The usually reliable Roland Boschi delivers the pencils here, and his heart is clearly in the designs for Albert himself as the work done in the robo-Wolverine are the real highlight. Everything else though feels largely forgettable.

The advantage of Machine Man's tie-in to the Iron Man 2020 event is how seamlessly it brings the reader up to speed with just what the heck it all actually means.

Perhaps if I was 9 with a belly full of cereal I'd be gripped by this, but as it stands now it lacks much appeal.

Bendis knows a thing or two about these characters and he is really at his best writing their interactions over combat sequences. This comic squeezes a lot of stuff into one issue and does the opposite you'd think by spending more time on plot points we've seen before and glossing over the new story threads, which might make your head spin. I'm sure by the end of this arc we'll have a fantastic story inside All New X-Men, but as far as the first issue goes it leaves some elements to be desired.

Though readers quickly learn that the first pages aren't exactly what they seem, they do lead into the parts of Becoming that work best, Jackson Hyde's relationship with those around him.

Overall though there's not much going on that makes this nearly as interesting a crossover as Archie's darker corners, and in the end it just feels fine.

Hickman is starting off his run on Avengers strong. While he takes a less is more apporach in the writing and a bigger is better in terms of the cast, they both have their advantages and work in favor of each other. Opea's art is the main selling point though, because it is without question the best artwork from Marvel NOW! If you want to get into the Avengers, you need look no further than this and it helps that it's a great read.

The first issue of Avengers Arena is solid. If you think that you won't be able to read it due to your sworn allegiance to The Hunger Games or Battle Royale you should take a deep breath, put that aside, and pick it up anyway, it's a great read. Hopeless juggles a wide cast of characters with ease and Walker's art has us eager for the rest of the series because he draws the brutality beautifully. Marvel has a golden opportunity here to tell a great story and show that they're capable of killing of characters and not bringing them back magically. Let's pray they don't mess that up. 

I think the tank might be empty on this one but its climactic surprise might spark it back.

Artist Jonas Scharf is at his best when drawing the grotesque and monstrous, luckily he gets a chance to do that here more than once.

Avengers of the Wasteland isn't an "Old Man" comic so it's not playing by that type of story, instead it's working on building a legacy of hope in this hopeless world, but I don't think it's working.

Were it not for the tremendous artwork by Carlos Magno this would be a major skip. Here's hoping that the giant robots get their day in issue #2.

The second issue of Avengers Mech Strike further solidifies that this series is really just Pacific Rim with "Earth's Mightiest Heroes," which is fine, but there's little else going on.

It's a fun enough read as artist Carlos Magno continues to do good work, but the trouble is it's still mostly just noise.

As Avengers Mech Strike has continued it has only become more incomprehensible.

Writer Jed MacKay throws some fun ideas in the final story, including alternate versions of the Avengers that are awesome with a Capital "A," but the premise is almost entirely gone.

This is more then just a superhero comic. This is a tale of a father and son at odds with each other, an age old premise that's been done a million times over but not with this kind of spark. Batman and Robin are one of the most iconic pairs that have ever existed in American culture and while this story respects that, it takes them, simply put, beyond it. We've seen Bruce acting in a parental role for the previous Robins before yes, but here his real parenting skills are put to the test. If you've had your appetite whet by Scott Snyder's Batman comic and need more, buy this. I couldn't put this down when I was reading it and it made me very upset that I hadn't been picking up the issues of it from the start of the reboot. Batman and Robin rules the night.

It's bound to happen when you're telling a story that has begun across other titles, but Batman/Superman #6 is the perfect example of a filler issue.

While the comic is sometimes wordy and the first few pages of set up seem to drag Batman: Death By Design is a really good read. It has all the components that many would consider vital to a good Batman tale and its art is top notch. I'm hoping in a year or two we can get a good follow up to this. I like seeing 40s Batman with modern influence.

Detective Comics scribe Mariko Tamaki spins off her story into a one-shot that makes me wish she was also writing a Huntress solo series.

Even though only some headway is actually made in terms of plot in Batman: Three Jokers #1"learning little readers didn't already know"there are still surprises to be found.

Johns story continues to plod along with limited intrigue into the larger scheme of the villain and the Bat-family, but with a few developments that may elicit a surprised "huh!" from readers and one in particular that might incite an online riot (for no narrative reason).

You've been sprayed in the face by the fake flower, a cream pie falls in your lap after splatting on your head. This was a joke and it was on you.

Trying to make a character piece out of someone as flat as The Comedian was a difficult task for Brian Azzarello, but he tried and he doesn't totally fail. While the concept is a good idea for a book, it just seems to lack the spark of greatness that we've come to expect from Azzarello's work. It's not a total loss since it's the first issue and maybe it will serve better as a completed miniseries, but I'm expecting something more from the rest of the issues and I hope I'm not wrong.

Now, if you're like me and hate these ridiculous call back references to the original story planted within the 'prequel' story then this book will more annoy you than entertain you, and if for some reason you don't know how Dr. Manhattan operates in Watchmen then this is a good introduction but there's nothing of substance here that you haven't read already.

If Before Watchmen: Minutemen is representative of the quality of work that we will be getting from the rest of the series, then consider me signed up. If not, then at least we'll be getting a quality Minutemen comic. Do you consider yourself a fan of Watchmen? Ever wonder what life was like for the original heroes? This is the series for you and not just because you like the original or the characters, because it's a good comic.

If you like Nite Owl, I'm sure you'll like this comic, but I was rather disappointed with it all. It seems rather rushed with little time put into careful plotting and creation. I realize the story has to be set up in order to tell what will happen in the rest of the mini-series and I hope this one gets better, but for now it's a real swing and a miss.

Before Watchmen: Ozymandias was a great read. I'm excited to see where this one goes and I really hope it doesn't start spreading into territory that made Comedian and Nite Owl boring and uninteresting. As long as Wein keeps up the cool, collected attitude of Veidt and Lee keeps crushing the art, it should be a great read.

Before Watchmen: Rorschach is one of the best first issues of the entire run, and with next week's Dr. Manhattan series being the last to debut, it will be a while before you read anything on SuperHeroHype about the prequel series, but rest assured we've got more to say. While you wait though, go read this Rorschach book, it's damn good.

Though I won't spoil the ending for Before Watchmen: Silk Spectre for you, I will say that I have a fear that it will be a predictable series in the long run, but I do hope I'm wrong. I'm also afraid that even though next week's issue Before Watchmen: Comedian is written by Brian Azzarello that I've been spoiled by the goodness of Darwyn Cooke and Amanda Conner. The product so far doesn't rival Moore and Gibbons' original, but it's a very valuable companion piece and absolutely worth checking out.

Couceiro has a blast making these beasts seem gnarly and vicious though, gleefully exhibiting the carnage and gore that comes from their bite radius on bellies.

An improvement over the first issue, I can't help but wonder if the big picture of the entire series might improve the reading experience of this as a whole.

The mystery deepens and this one continues to get better.

With Big Girls #1 Howard has made a point to deliver a world that feels fresh while also flipping the script on comic characteristics, and making sure to paint an explicitly political stance.

Take a chance on Big Girls folks, it's got something to say.

Big Girls #3 delivers perhaps the most dynamic action of the series so far, allowing him to show off his artistic talents like a flexed muscle at Mr. Universe, and the judges applaud him for it.

One image in particular gives the reader a better idea of how this world looks from Ember's POV but also underlines her emotions in the moment. Masterful work continues to be on display here.

Jason Howard's series continues to remain steady in terms of quality of art and narrative intrigue.

The best aspect of Big Girls is how unpredictable it remains even through the final panels, it's a comic that continues to reward us.

Patrick Foreman and Brian Hawkins' Black Cotton flips our entire world on its head in a simple way, delivering a biting alternate history where racial dynamics in America are reversed and the killing of a white woman by a black police officer sparks "White Lives Matter" protests and worries from a decades old family about protecting what's theirs.

About the only trouble with Black Cotton #2 is there's a lot of page space devoted to some things that feel like filler in the grand scheme of the story, but in the end it's all good to look at and a dynamic read anyway.

Patrick Foreman & Brian Hawkins' series continues to be a fun read but three issues deep Black Cotton hasn't yet moved beyond the initial elevator pitch of its world of reversed racial dynamics.

Like the previous issue though the wheels feel like they're spinning, with the series not yet moving past the core concept into something bigger.

The larger plot finally pushes forward in unexpected ways though making this the best issue yet.

Cable and X-Force is a unique comic because it has the heroes becoming the 'bad guys.' New readers shouldn't worry about not being able to understand it, because it's fitted perfectly for newcomers though they may not fully appreciate the characters if they don't know their histories. Hopeless has a great team in this series in both the characters and his artist. This comic is interesting because it doesn't sound or look like anything else Marvel is doing. If you're looking for comics with superheroes that don't exactly feel like superhero comics you can do better, but there's a charm this one has that you won't find anywhere else.

Where this comic gets it right is in the character himself. The action scenes look fun, but they don't hold a candle to the rest of the comic. Captain America #1 does what the best of the Marvel NOW! comics are doing, it's trying to tell it's own story without worrying about tying into every other series or appealing to the casual fan with cameos.

As is typically the case, your mileage may vary with Bendis' brand of humor but since story features a lot of characters he hasn't put his mark on in a big way it's fun to see this time around.

What the heck is even happening here most of the time? Don't ask me, what a let down.

After its awful second issue Checkmate finds a balance between servicing its narrative that made the first so strong and also the confusing time jumps that made its second so weak.

An out and out war comic, the book fits right in with the Baltimore titles while artist Peter Bergting brings this insane combination of soldiers and witches to life.

A fine issue for longtime fans but not the best of the larger series.

Overall there's enough of an interesting set up to keep reading but it has a Mark Millar like nastiness to the tone that doesn't always land.

Though previous issues have been deeply unpleasant in characterization, and frankly issue #3 treads that ground as well, the series does finally land on better footing than predecessors.

Despite a rocky start, Concrete Jungle is shaping up to be a wholly unique and interesting series in the long run, but issue #4 is where they really start cooking with gas.

. Artist Marco Failla does good work with the many characters and settings seen throughout but in the end it's mostly a middling narrative that might only appeal to super fans.

There's no hook into the larger scheme of Dark Agnes, and perhaps a purely standalone title will be a draw to some, but so far it feels like a half-baked idea that is looking for purpose.

There's fun to be had in this new book.

It would be easy to think with the length and messiness of the Dark Nights story that there would be one shot that could encapsulate so much of the narrative into a digestible state and also be a primer for a fan-favorite character's place in it, but Dark Nights: Death Metal The Secret Origin #1 does all of that.

A ten part experiment on being silly, DC Cybernetic Summers a series of stories that are seemingly out of canon and thus more equipped to be ludicrous and frontloaded. Though these antics works for some of the tales, others fail to inspire.

Now since I'm not the best scholar for Deadpool in the world, I could be in a minority here, but I think this is the best way to take the character and reintroduce him to the world. Many will lament at the changes to the character, whose inner monologues are notably absent here, but why say in three speech bubbles what you can say in one? This was definitely added to my pull sheet today, I drank the kool-aid.

Peter J. Tomasi continues to do stellar work in Gotham City, delivering a tense and harrowing tale that could easily have been set-up fodder for the upcoming "Joker War" crossover event.

If Detective Comics #1023 was the enticing set-up for a larger narrative, Detective #1024 is where they realized they'd used up most of their story already.

Master storyteller Joe Hill lays a unique groundwork here, setting the stage for his cop-turned-comedian story with a slew of off-putting jokes that frame his lead character in a proper fashion for this neo-noir.

Simmonds once again elevates a decent story idea to new heights with his scratchy art, giving the world a unique edge and palette that makes it shine.

Dying is Easy is finally at a place where it's fun to look at and to follow, and if it can maintain a consistency like this it will be a fun series for years to come.

Joe Hill's neo-noir mystery continues to ride high in the latest issue but is at its best in terms of its narrative when it's focusing strictly on the characters at play and their interactions.

Joe Hill and Martin Simmonds modern riff on Sherlock Holmes comes to a satisfying conclusion, sticking the landing on a series that had a shaky start with its first couple of issues.

Writer Phillip Kennedy Johnson, who recently reignited DC's Superman after taking the reigns from Brian Michael Bendis, now has a similar job with Marvel's symbiotes after Donny Cates' work with Venom came to a conclusion, sadly his work for the Distinguished Competition started stronger.

What Fraction has crafted here really feels like a family though. Even if this comic is connected to the upcoming FF relaunch, it doesn't feel like half of a story. Big fans of the series will really enjoy this, but newcomers might leave a little more to be desired. Don't expect anything from this that the Fantastic Four has never been, because it's not a drastic change to anything.

Mike Carey crafts a Fantastic Four tale that feels entirely new and also so classically ingrained in the characters that you'll wonder when it was first published.

I was really surprised by this book. I'll admit that I wasn't all that excited for it in the beginning and I'm all turned around. FF is one of the most interesting and well-written comics to come out of Marvel NOW! and you should be reading it.

Writer Phillip Kennedy Johnson's take on a post-Superman world is an intriguing meta-examination of the DC hero and what he means.

New Superman writer Phillip Kennedy Johnson once again proves that his taking over the two main books for the Man of Steel was a tremendous decision on the part of DC Comics, delivering one of the best epilogues to the entire legacy of the character that's been printed.

Artist Ben Oliver gets a lot to play with as well but its his ability to make the two characters maintain their iconic styles throughout that makes this one really work.

In a word, it's spellbinding.

Giant, insane monsters and mutants abound, so if his run on the ongoing series will be this bananas it will be worth looking at.

In the end Geiger feels like a big premise that acts new but is derivative of a lot that has come before it, fun to look at but very little to surprise a reader.

Geoff Johns and Gary Frank's new series makes a slightly better case for the humanity at the heart of its story but once again feels like a work derivative of post-apocalyptic, even Las Vegas-set, stories.

Geiger #3 does finally bring the series to a potential new path but we'll see where the trail leads.

Geoff Johns & Gary Frank's post-apocalyptic tale does its best impression of George Miller's Mad Max this time around, and though it's probably the best issue of the series so far it's still entirely derivative of what came before it.

Frank's work continues to be great, action beats in this issue are superb, and the best thing about the series as a whole.

This series is so bizarre as it tries to bring so much to its subgenre without actually delivering anything new, thankfully Frank's artwork is still unbeatable and makes it fun.

If you're after a quick rush of 90s nostalgia in the form of a brand new comic, it would be difficult to top Ghost Rider: Return of Vengeance #1.

Guardians of the Galaxy #1 offers a great jumping on point for interested fans and its ensemble cast of characters, with one of the best writers in the business putting words in their mouths, will keep you grinning from ear to ear while reading it. It's gorgeous, well plotted, captivating, and one of the best comics I've read this year.

I was as ready as anyone to ponder the easy cash grab of a non-super powered Gwen Stacy solo series, but it quickly won me over. There's no cynicism here; it's all sincerity.

Gwen Stacy remains as compelling and interesting as ever as well, with fun beats for obscure and fan-favorite Spider-Man villains as well.

The storytelling density is a hindrance at times (a major motif of the world is relegated to the back when it should probably have started the story), but by the end a fun world has been established with an interesting hook.

Your eyes may roll from the prose but the art will smooth it out along the way.

I maintain that a lot of the first issue of Heavy was very off putting in a 2010s Mark Millar kind of way, but its sophomore effort shows how the series is able to balance that with the actual narrative planned by writer Max Bemis.

"Secret of Chesbro House," though not feeling derivative of previous haunted house stories in this world, does feel familiar but the unbeatable duo of Mignola and Golden make this a more rewarding read than others in the line.

Mignola remains sharp as ever in crafting the narratives for these short stories featuring Hellboy and still manages to throw surprises in there just for good measure.

Hughes does a tremendous job bringing Big Red to life while also breathing real life into Mignola's monsters. Really the only trouble is that this didn't come out sooner so you could read it on Halloween.

The Secret of the Chesbro House didn't re-invent the wheel for Hellboy but is a nice distraction for fans of the character.

Campbells artwork, bolstered by Dave Stewart's colors, make this a must read for franchise fans but the blueprint of how Mignola's writing unfolds leaves no room for surprises.

This new one-shot form writers Mike Mignola and Christopher Golden and artist Peter Bergting is a fun path that expands on a magical side of the universe that has previously been unexplored.

Indestructible Hulk is a good debut issue. It may not have all the elements that fans want from the start, but it's building towards a run that I think will leave a lasting impression.

Batman: The Smile Killer follows suit, picking up the reins where that series ended in a fashion, but this issue is able to capitalize on the ideas of its predecessor in a more interesting fashion to greater effect.

Journey Into Mystery is the kind of thing Marvel wanted with their 'Point One' campaign many years ago, an accessible story in an already established series that can draw in new readers. This is the kind of comic that stands out from the rest of their comics both because of it's content and it's female protagonist. This could quickly become one of my favorite comics Marvel is currently making.

This new series starring the Juggernaut puts the iconic character in a modern context that suits him perfectly.

Another mostly self-contained adventure, this issue has the hallmarks of classic comic book narrative in that regard, an ethos that seems to be driving the series as a whole.

Garney's work continues to be elevated by colorist Matt Milla who makes the big splash pages of the issue really sing.

It'll be a bummer to see this series end, what this has proven is that the Big J can carry a solo book with ease.

Fabian Nicieza and Ron Garney's new series comes to a mostly satisfying conclusion, wrapping up an unexpected and moving narrative featuring the titular villain turned do-gooder.

Justice League of America has quickly jumped to the top of my read pile every week. Johns' signature writing style will keep it interesting for as long as he remains on it and he's setting up enough potential stories for the future that the well won't be going dry anytime soon. Plus, he's at his best when he's writing ensembles of characters and the cast here doesn't get as much love as they should.

Vibe #1 isn't a mess like some debuts have been lately, but it's not that close to being a comic I would get excited for every month. The artwork is fine for what it is, but the story is boring and forced at times. It plants a lot of seeds for an awesome future, but I have my doubts I'll be sticking around to see it.

Katana #1 is as good an introduction to the character as you're going to get. Those unfamiliar with her that have interest, or are simply looking to mix up their pull list, should really consider checking it out. There aren't a lot of comics out there that prominently feature ninjas and Katana is changing that.

Sydney Duncan has plotted a thoroughly pulpy western with this new series, featuring all the hallmarks of a gritty southern-set shoot em up though some might be a hair cliched.

The strength in Kill Whitey Donovan's narrative is how it's able to subvert the lifestyles and traits of Civil War era America, specifically the losing side.

This is the best issue yet and I think it can stick the landing after a shaky take off.

Overall, it's a solid series with a gripping story.

Barahona's colors remain a high point for me, giving the story its signature look in what can best be described as Blade Runner 2049 by way of True Grit

Artist Javi Fernandez taps into the mood and violence that fans so often expect from Spawn titles and frankly this is a good jumping on point for anyone that has a passing interest and wants an entry.

In the same way that a buffet line might offer an attendee a few choice items in a row for their plate followed by several dishes no one wants, King Spawn works in spurts when allowed to break free from the 300+ issues of continuity and work as its own series.

Even with no frame of reference for Baltimore, Lady Baltimore is a comic you need to consider as it hits all the right notes and plays them with finesse.

Mike Mignola and Christopher Golden's new spin-off of their Outerverse series continues to impress, delivering another knockout issue of what's already an outstanding new comic.

Writers Mike Mignola and Christopher Golden continue to carve an amazing new path in their Outerverse world of comics, offering a rewarding read for longtime fans but still making it accessible to those that may have just started their journey.

This issue is a must read for fans of this storytelling world too, even if the series as a whole is not to be missed, but all the threads come together for a rewarding read for everyone keeping up with the Outerverse.

In the end it's solid start but those turned off by Ennis' antics won't like what they find.

In case the first issue wasn't enough to turn off anyone uninterested with his trademark humor, Garth Ennis ramps it up to 11 in the second issue of the series which also manages to expand on its still-in-progress lore in a unique way.

Garth Ennis' new series has nearly worn out its welcome after three issues and its escalating levels of debauchery that add little to the narrative.

Overall it's a fine piece, but nothing about it screams 2099 like one would expect.

Marvel fans with a broad knowledge of the Marvel Universe won't find many surprises here but it's as decent enough of an elseworlds set-up that feels familiar for long time readers and manages to remain engaging for newcomers.

Adapted from the acclaimed podcast series, Marvel's Voices does what any good anthology comic would do, tell unique and interesting stories in quick and fun ways.

Artist Walter Ostlie does great work with the sequences that keep the action still, but moments of swift movement and combat don't really work and are difficult to navigate. In the end it's a fun read but sometimes stale.

Saladin Ahmed maintains a clear understanding of what makes for fun Spider-Man stories, specifically Miles stories, crafting a narrative here that is a fun version of The Warriors with the webhead.

It's not reinventing the wheel, but it's a satisfying tale that works. The overall hang ups stem from the inconsistency in the art, with Ray-Anthony Height, Z Carlos, and Beln Ortega splitting duties with varying degrees of success.

Always accessible, always relatable, always in peril.

Saladin Ahmed continues to hit home runs with his take on Miles Morales: Spider-Man and the latest issue is nothing short of genius understanding of the character.

The balance between Miles' personal life and the civil/superheroics of being Spider-Man is done to perfection by the writer but artist Carmen Carnero helps with the heavy lifting in this issue.

Writer Saladin Ahmed continues to keep the character and his run in a classic motif, pulling the story along in a way that keeps the mystery going without its lack of reveals feeling like a cheat.

This month's issue also makes things clear in the grand scheme, but resorts to typical "villain explains his motives via monologue," hard to argue that it's still a compelling read though.

Ahmed continues to make a compelling case for his ability to blend superheroics and modern, meaningful politics as well, balancing them like few others can.

Pacing is a clear strong suit here as well as this giant climactic battle features enough participants it shouldn't work in a 22-page issue, but this creative pair deliver an ending like an Avengers movie where everyone gets their fair square of time.

After the culmination of 20+ issues previously, the latest Miles Morales: Spider-Man takes things back to basics and even though a smaller story is welcome, this one doesn't hit all the marks.

The whole thing is anchored by artist Carmen Carnero and colorist David Curiel, who are able to bring Miles' world into the King in Black aesthetic while still making it all feel consistent visually (though a bit of whiplash compared to the style in issue #22).

It would be easy to dismiss Miles Morales: Spider-Man #24 as filler or a stepping stone, but it's a complete, heart-warming, and necessary story.

The true start of the all-new "Clone Saga" is light on answers but offers enough of a narrative tease that it's clear this won't just be Miles' version of the classic Peter Parker storyline.

Strong start so far.

Ahmed's entire run on Miles Morales has been one to keep an eye on and this is turning into the masterwork of the series.

In the end, this was a strong enough arc that didn't need familiarity branding from Marvel to sell it; it also might be better than the original "Clone Saga" because it didn't overstay its welcome.

Guest Artist Chris Allen does good work filling in, delivering one of the most memorable splash pages in the history of this series that harkens back to the McFarlane era of the wall-crawler.

Even with the huge amount of set-up that this issue offers for a later date it never feels like a necessary read even if you're a fan of either hero on the cover.

Mister Terrific is a lot better than I expected. It has a great story, good writing, manages to tackle social issues in a way only comics can, and a surprising set of interesting and diverse villains. The art though isn't the greatest, some issues are better than others, and if the inconsistency in the drawings doesn't upset you then the fact that there's not ever going to be a Volume 2 might.

I was pumped for Morbius, and while it's an interesting start, overall I was let down by it. It's not that I got so worked up about the comic that it didn't meet my expectations, it's just kind of boring. Some of the things in the comic are a lot of fun, but the plot threads and retreads inside it just didn't do it for me.

New Avengers is a wicked cool comic. It's got a really solid story, a fantastic cast, and some of the best art we've seen from the Marvel NOW! relaunch. The only fault in it is the selected style of storytelling which no longer feels like a unique perspective to start a 'Super team' story. In short, it's a great addition to the rest of the titles.

Worth a look for all spider-fans but not for everyone as a piece of reading material.

Like the first issue this is one that die hard webheads will find interest in, but it's probably not a storytelling motif that will catch on with every other title.

With things brought to a bit of a halt this feels more like a traditional Spider-Man comic than anything, which is fine. Chris Bachalo remains one of the most underappreciated artists at Marvel, bringing a raw energy and unique look to characters and environments that are so seldom dwelled on by others.

Joe Kelly's Crank-like tale of the friendly neighborhood Spider-Man reaches the best incarnation of the title's pitch in its fourth issue.

The real trouble is that there's no proper ending for the start of the tale nor a seamless cliffhanger.

Though the charm of Gaiman's version of the fairy tales begins to wane as the issue carries on but by the end of this issue's tale its hilarious conclusion makes the build-up worth it and proves his mastery as a storyteller.

If you're looking for something to start reading that is a character you haven't seen in a movie and has a different feel to it compared to the other hero comics, then Nova is a good start. Loeb's grasp of the characters are the best part of his writing, while the plot feels like a street covered in fog. The artwork by Ed McGuinness is pretty jaw dropping at times but often feels cluttered and out of place. If you've been following this new character since he first appeared in Marvel's comics, this debut issue might bring up a lot of unanswered questions as it did for me, but it gives you plenty of reasons to come back, especially with the ending.

The return of the Power Pack from writer Ryan North and artist Nico Leon makes for a pretty painless debut issue, delivering the thesis of the series and an explainer on the character for newcomers in a fun fashion.

This issue seems to be setting up an interesting take on superhero IP, positioning the title heroes as literal cogs in the machine, it's surprising that they were able to get away with it.

Writer Ryan North's new run with the Power Pack reaches its best issue yet as it rightfully puts the focus and POV of the story in the character that has the most level heard on their shoulders.

This issue makes one thing clear though, North is best at writing Power Pack as a group talking through their problems and acting in their familial roles rather than as the heroes, which is fine but somehow less interesting overall.

In the end, fun which is all the book ever set out to do.

If the strength of Proctor Valley Road #1 is anything to go by, this will be a series to keep your eye on, not only because of its many surprises but because it's able to take the familiar and make it feel new and fresh.

The series pushes itself to new limits with both its horror elements and its reality based satire, making for a great read.

Proctor Valley Road is turning into a dark horse for the best new horror comic of the year and issue three is the reason it's in the running.

Colorist Tamra Bonvillain remains the secret weapon of the series, continuously making its environments and characters pop.

Proctor Valley Road will stand out as a unique piece of Morrison's bibliography.

That its entire lead-in is buried in this one-shot that fails to justify itself is (as yet another Joker-got-away storyline) a massive headache.

Colors by Andrew Dalhouse make it all pop in a way that feels unique from other Valiant titles, and elevates the minutiae of Ryp's art.

Imagine a road trip where every stop is an episode of Black Mirror and you've got this new version of Rai, a new classic in the making.

The same way that Dan Abnett and Juan Jose Ryp's series does not beat around the bush, I won't do it either. I love this comic.

Ryp once again knocks it out of the park, making the extensive expository moments feel just as full of life as the action bits.

If you're in the market for a new obsession with little continuity baggage and a guaranteed good time, Rai will knock your socks off.

Once again, Dan Abnett and Juan Jose Ryp have hit a home run.

Even in an issue that could be described as a "bottle episode," Rai remains a must read.

Abnett continues to write compelling characters and interesting new locales, while Ryp's artwork is unmatched in monthly comics, but there's a lot of empty space that perhaps could have been filled a little more.

Though this run on Rai is now venturing more into a month-to-month serialized story than its first issues it's in a strong place to complete a sci-fi narrative that can only be done in comics.

In the end it's a great end point for this one and I'll be eager to see what happens next, the best you can ask for with a monthly book.

Graham's tremendous artwork is hypnotic throughout, as he examines the micro and macro of life that feels uniquely distant and all too familiar.

The only thing slowing this issue down is inconsistencies in the artwork, but it's easy to overlook those with a story this interesting.

Taking a page from Immortal Hulk and the spooky Archie books, writer Frank Tieri and artists Angel Unzueta and Guillermo Sanna have crafted a unique and necessary story for Marvel comics.

Savage Wolverine is one of the most uniquely written comics to come out of Marvel in a while. Its story is entertaining on many levels and it has artwork that is gorgeous and nearly perfect. A few story issues and art discrepancies hold this back from being a perfect debut, but it's a solid start for what could be a great run.

Second Chances has a lot going on and writer Ricky Mammone clearly has a tremendous grasp on the world they've created but at times it feels like reading a very wordy sign on the highway while driving over the speed limit.

Where Second Chances really stumbles in the economy of its storytelling which goes all-in on its least interesting character and does little to make his POV very interesting.

It's quite obvious from the cover art, the title design, and the team's roster that this comic is catering toward the film audience, but that doesn't mean it's trying to pander to an unfamiliar crowd. Secret Avengers is a wild ride that will keep you guessing from start to finish. Spencer has a clear grasp on his team and how they react to almost anything, and it sticks out from everything else Marvel is doing because it's no generic superhero comic. If you like your Marvel characters well written and drawn with a piping cup of espionage thriller, this is the comic for you.

There's enough interesting ideas in the story to carry it, and for the most part the art looks fine, but fleeting moments of stiff character work stick out like sore thumbs.

Johns' run with Earth's Mightiest Mortal is starting to hit a standstill.

In truth there is nothing else like Shazam! on the shelves at your local comic shop. Though it has the capes and heroics of all the others, the latest issue continues to push the title into perhaps the most unique territory of any DC title.

Artist Scott Kolins does a killer job with the Monster Society, which all have a unique pastiche to them that gives them an edge over just reading about the Shazam family.

Jason Shawn Alexander's art remains the primary selling point for the book and he's able to stretch his legs into exciting and peculiar territory here. There's also a killer cover by Francesco Mattina!

The wheels spin on the actual narrative in this issue as McFarlane gets the pieces in place for what will surely be an explosive final issue of the "Hell Hunt" arc, but for now, lots of standing and talking.

It's a testament to how these books are written and put together that they're as accessible and engaging as they are even 300 issues deep.

A solid entry into this new era of Spawn, and though perhaps not the best jumping on point, still a fun read with great atmospheric artwork.

Tan's artwork remains unparalleled though, delivering the kinds of dynamic and versatile splash pages that keep you reading as the plot lags.

Classic fans will be eager to pick this one up too though as it continues to tie the entire mythos together in a unique and prescient way.

Todd's script works well too, though wordy and overly dramatic in spurts, this is a welcome issue that focuses mostly on Al and allows him to be the kind of character fans have loved for decades.

The wheels end up spinning here but at least they're nice wheels to look at.

McFarlane's penchant for writing like it's still 1994 remains as powerful as ever, but it's the work by Barberi that makes this issue sing as his entire style gives the series a familiarity it sometimes lacks with more outlandish and dark artwork.

Todd McFarlane remains beyond parody in his own books as Spawn #313 sees the return of classic characters and truly goofball moments like Gunslinger Spawn calling a motorcycle a metal horse and the full reveal of the "big red" Hellspawn character he's been teasing for weeks now.

Todd McFarlane's latest story reaches what should be a big fever pitch, something previous issues have been spinning toward for months now and it fails to impress.

For all recent Spawn comics that felt like wheel spinning on the plot, Todd McFarlane makes sure that issue #315 has all of the action you thought you might have gotten over the last four issues crammed into one.

For all his faults of repetition and wheel spinning, Todd can still make a comic feel unique and interesting even to a new reader.

At this point each new issue of Spawn should come with "It's what's on the tin" on the cover because the amount of surprises are minimal and the amount of Spawns never disappoints, at least this time around there's a new one.

The hits are being played hard here and even though these might be the things keeping readers coming back the reinvention of the character can't come soon enough, assuming that's what we're getting.

This month's issue is at least more memorable from the last since it's not tied down into the larger building up of Spawn's Universe and the upcoming spinoffs to a detrimental degree, but on the other hand it does feel very much the same as...well any other issue of Spawn you've read.

It's a weird looking one at times, almost cartoon-level brightness, but a fun read.

As I've written before, the issues of Spawn that read like wheel spinning or piece moving across the board can be taxing, and this is one of the most egregious examples even with a final page that carries weight.

This debut issue is setting up a story that could be a fruitful deconstruction of the plot tropes that have become ingrained in the title for too long.

Taylor's group dynamic writing remains a high point and Redondo should be given even more opportunities to draw monsters.

The way you know that this series is a fun read is that even its slower, dialogue heavy moments are still a treat. You have to read this book if you're looking for something fresh in the DCU.

The new Suicide Squad written by Tom Taylor continues to impress, managing to fold in familiar faces in exciting ways that continue to push the plot forward and enhance its new roster of expendables.

The Superior Spider-Man has a really ambitious plot that works surprisingly well. It's a well-written story with good touches of character, but the artwork just isn't up to par for what's going on here. Spider-Man purists might not like what's going on, but it seems like the future holds something bright for them.

Amusing ideas aren't in short supply but Its ambition doesn't satisfy the clumsy handling.

Bryan Hitch brings his trademark writing and art styles to this unique take on the Flashpoint story, which features the traditional highs and lows of his work overall so your mileage will vary.

Davis has conceived of a narrative that fits into the grand ideas of the Marvel U and a perfect place for new fans to jump on for a story with their favorite characters from the big screen.

It may be a story that crosses generations, realms, and dimensions, but it feels intimate, and best of all it works. This is the secret event Marvel isn't telling you about.

You need to be reading this series, it's grand.

If this was a wholly original story Hollywood would be in a bidding war over adapting it into a movie.

It may take a bit of re-reading in the first part to grasp it all, but on the whole it's a stellar debut issue.

Fans of Star Wars and Dune should take note of this series.

This sci-fi epic by writer Johnnie Christmas & artist Jack T. Cole remains a dense and tough to navigate story. If you can push through and engage though you'll find an engaging and prescient series that could be your new favorite.

Tartarus continues to check all the boxes for hard sci-fi and fantasy storytelling, delivering another issues that feels like a future staple of the genres in this medium.

A fun tee up for the next issue manages to maintain this one as a fun read, but a roadmap is needed to make sense of this one.

This must read series finds its footing again.

Guest artist Andrew Krahnke continues to do a magnificent job as well, aided by colors from Hilary Jenkins, that make the absence of co-creator Jack T. Cole almost unnoticed.

What is astonishing about Tartarus #8 is that the storytelling is so tight, the premise so fully realized by its creators, that even though it has a complicated place in the web of the entire series it could be read by a newcomer and fully understood.

There continues to be marvelous storytelling on display in each issue of the series, which shows no signs of losing steam.

Writer Johnnie Christmas' ambitious perhaps gets the better of him in spinning the narrative of this particular story in around 26 pages, but even if it's confusing throughout it's still compelling.

Thanos Rising is a rich comic. There's more material to chew on and discuss than a lot of comics ever hope to achieve. Aaron is a masterful character writer and even though the art isn't at its peak in some areas, Simone Bianchi still does a great job. I'm confident, that when completed, Thanos Rising will be a modern classic.

Few ideas about this world stand out as unique, and with so little connective tissue to Miles' overall journey it hits the ground with a thud instead of swinging.

I remember when I saw the roster for The Fearless Defenders I thought, 'I bet it'll be great, but I think it will be the first one to get cancelled.' I really want to be wrong, because it's a good series that offers a look at corners of the Marvel Universe that you're not going to get in the other comics. If you want to be up on the really obscure things happening in mainstream comics, this is for you.

This new series reboots the property for new audiences and old fans alike with a direct approach to the concept in a fun inaugural issue. The only real downside for the series' kickoff is that it has to spend more time establishing its world than really playing in it, though it features quality backup tales to supplement that shortcoming.

Writers Kyle Higgins & Matt Groom have to cram a lot into twenty two pages and it slows down the flow of the narrative exponentially. Artist Francesco Manna continues to kill it even in the face of a ton of dialogue balloons.

The Rise of Ultraman #3 is the issue you were dreaming of when the announcement from Marvel first hit.

Writers Kyle Higgins & Mat Groom deliver their best issue yet with the series (tragically the penultimate) and set up a finale that appears to be the kind of throw-down we've been waiting for since issue #1.

In the end, it's fun though, and sets up the stage for the next chapter well.

In the end, this is a series to keep your eye on because the good will it earns with Panciroli's artwork in"Do You Like Ghost Stories?" cannot be overstated.

Writers Kyle Higgins and Mat Groom kick off their second volume of Ultraman comics with Marvel and have already exceeded their work on the "Rise of Ultraman."

Though featuring probably the least amount of its titular robo-hero and his kaiju enemy, this might be the strongest issue of the Ultraman series in the modern Marvel era.

Higgins and Groom's story takes a unique turn but the ever escalating mystery aspect of the narrative has started to become a chore.

The ideas in this series are fun but there's not enough time to dig into all of them and satisfy the thirst of kaiju punching too.

Trials of Ultraman has all the knock-down, drag-out fighting you can want from the kaiju buster and ties together all its dramatic story beats into a nice bow (a bow tied to the present of an impending Volume 3 naturally).

Overall it's an interesting web to be spun, but doesn't play to the strengths of this franchise in a meaningful way.

Some of the cleanest art you'll find in a modern superhero book (done with precision and admirable clarity by MJ Kim) can't save this bloated and meandering narrative.

The techno-babble plot can be left at the door but it wouldn't work at all without the visuals they bring to tie it all together.

Paul Levitz' revival of the Valiant property reaches a fever pitch in an issue that highlights the highs and lows of the series as a whole.

Valiant's latest attempt at a character reboot lands with the thud of a fish at a market.

I was surprised to find a lot of restraint in this debut issue. There are really good ideas that Aaron and Ribic execute perfectly with little flack. Thor: God of Thunder is doing what every Marvel NOW! book should and that's redefine the character while staying true to what people love about them. This is already one of my favorites from the relaunch.

Thunderbolts is a solid debut issue. The writing is very good, but the direction of the story isn't there, so it might lose only half-interested readers quickly. Dillon's art has never looked better, but that's because the colorist does a lot of the heavy lifting. If you like any of the characters on this team, this is almost a must read.

Uncanny X-Force is the kind of comic that will either really please or disappoint fans, there isn't much middle ground here. It feels like a rushed and silly debut issue that moves so fast, it's hard to even get a grasp for what is going to happen or what will happen. I hope this series gets more interesting. The characters in it are too good to fall into oblivion.

I understand that a #1 issue should set up the premise of the entire series, and Uncanny X-Men does that, but the amount of information it does a retread on from other X-Men issues released just weeks ago is almost offensive. I have faith that Bendis won't keep this up and turn Uncanny into its own title, but for the time being the only thing that will keep me reading is Chris Bachalo's amazing art.

Moments of greatness can be found in the art by Dio Neves but overall it cannot overcome the general lacklust in the narrative.

In the end it's just too weird and silly to ignore overall though and has to be seen to be believed.

Sadly a good first and final page don't make the whole story worthwhile just yet.

Artist Christopher Mitten's line work depicts a disheveled world, though perhaps intentional, it never quite works and makes the Witchfinder series as a whole one of the weakest chapters of this franchise in a visual sense.

Perhaps overall this is a step above volume 4, but Witchfinder seems to not work much on his own.

The pieces are finally together in this series as the two issues worth of droning exposition are out of the way and it's pure plot from here on out.

In the end this experiment of offering a story from a throwaway line in a comic years ago doesn't seem to have worked overall beyond connecting further threads.

Wolverine isn't the be-all-end-all of "Wolverine" comics, but it is certainly trying to craft its own unique story for the character's mythology. As far as debut issues go, this isn't going to rock your world, but it could end up being a really neat arc for the character.

X-Men Legacy is a very unique book. It's telling a story that you won't really see in the rest of the Marvel Universe and given that its character is a bit of an outcast, it might stay that way for good. Spurrier and Eng Huat should be proud about what they've done here. This team has created a comic about a character that no one was really asking for in the Marvel U and made it a really interesting read.

Young Avengers is at a disadvantage before it even got published, though. Part of the reason for Marvel NOW! is to create good jumping on points for new readers, but how many of them are going to willingly try a team of heroes they've never heard of? If I fancied a guess, not many, but what do I know. If you're reading this, consider yourself a new reader, and want to start reading quality comics and not just comics with your favorite hero in them. Young Avengers is as good a place as any to start. It has a good ensemble of characters, a wonderful message, and great artwork.

Young Hellboy: The Hidden Lands is a fun read and something that feels worthy of continuing the character's story.

Young Hellboy came out of the gate sprinting and it's exciting to see it maintain that pace.

Mike Mignola and Thomas Sniegoski's Young Hellboy reaches the moment where it really starts to feel like a proper part of the "MignolaVerse" canon, as the seeds for Hellboy's antics as an occult detective are clearly rooted in how he sought adventure as a child.

Young Hellboy's beginnings made it seem like perhaps this series could quickly become a well developed chapter in his life through other mini-series, hopefully they don't all paint by numbers like this one did at the end.