirl is not wearing the traditional costume as she feels as though she's not worthy enough to wear the Bat-symbol with all that's happened previously. Having Pasarin on the art chores gives this title a combination of very talented art and writing. Let's hope they're able to bring Batgirl to new heights.

Again, if you're a fan of the 60′s show then you'll be pleased with how this book represents the material it's inspired by. If you were never a fan of the show, or prefer your Batman a bit darker, then this book isn't for you. I don't think this issue was enough to bring me back for issue number two, but it was fun to revisit this Batman who was such a big part of my childhood.

Overall this issue and this series continues to show why it's at the top of the sales charts. There's something special being done with this character by Snyder and Capullo, and this Zero Year storyline is another example why. This is a Batman who's not yet at his best, but this issue proves that Snyder and Capullo are.

This book was entertaining, it's just very difficult to agree with DC's choice to show the Joker's origin. By making us feel for the Joker and trying to give us reasons for his insanity, I feel it actually disservices the character. Although it was well done, it took away from this character and in a way, makes this New 52 Joker less intriguing.

If you're not reading this title, you should be. It is simply one of the best titles being published today"consistently.

Greg Capullo takes an issue off as Dustin Nguyen steps in to handle the art. I'm a fan of Nguyen's art, but at times his portrayal of Batman looked just a bit off, almost too short. It's nitpicky I know, but Batman never comes across as menacing or as dark as he could have. Colorist John Kalisz uses a brighter pallet for this issue's setting that also adds to the lack of fear when Batman appears. Overall though, this is a solid issue that does what it's supposed to do. It gives us a glimpse into the upcoming weekly Batman series, and leaves us eagerly awaiting the next chapter. I just wish we didn't have to wait so long to get there.

Batman number forty delivers an ending that will be talked about for years to come as it truly defines the relationship not only between these two mythical characters, but also the relationship of Snyder and Capullo and their work on this series. While this issue sets the stage for an all new Batman that's been spoiled for months now, the impact and weight of this issue will bring you back to this storyline for multiple re-reads. This is a defining issue in what's been a defining take on the character. It should not be missed.

Those criticisms aside, this is still a strong issue and a strong premiere of an all new Batman. If you we're worried about the way the suit works and functions, don't be. If you were worried about the man under the suit, don't be. If after reading this you still have worries, it will be just how different the two Batmans are from one another. Love him or hate him, Azrael as Batman was much different than Bruce Wayne. So far, Jim Gordon in the suit is too similar to Bruce Wayne in the suit. He's almost too good. Hopefully with new challenges and new villains like the one revealed at the end of this issue, we'll see a more human and more different Batman.

After Fabok's most recent Justice League run, he's probably my favorite artist working in comics today. Throw in a bit more questions and complexities into the DC Universe by writer Tom King, and this issue pretty much hits all my sweet spots. I don't want to go into too much detail about the story as I'd hate to spoil any of its great moments, but I enjoyed the story almost as much as the art and like I mentioned above, while we don't get all the answers, this is only the first part of a much larger story waiting to be told. This storyline will continue on in next week's Flash number twenty-six and I'm sure throughout the rest of this year. Do yourself a favor and buy this issue. There's really a whole lot to like!

Overall, this first issue works for three quarters of the issue. Unfortunately a weaker ending in both storytelling and art style left me not as excited for issue two. Because of the characters involved and the hope for Jae Lee's art throughout, I'll be back for the second issue. I just hope they can finish this first storyline off better than they finished this first issue.

Overall I've seemed to have liked more than I've disliked when it comes to the different titles coming out of DC's Villains Month. I'm hoping that the final week can finish on a high note. If so, I'd consider Villains Month a SUCCESS!

As mentioned above, I was really surprised at just how much I enjoyed this issue. It's got me excited for what's to come and I look forward to seeing what artist Jorge Lucas will do next. Here's hoping it's more Court of Owls stories!

Overall, I would say that if you read the death of Robin in Batman Incorporated, this issue will connect with you. If you haven't, then the emotional ending isn't enough to pick up this issue.

I highly recommend you give this issue a try, but you'll need to read issue twenty-four to enjoy this issue. So far this is a great re-telling of Two-Face's origin, done by one of the DC's best and most underrated creative teams.

As far as story goes, this feels like one of those older Brave and the Bold issues. The meeting between Aquaman and Batman seems convenient, even though the reason for their meeting is a chilling, yet smart idea. This issue doesn't have a whole lot of depth, but serves to move the Hunt for Robin story along while allowing for the partnership to happen. We also get a cameo of next issue's guest star, keeping to the team-up theme that this series has become known for. I'd recommend this issue for the Gleason art, more than I would for the story. This series is usually a must read for both the story and art, so hopefully next issue we'll see each component equally as successful.

Although at first I wasn't a Damian Wayne as Robin fan, the character grew on me over time and when he died, I was a bit sad to see him go. With him coming back now, I'm excited to see the father and son dynamic of Batman and Robin begin again. Tomasi and Gleason have become one of the most talented teams in comics, and I trust that their next chapter of Batman and Robin will be their best yet.

In terms of the art, Batman and Robin Eternal looks great with the pencils of Tony Daniel. There's plenty of story here and Daniel gets quite the workout. Another new villain besides Mother is visually introduced and he looks great, and there's a scene towards the end that's reminiscent of Batman Year Two that is also visually impressive. Batman and Robin Eternal works in both the writing and art and as a first issue, is a must read. Weekly series though tend to change creative teams quite a bit to keep up with the hectic pace so we'll see if it can sustain the quality that this first issue delivers.

On the flip side, and this may be more of a critique of the series itself, the issues leading up to this point haven't been all that enjoyable with appearances by Azrael, Scarecrow and others that have slowed the series' momentum and created a much larger threat that isn't nearly as compelling as the "smaller" story of Harper Row, Cassandra and the series' main antagonist, Mother. As a single issue this was a great read, but it's tough to review this issue on it's own since the weekly releases doesn't allow any easy jumping-on points, and I don't think the past three to six issues have been nearly as strong. I'm hoping that this series can end on a high point and still have some big reveals. Since I'm this far in, I'll be staying till the end, but I don't see this as a series to jump onto in the middle.

The art in this issue was the strongest it's been since Tony Daniel's solo issue five issues back. Scot Eaton, Carlo Pagulayan, Igor Vitorino and Geraldo Borges, each with their own inker all contribute this issue, and each style complimented the other with Eaton's art standing out the most. There's a nice epilogue that has the recently returned Bruce Wayne-Batman interacting with many of the sidekicks that was nice to see, ending the series not only on a high note, but on a happy note as well. I can't say I'm sad to see this weekly series end, but I'm glad it ended so well and look forward to seeing these characters after the rebirth.

Despite the familiar origin story, how Arkham Knight is in the position he's in within the game is still something I'm curious about. I'll be giving the next issue a try to see how the story progresses post origin. I'm usually a fan of most of what Peter Tomasi writes, and I'm interested in seeing more of Borges' art since his work in comics is still rather limited. If you're a fan of the Arkham Knight game and not necessarily the Batman comics, then this should hit the mark for you for multiple reasons. If you're more a fan of the comics and not the game then this may not be for you, unless of course you want to see the Ratcatcher again.

This book is Batman at his finest by some of the best creators working today. If you're a Batman fan, it's an absolutely must read. Even if you take away all the words, this is still an amazing comic book.

I can't recommend this book enough if you're a Batman fan. In each issue of this monthly series, you can always find at least one story that makes the whole issue worth it.

Overall, DC delivers a great start to Batman Eternal. If you haven't been reading Batman since the New 52 launched, this may be the series that brings you in as you don't need to know anything prior in order to jump in and enjoy this first issue. That said, consistency will determine this series' ultimate success, we'll have to see if Batman: Eternal can maintain this level of quality every single week for the next year.

On top of that, although Dan Jurgens provides the layouts for this third issue's art, Mark Irwin's finishes don't positively add to the overall look. You can tell that this is a weekly series with the art, as it looks rushed and inconsistent. These characters have proven in the past that they're unable to hold a series of their own so it's smart for DC to try and shine the spotlight on them in hopes of boosting their popularity and showing how interesting they can be, but unfortunately their efforts are so far going to waste.

Azzarello, Lemire, Jurgens and Giffen are doing their best to try and make this story as cohesive as possible and although there were doubts at the beginning of this series, it looks as though over time they've begun to find their groove together. Frankenstein is investigating the death of the Stormwatch team while Mr. Terrific is learning that he may not be the smartest man on the planet after all. While the art isn't as much to my liking as the art of Batman Eternal, artist Patrick Zircher does an adequate job with the huge roster of characters involved. Overall, this book is getting better with each issue and if it's something you've been staying away from, it may be a book you want to give a second chance to.

This was an exciting finish to one of the larger parts of the Batman Eternal story, and with just a little more over a quarter of the way to go, it feels as though we're heading into the final part. Batman Eternal has built up quite a bit of momentum heading into this issue, and although it concludes quite a bit, there is still a way to go to the end. There's plenty of Batman and Batman related books on the stands right now and Batman Eternal is one of the books a Batman fan should be reading.

Batman Eternal as mentioned above has gone through the good arcs and the bad ones, but thankfully this series seems to be finishing on a high note as the creators have seemed to save the best for last. With just one issue to go in a weekly series that never missed a deadline, I'd say that for the most part this "weekly event" was a success. The last page cliffhanger in this issue is even bigger than the reveal in issue number fifty, and it has me grateful that I won't have to wait long to see how it all wraps up.

The story will travel across Europe over the course of these four issues with Brian Azzarello writing and other artists lined up for the remaining three issues. Because of my lack of love for this first issue, I don't think I'll be back for the rest of this series. I was so excited to see it re-solicited and finally making its way into our hands, but I expected more after waiting 10 years. If you're a fan of anything Jim Lee or Batman, you'll still most likely be giving this a try, just be aware that it may not be either of the two that you're used to.

This issue presents a nice entry point into this series and a great introduction to this long-time villain. Here's hoping that Hurwitz and Maleev can make their next issue as solid as this one.

As far as story goes, a new Man-Bat is attacking Gotham City. We've already seen Kirk Langstrom as Man-Bat and most recently in Detective Comics backups, we've seen his wife become a "Man-Bat", and now someone else within the Langstrom family has taken the formula to use on them self. Regrettably, the story by writer Greg Hurwitz isn't the most original. That's not to say it wasn't entertaining, but yet another Langstrom family member using the serum, well it lacks a bit of creativity. And the ending although a cliffhanger for sure, is one of the most common cliffhangers in comics. That being said, Van Sciver's art more than makes up for the lack of originality in the writing and I'll be following this story into next issue because of it.

This is a comic that should absolutely not be missed. I enjoyed each and every page and because of the surprising cliffhanger, I can't wait for the next issue. Don't miss out on what looks to be another amazing series from Image.

Bitch Planet delivers in every category. There's so much to like and it's just getting started. The creative team on this book have all found a way to have all their contributions create something where the whole is definitely greater than the sum of its parts. I think I know the direction this book is headed in, but because of the twists and turns in this first issue, I'm not so sure and that's exciting. Bitch Planet deserves your time and begs the question, "are you WOMAN enough to survive…"

The first issue of Black Hammer is a fantastic read that did all it needed to do to hook me on the series. It introduces an all new group of heroes that span multiple ages of comics history. Lemire, Ormston and Stewart have created one of my favorite premiere issues of the year so far, right up there with Dark Horse's other solid first issue, Dept. H. I can't recommend this issue enough. It's truly a must read!

The story has me hooked, but the art is truly something special. This combination of artist and painter makes this book stand out. Scalera has a scratchy and dramatic line to his work and his alien landscapes and character designs are just that"alien. The colors on this issue, although not as strong as in the first, are still so well done that each scene and setting have a unique look. Facial expressions are exaggerated, but in a way that further enhances the story. For example, the grin on Grant's boss's face is so exaggerated it ends up looking creepy, which adds to the overall feel of that individual character. This books has so much potential and so much that I'm looking forward to. I can't wait to see what planet or dimension this creative team takes us to next!

Black Widow has had some surprise guest stars over the course of the series including Daredevil, Winter Soldier and now here with the Punisher, but they've always served to advance the story and showcase the character of Black Widow, more than feeling like a guest star there to just bump sales. This series continues to be one of Marvel's stronger titles based on the solid consistency in both the art and writing, and this issue proves it yet again. If you haven't been reading Black Widow and are reading the Punisher, this is the perfect opportunity to give this book a shot. But even if you're not, this book continues to be a title you should be reading and this issue proves yet again just why that is.

The final issue of Black Widow will make it tough to forgive some of Natasha's past work as a spy, but makes the character all that more interesting. Either way you feel, this final issue was a captivating read from beginning to end and made me sad that this may be the last time we see this creative team on the character. For twenty issues they have given us something special, and this will easily go down as the best Black Widow series to date. Edmonson and Noto have ended an excellent series with possibly their best issue yet.

It's nice to see this group of Golden Age characters get the spotlight again and I'm hoping that Warren Ellis can do a good job of building a stronger world for these characters to survive in so another reboot doesn't have to happen in a few years. There's still a lot to be answered after reading this first issue, but Ellis has started this series off slow and is looking to ease readers into this world and its potentially large cast of characters. It will now be a 'wait and see' on whether readers stick around for the story he has to tell.

On the story side we don't know too much yet, but there's a lot of material introduced. The primary plot is the feud between the Whatleys and the Stubbs, but we don't know the whys of the matter just yet. We meet what looks to be the three main characters who all have distinct personalities, and there's a nice balance of time devoted to each of them to allow Bunn to flesh them out, and make each of them likable characters. As more issues are released, this book looks as though it will add a lot of depth and I'll be back to read all about it.

I really enjoyed the art by Piotr Kowalski, but unfortunately his panels didn't always flow from one to another. There were a few times where the action felt as though it was missing some panels, or Kowalski missed the opportunity to lay his pages out differently to tell a clearer story. His full page splashes are wonderful though and the monsters are whet you'd expect from the game. I didn't enjoy Titan's attempt at the Dark Souls comic and dropped it after two issues, but I enjoyed this first issue of Bloodborne much more and plan to be back for at least a few more issues.

I guess this series will be introducing us to a group of new characters in the same way the DC Bloodlines annuals did back in 1993, but except for Eddie whose transformation we see in this first issue, that will have to take place in future issues of this six issue mini series. Although the story of Eddie on his own could have been worthy of reading, the extended cast is full of characters I just don't like and have no desire to read about in future issues. For me this event will be mostly unmemorable, just like the one that preceded it twenty-plus years ago.

The story never gets better from there. Operative Cabbot, BloodStrike's version of Cable, is called in to save Operative Alpha and there's a scene with Bloodwulf that's blatantly excessive just to be excessive. There's cannibalism, decapitations and castrations over the course of this first issue and most of it senseless. If you're a huge fan of Liefeld, you may get some enjoyment out of this first issue, but I'm a fan of his and I found very little to enjoy with this first issue. If Liefeld embraced the satire and poked fun at the 90s style of art and story, I may have enjoyed this more. Unfortunately I think he was trying to be serious with doses of humor thrown in, and it just came off as ridiculous.

This is another strong Valiant debut that feels different than most of what they're publishing, but in a good way. I also have to mention that the cover by Cary Nord is haunting and contains an exceptional logo. With the cardstock cover and the text piece after the story, this book is quality from beginning to end. It is refreshing to see Valiant branching out into things that feel so totally different from what they have done before. I'm looking forward to more!

BOOM! looks to have a hit on their hands with Burning Fields. It's an eight issue series that looks to tackle subjects that are both realistic and timely, as well as horror and evil that's ancient and otherworldly. Burning Fields combines a solid creative team with subject matter that covers a wide range of genres. This first issue surprises in a lot of different ways and I can't wait to read more!

This first issue introduces us to plenty of characters, but the two most interesting are the ones not in costume. The Union Chief/ex hero, as well as the primary investigator John Pierce who seems to be the moral center of the story steal a lot of the scenes and deservedly so. Higgins and Siegel have balanced C.O.W.L.'s heroes and regular people effectively which ultimately make this series all that more interesting. This first issue provides a unique twist on the superhero genre, and gives us an art style that's both fresh and exciting to look at. I'm on board for this all new series and you should be too!

Cable #1 doesn't do a whole lot to give you a backstory for Cable, it instead assumes you have a knowledge of the character and throws you right into the action. If you're a brand new reader to Cable, you may be lost on who Cable is, but I'm a long-time Cable fan and so far I'm lost for different reasons, which is the point. I feel as though I'm traveling through time with Cable and the time jumps have me disoriented, but I'm confident that Robinson and Pacheco will clear everything up"over time of course.

This story is outside of current Marvel continuity, but that doesn't mean you should let this one pass you by. Think of it as standalone and not mired in current Marvel continuity with all the Civil Wars and crossovers. Tartakovsky is a wonderful talent doing a fun and retro take on a character that is getting his well deserved time in the limelight. It is a nod to a simpler time in comics that some people just may not 'get', but if you do, I think you'll definitely Dig It!

Much like the story, Percio's art doesn't impress in the early portion of this issue. His faces look a bit plain and the full page splash of the Caliban ship fails to convey the size and scope of the ship, not to mention that it just looks downright ugly. Towards the latter half though when the horror starts to ramp up, his art becomes a nice fit for the story. The two scenes mentioned above are memorable due to Percio's art and design. If there's more scenes like these throughout this series, then this could turn into a surprise hit. This first issue builds a lot of momentum in the second half that has me interested in seeing where this story goes, and I'm happy I gave this book a chance.

I can't wait to see how this all wraps up and what's next for Cap after this storyline. I'm excited to see Captain America written in this tone and I hope this is just the first epic storyline of more to come.

In regards to the story, there are some nice character moments with Steve as a child as he copes with the loss of his mother, and how those losses relate to those mentioned above. We also get to see how Jet starts to fit into this new world, and B-level villain Nuke shows up which looks as though will lead Cap into his next confrontation. For the most part I enjoyed this issue, but the emotional beats of the story didn't have the effect it was going for and the appearance of Nuke felt as though it was just forced in to move the story along. I was such a fan of the first storyline that I'm on board to see what writer Rick Remender will put Cap through next, I just felt that this issue could have had some stronger emotional moments for all that Cap has been through and lost.

Writer Rick Remender tells a pretty strong story of Jet Black, but it's not very clear if she'll be a hero or villain, or something in between. As she adjusts to this world and interacts with the city and people within, we get some insight into her character and what she values, as well as her motivations. The story ends with a surprising villain that adds more questions to Black's immediate future. If Remender spent a whole issue exploring this character, I hope that this Iron Nail storyline includes her so Remender can keep her development going. This issue was a mixed bag in terms of overall enjoyment. The story was solid even though Captain America didn't appear in the book, but the art wasn't a great fit for me, I'm looking forward to getting Pacheco back on board.

I look forward to issue number two of this all new series because it was a solid debut for a character who has had his fair share of crazy, fun, and outrageous stories. That's what comics are all about. Thank goodness for that!

As much as I love Sale's art and have enjoyed the previous "color" books by these two creators, my enthusiasm for this series has waned. Paying $5.00 for material that I've seen before and a story that wasn't breaking any new ground is a let down, and one that has discouraged me from picking up the rest of this series "off the rack" as they come out. I'll be waiting to see if I can find future issues on the cheap at a future convention since the idea of waiting for the trade seems like I'd be spending way too much money on something I've already paid for twice.

With more time, I'm confident that Waid and Peyer will tie everything together and have it all make sense. But I just didn't like the characters enough to offset the odd choices in storytelling and don't want to wait it out until things start to gel for me. I won't be back for the next issue which is sad since I usually enjoy this creative team.

This new Captain Marvel series is changing quite a few concepts within the Marvel Universe and although seeing changes like Alpha Flight not defending Canada is something I'm not quite sure I like yet, I enjoyed this first issue enough to give the creative team time to answer all my questions over time.

If you're looking for another solid issue in a series that's been enjoyable from issue one, then this issue of Captain Marvel may fill the bill. If you're expecting and hoping this issue will have greater importance in the Civil War II event, then you may be disappointed. This book seems like it's about a month too late in terms of tying into the event and fails to capitalize on Carol Danvers' importance to Marvel's future"but"it's still an enjoyable sixth issue that could have been better if released alongside or right before the first issue of Civil War II.

Readers looking for a satisfying end to this series may be frustrated and may need to find closure within the main Secret Wars title. This certainly isn't the only Secret War tie-in mini-series that lacks closure in its final issue. Despite the conclusion to this series on the final page, it still delivers an exciting action-packed story and I think it is one of the best series taking place within Battleworld. Now I'm interested to see what I missed with Captain Marvel before Secret Wars.

I usually enjoy Mike Perkins' art, but here his pencils lacked polish. After a strong opening, the scene quickly changed to the mine and character faces and Carnage himself lack detail, and in some cases just look off. Colorist Andy Troy does a great job of setting the mood with a dark palette, but the pencils just missed the mark for me. This story looks to be taking a darker turn next issue and has the potential for a scarier second act. Despite my lack of love for the art, I'd still recommend this if you're a fan of Carnage and the symbiotes.

Although this issue borrows heavily from the Aliens movie especially towards the end, I still enjoyed it and the way Conway and Perkins are approaching this series. I didn't expect this series to be so good, but it has exceeded my expectations because I love all the nods to Marvel's more supernatural past. Not only that but the covers by Mike Del Mundo leave a lasting impression on me, especially the cover to this issue which may be my favorite of the run. If you're not reading Carnage and like Marvel's supernatural side, you may want to reconsider your choice not to. Conway has a handle on the character and is taking him places you wouldn't expect. I can't wait to see where he takes him next!

If you're a fan of the Ultimate Universe then this will be a solid read with some nice character moments with the Vision. If you're going to just jump on board for what may be the last Ultimate Universe mini-series, then you don't need to read this issue as not much changes from the end of Hunger, to the end of this issue.

It's always exciting to see new creators having a passion for creating comics, but even though there's promise to the creator's work, this first issue didn't leave me eagerly awaiting the second issue. I got the sense that there's passion here, especially in the artwork that has yet to be refined. There's some cleverly created characters and an obvious desire on the part of the creators to see their work get out into the hands of readers. Although I had problems with this first issue, I'll periodically check back to see what else comes out from this young comics studio. If you like checking out new creators and smaller independent companies, this issue is available through sites like comicsfix.com or by visiting the Second Sight Facebook page.

Chrononauts is attempting to simplify the complexity of time travel by highlighting the comedic and lighthearted feel of the relationship between the two doctors. In it's simplicity to appeal to everyone, the story falls a bit flat and into all too familiar territory. It's not a bad story, it's just that it doesn't really present anything new or different. Fortunately though, Sean Murphy more than makes up for it with his magnificent pencils. I'll be back for next issue because of Murphy and I'm hoping that Millar's writing provides a future where both the art and the writing are equally as strong.

Although I enjoyed the Nick Fury story, I didn't enjoy it enough to continue purchasing this anthology book. Depending on the characters starring in future issues, I may come back to it if I can find them on the cheap, but spending $4.99 on one out of three stories that I enjoyed gives me little desire to return.

This Civil War series is so far one of my favorites of the Secret Wars event, and that's saying a lot since there's so many great series to enjoy. There's plenty of call backs to the original event that are played out here, but on a smaller scale yet at that the same time, this mini series also feels as though it's just as big as the original. Soule and Yu are both in sync with one another as they come to the halfway point of the series and I'm looking forward to what looks to be even better second half.

Civil War #0 delivers twenty-three pages for $4.99. There's nothing more that I'm used to seeing in previous books that cost the extra $1. No card-stock cover, no thirty-plus pages of story, no extras or reprints of the original Civil War series"and for those reasons alone I could not recommend this zero issue. If anything, read the "Free Comic Book Day" issue of Civil War II to provide a better and obviously more valued reading experience. Also, when comparing this issue against the "Free Comic Book Day" issue, this zero issue provides context but doesn't seem as required to enjoy what's ahead. Civil War II number zero isn't a bad comic, it's just not nearly worth the price of admission and has actually diminished my excitement for what's to come in this event as opposed to building it up.

Unfortunately, the confrontation between Danvers and Stark feels much too short as writer Brian Michael Bendis spends too much time with Ulysses' trip to the future and an underwhelming meeting between Captain America and Spider-Man. Ultimately, this issue fails to deliver until the final pages and while it looks as though the upcoming final issue may give us plenty of the missing details to questions we already know, I've lost much of the motivation to care. To me this event has gone on much too long and at $4.99 per issue, the extra issue stings just a bit more. I'm hoping for an amazing conclusion that can get me excited for the current series coming out now, and although I enjoy Sorrentino's art, hopefully David Marquez can deliver a conclusion that's exciting and memorable.

Since the events of issue three, this issue actually felt as though it's required reading. Because of that and the entertaining story, I'd recommend this tie-in to the overall Civil War II event. Plenty of tie-ins, especially with Marvel events, fail to meet that "required reading" check box, but this one does. It answers the question of Hawkeye's trial and offers insight into the minds of the killer and prosecutor despite them both being heroes and friends. If you're reading Civil War II, then make sure to read this.

When the protagonist heads to a local bar, we see more of the horror themes that Craven promised when he came up with the concept of "A Vampire, a Werewolf and a Zombie walk into a bar"" as we meet all three by the end of this issue. That's the concept for this series, but it's a better as a concept than is realized in the actual story. Coming of Rage is planned for a five issue series, but I'm afraid that I won't be back for the remainder. If the idea of this series is to see what happens when a vampire, a werewolf and a zombie walk into a bar, I'm no longer interested in finding out.

The highlight of this issue was the art. Guest artist Beni Lobel stood out to me as an artist to watch. His art has a Ryan Sook sort of feel and I really enjoyed his style on all the different characters he had to include within this issue. I wasn't familiar with his work prior to reading this issue, and since he's a guest artist I'll have to see where he shows up next. I'm not dismissing Constantine in the proper DCU just yet, but seeing him outside of the Vertigo Universe hasn't enriched this longtime status as a fan favorite character. I'm hoping that given more time moving him into the DCU will end up being the right choice.

All in all Convergence number zero wasn't all that I hoped it would be in terms of storytelling, but the art as well as some interesting ideas make it worth the read especially since it's leading into such a line wide event. The interesting ideas introduced are unfortunately stronger than the way their presented throughout the story. Longtime DC fans like myself will love seeing all the interpretations of Brainiac, but new readers looking to jump on in may be left scratching their heads and wondering if they really need to jump in just yet.

Carlo Pagulayan's pencils are strong in this issue despite the lackluster setting and world the group of Earth 2 heroes are trapped within. Pagulayan has to draw a lot of different characters and he makes it look easy, but despite the art it's never enough to make up for writing. When DC announced this series I questioned the choice of newcomer to the world of comics Jeff King, and so far it looks as though I was justified in those concerns. I'm holding out hope that this series still has time to turn around, but this is one event where the main series is the weakest point of the line-wide event.

The changes Convergence makes comes at the cost of essentially rewriting what is arguably one of DC's most important, if not the most important event in their publishing history. I won't go into spoiler territory here, but DC seems to have acknowledged their confusing publishing history, especially over the past ten years and in one way has made it even more confusing, while in another, has made it much simpler. Convergence number eight is a story that can be debated, discussed and dissected which is what an event should ultimately do to drive interest. It's now up to each individual reader to see how they feel about the change, and where these changes will take us in the future.

If you picked up the first issue of this series and were waiting to see what happened, this issue will most certainly be a let down. So much more could have been done when you take a team of characters like Wetworks and Azrael and pit them against each other. It could have been a violent, dark and action packed story that is of it's time. Instead, it reads like any other superhero book with some heavy handed dialogue. The idea behind Convergence is a good one, taking a version of heroes and villains throughout DC's rich history and have them face off. This issue does that, but does so without embracing what made these characters so popular at the time.

Kelly Jones is such a perfect artist for a character like this. Although he's always been great on his extensive work on Batman, it's wonderful to see him on a character like Swamp Thing as he uses the shadows and blacks to perfection, while colorist Michelle Madsen uses eerie hues of greens and browns to give the character and "the green" such life. Not only is this one of the best written stories in all of the Convergence tie-ins, it's for sure the best looking with the Lee Weeks issue of Superman not too far behind. This is a two issue series that can be enjoyed all on its own with just a minimal understanding of what's happened in Convergence so far so the entry point for a new reader is simple. I'd encourage you to pick this issue up to see a creator head back to his original creation as he partners with an artist in Kelley Jones who like Bernie Wrightson before him, seems as though he was born to draw the original "thing" from the Swamp!

Godlewski's art is a pleasure to look at and he does a great job of designing the all the different alien races we meet. He also nicely balances the alien and futuristic, while setting that against the "old" western background. The only issue I had with the art is that the world didn't feel as crowded as a spaceport like this should feel. The backgrounds feel sparse and doesn't feel as busy or in some panels, as alien as it should. Overall though, this is a strong start to a book that should have a bright future considering the success that Faerber has had in the past with previous series like Dynamo 5 and Noble Causes. Copperhead is another solid premiere issue exploring a genre in comics that's currently underused.

Artist Christian Zanier does a fine job with the art. At times his characters can look different from one page to the next, but his art is able to tell the story and tell it well. It will be interesting to see how his art style fits the over the top violence that this book is known for, but for right now his art works. I'm happy to say that this issue surprised me in it's ability to put story first, rather than the shock value of crazy grotesque situations. We'll see if Ennis can make the origin of the Crossed compelling enough to bring me back for the next six installments. Based on this first part I'll be along for the ride.

Lee Loughridge opens the story with deep and powerful reds where the story takes place in the future. Heavy blues and purples define the love story, while browns and slightly messy colors define the story in Afghanistan. It all works and although Loughridge's colors are the star of the show, the rest of the colors all do a great job of defining the world and timeframes of Cry Havoc. Ryan Kelly's art is just as great as the colors, and his artistic style changes enough for each timeline that you'd almost think there's multiple artists on the book. I haven't even mentioned the design, the logo (chaotically inverting the A and V in Havoc) and the cover of the book, but these are all as wonderful as the story itself. Cry Havoc kicks off 2016 with an amazing start and I can't wait to read this book throughout the rest of the year.

Despite some confusion regarding Cyborg's most recent past, Walker does a nice job throughout this first issue of balancing the "man in the machine" theme as Vic Stone deals with his evolving powers, as well as his strained relationship with his father. Cyborg number one seems like a long time coming for a character that DC wants to be front and center within the DCU. So far it seems as though they're on the right path by putting one of, if not their best artists on the book. Let's hope that Cyborg gets a long and successful run as he has so much potential and promise.

The three different art finishers with an additional three different inkers gave the book slightly different styles every couple pages, which was distracting. Also, the last page of this story gave me cause for concern that the changes to Cyborg will change one of the key characteristics that define him. I'm sure Walker has a plan for Vic going forward, and while it may end up not be something that I want to read, I'm willing to give the series a couple more issues to see.

A key reason I left Cyborg the first time was because of the numerous art changes and there's plenty of them again not only in this series, but in this issue! With five issues of Cyborg, we've had five different artists on the book. Paul Pelletier kicked off the series with the first two issues, then with each subsequent issue it has been a different artist with this fifth issue having two artists, Allan Jefferson and Derec Donovan. While Jefferson's art works for this book and the first half, Donovan's art in the second half really misses the tone with its cartoony and blocky style. It ends the book on a low note for me as the art does not match the dark and climactic ending. I'm not sure if Cyborg will stay on my reading list. I hope it does, but with all the changes in art and character I'm not very confident.

The third story is a fun one about one of the more quirkier moments in Daredevil's past, his alter ego/twin brother Mike Murdock. Karl Kesel and Tom Palmer have a little fun with the character and end the issue on a fun and happy note. It's here that I thought more could have been done by going a deeper into Daredevil's past to explore the future. Out of all the names on the cover of this issue, only a small handful, mostly from Daredevil's relatively recent past get the chance to contribute. The stories inside are so well done, but I wanted more. It's great to see this possible future for Daredevil, and I'm so excited to take the journey to get there.

There's definitely a lot to absorb here and readers unfamiliar with DC's history may be lost in the second half of this issue. But for fans of everything mentioned above, this, like the two issues that preceded it was a joy to read. My only complaint would be the cover. While I enjoy the metallic sheen, which when compared to Marvel's Generations event (also priced at $4.99) is a nice bonus, the actual cover design and logo falls flat for me. But after all, it's what's inside the comic that counts and I found every page, including the last page shocker to be worth every single penny!

Overall, this first issue of Dark Souls was a disappointment to me and if it wasn't for me being such a huge fan of the series, I wouldn't be back for a second issue. I'm going to give this series one more try, but much like the game I'm scared of what might come next.

This was a fitting tribute for Jack Kirby's 100th birthday and in a one-page letter that closes the isseu, Mark Evanier provides a bit more insight into Darkseid that I really enjoyed reading. He tells a cute story of why some fans may get confused with the pronunciation of Darkseid, and shows just what type of guy Jack really was. I think you definitely get your money's worth with this issue and think DC saved the best for last with this issue that capped off the month long celebration of Jack's 100th!

If you're not familiar with these characters that's ok, the creative team on this book does a great job through both the writing and the art to give you everything you need to enjoy this first issue.

The story within is basically the tale of homeless teenager Marcus Arguella who is struggling to stay alive while living on the streets. The story is told from his point of view, and we're able to witness his tragic and sad story throughout multiple months in the year 1987. Remender makes you feel for this new character, while also adding some mystery and intrigue to his "origin". Although a major sequence of the story feels a bit dramatic and exaggerated, Im hoping the cause of that exaggeration is tied to the mystery. Remender and team give you your money's worth in this issue with over thirty pages, ending in a cliffhanger that leaves you wanting more. As Remender fleshes out the supporting cast, this series should start to get even stronger. Remender rarely disappoints, and combined with the work of Craig and Loughridge, I can only see this book getting better and better as months go by.

Unfortunately this first issue didn't grab me. Hopefully this book can turn it around quickly as Shang-Chi has proven that he can hold a series on his own in the past. Mike Benson needs to build the series on the core of the character and not rely on touchbacks to old stories that are not easily available to modern readers. The art needs to significantly improve if this is going to survive as an ongoing concern and not just be a throwaway 4 issue mini-series. Nothing here made me think that this is a "must read" comic. This does not live up to the high standards of the original series and unfortunately does not stand well on it's own either.

If the story was fun and entertaining then I may not have noticed all the errors and artistic shortcuts as much, but because the story failed to deliver for me I found myself looking more for these errors then I did just enjoying the art for what it is. Liefeld has never been a student of anatomy, but I still loved his work. Here, while there were certainly scenes and pages that captured that nostalgic feel for me, there were too many glaring mistakes in the art. I'd be more OK and accepting if this was a $3.99 book, but this OGN is $25, and for that price it made me feel bad about my purchase. Even if you love Liefeld's work and Deadpool, I'd still stay away from this unless you're getting it heavily discounted. For sure there are scenes and pages that will make you smile, but the uninteresting story and minimalist nature of the art may make you regret this comparatively expensive purchase as much as I did.

This new Deathlok series is off to a nice start and this second issue is stronger than the first with it's balance of action and everyday life. Edmondson and Perkins seem to have a real feel for the character and luckily for us, are just getting started. Although Luther Manning will always be "the" Deathlok, this new iteration of the character can potentially, given more time, stand side by side with the original.

As far as story goes, there isn't a whole lot new in terms of ideas. Deathstroke is given an assassination job, much like the ones he's had plenty of times before that lead him into a setup that becomes a little more than expected and also more then he can handle. It's pretty common for assassin or hit-man stories to have this type of formula, but that doesn't mean it's bad. I was still excited to read the story as it led to it's surprising and crazy cliffhanger, that will hopefully not lead to a permanent change for the character. The idea behind the story won't win any awards for originality, but it executes on what it sets out to do, and that's to show how lethal and violent a character with the name Deathstroke the Terminator can ultimately be.

For readers who may not be familiar with the Wrath, this issue should get you excited for what comes next. For those readers who are, the backup story may be a better reason to keep following this storyline. Overall, the introduction of the Wrath works, it's just a little too obvious in the way it does so.

Aaron Lopresti handles the art as regular artist Jason Fabok most likely leaves to begin his work on the upcoming weekly Batman Eternal series. Lopresti's art works for the story, but his lines looks much more angled and sharp than they have in the past. He's got a couple really nice splash pages within, including a nice double-page spread where Batman resembles Hannibal Lecter. Overall this issue is a fun read, but not something we haven't seen before. There's been plenty of "Batman locked up in Arkham" stories preceding this one, so it will be interesting to see if the rest of this story arc can provide us with something that's new and unique.

As mentioned above, the art works really well and is an exciting change to the character. Manapul makes Gotham dark, but not so dark as to feel depressing. The opening page welcomes you to Gotham with a view from a pier, with the sun shining and birds being fed. The next page is a beautiful two page spread with Batman swinging through the city with the caption, "It's a new start". It does feel like a new start throughout this issue. It doesn't always work, but it's a fresh take on Detective Comics and I look forward to reading more.

Blanco's art has its moments as he captures Bullock and Gotham so well. On the flip side, Gordon looks extremely young which detracts from the realism presented in his actions and body language, and there's another cop who's drawn later in the issue that looks exactly like Scarlett Johansson, which took me right out of the story. Overall this issue has it's highs and low points which gives the book an inconsistent feel, and left me questioning what kind of book it's ultimately trying to be. I'm hoping for a GCPD book with a little bit of Batman sprinkled throughout but after the last page, I feel as though it's headed in the opposite direction.

The second and shorter part of this issue is called the "11 Curious Cases of Batman" and has eleven different pin-ups that tell a story referencing eleven covers from Detective Comics' past like issue 50, Norm Breyfogle's cover from 602, and Michael Kaluta's cover from 427. I loved the art and was able to pick out each of the covers it was referencing, but I also felt there could have been more information as to why these particular covers were chosen. Why, for example, was Frazer Irving drawing a recreation of Detective Comics number 70? A bit more context would have been appreciated even though I loved the story and the idea to use these covers to tell a story. I'm now curious to see if this is happening across all the other "50th issues", because if so, I'd be more inclined to pick them up and see what other artists have come up with to pay homage to these character's past.

The story in Divinity #0 is solid, but it's more of seeing how Divinity feels about each character he's had a run in with in the past. So, in a way, it does feel like a zero issue. It's meant to define the character and show you what makes him tick. Divinity's meeting with Ninjak for example not only shows what Divinity is thinking, but also does a great job of showing just how cool Ninjak is, a character who also happens to be written by Kindt. The end has a nice surprise and gives us a sneak peek at the next Divinity mini series which I'm really excited about. I'd definitely recommend this zero issue for the art alone, but Kindt does a really nice job of showing how this all powerful hero thinks and feels about all the major players within the Valiant Universe.

I would have liked to have seen Aaron make Strange a bit more eccentric and unique. Strange, from his very first appearance has always been cocky and conceited and here he's portrayed as that to a certain degree as well as a womanizer, but never all that different from one who's seen as much as he has. If you took out the "magical" parts of his internal monologue, I don't think you'd be able to tell it's Strange as opposed to Tony Stark, or some other hero. Not only that, but we also have no idea how he's here considering the role he's played in the Marvel Universe pre and post Secret Wars. Aaron is more than capable of writing a Dr. Strange that's well, just a bit more strange, and I'm hoping that more time will allow him to differentiate the Doctor and give him a unique personality all his own.

Doctor Strange: The Last Days of Magic has some great stories, but $5.99 is a hefty price tag to get over psychologically, even though we regularly pay $3.99 for 22 pages and here we get forty-five pages. I was entertained but other readers may find the price a bit too steep, especially since this isn't necessarily "required reading" to enjoy the main Doctor Strange series. Is this worth the price? To me yes, since I order these with a hefty discount on-line, but I'd have a hard time shelling out the the full $6 at the shop and would probably try to find it cheaper at a later date if faced with paying full price.

There's a lot of creative and original ideas presented here, but at the same time, for a city that's made up solely of dreams you'd almost expect a bit more. While the "Nightmares" in the book are creepy and mysterious, the world as a whole doesn't seem creative enough. Artist Sid Kotian does a great job of telling the story through his panel work and designs, but I wish he'd take it further. The Dreamscape resembles a real city far too often. While there are glimpses of something more surreal and unearthly to the backgrounds, it just doesn't feel as though it's enough. It's only the first issue though and like I said at the beginning, there's a lot of potential for this world. I trust Straczynski has a plan for this series and I'm looking forward to seeing more. And with the last page twist, it seems as though there's a lot more story to tell.

With more time will come more answers, but for now the art is truly driving this story and is reason enough for the confused reader to come back and find the answers to the multiple questions introduced in this opening issue. This is a creative team that has proven they're more than capable of solid and entertaining storytelling, and I'm confident they'll be able to get this on track and deliver with Drifter.

Finally in regards to the story, and this may be because I have not followed World's Finest, I wasn't really sure what was going on. Desaad is feeding off the fear and emotions of others, and he's after a tunneler into different worlds. He's also investigating a comic book artist, for reasons I'm just not clear on. Overall, although I will admit I was lost for not reading World's Finest, I didn't expect to be lost as I HAVE been reading Earth 2. I wanted to like this issue as I'm a fan of this character from the old DC, but regrettably this book didn't give me anything to enjoy. And honestly, this book should have been titled World's Finest. I'm not really sure why it wasn't"

The highlight of this issue is Superman's battle with the Atom. It works as well as it does because Nicola Scott choreographs the scene to perfection, zooming in and out with each panel to tell the story. I hope she'll be staying on this book for the foreseeable future as she and Taylor are the real dynamic duo of Earth 2. If you've stayed away from this book in the past because it was not the main Earth continuity of the majority of DC's New52 titles, or if you left after Robinson departed the title, I'd encourage you to give this book another chance. This is quickly becoming one of my favorite DC books.

DC has consistently taken this type of multi-creator approach to their over-sized first issues and weekly series, and at times it pays off like this one did with the art, but because of the amount of characters and story lines presented, this one failed to hit the mark with me on story content, which is disappointing considering how strong I've felt the main Earth 2 series has been. This is a series that can benefit in future if they don't try to fit every Earth 2 character into one issue. Allowing single characters time to shine so readers can become invested in them would be a smart path to follow, in my opinion.

I've enjoyed this series up till now, but this issue, despite the big villain on the cover doesn't read well. There was just too much going on and when comparing this to DC's other weekly series Batman Eternal that has a more focused feel, this series did not measure up. I'll be back for the next issue as Darkseid seems like he'll get more time. I'm hoping that this series doesn't end up the same way the Future's End series did, and that one is now off my buying list.

Overall, the beautiful art isn't enough for me to recommend this issue. Given more time and future issues, Dustin Weaver may have been able to be more patient, slowly building this character up, allowing him to capture the reader's respect and attention. Instead, Weaver throws a lot at the reader and doesn't allow any one idea or concept to really connect. Weaver's art is beautiful throughout, packing the pages full of detail, but unfortunately his writing fell short for me and at the end of this third issue I wasn't connected with this version of Spider-Man.

Unfortunately the first issue of Venomverse missed the mark for me although I did enjoy Roland Boschi's art. Edge of Venomverse is a five issue series, followed by another five issue series called simply Venomverse that I assume will team all these characters up, with a one-shot thrown in between the two series. That's quite the investment for an event that so far, hasn't hooked me. I'm hoping later issues will turn my excitement around.

Writer Stuart Moore takes the idea of a superhero team and spins it in his own creative direction. The main character Deuce and his wife are putting together a group of superheroes that could compare to DC's Legion of Superheroes. As they put together this new team of heroes, there's a lot of story underneath the shiny exterior of this new team. Deuce is not exactly what he seems, there's a girl on a dead planet that feels the call of this new EGO team, and there's a super villain galaxy called the Masse who's killing off the old team. A lot of ideas are presented in this first issue and I'm on-board for what's coming next. Image can potentially have another hit on their hands with this title, assuming all these ideas can come together.

Dark Horse seems to have a hit on their hands with this new science fiction/time travel series. Not only is the art and writing top notch, but the use of color to define the overall look and structure of the book is a creative tool that's used to perfection. For me, Ei8ht may be my favorite new series of 2015 and I can't wait to see what comes next. Ei8ht feels original and unique as colors not only fill in the beautiful lines, but also play a foundational role in the storytelling.

As this third issue comes to its conclusion, the ending seems a bit abrupt and surprising, but Blackman has earned my trust to follow up on that ending in the next issue. If you haven't been an Elektra fan in the past, this new series will do it's best to convert you, this series is something special. The art is something that can be enjoyed whether you're a fan of Elektra or not. So many comics tend to blend together with a certain feeling of sameness, this Elektra series is not like any other book on the stands and that is something to applaud. Give it a look next time you're in the comic shop.

My only complaint with Empress #1 is the speed at which the story read. Although entertaining with art that's beautiful, this issue was over all too quickly. At $3.99 it was tough for me to feel as though I got my full money's worth without any extras; letters page, sketches, text feature, etc. With this being a creator owned book, it would have been nice to see some of the creative process involved instead of a preview for Jupiter's Legacy 2. Empress is an exciting first issue that I've come to expect from talents like Millar and Immonen. While I don't feel strongly enough about this to read it monthly at $3.99 a pop, I will be back for the collected edition.

Ultimately, Epochalypse read and felt to me as though it was a big budget movie without any great or meaningful performances, which is disappointing considering the talents behind the creation. It failed to make me care about anything beyond the concept. Given more time and more issues there may be more to come come back for, but this first issue didn't give me enough to want to revisit this world again. That's a failure for me in a first issue. A #1 needs to set up characters and a world that I care about and want to revisit, an interesting concept is not enough by itself to get me to come back.

Fantastic Four continues to tell done-in-one stories that can be picked up and enjoyed without having to understand all that's come before. That's a rarity in today's market. Writer Matt Fraction continues to give us single issue stories that can stand on their own and this one is no different.

If you're a fan of Fantomex, then seeing him in his own series may be what you've been asking for. It just wasn't the version of Fantomex I wanted.

The preview pages for Starlin's graphic novel called Infinity Revelation is a smart move by Marvel by putting the attention on Thanos, who fits so well into the cosmic side of the Marvel Universe. The book is due out in August so the timing is right. The inclusion of the Spider-Man preview did have me questioning Marvel's decision to include it in this issue. There's little relation to the other two stories, and although the story will continue on in a series called Spider-verse, that won't be releasing until November. Marvel could have focused on their cosmic characters throughout the entire issue, but by spreading their focus too thin the overall package suffered.

This is a great setup issue issue as DC uses the entire issue to tell the story. At times FCBD comics will be light on new content, or just have previews of pages that will appear in the upcoming main title. Here DC gives us a complete package; although there are plenty of writers and artists splitting up the workload. Ethan Van Sciver, Aaron Lopresti, Dan Jurgens, Brian Azzarello, Jeff Lemire and plenty more all have credits in this issue. The writing seems fluid and natural, but the art suffers from frequent switching between the many inconsistent styles throughout the issue. That being said, it's free so I shouldn't complain too much! Future's End is a complete and important story that does what it needs to do by providing a hook for potential readers and will hopefully get many fans interested in reading the upcoming weekly series. I know that I, for one, am hooked; I'll be onboard weekly!

If you're like me and you parted ways with the Flash during the New 521, now is the time to give the book a chance to reconnect with you. The title seems to be in great hands with Joshua Williamson and Flash seems to be playing a huge role in DC's larger Rebirth storyline. You might want to race to the shop before this issue disappears in a flash, leaving only the inevitable reprints!

Most of this first issue is spent getting to know the current Foolkiller, Greg Salinger. Greg is a psychotherapist who is counseling a troubled youth who was modeling himself after the Red Skull. Through Greg's internal monologue we get to know his own internal struggles as he's coming to grips with his new life, and the challenge of keeping his old life as Foolkiller at bay. The writing and art compliment each other quite well and the ending had me guessing about just where this book is headed next. Because of the current Deadpool series and my dislike for Solo, I was about to pass this series by. Thank goodness I didn't, this is a series I'll continue to follow"I mean, I'd be a fool if I didn't!

I am on board for this series due to the story and the setup that Geoff Johns has delivered. Although the book isn't the prettiest to look at, Geoff Johns rarely misses the mark with me and I'm hoping he won't here.

Writer Geoff Johns ultimately delivers a pretty solid issue in terms of the writing, but there's a lot of story still left to be told. We're just about half way through the series and so far Forever Evil has been good, not great. But because there's so much story still waiting to be told, I'm confident that Johns will deliver.

I've reviewed two earlier issues of this series so I don't have too much more to say about the art that hasn't been said before. But the art in this issue, and in this series remains inconsistent. Some pages are great, while others are kind of a mess. Proportions are off, especially in the hands on quite a few pages. If you look at the backgrounds you'll notice that they're as sparse as can be. At the same time there's a great two page splash of the batcave, and Finch's Batman always looks dark and dramatic. Overall the art continues to be the weak spot of this series. For the most part I'm enjoying what I'm reading and I'm looking to forward to what's coming up, especially with the last page cliffhanger. Johns is writing an entertaining event that's enjoyable and fun, despite the inconsistent art.

I've already expressed my opinions on Finch's art in previous reviews of this series. Not much different here as his characters and backgrounds are really lacking a clean and distinct line. Finch can definitely draw some great action scenes, but that action looks muddied and rough. This series hasn't been the prettiest to look at, but because of Johns' writing I've still been thoroughly entertained. I'm looking forward to this series concluding next month as Johns has still left one big question still left unanswered. I can't wait to see just who's on the other side of the red skies that has chased the Crime Syndicate to the DC proper earth, and see what Johns has in store for the DC Universe post Forever Evil.

No less than seven story ideas are introduced, or wrapped up, at the end of this issue. Most of these story ideas hint at exciting possibilities, but if Johns isn't the writer then it's a bit worrisome about how they'll be handled in other creator's hands. The pacing of this issue really picks up towards the end as Johns tries to wrap up so many character's journeys and at times it feels rushed. All together, Forever Evil has been an enjoyable event and despite the delay on this issue the conclusion delivers, and the ending of this issue has me hopeful for an exciting future.

This is not a required read to enjoy the Forever Evil event, but it's shaping up to be a fun series that may further define the Rogues' place and impact in the New 52. I'm hoping that this creative team can build on the momentum of this issue as after reading this one, I'll be back for the rest.

Is it a big throw down issue"yes, but Buccellato makes sure that you're rooting for the Rogues. Although they're criminals, they still fight with honor and for what they feel is right. Mirror Master is fighting for his one true love while he copes with self doubt, the Trickster is fighting for revenge, and the Pied Piper for Justice. They're not typical villains and within this series you come to understand just how atypical they are.

Although we don't get to see too much of the Generation Zero heroes, Keisha's journey to discover what happened to her boyfriend was enough to get me hooked and the art by Francis Portela is fantastic. His character designs are realistic and grounded, but he still throws in some crazy designs towards the end that shows that this book will keep me guessing on what's coming next, not only in terms of the writing, but artistically as well, much like Van Lente's previous TimeWalker series. Generation Zero looks to be so far, another hit for Valiant and as I get caught up on the rest of their line, I can see this book continuing to head towards the top of the stack.

This meeting between younger and older Jean Grey takes a while to build up its momentum. Silva's art makes the most of the downtime with plenty of panels and different page layouts that kept me entertained. Ultimately though, this is a $4.99 book so you have to decide if this is something that you really want to read. Is it entertaining? Yes. Is it required reading for X-Men fans or for people who just want to know what's ahead for Marvel? I don't think so. I enjoyed this issue, but so far after two of the Generations one-shots, I'm regretting the choice of pre-ordering them all. I may have been better off finding these in a bargain bin at an upcoming convention, I'm sure they'll be in those bargain bins within the next year.

I'm interested to see more of the characters, and especially more of the mansion and it's previous owners explored further. Image continues to put out some great new series, and this one is no exception.

Sears' and Raney's art is strong throughout and Sears' style in particular is more reminiscent of his Crossgen work on The Path, than it was of his work on Brute and Babe, although there are a few hints of that style as well. I didn't come away from this zero issue as excited as I hoped I would be, but I'm still a fan of these creators so I'll stick with the series for at least a little longer and see how things develop.

If there's one complaint I have with this book, it's that it's just too short. I'd love to have a whole series that maintains Stokoe's vision of Hell, rather than a different creator each time. Although some of the creator's work I love, like Dave Wachter closing out the series with issue five, seeing Stokoe draw the different levels of hell would be an amazing treat that would make for an even better oversized hardcover to enjoy each intricate line. That being said, I'm still a fan of the creators ahead and I'm curious to see their take on Godzilla and their unique visions of Hell.

In terms of story, although the action tends to be less than what it was in the first issue it dives deeper into the character exploration and provides a bit of the history that this school is known for, and tiny hints about what's happened with Olive's family. There's even an appearance by a longtime Batman villain rarely seen in the comics (who had his origin in the 1966 TV series, out on disc for the first time this week) who I hope makes more appearances in future issues. Cloonan and Fletcher are creating something truly special with Gotham Academy and if you're looking for something different than most of the other Bat-Family books out there, then this is it. It checks off the boxes on all the major parts that make up a great comic for me! Do yourself a favor and see why!

The Gentleman Ghost's updated look is provided by Christian Dulce who's art looks great from beginning to end. His pencil lines are thick, using plenty of shadows that's all the more distinct when colored by the gifted Lee Loughridge. Most of the story takes place at night and Loughridge is able to use a healthy amount of blues and purples to give the landscape that perfect mood. Dulce uses all sorts of random panel layouts to tell the story and he's an artist that can definitely tell a story. Annuals don't always get it right when it comes to a healthy combination of both art and story, but Gotham By Midnight does. It tells a done-in-one story that takes a long standing villain in the DCU and updates his look and origin. Although the updated look doesn't necessarily add to the villain, the additions to his origin definitely do

DC's Batman line of books continues to get stronger. Although there are a couple of Bat titles that don't always hit the mark, it is great to see DC taking different approaches to the character and the deep, dark world of Gotham City. Fawkes and Templesmith are taking the reader on a journey of Gotham that isn't seen very often, and the way they've chosen to do so with a brand new group of characters means we'll be able to see different perspectives and different takes in the familiar Gotham City setting we've been reading about for years!

I really enjoyed Gravetrancers and if you're looking for something different I'd really recommend giving this a try. The art and story may not be for everyone, but I walked away from this first issue not forgetting it, and wondering just where this story is headed. I'm definitely coming back from more, even though I may be a bit scared to!

Grayson continues to be one of DC's best new titles and it's great to see an Annual with the same level of quality that the monthly series has delivered since issue one. Each issue of Grayson has been a stand alone tale with the story tying into the greater arc, and this annual is no different. Although one of the main story reveals requires you having previous knowledge of Batman's history, this story can be enjoyed all on its own. Grayson is a series that deserves to be read as King and Seeley continue to show how great a character Dick Grayson can be with our without Batman.

Overall, Grayson was a pleasant surprise for a series that dramatically changes a long time DC character. Seely and King are showing us just what type of series this will be, which is different than what's come before. Grayson may be more like "James Bond in the DCU", but that's something I haven't seen yet which is fresh and exciting for me. Fans of Dick Grayson who are not necessarily fans of his superhero alter ego (since it's changed so much over the years) but are just fans of the character Dick Grayson, should enjoy this book puts him front and center. Hopefully readers give this book a shot as DC may have found a great fit for this character, putting him in new and unfamiliar situations while staying true to who the character is.

The ending of this issue was such a pleasant surprise that used the writing technique mentioned above to tie everything together in such a clever way that it had me going back to read the dialogue again, finding the clues that I didn't see upon first reading. It's so fitting that these clues were set in a book that's heavy on spies, espionage, and of course the detective aspects of Batman and Robin. Not only that, but this issue is another strong showing by artist Mikel Janin who is making a name for himself on this book month in and month out. There are exciting things ahead for Grayson as hinted by this issue's last page and I can't wait to see them!

Sorrentino's art continues to shine and is a great fit for this book. I would compare his work to David Aja's work on Marvel's Iron Fist series from a few years back. It's a detailed, but unique line that uses color to highlight action and focal points. His pencils have a grittiness to them that fits Green Arrow's world, and I'm excited to see his work on this book in future issues.

Sorrentino's art is beautiful to look at in this book. He goes from the modern to the tropical settings of the island seamlessly. His art on the island in particular truly gives you scale, and looks like an island should. He puts so much effort into making it feel like an overgrown and untouched island that's both dangerous and beautiful. Marcelo Maiolo's colors add to the overall look by providing the atmosphere and right shades of yellows, greens and more. This is one of DC's best written and drawn books. This is a chance to jump on board if you haven't given it a try. You'll be glad you did.

Green Arrow continues to be a book you should be reading. Although it doesn't feel as big in scope as the previous run, it's beginning to feel as though the creative team is starting to find their groove. By catering to fans of Arrow, as well as using the DC Universe to strengthen it's core and fit into the New 52 continuity, Green Arrow is a book that's easy to follow for both new and old readers, and the last page guest star provides a perfect example of what the TV show is unable to do. I'm pleased that Green Arrow is continuing it's fine run that started twenty issues ago, and it looks as though this series will continue to aim for new heights.

DC's Rebirth is off to a great start and Green Arrow Rebirth is a wonderful example of DC attempting to set things right, and for that I'm thankful and even more hopeful for what is coming.

If you've read the advanced solicitations for March, then you'll have noticed that several of the Green Lantern titles have been canceled (Corps, New Guardians, Red Lanterns) with only Green Lantern and Sinestro remaining. Although their cancellations are imminent, with this event they're going out with a bang. There are plenty of great characters within these titles including John Stewart, Guy Gardner and Kyle Rayner that won't carry their own series, so hopefully DC has a plan to shine the light on them elsewhere in 2015.

Overall though I enjoyed the issue. I'm a huge fan of this character since Johns re-invented him, and I'm curious as to when and where he'll show up next. And as I did get the lenticular cover, I will say that to me it was one of the better ones. There seems to be some great depth to the cover with the three different layers. And as a final note, I've really enjoyed the majority of the lenticular covers that DC has put out. Hopefully this becomes a yearly tradition as they've really been a whole lot of fun.

This issue has been one of my favorite Villains Month stories and my only disappointment is that Rags Morales' art won't be seen in future Green Lantern books.

If you're a fan of Ethan Van Sciver or a fan of Black Hand and his connections to the larger Green Lantern mythology, then this issue does present some clues as to what will happen next. Regrettably though, Black Hand's appearance is all too short and this is not the same Hal Jordan as Green Lantern we've come to love. I'm willing to give this series a bit more time to come around, but I'm hoping that the Hal we're all used to comes back soon.

I was pleasantly surprised with this book and it was nice to read a Lantern story that isn't part of a line-wide crossover like the Third Army and Wrath of the First Lantern that have come before. I hope this creative team continues their work on this title together as they're starting to tell a compelling story, while adding some depth to some lesser known characters in the Lantern mythos.

Together, Dismas and Ausras have become guardians to a gigantic city-planet that's full of survivors from the dying universe the Lanterns are trapped in. Tom Taylor writes an entertaining story that not only gives a new reader enough context to know the predicament the Corps have found themselves in, but also enough to propel the story forward and build my excitement for not only these new characters, but also for the larger overall story. I went into this book so excited to see Van Sciver penciling the Green Lantern Corps again, but came away just as excited for Tom Taylor's story. With five issues left, hopefully Edge of Oblivion will keep me on the edge of my seat!

I'll be sad to see this title come to an end as I've enjoyed this series and Justin Jordan's writing of Kyle and Carol. Although reading Godhead may be a bit of required reading to understand just where the monster in this issue came from, you'll still be able to enjoy this opening chapter in what will be New Guardian's final story. There's three issues left and I'm hoping that this series can go out with a bang!

Godhead does a great job of delivering a compelling opening chapter to another Green Lantern mini-event. If you're not a fan of Green Lantern or the New Gods then there may not be enough here to sway you to jump on board, but if you are, this looks like it will shine a much needed light on the New Gods in the New 52 and add another exciting chapter to the Green Lantern saga.

Writer Jeff Loveness writes such a great stand alone story that walks us through the first meeting between Groot and Rocket. It'd be a a shame if more fans of the Guardians of the Galaxy aren't reading this title as this is such a memorable moment, and it's done so well. Loveness is able to write such a great story without a whole lot of dialogue, and the possibilities of future stories using creative ways to push the dialogue presents a lot of opportunity. If you're a fan of the Guardians of the Galaxy but we're avoiding this book, don't. Two issues in and this may be my favorite book in the Guardians family of titles, and unlike Groot, that's saying a lot!

Although this first issue is hampered by some clunky dialogue and a lack of depth to the characters, it's still an enjoyable read with some fun action that will hopefully bring readers back for more. Dan Abnett has proven many times over to be a fantastic writer, especially in the world of the Marvel Cosmic. Although this first issue didn't "Wow" me, it still provided a solid setup with characters that have proven in the past that they're more than capable of carrying their own series.

I'm glad to see this book getting good again, and with a last page cliffhanger, I'm even more excited for the next issue. This is a fun book that's exploring a part of the Marvel Universe that has so much potential. Let's hope the inclusion of Angela adds to the universe, without unnecessarily complicating it.

Overall I felt as though this was an average issue, and this series continues to have its ups and downs. I'd like to see Bendis move a little more quickly with Angela's origin so he can focus on telling stories with the characters that headline the book.

Not much more to say regarding Francavilla's art. It's still a pleasure to look at and his Rocket Raccoon is fantastic. I will say it again though, I am not a fan of Star-Lord's new costume and wish they'd go back to the original from his first appearance in Marvel Preview, or at least to the version we saw in the Annihilation series. We get to see Francavilla's talents one more time on this series next issue and I'm hoping the story can suit his style a bit better, but after the last page reveal I don't have high hopes. But, I'll take his art any chance, or anywhere I can.

There's really no appearances from the rest of the Guardians team outside of Gamora in this issue, and that's unfortunately been the case for this series since Angela first appeared. As she's taken on a majority of the starring roles in this series, Bendis has pushed aside the other characters in order to flesh out her story and the mystery surrounding her appearance in the Marvel Universe . Outside of just a couple pages towards the end, Gamora and Angela are the only two characters who appear in this issue. If it wasn't for Maguire's art, I'm not sure I would have enjoyed this issue as much as I did. I'll be back for next issue with the guest starring X-men, and hope to see the whole Guardians team at the forefront.

Dan Abnett and artist Gerardo Sandoval finish the issue strong with a tale starring the "original" Guardians from the 31st century. It was a pleasure to read these characters again, and hopefully this isn't the last time we see them. Yondu, Martinex and Vance Astro are great characters that deserve some more time in the Marvel U. Hopefully this is only the beginning and Bendis can include them along with the main team. Overall this is one of the better issues in the series. It's a nice jumping on point for new readers while giving long time fans some nice surprises as well. There's been a lot of focus around Angela and the X-Men lately. Hopefully now, the Guardians will be front and center.

Finally learning what happened with Thanos & Nova in the Cancerverse was made as exciting as can be by Bendis and McGuiness. Readers who missed out on the 2010 series "The Thanos Imperative" where these questions originated may not care as much, but they're still treated to some amazing McGuiness art and a quickly paced, action heavy issue. It may also lead those readers to go back and read that fun series by the writers who refreshed the cosmic side of the Marvel Universe, Dan Abnett and Andy Lanning. If you're looking for these answers, or even if you're not, this issue of Guardians of the Galaxy will entertain.

It's difficult to imagine a book that provides more character and depth in stories that involve a raccoon and a tree than it does with two "normal" characters, but this book does. If you're a huge Guardians of the Galaxy fan, then this issue may be worth it for the Rocket Raccoon story alone, but if not, you can avoid this issue and get a better presentation of the characters in the on-going series.

The story isn't the reason to pick this issue up, Adams' art is. The Guardians crash into Earth, the Avengers investigate, and a team-up ensues. Simple. Although there's not much depth, Art Adams still makes the story fun with his trademark style and ability to pack the page while never making it feel crowded. With a rotating cast of characters and creative teams, this series may not be a must-have monthly pull, being instead a title you jump in and out of depending on the creative teams and characters involved. Although Bendis' writing didn't make me eager to come back for the next issue, Adams' pencils most certainly did.

If you weren't following Remender's work on Captain America, then this first issue may not be for you as it spends a lot of time referencing the previous run and deals with a character that has only been seen in that title. Not only that, but the ending may lose it's impact since it requires you to know Nomad's history and origin. For me, I enjoyed this book quite a bit as it picks up where the previous series ended, while of course tying into the larger Secret Wars event. Nomad presents us with a rare perspective of Secret Wars since he's born of an alternate dimension, has lived within and escaped from the destruction of the 616, and now finds himself in a domain of Battleworld. I'm excited to see just how that perspective shapes the remainder of this series.

Artist Michael Walsh does a great job with the art by grounding everything with realism. Hank isn't muscular, nor are most of the characters in the book. They look real, with a bit of cartoon style thrown in. The scenes with Hydra are drawn with the same realism as the scenes at home and it all looks perfect together. Whether or not you're following Secret Wars, you need to read this book. It's accessible to any Marvel reader with limited knowledge of Marvel History. My only regret with this issue is that it's a one-shot and it may be a while, if ever, before we see Hank again. That means I'll just have to read this issue all over again!

This series shows a Harley that's different from the one we've seen in the Suicide Squad. They're both crazy, but this Harley is the "lovable crazy" that fans came to adore from her first appearances in Batman: The Animated Series, and then some. This series and this issue is closer in tone to something like Mad Magazine than it is to Batman, and that's a compliment. This creative team has proven that their take on the character works, and can fit within the DCU. It's hard yo be both fun and funny, but Harley Quinn proves it can be done, and done well!

Over the course of the issue we see the connection between Emmy and what's come before and although it seems predictable, that never took away from my overall enjoyment. Emmy is a character that seems to have a journey ahead of her that will change not only her world, but the town of Harrow County once again. Bunn and Crook are giving us horror that feels real because of the writing and art together. There's a few panels and pages that will stay with me until my next visit to Harrow County, and although there's horrors ahead, I can't wait to return!

He-Man: The Eternity War is an exciting start to a new series that seems like a great continuation from the previous series, but may leave new readers guessing as to what may have come before like it did for me. Although it doesn't cater to the new reader as much as it could (and probably should as a #1 issue), the story was still enjoyable and includes plenty of the property's most compelling characters and ideas. Time to scour those back issue bins to catch up on all that I've missed.

This Rebirth issue is similar to DC's other Rebirth premieres. It's a primer for new readers and allows the creative teams to establish the tone for the series. Oliver and Moritat are able to do this. The ending seems a little too convenient, but also leaves the reader with questions as to just what type of person Constantine is, which I feel is a smart move. Yes he's a hero, but he's also kind of an untrustworthy jerk. Although I didn't love this issue, I like the direction it's headed and am confident that it'll get better now that Constantine is still part of, but farther away from the main DCU.

This is a stand alone story that can be enjoyed all its own while still providing plenty to have me excited for what's to come. Hellbreak looks like another exciting new series from Oni Press, and as far as making a first issue connect with new readers, it does so on every level, including the price. This premiere issue is a packed twenty-eight pages, all for just a single $1. Oni and the creators involved are making it easy for you to try this new series out, and even if it had cost a normal $2.99 or $3.99, I'd have still walk away excited for the next issue!

If you're a fan of Hellraiser don't ignore this series just because it's an anthology, there's quite a bit to enjoy. The Hellraiser universe has a lot of characters, settings and concepts to explore so to see them being examined in an anthology title similar to those from the E.C. or Warren days is exciting. Hellraiser has been in good hands since BOOM! started publishing it, and they're proving that "they have such sights to show us".

Peter Tomasi takes the legend of Sarah Winchester to a more personal place. We see Sarah within this huge home struggling with the "curse" of housing spirits, as well as her intense loneliness as she longs for her deceased husband and daughter. We're also introduced to a new character whose place in this story isn't quite clear yet, but I get the feeling that it may not end well due to his actions prior to ending up at the house. I so enjoyed this fictional take on this actual historic story and feel compelled by Tomasi and Bertram's story to do a little more research on the famous Winchester House, and definitely come back for the remainder of this series.

To be honest, I didn't even know this book was ending and I expected to see some future issues where more of the character back stories were explained. If I had known this was the end my thoughts on the issue may have been a bit different, but seeing that this book has now been cancelled felt as though much of the series' building up of characters won't see a payoff the creators I'm sure had intended. I can't really recommend this book if you haven't read the first five issues, but if you see this series collected, or see the series in a dollar bin, give it a shot and see Marvel's more obscure horror characters in a brighter light.

The bright spot is Leonard Kirk's art. His rendition of both universe's Galactus' are great, and he's able to draw the big cosmic battles with a nice sense of scale. I'm also optimistic that this story has time to turn around as the character of Galactus himself is so interesting, hopefully we'll see more of him in the next three issues. Overall though, a really disappointing start to a series involving a character that deserves better.

Overall this issue is solid, but the series as a whole was a bit of a let down. If you're looking to jump on board the next Ultimates Event, this isn't a must read. You'd be fine reading that first issue's recap/setup page to know what you need to follow that series. I'm not sure what will happen with the Ultimates Universe post Cataclysm, but series like this shows that the Ultimate Universe is not the exciting and fresh universe it once was.

Overall, I think this first issue is taking Hyperion in a direction that doesn't capitalize on his strengths, but may appeal to readers who have no past experience with the character. Not knowing he's Marvel's riff on Superman may allow them to get to know him before the more "Super" qualities are revealed. Personally, I'm not sure how long I'll stay around to find out if he doesn't start living up to his potential as a character.

I Am Groot isn't bad, it's just not great and to me, not all that memorable. Baby Groot is getting into all sorts of mischief aboard the Guardian's ship Milano, and as his mischief gets worse, he accidentally stumbles upon a new planet that holds quite a few mysteries. In addition to the mysteries of this new planet, there's also a greater one that looks as though it will be explored throughout this series… why Groot is no longer growing? To me the story never captured my interest and at the end, I don't feel compelled to come back. I'll be getting my Groot fix in the main Guardians book and for now, that's enough for me.

This is a nice start to a series that's both easy to read and full of promise. The story opens on the inside cover and thirty pages later wraps up on the inside of the back cover. Seagle and Dos Santos are not creating an entirely new idea or premise so far, but they're taking their time and trying to perfect a premise we've seen plenty of times before. It's a fun book that made me laugh and feel good, with an ending that shows there's also something darker on the horizon. Imperial looks as though it's combining a lot of the feelings and emotions that I like to see in stories and characters and I can't wait to read more.

Waid is writing a Hulk book that is both intelligent and action packed. He's bringing big ideas to this series that's generating all types of stories not seen in Hulk books before. This is a great jumping on point for any readers who have yet to give this series a try. It's one of Marvel's best books going.

Overall, this was an average issue of the Hulk that at times showed promise. I'm hoping that Waid can deliver on both aspects of the Hulk character, with a little more emphasis on Bruce Banner.

This is not required reading in regards to the main Infinity event, but it's a fun book with quality art and storytelling. I'm a big fan of these Iron Man villains, and I'm looking forward to how they're portrayed the rest of the series.

As mentioned above, the art is evocative of Kirby's so if you're a fan of that style you should love this book. Giffen may have a bit rougher and quicker line to his work, but effects like "Kirby krackle", shine-lines, and hand drawn sound effects are abundant in this issue. The character designs maintain the "Kirby designed" feel which makes the style of this book all that more enjoyable. The New 52 seemed to have made changes to many of DC's most iconic characters just to make changes, many times to the detriment of the character. Here, the Kirby look is embraced and it works. This is a fun book that's refreshing to see from DC. Series like these have proven not to last so far in the New 52, but I hope that this book breaks that trend and stays around for a long time.

Overall, a disappointing first issue that you can stay from and not feel like you're missing an integral piece of the Infinity story.

Overall, this is an average first issue with plenty of opportunity. I'm hoping Soule and Madureira duo can find their groove because the Inhumans really are such a rich part of Marvel lore. Unfortunately right now, they're not getting the treatment they deserve. My expectations for this series, especially with the Inhumans being put center stage in recent big Marvel storylines, were much higher than what I saw delivered here. This was good, not the the "great" it needed to be. It's right on the cover: "Marvel's Latest Epic Begins Here!" This did not feel like an "Epic".

It looks as though the Inhumans will be playing a pretty big role in the Marvel Universe over the course of the next year. This is a great introduction to these characters and to what's coming next.

Writer Matt Fraction's focus is on Medusa in this issue. She's looking to clean up the mess of her broken kingdom, and find her missing son and husband, Black Bolt. Meanwhile, the world is becoming aware of all the humans turning Inhuman after the ending of the Infinity event, and many are looking to capture the cocooned "superheroes" before they hatch. This doesn't sit well with Medusa and the Inhumans as they look to take action against those who would capitalize and take advantage of their people. The story feels jumbled at times, going from one location to the next, and you never quite feel the pain that Medusa seems to be going through. The weight of her now sole responsibility for the Inhuman kingdom can be felt in Bradshaw's beautiful cover, but unfortunately can't be found in Fraction's writing within.

I really enjoyed this first issue of Invincible Iron Man and am definitely enjoying Riri Williams as a character. Slowly but surely Marvel is creating an all new generation of heroes with characters like Miles Morales, Kamala Khan, Sam Alexander, and now Riri Williams. Marvel has not previously had the "legacy heroes" passing the mantle from generation to generation that DC has had with their universe, but over the past few years that seems to be changing. I'm excited for what's ahead for these characters, and for Riri in particular. I can't wait to read more.

Because of the strengths of their past works, Gabriel Hardman and Corinna Bechko will always get me to try out whatever they may be working on, and once again they've proven they're one of the most successful creative duos working today. Invisible Republic is the start of something big, yet the scale of this issue starts off so small. It's not uncommon for creators to throw lots of information at the reader in a first issue in order to make the story seem larger than it is. Hardman and Bechko do the opposite by focusing on the small things, and how those small encounters and actions contribute to the bigger picture. I'm so ready for issue number two!

In this issue of Invisible Republic we also get the introduction of a letters page, another smartly written article by Corrina Bechko explaining the potential and realistic use of space elevators, and a much too short single-page describing the behind the scenes process that went into the creation of this issue, which is my only complaint..we need more! This series continues to be one of my favorite books of 2015 and when my only complaint is that I wish there was more, well, it must be pretty darn good!

Although this series has been enjoyable from the start, this particular issue felt like a small step back. A slow middle issue for a story arc shouldn't keep you from giving this series a try, it's a solid read, but it may deter fans who have been on the fence with this title from the beginning.

Kieron Gillen writes an afterword in this issue where he says "I hope you feel the need to re-read the run at this point. There's been a lot building to this point that may now be clearer." I think that says a lot. Reading this the first time, it just felt kind of forced and abrupt. By going back and reading it again, it may all tie together a bit better. I'm just not sure if I have a desire to. It will have interesting ramifications going forward and there's some great stories that can be told by this change, but as a single issue and conclusion to a multi-part story, it didn't quite work for me.

This story has promise. I'm sure this is what Gillen wanted to get to when he made the changes last issue. If he can deliver on this storyline, then those changes that he made may have been well worth it. I've gone from disappointed to intrigued.

The art in this issue by Agustin Padilla regrettably isn't much better than the story. Having the last few issues with Joe Bennett's art was a great fit for this title. It's not that Padilla's art is bad, I'm just not sure that his style fits the story. Padilla draws a strong Iron Man in the suit, but his human characters and other heroes in the book look rushed. His lines are a little more fluid and loose. Again, not bad, but not the best fit to my eye. I'm not sure after reading this issue that I'll still continue with this series, which is disappointing as I really like the Iron Man character.

Artist Garry Brown who's work I enjoy from the wonderful series The Massive at Dark Horse pencils this title. His line work is very simple yet tells a great story. I'm not sure if he's the best artist for this type of book, but I'm willing to wait and see more. There are some really great panels and flow to the story, but the action at the end fell a bit flat. That may be due to Jim Charalampidis' colors as he uses a darker and what seems to be a more subdued palette. The Iron Patriot doesn't leap off the page, and the "mud" monsters in this issue come off looking bland and boring. In the end, I'm happy to see that this long time Marvel character is getting back to basics, but I'm hoping that it doesn't take too long in getting him there and into more action-packed stories.

In terms of story, I liked the idea of Judge Dredd in an all new world trying to figure out just how he got there and how he's going to enforce the law when the people he's interacting with have no concept of the law. Dredd is portrayed just as he should be and Farinas and Freitas definitely have a good feel for the character. The ending was enough to pique my curiosity for future issues, but it's not a book I feel I have to read each month. If I can find this series on the cheap at next summer's conventions I'll pick them up then, but for now I'll let Dredd explore this new world alone.

I'm thoroughly enjoying this new Jughead series. Jughead has a dedicated reader for this series as long as these creators are working on it. They've found a formula that really works and provides the reader not only great laughs and a fun story, but also fantastic visuals and selected stories from Jughead's past adventures. If you're looking for comics that are fun and can go perfect with a cheeseburger and shake, read Jughead.

This is how a crossover should be done. Taking all the elements of previous story-lines and bringing them together with great payoff. It will be interesting to see if the pacing of this crossover will slow down a bit, or if the story beats continue at this brisk pace. I'm more excited for this crossover than I originally thought I'd be, and that's saying a lot with the creative team involved. This is a showcase to the rich DC Universe and I can't wait to see what's next!

Geoff Johns rewards readers who have been following his Justice League series since the beginning by flashing back to some early scenes from those issues. It was great to see the flashback to the Outsider from an epilogue scene in Justice League, and it was great to see the reveals of how and why the Outsider came to be. It pays homage to bronze age Batman tales, while feeling fresh in this New 52 universe. I really enjoyed this title and hope more will be done with this Earth. Let's hope we haven't seen the last of it.

Johns and Reis prove yet again why they work so well together. Hopefully this story gets the continuation that it deserves in the next issue of Forever Evil.

This is another dark story that's important to the Forever Evil Series. I'd definitely recommend this issue if you're only reading the Forever Evil event as it provides so much insight into one of the major players in the story. Not only that, but as mentioned above you'll see a surprising and well done first appearance, and Doug Mahnke's dark but beautiful art.

If you're looking for a Justice League book that stars the heroes, well this book isn't for you and hasn't been for the last few months. As the villains have taken over in Forever Evil, they've also taken over this series. It's a nice break and change of pace to focus on these characters, but if you're looking to read about Superman or Batman, you won't really find them here. Although Cyborg makes a small appearance, it's mostly hero free. Justice League has been an essential companion to the Forever Evil event, and as long as this creative team of Johns and Reis are on it, I'll be ok with it. This may not be a great issue, but it's still a fun read with art by one of the best superhero artists out there.

Writer Geoff Johns has taken a villain with a simple yet effective premise and has added a layer of depth that ultimately makes the character more interesting and more compelling. Also, at the end of this issue we see the return of a hero to the Justice League right in time for the next big storyline, the Darkseid War. Exciting times are ahead for the League with the return of Darkseid and the Anti-Monitor, but this latest issue concludes an exciting arc that shouldn't be missed. Justice League combines the wonderful writing of Geoff Johns and the brilliant art by Jason Fabok to create a super hero book that I think deserves your time.

It really is surprising that this book isn't cracking the Top 10 in sales, but I expect that to change the longer Fabok stays on this book. This continues to be one of my favorite monthly titles due to the strong balance of great storytelling and beautiful art. This story continues to get better with each issue, and the conclusion of this one points to even bigger things ahead! If you've stepped away from Justice League, now is the time to come on back.

Justice League number fifty is an absolute must read book for DC fans that combines the best of DC's most iconic heroes with arguably some of its best talent. This is a storyline that I can't wait to read again as a complete tale in one single sitting. Much like Rebirth, this issue exceeded my expectations and has me excited for this team to embark on their new journey in the Rebirth era!

Hitch's story has each of the Justice League team members, minus Superman getting two or three pages each. Because of this, the story feels disjointed. Only the Green Lanterns are together in this issue and unfortunately their dialogue comes off as a bit clunky. The League are all dealing with earthquakes across the globe as a force called the Kindred is infecting humans that attack the League as they try to help. Hitch doesn't explain too much as this issue is clearly a set up. As far as first issues go, this wasn't great, but I understand that this first issue is a first part of a larger storyline, and honestly, Tony Daniels art made it worth buying the book for me. Although I didn't love the story, I trust Hitch writing these characters based on his previous JLA series, and I'm more than pleasantly surprised with Daniels art so I'm looking forward to more.

Justice League #1 is the beginning of another new epic storyline. Although you may feel you need to read Metal and No Justice prior to diving in here since a few things are mentioned from those storylines, I don't think you'll be lost if you're coming in fresh. DC's biggest heroes with some of comics' biggest creators make this a must read for all DC fans. That means go out and get it!

Artist Howard Porter continues to use his new style on this book. It's a much different look than what fans may be used to from his work on the 1990′s JLA book. It's a rougher line that looks as though it shows the pencil layouts underneath. Although his line is not as clean as it was on JLA, he packs the page with backgrounds, and gives you a sense of the surrounding world. At times the pencils do look rushed and a bit messy, but the overall look works. I'm pleasantly surprised by this book and hope this creative team can continue to surprise. If they can, this could turn out to be an underrated hit. It's a book with the potential for anything to happen, and that's exciting and unexpected.

Overall this crossover is still keeping me interested, even though this second part was not as strong. I'll be curious to see if Justice League Dark will be able to pick the pace back up, or if the story takes another step back. Let's hope this crossover doesn't lose steam and we can get back to the same caliber of storytelling as we did in part one.

Although the ending is a bit weak, I enjoyed this issue and look forward to what's next. This looks as though it will be a must read when taking into account the Forever Evil series, so I'm glad I enjoyed it.

With a Justice League book that has Hitch supplying the pencils you know you're in for a visual treat, but what I wasn't expecting was to enjoy his writing as much as I did. Although he's given the extra room in this oversized first issue, Hitch is able to balance the cast of characters while telling a story that has Superman in the starring role. Justice League of America should have stories that look and feel big, and so far Hitch is proving that he's able to accomplish both of these things.

If you like "getting the gang together" types of stories, then you'll enjoy Justice League of America: Rebirth, but be aware that this really isn't required reading for the story ahead, aside from assembling the team line-up nothing vital; happens here. While I didn't love this first issue for its story, the art and the potential of future stories with this team is what will have me coming back for more!

There's quite a bit going on in this first issue and overall it's an entertaining read that shows a lot of promise. We'll see where this book is at after its initial storyline wraps up, but with the wide range of characters involved and the great creative team, it has a really good chance to hold its own when compared to the other Justice League books.

Steve Orlando creates a compelling story that as a fan of Shazam and the current Darkseid War storyline I wanted to read. At times the dialogue was a bit overdone and Billy came off as kind of a brat, but I was still entertained and interested until the very end which had a villain that I thought had potential for future stories. I've been a huge fan of the Justice League Darkseid War so I'm glad to see these spinoffs providing some solid storytelling and great art, and this issue starring Shazam is no exception.

I trust Warren Ellis, he has proven he can write interesting and fascinating characters, but so far he's focused on showing Karnak in action. It's great seeing him let loose and finding the flaws in his victims, but we aren't given insight into his personality, though this may be Ellis's intent. Karnak is cold and calculating, and with little caption boxes or dialogue, we don't really get to know Karnak which is a shame since I was hoping Ellis would define his personality in a way we haven't seen before. I'm still confident that Ellis can make this character into something more than he is now, and hopefully we won't see more long delays between issues before we find out.

I think Kill or Be Killed will be another Brubaker and Phillips critical hit, but I feel as though Breitweister's name should be right alongside them and it's great to see that represented on this issue's cover. This is a must read and if you're a fan of any of these creator's past works, you probably already know that. If you've never read something from this team before, jump on board or try any of the series I mention above, all available in collected editions.

There's little to no action in this first issue as Rosenberg spends most of the time developing the personality of Kingpin's potential biographer, while showing a softer side of Wilson Fisk as he has multiple encounters with her throughout the issue. Overall, this first issue is a great start to what I'm hoping will be a successful and long lasting series about one of Marvel's best villains!

The end of Lantern City will have you coming back to see what's next, but it's Magno's art that really makes this book come alive. Whether or not this becomes a television show remains to be seen, but I'm glad it's found life within the pages here. The production quality of the book is top notch with high quality pages and cover stock and although the cover art isn't as strong as the interiors, it's still enough to stand out and make you take a peek inside. I'm hoping this book finds an audience as I'm definitely interested in the world that's being built both out of and inside the world of comics.

After the success of the movie, Marvel continues to put a greater emphasis on the Guardians of the Galaxy franchise announcing a couple of new series and giving them a big event (Black Vortex) early next year. Legendary Star-Lord continues to ride the line between fun and action. Although this issue is heavy on the fun, it's still an important piece in Black Vortex, this series is laying the foundation for that event, but doing so in a way that doesn't feel heavy or dire. I'm excited for the upcoming event, and I'm having fun on the journey there.

Although $7.99 is a lot to ask of a consumer to spend for stories about B, C and with Sugar and Spike D-List characters, longtime DC fans may want to give this one a shot. At 80 pages of story, they are giving a lot of content for the cover price, too. I'll be back for the rest of this series and feel as though I got my moneys worth.

If you're already really missing Wolverine and are looking for something to fill that gap, you could give this a try, otherwise you can just let Wolverine rest in peace and try to move on. Although there is some solid storytelling here, this isn't a must read by by any means. An average comic for only the most dedicated Wolverine fans to keep their collection of anything with 'Logan' on it complete.

With death and change (sometimes change just for the sake of change) all around the comic book market right now, the death of Archie in this issue doesn't seem forced, and it doesn't feel cheap. It's a satisfying conclusion to his journey within the pages of Life with Archie, and with just one more issue in the series, it's refreshing to see a character have a realistic end.

It's a solid premise, but failed for me because of the poor characterization. Lobo is extremely violent and deadly in one page, but also romantic and charming in another. He's confident and funny in some panels, and thoughtful and deep in others. Throughout this issue he's a little bit of everything, which makes him feel generic. Whether you liked the old Lobo or not, there was something original and authentic about the character that's surely missing here. Cullen Bunn is playing the hand that was dealt to him, which seems to be writing a comic about a character changed for the New 52 by DC editorial mandate moreso than by some driving creative need. Another example of "change for the sake of change"? You be the judge. I won't be back.

Although the future of this series is still up in the air post Secret Wars, it's comforting to know that this isn't quite the end for this version of Loki. Ewing and Garbett have created too smart a character to see him fade away. I'll always prefer the more evil version of Loki over the "attempting to change his fate" Loki, but it's made for a compelling read and an interesting take on a character trying to escape his predetermined fate. Loki is one of Marvel's most powerful villains, and this issue and the series as a whole has been a great examination of just what makes him so treacherous.

I enjoyed the story enough to come back and give the second issue a try, despite the weak art and corny dialogue. In part I want to support this company that supports the local comic scene in and outside of Chicago. But I'm also a fan of horror comics and small publishers so it's worth it to me in giving this title some time to develop.

As strong as the writing is, so too is the art by Lee Garbett. Lucifer is full of humans, demons and other strange creatures that Garbett has no problem portraying. Lucifer himself has a sophisticated look to him, but Garbett also gives him the smugness and arrogance that's just below his confident smile. Although we don't get to see too much of hell in this first issue, I'm hoping it's explored further as the potential is there for Garbett to unleash his pencils on a world that's full of frightening possibilities. Vertigo has established itself as one of the top brands in the business for 2015 with a really strong close to the year and I can't wait to see all their new titles start to mature in 2016!

Luke Cage number one is a solid first issue that does all it needs to do to set the tone for the series. The ending of the story may leave some newer Luke Cage fans a bit confused, but to me it got me excited for what's ahead and I quite enjoyed it. I'm looking forward to seeing more of what this team has to offer. If you're looking for more Luke Cage, I think this is a worthy addition to all the other places he's been appearing lately.

Madballs number didn't deliver powerful or memorable storytelling, but it did succeed in making the most out of a disgustingly cool toy concept from the 1980s. If I had this book when I was younger I'd have loved it. Although the writing didn't connect with me that same way as an adult, I still loved it. The real test will come when I give it to my seven and four year old to try…

Whether or not you'll be following the Axis event, this story doesn't feel as though it's required reading. Yes the Red Skull is involved and it does show what he's been up to, but the focus lies more with his S-Men, and Magneto's past. If you've been following Magneto since the beginning, then this issue although consistent with his current mission, feels as though it's been somewhat forced into Marvel's next big event. It's too bad we couldn't get an entire issue devoted to Magneto's past.

Again, I'm glad that the Martian Manhunter is back in his own series, A hero with the strength of Superman, and an alternate identity as a detective can provide the right writer with a wealth of potential. Rob Williams touches briefly on some of these aspects of J'onn's life, but there's room to dive deeper. Although the first issue of Martian Manhunter has its moments, it remains to be seen whether or not this series will last. I'm hoping it does!

Writer Jason Aaron tells the story of Ira Rath. A hit man who comes from a family born of violence and we see those violent origins in this issue's opening sequence. Ira isn't a likeable character, and Aaron isn't expecting you to find the positive in him. It adds to the realism of the book that Ira is who he is and acts the way that he does. So far there's no soft side or endearing qualities. He's a killer who so far has not shown any type of remorse, and from what we know about him after just one issue it would be out of character for him to do so. If this is how Ira will remain through the rest of the series remains to be seen, but Aaron has opened the door to a new type of situation in his life, and I can't wait to see just how this cold blooded killer responds.

Although the art by Omar Francia is strong throughout, the writing never connected with me. Gillen chose to hold back too much information as he pushed the action in this issue. By the end of the issue I never really cared for main character Luiza, and found myself less and less inclined to pick up the next issue. I've found myself enjoying a lot of what Avatar has been offering lately, but unfortunately not here. The book assumes I will come back to learn more, but never does enough to make me want to.

My other concern is definitely personal, but one of the things I loved about the early issues of Marvel's Micronauts was the characters interacting with the world around them, specifically their small and micro stature compared to the normal human world. Bunn has introduced us to these characters in a large space-opera sort of way and doesn't show their scale against the normal sized universe. We never get to see their true size which was such a memorable part of the first series. I'm expecting to see this addressed in future issues, but missing that hook in this first issue doesn't give this book that distinct feel that would differentiate it from a Guardians of the Galaxy type book. I enjoyed this first issue quite a bit and although I have my concerns about the art team inconsistency and lack of "micro" in the "nauts", I'm confident that this book will get better and I'll definitely be back for more.

I was more than pleasantly surprised with this first issue and can't wait to see what Fisch and Lima have in story for this series. I think the Alex Ross cover nails the story that's inside of this book which is an added bonus to a really great premiere. Well done Dynamite"you've "Saved the Day" for me with Might Mouse number one!

Fingerman's art is just as strong, if not stronger than his writing and that's saying something. There's plenty of detail on each page, and although his characters are not realistic, you soon learn to accept the style and embrace it as the world they're in. He uses a color palette of black, white and blue which also contributes to the overall mood and look. Rob always seems to stand out a bit more in his solid black t-shirt, keeping the focus of your eyes on Rob as it should…its his story. The ending sets the stage for a dramatic and funny second issue. There's a lot to like within this first issue and you don't need to know anything from the original series to pick this up, enjoy it, and laugh.

Gary Leach's art seems as dark as the story, with his pronounced and heavy line. Much like this character, I'm unfamiliar with Gary's work and that's unfortunate, as his art is a joy to look at. His panel layouts tell the story effectively, and he pushes the violence to a point where it actually seems real and scary. Not only that, but the modern restoration of coloring on this book serves his art well. I don't have the original books to compare, but the colors here still have a dated feel, while being clean and modern. Within this issue is also a story with art by Alan Davis and Paul Neary, a behind the scenes look into Gary Leach's artwork, and two 1950′s tales of Marvelman that dives into the character's rich, yet a bit corny history. I think I'd be happier with just a reprint of the Alan Moore stories for a cheaper price, but Marvel is doing a service to the character by giving us so much more.

Before the second issue comes out, this is a book that I'll have to read again, which isn't a bad thing because it means seeing King and Gerads laying the foundation for what's to come. Tom King is proving to be one of the best writers in the business right now and Mister Miracle #1, shows why. Hopefully this book will shine a spotlight on the New Gods, showing all their untapped potential. At the very least, even though it's about the world's greatest escape artist, King isn't allowing us to escape the story he's drawing us into!

Kate's art throughout works for this story and she includes plenty of jokes on the page. Mockingbird continues Marvel's purposeful approach in infusing humor into many of it's titles and it works here, mostly because of Kate's art. There's subtle humor in the waiting room scenes and Kate also draws the humor in the artistic props like "how do you feel" cards and more. Cain and Niemczyk have taken a risk with this first issue and for me, I think it was a smart one. Mockingbird isn't as innocent as a Patsy Walker or Squirrel Girl and would fall closer to Marvel's recent She-Hulk series which is a good thing! I'm on board for the rest of this mini-series and am glad I'll be reading it in single issues.

Monster World is a strong first issue, Steve Niles gets horror so the promise and potential of this series is high, and I'll be back to read more! Fans of monsters, noir, and classic pulp-type stories or horror movies should check out this new title from American Gothic Press. Ask your local comic shop to order a copy if they don't have it on the rack.

Unfortunately, I'm just not that excited about this series. The monsters are too generic with little in the story to flesh them out. There are plenty of tie-in issues to this event where these monsters may be explored more (issues numbered ".MU" in a variety of Marvel series), but I avoided buying most of those since I didn't feel as though they'd be required reading. If I can find some of the tie-ins on the cheap at a convention this summer, that may give me a bit more of what I was hoping for. On the bright side, I can still go back to those great black and white magazines with the same name!

This run by Ellis and Shalvey is one you should experience, and the standalone nature of the stories makes the single issues the perfect place to sample it. Start with this issue. And the next. Unfortunately this creative team will only be around for one more issue as number seven will see Brian Wood taking over the writing duties with Greg Smallwood on the art, both great creators who will hopefully carry on in a solid, but ultimately different, way. Do yourself a favor and check out this interpretation of the character, I think it's one of the best we've seen to date.

If you were nervous about a new creative team taking over the reins of this title, then rest assured that it seems to be in very capable hands. It's more of what came before and that's a good thing. Wood, Smallwood and Bellaire didn't try to re-invent Moon Knight yet again, or the storytelling process that made this new series a hit in the first place. They embraced what came before and worked within the framework and style that had been laid out for them. If you were a fan of the first six issues you should be happy to see that same theme continued here, and if you have yet to pick this book up, then jump on board with this new creative team and give it a try.

Overall, the art doesn't make up for the confusing storyline and lack of a friendly introduction into the world. At the end of this issue, I knew what was going on with the main character and his son, but little else. If you were hoping for a series that welcomed you into its world with a story that's easy to follow, you won't find it here. I'm not sure if hard core Mortal Kombat enthusiasts would feel the same as I did, this is a book that looks to cater more to them and less to the casual fan. I don't know, it may even miss the mark with the hard core audience, I know I won't be back as a casual fan.

At the same time, based on a few things that Sam talks about you get a sense that there's something just a little bit off with her. I don't want to get into any spoilers, but Moore does a great job of hinting that Sam may have some issues based on a troubled past. It's definitely subtle, but it's enough to make me question some of what she encounters and sees in this first issue. Moore's art is looser than what we've seen from him in the past, but definitely fits the subject matter. His shadows are scratchier and in a few panels are much more cartoony than what I am used to from his work in the past. But it's a style that matches the tone and character of this series. Overall, Motor Girl is a fun, happy and lighthearted book that you should be reading, especially if you want to smile! I can't wait to read more.

There aren't any superheroes in costumes, nor monsters or robots. It's everyday people and settings that Fegredo is tasked with drawing, and all his characters have a unique feel to them that makes the book feel grounded despite the upcoming "super" themes. Fegredo's most impressive work though is seen through the latter half issue's depiction of speed. It's handled a bit differently than just showing speed lines, and I can't wait to see how he handles speed in upcoming issues. There isn't a whole lot to complain about with this first issue, other than the fact that we've seen this type of story before. Drugs granting the user powers is a story we've seen plenty of times before, as is super-speed as a power, both independently and from both Marvel and DC. It will ultimately be how Mark Millar makes these characters and situations stand out from their fairly generic origins that will define this series and make it stand apart.

When the ComicSpectrum review team picked their favorites of 2014, it was a tough choice not to pick Ms. Marvel as my personal "Favorite New Series" (I ended up picking Gotham Academy but 2 other reviewers picked Ms. Marvel), rest assured it ranked right up atr the top for me. There's a reason there's so much critical acclaim for Ms. Marvel and if you've been on the fence on giving this a try I'd encourage you to do so. Ms. Marvel is a lovable young character who can be a tremendous role model for not only young girls, but for everyone.

I was very impressed with both Joshua Williamson's story and Mike Henderson's art. I'm a big fan of Henderson's character work. I feel as though his art comes as close to looking animated as it can, without looking cartoony. It allows his characters to have a lot of life within their facial features and body language which ultimately gives them movement. You can see this in the story's opening page and throughout this issue. That said, Henderson doesn't always "sell" the locations with his art. In a story like this, I think the settings can add so much and the generally plain backgrounds didn't give the town of Buckaroo a unique feel for me, which is unfortunate. This is minor and shouldn't be taken as a criticism that should keep you away from the book as the overall look and feel of the story worked for me just fine. There's so much to like though within this debut and I hope we'll continue to see some fascinating and disturbing characters introduced.

I enjoyed the art and the last third of the story hooked me to try at least one more issue, but be warned that the majority of this issue was extremely tough to follow, at least for me. I'm not ashamed to say that this is another Morrison book where I'll head online to try and find a web-site that will help me make sense of it. That's a requirement that most casual readers won't and, it could be argued shouldn't, have to meet. Based on my respect for the two creators involved I'll be back for #2, but I'm hoping that I'm better able to follow along and appreciate the story.

Neverboy takes a fabulous idea, and at times makes the most of it. The ending of this first issue provides a surprising twist that could have felt so much more impactful if Simon were able to take more time exploring the relationships between the young boy and his imaginary friend. At one time or another we've all gone through a phase of our life like this and I felt as though Simon missed the opportunity to explore that simpler time, in order to write more about the complexity of this story's concept.

This issue has Simone Bianchi handling the art, and unfortunately this was the weakest part of the issue. I'm not the biggest fan of Bianchi's style, but I did like his recent work on the Thanos Rising series. Here, although some pages have a haunting feel to them, to me it's not a style that fits with all the heroes presented. Except for the Dr. Strange two page splash, which his style is actually perfect for, the art seems to just not work on an Avengers book. His close-ups on faces look a bit weird to me as he uses lots of lines and shapes to show definition within the face. It works for the alien faces and masks, but on the human characters like Reed Richards and Professor X, it makes them look strange. Although I didn't enjoy the art, I loved the story presented in this issue. There's a lot to think about here and Hickman's work on this series sometimes benefits from a second reading. And I'm looking forward to reading it again.

New Avengers is becoming a book where you continuously question the heroic nature of the characters involved. The story continues to be epic in scope with ramifications that will last long after this story concludes. Although this issue is a calm after the storm, it still moves the story forward, while also moving this group of characters further apart. Although the art doesn't do the serious nature of the story justice, this issue is still a must read to see how these characters cope with such difficult and emotional choices, as well as seeing how the Illuminati are slowly breaking apart.

Hickman's writing of Namor and Doom is the highlight of the book as their personalities are perfectly showcased, each acting exactly how you'd expect them to, with some nice moments as Namor realizes how much things have spiraled out of his control. As exciting as this single issue was, we still haven't seen just how it got to this place. There's so much more story to be told which makes my anticipation of future issues even greater. New Avengers is a "must read" for me, I'm all in on this storyline.

To be fair, I may have enjoyed this issue more if I could remember everything and everyone Hickman has introduced so far, but reading so many different titles per month, there are too many comic stories and characters taking up space in my head to properly recall every little detail of everything Hickman has been laying out. I think this issue would read much better as part of a collected edition, or when rereading this series as a whole, but on it's own I felt a little bit overwhelmed with thirty issues worth of those big ideas being referenced all in this single issue.

This new Suicide Squad benefits from a compelling and creative lineup of characters, but unfortunately the writing doesn't match. The plot lacks that same creativity, and the story fails to put these characters into more complex situations in order to create chemistry. Overall this first issue fails on the writing side and has trouble making me care enough to pick up the second issue, especially after the weak last page ending. Since it's only a first issue, there's still time for this series to turn around, but if the next few issues fail to deliver, I can't see this series becoming a success.

I'm excited for the future of New Super-Man. DC needs to allow this new character to establish himself on his own before throwing him into any crossovers and/or events, so I hope they allow him to stand on his own for a while. So far, it seems as though he can and I'm excited for what is in store next.

I'm hoping that the slasher's personality or lack thereof is explored a bit more than it was in this first issue, but I'm confident that Bunn will flesh him out in future issues. Bunn has proven he can write a solid villain, like he did in the Sixth Gun. I'm on board for at least the next couple issues and love the slasher genre Bunn and Bastos are playing in with Night Trap!

Ultimately this issue fails to deliver a conclusion that's fitting for Nightwing as a character, and this issue's only saving grace doesn't come until the final act. That final act shows a lot of promise for the upcoming Grayson series, but this issue was a sad way to see Nightwing end.

The art by guest artist David Baldeon is a fun style that fits the story, but is a style that is reminiscent of the Marvel Adventures line of books that cater to all ages readers. Beta Ray Bill doesn't look as menacing nor as powerful as he could, and the action scenes don't look as dangerous or threatening. The art, while well done, even when compared to main artist Paco Medina's cartoony style, seems one more suited to a book targeted at a younger audience because of the lighter feel. This issue is well put together, but not something I'd recommend as a must read. There seems to be some big plans for Nova in the upcoming months as we get closer to the announced Original Sin storyline. This issue feels like a stepping stone to bigger things to come.

Number One does a great job of not only telling a compelling story of an individual's life, but also provides a unique look at the history of comics and comic retailing over the past thirty-plus years. There's so much to like within this single issue, and it really has a perfect synergy between story and art style. Beatty has told an emotional and personal story that will make you believe it's true, while Warner's art adds to that emotion, while also giving the reader that "comic book" feel. This is highly recommended and should not be missed.

I really enjoyed this first issue and am looking forward to what's ahead. Although I know where this timeline ultimately leads, I'm excited to revisit this world and see another story told by a new group of creators using the characters and setting.

The new "DCYou" highlights a lot of new talent, and seeing Bagenda's work for the first time here was exciting. Having a brand new talent like Bagenda, and an up and coming writer like Tom King who's work on Grayson has garnered a lot of praise and attention reintroducing an underrated and underused team like the Omega Men has me excited for what's coming next post New 52. The Omega Men haven't been seen in a while and given time, I feel as though this creative team will make us realize just what we've been missing.

I'm a big fan of Rom the Spaceknight, although I'm sure not as big a fan as Ryall. You can see his love for the character throughout this first issue, but that passion didn't necessarily equate to great writing. Although the Rodriguez art is great as usual and he gets to let loose a bit with Onyx's costume and creatures that have been infected and twisted by the Spore, it's not enough to bring me back for a second issue. My love for Rom may bring me back at a later time to see how this series has progressed, but for now I'll go back to reading my back issues of Rom.

With the Agent Carter TV show recently debuting, it's a shame that there's no reference to Agent Carter on the cover of this book. Readers walking into a comic shop won't be able to tell just what this book is about from the cover, and those who weren't fans of the Original Sin event may stay away from this issue that uses the Original Sin logo. There's plenty to like in this first issue and I'm hoping that readers will be able to find this book on the shelves. With the Agent Carter show garnering a lot of positive reviews, this could be a sleeper hit for Marvel when more people start to notice who's starring in it.

As far as the art goes, a different Kubert brother (Adam this time), is on the art chores and although the art is pretty, it lacked that painted feel that the first series brought. Previous colorist Richard Isanove gave that series what I felt was a distinct and mature look. Origin II's colorist Frank Martin does a great job, particularly towards the end of the issue, but to me it just didn't stand out as much. Only the acetate cover really stood out for me as making this more than just another Wolverine book. I'm on board for the remainder of this series as I have faith in this creative team. But, they only have four issues left to have this book be a worthy successor to the original Origin.

Adam Kubert's art is hit and miss in this issue. His panels that include close ups are well drawn and have a nice level of detail. The panels that show the action from a distance lose a lot of that detail, and really just look like they're nicer layouts. Faces lose their distinctive features and the backgrounds look bland. A particular panel in this issue shows Wolverine in front of a circus crowd where the crowd has no details whatsoever, and Wolverine and his captors are really just plain figures. It took me out of the story since it feels as though you're looking at a layout before the finished pencils. Overall, I just don't feel as though this series is living up to the expectations that the title Origin brings. It has two issues left, but I just don't think that'll be enough time to turn this series around.

Jim Cheung and Paco Medina both handle the art on this issue and to be honest, during my first read through I wasn't able to tell that there were two pencillers. The art is fantastic throughout and there are some really impressive splash pages that absolutely impress. Seeing Cheung's artwork here makes me wish that he was handling the art on the whole event, but I'm still looking forward to seeing what regular series artist Mike Deadato will do on a stage this big. Cheung and Morales make this book shine even with 5 inkers (including Cheung and Morales) and Justin Ponsor's colors bring the science fiction settings to life. This is a great issue that serves this event well. Again, it may not be required reading, but it's great great reading.

Since Original Sin has ended this may not make it into the hands of a lot of readers. If you were a fan of the Original Sin event or even if you weren't and just want a good story that explores a side of the Marvel Universe we haven't seen before, then don't commit the sin of not picking this up. This is a comic that's definitely worth reading by Marvel fans and many may skip it.

In terms of art, Mike Deadato is a great fit for this title. His rendering of the obscure villains like the Mindless Ones and the Exterminatrix are stylized and a bit scary, despite their overall goofy look. I was a bit skeptical when finding out his name was attached to this event, but his art works here and he's able to flex his style to fit the numerous amounts of characters involved. As far as single issues go, this may not be the best, but it does put the pieces and characters into place to tell the rest of the story. Aaron has six issues to go and next issue the story will start to pick up it's pace.

This first issue does what it needs to do by setting up Angela's origin and her world, and having it fit into the overall Marvel Universe. If you were turned off by the thought of Angela being related to Thor and including her background into that of Asgard's, you should think again. Jason Aaron and Al Ewing have a solid and well thought out plan so far, executing it nicely within this first issue. There's still quite a bit of story left in this series, but if this first issue is any indication of what's to come, this will be one of the better stories to come out of the Original Sin event.

It also should be said that the coloring by Megan Wilson adds a lot to the art. There's a healthy use of bright colors with plenty of pinks and purples throughout and those colors absolutely drew my eyes to them and made me feel happy! Marvel has found a way to make all ages books successful for all ages with Unbeatable Squirrel Girl, and now Patsy Walker, A.K.A. Hellcat!. Let's hope that both of these series find a following and have long and successful runs. I much prefer this take to Marvel's more all ages books from the past, where "all ages" ended up meaning simplified plots that felt really kid-focus to the point of excluding readers teen and up.

AfterShock continues to impress me and while another zombie book may not appeal to you at first, Tieri's writing makes this one fun and Okunev's art is makes it exciting and memorable. I'll be back for more of Pestilence and I'm hoping the creators can give us something we may not have seen before within the genre. I'm confident they will!

Since the second issue of Secret Wars, I've been mostly impressed with everything that's come out. Of all the first issues to release taking place within Battleworld, I'd have to say that this is my early favorite. It's a comic book that's fun, exciting and free of continuity. They give a new reader everything they'll need to know, while hinting at the larger world it's a part of. Marc Laming's sells the creative concept perfectly and it's great to see some wonderful Jack Kirby creations and concepts we don't see too often live on within these pages.

Overall, Plutona works on so many levels. I never referenced the story events because the surprise at the end shouldn't be spoiled. Just know that this story puts the characters first and the action, what little there is of it, distantly second. Lemire and Lenox have really captured the attitude, dialogue and feelings of kids and if it was just a story about them growing up with the daily life of school and peer pressure, it almost feels as though that would be enough. Luckily for us, there's so much more and I can't wait to see it.

Artist Sanford Greene gives this book a very distinct look that works for me. I'm not sure how I feel about Luke Cage's more heavy and rounded appearance, but against the skinny and lithe Iron Fist it works. Greene's art is dramatic, caring less about anatomy and more about maintaining energy and dynamic storytelling, and I loved it. Greene uses a wide variety of angles and again referencing the end, the angle he chooses to showcase this character provide a powerful perspective that makes the most of the reveal. It's great to have a Power Man and Iron Fist series again, and I'm hoping that readers will find this book and celebrate their reuniting!

John Layman is just getting started with this story and already we've seen Dredd, Judge Anderson, Predator and so much more. Although Aliens definitely take a back seat this issue, I feel confident after reading this issue that there's exciting things ahead, especially after reading the final few pages. Inter-company crossovers in the past have had mixed success with me, but IDW and Dark Horse have combined their franchises to produce an exciting new series that stars some of science fiction and comic's most endearing characters and I can't wait to read more!

I appreciate the approach Dark Horse is taking by releasing a Predator series first, followed by the Aliens and Prometheus franchises to keep each story somewhat separate, while at the same time maintaining a consistency over the course of this story's seventeen parts. My confidence in Dan Abnett's writing, my love for these franchises, and Dark Horse's editorial approach to this multi-part story will keep me around to see how this story is going to turn out.

This issue has kept my excitement from when this crossover event was first announced. There's such a rich world to be explored here and adding Prometheus into the stable of titles at Dark Horse is a welcome addition. The pacing may be slow and the action at a minimum, but this serves as a setup to what will ultimately be a multi-issue and multi-title event. If you're a fan of these franchises, I'd encourage you to give this first issue a try as we hopefully get some answers to the questions that Prometheus the movie left unanswered.

Moore and Burrows drew me right into this world, so much so that I'm excited to dive back into their previous Neonomicon and Courtyard books. Providence takes it's time to draw readers in, and much like Lovecraft's writing, hints at a darker world not yet seen. I'm not quite sure where Moore is headed with this new series, but he's hooked me with this first issue. Providence seems as though it's going to take it's time in showing us the horrors that await, which is making the dread of what's to come that much more compelling.

The Punisher has had some high quality series in the past five to ten years and this one is no exception. It's great to see the balance that this creative team has struck by placing the Punisher between superheroes and the everyday, and the last page of this issue is absolutely bringing me back for more.

Cloonan and Dillon's Punisher isn't all about the violence, even though there's a LOT of violence. Cloonan introduces a character from Frank's past that looks as though he'll play an important role in the overall story, but remains a mystery so far. A certain D.E.A agent looks to also have a big role in the book so hopefully the supporting cast will pick up some of the lack of depth in Frank Castle's character as seen in this issue. I'm definitely a fan of this type of Punisher so I'll be back for more, but at the same time I was hoping Becky Cloonan's take on the character would have a unique twist on the character that I haven't seen before. We're only one issue in so I'm not giving up yet, I just hope she's able to hook me with her Punisher before this first arc is over.

For fans of Puppet Master, and there's quite a bit of them out there, this first issue does a great job of providing a "welcome back". The puppets Blade, Pinhead and Tunneler are all back and are all treated with the respect they deserve. I enjoyed this issue so much that I'm looking forward to seeking out the movie series once again, and trying to catch up on all the sequels I missed over the course of twenty-years! Puppet master, although firmly set in the world of horror is still a fun franchise with memorable characters. Action Lab and the creative team involved have rekindled my interest in the franchise and has me excited for what's to come!

That being said this is still Richard Corben and I would be tempted to buy a book of his even if it had no words in it at all. His style is so unique and original and it's a treat to see his continued output, even after forty plus years in the industry. Although I would have loved to have seen some more time in the jungle, or more different locales, it's still amazing artistic work. Corben has a heavy line that's not afraid to exaggerate the human form, giving his characters a look and feel all their own. Overall this book left me a bit confused and questioning my purchase of future issues. Based on the art alone I'll be back for one more and I'm hoping the writing can come together so I feel the same excitement for the story as I do for the visuals.

At the same time if you are familiar with the character, seeing her interact with the devout Christian family she moves in with gives this book a bit of humor and depth. When Raven attends school for the first time, she encounters an energy that she knows isn't right. Just what that energy is and how it will affect her and those now close to her remains to be seen. This book is lacking the Rebirth cover dress so this may not make it into the hands of new DC or previous New 52 readers, but I'm glad I ordered it. According to DC's solicits, this takes place between Teen Titans #24 and the first issue of Rebirth but there is no mention of that and you really don't need to know that. Wolfman obviously understands this character and he'll keep me coming back for the remainder of this series.

Hitch's art is as you'd expect, which is fantastic. He packs so much detail into each panel and the amount of detail in the opening double page splash is surprising, even for Hitch. It's not surprising to see Paul Neary inking Hitch's work as they've consistently been a powerful duo in the past, and the coloring by Laura Martin is perfectly matched. It's a great looking book that will hopefully not see delays that Hitch is sometimes known for. I'm hoping that Hitch can keep me guessing with what comes next. I wouldn't say that this book completely hooked me, but it has me intrigued enough for the next couple of issues to see what happens next. I know that the art will will deliver, that's not the question. It's Hitch's storytelling over the long run that still remains to be seen.

Overall I enjoyed this issue and will be back for the second issue. It has an interesting premise and based on the ending, the book will be taking an even more unique turn.

Although I enjoyed this first issue for it's writing and for the simple fact that Dr. Herbert West is back, I'm not sure I enjoyed it enough to come back for a second issue. The art just didn't click with me and despite the story infusing some classic Lovecraft themes, I didn't feel the need to see where the story heads next. Fans of Herbert West may want to pick this issue up to read new a new story about this cult classic character, but I'm not sure if this "reanimated" series will do enough to stay alive.

There's quite a bit of story in this first issue with the civil war that's going on all around Cal. We're introduced to Mercurians, Neptunians, and Venusians. It just feels as though there's too much. It's easy enough to understand, but because there are so many concepts and races introduced, none of them felt all that special or deep. Corey introduces some neat ideas, but with so much going on, it's tough to see it all coming together in a way that won't feel rushed, but time will have to tell. It remains to be seen if this series can take its time to touch on all the potential story ideas introduced, but as far as first issues go, it all felt a bit too generic.

Although the art wasn't for me, the storytelling and characters involved were for sure. Seeing Jack O'Lantern teaming up alongside of Lady Deathstrike isn't a team-up I've ever imagined, but it works and makes me wish for more stories like this set in the main Marvel Universe. This is a concept we've seen plenty of times before, but not as often in the Marvel Universe so it still feels new. These Secret Wars spinoff titles continue to impress and Red Skull is yet another title I can't wait to read more of. Bring on the bad guys!

Meghan Hetrick's art and portrayal of Isla adds to her being such an endearing character. She's drawn beautifully but realistically. Her red hair makes her stand out on the page and the designs of the characters are original and striking, though like the story, we don't see them too much. My only complaint is that at times the colors were a bit too deep, standing out too much when they didn't necessarily need to. That's a small complaint in an otherwise strong premiere. Vertigo continues to produce some fantastic comics and based on their upcoming releases I'm looking forward to more, they're not done yet!

All in all, Red Wolf is a comic that didn't disappoint me, but also didn't really set itself apart from the crowd, it was mostly "just there". It was a non-memorable first issue that I think may have problems hooking new readers, but I'm hoping it pulls in enough interest to stick around for a while. I'm curious to learn about this character I have very little history with so it would be a shame for it to end too soon.

Bunn's story has Adrian trying to cope with these visions which eventually leads him to a hypnotist who wants to explore past lives with him. Are these visions from a previous life, or is it something more that Adrian has yet to uncover. Bunn does a wonderful job of combining elements of horror and mystery in this first issue, giving you everything you need to know to set this series up right! If you're not a fan of horror comics, I think there's enough here as a mystery book to enjoy as Bunn hints at what's come before, and even possible futures. Regression really stood out for me this week. Don't miss it!

If Replica is any indication of what to expect from Aftershock, then I'm excited about their future. This is a great first issue that not only shows the type of talent working for the company, but also shows the quality in their production. With Replica you can be on the ground floor of not only a brand new series, but also a brand new publisher. For me this made Replica #1 an issue I didn't want to miss!

The simplest way I can describe Revenge is a B-movie horror flick that's intended to push the shock level in terms of violence, sex and gore. Much like the fake movie poster on the back cover that has the tagline, "30 years ago they left him to die. Now he's back with only one thing on his mind"Revenge!", it's supposed to be a bit satirical. If you can take the premise for what it is, it can be an entertaining read. At the same time, although some of the details are different, this is a story with characters that we've seen plenty of times before.

As a reader of the Batman and Robin series, this book seemed a bit unnecessary since this could have been handled within the main series. The Justice League shows up in this issue so keeping in tradition of the main Batman and Robin series, it could have been "Batman and the Justice League" for the next month or two's issues. Although you get some fantastic Andy Kubert art, I'm not sure this issue is worth the book's cover price of $4.99. It's a must read if you're hoping to follow Robin's story from here on, I'm just not sure if it required a stand alone one-shot with a $4.99 price tag.

If you haven't been following Gleason's work, I'd encourage you to do so. In my opinio0n, he's been one of, if not the most, consistent artists working today. He's been drawing Batman and Robin for years, and has had long runs on both Green Lantern Corps and Aquaman as well. It's a pleasure to see him now on the writing side, which allows him complete creative control. Although the structure of the story could have been a bit smoother, it was still a great read in a mostly done in one issue. Robin: Son of Batman is a showcase for one of DC's top artists and it needs to be seen.