There are times when The Displaced feels like someones attempt to reason through an existential crisis. Is someone real outside another persons observation or memory? Curiosity drove urgency in the first two issues. But with the rules of the situation largely established, The Displaced #3 plays out with less urgency and relies more on the weightier ideas behind the series.

Who is this for? was a reasonable question to ask about a series focused on a largely two-dimensional antagonist from Aliens. Was anyone clamoring to know more about the slimy Carter Burke and whether or not he survived? But the series has proved surprisingly engaging. This largely owes to the creative teams ability to fully realize Burke as a complex individual. What If? Aliens #2 does a lot of the heavy lifting to make that happen, proving to be a compelling, character oriented issue.

Fantastic Four #19 never feels committed to a thematic choice, whether playing the genre straight or attempting a parody. A large part of this failing is Alicias narration which has no real depth, be it humor, emotion, or commentary. But while the story does falter, the issue is uplifted by the visual choices. But ultimately, Fantastic Fours first real misstep remains a higher quality experience than the best issue of many other superhero series.

As subverted caper stories go, The Penguin continues to be the best one on the shelf. Kings ability to tweak structure with any given issue keeps the series fresh. Visually the series remains complex even when it seems simple. So its not surprising that The Penguin #8s day in the life story is both unconventional and exemplary.

Smart is an adjective that can be applied to almost every issue in Ryan Norths Fantastic Four run. In the case of Fantastic Four #18, it applies to Franklins character development and the ease with which his status quo is adjusted. Perhaps this will prove to be a milestone issue. But for now its just a good story about a kid who wants to be a kid.

This is considerably more engaging visually than narratively. Dreamers fans will find a lot to like in this issue and, based on the way this is set up, probably the whole series. Beyond that, though, Suicide Squad Dream Team #1 is a weak issue. In terms of telling or even setting up a story it accomplishes very little. At best, this is a first issue that offers potential because it delivers on little else.

By the end of this penultimate issue, the stakes couldnt be higher. The Devil That Wears My Face #5 continues the trend of every issue being more disturbing than the last and sets up an intense good versus evil finale.

This comic defies expectations. Though the idea of Burke surviving was already an intriguing one, grounding it in events that did happen in the movie rather than changing them significantly made it more compelling from the jump. It reads less like a What If? and more like a spin-off which is to its credit. In the pantheon of Marvels Alien titles, What It? Aliens #1 might be the most promising first issue theyve released yet.

One comic cant come close to capturing even the best of Keith Giffens work. Thankfully, this one doesnt try. The issue doesnt include references just because theyre recognizable, but because theyre also logical for its needs. Giffen could blend compelling plots, emotional characters, and absurdist humor with seeming effortlessness. In that way Blue Beetle #7 tries to be as much a tribute to what Giffen made as it does to how well he made it.

Canary #3 is an effective and exciting conclusion for a slow burn horror story. The issue doesnt abandon the series larger sensibilities, but it moves with a great deal more urgency. As a horror series, Canarys quality writing balances mood with the right amount of monster action. Panosian delivers just enough gore to drive home the characters terror and the danger theyre in. Horror fans who missed Canary need to go back and take a look from the beginning.

The Penguin #7 branches out well beyond the titular character. Batman is more prominent, and King uses his criminal protagonist and intertwined first person narrative to examine the hero from a different angle. This level of character examination continues to set The Penguin apart from most other crime series on the shelves.

This is probably not the kind of second issue readers envisioned when they finished Deer Editor #1. It makes a few unexpected creative choices, not least of which being the vampires. But the issue doesnt devolve into some kind of supernatural horror story. Nor does it turn into an ensemble story even as it pushes Dan front and center temporarily. Deer Editor #2 maintains its hard boiled sensibilities while looking to surprise its readers.

Blue Beetle #6 is largely an action spectacle. Its a fun read, though at this point in the story arc it isnt non stop excitement. Part of that is both the result of a few confused moments in the visual presentation, as well as the recent slower pace in the ongoing story arc. Fortunately the sudden conflict between Jaime and Khaji-Da does add new stakes and essentially refreshes the storyline.

The Deviant #4 elevates the series back toward the same intensity seen in the first issue. Theres meaningful advancement in the story. At the same time, Tynion maintains the overall troubled mood. And most importantly, he adds dimension to the main character. The issue is well timed to reinvigorate the series.

Fantastic Four is a high quality series in every facet, from writing to art. But Fantastic Four #17 highlights how North keeps the series fresh and smart with every issue, even as the series is primarily made up of one-and-done stories. This issues setup is the king that could lead into a complex ongoing story arc, but North addresses it in a novel way and in a single, clever issue. Its another very successful issue.

Quest #5 is an improvement relative to the series previous issues. Lunas art, which began more as a collection of static images, finally feels like its telling a story. Woods dialogue is still flat and cumbersome, though there are some bright spots. Unfortunately the end result is still a flawed comic.

The Devil That Wears My Face #4 is a big jump in stakes and action. After three issues that were on a relatively slow burn to set up the collision course Vieri and Legion were on, Pepose and Cormack over deliver on expectations. The horror elements remain, and now the heavy action adds a new dimension.

Its hard to call Fantastic Four #16 a departure for the series. While the featured characters are not who weve typically seen to this point, the tone is consistent with what the series has established. Nevertheless, its lower stakes and slightly ramped up humor bring a breath of fresh air after several more urgent seeming issues.

The Deviant continues to be a largely compelling series, but The Deviant #3 is a step down compared to the first two issues. It adds mood and characterization but doesnt keep the pacing and creep factor that preceded it. Nevertheless, the issue itself is worth picking up if the reader is interested in the overall story which remains strong.

Masterpiece #2 is a fun issue. It brings more clarity to the series than the first issue. That clarity doesnt sustain the same level of curiosity the first issue developed, but it does bring more energy. For now, this is a worthwhile series for fans of heist stories and potentially crime fiction overall as long as the expectation isnt for too dark a story.

The crime story elements here are limited. Readers going into this issue expecting an intricate story set heavily in that genre wont find it (at least at this point in the series). The hints toward the supernatural drive curiosity for the next issue. For now, Underheist #1 suggests a stronger story developing over future issues than a truly gripping issue all on its own.

Deer Editor #1 is available to order until Monday, December 11 and arrives in your local comic shop on January 10, 2024.

Blue Beetles creative team has built a compelling world and character set. As a result, this is a charming issue. Its thoughtful at times and fun at times. It doesnt necessarily advance the plot but is likely essential to where the plot will go and how it will resolve. But more than anything, it is a superb example of something that should happen in action oriented superhero series. Blue Beetle #4 is a tight, character focused issue that is as good if not better than the action oriented issues that preceded it.

Its hard to argue that Fantastic Four is one of the smartest (the smartest?) comics on the shelves. Certainly Norths scripts delve into the straight up fantastic at times. But most of the issues are rooted in real concepts that can be explained and extrapolated from. Combine that with top notch art, and almost every month is a winnerwhich is exactly the case with Fantastic Four #14.

Batman Beyond: Neo-Gothic #5 does its job effectively. It doesnt have the same depth in character exploration (though the Lumos scene is quite revealing), but it does what it has to as a penultimate issue: set up an high stakes finale.

Steelworks began with a great deal of promise. Dorn introduced complex themes and fully developed most of the characters in relation to the story. The series stumbled at times, but stayed largely consistent through five issues. Unfortunately Steelworks #6 doesnt fulfill that early promise as the final issue lands with a bit of a thud.

The Penguin remains fresh with every issue. Each one is deliberative. And it doesnt come as the result of any one member of the creative team shining more than the others. This is a true group effort with every part of a given issue reinforcing its various dynamics. The Penguin #4 is a masterclass issue that every fan of the medium should read.

Fantastic Four #13 comes at just the right time. The issue is a detour into lighthearted fun that precedes the teams return to New York in the next issue. Its smart timing on Norths part, and the entire creative team delivers.

The current Daredevil run is a high quality series that is starting to feel like its laying groundwork without getting anywhere. Daredevil #3 is the biggest transition issue yet. The series continues forward, but future potential remains its greatest selling point.

Horror fans will find a lot to like here. Certainly there is the horror imagery such as the mutilated bodies and the rail thin killer Santa Clause. The flashback to Michaels childhood where deviant activities, pardon the pun, became tied up with Maichels developing identity is ugly because of modern day events. And main character Michaelis somehow not right. The Deviant #1 is horror meant to disturb and discomfort. It succeeds at both.

Blue Beetle #3 is a shakier issue than any the series has delivered yet. Thats not a huge demerit. The series is reliably very high quality. But in delivering a largely A to B to C plot advancing issue, it doesnt carry as much punch.

Canary #1 provides everything you want in a horror comic. The creative team delivers a lived-in setting without a need for excessive exposition. The characters are captivating, even those that appear briefly. The horror elements are on a very slow burn, creating a great deal of tension, and the disturbing elements promise yet more. It will be hard for the rest of the series to live up to the first issues standards. But for now this is a must buy, especially for horror fans.

Batman Beyond Neo Gothic proves with each issue to be a consistently strong series. At times its good without having standout moments. Thats not the case with Batman Beyond Neo Gothic #4 where the creative team delivers an in-depth character examination.

Steelworks #5 is a huge issue in an already successful series. Eventually the story had to dig deeper into the motivations of its characters. This issue does that in spades.

King is developing Penguin on a slow burn. After an urgent introduction to set up the main story, the series is proceeding very deliberately by putting pieces in place and building up Oswald. In that way Penguin #3 is a must-read and also a great issue for new readers to check out.

Ahmed is playing a slow game with these first two Daredevil issues, leaving the plot on a slow burn while he concentrates on developing Matts character both as Daredevil and as a priest. Daredevil #2 is an outstanding example of how to use character development to further larger plots and themes.

The Caleb-turned-villain arc continues to be the least interesting component of Rogue Sun to date. The dynamic between Dylan, Marcus, and Owen is elevating these issues. The additional backstory that Rogue Sun #16 provides elevates this issue in particular. While its not an ideal issue for new readers, it will satisfy the existing audience.

The most recent Daredevil run received a lot of praise and could be a tough act to follow as a result. There might also be reader trepidation over whether the new run will continue where the previous left off or try for an immediate reset. None of that need be a concern. Daredevil #1 is a strong first issue that also feels like a natural extension of what came before.

This Fantastic Four run is doing a great job highlighting each character while also delivering compelling and original team stories. Its a very effective balance that the entire creative team is able to support from Norths writing to the art teams ability to go for big and wild or small and expressive. Fantastic Four #11 keeps that trend going with another strong Ben issue.

Steelworks is a series that started with a very strong first issue but has lost a step with each subsequent one. The big ideas continue to fall further into the background. That isnt to say the series cant regain that complexity. But it doesnt happen in Steelworks #4.

Graduation Days spirit continues here without interruption. This is an engaging comic that sets up what promises to be a fun series. Blue Beetle #1s entire creative team does what they did in that mini-series: contribute their talents into a final product that is far more than the sum of its parts.

An already strong series hits an even higher note here. What seemed like a straightforward adventure with a predictable arc and ending became something more complex. Superboy: The Man of Tomorrow #5 gives the series a deeper character arc and punctuates it as a true story of self-discovery.

Batman Beyond: Neo-Gothic #2 is an exciting, high energy issue thats strong on action. The entire creative ups their game. This is an issue that readers who arent reading Batman Beyond should check out.

King once again takes a series decisively into noir and hard boiled territory with another complex, though somewhat less morally gray, strong first issue. The entire creative team realizes this vision with outstanding work. Penguin #1 is a masterclass in resetting a character and fully realizing a new world for them.

A fight in hell between Matt Murdock and demons is hard to top. And the expectation going into this issue is that despite what we saw happen at the end of that fight, Zdarsky has to resolve it so the series can move on. But thats completely subverted here, and the issue goes for a thematic closure rather than a literal one. It succeeds. Daredevil #14 is a powerful and exceptional comicthe pinnacle of a short, but successful series.

Penguin #0 is a strange comic. It establishes a new status quo for Penguin without really being about him. Its also not paced quite right for a single issue because of its nature as a collection of shorter backup stories. Its probably not a necessary read for the upcoming series (especially since this is written by Zdarsky and the upcoming series is being written by Tom King). And the story isnt terribly gripping. But its fun enough and diverting, especially for readers who like a nice Catwoman entry.

A hallmark of the current Fantastic Four run is the sheer variety of stories it is telling. That on its own makes Fantastic Four #10, the most science-fiction oriented issue yet, feel fresh and engaging. Add in the creative teams continued superior performance, and its no surprise that Fantastic Four is among Marvels very best series at the moment.

Steelworks #3 is another strong issue thats not afraid to tackle complex themes. Dorns writing gives short shrift to one very compelling issue. But overall this is a minor criticism and doesnt change the fact that the series is something you should be reading.

Batman Beyond Neo Gothic #1 is an effective first issue. The new setting is engaging, and the relatively small scale stakes create a more personal story. Terrys latest adventure is off to a good start.

Conner's solo outing is a series that highlights the strengths of the entire creative team. It's also grown in complexity as it's gone on. Superboy: The Man of Tomorrow #4 is an exciting and emotional journey that fans of the Superman family can't miss.

Antarctica #1 starts at Hannahs formative moment but then doesnt seem to know what to do with itself before the final pages and the twist ending. It spends a lot of time with a character that it tells us very little about. The art helps flesh Hannah out considerably. But in the end, the events of the last few pages, rather than the time spent with Hannah, are what make Antarctica #2 appealing.

With two Zdarsky-written issues left after last month, the natural thing would be to expect a two-part final battle against the Beast to rescue Matts friends and tie up what loose ends remain. Daredevil #13 proves to be an effective and surprising penultimate entry, and it leaves the final issues events even more up in the air.

The adventure plot that this series is built on is fun enough, but Conners character arc is where the meat of the story lies. Superboy Man of Tomorrow #3 complicates that story and raises anticipation for future issues more than either of the first two entries in the series.

Daredevil #12 continues to tie the series themes together as Zdarsky closes in on the end of his run. Anyone who doubted this runs effectiveness, as indeed these reviews did at one point, can be reassured by these last two issues.

Fantastic Four, more than anything else right now, is a fun series. North knows what to take seriously, what not to take seriously, and when to lean into each. And at this point the issues are still largely self-contained, so someone who didnt hop on in the beginning can jump on at any point. And Fantastic Four #8 is a great time to do just that.

A comic book written by Michael Dorn sounded a bit gimmicky when announced. But Steelworks #1 isnt a gimmicky comic. Its a strong first issue thats developing an interesting plot while delivering thoughtful ideas. Pair this with strong art, and the result is a first issue that deserves your attention.

As oversize anniversary issues go, this is one deserving of the extra couple bucks. Norths use of Doom in Fantastic Four #7 is pitch perfect. The character is complex, operating on multiple levels, and his presence fits in with the themes North has been weaving through the series to this point. He also doesnt overstay his welcome. Hes here for a specific purpose and leaves once that is resolved, leaving open the possibility for more encounters in the future.

Superboy: The Man of Tomorrow #2 is a fun, action packed issue. It also very effectively continues the main theme Porter set up in the previous issue of Conner finding his place in the world and opens up additional possibilities for where Porter could take this story. Most importantly the series remains an excellent showcase for the character and one that readers curious about Conner should check out.

Daredevil #11 is a step back up in narrative quality as this storyline comes to a close. The Iron Fist backup story is also fun and effective, though not at all connected to the main story. The main story ends on a note of equal parts desperation and foreboding.

Blue Beetle Graduation Day is a series that feels like it matters. Characters in superhero comics are almost trapped in ambertheir evolution is slow and limited. But by the end of Blue Beetle Graduation Day #6, there is the sense that the creative team has delivered a story that will stay important for Jaimes development going forwardthe point at which he grew up. Or, in this case, graduated.

There is an unfortunate been there, done that sense to the dominant themes continuing through this issue. And the underlying contradiction of Zdarskys themes (Matt believing that the existing justice system needs to be destroyed while remaining faithful to a religion that has rigid rules and punitive consequences) feels even more on display than usual. But on its own Daredevil #10 is largely effective with a fun story and exciting, high energy visuals.

Superboy: The Man of Tomorrow #1 is a high energy first issue that delivers a lot of fun. The issue makes much more effective use of Jons difficulties reconnecting with this world than has recently been done. The story elements are direct and simple (as is the art at times). But its easy for the reader to quickly invest in Jon and his compelling story.

This series charm lies in Norths ability to blend clever stories with the humor and sense of family inherent in the teams interactions. In Fantastic Four #6, his script, combined with the art teams talents, creates a fun and surprisingly introspective Johnny story. Everyone should give this Fantastic Four series a look at least once.

Blue Beetle Graduation Day is one of those series where its obvious how integral every member of the creative team is to the books success. As a result the series becomes more than the sum of its parts. Blue Beetle Graduation Day #5 is the most shining example yet. Its hard to imagine this book being done in any other way by any other team, and it once again outshines the competition.

Every issue of Gotham City Year One delivered a compelling chapter in the style of a classic hard boiled mysterya genre that, unfortunately, is far less common in comic books now than it was decades ago. Gotham City Year One #6 excels as the conclusion to the story. The entire creative team delivers an ending that will not only thrill existing fans of this genre, but also cap off a story that will almost certainly convert some new fans.

In a series of character examination one-shots, Ras al Ghuls should stand out. He has watched centuries pass. His goals, as he sees them, are noble. His ambitions are on a scale far beyond anything Batmans other main antagonists are capable of. And his relationship to Batman is frequently conflicted. Unfortunately none of that rich tapestry is put to use in this issue. Aside from the ending, which is only made possible because these one-shots dont strictly fit in continuity, Batman One Bad Day Ras Al Ghul #1 offers little more than what might be found in a story arc in one of Batmans ongoing series.

Lazarus Planet Revenge of the Gods #1 lives on the strength of its potential. As such, its a qualified recommendation. It is quite successful in what it sets out to do, but arguably it doesnt set out to do very much. Fans of Wonder Woman and Lazarus Planet should absolutely give it a look. For everyone else, its a decent grab and youll probably know with this issue whether the series is for you.

Fantastic Four #5 continues the series stellar new run. Norths writing is a little more complex. And though the artist is different here, the issue doesnt miss a step. This series remains a must-buy even for readers not usually dedicated to Fantastic Four.

Murderworld lavished Arcade with the attention hes always deserved. He got to kill people with creative abandon. And the way Zub and Fawkes built the story probably leads to certain expectations for most readers when it comes to Murderworld Game Over. The way this issue unfolds will surprise most people who are following the series. And in the end its safe to say this is a wonderful end to a story Arcade has long deserved.

Blue Beetle Graduation Day #4 delivers the fun once again. The Jaime character story is compelling, but so far Trujillo has kept it relatively light as he builds toward a potentially explosive ending. With this issue the series continues to be a visual feast as well. Indeed, Im having a lot of fun with Trujillos story but I also have no problem just staring at Gutirrez and Quintanas rich pages. If youre looking for a fun comic, this should be on your pull list.

Almost all of us have met a person like Claysomeone who turns out to be fake and self-centered. Granted, most Clays arent shapeshifting murderers. Lanzing and Kellys choice to make Batman: One Bad Day - Clayface #1 not about the brilliance or power of a villain but the small inadequacies of a man make it the most human of the One Bad Day series. And its that easy ability to connect to Clayface and his story, made even more possible thanks to very good art, that makes it an overwhelming success.

Silver Surfer Ghost Light #1 may inspire some curiosity on the final pages, but it does little more than that. Theres not much to really dive into: the characters have little to no depth, theres no plot in evidence, and the title character appears on a mere three pages. The art does a lot of heavy lifting here and makes much of the issue more interesting than the narrative does. Im not sure how compelling the issue will be to readers who are not already invested in the Silver Surfer.

The overall Lazarus Planet story provides a reasonable if not exceptionally compelling framework for these smaller stories. But if the stories on their own are compelling that framework doesnt really matter, and Lazarus Planet Legends Reborn is the first tie-in issue that provides four compelling stories that stand almost entirely on their own with either a complete plot or character arc. This is the first issue that made it feel like Lazarus Planet is a truly global event that matters to everyone and it rekindled my interest in future issues.

The creative team for the series has outdone themselves on Blue Beetle Graduation Day #3. Its a visually stunning issue that will captivate through its art alone. And Trujillos story gives the series title new meaning with Starfires decision to mentor Jaime. Its a fun, clever comic that you shouldnt miss.

Arcade goes from gleeful to angry in Murderworld: Wolverine. It had to happen eventually. And its easy to invest in the moment. Arcade is the only character thats factored substantially into every issue, and Ive found him more compelling than the point-of-view characters at several points. So when he went from fun to furious it grabbed me. I would never have expected to say this when the Murderworld series began, but the chance of Arcades plan getting upset is a far better cliffhanger than whether a contestant will survive. I cant wait to find out whats going to happen to this attention craving maniac.

Lazarus Planet: We Once Were Gods is not much more than an advertisementand a worse one even than Assault on Krypton. Every one of the stories is carried by the art even when the art is fairly ordinary. Like Assault on Krypton before it, there is really only one story that tells a complete narrativein this case the one featuring Mary and Malik. To its credit, the story featuring Jonn Jonnz reaches for significance in its attempt for a serious theme, but there isnt enough space for it to feel anything but contrived. The remaining two stories are not much better than what you might find on Free Comic Book Day. And something that costs $4.99 should not have material akin to something found on Free Comic Book Day.

Batman One Bad Day: Bane is a fascinating character study. Its a story about an old man (even if Bane is not old in years) who sees his life as a failure even though he did something incomparable. Williamson, Porter, and Morey have taken a villain who did what none had done before him and turned him into a broken individual withering in the light of his own success.

James Sargent makes a big impact as a main character. He walks a fine line between ridiculous and serious (leaning more to the former than the latter), and will be quite memorable. With Immortal Sergeant #1 Casey and Niimura have created a fun, energetic, and highly original new series that you wont want to miss.

Lazarus Planet: Assault on Krypton is unfortunately a very middle of the road issue. And the fact that Jons and Power Girls stories end with a to be continued for series after Lazarus Planet somewhat undermines the idea that these will have a significant impact on the larger event. Ultimately the stories are a mixed bag with weak narratives, but they do benefit from strong art that uplifts the issue overall.

Daredevil #7 continues a series trend where the more down to Earth, character oriented story elements are much stronger than the long developing Fist/Hand arc. As welcome as the opening page recap was for whats going on with the Punisher side of this story, I still found myself losing interest in these moments. This is another strong issue, but I would like to see Zdarsky find more balance in these two sides of Matts motivation.

Making a satisfying transition comicthat single issue that has to rip off the band-aid, turn the page from old to new, and end one story while simultaneously beginning anotheris tough. And ultimately thats what Lazarus Planet Alpha is trying to be. But as a result it has no real identity of its own. It tries to dispense with Batman vs Robin as fast as it can before rushing headlong toward the character transformations that look to be be Lazarus Planets bread and butter. Unfortunately, hurrying as it does between old and new, it fails to actually deliver anything interesting in between.

Gotham City Year One #4 sets out to accomplish more than any issue in the series has. But its very much a transitory issue. Each of the previous three was constructed both in story and theme to advance the mystery plot in a specific way. This issue puts the broad strokes of that plot to bed as King starts to do something new. It is compelling in its own right, but because so much is open ended it doesnt function quite as well narratively as a single issue. Without a doubt riveting, though, is Bradleys attack on the police commissioner. Both in a real and metaphorical sense, its the most visceral moment in the series yet. This is yet another must have issue in a must have series.

Fantastic Four #3 delivers another very strong issue building up toward the reveal of what happened to split the team apart. And North adding in a little reminder of how these characters benefit by being together is a bonus. But what steals the show here is the artspecifically what Coello and Aburtov do with the Human Torch. And it makes me very excited for the kind of rich, creative visuals we could get down the line.

Murderworld: Spider-Man is another fun and funny romp that highlights how gloriously insane Arcade is when he gets to actually do what he always wants to do: kill people in complicated and entertaining ways. Zub and Fawkes are doing an outstanding job telling this story, and the art teams havent missed yet.

Blue Beetle Graduation Day #2 is a comic that will make you smile. A bigger story is coming (the end of the issue is a good cliffhanger) but that doesnt mean it cant be a fun comic with an easy to relate to character who wants to have a good time during the summer. In fact, as someone generally unfamiliar with the character, thats made getting into this book very easy. If you missed the first issuedont miss this one. You wont regret it.

A Vicious Circle #1 has at its core a compelling idea, not just in the time travel mechanism as a stand alone concept but in how it shackles the two characters together. Unfortunately Tomlin doesnt really turn the compelling idea into a compelling narrative. By the time the issue ended I had lost all interest in the story. Ultimately the issues saving grace is the art. Bermejos work will bring me back for the second issue.

Daredevil #6 returns to the very strong character work from the first three issues that still took place in New York. Issues four and five both dealt with Matts transition to the leadership of the Fist (especially four). But both were more nuts and bolts plot oriented. And while this issue does significantly advance the plot via Elektras scenes, the strength of the issue is the character beats which are what has made the series compelling from the beginning.

Fantastic Four #2 is a wonderful story about two people who love each other and, more than anything else, are always eager to help others. That sometimes gets lost in this series (especially when it comes to Reed) because giant, occasionally crazy plots take center stage. Also, some writers, in portraying Reeds intelligence, will leave him feeling somewhat cold. But North really humanizes the characters here, and I expect reinforcing that feeling will be important down the road when we find out what happened to the Fantastic Four.

Its Only Teenage Wasteland #1 is an engaging comic because Javi is easy to connect to. Virtually nothing about the post-apocalyptic world is communicated in the issue, so in that way its a comic built on potential. But there is a lot of potential here. And its fun, too.

Gotham City Year One #3 is almost as near-perfect as the first two issues. I didnt even get to the usage of SLAM as a sound effect in that opening flashback. But King really steps on his own ending, and its too bad. I honestly was surprised there was that extra page at the end of the bookI thought the issue was over. Now is this arguably a nit pick? Yes. But the choice ruined what could have been a much more powerful moment.

Star Trek #2 is a nice blend of storytelling styles taken from the three series it is principally borrowing from. In that way it feels fresh and not a retread of ideas weve seen before. And its focus on Ben Sisko, which ultimately drives many of the themes at work here, will be especially appreciated by Deep Space Nine fans.

The Approach #2 doesnt quite have the strength of the first issue, but mostly thats the result of the art not quite meeting the storys needs. However the story itself is just as strong as the one in the first issue with its small character moments that communicate larger emotions. That, plus the characters immediate assertiveness, still makes this a solid horror/creature story.

Daredevil #5 is really the first issue that feels like the promise of Zdarskys new direction is starting to be fulfilled.The goodbyes are said. The old love is in the rearview mirror. And the transition, handled somewhat clumsily in the previous issue, is over. Its another solid issue that keeps the new storyline fresh and interesting.

As long as you dont come to Murderworld: Avengers expecting to do more than laugh and smile, this will be a great book. Zub and Fawkes at last give Arcade the chance to do what every fan of the character always wants: kill, kill, and kill some more. Paired with Moraless art and Millas expressive colors, this is a win.

This is a peculiar issue. It is well written, but its depiction of Mr. Freeze is not particularly interesting. This is due in large part to Duggans choice to spend relatively little time with him outside fight scenesand hardly any time telling the story from his point of view. Meanwhile the Robin arc is very well done and has the show dont tell quality that I expected for the titular character. In the end it is an issue with exceptional art but a mixed bag narrative.

Dark Crisis: Young Justice has been a fairly weak series to this point, almost entirely because of Fitzmartins writing. But this issue is almost entirely a storytelling failure as Fitzmartin ignores most of the material she wrote in the previous five issues. Further, despite the series title, Dark Crisis: Young Justice #6 fails to establish any connection to the event its nominally involved in and, thanks to the unsatisfactory resolution, feels like a waste of time.

Fantastic Four #1 is a fun, lighthearted intro into the titles new run. North softpeddles the introduction of a mystery so that at no point does it ever feel like there is missing information. Theres never a time where it feels like North is being clever with dialoguehave the characters dance around discussing something they know so that it can stay hidden from us. As the first step into a new arc as well as a self-contained story it works very well.

In all honesty, part of me was worried going into this issue that I was so enamored of the first one that this might not live up to the high bar I felt these creators had set for themselves. I neednt have worried. These are creators who clearly understand not just their story and the genre its a part of, but how to use the ordinary conventions of that genre to tell the story even better. Gotham City Year One was essential hardboiled fiction last issue, and its essential hardboiled fiction again this issue.

Star Trek #1 is a solid introduction to what looks to be an ambitious story. Sisko is the perfect character to use to explore a story involving advanced godlike beings. And the crew around him, based on the characters development in their various series, should offer a variety of viewpoints. Its a great starting point from which to boldly go.

This is not a deep character examination of Penguin. We don't learn anything new about him, nor is there some fresh take on what we do know. But it's a fun story that makes us want to root for Oswald all the way through.

This is a frustrating issue because the idea behind it is ambitious and carries with it a lot of potential. Unfortunately Fitzmartins ongoing stumbles with consistent character development in earlier issues undermines these efforts.

Fantastic Four #48 is a strong issue but in a different way from the previous one. As Die Hard in the Baxter Building, Fantastic Four #47 is more fun. But ultimately the end of this issue is more satisfying than simply foiling a caper would have been. And as an added bonus Pepose wrote one of the most clearcut, understandable judgments of the event.

Daredevil #4 does what has to be done at some point in any story featuring a major transition: move from the old to the new. To his credit, Zdarsky has laid enough groundwork that the idea of the transition works well. Unfortunately the issue that has to make this leap isnt as successful. But given the strength of the previous issues, I expect this to be more of a blip caused by the demands of these particular plot points.

Maskerade #2 is a better issue than the series first. The art remains engrossing. There is more weight behind the different story threads and as a result they feel less superficial. But the characters dont get the same level of enhancement and I am as uninterested in them after the second issue as I was after the first.

Suffice it to say that introducing your main character in a scene that derides your audience with an ugly stereotype seems like a bad way to win that audience over. Perhaps if the remainder of 3Keys #1 was more impressive I might have moved off that scene. But the issue never recovered, and I cant find enough positive qualities to recommend it.

Gotham City Year One #1 is a hardboiled detective story, and its a very good one. If you have an aversion to this genre, it is probably not for you. But for everyone else, especially genre fans, this is an exemplary entry and easily one of the best comic examples in a long time.

As a tie-in to A.X.E. Judgment Day, Fantastic Four #47 is hardly essential. The circumstances provide the impetus for the Midas Foundations actions but they ultimately dont matter to the story that unfoldswhich could have been told at any other time. But that isnt important in the slightest. Its a fun issue. Its paced spectacularly. The visuals capture the Die Hard mood completely. And once the action gets going we only care about how much ass Sue can kick.

The story in Batman One Bad Day: Two-Face #1 is in some ways immaterial. Indeed, attentive readers will likely clue in on the perpetrator long before they are revealed. But what truly matters is the examination of Two-Faces duality and how it might reflect the duality that is inherent in us all. It is a distinctly Two-Face comic and an exceptional one at that.

Dark Crisis: Young Justice #4 is a further drop in quality for the series. Baragas art remains consistently strong, and the traumatic events Fitzmartin is grounding the story in are ripe for exploration. But where Fitzmartin has interrogated these issues in a meaningful way with Cassie and Cissie, the quality with which she has handled the other characters both in overall story and in dialogue has dropped with each issue. In this issue specifically it may have been a mistake to attempt to hash out these deeply emotional issues in the middle of a fight.

Theres a lot to like about Daredevil #3. It is a very strong issue in most respects but definitely the weakest for the first three. What deficiencies it has, though, are not enough to prevent a fervent recommendation.

Blink #2 is an all-around disturbing psychological horror experience. Every part of this comic contributes to the constantly building tension and fear. At no point does the issue put all its cards on the table, instead leaving much of whats going on to the imagination. It is crafted to get deep inside our head and let the worst things we can imagine run wild, and it succeeds wildly.

Zdarskys exploitation of Matts established history as a Catholic who is a real believer even if not an actively practicing one adds an extra dimension to a philosophical discussion. If not for that, it might be easy for a character to dismiss Goldys claims. Matt doesnt really have that luxury. And in a certain way this plays into a reveal in the final pages. Zdarsky ultimately leaves Matts reaction to what Goldy tells him somewhat open-ended which makes Daredevil #2 a very compelling presentation of this theme. It makes for an exceptionally strong character story that highlights Zdarsky as an ideal writer for Matt Murdock.

Dark Crisis: Young Justice #3 is the weakest issue of the series so far. Given where the story is at the end of the second issue, there is relatively little advancement until the final pages. The opening of the issue touches on intriguing themes of wish fulfillment and catharsis but devolves in quality quickly. Bart is the only character keeping up with the changing circumstances, and while Connors reluctance to face the nature of the situation is understandable, Tim feels a step behind for much of the issue because of his refusal to listen to Bart and failure to empathize with Connor. He feels a few steps behind what we know despite how obvious it is that they are being manipulated, and that creates a frustrating experience. Fortunately the mystery of what is happening to the trio remains intriguing, making up for the at times uneven character portrayals, and the art contributes to the strong Bart and Connor portrayals.