The scene with Laura, angry and needing something good to hold onto was great. But much of this hectic tale is a bit too self consciously cute, with overlapping dialog flying fast and free, like Bendis was scripting a 1940s screwball comedy.

Bendis offers an insightful study of contrasting personalities and temperaments. Jean and Emma’s relationship dynamic has always been an interesting one. And this adds new layers to that dynamic.

Great fun, exciting, hilarious and whip smart. I love this new direction for Spidey.

My favorite issues so far, though it does get very dark. It was a strong character showcase for Cass, I love the flashback scene between her and Bruce. I like the art as well.

I like the issues that dig into the past, as this one does with Bruce uncovering Mother’s tragic origins. The tale says a lot about who Batman is by comparing and contrasting him with his foe... especially in how it relates to Harper. Great art this week as well.

Perfect, one of the best comics I've read this year. The story takes a shocking -and heartbreaking- turn, which proves what a smart, surprising and gutsy comic this has become (I never though Selina would allow it to happen). At this point the war between Black Mask and Selina is a test of will and intellect and strategy. But the whole book is a chess match for our anti-heroine, from managing the family to dealing with the cops. The quality of the writing on this thing staggers my mind. I’m so impressed with the structure, the language and the plotting. The art continues to be gritty and street level, while still offering elegance when Selina is front and center.

Selina’s personality makes this a Convergent tie-in little snappier, a little more upbeat than what I read last week (Harley, Batgirl). It was fun to see her in purple again. And while writer Justin Gray makes the mistake of having Kyle repeat exposition that was just spouted by the villain. Other than that, and an abrupt last page, this was very entertaining.

Perfection! The last new comic I read in 2014 was also one of the finest. EoW returns with a new chapter and the world on the brink of apocalypse. In addition to being exciting, it’s quintessential socio-political Hickman. The ideas presented here, the plans of nations and the philosophies of each are precisely and intelligently presented. The plotting and dialog as well as the art and color, stagger the mind and eye. Look carefully at Dragotta’s expressions and the way he directs his actors - his design work, from clothing to weaponry, which gives a distinct personality to each section of the world. It’s damned impressive. 2014 was a sweet season in comics, and this; this was the cherry atop the Sundae.

Fantastic - Emiko rocks! She and Ollie have great chemistry and I love what she said to her mother. I found the twin stories gripping and Stephen Byrne's art was a boon, very crisp and clean, McKelvie-like.

I find it funny that folks are upset with the sex scenes, but not much was said about the cannibalism in a previous issue. It's alright if you eat a person, just don't have sex with them? Not that I need sex and nudity in my comics, far from it. But contrary to what one 'pro' said, it's not tonally out of balance, as it connects to what we saw in the previous "eating montage". And both sequences (staged as black comedy) say something about Viv as to how far he will go to know and experience everything. And how those experiences have aided him as an investigator. In addition, the paring off of the group illustrates how much of an outsider Robin truly is. It's all about the connective tissue. How the small case is tied in with the central story line, how what was done in the past reflects on the future. All told this is one hell of a clever, entertaining, thought provoking series.

Oh yeah, this is right up my alley. I like the collection of heroes and villains writer Jeff Parker has assembled, as well as their mission. Travel Foreman's art lends a creepy vibe. Very mysterious, surreal. Great new direction for the series, looking forward to more.

It took a while, but we finally got a second issue. It’s chock full ‘O violent action and philosophical musings that address choice and spiritual destiny. Good, filling material for both the eyes and brain.

Writer Cullen Bunn has quietly crafted one of Marvel’s best titles and one of Mags best ever stories. While this issue does rehash certain themes, the script is strong and the final pages are devastating - with Walta’s expressive, gritty art adding much to the power of that heartbreaking sequence.

The first issue from one of the years most anticipated releases, featured mindboggling detailed illustrations, coupled to a story that was an incomprehensible hallucinogenic. Hey, It’s Grant Morrison, what did you expect? It takes several readings to make “some” sense of it, and thankfully an exposition heavy second half offers a bit of clarity. At the very least it stood out as a super-freak fest, both daring and different.

Holy guacamole! This comic has gone from a slow burn to a raging firestorm… literally! Things get Biblical with Em, while Edmund Holt sinks deeper into his solipsistic world view (and everyone is going to suffer because of it.) I’m on the very edge of my seat. Next issue please, and fast!

I thought it was perfection - I enjoyed the quick pacing, and the overall story was nail-biting: very VERY dark, very thrilling, with superb character work. I love the interaction between the sisters, and that final page has me wanting the next issue IMMEDIATELY!

It's getting better and better with each issue. It's a little light on the biting satire, but excels when it focuses its lens on our protagonists. Here, we get a character defining moment for Lewis -- and as for Murphy? While Ed-209 has become Super-Ed and seems unstoppable- it looks like Robo will also be getting an upgrade that will make him, better, faster, stronger…

While it might not be wholly original (what is?) the execution is a dream. I like the characters and the mystery. Perkins art is expressive and eerie.

Absolutely loved this issue. I like character studies, and got that here. I enjoyed the rapport between Gwen and Jessica. My heart went out to the young heroine as she contemplates her life, and that of the Gwen who died on Earth 616. It also sets up some new conflicts coming for her and her father.

New costume - new status quo! Comparisons to Batgirl are inevitable, but while Babs’ change was out of the blue, Jessica’s ‘young-life crisis’ comes off natural and honest. Plus she’s far more self-aware and mature (she owns up to her gaffes). Javier Rodriguez handles the art chores and does some first-class work: I love the blue color scheme in that rain soaked opening, as well as the flow of his action scenes - from the tilt of the motorcycle tearing through the streets, to Jess’ acrobatic movements in battle. It all looks positively cinematic.

Stark's superiority complex is downright frightening as Taylor places some telling dialog darts in his mouth in this issue ("You are so beneath me" he tells Matt. "I can use you" to the Teen Abomination) and Cinar does some interesting work, using zooms on Tony to illustrate his state of scary megalomania, and POV shots with Matt that carry the sad tint of longing for things lost. The only negative is that the artist draws everyone too young (in one panel, Murdock looked about 14 years old!) However he shines when it comes to that armor.

This comic needs to come with its own theme song, I'm thinking Nazareth's "Hair of the Dog" ("Now your messing with a, a son of a bitch!") At least that what plays in my head while reading. Tony is hilariously (and sometimes not so hilariously) amoral in this ish in which he doesn't give the devil his due. I'm loving this thing. Suprior has quickly become my favorite Marvel title.

2 artist with different styles doesn't help, and it recycles the "reboot Stark's brain" plot point from a few years back. Never the less I was captivated by the mental chess match between Tony present and Tony past and Pepper – Does Ms Potts have another ace up her sleeve? I hope so. The issue says a lot about the character of Tony, and the inevitability of this path he’s on (even without Axis). I also liked the little touches (Tony with mustache, the way the sleeves of the armor roll up on the arms and legs, like they did in days of old). Great stuff and I can’t wait to see what happens next.

This is the penultimate issue of Ellis & Lotay’s trippy meta-fictional masterpiece. And what an exhilarating read, filled with jaw dropping revelations on character and plot. It's all starting to come together (though some mysteries are still to be had). That cover is a beauty and serves the story as well. The interiors are gorgeous as ever, especially a full page spread that features Evening Primrose.

Decent read, I like the new Power Girl, who urges the team to be more pro-active. And a serious new threat explodes (literally) on the scene. But what is Black's game, why is he buttering up Wonder Girl? I like Hepburn's cartoony art, he's good with action and expression

Perfection! The Fade Out sees Ed Brubaker at the very top of his game... I feel it’s the best-scripted book on the shelves -- with a dark, layered plot and rich characterization that puts Bru on par with Chandler, Hammett and other noir masters. Art wise, Phillips and Breitweiser are essential storytelling partners. The expressions, body language and moody coloring breathe life into these people, and the world and era they inhabit.

This is about as perfect a comic as I've ever read. The slow burn is heating up as more pieces of the mystery fall into place. And I liked learning more about Dottie. Phillips and Brubaker are doing some masterful work here.

Gillen counters the cynicism of the previous issue by showing us the exhilarating communal spirit of music. And while the lyrical dialog is aces, it’s the art that makes this a stunner. Jamie’s panel arrangements, the way he portrays the 4/4 timing of the music is ingenious. And Wilson’s colors add so much personality. He's always had a great sense of "place" and atmosphere, of capturing tone. I love his gradations, the lighting and the intoxicating polychromatic neon hues in this issue. This wasn't so much a story you read, but an experience that infuses mind, body and soul with the heat of the beat.

Brilliant as ever but I wanted more. It just ends without really ending and the series, as a whole would probably read better in trade form. But when you have sharp dialog and fully formed characters and sociopolitical intrigue. When you have an artist who can draw breath-stealing disaster scenes, you just can’t wait for a trade, you need you’re Trees NOW!

I ADORE this comic. The bits with Batroc were funny and includes a cutting observation on superhero comics. An appearance by a surprise guest was even better, as it employs humor, but also reveals a thread of sadness in Gwen’s life. I appreciate how Hasting’s is fleshing out story and character to make this more than a one trick (one joke) pony.

Gets back to business, and back to the candy colored wonderfulness I loved in the first arc. Gwen is a hoot; I laughed at the line about her grandpa, and chortled over the physical humor (Gwen stuffing her head in the shark) I enjoyed the way the creative team plays with the trope of the dramatic reveal... “YOU!!” says Gwen, as if we’re about to get a startling surprise. It's playful and mad cap, the perfect tonic for a gray day.

Bendis gave us character defining Jean/Emma and Summer’s Brothers stories last month. This time out he visits the relationship between Magik and Kitty, which is just as warm and wise and funny and defines what the X-Men are all about. Anka’s art was solid (love that first double page spread with the monsters), except for the faces; I dislike the needle nosed, sharp angled expressions he gives these women.

My favorite book this month: Epting’s drawings, his sense of realism is beyond phenomenal. His Velvet is one cool customer - both sexy and skilled. Now add in Bettie’s moody pastels and you have some breathtaking visuals, even for a simmering, plot heavy tale as this is. Brubaker’s unpredictable script reveals secrets, and the lies behind the lies behind those secrets. I love a good spy story and Velvet is turning into a GREAT spy story.