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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.