The big hero of 1872 is Nik Virella though. A book as specific as 1872 would have handled poorly with the wrong artist. While Duggan does have a fantastic script, that can get lost in transmission with someone who doesn't know how to communicate the iconography and the style of a Western, and Virella has all that in spades. While her characters do have some of the look and demeanor of their main Marvel Universe counterparts, they have plenty of differences to also send them off that same path. I never thought I'd be saying this, but 1872 is one of the best books to come out of Secret Wars. With any luck, we'll be seeing more of the Valley of Doom in the months to come.

Jorge Molina also does a great job in the issue as well. As the controversy that sprung up around A-Force early on attempted to point out, body types with women in comics can persist toward the negative end of the scale, but A-Force from the cover onward defies that trend. The women in the issue are powerful and heroic, the actions scenes are drawn with plenty of kinetic energy, and since this is Battleworld, the out of place figures that appear stand out in a way thatll make comic fans happy with how bizarre the setup is. That being said, A-Force is more than worth your 3.99. While it may have sprung out of an event, it stands out on its own enough to warrant buying it even if you only want just 1 comic. Also it has a Megalodon, how can you say no to that?

Action is a comic you really want to like, but ultimately seems to only be lurching forward.

The book as a whole is phenomenal. Once the previous run concludes, this book will more than definitely be another great gateway into the world of Hawkeye. And even before that happens (well whenever it happens, when is that final issue supposed to come out), this book is more than worth your 3.99. People say they want better and more varied books from Marvel and DC. Marvel has definitely listened on that front, this Hawkeye is no slouch and is most definitely a prestige book worth your time. Go out and get it.

So far, the best descriptor for this comic is grindhouse Batman with a side of 90's era protege training. I was, at first, a bit baffled by John Romita Jr as an artistic lead for this title, but he brings the good along with Dean White's typically fascinating colors to the insanity of Batman leading Two-Face on an unwilling road trip against a host of villains. It also helps that Snyder and JRJR bring back some quite gonzo Batman villains from Amygdala to KGBeast, minus the KG. Declan Shalvey also does a similarly great job in the Duke-centered backup story.

The art as usual is stellar as well. John Romita Jr does a fantastic job with the fight against The Beast, as well as a truly brutal sewer fight. I've also said this in the past: but Dean White is one of the best colorists in comics, and his work enhances the pencils into one of the most bafflingly combative books on the stand. The backup story with Declan Shalvey on pencils and Jordie Bellaire on colors similarly brings everyone's a-game to the fore. That all being said, the comic is most definitely worth its price tag, and frankly that can be a tough sell in this market with so many Batman books. Give it a shot.

While Renew Your Vows wasn't about the Spider-Man we've seen by Slott the last few years, it was a good signpost of new things to come, and anyone who enjoyed that story will have plenty of things to like here, as well as fans who've stuck around for the long run.

The other star over the last year has been Stuart Immonen. While its hard not to be excited for what Ryan Ottley will do with Spider-Man, Stuart Immonen has been bringing his A-game and then some. His character designs and acting is skillful as always, but the real meat is in his fights. Wade Von Grawbadgers inks help to accentuate Immonens fight scenes, while Marte Gracias colors help demarcate the line between bombastic and terrifying throughout the issue. While the 800th issue of Amazing Spider-Man isnt here yet, the run-up is already making the case for its status as a classic. If youre looking to jump in, now is the time, Go Down Swinging is going to be a final story arc with a high note.

On an overall note though, Amazing Spider-Man is a fantastic celebration of 800 issues of this comic, as well as a penultimate issue to close out a ten year run by Dan Slott. Youre getting a memorable story here.

While Dan Slott will more than likely be fantastic (no pun intended) on Tony Stark: Iron Man and Fantastic Four, it's going to be hard to disassociate him from Amazing Spider-Man.

While the comic doesn't quite pass the smell test as far as being one of those elusive "jumping on points", it's still an enjoyable if scattered comic. The art team though is worth your time, and it looks like it'll be a memorable one.

Speaking of Adam Kubert, while the art is not quite up to the par of previous issues, still does a great job with the issue action-packed as it is. The style even with Scott Hanna packed in is still recognizably his. While Amazing Spider-Man proper has seen a number of artists including Giuseppe Camuncoli and Oliver Copiel do stints long and short on the title, Kubert would certainly be a welcome addition to future arcs on the title, especially if Annie returns for a second shot as “Amp.” With a story like this, fans shouldn't worry about the present or the future for Spider-Man, someone who gets the character has the reigns, and has had them for awhile now.

While Image does have more than a few #1s coming out at any given time, Angelic is a standout. If you're looking for a whole different world, one that offers up its own story at that, you're in for a treat. After all who could hate a story with a cybernetic angel monkey?

It seems to be a continual problem, but Aquaman just isn't working for me. The creative team is one I normally enjoy, but Rebirth is one of the few books that just doesn't really work.

In terms of the craft itself, Tomasi does a good job as usual of getting into the heads of his characters. Jason Todd can be a difficult character to nail, and while he isnt sympathetic, he is an agreeable character which can be difficult element to nail. Alison Borges also does a great job with the art. DCs digital first comics have had a better pedigree of late when it comes to the art. While its easy to see why keeping quality art flowing on an accelerated schedule can be difficult, these recent offerings such as Genesis, Bombshells, and Wonder Woman 77 have all had great art coming out, and that helps the story tremendously. If youre looking for a new Batman comic to check out, this does stand out from the crowd.

If you're looking for an Avengers book that can match and even surpass the cosmic scope of the recent Infinity War movie, you're definitely in for a treat here.

If you're looking for a smart and fun book, this may be the one for you.

While $3.99 has become the defacto price point for most comics companies nowadays, youre definitely getting your moneys worth here. With two creators whove injected whats essentially a new #1 after their biggest story, youd be remiss to skip out on the debut of the new Batman, and the insanity that follows.

Overall, while its a shame to possibly Jim Gordon go away as Batman, and be brought to heel so he needs rescuing by Bruce, this issue shows just how much being Batman has cost Bruce Wayne, as well as the people he holds dear. Superheavy has been an interesting experiment in the context of Snyders run, and anyone whos interested to see how that concludes shouldnt hesitate to jump on here.

Finch's action-packed art, the fun and kinetic nature of King's writing pull together, with a well-rounded cast of characters to give us the start of what might be one of DC Rebirth's biggest successes, I'll be following with heavy interest.

The last few years have been a pretty great year for off-brand Batman in the DC line and even within the confines of the DC event cycle, this book continues to be exciting. While it's not a perfect fit, The Button definitely is worth checking out.

While it might be a bit odd to see no follow-up to the Watchmen stuff here, for the most part that stuff had little bearing on Kings run compared to what happens here. While it might be odd to say that an issue featuring Swamp Thing is more important to the context of Kings run overall, it does make for an effective study in how people who suffered great loss can react completely differently. If youre looking for a more introspective take on one of the best superheroes right now, in a line thats already putting out plenty of great takes, youre in for a time.

While its a bit of a late arrival to start at issue 50 of a two year run, it doesnt necessarily matter in this case. King, Janin and everyone involved in this comic are celebrating a romance thats gone on decades now, and it kicks off a story that seems likely to be memorable in the Batman canon. But more importantly, its one that pays tribute to Batman and Catwoman.

Pretty much any Robin fan (minus the current ones) will get what they want here. This is a celebration for the decades of Robin history, and for the Batman protgs in general. For anyone wanting the next big Batman plot, or the return of neglected characters: you'll be happy with the result, although the price tag and length may be a bit of a commitment for some.

Cully Hamners art is fantastic as usual and gives a great deal of visual distinction to Duke and his version of Gotham. While the redesign is still a surprise, Hamners take on the Signal design and Laura Martins bright colors prove to be very attention-grabbing. All told, if the other two issues are as exciting as this one, hopefully Duke can continue to have his own spotlight.

Creature of the Night is a pretty clever mix of homages to actual period Batman comics, as well as the pop culture hyperreality of the TV show, all mixed into the more drab and realistic world which Bruce Wainwright occupies. It's a textured world that clashes violently with the supernatural underpinnings of the book, and it works. If you're looking for a new entry into Batman, you definitely won't be disappointed"even if that $5.99 price tag is a bit difficult to swallow.

Now in terms of moving plot forward, it's not what you're going to find. But sometimes that's for the best. What you get for the $2.99 price is three creators giving top-level craft and a fun examination of a character as old as Batman, as well as introducing a recent addition like Duke Thomas to the table. While it is sad to see We Are Robin disappear along with Grayson, it's gladdening that DC, Snyder, and King are willing to give the character a push similar to what Damian got during that character's introduction. While Janin won't be returning for awhile, this issue alone gives us a vision of a very different Batman from the one Snyder or Morrison defined during their respective runs, and it's good to get in on the ground floor.

So while I was expecting to enjoy Bitter Root, I did not expect it to hit this hard from the first issue on. The team behind it did an excellent job and Im frankly looking forward to many more issues. If you enjoy a heavy dose of the supernatural (or more appropriately Ethno-Gothic) intermixed with a relevant take on America via its past, youd be hard-pressed to find a comic more compelling than Bitter Root.

Part of the secret to Black Hammer having such a distinct tone and feel is down to the art though. Dean Ormstons art unites very disparate types of comics characters into whats actually a unique whole throuhout the book. While there is some stretching allowed to give you flashes of different flavors to where these characters would stand in comics history, theres also an element of that same distinctive feel being neutralized in the more grimy world, which is also thanks to Dave Stewarts colors in making that happen. In terms of having an understanding of what type of story is being told here, the art complements the story and vice versa. While there are a great many superhero comics on sale, there arent many with a look with this distinction, or with a touch like Lemires in many DC or Marvel comics.

Overall, while this book is very short: its a gift worth having on Black History Month. Considering the times we live in, being able to broaden the range of who contributed to history and art is more important than ever. While some would call releasing this book on February a marketing tactic, its very smart marketing, and one worth tipping the hat for. While some people might be disappointed this isn't hard sequential art, sometimes being able to provide a voice for a mass or people lost to time is just as important. This project is most definitely money well-spent.

Overall though, while World of Wakanda seems to be ending for now, this issue like the others has been for my money a success. Bringing in voices outside of the traditional milieu of comics: poets and journalists has helped invest the book with not just a different pedigree, also a different tone compared to Marvels other books, and its sad to apparently see it go. While this was Rembert Brownes first pass at Kasper Cole, I do hope he and Joe Bennett make a return trip sometime.

Anyone who knows me can tell you how much I adore both Blue Beetles, but while the Jaime Reyes and Ted Kord here are definitely the ones Giffen has written in the past, the comic surrounding it just doesn't quite gel.

The art in particular deserves great praise. The right artist can elevate a book, and while Thunderworld has Cameron Stewart, the Shazam book has Doc Shaner. The book embraces the spirit and levity of the Captain Marvel mythos, while keeping its own tone even in the face of being a tie-in to a bigger event. Everyone looks on target from Captain Marvel, to Doctor Sivana, to Tawny, and reminds us of what a different world Captain Marvel has from the DC Universe in general. With any luck, well see more of Captain Marvel from this team, definitely worth your time and $3.99.

That said overall, Im not generally a fan of event comics. They have little to offer to me beyond continuity logistics if youre into that sort of thing. Where this comic is different is that its looking to engage in doing some different beyond the simple mechanics of putting out an event comic that changes the status quo. Its looking to dig into a more primal and incongruous side of the DCU and comics in general and thats definitely something I can get behind. Overall, if Metal is anything like this comic, its going to be something to watch.

The star of Metal for my money though is Greg Capullo. While hes famous for his Batman run, Reborn showed off very different fantasy muscles for him, one that he puts to great use in this kickoff issue for Metal. The issue ranges from the prehistoric era, to Gotham, to Blackhawk Island, to Warworld and Capullo gives them all a gritty sheen. Jonathan Glapion and FCO Plascencia also do a fantastic job with inks and colors respectively, as a whole the book is a pitch-perfect translation of what worked for Batman bleeding over into this comic. As far as event comics go, or even just as a comic on its own, Metal is everything Ive wanted from a comic. Adventure, action, the unknown, exploration, theres a great deal to find here.

Danijel Zezeljs art also sells the books vision of the near future with a darker, procedural-toned style ala Michael Lark. Its a rather neo-noir book in that regard, fitting for the story being told. Jordie Bellaires colors as usual also accurately capture the mood the comic is swimming in, this time with darker colors in a less-bright world, those colors are especially beneficial for the more scenic birds eye shots. If youre looking for a comic that has something different, more compelling to say in a time where it feels like people are trying to talk around the world as it is: this comic is going to be very appealing and worth your time.

If anything this story could fit into a Batman comic of the 80's, with Fudd's more human frame contrasting against the crime machine that's Batman, it's a world filled with the sorrow and gallows humor that comes from a bleak world and it's one that Lee Weeks is perfectly suited to bring, with the help of Lovern Kindzierski's rain-drenched colors. Point being though is that this is the Batman comic you both need and deserve. So get it. Get it now. A comic like this only comes once in a blue moon.

Of course comics can only go so far if the art isnt up to par in a visual medium. In that department: Donal Delay succeeds with a style that infuses a B-Movie and exaggerated quality to the more outlandish scenes, while still keeping a down-to-earth tone in the flashback scenes. Philos exaggerated and passive-aggressive hostility is helps to bridge the gap between the real and the surreal in this case, as well as the work of colorists Omar Estevez and Felipe Sobeiro who get to play with a lot of red that separates the violent Cupidae scenes from the rest of the story. In that regard, if youre looking for a gut punch of a comic, that also attempts to make a commentary on the circular punishment of mistreating people and tearing through Cupidae, then youre going to be satisfied.

Bengal does a spectacular job in opening up the first issue. Between pencils and colors, he makes quite a mark in the first issue. The barren feel of Yuma, the action scenes near the end of the issue, and the smaller scenes in-between give Bengal a chance to exercise a great deal of range. All things considered, this is a comic that has a very specific look that only really works here. The modern Western meets Death Race vibe is one that really works quite well here. If youre a fan of good crime comics that trap inherently decent people in bad decisions, with action, and myriad conflicts: youre in for a treat here

This book goes a long way to remind us that the Terminator hasn't really changed, we've just chosen to ignore what made this character so appealing in the first place.

Larry Hama and Carlo Pagulayan do a great job in that regard creating a very emotionally distant Slade, as well as a very angry Adeline Kane who are both the best and worst match for each other, and the action scenes are a far cry from the big sword slashing action from the previous book. Definitely worth a buy.

Joe Bennetts art is a great follow-up to the tone set by Carlo Pagaluyan in the first three issues. The gritty art matches up well with the turn this issue takes with showing the lengths Slade will go to protect someone he cares about, even if that doesnt come across. Theres also a great deal of care taken to establish how while Rose is the daughter of Deathstroke, shes less like him and more like her mentor Dick Grayson, her more careful style contrasting towards the easy surgical style Slade takes to eliminate his targets. That said, this book continues to up its game, if youre looking for whats probably the best book in DC Rebirth, youre probably looking at it, its worth the $2.99 and more.

Deathstroke is as much a comic about intent as it is the act of violence. Pagulayan can distinguish someone as intense as Slade Wilson, from the base brutality of someone like the Red Lion, even in the talkier scenes. Either way, you're getting a fantastic comic for your money. This is one of those cases where the bi-weekly schedule is a boon. Typically, Priest comics have to work on the slow-burn, but this comes at rapid-fire, and with one of the more intelligent and relevant plots a superhero comic can hope to achieve right now. If you really like comics that can transcend being simple pop art, you're on the right track.

Speaking of high art:this book has had a murderers row of artists, and Cary Nord is the latest person to take a turn. As always his art is fantastic. It also helps that Jeremy Coxs color palette creates an astonishing level of consistency in what would normally be a problem with a revolving door of artists over nine issues. Nord injects a little light into whats an otherwise serious book with small scenes that give different sides to the characters. It overall helps continue to make Deathstroke a prestige book in comparison to other books surrounding it, it cannot be said enough: this book is for people who want moral ambiguity thats actually gray.

Joe Bennett also deserves accolades for continuing to push out consistent home runs. Theres a variety of notes that need to be hit in any comic, and the range of storytelling: from fights, to emotional moments, and the beat panels of a Priest comic tend to require both exaggeration and nuance. And Bennetts pencils are given a remarkable amount of upgrade from Mark Morales pencils and Jeremy Coxs colors. It leads to an impressive overall comic that certainly deserves recognition, both as a product of the Rebirth line, and what can come from allowing a comic to explore the outer limits of what it can do without hobbling itself.

As usual a lot of respect needs to be given to the litany of great artists that have graced the pages of Deathstroke. Larry Hama returns for breakdowns, as do Carlo Pagulayan on pencils, and Jason Paz on colors. Together they form one hell of a storytelling machine. A Priest script wouldnt work half as well without a well-oiled team like this, the beats are as funny as ever, and theres some truly brutal visuals with a brooding Jericho at the nadir of his vitality, as well as Slade Wilson as vulnerable as a remorseless assassin can be. Pazs colors in particular work with the black and white superhero world of Joey Wilson beginning to literally bleed into the grays of his fathers, as well as the strange visual of Slade Wilson with a seeing-eye dog. Altogether youre getting whats most definitely one of the best books on the stands, and at a price thats beginning to become a curiosity in comics. Get on it now.

Larry Hama and Carlo Pagulayan continue to bring a great deal of energy into the comic, as well as Roberto Viacava in this issue. The comic would lose a lot of the fun, as well as the action, without an anchoring sense of artistic continuity, and thats what the creative team continues to bring here. While the story is a fairly simple one: Deathstroke pretending to be a blind superhero, complete with seeing-eye dog vs. a competing assassin army while protecting Power Girl, the time and narrative jumping keep it from being static. And as silly as the premise of Deathstroke essentially pretending to be Daredevil could sound, it injects a deal of fun into a comic thats like an FX drama. If youre looking to jump on with this comic, nows as good a time as youre going to get.

This comic continues to be a master class with regard to how to set a pressure cooker story, and then to watch it boil over, this'll go down as one of the prime comic runs of its time. While it'll be sad to see this book drop down to monthly (words I never thought I'd say with regard to bi-weekly comics), at least it'll go out with a bang here.

If youre looking for a good jumping-on point for Deathstroke,this is it. Its a great exploration of what happens when an unrepentant bad guy attempts to break good so to speak, as well as a delightfully toppling of whats sure to be a tragic set of dominos. So, game on for this new era of Deathstroke,and I look forward to seeing where it goes next.

While its still a bit of a drag upon the book having it move from a twice-monthly schedule to a regular monthly book, the book still has plenty of bang for your buck. A fast-paced read, multiple rotating plots and action. Theres not much better you could ask for in a comic. But layered with an intricate plot, the idea of whether people can truly transition from a life of evil to one thats good-ish? Those are questions that truly make it as exciting as it can be.

Diogenes Neves and Jason Paz continue to do a great job with whats largely a relationship-oriented issue rather than the narrative pyrotechnics of past issues. Which is a great time either way: after all a good dialogue scene is as reliant on skills in character acting as the best action scene is on choreography. Not to mention that every issue has Jeromy Cox's colors on tap, which has continued to be a boon to the visual sensibility of this comic. All of that being said: Deathstroke is continuing to accumulate Jenga pieces in its ongoing game of betrayal and complication, now is as good a time as any to jump on. Youre never likely to know what the next issues twist is going to be.

As far as jumping on points, this may well be one of the best ones this comic has had in awhile. Its a dense operatic story thats reaching its crescendo. Any given issue of Deathstroke is going to be a good one, but this one goes all-out. If youre looking for one of the closest things comics has to something that can reach towards The Wire or The Sopranos, youre in good hands here.

Diogenes Neves and Jason Paz keep thing at a fever pitch in this issue, whether in the more dialogue heavy scenes, or the more action-intense scenes that play out in this issue. Jeremy Coxs darker colors also work here as a suitable inversion to the more stark black and white morality of the earlier issues of the Defiance storyline. But that return to the darker colors of the earlier issues helps to herald what may be an inescapable fate for Slade Wilson. If youre looking to jump in, now is as good a time as any. As far as examinations of moral ambiguity and the cost of waging violence go, as well as its blowback upon the self and family: this is pretty much the gold standard.

As always with this comic, Diogenes Neves and Jason Paz tell a clean story between flashbacks that connect well between the past and present segments occurring here in Slades life. Jeromy Coxs colors also help in keeping things vibrant, especially with the myriad cast at work here. That being said: the globe-spanning story here is finally beginning to come together, anyone that wants to see what the opposite of redemption is wont be disappointed here.

Diogenes Neves has been illustrating the Defiance arc since its beginning and has made leaps and bounds since that first issue. The final issue of this phase of the book is chaotic what with a multi-pronged fight in Chinatown, and it looks gorgeous too. The inks by Trevor Scott and Jeromy Coxs colors have kept each issue consistent, and moreover looking gorgeous. While this era of Deathstroke is over, another one is kicking off. But if you want an indicator of where the title has been and where it will be going, youre in for a good start here.

This take on Deathstroke is something of a masterwork and this is about as insulated a book as it gets in comics, watching to see where it goes next will be fascinating.

Javier Fernandez may not have been on this book from the beginning, but he slips into this issue like a glove. A large chunk of the issues emotional nuances owe a great deal to his character acting. From Casss muted sorrow, to the poor emotional communication between Tim and Bruce. Then of course theres something as simply visceral as Batwoman and the crew beat up dudes in owl suits.John Kaliszs darker colors help to convey the mood in that regard. Its a near-perfect issue of whats turned out to be a very thrilling run. One hopes Tynion will continue to write these characters in some form, but this is hardly a bad note to go out on.

Sami Basri does a fantastic job as the artist. It isnt easy inventing an entire alien species from whole cloth after all. The human/Fantasmen fusions are also very distinct in each instance. Basris art also shines in the sweep of how human culture has been altered: from vehicles, to fashion, and buildings too. The art is also helped by Sakti Yuwonos color which lend a light and very lush feel to the issue, compared to most sci-fi leaning towards more grimy colors, its nice to see a story that goes for brighter ones. Overall, if youre looking for a different kind of science fiction story in a crowded market, youre going to find a gem in Dissonance.

Clayton Crain is an interesting pick for the one-shot, and for the purposes of the story he works perfectly. Both as a contrast to the ongoing Bloodshot title, and in bringing that horror movie feel to the fore. While the story takes place in the Colorado mountains, its night time and snowing, which makes for a terrifying show with the dark colors Crain uses as Bloodshot slowly mows his way through all of his targets. Which as far as event comics go, thats always a plus, and anyone looking to keep up with their regular dose of Bloodshot will be in for a good dessert with this comic.

The biggest stars for my money are Gabriel Hernandez Walta and Jordie Bellaire. Their work hasnt skipped a beat from Vision and the surreal quality of their art works perfectly for the bizarre world of Loki, as well as a visual counterpoint to the world Chris Bachalo defined for this comic. Also to my own joy, Loki doesnt have excessive facial hair like he does in The Mighty Thor, which helps to soften him a bit compared to his portrayal the last few years and as a protagonist. Overall though: if youre looking for a great jumping on point with Marvel, as well as with several of the biggest Marvel characters at the moment, youre in a great place to hop in.

David Baldeon does a fantastic job with the events of the issue. Thankfully hes also given plenty to draw with transforming bat mutants, gun fights, superhero parties, and adorable dogs. Jesus Aburtovs colors also do a great deal to accentuate the action and make scenes really pop later in the issue. Overall, while this book was assured to at the very least to be interesting, its proven to be an exciting start to whats hopefully a long run. Its one thats definitely worth your $3.99 and time.

To that effect, Nick Derington does a fantastic job of illustrating all of this. While the reasoning behind the Young Animal line being separate from Rebirth would be lost if the art wasn't different, you can rest assured this is like nothing else you're reading. It's also great to see Tamara Bonvillains lush colors on this comic as well, a colorist goes a long way towards defining a book, and the gyro creation myth may be a runner for my favorite thing out of a comic this year. Definitely give Doom Patrol a shot, as this is one of those comics that only comes once in a blue moon.

That being said, Id love to see all involved in future books at Marvel, even if it isnt X-Men. Chris Burnham and Dennis Culver have an eclectic story going on, and Ramon Villalobos is easily one of the best artists to have taken a crack at a Secret Wars tie-in. This book deserves more press than it got, and hopefully itll be appreciated in the days to come.

While the book is 3.99, youre getting plenty of bang for your buck. A tight and well executed plot, as well as awesome art in a story that can go pretty much anywhere it can and wants to.

If you're looking for a good jumping on point, much less an intelligent comic, you're in for a treat here.

If you're a an avid Marvel reader, a lapsed fan, or a new reader this is the comic to start with.

If you're looking for a Flash comic that captures the spirit of the TV show, while maintaining its own feel, you're in for a treat here.

The art is a big factor in this comic as well, while Ive not seen his art before, Paulo Villanelli was a large part of why this comic worked. While teams dont always pair off perfectly, Villanellis art was a perfect fit for the spy adventure tone. The story jumps characters, settings, and moves at a breakneck pace, and thankfully the art keeps pace with the script and then some. The price is 3.99, which understandably creates some hesitancy as a common price in the comic world nowadays. However, its more than worth the price for the package given, along with the gorgeous art, and if youre a G.I. Joe fan youll definitely want to be along for the ride as well.

While it's been a bit strange having Thor's legacy intermingled with that of the X-Men, it's still quite a bit of fun having Aaron broaden Thor's world in such a way and if nothing else will go a long way to explain why Odin is always such a crabby old man. That being said Generations: Thor is a fantastic issue of comics and if nothing else is worth a read in these crossover-filled times, a fun comic after all never goes stale.

Danilo Beyruth does an admirable job of continuing the tone set by Tradd Moore in the initial debut of Robbie Reyes Ghost Rider. However, as the backup story by Smith and Moore shows, he's still the king when it comes to gonzo and kinetic action with flaming Dodge Chargers. Overall, it's a great book, while this first issue doesn't match up to the initial one for All-New Ghost Rider, it's still worth the shot.

That comics aren't written for all audiences is something of a lost art at times in the greater "Big Three" context, but it's as important to be able to write a comic that can speak to more people than a few, and that's something Goldie Vance has in spades. Being youthful and being childish are two very different things, a lot of "adult" books can hew towards the latter in their quest to look cool. And this book definitely has youthful charm in spades.

Interestingly enough, Green Arrow has managed to make a comeback of late. While the previous run by Ben Percy tended to defer towards weird horror mixed with social politics, the current run has been" well pretty much the same actually, but to greater success.

Hal Jordan and the Green Lantern Corps has been fairly serviceable as a comic so far. Albeit this is another comic that's essentially an extended fight scene continuing from the previous issue.

The book also benefits from an art team like Leonardo Romero handling pencils and Jordie Bellaire on colors.The book also thankfully hews towards its own stylistic tics that differentiate it from David Ajas defining choices on the book. Romero's choice to put in a more Sherlockian spin on Kates perception of the world as Hawkeye is a nice touch, and it also fits the P.I. career chosen for her. Bellaire's colors also are gorgeous as they usually are and with brighter colors than might be used on a book like Moon Knight, which is fitting for a book set out west.Overall though, anyone looking for that unique Hawkeye touch thats unlike other comics, youre in good hands here. While Clint Barton isnt the lead, the Hawkeye mantle is still in good hands.

As someone who was already likely to love this comic, I was satisfied. I did not expect to be blown away as much as I was here. This is the beginning of an X-Men run youll only see once in a generation. Hickman is playing for keeps here and I aim to be there from start to finish.

If you're looking for a fresh comic, or just a Hulk comic in general, you're really not going to go wrong with Immortal Hulk.

Of course this issue doesnt work half as well without the quartet of guest artists assembled for this issue; in addition of course to the regular team of Joe Bennett, Ruy Jose, and Paul Mounts. The division of labor between Leonardo Romeros superheroic rendition of events via the Cop, Marguerite Sauvages more romance comic-oriented version of the Old Lady, Paul Hornschemeiers Bartender, and Garry Browns more Frank Miller-esque grimy and gritty telling of the Priests version of events tell a very contradictory, interlocking, and rather unnerving puzzlebox of what actually went down at the church between the issues villain Hotshot and the Hulk. All told this run of Hulk while only three issues in is already looking like a real classic. Now is as good a time as any to jump into the pool. If youre looking for a classic horror comic with a capital H, youre in for a treat here.

This Hulk run is going to be one for the ages, and it's good to get in while things are just starting.

At this point, if youre not reading Immortal Hulk, youd best jump on. This run is going to be one for the ages, and its best to get on while its still early days.

Joe Bennett continues to show why hes a great get for this book with his ability to communicate the physical and more abstract ideas of horror Immortal Hulk continues to offer. Ruy Joses inking helps to sell the terrible transformations undergone in this issue too, along with Paul Mountss sickly lighting. While Immortal Hulk has been a slow burn, its one where the revelations of this issue are well-earned. There really is no other comic like it in the market, and frankly thats for the best.

Carlo Barberi and Walden Wong do a fantastic job on the final issue here. Obviously a great deal of care is given to Chos physicality in his various Hulk stages and it makes for a great show given the action in the final issue. It also works for the quieter moments in the issue, albeit Cho is drawn as weirdly small even relative to characters younger than him. Frank DArmatas colors also add a great deal of energy to the proceedings which make for an explosive story. And while this is Greg Paks final issue of the Incredible Hulk, its not Amadeus Chos final adventure. One hopes though that Pak gets to return for another turn with his creation, its just not the same without him.

While Ive never been a fan of the Nova redesign, under Weavers hands the design looks more akin to the Richard Rider version and looks sleek, along with the giant bugs and sci-fi monstrosities that appear in the story, the issue is a feast. While the story is not related to Jim Starlins Infinity Gauntlet, its frankly better that way. A retread of that story serves no one, and using it as a launching pad works quite well here given where the Infinity Gauntlet fits in. If youre looking for a new set of characters and situations from the Marvel Universe, this is a great entrance to start with.

The book also contains a short story featuring Lockjaw. One obviously divorced from the proceedings of the main story, but it's quite funwritten byJughead veteran Ryan North and featuring art by Gustavo Duarte. It gives a brief glimpse into the charmed life of Lockjaw with one Ben Grimm aka the Thing. While it's sadly a bit too short for my taste, it's still a nice addition to a packed book.

The comic definitely earns the price tag and then some. While it's a tiny bit late to start fresh on Bendis, or Iron Man (you're 599 issues late), it's still a great path forward for the character and for the company.

So if youre looking for a good Bond comic to read, or heck what may potentially be one of the best action books on the market today this is very much one worth seeking out. And as a person indifferent to James Bond, Im very much surprised at this myself.

While Ellis is known, perhaps unfairly so as a writer who pipes his characters full of snarky quips, his James Bond is perhaps one of the least "funny" characters he's written. That isn't to say Bond doesn't snark, but he's decidedly not a sympathetic character like even Moon Knight, he's an upper class snob and Ellis doesn't hesitate to remind you of that fact.

If you're looking to come in now on Jessica Jones, it's a bit late to the party. But if you need a reason to start again, this issue is a labor of love of the highest order, and it certainly gives the next creative team quite a peak to climb. But regardless of what happens next, it's going to be difficult to top.

While admittedly those are spreading out to some degree to the one-shots, it doesn't help in making the events of this issue more bearable. That said Francis Manapul as typical for the books he does, takes what could be boring material in lesser hands and makes it exciting just to read exposition. While the shift midway through from Jason Fabok is jarring, it does work in terms of the narratives own tonal shift away from a blockbuster summer movie, and in giving the story a distinctive look. Hopefully the following issues are more clear than this one was, but if you're a fan of Manapuls art you won't be disappointed.

While the comic isn't necessarily what I'm looking for in a Justice League comic, it definitely has way more going on than the previous run, and for that matter it deals with the Old Superman question in a way I have to admire for the sheer audacity in confronting it.

That said, if you're in for the Justice League beating up the Suicide Squad, there's not much that's going to dissuade you here. Though with any luck, the plot will come to match the talent involved.

The art by Francis Manapul is also epic as well and gorgeous to boot. Which is to be expected, but its hard not to be engrossed, especially with the insanely detailed vistas that Manapul gets to draw. A story this large in scope deserves art in kind. While the story hasnt revealed much yet, its a perfect jumping on point for anyone who wants to start from scratch on the Justice League, or just for someone wanting an epic story.

Now in a market thats saturated with so many different comic books, along with other media its easy to ask Why should I buy this? Even if youre not a fan of sci-fi, Kaptara is as hilarious as it comes, and youve got two creative people hitting it out of the park. 3.50 for a full to burst story, as opposed to 3.99 for 20 pages if youre lucky is a very sound deal. Get this comic, the team of Zdarsky and McLeod will give you anything but a smooth ride.

Of course, one of the biggest joys of reading Kill or be Killed is seeing what Sean Phillips draws each month, and this issue is an embarrassment of riches. At this point theres really no worries in reading a Brubaker/Phillips book, as theyre a fusion where the writing melds effortlessly with the art. Elizabeth Breitweiser's colors continue to be as fantastic as they were in this previous team's comic:The Fade Out.This comic takes place in the modern day as opposed to the throwback era of The Fade Out, which demands a different set of tools, and the dark colors really help set the gritty tone that Brubakers writing and Phillips art go for. Its really no exaggeration to say this is one of the best comics coming out right now. If you love well-written and beautifully drawn comics, youll hop on while the getting is good.

At some point there will be a time where superlatives will run out to praise Kill or be Killed. If youre not reading this comic, youre missing out. Its really that simple. This isnt a comic youll find at DC, or at Marvel, this is something youll find from this team only and its an exemplar of what comics can achieve as a form.

There always need to be a reminder that Sean Phillips and Elizabeth Breitweiser deserve so much credit for breathing life into this story. Each comic from Fatale to The Fade Out, and now Kill or Be Killed has been a fresh start for the team. The comic covers a great deal of ground from crime scenes, to overseas war zones, and all the way back to places weve seen before we had context for what was happening. When you have a comic this gorgeously rendered, youll be sucked in by the art alone. At this point, the end is almost here for Kill or Be Killed, its high time to jump in just before the tidal wave crashes at the end.

While Midnighter and Apollo is painfully short, it is at least a great way to go out in style for these characters, and definitely worth the money in this market.

Mitch Gerads has been a huge part of why this comic works too. In seeing his work for The Punisher, or Sheriff of Babylon its almost hard to believe that this is the same guy who drew those other comics. It evokes the same kind of free-wheeling grandiosity that defined Kirbys take, but without being beholden to it. The cheerful, yet eerily beaten take on Scott Free wouldnt work half as well without Gerads work here. Its also a ringer for one of the most gorgeous comics of the year. If youre going to jump on to Mister Miracle, now is pretty much going to be the time.

It would be undue to finish up this review without praising Sana Takedas artwork. In lesser hands, the execution would not have worked quite as well as it does. The wide range of people, men, women, and inhuman alike all stand apart, this isnt a series that reuses faces or body types. That the first issue clocks in at 66 pages with no loss of quality is a testament to the people involved. While the first issue is a bit of a rough landing story-wise, that the creators give so much with 66 pages at whats increasingly a common price point for a regular Marvel comic is something else entirely. This is still a comic worth giving a go for any readers looking to check out a new series, or see work from such a fantastic team.

While this book does conclude the story it started in issue 1, even coming in now is not a problem, the book is always inviting. More importantly: among the other Marvel books, this is the only book remaining at 2.99, and its a real bang for your buck at that price. For me, this book has been an important part of the overall change in Marvels approach at gaining new readers, and if further books follow the example that Wilson and Alphona have set, the future looks bright for Marvel.

While Adrian Alphona does draw the final nine pages of the first issue, Takeshi Miyazawa handles the initial twenty one pages. Though Miyazawa continues the style started by Alphona, while not indistinguishable, they mingle together and give a bright, even defined look to Ms. Marvel's version of New Jersey. One that's replete with giant frogs, killer drones, and the usual madness of school. While the book is $3.99 now, that price is well worth it for the extra pages and always high quality. If you have to pick one book from the new Marvel, pick this one.

The choice of characters also takes advantage of the more open nature of the Marvel Universe as it stands, including a recently returned character from the Ultimate Universe. While crossover has been eschewed in the past, the anything can happen nature with characters from different settings appearing is only a boon for a comic like this. For $3.99, youre getting a great bang for your buck here, even among the other choices in the Marvel line itself.

The Superman books have largely been in a strange place, but when they try reaching out towards something new, the results are interesting.

Overall, Rebirth has helped raise an already ascending book to newer heights, definitely a highlight of the entire line.

While there are a ton of Batman books on the market, this is definitely one going for a different feel, as well as an attempt to flip the script on how to approach a long-standing character, and it's definitely worth your money.

The Rebirth line has definitely done well for the Batman books, and if you're looking for what may well be the standard bearer to that effect, look at Nightwing. "Better Than Batman" may well end up being accurate on a qualitative level.

In the end though, the question boils down to whether the comic is worth buying. In that vein though: yes it is. Superhero comics of this ilk are tricky to get right, and thankfully its one coming from the right place. David Walker and Carlos Pacheco have a great comic here, and thankfully theres plenty to love here. If you like Red Wolf and Hawkeye beating up water-hoarding mercenaries, youre in for a treat.

Scott Hepburn and Matt Milla also do a fantastic job of illustrating the issue. While its not the same as what Sanford Greene bringsto the table, Hepburn is able to evoke the loose style thats helped distinguish this book from its competitors. Milla similarly brings the wide range of colors thats made Daredevil look so great recently, which is a boon given the issues Christmas from Hell plot. That said, this book is most definitely worth it as always, and for an extra-sized issue even moreso. So if youre looking for a book thats not welded to a crossover or long-running plot, and is just telling a fantastic story, youre in for a treat.

As far as where Powers stands as a solo book. It simply doesnt. If you havent been following up until now, youre going to want to start from the beginning. Its a fantastic read, but it isnt a singular story as a single issue, or without House to provide context for key moments. That said, if you have been keeping up: itll be a powerful read and one that I cant wait to see the next issue of.

While DC has seen a recent rise to the $3.99 price point on many of its books, that should not be a reason for you to be impeded. This first issue has everything a superhero comic ought to have: fantastic storytelling on plot, character, and the art itself. The latter is extremely eye-popping as the cover can attest to. Overall, more bang for your buck than a lot of books can offer these days. For anyone looking to jump into the new DCU, or see why Damian Wayne is a great character this can be a win for you, or if you want to see a creator at the top of his craft this is a great place to start.

If Ewings Immortal Hulk is about the end of the world and the decline of civilization and empire, this is the opposite of that. Al Ewing and Valerio Schitis S.W.O.R.D. isnt just about one agency, or one nation: its a book about renewal, where dreams can be achieved and creation can be touched. This first issue was nothing short of a masterpiece and Im looking forward to the next issue by the entire team.

What sets apart Secret Wars from previous Marvel events, even Hickmans prior event Infinity, is that its a character study under the guise of all the cosmic punching that weve come to expect from these things. A character study about Doom of course, but also about Reed and the Fantastic Four as a whole. Though plenty of writers have made their mark on Doom, Hickman has done very nuanced shadings of him, even at his peak as a god, that shows what kind of flawed machinations run underneath him, and just what a contrast he is to someone essentially good like Reed. Its extremely easy to look at the landscape of the current Marvel Universe and lament that there is no Fantastic Four book, Secret Wars is very much a celebration of Marvels first family and of Doom even. Without them, there would be no Marvel Universe. And for what may well be their final story, its one hell of a capstone, and one worth keeping in mind as whats basically the new creation myth for the Marvel Universe.

The Squirrel Girl/Thor pairing while completely out of nowhere, plays like most of the stories here slightly left-of-center and just runs with the fun one-shot feeling. Bennett and Anka while having a limited amount of pages to play with, manage to sell the clash of Squirrel Girls boisterousness vs. Thors stoic nature and weariness with aplomb. While the romance is ultimately one-sided, its a reminder of the humor we more ought to see, and that Kris Anka is as phenomenal an artist as ever on anything he touches. Katie Cooks story is similarly in a cuter manner than the rest of the preceding stories, but its not out of place with the crowd. Overall, Secret Love is more than worth its $4.99 price, the names who dont normally do a lot of normal work for Marvel rise the quality of the series alone, and while anthologies can have a problem with maintaining an upper level, this one has no such problem.

The Sentry does a great job of taking a character whos in the past been somewhat inaccessible and creating a new way in for readers. If youre looking for a book that plays with the nature of reality, as well as giving a different vantage point of a familiar world, this is one that youre definitely going to enjoy.

The best part of this book for my money always comes through in the art. A good story can be meaningless when mangled by a bad artist, but Opena makes a world thats unlike anything else in comics right now. None of the main characters resemble each other. And the distaff designs – even among the Mosak alone – are quite alarmingly diverse, as well as the somewhat apocalyptic tone of the land of Zhal itself. As always, Matt Hollingsworth brings excellent colors to the fore and draws out what is possibly some of Openas best art, since Dean White colored him way back in the beginning of Hickmans Avengers run. That being said: this book is pretty early in its run. However, with art this gorgeous, and a story this compelling, its best to get in early. Youd be doing yourself a disservice otherwise.

Lee Garbett (who drew one of the best runs of a comic ever in Loki: Agent of Asgard) deserves so much praise here. A lot of what makes the world of Skyward work is in the details.

Even for Southern Bastards, this issue is especially violent, tied together by Latour's incredibly kinetic art. There's also no other comic where you'll get gritty violence perpetuated by various animals, forest hunters, and angry veterans.

Lettering has also been a huge factor in defining Gwen's world. Clayton Cowles also goes above and beyond in making the lettering a distinct quantity in the book. This isn't something I would normally point to, but the lettering, the word balloons go a long way to remind you Spider-Gwen is not a straightforward Marvel book and is in a different time and place. Overall this has been proof positive that Marvel is doing its best to make sure this book stands out from the rest of this competition. Given the results so far, it's more than worth the 3.99 you're paying for it. I for one hope that Spider-Gwen lives a long and fruitful existence in the Multiverse.

While this is a comic that a lot of people have hitched their wagon to, its happened for well-deserved reasons. This comic may be the next big thing, but this is one of those rare times where popularity and quality are in synchronization. This is a creative team that could simply have done Emma Stone in a Spider-Woman costume and left it at that, but instead it revamped her from the bottom up into a character that channels the spirit of the Spider-Man mythos but redefines it for the 21st century. Definitely go out and get it, even if you've missed the first issue.

That being said, the book is a candy store of beautiful art. Sara Pichelli – one of Miles co-creators – returns to draw this story, and if theres nothing else that can be said: it is gorgeous. Theres plenty of effort made to distinguish that Miles has grown older since he first showed up as a scrawny kid Spider-Man, but hes still got a very different physicality from a grown man like Peter. There's also a lot of bizarre stuff that happens in this issue. From the appearance of the Armadillo to our first glimpse at something from beyond the rift, Pichelli draws it all here. Ponsors colors also do a great deal to keep the book very vibrant and distinguish it from the rest of the current Marvel line. At this time, however, its quite a difficult book to say Id recommend. While the art is fantastic, it feels like so much of the rest of whats been hurting Marvel lately in execution.

Overall the comic encapsulates just what defined Marvel in the early days. Great power, great responsibility, fallible heroes, and a sense of normalcy that defined it against square jawed superheroes. What distinguishes Starbrand and Nightmask is the greater scale that Kevin and Adam play on. Both in their heroism and the mistakes theyve made, from the cosmic multiverse-saving heroism, to Kevin Connors lingering guilt over the deaths of the people in his previous school during the White Event. While the story may seem looming in light of Secret Wars, this is definitely a comic worth getting if youre looking for a smart, and classic superhero story to get into.

While the Superman books haven't been perfect, this one in particular is definitely coming from the heart, and trying to reclaim the wonder of family in comics.

It is steeped in the Superman mythos and uses several underappreciated characters in a thrilling capacity, certainly one worth getting.

Now the art itself on Surface Tension is great. While it does tread the line between sci-fi and horror, the book Is compiled of realistic characters even in the midst of all the madness piling up in this first issue. The cast has a great deal of variety both in terms of the voices there, as well as look, and personality. In addition, the locales that show up in the story allow it to distinguish itself from typical sci-fi fare. All in all Surface Tension is a great book to jump into if youre looking for a different kind of story to read on the stands.

Fernando Dagnino also does a great job of establishing the tone and feel of the two different worlds. The characters from the Planet of the Apes remain true to the look of the original movie, while Tarzan and his world has a different feel as well. Sandra Molina similarly adds a great deal of texture with the colors at play in the issue. Even with two different time periods that are both in the jungle, there's plenty of little things that distinguish the two. That said, the comic is most definitely worth the time and the money. As mentioned earlier: crossovers tend to fit into pretty easy categories, and they can be fairly forgettable at worst. All things being equal though, if youre gonna pick up a comic this week, youll definitely be getting a pretty wild story with Tarzan On the Planet of the Apes.

While Rebirth as a whole has managed to get back to basics in a decent way, it's had an issue with attempting to appease characters by returning them to a "default" state that they believe fans like, rather than doing something with it. Which is a shame, since the Annual as a whole is well-constructed. That being said, the movement for these books as a whole is looking good, and there's plenty of reasons to check this annual out as a capstone to a great story.

While its easy to forget how much an artist brings to the table, Steve Lieber is practically a miracle worker. Pretty much all of the humor, physical, background, or even some of the more inane stuff (i.e the terrifying Pretzels) land pitch perfectly because of Lieber. That also works in reverse too, that same dog is actually kind of intimidating under Liebers guidance. Aided by Ryan Hills colors, at least some of the nuance, melancholy, and humor that defined that previous partnership. While I do hope that The Fix continues to be more than just a place for Lieber to keep on showing the world why hes a fantastic artist, so far Im not seeing much to hope for on the writing end.

If this first issue is anything to go by though, I think we'll be enjoying ourselves quite a bit with Bendis writing Superman, he's in good hands.

While the Mighty Thors journey is over, its one that was fantastic while it lasted. Even if this is the last issue, its worth taking one last look before the story closes.

As for Morrison's story, its a metafictional story, as are many of the stories he's told over the years. But what makes so much of the comic stand out is its examination of the relationship between the reader and the comic book. Without informing too much about the plot, Ultra is a comic book, the entire nature of the story is right there on the cover, the hero of the story is the comic book and the reader themselves. Morrison does a good job of integrating the thought process of the reader into how the comic is presented, and from there it's a blast. There's only one more issue of Multiversity left, and this one may well be one of the most important ones. On its own though, the issue is one of the best comics to have come out of DC this year, it's worth your time, and it is worth your money. Definitely a buy.

This is as good start as one will get and the art alone is very much worth it.

This is a comic that I want to like, one that does have some familial sincerity, however it's not a comic that has a specific appeal to anyone but diehards.

While the series is ostensibly part of long-running franchises, Tom Sciolis artwork does an extreme amount of work in differentiating it from the rest of the other Transformers or G.I. Joe books on the market, without it, the series might not have reached the heights it has. The tone of this series, the whiplash between psychological horror, and back to all-out cosmic war wouldnt work without someone as deliberate as Scioli on the pencils creating a uniform order to all the chaos and characters running around in the series. That being said, the series is absolutely worth the 3.99 and more. Theres more work in these 20 pages than most books can put out in double the count, even if youre not a fan of either franchise, the craft on this book alone merits the credit.

Normally it would sound boring to read a book about the Trinity and Lois having dinner, yet its actually quite a bit of fun. It also allows Manapul to have a more contemplative atmosphere filter in, as is his wont. While Manapul doesnt tend to appear in a lot of books, its always worth it to see what he has to offer both in terms of graphic design, and in overall aesthetic of a book. Trinity is not going to be a book for the continuity die-hards, but if youre looking for fantastic storytelling, and something different from the usual pyrotechnics, youre in for a treat.

And I would be remiss not to mention Daniel Acuna again. His art sells the sci-fi redesign of Counter-Earth and of the characters therein. Acuna is able to take what Remender can dish out and then some making gorgeous and creepy locales along with the characters running through them a reality. It's nice to see these two paired up, and I hope it's it's a pair that stays for a long time.

With all of this said though, theres one thing that definitely needs to be said. For people who are looking for something different in comics: superheroes or in general, this is definitely the book to check out. For a book thats basically about the psychological paralysis that suburban life can present, or how toxic being trapped in a life you dont desire can be, it has far more oomph than your average superhero title. For that matter, it wrings every ounce of pain it can out of the characters as well as the reader. If you want a book that can surprise you even towards an inevitable end in style, then the Vision is definitely where you want to be.

All pontificating aside, you're getting plenty of bang for your buck. A book that reads as awesome as it looks. While I hesitate to use the word gritty given the connotations it carries, in this case we have a book that is gritty but also doesn't steer towards being cartoonishly dark. If you're looking for a book that actually does give you a viewpoint in a more modern DC Universe, one that you can relate to, and one that has new and fantastic stories, We Are Robin is a great place to start.

Cory Smith, the main story's artist does a fantastic job of distinguishing the book's style from the more gonzo action of the main Hulk book with Amadeus Cho. Where that book is more of a super-science monster action book, this one has more of a horror movie meets Bill Bixby Hulk vibe and it works really well.

If you're looking for a more insular book than Avengers, one that's going to walk you outside the characters you're familiar with, than West Coast Avengers is definitely one worth getting in at the start of.

A large chunk of what makes Wild Storm work and tick however is down to Jon Davis-Hunts art. Which similarly is very stripped down and business-like with a heft of panels and less in the way of the widescreen action which defined Wildstorm during the Hitchian early 2000s. Anyone whos seen Davis-Hunts work in The Clean Room is probably going to be a bit jarred in the shift, its a wholly different animal. Thats also aided by Ivan Plascencias soft colors accentuating the drabbier world this comic occupiescompared to the typical Earth-0 DCUs brighter more bombastic atmosphere. Either way, no matter how you shake it: the first issue of the Wild Storm definitely succeeded at what it attempts to do. If Ellis can bring to the rest of the line what Gerard Way was able to bring to Young Animals, the Wildstorm line will probably be able to succeed once more.

That being said, the economics are certainly worthwhile as well. While Wolf is $4.99, you're not left wanting for content. While a lot of books are baselining at $3.99, more often than not,they're heading towards a 20-22 page count. Wolfgives you around 3 times the page count, and you're definitely not getting a rushed story in that regard. While comics have had plenty of furor recently over the economics of page count, the inclusion of more diverse characters, and the diversity of content, Wolf had an answer for all 3. You're getting a top tier team hitting the ground running, and you have a chance to pick up from the word go.