Will I read it again? Given that Archie sends these to us, yes. If I were buying this book, I might not based on this issue alone. It's the type of comic that while I enjoyed it, I didn't enjoy it enough to cut something out of my comic-buying budget. However, it is worth checking out, and definitely worth the cover price.

Comparisons will be made to Southern Bastards, and it shouldn't be, because the story of Southern Bastards is so rooted in reality that a story that adds so heavy a supernatural tone can't be an honest comparison. On its own merits Alabaster: The Good, The Bad, and The Bird feels like it needs another issue's worth of pages to firmly set the stage in a way that it can bejudged for what it actually is.

This is definitely a buy, but since this title is in the top 20 every month, you probably already are. However,it's not showing up in the top 5, so more people need to check this title out.

Should you pick it up? Yes, It's a great slice-of-life comic that is appropriate for almost all ages, although very young readers might have trouble with the tone, as it's written for an older reader, around the same age or slightly younger than the characters. However, adult readers can still enjoy it as it's notwritten down to accommodate children, showing more respect for readers than most comics on the stands today. There's also a look back at Archie's first appearance in Pep Comics #22 for those that enjoy seeing how far the character has come. Personally, I would have preferred another few pages of story, but at least the extra bit fits. A slice-of-life comic may not be for everyone, but that shouldn't stop you from giving it a shot and deciding for yourself.

I'm keeping up with this series, which brings the number of Archie comics that I'm following to three, and if you'd told me two years ago that I'd be waiting for the next issues of three Archie titles, I'd have laughed. Archie Comics is changing.

I like the book very much but find it a bit of a letdown as it spends so much time explaining the past the current subplots get very little progression. I believe firmly based on the first four issues that Mark Waid is playing the long game with this story, and that we're going to get characters that grow and change slowly, instead of the perpetual characters that were a staple of the old Archie Comics.

The art is maintaining a stylistic quality from the series' first artist, Fiona Staples. However, we have the third artist in five issues which I would normally find very troubling. To the credit of Archie Comics, the style is consistently similar and doesn't distract from the story

As a stand alone issue, this is very confusing, especially if you haven't read any of the hype about Secret Wars. It also really hinges on knowing so much of the back story about the incursions, the Illuminati, and the Ultimate Universe. Hickman tries to have characters bring us up to date, and does not invoke the text summary page that has become so popular nowadays, especially with Marvel. Instead we get visual recreations of past events that have led up to here, but that actually is more annoying, as it doesn't give context or timing. I do find myself very relieved that Free Comic Book Day will see a comic that will set the stage for Secret Wars, because with subplots that take this long to develop, it's going to be needed.

Barb Wire is a hard story to get into. There seems to be a lot of continuity to go past, and the story seems to rely on it strongly. However, a little perseverance actually will actually let you get through to an interesting story.

Overall, the book is very satisfying, although sometimes Barbara is written too much like a stereotype, with the Batgirl skills wedged on top of them. The neighborhood or Burnside is very nicely fleshed out, and seeing more of it might be as interesting as seeing Batgirl's adventures. If Batgirl's old roommate, Alysia is forgotten, it will be very sad, that the only transgender character in the DC Universe is gone. I recommend the book, and I will continue to read iot, as long as the quality continues to be at this level.

That's why I think despite all my misgivings, based on this issue, Scott Snyder may just get the reason that Batman is known as the "Dark Knight DETECTIVE."

I'll be back for the second issue and isn't that the most important job a first issue has?

Worth buying? If you're a Buffy fan that has been skeptical of the comics continuation of her story? Definitely. If you're just a comics fan who wants to read a good comic? Most likely, it's definitely something I recommend flipping through in the store, because you just might like it. For me, I respond with a challenge to the creators, hook me with that next issue, I dare you.

It's a shame, This series debuted with very high expectations and has failed to meet them. I hope the direction can turn in the next story arc.

Ultimately, that's what this story is about, and why it can be so relatable. This isn't a story about a woman running a crime family. This isn't even a story about Catwoman. It's all about someone who pauses to look around andfinds themselves in a position in their life that they'd never thought that they'd be in, but are going with it, because that's where they are. It's about those points in our lives where we honestly can't believe we're here and wonder how we got here. That's what this story is about, not about Selina Kyle trying to run Gotham City's crime families, but about something far more personal, and that is something that I can actually get behind.

If I weren't a die-hard Legion fan, I'd ignore the next two months of DC Comics, based solely on this book. There seems to be no real reason for it, nor for the hype about it. This is not the way to launch a major event.

It's lackluster, and if I wasn't a Legion completist, I wouldn't even bother with the next issue, and keep hoping that someone comes along with a clear vision of what to do with the Legion one day.

Like many anthologies, there are strengths and weaknesses, but I'm uncertain of if the strong makes up for the weak enough to justify the cover price. Flip throughit before you buy it, and if strikes your fancy, then by all means pick it up.

Danger Girl Renegade isn't a bad comic, but it's not a particularly good one. I'm not certain what the story actually is yet, except that it supposedly has something to do with Abby searching for her father. Unfortunately, that is implied only by the story starting with a flashback, and by nothing actually stated by Abby in the present day. I worried that the comic would be giving fans of Danger Girl just what they wanted instead of trying to draw in new readers. In today's expanding comic book market with more and more female readers, this comic could have done so much more to have a broader appeal, but it completely fell short in that regard.

Andy Kubert's art tries to reconnect us with the original Dark Knight Returns, but the Atom story reminds us that this isn't a sequel to that legendary story that redefined the super-hero genre. This is a sequel to the disappointing, messy sequel to that story. In emulating that style, Andy Kubert loses a lot of himself, which does a disservice to his talent. Frank Miller's art in the Atom story is better than the effort in DK2 or Holy Terror, but lacks something to make it special. This is a book trying to be legendary, when the most legendary books just started off as someone trying to create a good comic. Focus on making a good comic first and let the readers decide if it's worth a legend. That's what made Dark Knight Returns great.

If you're not reading this series, go pick up the tfirst trade and find the other issues before this that haven't been collected. You will enjoy it and find yourself wishing that it was a TV series so you wouldn't have to wait to see what happens next.

Undoubtedly, this series will be collected by BOOM! and when it is, I will seek it out. Until then, I recommend that you go back and find every issue of this great series, and perhaps even the special Pen & Ink Edition to view Brian Stelfreeze's art in it's purest form.

Yeah, I'm recommending it, but only if you're a fan of Wolverine. Don't get it just to be in the loop of what's happening. It's well done, but not earth-shattering and will not change the way comics are made. Marvel and DC have cheapened character's deaths so badly over the decades that this is just the latest event to promise that "Things Will Never Be The Same Again." Want to impress me, Marvel? Keep him dead. Publish stories set in Logan's past, and you can even frame them around characters he's known getting together over a beer to share a story. That was the best part of the Death of Superman, World Without A Superman. Don't try to have someone step into his boots to carry on the legacy. There is no legacy, there is only one Wolverine.

The story has the feel of a Doctor Who comic written in the 1990s. It's very non-threatening and almost disposable, in that it can be read, enjoyed, and set aside. The Doctor is written true to character, very cavalier and almost a step ahead of everyone else. The threat doesn't feel real, though, and the real story for the series is the note found after the monsters are vanquished. That gives the story its disposable feeling.

So, will I come back to the title for issue #2? Oh most likely, unless something gets in the way. However, Titan needs to get their act together when it comes to these variant covers or I'll stop reading just based on principle.

Should you buy it? If you're a Doctor Who fan, yes. Even if you're a casual fan of the TV Series, give it a shot. If you don't care about Doctor Who, then this will not change your mind.

That brings me to my one criticism of this book. Why the hell is this a one-shot? I want to at least see a mini-series with this character by this creative team! I think Jason Latour is essential this character at this point, just because so many writers don't see Gwen as a person but as a legend. Latour made her real, and someone that we care about. We feel the angst and responsibility that she has. A choice of artists has to be carefully made if Marvel follows this up with more stories, but doesn't include Rodriguez. Greg Land's variant cover is proof of that, as his take on the character is completely wrong, not capturing the quality that is captured here. I want more of this character, but I'm perfectly happy not getting it if they can't get it as right as Latour, Rodriguez, and Renzi did here, and that is rare in comics.

The artwork is very well done, and similar to what you'd expect from a Dark Horse comic. Rendered in a naturalistic style, Guzmn has to show that he knows how to carry likenesses and convey emotions. The excerpt above is a great example of how he does that. Silas doesn't seem like someone that would have been called “Butcher,” butGuzmn completely changes the way he moves once his criminal survival instincts kick in. Pairing him with Richardson on this story was a great decision.

Am I in for the next issue? Absolutely. Am I necessarily in for the duration? Nope, but then again, I've only watched the film one time, but this series could drive me to read the book again.

Overall, it's a very interesting comic, and one that I look forward to reading further.

I like this book, and unlike most stuff that's come out of DC in the past five years, I'd be willing to give this one to my daughter to read. This was the company that allegedly had a high ranking editor tell Paul Pope that DC only made comics for 40 year olds. This is not aimed at that market. The only despair I have is that someday Becky Cloonan and Karl Kerschl will leave it and the next creators won't be able to sustain the magic that makes this issue so good.

So do I recommend this issue? I do if you're a fan of Harley Quinn, Batman or Deadpool. If you're a Deadpool fan, then this is right up your alley. The regular series may not be. For me, I'm particularly not a fan of those characters, but I am a fan of Amanda Conner and Jimmy Palmiotti, so I'll give the regular series another issue or two to win me over.

Will I set out to read the rest of the story? Possibly. That's the best that I can say. If I were paying for these comics, I might very well not, since it just didn't seem like it had it all together, and instead, I'd be more inclined to pick up something like Lady Killer. However, if I were really wanting to read something, I might make the other issues of this mini-series an impulse choice now.

After reading this issue, if I didn't get most of this stuff in my Inbox, I'd just tell my local comic shop to add all 12-Gauge comics to my pull list. I don't think I've ever been disappointed in them. So yeah, buy this book this week.

If you aren't reading Invincible, you could a lot worse, and chances are, you probably are.

In a nutshell, this has the makings of being a very good comic, but it's still too early to tell. It could go off the rails very easily, but judging solely on this issue, I think it'll be a good series. I'll be there for the second issue.

This is definitely a comic aimed at female readers, and younger ones specifically, but that doesn't make it fun for any fan of good comics to read. If you could have any problem with it, it's that your tastes are just to more conventional comic book stories, aimed at a more masculine audience, but you could do far worse than spend a few bucks giving this series a chance.

This is a great comic that stands on his own and is good and simple. Any faults I have with it are in the way it seems too much like an episode of an animated series, which is something that is just a matter of preference. A good story is a good story, and good art is good art.

The opening sequence isn't really needed, and while the bonus pages of behind-the-scenes photos, sketches and script pages are a treat for those that like the process of creating comics, most of it could be missing and I'd never miss it. Overall, this book is a recommendation for me, even with the hardcover price point, but the story itself is so good that you almost want it in a format that's more durable so you can share it with your kids.

The art is good, although some details are inconsistent, especially in the Legionnaires' costumes. I never thought of White Witch's costume as being so modest, but in looking it up, found it it wasn't. Aside from being shaded inconsistently, a jewel on her throat is missing and her sleeves meet her upper torso costume, instead of being separate articles. I know that sounds like nitpicking, but when there's a splash page of her, a simple Google search would have been nice. However, the storytelling is well done, and the high tension points of the story are depicted in a way that they stand out. For the more mundane storytelling, a traditional panel-to-panel layout is used.

Like I said, I'm coming back for the rest of storyline, but as of right now, I won't follow Justice League United after that.

Essentially, It starts off well, but dissolves in quality as the issue goes on. I'm going to buy it because I'm a collector of the Legion, but if it's representative of Futures End, I don't want any more to do with it, and this copy will sit in a box.

Do I recommend this book? Definitely, but only if you can handle the intense violence that's depicted here. If you can't find it any longer, than I definitely recommend picking up the collected edition soon.

If you like good comics, especially crime-related, then definitely pick this book up this week. There is obviously some violence, and a little language that makes it not appropriate for younger readers, but it's definitely worth the cover price, and I'd recommend asking your local comic shop to add the next four issues to your subscription folder. If you want to see more, check out the Preview we got from Dark Horse a month ago.

Is this a buy? Perhaps. It's definitely a browse, and I think that it's worth buying digitally, if you can get it for $1.99 or less. The $4.99 price tag is hefty, but we're definitely approaching the age of the $5.00 comic, so we better stop balking at that price point. I think you should pick it up in the shop and look it over, just to see if it's the type of thing that you want to try to go back and read. Personally, I am intrigued with the idea of the adult Riverdale gang, and maybe, just maybe, the dual universe story won't be as jarring as the recap makes it seem.

It's darn good comics, and you owe it to yourself to at least give it a try.

The first four issues of Minimum Wage: So Many Bad Decisions have been depressing to watch, and this one is that way, too, but it feels as if Rob is coming to the end of this journey through a series of bad decisions, and hopefully will learn something from them all.

Overall, not a very bad comic, and worthy of the caliber that I've come to expect from Heavy Metal as a publisher. I will most likely be back for the next issue, hoping that it remains consistent.

The scene jumps are a little confusing, but given that I read this digitally, I'm hoping that these are page turns that make use of the action of turning the page to demonstrate time. Otherwise they give the story a feel with cuts that work better in animation than in comics. However, the story is strong enough that it helps me get over those scene changes. The first page also poses a problem for me, as it seems so cryptic that it makes the story confusing as an opener. It also is rendered in such a colorful and celestial way, that it almost doesn't match the rest of the story. Given how well the story works, though, it doesn't bother me as much as it would from a lesser comic.

We've got another series with a young, female protagonist that is not defined by her appearance, but by her motives. Those motives are admirable and directed towards helping. With her social station, that help is focused on those close to her, but it'll be interesting to see what happens when she has the capability to help millions of people.

I'm in for the long hall, and I recommend that you pick this series up while you can.

I'm definitely going to pick up older issues, and more than likely, my bookshelf will find a box of a run of Rachel Rising on it. Not only do I recommend that you buy it, but I recommend that if you like it, buy a couple more issues and tell your local shop to order more next time. Currently, this title sells extremely low, and there is no reason for that.

Will I read another issue? If it comes across my desktop. I'm not prepared to seek out past issues, which is something sad to say about a series.

This is a series that I look forward to reading the next issue. If you would like to make up your mind yourself, check out the preview we put up earlier.

I recommend this for fans of Red Sonja and for anyone that's liked Gail Simone's writing and not followed her outside of her work at DC. Gail Simone's storytelling is great, and means that I'll show up for a regular issue of Red Sonja to give this title a second chance.

This is good stuff by one of the best writers in comics today, redefining a character that has desperately needed it for a long time.

If you can get past the cover, you have a selection of stories about a warrior womanwho is ruthless in dispatching those that would terrorize and prey on others. Of all of the stories in here, only the last one, completely silent fails to meet this theme. One of the two stand outs in this comic are "Arena of the Dead" by David Walker and Bilquis Evely, which serves to set up a longer story, and starts very unlike Red Sonja, but fortunately explains it. The second comes right before that with "The Hanging Tree" by Gail Simone and Kewbar Baal which shows two sides of Sonja, getting completely wasted between adventures and actually being cunning, which is a side that we see far too infrequently. For those that prefer seeing Sonja swinging her sword around and killing people and things, there's plenty of that, too, but it's not my preference for a Red Sonja story.

If I have a problem it's that while Coulson and his agents are the main characters they seem overly reliant on their ability to summon super-heroes to help. I desperately want to see them face down a threat without calling on anyone to help. I want to see Coulson face down someone like Doctor Doom and walk away with a victory. If they constantly resort to calling in an Avenger to save the day.

So read this book, you may just like it. It might not be everyone's cup of tea, but it is a genuinely good comic with some good humor from a good writer.

To say any more would be, as another Sci-Fi heroine would say, “Spoilers.”

Fiona Staples does fantastic art, and can take a story set in a universe so alien and make it believable. She keeps quiet scenes completely mundane so that when impact is needed, she can get it to stand out. This isn't her best issue, but it is far from her worst. I still await every issue not only to stay engrossed in the story but to see what she can render to completely humble me in my attempts at drawing science fiction. My biggest fear is that she gets lured away from this book by the big two before it sees a resolution.

Erik Larsen's artwork is unique and that is its appeal. Hedepicts battles very nicely, and his establishing shots a re solid in their construction and look like complete places, no matter how spartan they might be. The colors are bright and give the book that classic comic book feel that it needs with so many heavy consequences to having these characters in its world. If the book has a weak point, it is not the artwork, its in that it's a hard title to just jump into. I would recommend picking up issue #200 before reading this one. That should put you on more sound footing to get into Malcolm Dragon's world.

Erik Larsen's artwork rides a fine line between mainstream and independent, but definitely captures the excitement many of us have had reading mainstream comics. At the same time, he's expertly capable of rendering mundane scenes and especially drawing diverse body types. I really find myself engrossed in his style and amazed that he continues to do this consistent level of artwork issue after issue. If there's a flaw, it's that some panels show a greater attention and look almost overly rendered, but if that's the worst I can say, then I can't say much else. Larsen doesn't cheat on backgrounds, adds clutter, and keeps his characters consistent.

So what's my verdict? I think I wanted more than this book could deliver. Gail Simone is good here, but not great, and Ken Lashley seems enthusiastic about the job, but more excited about making something that looks cool. Let's not focus so much on looking cool, but on letting the story that already is cool be told. I think he's better suited for another book, but I'm not versed enough on the New 52 to pick it out.

If there's a flaw to the issue it's the feeling that we're missing some of the story, and what has happened elsewhere is summarized here. Secret Wars is a large scale story, and I think it needs more cohesion to work in the best way possible. I think when the event is over, Secret Wars and its eight issues will be able to be read alone, but still have this feeling that it would be richer with some of the other tie-in series.

Do I recommend Sherwood #1? For $1.00, I definitely do. Even if it's something that you don't care for, the affordable introductory price tag makes it worth the try, and I think a majority of people will find it an enjoyable and intriguing read worthy of picking up subsequent issues.

Is there anything about it I didn't like? I would have liked a little more going right for her. I want to root for Gwen Stacy, as I think most comic fans do. Even though this is an excellent comic that you should keep reading. Gwen's motivations are distorted, but in that aspect she still reminds me of the Peter Parker I was introduced to, that was down on his luck and never quite getting it right, but always trying. I think that the first appearance was what it was, possibly the only shot we had of seeing this world, but this is the first step into it, where we get to see more facets of it, including how wonderfully flawed our hero is.

Seriously, folks, if you haven't added this title to your pull list at your local comic shop, you completely need to as soon as possible.

This isn't the perfect comic. It seems to exist to build suspense for upcoming issues with the tension Gwen's dad has within the force and the revelation of other characters in the world of Spider-Gwen that we are used to seeing. I'm intrigued to see where Tony Stark is and apparently without a Fantastic Four, what Reed Richards and Victor Von Doom are up to. The fact that I want to read the next six issues right now make this a damn fine comic, but not yet perfect. Every issue of Spider-Gwen has a high standard to live up to and does admirably well. I like this better than the previous volume's first issue, which makes it a perfect first issue, just not the perfect comic. It's okay, though, because she still owns that with her very first appearance.

However, I'm going to suggest that you pass this one by, which is a shame for your local comic shop, because they've probably bought a ton of these things.

This is definitely better than the first issue and more in line with the way Marvel has been known to treat its female characters lately, but it still has little problems that make it seem almost rushed. Maybe I'm reading too much into it, but that's what I see when I read this issue.

I'll at least read the next few issue of this series. Ultimately, that's all any series can ask for, readers coming back month after month.

Like I said, you should read the comic, and as long as this creative team stays on it, I would recommend reading future issues. I hope that the quality of creative effort continues after Aaron and Cassady move on.

For Star Wars fans, this book is a must buy, and it holds up there with some of the best Extended Universe that Dark Horse published. While I personally find fault with Dodson's style, it's just that, a difference of opinion on style. The storytelling is on, and the inconsistency in likenesses is minimal, with Leia and Dodonna looking like themselves enough to accept them as the characters that they are supposed to be. The environments feel real, and the anatomy is, as always for Terry Dodson, spot on. I recommend that Star Wars fans pick this series up, but if you're just a fan of comics, give it a browse before you commit.

I hope the rest of the series integrates as nicely as this one does. If so, than Marvel's role in the Star Wars franchise will sit all right with the Star Wars fan inside of me, and the comics fan will rest easier, too.

Most of the problems I have with this issue is how much this character doesn't seem like the Starfire that I knew from my youth, but for the first time in the New 52, I actually want to see more of this Starfire, and that's not a bad thing at all.

Should you buy this? Nope, not at least in its original hardcover. I would suggest a cheaper, digital format or waiting for paperback, but it's banality makes me suggest giving this one a pass.

Will I give the second issue a try? Definitely, especially since some serious conflict is coming. If the story can keep up that kind of tone, then I'll probably stick with it. For the month of Halloween, I think it's an appropriate book, and if you want to find a new comic that has that Halloween spirit, then you can do far worse than picking up this comic.

Am I in for the third issue? Of course I am, and for a Sabrina comic, that is saying something major.

The artwork maintains the quality of the previous issues, setting a great autumnal tone for the story, which matches with the story falling right around Halloween. It also has the feel of the old EC Horror comics, had they had the opportunity of modern technology. It has an almost timeless quality to it, and while remaining true to the characters' origins and legacies, firmly makes them the stars of a horror comic.

Dark Circle is an imprint worth checking out, especially given the example that this issue sets of the type of stories that they're trying to tell. Archie Comics is quickly becoming the publisher to watch.

C'mon, people, buy this book, even if you're just a straight, white man. This series is saying something, and this year, that's a lot more than what most comics are offering.

In short, I love this series, but wasn't in love with this issue until the very end. The flow chart on the final page gives us a choice to end the story now, but of course, I'm choosing to go on to the next issue.

I look forward to the rest of this series, and how the choice of artists change the story. Elements may not translate well with other artists, but the choices seem up to the task, so I'm optimistic, whereas before I was slightly skeptical.

I also have problems limiting the multiverse at a time when our real science is discovering so much about the possibility of a Multiverse actually existing, and looking very much like there could be actually be an infinite number of Universes, varying from slight differences to our owns, to many that can support no life whatsoever. It's even possible that a universe exists somewhere outside of our own that would resemble a comic book universe with different physical laws that would allow some of the abilities we see comic book characters exhibit on a weekly basis.

While this series does present a challenge, I recommend it, albeit knowing that not everyone will get the point of the story is not the various mysteries, but a commentary on the nature of comic books themselves.

This is a fun comic, and perfect for all ages. I recommend it, but it does get a little meta in how it handles super-heroes and the back-and-forth with the talking Squirrels can be a little confusing. Squirrel Girl is a very likable character, and her method for hiding her tail is one of the best methods for maintaining a secret identity I've seen in a long time. This works as a comic book, and reminds us that comics, even super-hero comics should be fun once in a while.

Do yourself and pick up a Valiant book. Start by looking for one by a writer that you already know, and give it a chance. You may not like it, but more than likely, you'll find something to make you give another issue a shot.

So is the issue worth the hype? It's a good comic. I imagine that this story will develop well, but if Jason Aaron is as transparent as it seems, then I will be disappointed. Jason Aaron doesn't have a habit of disappointing me, so I'm going to say that if you are riding the fence, then give a shot and drop the money on it.

The art is very nice. The part that really stands out is how well Matthew Wilson and Russell Dauterman work together. Usually these type of effects come across very heavy handed, but they mesh well here and do not look out of place. Scenes in Asgard are very bright, and on Earth, they are very grounded. It's a very appropriate art style for this story and these characters. Some scenes that should have more impact don't quite have it, but I can forgive that for that Jane Foster scene. While it wasn't perfect, it was well done.

I do recommend picking this series up if you haven't been already. The journey to get to this point is worth following, and for me to say that about a Thor comic is definitely a complement.

This is a book for you only if you are already reading X-Men or like me, a fan of Chris Bachalo. Otherwise, I'm wanting to see how the X-Men will look coming out of Secret Wars, because showing me what Cyclops' new attitude has created leaves me depressed at the kinds of stories I can expect.

Do I recommend this comic? I do for fans of the more horror-themed Vampire genre and fans of Vampirella. Unfortunately it's riding that fine line that separates good comics from mediocre ones. It can cross that line, but it has to step up in order to get there. Nancy Collins is the right writer for this character, I'm just not certain that this is the right art team for her.

If you do check it out, I recommend picking up the Jenny Frison cover and not the Terry Dodson cover featured above. I don't particularly care for Dodson's work. He seems to have stalled in his obvious influence to Adam Hughes early, pre-Photoshop style. Jenny Frison's cover is very iconic and moody, and doesn't accentuate Vampirella's sexuality like Dodson's does.

I am looking forward to the next issue with baited breath. Seek this book out wherever you can.

The mysterious backstory trope takes points off of an otherwise perfect comic.

While the series has not shied away from violence and language, this one actually sees it take a step towards more explicit sexuality. If this were a lesser series, I'd be wary of it, but it's all in context, and makes sense in the course of the story and the motivations of the characters.

That's right, We Can Never Go Home is returning next year. David and Maddie's stories don't end here in this issue. In the meantime, buy this issue, buy the collected edition when it comes out, and if a friend of yours that loves comics hasn't read this series yet, buy them the series for a Christmas gift. This is one of those comics that deserves it.

I'm personally hoping that this series marks the start of a trend and we see Superman '55. I think Superboy '88 or Superman '95 might be taking it a bit too far, but one thing comics has shown me is that if done right, anything is possible.

Like I said, I'm unimpressed with this issue and will probably not readily come back to this title with this creative team. It's just unremarkable and for a character like Wonder Woman, that's unforgivable.