A refreshing a new take on the Avengers, which admittedly just about moves into a duo by the end of the issue. The focus on Janet Van Dyne with a 60s look involved in a whodunit, is a welcome change and a different pace for an Avengers comic. There is some intrigue in the first issue as well as good deal of set-up . Not a great deal of action, but an enjoyable sense of a locked room mystery that is answered in the final pages, except not for the characters. A welcome change for Avenger stories with a good deal of fan favorite Avenger references.

The set-up in the first issue leads nicely into the second issue with another mystery to solve. There is almost a Scooby-Doo element in the story, except no “meddling kids”. The nostalgic references from the first issue return along with another guest appearance. There is a good sense of a larger story with enough interest in the immediate plot of the issue to provide a solid comic.

A solid issue. Interesting, well drawn with lots of mystery. A number of callbacks to Bruce’s past and previous issues. The after effects of the Gotham War are well used. The issue doesn’t merely establish Batman’s current method of operating, it actually moves the story along. Jorge Jimenez’s artwork is great. A couple of pages contain no words and the panels tell the story. Awesome. Batman is investigating, which is great. There is a death trap and some great insanity from The Joker. It doesn’t feel like the arc of the story is clear, not like the obvious attack of Failsafe leading to escape and countering the attack. However, it’s a good issue.

The art is astounding. The representation of Gotham is visually interesting and proves a new perspective on familiar environments and characters. Christian Ward produces a story as well crafted as his artwork. The use of the familiar character of Two-Face and the Cort of Owls is great, while also being a little different. If that wasn’t enough, the introduction of Batman Below with Lovecraftian overtones is stunning. Alfred’s narrative of suffering and isolation starts getting a little repetitive and makes it clear that, at the moment, Batman is lacking. Batman questions of the ease with which he apprehends Two-Face, but not a great more happening with Batman. However, so much is happening elsewhere in this stunning first book, the flaws are very slight. Totally looking forward to book two.

Grampá has produced some great elements in this story. The visuals are outstanding. Grampá has created a distinctive but familiar look for Gotham. His Batman suit is great, drawing inspiration from all kinds of different versions of Batman. Grampá’s villain is visually shocking and that’s even before he gets to work with his hammers. The Batmobile is an unusual interpretation and provides Batman with a few mistakes. And Batman certainly has purpose having decided to remove Bruce Wayne and become Batman 100%. It’s a misguided purpose, but an interesting one that is relevant to the character. There a couple of less impressive elements. Despite the great visuals, the opening narrative tries too hard to create Gotham as a terrible place. It feels like any reader of a Batman comic would assume that much. Similarly, Batman’s interior monologue is a little more than necessary. Overall a great comic, looking forward to the next issue.

Grampá does a good job of pushing the alternative elements of this Batman story. Not only is this a visually distinctive comic, but the new Batman characters are staking up nicely. Both Bruce Wayne and Commissioner Gordon are alternative versions. Similar enough, with a couple of interesting differences. This Bruce is a bit unpleasant and Gordon is more assertive. Gordon also has a great line when he disagrees with Batman. It’s a good twist on Batman’s usual disappearance. Book one was almost a stand-alone story. Book two looks to introduce new characters and push the narrative in a different direction. It’s not completely clear what that direction is or what is happening in the larger world of this Batman.

The concept of Batman in space runs the risk of crashing into the ridiculous. Setting the series in the early years of Batman mitigates any continuity complaints and allows the story to exist beyond the scope of other Batman stories which feels like a smart move. As first issue there is a good deal of backstory, but a number of flashbacks are used to prioritize the action before giving the explanation. The issue moves quickly with crisp artwork from Doug Mahnke. Jason Aaron is bringing a relentless ad brutal version of Batman who has a specific purpose to be in space. It doesn’t feel like there is a need for Batman to be in space yet, but the issue to not too serious and not too goofy. It feels similar to when Mark Waid took Doctor Strange into space in 2018. It’s a good first issue that hasn’t reached the full scope of the series, but it is fun and has potential.

The first off-world issue appeared a little more tentative as Aaron established Batman in space. Issue two appears more stable and provides a pace filled narrative with a distinctive sense of Batman as a character. The comic has a good deal of action and moves with a sense of purpose. Batman’s planning and preparation is clear as well as his commitment to saving lives. An interesting situation given Aaron’s previous run on Punisher that appeared to be focused on ending as many lives as possible. The ending of the comic is odd. It gives a clear sense of a cliff-hanger, there is more story to be had, but it could also be an ending in itself. Strange.

A ‘get the team together’ issue. The new Birds of Prey line-up is varied. A couple of less used characters alongside some favourites from the batman comics. The artwork is clean but the use of pastel colours was a little odd to begin with, to the point it felt like it was a misprint. However, the establishing of characters is great. There is a good Harley section from the perspective of Cassandra Cain which perfectly sums up Harley as a character. The interactions of Big Barda are great. Looking for more from that duo. Ending provides good shift to the purpose of the team and great lead into issue 2.

Issue one was getting the team together. Issue two is making the team work and setting up for what is a heist. A couple of good set pieces. There is some good tension between the characters as they attempt to achieve the impossible and infiltrate Themyscira. There is a good sense of urgency in the story and a good slice of action. Love the whole page fight scenes with lots happening. Watch out for some guest appearances. The special guest from at the end of the issue was great. More good stuff from Cassandra Cain and Big Barda. Fabulous duo.

The last couple of issues have been less impressive (too many characters, not clear enough significant events). The final issue makes up for any previous shortfalls. This is a concise ending to the mini-series with great interactions between Cable and Bishop. The character don’t like one another, but in previous issues they didn’t seem to always function in the story as a duo. Here they give a great story. The Children of the Vault are much more coherent as characters. Given they have multiple versions and are presented as if the reader knows they, they can make the story feel inaccessible. It is unfortunate that the series comes to an end with the suggestion that nothing that happened will appear anywhere else in the X-men, Krakoa or Marvel universe.

The artwork continues to impress. Pasqual Ferry produces great visuals to portray the magical elements of Doctor Strange. The figures are distinct and the colors vivid. The panels burn across the pages to give a sense of the combat between Doctor Strange and General Strange. As an issue, it is a set piece and feels like it’s setting up for the finale rather than moving the story. In many ways, the dialogue between Doctor and General is the most engaging element. Clea runs a good subplot and WAND are working in the background. Visually a great issue. There are powerful forces in play and a great deal to happen in the final issue.

A monster sized first issue (with a monster price tag) and a whole host of cameos. The issue does a good job of making the new celestial additions to the Marvel feel like they have always been there and we just haven’t noticed them before. The villain looks weird and beyond starting a universe ending event doesn’t have much to do, but that’s ok. This is an issue about introducing the new G.O.D.S. The-Powers-That-Be and The-Natural-Order-Of-Things, except they don’t actually appear. Instead we get the relationship between two of their representatives, Wyn and Aiko. A married couple who are on different sides of an eternal lack of agreement. Are they trying to say something about marriage? A fun story, great artwork and interesting characters. A solid first issue.

A disappointing issue. After the promise of the first issue, the second issue did not deliver. The insight into new locations in the Marvel Universe was good. Lots of great work from Valerio Schiti. The investigation into the villain Cubisk Core was interesting and creates a little pity for him after the events of issue 1. The shift of focus to Aiko away from Wyn was good. Wyn barely appears in the issue. The problem with Aiko’s role is she recruiting Mia, so we get very little of Aiko. Given the start of the issue, the end is a foregone conclusion and the issue as a whole was a little boring. The one redeeming moment is a brief appearance of an angry god. Unfortunately one frame early in the comic is not going to sustain my interest.

A perfect return to John Constantine with just enough of that regretful desire to do something good without actually being able to fully be a ‘good guy’. Constantine is in serious trouble and he has dragged a couple of generally unknowing accomplices with him. A couple of great guest appearances with callbacks to previous stories if you’ve read Constantine before. But if you haven’t, read it anyway. A brilliant jumping on point for a great character who has appeared in other comics and TV shows. This is everything you want from Constantine and everything you need to know about the character.

Completely unconnected to the ongoing Beast World storyline, and that is just fine. Just a fun and wholesome comic book. Nightwing is always a great antidote to the dark, depressing and brooding Batman. Both have their place. Nightwing is there for his little brother and the type of person you’d follow into anything. It’s not a story for the ages. It does deliver it’s message a little too hard and seems like a vehicle for introducing a new villain without having the villain do much. But the cover is fun, the characters are good and the story moves with pace. It doesn’t have any pretense. It’s a comic book.

Outsiders has big goals. Like many first issues around at the moment, it’s trying to lay some foundations and tell a story. The foundations are there. The story, not so much. The team is ok. Batwoman is probably the highest profile with Batwing. Then there is Lucias Fox who can be a great part of a Batman story, but here is a guy on a screen offering support for his son. Then there is Drummer. The most interesting, but vaguest character. The massive world ending discovery is interesting but glossed over very quickly and doesn’t seem to be connected to anything else that is going to happen in the rest of the series. It is actually a reference to The Authority comic books series, but if you haven’t read it, you can easily miss it. The idea is there, but the hook isn’t strong enough yet.

The series has been good to this point, but this issue has been the best so far. Fingers crossed for the final issue. Great Wolverine back story with well-integrated use of Weapon X. The Predator’s motivations and actions are completely within everything we know about the character. The two characters come together seamlessly. The end continues the time jumping narrative and the Predator’s desire for self-improvement. Only mark against the awesome penultimate scene is Batman did it in a recent issue.

Issue 1 makes a good attempt at restarting the Punisher story, but trying to follow Jason Aaron’s King of Killer is no easy task. The story is an easily recognizable Punisher story. A criminal has committed a terrible crime and only a highly skilled vigilante can bring him to justice. The story might just be too recognizable. Except there is no Frank Castle and Joe Garrison accidentally becomes the Punisher because his outfit looks familiar. Garrison doesn’t make much of an impression and overall the issue is a little bit of a shame to call it a Punisher comic.

One part comedy, one part family drama, one part social commentary, one part vigilante story. Holy Roller has a lot going on and it works. Celebrity writers Andy Samberg’s writing credit alongside Rick Remender and Joe Trohman feels like too many writers for one comic. But it works. The comics has character conflict, room for character development and the art is good. Unlike a few other first issues laying the exposition on too heavily, Holy Rollers manages to incorporate it into the story. Levi’s conversation with the captain covers a good deal of backstory with elements of humor. It’s serious, it’s light hearted, it contains danger and some action. There is a good setup for the second issue and the reader is left wanting to know what happens. Looking forward to the second issue.

Action driven and character focused. Great first issue. Not too much backstory or explanation. The action does most of the explaining. There is some required knowledge of Marvel characters, but nothing too demanding or important. The Thunderbolts line up feels a little thin, but the format of a gradually increasing line up promises surprise arrivals for future issues. The group has purpose, but the comic feels more like an ongoing story rather than a mini-series. A good read.

An enjoyable and self-contained Wolverine and Captain America team-up. Full of great callbacks to previous comics, Wolverine and Cap’s past, the whole Krakoa storyline and previous Wolverine storylines. A couple of really awesome pages. The whole pages and set-pieces are really great. A really great page as Wolverine is fighting his way down and Cap is moving across. Unfortunately a when the masks come off, the close ups of faces are a little off. The story is self-contained, which is probably a little bit of a shame because it lacked a sense of larger importance. Sure, getting weapons away from bad people is important, but it happens a little too neatly.