This series continues to be a blast, with a genuinely great cast of characters. Just watching them interact is so much fun. It's a long time between issues, but this book is always at the top of my read list when it comes out.

This series continues to be great with the 4th issue. It's filled with the same sharp dialogue and innovative layouts that have defined it so far. This issue seems to capture Paige's desperation a bit more, as she continues to have her attempts to foil the robbery plans foiled themselves. This issue is funny and emotional and just great comics. Rosenberg and Boss have a great thing going on here.

Mysterious, enigmatic, and haunting, but human, mix between prose and comics. I'm interested to see where this goes.

This has been a fascinating story so far, raising a lot of questions in the first two issues. There seems to be a lurking menace underneath everything. I questioned how effective this would be with its combination of prose and comics, but I think it totally works. Snyder's words and Lemire's images are evocative in equal measure. I'm excited to see how this all comes together, if all my questions will be answered, in the conclusion.

I really liked this! It's totally weird, and there are a lot of unanswered questions, but it is an emotional, suspenseful, well-paced comic. If that is Ozymandias with the cloak and weird staff, though, what's up with the cloak and weird staff? Anyway, good stuff!

This is a good debut to the new Guardians series. Aaron Kuder's art really worked, and the script was clever. It's a scaled down line-up, but there are mysteries about how we reached this status quo in terms of characters. It's got a cool cosmic villain in the Grandmaster, and the Galactus spaceship was pretty damn awesome.

This is light, inconsequential, and a whole lot of fun. And Aaron Kuder's art is great. The cosmic adventures of the all-new guardians are worth following.

This issue builds up the mystery of Gamora and the soul stone in what is visual treat. Frazer Irving's art dominates this issue, as Gamora is led to discover more questions than answers about herself. I last saw Irving's art on a recent issue of "Doctor Strange," and his style is equally suited to heavy cosmic trippiness as it was Strange's world. Kuder is great, but if we're going to get a fill-in artist, it doesn't get much better than this.

This issue is pretty great. I had a lot of fun reading it! I loved Rocket in this issue and the interaction between the group as a whole. The Collector is well-done here, and the ending is quite intriguing. In addition to the excellent writing is the fine art of Aarron Kuder. This is fun, entertaining comics.

This is a really fun and, in the end, a really moving book. This series has been a very pleasant surprise for me, really capturing the charm of our heroes, in this case Star-Lord. His connection to music is explored in a really great way here. Add in super special guest pencils from Chris Samnee, and this one is spectacular.

This is a pretty straight up tale of how Drax turned pacifist, and it's a perfectly fine story. But Greg Smallwood's art elevates this book. His star has been on the rise since his run on "Moon Knight" with Jeff Lemire, and he is one of the finest artists working today. So, good story, great art. Pick this up.

A typical issue, with wacky events galore. JR JRs art is working here more than Snyder'a scripting. Cool, kitchy aspects in how Batman uses his arise, but Mt Snyder has got to change the tone

Good conclusion to the first arc. I liked the art from the oft-maligned John Romita Jr. This has been a fun, if not spectacular, series so far.

This was a very good issue, and I was caught unawares by Scott Synder's POV trick in the final pages of the book. Jock's art is absolutely great, as I felt transported to the sub-zero world of Mr. Freeze.

I loved the Poison Ivy story. It gave me a much greater understanding of her than the myriad Poison Ivy stories I've read before. And, Tula Lotay's art is absolutely gorgeous and so well suited to this story. After two issues, I believe I'm enjoying this story even more than the first. The back-up is so-so; at only 8 pages a month I barely remember what's going on, and it doesn't seem to be going anywhere at all quickly, but Francisco Francavilla's art is great to look at so...really great issue.

I didn't especially care for Snyder's heavily stylized narrative style here, and the back-up, while looking good, ultimately left me a bit disinterested. I think by the time this issue comes out each month, I've forgotten what's going on in the back-up. I'll have to go back and read it as one story when it concludes, perhaps, to fully appreciate it.

This is a good finale to the "Ends of the Earth" storyline--it's interesting to see a final face-off between Batman and his mysterious enemy as it takes place here, more fascinating than your typical punch-fest. I lost track of the back-up long ago, and now I'm glad, because it apparently doesn't end here, but leads to "Black Matter," which is kind of cheap. So, yeah.

This is an interesting look at the Bruce/Alfred relationship, kind of focusing on the idea that Alfred has always kind of been Bruce's defacto dad. The Miami setting is interesting, as is the idea of this being a kind of pirate adventure. Also boasts strong Rafeal Albuquerque art.

This issue had highs and lows. I liked the Rafeal Albuquerque art, but wasn't really feeling the black-ops Alfred thing or his narration about his dad. I kind of sighed when I saw the back-up, because with these 8-page instalments I never remember what happened in the last one (I read a lot of comics!), but I got into this one. So, not great, but pretty good issue.

Nothing much of consequence happens in this exposition-heavy issue; it's not a bad comic, but "The Clone Conspiracy" seems to have turned "Amazing" into a series of back-up tales during its duration.

Interesting issue that provides a lot of relevant info, but it comes in the form of flashbacks, prohibiting any forward action. Still, an important piece in this event.

This is an emotional issue, a tie-in to the main event that actually means something, as Peter and Gwen get into a heavy discussion about her death, Peter's inability to be happy, and her identity as a clone of Gwen. I read this immediately after "Clone Conspiracy" #4, and this issue works great in tandem with it, exploring aspects that the main title can't as it hurtles towards its conclusion. A key component to the story line as a whole, which is welcome in a world of meaningless event tie-ins.

Echhh. Why does this issue exist? To see that Ben Reilly escapes with his life? They could have done that in his own soon-to-launch title (which I will buy when clones roam the earth in real life). I liked the event proper, but the "Amazing" tie-ins were hit and miss, and I look forward to new things next month (Immonen!)

Oh, Marvel. Keep being you. This contains a pretty strong main story, with truly amazing art by Stuart Immonen, and an interesting final page story that falls out of Clone Conspiracy. These were well-done. Anyway, the rest of the issue is filled with throwaways that I only half read because they were nonsense. Well, the Hannah Blumenrieich one was charming. However, something about Marvel's unmitigated greed in releasing a 10 dollar comic, and Peter's complaining about life as a billionaire doesn't sit right.

This was the best issue of "Amazing" in quite a while. The opening pages establish a creepy atmosphere as Norman emerges prematurely from surgery, leaving him twisted and scarred. Seeing his face does a whole lot for the characterization of Norman, who seemed pretty nondescript in the first two parts of this arc. I like the interaction between Spidey and his amazing friends, Silver Sable and Mockingbird. The pace here seemed really tight, even though a whole lot doesn't happen in terms of plot advancement, if that makes any sense. And the Stuart Immonen art is just so above par. No offence to any artists who have been doing this book lately, but Immonen is in a different stratosphere. I can't wait for the next issue!

"Amazing Spider-Man" #28 is a great comic book. The climax of Peter and Norman's struggle was so well executed; it took me back to reading so many of their classic battles of the past. Stuart Immonen continues to kill it on art, as the battle between Spidey and Norman is a tour de force. And, it's neat when the editorial notes call back to Amazing #96. I really felt the history here without this seeming like a retread of what has gone before. That's tough with two characters who share the past they do.

I enjoyed this issue. Immonen's art is, well, amazing, and I liked the return of the Superior Spider-Man. That was a great series and this new iteration of Otto/Spidey works with me. Also, it fits in well as a "Secret Empire" crossover as it works independently as its own story.

This issue deals with Peter trying to build a last defence for Parker Industries, which is pretty by the numbers. It sets the story elements in place for what looks like a more thrilling next issue. What elevates it here is the phenomenal art of Stuart Immonen, who somehow seems to be getting better by the issue.

It all comes tumbling down here, as Peter and Otto match minds, and Peter shows the extent he's willing to go to in order to keep Parker Industries out of Otto's hands. Strong art from Immonen, as always. So the "Secret Empire" crossover ends, and judging from the preview of the next issue, it'll be a doozy.

Cool one-shot featuring Norman Osborne searching for the madness that has consumed him all his adult life. The story is fun and interesting but the real treat here is the Greg Smallwood art. With Stuart Immonen as the regular artist, it's not likely to find a fill-in who is in the same league, but they've done it here. I think a tandem of Immonen/Smallwood as ASM artists is any Spidey fan's dream.

This issue was pretty good. I like the chemistry between Peter and Bobbi, and the opening scene where Peter is wearing her t-shirt made me laugh out loud. The story itself isn't that much, and the anti-Parker stuff sometimes seems heavy-handed. But it is an entertaining read. The art of Stuart Immonen continues to destroy the competition, making this book a must for that alone.

I felt this was a pretty so-so issue. The fallout of Parker's collapse continues, but the Clash threat is a minor (and uninteresting) threat, and I've gotten my fill of Spidey/Torch hanging out in "Spectacular Spider-Man," and nothing new is added here. With the exception of the amazing art, a disappointing issue.

"The Fall of Parker" ends on an upbeat note, as things actually seem to be going okay for Pete, despite circumstances. He and Bobby are a fun team (even if their banter was on the edge of being too much for me), and its nice to see Pete happy in a way he didn't seem to be in the weird Tony Stark/Parker era. Plus, Stuart Immonen is awesome, so this continues to be one of my favourite titles of late.

I liked the intro special, but this sags a bit, focusing on the gang led by Felicia, the group of which I am growing quite bored. I am also not brushed up enough on my symbiotes...how many are we dealing with here? I dunno. The art was strong, but this event has hit a snag in issue 2.

This is a solid one-shot issue, but the most interesting part is the ending, which is admittedly badassed, and the return of Stuart Immonen on art. Looks like this will take an upward swing with Part 2.

Dan Slott's "Amazing Spider-Man" run is approaching its end, and as I was reading this I thought not that it was bad or anything, but seems kind of just another of the same kind of story...the same vibe or feel, which has kind of gotten tired at times over the past couple of years. Like this Goblin Squad or whatever...I'm tired of these guys. That said, I did like Jameson's interactions with Spidey, I did say wtf when I saw Peter's interactions with MJ, and I did enjoy Mike Hawthorne's Spider-Man scenes, even if some of his faces weren't that great...after what seems like a minor chapter in this arc, things look to pick up next issue.

This issue uses the conceit of having Norman Osborne "interview" someone intimate in Spider-Man's life in an attempt to get this identity, and then builds up to the point where we begin with flashbacks. It's not an overly original trope, but it works to good effect here, building up to the reveal at the end. The "breakup" with Peter and Mary Jane seemed entirely unoriginal, and kind of unearned here, but any off points are settled through Immonen's art, as this one is another beauty to look at.

What a great issue of "Amazing Spider-Man"! The long build-up to the reveal of the Red Goblin proves to be worth it here, as he arrives with devastating consequences. The battle between Spidey and the Red Goblin is beautifully drawn by Stuart Immonen, as he really captures the brute terror and violence of this Carnage/Norman Osborne creature. The art is top notch here throughout--check the acting on the page where Jameson is struggling for release, cursing himself for giving up Peter. Jameson's anguish is so clear. The design of the Red Goblin is cool as well, and the Carnage-bombs go from cute to horrifying in a second. The colouring is incredible, when Peter crashes into the warehouse, the contrast of the Red Goblin with the darkness. Slott's dialogue was dead on and the story is really tight--no fluff. Anyone sleeping on this is missing an incredible arc of Spidey stories.

After last issue kicked this conflict into overdrive, Slott pulls back here in an issue that focuses more on Pete's Amazing Friends than Spidey himself. It's pretty good, though after all the spider-events over the last few years, none of the Spider-family really excite me. But the Immonen art is beautiful, and next issue looks like it'll be crazy. So, yeah.

This issue serves as the conclusion to not only the whole, slow-building Norman Osborn/Red Goblin saga, but Dan Slott's whole "Amazing" run. This was an entertaining issue, if not quite meeting the high expectations established in the build-up to this finale. I must say I expected more Immonen art here, and while his pages look great, there aren't quite enough. The dialogue here is well-done, with a lot of funny/groan-worthy lines, and the pace is not bad for an 80 page issue--it's exciting enough that it rarely feels like there are too many pages here. I also like the way the Spidey/Jonah relationship is going. While all of this is good, I felt the Red Goblin didn't quite live up to his billing here; issues 797 & 798 established such a creepy threat, it doesn't exactly evoke the same menace here. And the stupid-looking eyes on Spidey/Venom drove me nuts. But overall, a good end to what has been a really great Slott/Immonen run.

This is a simple, sweet, and heartfelt goodbye to “The Amazing Spider-Man” for Dan Slott after a decade writing the book. It’s a look into who Spidey is and how he touches so many of the lives of those he helps. Dan Slott powerfully gets to the core of what heroism is. The art here is by Marcos Martin, who brings his a-game and delivers some of his best work yet. This dude was made to draw Spider-Man, a classic Ditko-esque style that is still modern and all his own. Gorgeous stuff here.

Not terrible, but of no consequence. If Marvel is going to continue to publish these antiquated editions, they would be better served to make them significant somehow, not just a collection of throwaway back up tales.

When I picked this up, I was like, "Ugh, I don't want to read this." Such is the quality of most Marvel annuals that it is only natural to assume this would be shitty. But, it's not terrible! The first story actually kept me interested enough to finish, and though it's pretty run-of-the-mill, it's innocuous enough, and I liked Cory Smith's art. The second story featured a version of the spider-sense as a series of headaches varied by degree, which is inconsistent with every other depiction of Spidey I've seen or read ever, and mildly enraged me. So, I wouldn't really recommend buying it, but if it lands in your pullbox because of your "Amazing" subscription, as it did for me, it's not all that bad.

This is a really fun launch to the new "Amazing Spider-Man," the first time in a long time we've gotten a new creative team on the book, with Nick Spencer and Ryan Ottley taking over. It was a good read, pretty funny and entertaining. It also has that trademark Parker luck working its best to bring Spider down, but by the time the main story ends, I'm pretty sure things aren't looking too bad for Pete, despite the world coming down around him. I really dug Ryan Ottley's pencils here, it's a refreshing look and I really liked "Invincible" ... all told, not perfect, but an entertaining launch to the new series with some neat surprises at the end.

This is a fun and interesting comic book--I'm enjoying Nick Spencer's tone and voice on this and the Ryan Ottley art is pretty great. I'm liking the fact that Pete and MJ are together and the whole back to school thing. This has become one of my favourite reads.

This one didn't get me as much as the first two issues, but it was still a lot of fun. It's kind of heavy on exposition, but Ryan Ottley makes it interesting regardless. The idea of a separate Peter Parker and Spider-Man isn't exactly original (Is that other Clark Kent still running around in Superman comics?), it's done in an interesting way. I just hope that this is a story that wraps up in another few issues, and we don't have to live with the split. But, I am really liking this new Spidey relaunch. Also, the Steve Ditko tribute at the beginning was very well done, a great testament to the man who co-created my favourite comic character of all time, my man Spidey. Love you Ditko!

Great first issue...it's nice to see that Peter/Mary Jane relationship again, and Stegman's art is sweet. I liked Spidey trying to remember his grocery list mid-battle. A lot of fun. I'll be back for more.

I don't know if we need to see MJ dialect up to hero... this is OK, but I can't see this whole spider family thing going on too long before wearing thin.

I was (and am) a little wary of the idea of Mary Jane as super-heroine, but this issue charmed me with Annie May Parker getting the spotlight. This was fun.

I liked this. A good conclusion to the first arc. That being said, I don't know how much water the concept of a Spider-family fighting crime will hold in a continuing series. Given Peter's very nature, him allowing his daughter to be placed in danger continuously just doesn't jive. But it's fun enough for me to stay on for now.

This book is a bit too much over-the-top "fun"...it's kind of losing it's charm for me. It's getting a bit played out. And Stockman's art was too Saturday-morning cartoony for me.

This was the last issue pulled for me after I decided to drop this title, and, lo and behold, I really liked it. It's fun to see this old school, but different iteration of the X-Men. The whole concept of this book has kind of lost me, with Peter's whole family super-powered, but I'll probably try to get the rest of this X-Men storyline.

I didn't really plan on reading this, but it landed in my pull box, so...I am quite pleasantly surprised. I haven't really cared for Venom as a character since his his early days (when I was a teen reader); I read issue #1 of the new "Venom" series and was not really impressed at all...but I liked this story. The pull of the symbiote towards Flash and Eddie is really well done here; a large part of this book is the art of Ryan Stegman, which is excellent. This is a really great looking book. So, I will naturally be reading the next part in "Amazing," and, in all likelihood, be picking up the next couple of issue of "Venom" as well.

This isn't a bad comic, but it is a bit too cutesy and meta for me. Not bad, but not my thing. The Joe Quinones art looks very good. I was surprised to see the overall user rating on this. I feel like a lot of people are bashing this comic here as a complaint against Marvel's recent trend towards more youth-oriented, diverse stories. It certainly doesn't justify a rating below 5, for god's sake. A lot of people are hitting this extra hard.

Fun as always. I like how Jie Eisma has settled in as the regular artist. Can't wait to see how Cheryl Blossom shakes up the Riverdale status quo.

Underwhelming issue as Dilton Doily Black Mirrors Riverdale high with an app with which they harshly judge each other on superficialities. A couple of chuckles, but...eh.

This issue reminds me a lot of classic Archie stories with it's little touches: Cheryl and Jason pushing people of bikes and kicking the change away from hoboes, Archie rolling down a hill in a barrel of molasses with no explanation...it's silly fun.

This issue's storyline was a bit tepid, but new artist Pete Woods is great. I liked it, and maybe it's all the "Riverdale" I'm watching, but this seemed a bit too innocuous.

This was a lot of fun, reading a lot like classic Archie without feeling out of time. i.e. the running gag of Archie tangled in the tent was funny and aptly showed the comedic style of new artist Pete Woods. Really fun issue of a really fun series.

I'm torn on this. I get what Waid is trying to do, create an Archie comic that has stakes, not just laughs. Nonetheless, I don't think it was my bag. I liked "Riverdale" (the show), which is pretty serious in parts, but that is its own thing. I don't know if I'm looking for deadly serous stakes here.

This is a good comic. The two-page spread showing Archie and Betty's history beautifully shows their relationship. The comic is filled with dramatic tension. But I'm not sure if this is the tone I'm looking for in an Archie comic. I loved the show "Riverdale," but the comics are a different thing. The light, comic sweetness of most of the series, echoing all the Archie books of the past, was what I wanted. I'm still on board, but seeing where this all goes.

This is a pretty great issue. I didn't know how this series would deal with the more intense storyline of Betty's being paralyzed, but this is a mature, realistic look at the issue, focusing on the financial weight that accompanies serious injuries. Betty is resilient throughout, until a page late in the book that shows her frailty. Added to the hope-inspiring ending, I loved it. Mark Waid and Audrey Mok rule in this issue.

I wasn't feeling this issue of "Archie." Or the series as a whole of late. Here, the physical gags fall a little bit flat and the script seemed somehow off a bit. Perhaps, some 25 issues of "Archie" in, to go with several issues of "Jughead" and "Betty and Veronica," I'm just feeling a bit of "Archie" fatigue.

I'm not usually a fan of Charles Soule's work, but with art by Jim Cheung, I had to pick this up. And...it was good. The story as well as the art. I liked the way Soule introduced the major players of this X-team in the opening pages, and the central conflict is introduced in an interesting way. And the art was awesome, of course.

Ed McGUinness art! That's...not very good? I was disappointed by the look of this issue, where Morales inks seem to kill McGuinness work. The story was okay, but Old Man Logan is coming close to being as overexposed as the original Wolverine before he died.

I was a little surprised, but I totally loved this issue. It was great to read a Professor Xavier-centric story again. I also really enjoyed Ramon Rosanas' art here, especially the kind of minimalist linework; I'd love to see more of him. I enjoyed this more than any other X-Men issue lately. Great read.

I've dropped off "X-Men Gold" and "Blue," but I have been pleasantly surprised by "Astonishing X-Men." I'm not really a fan of Charles Soule (understatement), but I like what he's been doing here, especially the last couple of issues. The return of Xavier is a nice twist and long overdue. The art by Mike Del Mundo is good, though it can't match the work of Roman Rosanas from last issue (if only this title could continue with him as the regular artist!). Overall, this is quite an enjoyable title so far.

This is an interesting issue of "Astonishing X-Men," as Professor Xavier is reborn...sort of. I must say I found this new incarnation a bit weird, and even a bit like X-Files Ghost Mr. Burns talking of peace and gifts for everyone. I did like the scene with Betsy and Fantomex, and the scene with Bishop analyzing the green sun over London was cool. As was Phil Noto's art. After dropping "Blue" and "Gold," "Astonishing" is doing a good job keeping me into the X-Men.

"Astonishing X-Men" is my lone X-title after I dropped "Blue" and "Gold," and it has been surprisingly good. But this issue is a dud. It is all talk. The reborn Xavier, annoyingly dubbed "X," is kind of not working for me, and, curiously, he is smirking evilly like a super villain in the first few pages, which is weirdly distracting. I guess the art overall was distracting in that it was not good. At all. The rotating cast of artists offers us a chance to see various stars every month, but Siquiera's figures are stiff and dull...this is kind of IDW quality stuff. Hopefully this thing can turn itself around next month.

I was a bit wary of this after finding that "Astonishing" #8 was a terrible looking mess of an issue, but surprisingly, I really enjoyed this one, a big bounce-back for the series. The action and script were tight and moved along at a good pace, and the mystery of X deepened in an intriguing way. Perhaps the characters could use a bit more definition from each other, but that is a quibble I kind of ignored in the face of what I found to be a good read. Maybe all the difference is in the art: we go from amateur to awesome as Matteo Buffagni draws the hell out of this issue, and Yu contributes a great cover. I liked this a lot.

This book is notable mainly because of the artist. Not much happens to move the plot, as this issue is mainly a giant psychic battle between the X-Men and Proteus, but it is a dynamically portrayed psychic battle. Aco, who stood out for his awesome and stylistically innovative work on “Nick Fury,” really makes his pages come alive. This comic’s revolving door artist policy has brought us a few duds, but issues like this make it worth it.

I was sorting through my latest shipment of comics, and when I saw this, I was, "Ooh, Ron Garney!" And, indeed, Garney is the highlight of this book with his rough and raw pencils. I have enjoyed his work in "Daredevil" over the last couple of years, but quit that book, so it's nice to see his return here. With his work on "Daredevil" and "Men of Wrath" with Jason Aaron a few years ago, this guy is seriously underrated. The artist-of-the-month thing has brought us good and bad, but here it brings us awesome. The story was fun and exciting too. I have enjoyed this series a lot more than I thought I would!

I've more or less enjoyed this series, even after dropping "Blue" and "Gold," and have been excited about the return of Xavier. But instead of Xavier, we have his new incarnation as "X," who is ... meh. I dunno. I want OG Xavier. The art was pretty solid. Lots of splash pages conceal the lack of story, though. Not great. I guess I'll try the new direction the book takes next issue, but this book is on thin ice for me.

This issue was a killer. I absolutely loved the story of Mister Manta, his seclusion, and discovery of what life is like after more than thirty years of isolation. "Astro City" can provide individual, one-issue stories better than almost any other title (and I can't think of one better), and this is a great self-contained story. I also loved the art of Matthew Clark. Awesome stuff.

I left this issue sitting on my stack of comics unread for a while, but now that I've read it, wow, it's a really great issue. I loved when Tillie stepped forward to take over the narration from the Broken Man and the idea of her creating The Gentleman as a psychic projection, and holding on to her childhood forever was really interesting. This was a super-charming issue and yet another example of how "Astro City" is just great comics.

This was a light, fun issue. Rick Leonardi helps these animal heroes emote; this kind of story could go wrong in a million ways but it goes right under the hand of Kurt Busiek.

This is a great issue, full of music and rebirth and how they connect. This is a fantastic series.

I missed issue #50 of "Astro City," but knowing it was shutting down soon, gave issue #51 a read; it does, after all, have a creepy old-school monster cover. This issue is just great. I should have known with a writer as skilled as Busiek I wouldn't miss a beat despite missing an issue, and this is certainly so. This is the story of the unknown victims of super-heroic exploits, the friends, relatives, lovers of the killed, missing, and disappeared. Having the story narrated by one of these victims is well done, as is the reveal of what happened on that fateful night. The host of a support group, Michael, is left with ghosts and the shadows of memories from a universe realignment that took the life of his love. This is certainly powerful stuff, a different way of looking at heroes and villains, as "Astro City" so adeptly gives us.

Okay issue. The multiple Kangs aspect was fun, but I don't have much of a sense of who this team is. I'm not feeling the chemistry.

The Mike Del Mundo art on this issue is awe-inspiring. It looks just great. The history of Kang was interestingly written, too, but this stands out as an artistic tour de force.

This was a cool issue in that it brought back Avengers' teams past to enter into the current Kang war. It looked good, but was probably Mike del Mundo's shakiest effort to date; the character work featured a parade of shocked faces, eyes wide and mouths agape. But overall, good stuff.

This first arc concludes in an entertaining issue. I seldom knew quite exactly what was going on in this arc, but it has been fun to read regardless. It was cool to see the different iterations of the Avengers here, and cool to see Kang being acknowledged as one of Marvel's greatest and most powerful villains. Mike Del Mundo does a great job here, as does Alex Ross on a fantastic cover.

This is the best issue of "The Avengers" yet, and I liked the Kang arc. I really enjoyed Victor Von Doom here, and was surprised to see Nadia go all fangirl over him. It added some fun to the story though (Victor and Nadia sipping tea). It's pretty charming. Phil Noto is great here, as usual. Looking forward to more Victor in my Avengers!

This is a really good issue with a beautiful and touching ending. It also has badass moments, like when Thor grabs the bolt of lightning. The narration choice ends up being a very good one, and Del Mundo kills on art. Great stuff.

I liked the opening pages with the narration by Otto Octavius, and of course seeing Vision and Scarlett Witch together, but the actual story here is slight, to say the least. An interesting turn near the end is rendered moot by a lie told by one of these makeshift Hydra Avengers. An interesting concept, but little comes from it.

This was okay. It settled into a fairly standard plot, but I generally liked the interactions between the characters. Jesus Saiz is pretty fine on pencils. Oh, and I almost skipped the little 3-page Avengers origin synopsis at the back, but I read it and found it charming. So, there you go...solid, but I'm sure better lay ahead

This issue is a pretty solid story with absolutely jaw-dropping work by Jesus Saiz. This is worth it for the art alone.

I dropped off "The Avengers" before "No Surrender" started, but have noticed the positive buzz this storyline has been getting. What drew me back, though, was the re-emergence of Banner Hulk, in the form of "The Immortal Hulk." And this issue is pretty fun! It's a testament to the creative team that this is so accessible to new readers despite being the 10th part of a 16 issue arc. I settled in and enjoyed the spectacle. This read like an old school 70s comic to me, and I mean that in the best way. The story is kind of wacky and high stakes and just goes for it. I don't know if I'm gonna go back to read parts 1-9, but I'm going to pick up the next issue anyway. Good stuff.

I skipped much of this event before being drawn in last issue by the resurrection of Banner Hulk, in the guise of The Immortal Hulk, which, as a Banner/Hulk fan, is pretty fuckin' cool. Who would have guessed that, after so many misbegotten purchases of terrible Marvel events or mini-events (I'm looking at you, "Death of X," you merciless bastard!), here is one that is a bit crazy and a whole lot of fun. I just really enjoyed this read. It's more or less all action, but done at a really reader-friendly pace. Also, I missed like 9 parts of this story, but the writers don't make me feel like it. If anything, I want to read the issues I missed cause they look cool, not because I need to in order to understand the plot. For 3 writers, it's pretty seamless. And Paco Medina's art is not breathtaking, but never had me wincing or wishing someone else drew this. I think it's a testament to all involved that, after starting a storyline at parts 10 and 11 of 16, I'm absolutely down.

That was another really fun issue of "The Avengers" as "No Surrender" marches to its conclusion. This new iteration of the Hulk takes a few unexpected turns here that make the character more interesting and complex than he at first seemed. The action is fast paced and exciting. Good stuff. Oh, and I really liked Wonder Man and thought his narration was well done.

This issue of "The Avengers" slows the pace to allow the players in this story to regroup, and for the writers to explore themes of redemption and...well, forgiveness? There's a nice talk with Jarvis and Bruce Banner in which Jarvis challenges Bruce's ideas on himself, and we gather for the final push. 3 issues left!

"No Surrender" continues to be a fun event, and this issue is a particularly good one. It's fast paced, which is paradoxically not always true on a book that features a guy running around the world really fast. But there are other cool moments, like when the Hulk arrives. I'm not quite yet sure what to make of this iteration, but he's back, and he's Banner, but he's still different so...cool. And, I've ragged on Mark Brooks covers in the past, but I really dug this one. "The Avengers" continues its roll.

The penultimate issue of "No Surrender" is a likely climax to the the story, big and sweeping, and full of feel-good Avenger moments. I have to say that Pepe Larraz's art looks better now than it did when I first stepped on board this arc, and I think this serves as a note for Avengers writers as to the right tone and mood for the book. I think a lot of the good here comes from the really fun villains, and the cosmic-ness of the story. I never would have thought I'd say this, but the new Jason Aaron "Avengers" book has some big boots to fill.

I'm glad the creators left room for what is essentially an epilogue issue, dealing with the ramifications of the epic event that just went down. I really liked this issue. What struck me first is how great the Pepe Larraz artwork was. I remember being sort of ambivalent about his work before, but it seems like his style has developed into something great. I also loved the tone of this, of course, jubilant and victorious and, especially, hopeful. I also am grateful this series restored Bruce Banner, though in a new kind of iteration. All told, I got on board this thing halfway through, but I will definitely fill out the story for myself by getting those original issues I missed, or, more likely, shelling out a lot of bucks for a nice hardcover with this whole story.

Not bad, but not necessary, by any definition. The monster battle repeats scenes and dialogue I read in "Monsters Unleashed" #1. I'll be skipping the rest of the tie-ins.

This was pretty good. Strangely enough, for all the excitement over Marvel's Fresh Start, this is kind of less entertaining than the 16-week mega-event that proceeded it. Still, it was entertaining enough, and Ed McGuinness' art was way more solid--not just solid, but cool--than I expected. The cover is a bit iffy so I didn't know what to expect. This was certainly sweeping in scope, and I'm pretty cool with the new line-up, except that She-Hulk's action-less, excitement-less solo title wearied me on PTSD Jen. Good idea, frustrating execution on that series. But, overall, this comic book was enjoyable.

"Avengers" #2 was a pretty solid issue. The Avengers are scattered across the globe battling celestial villains, which I'm sure will ultimately lead to a giant team formation issue. I liked the Robbie Reyes bits; I haven't really read much of the character since the first six or so issues of his original series a couple of years ago. I'm not sold on She-Hulk; I don't think it's ever been explained why Jen hulks out in the more traditional sense now, becoming dumb and brutish. We know she has PTSD, but I think this change warrants more of an explanation than that. And Loki's back, in a more traditionally evil garb. Good book. But I miss "No Surrender."

I'm not really into this series, or this team, so far. The story seems surprisingly flat from Aaron, who doesn't seem to have the handle on making each character of the team stand out. I guess I am also tired of these team books with enormous stakes all the time, especially since we're coming off a 16 issue space extravaganza. I liked that book more than this one. One other thing that irked me is this iteration of She-Hulk, or just Hulk now...her personality and humour was always the best thing about her, but now she's Hulk-dumb. I dunno. It's not terrible, certainly a solid book, but I don't think it stands out in any way.

I kind of came into this issue thinking this series has been kind of a disappointment so far, but I ended up really enjoying this one. I still don't know when Jen Walters turned into a traditional Banner-type Hulk, but it's not really annoying me any more--the moment she breathes/kisses life into Thor was cool. I just was pretty captivated from the start to the finish. The art was pretty solid--I liked it, though in some panels I wasn't exactly sure what I was looking at. Overall, I like the cast, this story is getting more interesting, so ... I'm on board of this thing.

This was a good issue. It gets us to know the characters better, and develops the storyline. I like the part with the "Prairie Dog" and her father. Great ending. An entertaining read.

This isn't the kind of comic I usually read, but it continues to be interesting. I'm staying with it.

Yeah, sorry, I don't know what the fuck is going on here. Sorry Brian K. Vaughan, I need to understand the dialogue in my comics. I get that by making the audience illiterate in a certain language it puts us in the place of the characters. And I guess there is a theme emerging of understanding humanity beyond simple language barriers? If so, that's too simple, and this is too frustrating to read. And, to really get to the nitty gritty, Marcos Martin's work on "Private Eye" was better than this. So, yup, it was okay, but ultimately disappointing.

I liked the first issue of "Barrier" but have continued to be befuddled by it with each issue, largely due to the Spanish captions; for some of this I hit "GoogleTranslate," other times I muddled through--this issue, though, was more comprehensible in that it fills in the background tragedies that each of our main characters is dealing with. It ends in a surprising way which, when you think about it, is not surprising at all in that we have had the fate and lives of our characters obstructed throughout the series, so this fate is kind of in tune. If kind of disappointing, to sort of overemphasize his themes of the barriers of language. Marcos Martin's art was the best since the first issue--a certain 2 key scenes were expertly portrayed in best tragic form. A kind of okay end to a series I really thought and hoped would be a bit better.

I'm not a fan of the narrative choices King makes in this issue, but Janie's art is sharply styled as Batman fights his way through a sea of minions to come face to face with Bane.

This title continues to be wildly inconsistent. This arc had some strong points but the final chapter here is underwhelming. It seems like it's trying to carry itself with a depth and weight that's not really registering for me. I loved his work on "Omega Men," "Vision," and " Sheriff of Babylon," so I am rather surprised to find Tom King's "Batman" to be merely okay.

Great issue. I love the dynamic of these two together, and it is beautifully drawn and coloured by Mitch Gerads.

Tom King's "Batman" run has had strong moments, but been inconsistent. That being said, this issue was absolutely great. In the opening pages, Catwoman and Batman playfully argue about how they met, with Mitch Gerads cleverly mimicking the art styles from when the two different stories took place. Cattleman goes on to slip away, leaving Batman to trace her whereabouts. King unexpectedly brings back a character from Year One and deepens the relationship between Bruce and Selina even further here. The ending is bittersweet. I loved this.

The issues since "I Am Suicide" have been outstanding, as here we are preparing for the fallout of that storyline, with Bane coming to Gotham for Batman. Strong start to this arc, with some character work on the Robins at Batburger. Yes, Batburger.

This is a strong issue leading up to Bane and Batman confronting each other. I am getting used to King's scripts on "Batman," where not everything is spelled out for us and some significant things happen between the panels. Bane is here, ominous, made more so by the limited page time he is actually getting in the book, appearing like a sinister overthought but rarely revealing himself. So, when he does appear, as in this issue, it seems the stakes are very high. After the so-so "I am Suicide" storyline, King has been nailing this series. And Finch's pencils look great.

This was a great issue. I loved the parallel frames of Bruce and Bane's childhood growing through adulthood, leading up to this confrontation. Kind did a fine job building slowly up to this moment to give it proper impact. Finch's art is great. After taking a dozen or so issues to round into form, King is definitely on a role with Batman.

A fine conclusion not only to this arc, but the series as a whole up to this point. It is interesting to see the way King has come into his own as a Batman writer throughout the course of this series. Of course, the series rolls on, and I'm excited for more.

This was an awesome issue. The fight between Batman and Reverse Flash, with its second by millisecond countdown was totally fucking cool. Jason Fabok's art is killer here. Not a lot happens per se story-wise, but this provocative issue loads the bases for part two in "Flash" #21.

I'm really enjoying this. Not a whole lot of answers, but compelling nonetheless; I liked Bruce meeting with his father, Flashpoint Batman--it was very well done. The art by Jason Fabok is top notch. I'm looking forward to seeing how this shapes up in the finale.

This is a really interesting, and greatly structured, issue. Bruce's narration works to set up this flashback story. The scenes with the Joker auditioning stand-ups and the Riddler executing his escape from prison are great in creating a chilling atmosphere. And, Mikel Janin's art is simply phenomenal. Great start to this arc.

This issue is pretty great. The tension is high as Joker and Riddler wage war on one another. King's Joker is especially twisted. A stand-out in this series has been King's often unconventional choice of narration, and his choice for this issue really works. Add to that Mikel Janin's all-star artwork and this issue is a killer.

The opening scene, as Gordon is called to see both the Joker and the Riddler, respectively, is well done, but the rest of the issue features Batman providing exposition over colleges of action. Something like the battle between Deadshot and Deathstroke could have been told in a more exciting manner. Good, but the kind of issue that makes me wonder if this story needs 12 issues to play out.

The plot doesn't really advance here, and upon closer inspection, Batman's plan doesn't make a whole lot of sense, but, what the hell! I really enjoyed this. I liked the framing with the serving of the different dinner dishes, and the strangeness of the situation made it very intriguing and fun. Mikel Janin continues to kill it on art. A very different, enjoyable issue.

We're back in proper time after "The War of Jokes and Riddles," and this issue is an exciting kick off to the new arc. I'm a bit of a sucker for the idea of Batman and Catwoman being together, and I enjoyed their chemistry in this issue. It has funny moments in the Bat/Cat team-up as well as with Alfred and the Robins. Joelle Jones draws this issue, and she absolutely floored me. She shined on "Lady Killer" Parts I & II, "Superman: American Alien" #3, and "Supergirl: Being Super," and it's great to see her get a shot at DC's flagship title, right where she should be. Oh, and I love that final page! Can't wait for next ish.

Well, that was pretty fucking awesome. Opening the book to see the side-by-side splash pages, Batman and Catwoman back to back in front of a hoard of swordsmen, I was in awe. Joelle Jones is so talented, and here, in some panels, she seems to go for fewer lines, with more thick lines, a bit more cartoony, as evidenced in the double-page spread of Bat/Cat following the 2 splashes. I enjoyed the small bit with Damian and Dick, which was touching and threw back ever so slightly to their relationship in the Grant Morrison "Batman and Robin." I loved the depiction of Talia. I love that this whole arc reminds me of the classic Neal Adams art of "Batman" #244. This is a great book.

"The Rules of Engagement" finishes off in nice fashion, even if I think I liked the previous two issues of the arc a bit more than this one. Joelle Jones continues to excel on art here (I can't wait to see her next DC project) and the story is pretty fun, more dialogue and an extended fight scene. It stretches credulity a bit that Catwoman would be able to dispatch Nadia in sword work, but there are a lot of fun moments here.

This issue is pleasant enough, a loving exploration of Batman and Superman's high school crush on each other, but stands out mainly due to the awesome Clay Mann artwork. This book looks great. It's a testament to King's writing that he is able to surround himself with only the best artists, on every arc, of this Batman run.

Great detective story here, as Tom King continues his run of awesome one-shot issues. This is maybe a bit reminiscent of "The Kid Who Collected Spider-Man" from "Amazing" #248, but in a much different way, to understate things. I wasn't sure at the outset of the issue how Travis Moore's pencils worked for me, but I was soon really enjoying them and think he did a great job laying out the issue (though a lot of that could be King, i.e., nine panel grids, etc.) And the final panel kills it... awesome.

Sorry. I liked it. I saw the comments from fellow readers and was kind of surprised that this issue is provoking so much vitriol. I kind of understand some of the complaints, but would be disingenuous if I said I thought about any of that while reading and enjoying the issue. I like the idea of Batman and Wonder Woman, even as I really enjoy Bruce and Selena's relationship. And the art of Joelle Jones is, as always, breathtaking. This is a good read.

The comics internet collectively lost its shit when it looked like Batman and Wonder Woman might hook up last issue, but that issue is solved relatively quick in what is really a tale of love and fidelity. I found this to be an enjoyable read, but the real star of the issue is Joelle Jones. The two-page spread on pages 2 and 3 is absolutely gorgeous, and her facial work, the expressions of her characters, does as much as King's dialogue to bring impact and meaning to the story. She's one of the best.

This issue of "Batman" is a great read, in my opinion. The way King frames the story is great, and the art of Mikel Janin is awesome (check out the double-page spread of Ivy amidst a beautiful tangle of vegetation overtaking the city). This book is blessed to have several of the game's top artists working on it--this level of quality on a bi-weekly basis is incredible. Ivy here is rather omnipotent, which is perhaps a stretch of credulity, but I found myself not worrying about it and going with the story. It's a lot of fun.

This issue was all right, though I don't really buy Poison Ivy's power level, in taking over, well, the world, and in turn, Catwoman seems disproportionately powerful--how exactly does she defeat 3 Flashes in seconds?? Anyway, it was sorta cool and shocking to see Superman punch off half of Batman's face...and it looks really good. Just not one of the most interesting arcs in a series that has had few misses as of late.

This has not been a great arc, but putting aside the premise where Poison Ivy can control the whole world, and all the super beings (including aliens) on it with relative ease, I was pretty down with the issue until the end, where there is a surprise last minute revelation and Ivy is redeemed, so...yay. Seems kinda phoney, and kind of negates the seriousness of Ivy's suffering, I think. Hmm...what else? I guess Harley and Ivy are an item....I never knew, but all right, that's fine. This seems like a harsh review for an 8.0, but Tom King's excellence has established a precident. It doesn't have the same impact King's best Batman issues have. But its really good filler. Great looking art throughout makes the whole thing a lot more palatable.

I really enjoyed this issue, which follows Catwoman's search for the perfect wedding dress in a night on the town while Bruce sleeps, juxtaposed with scenes playfully exploring their changing relationship over the years. It's a fun issue, but the showstopper is the art; Joelle Jones beautifully handles the scenes with Catwoman's night, while Mikel Janin does these cool retro scenes that look absolutely great. Sorry, I'm shipping Batman/Catwoman.

Uhhh, I don't know what's going on here exactly, but I know I hate Booster Gold...I haven't read this guy since I was a kid, but I am unimpressed...no more alternate realities please...the ending was sort of a thing, I guess? Alright. When is this Booster Gold thing done again?

This issue is pretty ridiculous, but I had fun with it anyway. The ending surprised me and actually made me laugh because it was so unexpected; the Catwoman in this universe is apparently, if not mute, unable (or unwilling) to utter anything besides "Meow." The mystery of the Batman that showed up interests me, as did the world of adult Bruce alive in a world where his parents never died. It's tragic/hilarious that Booster Gold's plan goes where it does. So, I know it's silly and definitely not perfect, but I really liked it and I am wondering where it will go next.

This issue is a stand-off between angry gun Bruce Wayne trying to prevent the death of his parents, but really descends into an endless skit with Booster Gold being...uh...funny?...well something like that. And we get a bit of the suicide riff King keeps revisiting here to make it more tedious. This sounds like I'm a King-basher--quite the opposite, I've enjoyed his Batman run, in general, more than Snyder's. It's just that Tony Daniels can't stand with some of the other artists we've been getting on this title anymore, and Booster's presence makes this King's weakest arc. But I'm excited for the wedding, regardless of this kind of lame-duck story.

Judging from the comments that have preceded this one, hordes of Batman fans are absolutely up at arms about the direction Tom King has taken this book. However, I found this one pretty cool. I liked King's Joker, who talks up a fury in this issue, and is disjointed in just the right way. The opening pages are scary and stunning. I personally kind of enjoy an issue like this probing into the psyche of a character over some random action. It was interesting, and, with Janin on art, stunning to look at. I liked it a lot!

I get what King is going for here, with each page of Catwoman and the Joker lying in a pile of rubble, bleeding out, talking to each other treated as a separate segment--but what it lacks is the power of a real conversation, and one could argue that the Joker could never present a coherent argument, but it still seems sorta...gimmicky. And lacking real substance, and reading between the lines, there's nothing too deep here. There are some clever references to Batman past, but I wanted to like this more than I did. I must say, Mikel Janin made an issue with two characters lying in ruins conversing look really great. So, yep.

Wow, this issue is receiving a violent reaction from the fans here...I thought it was pretty good. First--yeah, it's a bit of a sham that the wedding doesn't even happen. Yeah, it was a bit of a letdown, and the idea that Catwoman steps away because Batman needs his misery to be who he is kind of shitty. But maybe that's true? Anyway, the art was absolutely great, with several pages that could be framed on the wall. The page where Bruce asks Alfred to be his best man (or whatever) was great...I don't really think people want to read the adventures of married Batman, if it would have gone down that way...I was entertained, loved a lot of the pin-up pics, and am gonna keep reading so...yup, I pretty much liked it.

2 great stories by King and Finch and Snyder and Shalvy, and another one that's pretty good. Three out of five ain't bad...

This is a really nice love story between Batman and Catwoman, tracing their relationship from its beginning to its end. Lee Weeks does a really spectacular job here, with Michael Lark also providing great pages. Batman is in the midst of a super strong run under Tom King...who'd of thought an annual, after reading so many throwaway annuals and specials, would be so good?

“Batman: Creature of the Night” is an enthralling read, an-Elseworlds style tale of a young Batman fan who suffers a similar death of his parents, falling into anger and grief. These feelings are manifested in a new, terrifying form of “Batman.” The art of John Paul Leon is amazing; in a cool bit he echoes the artistic style of early Batman comics, and in general, owns every page here. Busiek maintains mystery over the inature of this creature, whose appearance reminds me a bit of the demon in “Kill or be Killed.” I can’t wait to see where this goes.

This is an awesome series… It has the vibe of a great Batman tale, but is unlike any of the other Batman titles coming out right now. I am really enjoying Kurt Busiek’s story, as we see Bruce Wainwright coming to terms with what he has wrought, and John Paul Leon is incredible in terms of character and atmosphere. Great stuff.

This is an interesting enough twist on the relationship and place of Batman and the Joker in an Elseworlds-type story. But what really won me over is the art of Sean Murphy. Moody, atmospheric stuff.

This is a pretty fun, wild series by Sean Murphy ("Punk Rock Jesus"), and it's differentness is working for me right now. Once we get past a punishing opening of exposition, things pick up fast. Harley Quinn kind of steals the issue, as we get a meta look at two Harleys. Murphy's art is great. That cover is spectacular. I am more into "Batman: White Knight" than I am "Metal" right now.

I am conflicted... The conceit of having Hot Dog emcee this comic doesn't work for me, and I don't like being so annoyed by Betty Cooper... but the art is incredible and I can't wait for the next issue...Waugh!

This was a fun issue, a nice conclusion to the story. It was funny to see Betty Hulk-out, and, most importantly, it looked absolutely fantastic with Adam Hughes' art. I hope he sticks with this series, even if it means only 3 or so issues a year.

This was an exciting issue. It's the end of the second story arc, I think (?), but ends with a cool cliffhanger. I don't always remember exactly what's happening because this comes out pretty infrequently, but this was a pretty readable issue in it's own right. A highlight is the Valentine De Landro art, and the satirical women's mag article headlines on the back cover.

"Black Bolt" #2 doesn't answer a whole lot of questions, but I like the supporting cast, and Christian Ward's art is absolutely out of this world. I'm a Black Bolt fan, so it's nice to get a dose of the character without being subjected to a series of insipid Nuhuman characters.

This was interesting. I have no clue what is going on, but I want to know, so, to that end, it's an effective first issue. The standout is the great art of Greg Hinkle, who was amazing on "Airboy," and looks like he'll get an equal chance to shine here.

I don't really have any idea what is going on here, but at least it was not boring. I understand that the writers are purposefully unveiling the story slowly, but I'm not sure if I'm down for a whole arc of this confusion. I am coming back for issue 3, in any case.

Ehhh. After 3 issues, I suppose we get some kind of direction on what this story will be about, with the war or whatever, but not enough for me. It looks pretty good, but I just am not feeling the story. The narrative isn't giving me enough. The more I read of Jason Latour's writing, the more I am convinced it's just not for me. I love his art on "Southern Bastards," but this is just confusing me and not paying off for me.

This is a great issue. Col. Wierd's tragic backstory is explored to great effect here. "Black Hammer" might be my favourite comic being released right now.

Another great issue. I really liked the narrative frame Lemire sets up with Lady Dragonfly, kind of a nod to the old hosts of b-movie thrillers. And Dragonfly's chapter added another layer of mystery to the book. One of the great things about this title is the way that individual issues function on their own to get contribute to the greater work. In my opinion, "Black Hammer" is the most consistently awesome series coming out today.

We finally are witness to the history of Black Hammer and his death. I love the Silver Age-style storytelling in this. Though the mystery remains, this issue is another great entry in what is possibly comics' best series right now.

This series is so good; with Dean Ornstrom out, it might be a cause of some trepidation, but David Rubin does a great job filling in here on art. This story is a lot of fun, with a cool 1950s sci-fi vibe, and it is touching as well, as Colonel Weird is compelled to destroy his best friend. I am deeply intrigued by the mysteries that compel Weird, who sees the past and the future all as one, to act as he does. The best superhero comic coming out today is right here.

I read the ending and, holy fuck! "Black Hammer" continues to be the best comic coming out today. There are multiple mysteries going on, and the whole book is filled with intrigue and characters that are so fleshed out they seem real. Add to this Dean Ormston's fantastic art and you've got a modern classic here.

This is a bit of a placeholder issue, a background history of Lucy, but is still powerful and resonant and fits in with the grand narrative. David Rubin seems to be established as Dean Ormstrom's official back-up, and while nothing in quite as good in "Black Hammer" if it's not done by Ormstrom, he's a great choice.

Things get more claustrophobic and helpless for our heroes, as life in isolation threatens to overtake them. An interesting look at Madam Dragonfly here, and an ending that promises the next arc carries on the excellence. Dean Ormstrom regains his rightful position as artist. "Black Hammer" looks and reads just great.

This was a fun look at the various team characters facing a mysterious alien force, held together by the dimension-travelling Colonel Weird. I really liked the old-school, 1960s feeling dialogue of the characters in the individual pieces, as they explained their powers and explained their actions. The format of the story lent itself to the various artists, and I was especially excited by Mike Allred's pages--his style so fit the retro space action of the young Colonel Weird, and the story even builds to a strange, haunting ending. If only all annuals hitting the shelves had this kind of quality.

"Black Hammer: Age of Doom" #1 is a good, entertaining read. It's nice to see Dean Ormstrom back on art, and it's nice to visit these characters again, but aside from the character work, not a lot goes on here. It's a bit slow. I did, however, find Lucy's placement in another mysterious environment which appears like an unescapable loop pretty cool. I feel a bit of momentum was lost in the interim between this and the last issue of "Black Hammer," along with the interceding spin-offs, but I am still definitely intrigued to see where the main title in this universe goes.

Though nothing really happens in this issue, I liked it. Lemire has given us characters that I find interesting and care about, so an issue that is mainly spent on these characters just talking to each other and being themselves is interesting. Lucy's journey is still pretty mysterious, but I love the addition of Jack Sabbath, and even though the plot doesn't really propel forward here, when I put down the book I knew I had a fun time reading it. So, is Lemire stalling on the plot a bit? Yeah. But this is a lot of fun. Oh, also, Dean Ormston is awesome. Great looking book!

Good issue of “Black Hammer: Age of Doom” in which we see some of the subplots that have been ambling along pick up momentum. Dean Ormston’s art is great here, with one really cool visual nod, and a creepily exciting final page.

I really liked this issue of “Black Magick,” as things slow down a bit to let Rucka and Scott further develop Rowan’s sense of confusion and amp up the tension for the next issue. Scott’s character “acting” is great, and so emotive. And, the ending was just gravy. Read this.

This is a fascinating, complex look at the conflict tearing Wakanda apart. I have been hot-and-cold with this series, but this issue is poignant and riveting, and I am anxiously awaiting what comes next.

I read this after a couple of issues of different titles I criticized for being all talk. This issue of "Black Panther" consists mainly of dialogue, but it is powerful and interesting and successfully sets the stage for the conclusion of an arc that has been bubbling for 10 issues. This is really well done.

I really enjoyed issue #1 of the new "Black Panther" by Ta-Nehisi Coates and Daniel Acuna. This comic is really suspenseful and action packed, creating some very interesting questions to create a really great hook for a first issue. The mood and tone of the book are super cool, as I found I was really drawn into this new galactic world while I read this issue. Acuna's action scenes have a great sense of movement, flow and momentum, really great sequential storytelling in these scenes. I tried to like the last "Black Panther" series, but I eventually just found it too...thick, if you know what I mean? Too stuffed with ideas to really work as a narrative. But this issue is a fantastic new chance to get into T'Challa...highly recommended!

This series never fails to surprise me with its wild twists and turns. We are plunged into a group superhero comic with The League of Ethical Champions, only to have the book end with an apocalyptic climax. Remender continues to keep this comic exhilaratingly fun, and Matteo Scalero is just perfect on art. This is great stuff.

I really liked the old school superteam vibe and story writing style here, as this issue features "The Legion of Ethical Champions," a group it would be fun to follow in their own right. Alas!

Another excellent issue of "Black Science"...What more is there to say? Grant is making a long-awaited comeback here as Remender and Scalera continue to produce what is consistently one of the best comics coming out today

This issue is excellent, which is no surprise, since every issue of "Black Science" is excellent. This is action-packed, but not at the expense of character development or dialogue, which Remender does in his sleep. This is an emotional issue as well as one of the cast doesn't make it out alive, and the stakes are generally raised across the board. Powerfully drawn by Matteo Scalera. As always. So, yeah.

"Black Science" #35 begins the final arc of this epic saga, and it starts with an issue focused on character and emotion...what we have here essentially boils down to a therapy session as Grant must face his failures, and Sarah must face her reliance on men like Grant in her life. It's pretty powerful stuff, but it is also a great and suspenseful read. It's easy to forget how amazing a series like this is when it is pretty much awesome every issue...but wow, look at Scalera's art, feel the depth (and shallowness!) of the characters...this book is a great one.

Great action scenes in this issue, particularly the in-silhouette fight scene. I love to see the Bucky/Natasha team-up, and the cliffhanger was very intriguing. Excellent comic.

This is a great issue. Chris Samnee is destroying the world on the art in this book. I loved the retro space ship Widow and Bucky take to the moon. And speaking of Widow and Bucky...I still pine for the days when they were a couple, and the interplay between them here was sweet. Not to mention that the children of the Red Room are terrible badasses. This is a damn fine comic book.

Every issue of this series is great. Check the panel where Natasha stands over shattered glass, each piece with a classic-Marvel image reflecting her past, and the shard she is standing on reflecting the little-girl assassin she once was. I have to stop thinking about the fact that this series has only one issue left and just enjoy it. But why, one issue left, why!?!

Things come together a little too easy here, but goddamn, this was a great series. It has been unlike almost anything else on the stands, as each issue offered a treatise on how to tell a story through comic art, sequential art--his pacing of action, his rendering of emotion through movement--Chris Samnee was an absolute powerhouse here. Of course the dialogue by Waid was excellent, but this just succeeded as well as it did by Samnee's unparalleled skill as a comic maker. I am going to miss this.

I was somewhat confused for much of this issue, but I think it rounds into shape; I'm new to Valiant, so even reading the synopsis of previous events in the opening two pages was dizzying, but I get enough to feel the connection between Bloodshot and Kay. It felt like a weird detour at times, but I've got a better sense of the characters heading into the conclusion.

This was an action-packed and emotional conclusion to "Bloodshot U.S.A.", a series that managed to pack a whole lot of story and thrills into four issues. Strong work by Lemire and Brathwaite.

I wasn't sure what to think about halfway through this book, but by the end I was, "Okay, that's pretty awesome." I'm a fan of Cullen Bunn's work, from his old Magneto series a few years ago to "Harrow County," which has just concluded. It's an interesting concept, the ending is super cool, and the art is top notch. I've never heard of Mustafa Karusu, but this comic looks great. I'm excited for the next issue!

The second series of "Britannia" continues to impress, as the mystery carries Antonius into the gladiator's arena. This is fast paced, with interesting dialogue and characterization. Man, Nero is an asshole! This series is not like anything else out there right now, and is the stronger because of it.

This series continues to be pretty damn good, though I feel it to be the least effective of the 7 issues (this series and last) so far. I loved the first half of the book with Achillia; it, and she, are awesome. So, when it comes to the Detectioner going on the hunt to find his boy, I was less interested. The statue of Apollo come to life struck a bit incredulous, which is weird, since this book is filled with the wyrd. That being said, I am looking forward to the next issue, and many beyond that; I just think Achillia is too interesting a character to be shelved.

After a pretty great run with "Scarlet Witch," and a very solid start to "Nick Fury," I was looking forward to this, but it falls pretty flat. The action didn't really move me, and there wasn't much beside that. Pacheco's pencils were okay, but not as strong as I recalled. Overall, pretty "meh."

I have the last few issues of "Cable" in various piles around my house, and rather than hunt them down, I just read #5 on its own. It was mild fun. The art seems like a throwback to generic Marvel art of the 80s...not good, not bad, but solid. While I enjoyed a few moments (Cable enlists the support of dinosaurs!), I can't help but think a series featuring Cable should be more bad-assed.

This is silly, but fun

This issue is a nice, if not a bit saccharine, look at Cap returning to a town he saved long ago to find some love he has lost in recent times. The story is a bit slight, so Chris Samnee's art really shines as the star here--his art style here is pretty minimalist and pretty great. I feel a bit, however, like this isn't really something I want for 6 issues--a drawn-out apology for "Secret Empire"--but I'm counting on the creative team to keep things interesting.

I'm not entirely wild about Steve's post-"Secret Empire" journey across America, but I ended up really enjoying this issue. The Swordsman turned out to be a pretty cool villain and the moment with Steve at the dam summoning every ounce of his strength played a bit like Lee and Ditko's legendary "Amazing Spider-Man" #33. Chris Samnee's art here continues to be spectacular, leaving me surprisingly excited for the next step in Steve's journey.

Chris Samnee delivers a master class in sequential art in this issue—the storytelling from panel to panel (i.e., Cap vs a Jaguar, the momentum of Kraven’s traps. Samnee and Waid have created magic together for a long time, but their Marvel-method style on “Black Widow” and now “Cap” seems both fresh and timeless. Great book.

This issue kicks off an interesting arc that finds Cap unthawed in a future in which 9/10 of the people on earth have died, all the heroes are gone, and America lay in ruin...seven years from now! This kind of sci-fi twist is cool, and the Waid/Samnee run continues to be refreshingly simple and awesome. Speaking of awesome, has Samnee ever been better than this? His storytelling is great, and his style reminds me of David Mazzuchelli's version of Cap in "Daredevil" all those years ago. With all the turmoil behind the scenes at Marvel, there are hints that this run will soon end (issue #700)...that sucks, but I'm going to appreciate this while its here.

From the fantastic, retro cover to the last page, this issue is amazing. Mark Waid and Chris Samnee's Captain America is so definitively Captain America, it's crazy. This is the Steve Rogers we have known for so long. The story, with the creepy weird-headed villain is silly, but awesome comic book silly. I loved the appearances from The Thing and Banner Hulk (who arrives with no explanation of what's going on in "The Avengers," and that's okay). Ben calls Mr. Fantastic "big-brained Reed." Classic. I think this series is the one that really got to the heart of what Marvel was trying to achieve with "Legacy." It has all the warm and tingly things old school Marvel fans like me love. And I can't fail to mention the art--Chris Samnee is possibly the best in the business. His work here is classic cartooning, skillfully capturing movement and momentum in his sequencing. And old school sound effects. This comic is fuckin' great.

This issue is weird, but I also really liked it. I found the artwork of Adam Hughes, even if it only was 4 pages, to be gorgeous, and I also really liked Leonardo Romero's kind of Chris Samnee/Darwyn Cooke style. The part where Jack gets caught in the office and has to escape is so well drawn--it's just excellent. This may be kind of an Elseworlds thing, but that doesn't matter to me. It seems like an interesting way to wrap up this series before the new one relaunches soon.

I am enjoying this story, even if it will be lost in the annals of comic time as the brief interim before the death of a series and its rebirth. But this is suspenseful and a lot of fun. I am really liking the art, as Romero has a Samnee-esque style I really like, and getting to see Chayken draw Marvel again was really cool. I'm digging on this.

I have been enjoying this arc, but this issue fell a little flat for me. I did really enjoy seeing Alan Davis' pencils for 5 or so pages, a really great scene which reminded me of Neal Adams' art. I'm also digging Romero here, but I think I'm almost ready for the Cap relaunch. I don't object to this Cap-free arc, but this one felt a bit like filler.

I see that this arc is getting little love from fans or critics, but I enjoyed this kind of "Elseworlds" story. I was captivated by pretty much the whole arc, and this issue is a fittingly good ending. Leonardo Romero's art is a good fit for this story, and while it may not "matter" because there's no Steve Rogers, how much do most individual issues or plotlines of a comic series matter anyway? I liked this.

After last issue's heavy events, a change of pace is due--it's just not that interesting or funny

I enjoyed this issue as a close-up of Misty Night. Her narration and the look at her past was fun. It would have been better had she faced a real threat instead of the cheesy Slug with his silly ploy to exploit women; Misty is painted as a real badass, but Spencer throws her at a third-rate foe. I did enjoy the glimpse of Rosario Dawson/Claire.

This attempted parody of right wrongheadedness and leftist extremism is overly simplistic and silly. The art is pedestrian The colouring is an orange-tinged muck. This is not a good comic.

After a few issues dealing mostly with the supporting cast, Sam Wilson returns to the forefront here, and the result is a very strong issue. Sam deals with the weight of doing right as Captain America, suppress the truth to avoid turmoil or unveil the corruption of the system. This issue takes on a bit of added weight in the fact that the advice of Steve Rogers may be in the service of H.Y.D.R.A.'s interests. Deep issue, aided also by the return of Daniel Acuna, whose art is superb here.

This is a pivotal part to the main plot of "Secret Empire," so perhaps that is where this story should have taken place, as the tides are finally starting to turn. A good read with good art.

After a few iffy issues this book is really picking up steam...loved the surprise ending.

I really liked this issue; it may be a slow burn, but for me, the intrigue continues to build. I must say I am fascinated by the machinations of Hydra-Cap, and Spencer's story is offset by awesome Jesus Saiz art. This is shaping into a strong series.

This issue was interesting, but ultimately fails to deliver, unless the purpose is to get me to grow more annoyed by Maria Hill. Her closing argument/presentation/blackmail attempt (?) stretched credulity to the point of seeming a parody (as anything referencing the building of a wall must now seem). At least this leads to the verdict which is...oh, yeah. Okay. No verdict. Right. This is a step back.

I have been fascinated by the idea of a Hydra-agent Cap moreso than the actual execution of the idea. It seems to have led to a lot of issues in which we get to see characters gathered...to talk. And talk. Occasionally captivating, all too often boring. I feel that Spencer is a bit too in love with having his characters debate, give speeches, and converse. This is not all bad, of course, except that there is no action to offer a reprieve from it. And the art here was pretty substandard. Jesus Saiz' name is on it, but I can't see anything here that looks like his art. Disappointing issue.

Continues to raise the stakes of Cap's villainy. Jesus Saiz makes it look great. The dark intrigue is building to a boil before "Secret Empire" begins.

This series has, after it's shocking intro, been all about the slow build, and that doesn't change here. That said, I found it interesting, and while this book isn't the same without Jesus Saiz, Javier Pina fills in admirably.

I liked the focus on Zemo here...his scenes questioning Bob in the apartment are well done. The art here is a good fill in for Jesus Saiz...Ted Brandt and Ro Stein give this book a nice look. Relentlessly, we march towards "Secret Empire," but this issue of the series was one of the better ones.

Each issue of this book threatens redundancy by only being a lead up to "Secret Empire," but this issue was intriguing nonetheless, as Hydra's forces consolidate. An interesting ending has me looking forward to the next issue.

It's not bad. It's fine. The art isn't terrible. It's passable. I'm just tired of endless set-up and want the goddam story to begin already. So, there you go.

Well, I read "Secret Empire" #0 first, so...whatever. Now that the event is started, can we finally be done with the fucking flashbacks of young Hydra Steve? I wonder if I need to even keep buying this in the midst of "Secret Empire." I have decided that I don't need to know anything the main title doesn't tell me.

Exposition! Filling in gaps! Characters acting against type! Heavy-handedness! Shitty, substandard art! It's "Steve Rogers: Captain America," the title that always leaves me with the question, why the fuck am I reading this?

A not-quite but sorta terrible issue. Steve goes full-fascist, grimacing and pounding his fist in a speech warning all others they shall fall in Hydra's wake if they do not comply. I thought it was a bit over-done. I did like the appearance from Black Panther, which provided the highlight of the issue. I don't think Steve has been characterized consistently over this event, sometimes earnestly wishing the world would see the truth he knows in some, sometimes a finger-wagging, overblown tyrant, like here. The art rose a bit above the wretched levels of the last couple of issues at least. So, yeah, it only kinda sucked.

I enjoyed "Catwoman" #1 quite a bit. Joelle Jones' art is absolutely gorgeous--her backgrounds, her facial expressions, the movement in her panels--she's one of the best in comics. The story worked for me as well--Jones only addresses the wedding in subtle ways through the story, not giving us explicit explanation of why she did what she did, so that the plot with the Catwoman imposters and the heaviness of what just happened (or didn't happen) with the wedding work together well. Of course this series is in my pull list--this is gonna be pretty cool.

Interesting, action-packed book that nevertheless isn't quite grabbing me the way the rest of the Young Animal books are.

This was an interesting, fast-paced issue, with some powerful moments (Cave confronts the corpse, Mad Dog almost turns his gun on himself). It is visually interesting, as with the scene when one character has her head swiftly removed from her body. I must say, though, that I am not really sure what is going on with the ending, and the...milking? Yeah. So...

This series is a whole lot of fun, and the team members have great chemistry. I like that the issues are more or less self-contained, a rarity in today's comic world. Humberto Ramos style is a great fit for the vibe of this book. "Champions" is one to look out for.

This issue continues in the social justice vein, but adds Gwenpool as...kind of a counterpoint, I guess? Anyway, they have to convince her to kind of think before blowing things up. One great aspect of the kind of one-off nature of this series means that she is gone; this is my first exposure to this character, and my response is a resounding "Ehhhh....."

This is a fun story during the team building paintball game, but as soon as the Freelancers come around, things thud to a halt. This group must be Mark Waid parodying childish supervillainy, mentally abusing homeless men. And framing the Champions for being...mean to the homeless, I guess. To destroy their public image. Meh.

I really enjoyed this issue until the last two pages, where Waid shifts the focus back on the Freelancers striking deep in the heart of the Champions by making them look like heartless land barons. It's kind of stupid, in my opinion. And I like Ms. Marvel in her own series...here, she's a little much, having a near mental breakdown over the group's reputation being disparaged on twitter. Oh well, there's nothing to do but sigh and wait for the next issue, because despite my complaints, it's still too good not to stick with. I'd just like Waid to tone down the overbearing social justice themes that have become this series' driving force.

This series is going south for me a bit. I honestly found this issue pretty annoying as the group gets upset over someone cashing in their brand, casting them as sell-outs. It seems...I don't know, trivial? Stupid? I like this group, and moments like Amadeus and Scott, but I still find the characterization of Kamala to be off here. In her own book, she is mature and thoughtful, in this book she has no control over her emotions and is just kind of annoying. Hopefully we can move on to something a bit more significant than the Champions image control.

Well, this was pretty good, my favourite "Champions" in a few issues. I liked the cab ride with Viv and the driver, and the Red Locust was entertaining enough, though I thought of "Kick Ass" for some reason. I kind of groaned when I saw that she will probably join the team as a permanent member, but, okay, whatever.

This issue uses a situation from "Secret Empire" to plunge the Champions (or 3 of them) into action; it turns out to be an okay issue, as they find their youthful optimism regarding the freeing of refugees disrupted by the complexities of the situation. It turns out to be a solid issue of a series that can be infuriatingly inconsistent.

Strong ending to a fantastic series...the pages where Tony re-lives moments from the whole series, his whole life, are amazing. What a great series!

"Strong" issue in a muddled mess of a series. Emphasis on the quotation marks around strong.

Thank f**k it's over. All I have to do now is not gag while Marvel continues to try to push the fascist Captain Marvel down our throats, calling her the most popular character in the universe, paying no attention to the reality that this series made her the most hated. Yecchh. Terrible.

This book was frustrating, an issue as comatose as Tony Stark himself. It is an endless series of talking heads, but nothing being said is original or relevatory. It again features blind stubbornness from Captain Marvel, and Miles Morales' Spider-Man lurking around lamenting the future. I don't know why I expected different. This has me feeling trepidatious for "Secret Empire," mostly because it is just boring, and none of these characters are likeable. The vision that closes the book was undeniably cool and haunting, but nothing about this issue suggests that this event won't be as desperately mired in self-absorbed contemplation, and contemplation that comes to no end, as "Civil War II" was.

Fantastic horror. Things come to a head in perhaps the best issue of "Clean Room" yet. A must-read.

A bit of a lull after the momentous events of issue 12, this is an uneven issue that misses Davis-Hunt's art. Creepy-good ending, though.

Solid issue, but doesn't really move the overall story. Some of Sanya Anwar's panels really shine. I look forward to seeing more from her in the future.

I really liked this series, for the most part, and this issue is no exception. It does feel like everything wrapped a little too quickly, something having more to do with the business of comics I think than Gail Simone's plan for the series. Anyway, I found the character of Astrid the most interesting part in this series, and she shines in defeating the demons here. I like the ending of the novel, and even though the overall story didn't play out in as much depth as I expected, it's good enough.

This book is fuckin' creepy, man. It is a little bit unsettling in its weirdness, which is good thing for a horror book, I think.

"Come Into Me" raises some interesting ideas about identity and body and privacy, but the real thing that makes it stand out is that it is fucking creepy. This is some really unsettling shit.

I read this and gave it a pretty harsh 6.5 review, but I read it again a few days later, took more time with it, and I kind of think my first review was way off. I did really enjoy this the second time I read it (the first time I read it digitally, because my copy hadn't come in the mail yet). I liked the introduction, showing the history of the character without heavy exposition, and I like the fact that he's unfit for Valhalla, and Baby Thanos...this could be cool. I really missed the bus on this with my first read, but now I'm pretty excited for what's coming next.

"Curse Words" is a bit of a silly book, but Wizord seems like a fun character. I enjoyed the glimpse we got of his world, and I wonder just where he stands on an earthly moral scale. Is he evil, or just a superficial jerk?

This was okay. A come down from the first issue, though. I didn't care for the art, and the story was okay in fits and spurts. I don't know if I'm going to keep going with it. I'm on the fence.

I've enjoyed Muse as a villain, and found this storyline enjoyable, but my interest in this particular issue flagged a bit with its focus on Blindspot.

This is an interesting issue. Coming off of the fantastic last arc, this deals with the fallout. "Matt Murdock" has placed a bounty on Daredevil's life, and I'm not sure why. Is it only to draw out foes to beat them senseless in guilty rage? I assume that there is more to it than this, but this is pure speculation.

This is my favourite "Daredevil" issue in a long time. I was hesitant about this whole thing of Matt putting out a hit on himself, and for a while though I was dealing with the "I Am Suicide" Daredevil edition, but Charles Soule masterfully handled the back half of this comic to remind me why Daredevil is an awesome character. That he was always trying to stop Bullseye's bullet was a great touch. This is an excellent comic.

This was a riveting issue. It was cool to see The Purple Man, who I don't really know from the comics so much as "Jessica Jones" on Netflix. But he is terrifying here as he was there. The ending of this issue leaves me hanging on anxiously for the next. Charles Soule seems to have Daredevil down, and Ron Garney's raw art style is the perfect fit for this character and this story. Impressive stuff.

Ehh. I didn't really like this issue. No real depth or insight on Matt from Charles Soule here. Maybe the whole thing was marred for me by the art, which was pedestrian at best. Where's Ron Garney? It's not terrible, but it's mediocre.

The end of all crime in NY! Because the legal system! Um, yeah, Matt...let's get serious. This issue was kind of not great. I found the idea of Matt dancing around acting out action scenes for Echo to be a bit ludicrous. Not really a super-fan of Sudzuka's art, especially after Garney. Can't say I'm exactly looking forward to this plotline.

This comic, and the premise behind it, are fucking stupid. Matt's thinking that having heroes testify in court will stop crime is ridiculous, as is the idea of someone anonymously testifying in a uniform. The idea of having Matt prove he's Daredevil for the court is a dumb gimmick. The defence attorney is a cliche, as are all the other courtroom players. The Sudzuka art is average at best. I am thinking I need to just drop this title and come around when Charles Soule is gone. I hated this.

I'm not entirely sure what's going on here, but I enjoyed this nonetheless; it's building up to something, and my interest grew throughout the issue until the climax, which left me "Huh?" but again, excited to figure out what's happening. There are several of DCs heroes who don't have books currently popping up, which didn't excite me as much as I figure it excited DC heads, but it made this feel more exotic and interesting. As I a Marvel guy, I thought the deep-DC cast might be alienating, but that wasn't so. I may not know much about Hackman, but I've read the Outsiders and Mr. Miracle before. I expected the art changes to be jarring, and was surprisingly not jarred--the book looked good throughout. So, I am down with DCs first big event. This was a fun read.

I sort of liked 2 of the 3 parts of the story here, but found it was burdened by a lot of explanatory dialogue on ominous warning of darkness and destruction. And the narration during the Hackman part was boring mumbo-jumbo. That being said, I don't know shit about Hawkman...but this did not inspire me to learn more. The Jim Lee cover and his third of the art looked nice. So, yeah.

Not a bad comic. It builds to what should be an exciting final issue (I think issue 8 is the end...?) For a Batman title, this has very little to do with Batman, though, and I had no idea wtf was going on in the mini-comic with Green Lantern's floating severed hand, but...yeah.

No, this isn't a good comic, but it is amusing in a peculiar kind of way. We continue in this issue with a lot of Kubert's imitation Dark Knight Miller art, and it's okay, I guess...? The mini-comic is a showcase on how rough actual Frank Miller art has become, but, it, er, features the return of Bruno, a.k.a. Nazi-tits? I can't say don't buy this because I laid down $5.99 for every issue so far and will do so again for the finale. So, there you go...

Well, this didn't all amount to much, but this issue in itself is a solid conclusion. It seems to set the table for more Dark Knight, which is, well, um...yeah. It had it's charming moments, like Batman warming to the new Batwoman, and the surprisingly optimistic mini-comic, with Miller pencils that didn't look horrifically distorted. So, there it is.

I'm not fully invested in the fringe characters of the DCU (yes, including Hawkman), so a bit of this may be lost on me. I wasn't sure about the start of the book, and the big Voltron moment, but by the end I had warmed up to this story and was having a good time. Part of this was a surprising, and thrilling, final page. I'm skipping everything but the main title for this, so I just hope it can deliver a coherent enough story without all the supplementary stuff. Good art, interesting script, a pretty entertaining book.

Well, this was surprising. Tom King's clever script immerses us in the world of Porky's bar, and introduces us to a group of lowlives resembling the Warner Bros gang. He cleverly interjects pieces of dialogue from the cartoon, a wink to all of us who watched Loony Tunes as kids. The story is serious enough to be very interesting, though, and Lee Weeks does a great job with the art; there is a dark, brooding mood to the visuals. Sometimes comics are more fun when they catch you off guard, and I ended up having a great deal of fun with something I assumed would be a throwaway.

The story with the Joker awaiting his invitation to Batman and Catwoman's wedding is beyond awesome--it is a tightrope throughout, but I also felt the nervous tension made it more funny as well, in a weird way--Tom King does a great job of capturing the Joker's disconnectedness from reality. It's a bit different than most of the takes I've seen on the Joker lately, which was interesting. The Clay Mann art here was also incredible. Tom King continues to show himself to be a master of short tales--he has done a number of great one-shots in "Batman," and this and other shorter stories like "Good Boy" show he can tell a great story in even a limited number of pages. So, I loved this story. There were also two other stories that were noisy with dialogue, and busy in design, and boring in character. I kind of was reduced to skipping by the end of the last two stories because they were dull and I didn't care. I've come to realize that I have grown to really dislike Scott Snyder's bombastic post-Batman stuff. "Heavy Metal" was an incomprehensible mess, and it seems like most of Snyder's writing in the last couple years leans in that direction. This used to be a guy who could tell stories with subtlety. His new stuff, it's not for me. But 25 cents for a wicked Tom King/Clay Mann Joker short? Fuck yeah!

Strong first issue for this crime thriller. We get introduced to Caruso, who Arcudi paints as wounded by the past, with an ex who is a good man that had to move on, a failed career, and suggestions of a drinking problem. She's not a stereotype though; she works as a strong lead. I'm interested in the case, and the surprise ending raises has me curious for the next issue. I wasn't always 100% for art at first, but the style and colouring do a good job establishing atmosphere. Definitely a good read.

Solid issue keeps the murder mystery interesting. The art distracted me more here than in the first issue, but I'm sticking with this to see how it goes for sure. I also want to find out the full story on our protagonist, Caruso.

The mystery continues to build in this inside-job cop prison murder story. I'm not sure what's going on, but I'm gonna keep reading to find out.

Remender and Craig pack so much in each issue...the compact panelling makes this a denser read than many books, with multiple twists and turns guiding the crazy action. I threatened to quit this series at the end of the last arc when Remender killed Marcus, but I am sure glad my threats were empty. This continues to be one of the very best series in comics.

A bit of a different direction for this issue, which is all about the action--and these action scenes are rendered beautifully by Wes Craig. If any series should have an action issue poetic in its depiction is this. This, along with a killer ending promising much more to come. This series is brilliant.

We find out more of the origin of Saya in another outstanding issue of "Deadly Class." Remender and Wes Craig continue to dominate with this series, which is possibly the best in comics right now. "Deadly Class" is incredible.

Things slow down a bit here, but the tension continues to build. I loved Maria's reaction to Marcus' trademark descent into nihilism ("Nothing good stays good") and the scene of Marcus talking with ghost-Willie on the beach was well done. Also, it feels like a reckoning is coming with the power couple at the school. Remender can easily handle issues like this where characterization dominates, and Wes Craig, as always, draws the hell out of it.

This is an interesting issue, full of conversation musical and cultural expropriation, and race divisions. It's a great calm-before the storm issue, as Remender continues to flesh out these characters in an interesting, funny, and sometimes sometimes touching way. And Wes Craig rocks.

This issue is a road trip story, but lacks the insane action the road trip in issues of #4-5 of the book. Granted, there is no acid, but still. The arguing about race and power dragged a bit for me--generally interesting, but it feels like Remender's done the exact same thing already. This is still a good comic, it just doesn't hit the lofty heights most issues of "Deadly Class" do.

I loved this issue, a big pickup from last issue which kind of tread water. And sure, seeing these kids get all fucked up on drugs is not exactly new, but this issue is exciting as hell as things fly to this arc's conclusion. This issue has a lot going on while still taking time for the dialogue and character building that make this one of the best series in comics. And...Wes Craig absolutely destroys the universe with his art here. He is working in a different stratosphere than most artists. This is going away for 4 months, but I can't wait for the return.

A new arc kicks off in this issue of “Deadly Class,” as we pick up the action in what seems to be Frank Miller’s “Dark Knight.” In just one of the awesome things in this book, Remender and Craig mirror the voice and physical action of Miller’s seminal work, as our heroes face a cascading onslaught of ninjas. Craig is insanely good at laying out action scenes that flow naturally and logically. This issue is pure “Deadly Class,” grabbing the reader by the throat early and not letting go.

"Deadly Class" #33 is a pretty awesome comic, and a pretty awesome second chapter of an arc. The issue opens with Saya and her brother in a hard-core brutal scene...this book is not for the faint of heart! Then, Marcus and Victor engage in a fight that is awesomely portrayed by Wes Craig, who never fails to make this book look amazing--the sequencing of the fight is excellent. Finally, we kind of get the origin story of Z, which is shocking in typical "Deadly Class" style. Love this book.

This is an exciting, action-packed, violent issue, and is a really good read; I still tend to like the slower, more character-based issues more, but I know this series will continue to deliver top line action along with some of the most interesting, funny characterization because of the creative team--Remender and Craig never seem to go wrong.

This is a pretty awesome issue of "Deadly Class," fast paced, action-packed, but also containing great character moments. The Wes Craig art is perfect for this series, and he does his usual great job again here. This is one of my favourite series, one I am always excited to read.

Well, I do not know what the fuck that was, but i am perplexed by "Deadman" #1. The art is as-advertised Neal Adams, but the plot was incomprehensible. That being said, I'll be back for issue #2. It is Neal Adams, after all. Note: I've adjusted my score from 5.0 to 6.0 (after about a week) because the more I think about it, the more I am actually looking forward to the next issue, as much of a mess as this is.

The Shakespeare story was a lot of fun with great art, and totally validated my English degree.

I don't regularly collect "Deadpool" because I find it to be wildly inconsistent, and I usually get my fill of the character from "Uncanny Avengers" and "Spider-Man/Deadpool." But I picked this up because I am fascinated with the world of Steve Rogers and the build up to "Secret Empire." And as a prelude to that, this issue delivers. I am still shocked when Cap behaves immorally, but this issue shows that the Hydra version will do whatever it takes to protect his agenda. Deadpool is almost the 3rd most important character here, after Rogers and Phil Coulson, who provides a good turn, especially at the end. The art was not quite up to standards, but Gerry Dugan's plot carried the weight.

"Death of the Inhumans" #1 is a really great book--I didn't know quite what to expect, but I was riveted from page one till the end. The story is dark in tone, and Donny Cates does perfectly with his narration. It seems like an old-school comic book method, but it really worked here. The art by Ariel Olivetti is super--I don't know if I've seen his stuff before, but this comic really looks great. And it focuses on the most interesting Inhumans, not all those nuhumans I didn't care about. Great stuff!

So...Cyclops died over a cloud? For not allowing potential inhumans to gestate? Life begins at cloud particle formulation. But wait, he's been dead all along...because Marvel could not stand to allow him to go out heroically? I also don't understand how any of this made Cyclops a pariah amongst the rest of the mutants. I can't believe a writer as good as Lemire is responsible for this garbage fire. Marvel has really shit the bed with their handling of the X-Men and Inhumans post-Secret Wars...I hate both these teams now

"Deathbed" #1 was a fun and unexpected debut issue. I found the story interesting for sure, and the protagonist was a lot of fun. I thought the monster/zombie faces framing a lot of the panels were building on the introduction to build atmosphere, but things certainly take a turn. Riley Rossmo's art has always been hit or miss with me, and this one falls in as a hit...he's got a very moody, dark style. I'm excited to see how this adventure develops with issue #2.

"Deathbed" is crazy, whirlwind fun...it's a book that is not quite like any other with a protagonist that is not quite like any other.

"Deathbed" #3 is a well-paced, funny tale in the life of Antonio Luna...the scene where the nature of his cult followers is revealed is well done, and the character remains likeable in his arrogant self-centredness...I haven't really been a fan of Rosmo's art before, but this perfectly fits, and helps create, the mood and tone of the book. Good stuff.

“Deathbed” continues to be fun and entertaining, with really interesting visuals and a charmingly arrogant protagonist. Great read!

Strong, topical, poignant issue exploring the United States' relationship with guns, focusing on Chicago. The story is very well done, and the inks by Bill Sienkiewicz on Dennis Cowan's pencils made for an outstanding look on art.

This is a pretty good first issue, uniting the four main characters in an organic way. Bendis has the voice for these characters down and the art by David Marquez (who saved "Civil War II" from being a total disaster) does a great job on art.

This is a good, action-filled issue that still has time for Bendis-style characterization. I like the cast of characters in this book (even if they are a promotional item for the upcoming Netflix show) and I like the way they are interacting. I didn't expect Blade but it makes sense for him to be here, and the Punisher is badassed. It's nice to enjoy Marquez art without the accompanying sour taste of "Civil War II," so, yeah, two issues in there is a lot of promise here.

This is a really great book. It features an excellent method of exposition by Bendis, having the people of New York narrate the history of Diamondback and Luke's beef...I was thinking it almost went on too long, until it merges with the action as the Punisher makes an awesome (and brutal) entrance. I really liked the two scenes that end the book, with Daredevil and Cage taking on Punisher and Iron Fist and Jessica taking on Diamondback. Then the issue ends in a bit of a shocker which may or may not be a tribute to one of Batman's most famous scenes. And David Marquez continues to deliver.

This is a great issue of "The Defenders." The action scenes between Diamondback and Jessica/Danny are creatively and very effectively laid out. The dialogue is sharp and the plot is tight and crisp. Bendis and Marquez are really delivering with this series. The producers of the Netflix show could learn something from this series.

This issue is an okay ending, but I can't help but think that this series is kind of going out with a whimper. I don't know. This series maybe touched its potential, but it's ending so fast I can't help but think of missed opportunities. This works better as an emotional goodbye to Bendis than as a story. Perhaps I'm also a bit sour because this issue is a reminder of all the top level talent fleeing Marvel right now. Bendis is Bendis and David Marquez is incredible. Sheesh.

The mystery deepens as we explore the backgrounds of Q and Lily in greater detail, unearthing the conflict between them and their relationship with Mia's father. The pace of this series is undeniably slow, but I enjoyed this instalment.

The story doesn't really move forward, but I liked the character moments here, especially the background of Mia's tragic mother.

This series is kind of frustrating in its inconsistency, as it sometimes becomes burdensome due to its often sluggish pace. This issue was a good one one, though, with driller back in action and an ending that suggests an exiting next issue. It is, as always, beautiful to look at.

Exciting conclusion to this arc as things are really looking bad for all our protagonists. This series is really good when Lemire keeps the action going, and Dustin Nguyen makes every of this book beautiful to look at. Good stuff.

"Descender" 22 is a good read...exciting, action-packed, and suspenseful. I feel like this series has spent too much time treading water, not moving ahead fast enough, but this is a good sign for this arc. All the slow issues in the past year are so have helped build to this, and it looks like a lot of significant things happening.

"Descender" is on a role. This issue is action-packed and a great read. The final page is a super-cool cliffhanger. Great stuff.

This is a really strong issue that benefits from seeing Tim-21 imbued with some mysterious new ability to read what is going on all around him--we're set up for a helluva conclusion. The pace of this series has led to some frustrating moments, but it's all paying off here. Once again, Nguyen just gives us a beautiful book. Great stuff.

This issue of "Descender" is interesting enough, functioning as a stand alone story of sorts, but one that will provide illumination for the series as a whole, It's a good read, but the standout is the jaw-dropping watercolour art of Dustin Nguyen. This is breathtaking stuff, one of the best looking issues of the series so far.

"Descender" #29 is a fast-paced, action-packed issue. It also propels the final story of this series along, showing the kind of momentum the series has lacked in the past. We do get a strong sense of character here, in these moments of action, perhaps attributable to the previous arcs which featured character development over story. Whatever inconsistencies, this has been a really good series and I am excited to see how this wraps up in the upcoming months.

"Descender" is approaching its end, and this issue is a powerful lead-up to that moment. The action was fast paced and interesting throughout the issue, and the Dustin Nguyen art was beautifully done as always, but the reunion between Tim-21 and Andy was so well done, it was a great payoff for people like me who've been with this all the way. Again, Nyuyen renders this two-page reunion masterfully. Great stuff.

I've been with "Descender" since #1, and now it has reached its penultimate issue. The stakes are really high...apocalyptic, really. Things are coming to a head and humanity is on the brink of being eliminated. The art, as it has been from the series' inception, is fantastic. I've enjoyed these characters, and am excited to see how things wrap up next issue.

I picked this up because Deadpool's part in "Secret Empire" was interesting, and I was fascinated by the new direction the book is taking. I kind of liked Deadpool with a heart from the last few years (see #20 for the best example), but, it turns out this is a pretty fun issue. I like the frame as Cable talks with his captor as Deadpool approaches, and the fight at the end is certainly interesting. Duggan and Koblish do good Deadpool, and I think I'm gonna stay on with this to see where it goes.

I'm really starting to enjoy the team concept in this book, and the First Victim is an intriguing new villain...this is a really good book

The art changes are somewhat jarring, but I am growing more interested in Batman's supporting cast. If someone told me I would enjoy a "Detective Comics" that puts the Dark Knight in the background I wouldn't have believed it, but...

This is my favourite Rebirth issue of "Detective" so far, a comic that is captivating and filled with great character moments...a very strong conclusion to the "First Victim" arc. I was not sold on the team aspect of the book at first, but the great thing about the rebirth Batman titles is that they are so different than one another. This is a great issue and what is shaping up to be a great series run.

This is a solid issue made dynamite by the great painted art of Ben Oliver. The book looks absolutely great. Not too excited about rehashing "Night of the Monster Men," a story that was so terrible I dropped the respective titles for the second half. To me, Batman and giant monsters just don't mix.

Strong character issue for Batwoman, complimented by beautiful Ben Oliver artwork.

I liked the exploration of Orphan's character, which opens the book. However, this is followed by an Azreal story I didn't really care for, and a Batman story that was more of a hint of things to come than an actual story. So, okay, fine, but not great.

Solid introduction to the new arc, held down somewhat by the so-so art of Christian Duce, who suffers coming on the heels of Eddie Barrow and Ben Oliver.

This issue was pretty good. The Gotham PD's belief that Batman killed the mayor, and willingness to shoot on sight any of his allies, stretched credulity. I liked the art for the first three pages, but then we have a switch, and fall back to just-okay art. I have really liked this book since the Rebirth, but wasn't quite feeling it all the way this time. Good, not great.

Solid, but unspectacular issue, with fine, but uninspired art. It was alright.

This story strikes me as good, but not great. These shadowy assassins are actually not that thrilling. It seems like every story arc, Gotham City itself, and every one of Batman's team, are placed on death's brink. If Gotham is always on the verge of collapse, only to pull out the victory every 6 or 7 issues, it's not that suspenseful. The nuances of Gotham City can be explored in smaller scale stories.

A solid conclusion to the "League of Shadows" story arc. The standout for me was the Marcio Takara art, which looks great and fits the mood of the book well, in my opinion.

Meh. Spoiler solo story isn't very interesting, with her monologue growing quite tedious for me as the issue went on. I get it, you hate heroes. So act as a hero in disguise, because that makes sense. The art was also rather mediocre. So, yeah.

The ending delivers promise for next issue, but other than that, nothing much about this issue really grabbed me. I'm not much of an Azrael fan, so maybe that plays a part, but, there you go.

Incredible issue... I am fairly new to Valiant, and wondered if I might be stepping in waters too deep given the III in the title, but I was riveted reading this...great premise, great execution!

Whoa! This series is crazy, full of twists and surprises. The concept, the writing, the art are all super cool. This is a must read.

This was a really great series, and it ends with a really great issue. I enjoyed the stuff about the power of narrative, stories, in building worlds, and the imagination's connection to wanting to build these worlds. It was really awesome stuff.

Awesome, badass story, giving greater insight into Komandar Bloodshot from Jeff Lemire and featuring incredible action by Clayton Crain. I'm loving this event.

I enjoyed this one-shot "Divinity III" tie-in, featuring X-O Manowar and Kostiy's Soviet-world origins...another interesting glimpse into the Stalinverse.

This was totally weird, but I really enjoyed it, right up to the chilling conclusion.

This is a really great spin-off in the "Black Hammer" universe, the classic trope of the obsessed scientist whose ambition has unintended, tragic results. This issue has a powerful ending that closes the issue with force, a sad, impactful ending I didn't see coming. I really liked Max Fiumara's art here...he gives the protagonist, the aptly named James Robinson, a really palpable anguish. Dave Stewart's colours gave this an even more dynamic look. I almost slept on this series...don't miss it!

Issue #2 of "Doctor Star and the Kingdom of Lost Tomorrows" is a good read, though it is steeped in tragedy. Star is confronting the cost of his life of space adventuring, his loved ones left behind, thinking he had gone forever. Lemire lays the "Cats in the Cradle" stuff on a bit thick early, and the art seemed a bit...off, occasionally...but this is still plenty worth reading.

This series remains pretty fun and interesting, despite some heaviness in the character of Doctor Star and his family's sense of his betrayal. I liked the part where The Green Lan--sorry, Star Sheriff Squadron shows up and it is revealed how Star has shaped their entire society. I think this is only 4 issues (?) but I look forward to seeing how Lemire wraps this up.

This series continues to be fun as Doctor Strange's nemeses are in line to make him suffer. Fornes' pages fit well with Bachalo's, making the issue seem pretty seamless and enjoyable.

This issue is absolutely gorgeous, with guest pencils by Frazer Irving. It's a real treat.

I loved this issue. The suspense was palpable as Thor raced to perform brain surgery on all of Strange's patients, and Mister Misery continued to emerge as a terrible threat. The tension builds towards the end for an excellent conclusion. Funny, intense, and drawn masterfully, this is a great comic book.

This was a really great issue, focussing on the Dr. Strange/Wong relationship, and their battle against Mister Misery. I really liked the flashback scenes, and character work done by Aaron. It's nice to Zelda fully in the mix as well. It's the penultimate Aaron/Bachalo issue, and while that is a depressing idea, this issue is a perfect example of the charm they have brought to this title.

Jason Aaron and Chris Bachalo's run on "Doctor Strange" ends here in an issue that seems to bring things full circle. I like the decision to make Zelda the focus here as she moves on to a new role in this adventure. There is a sense of a new start even as things end. This is the longest I have ever read a Doctor Strange book, and it was at its best when it was at its weirdest. I'm excited to see where Bachalo turns up next, as he delivered a bizarre set of visuals that looked totally awesome and unique. It was a good run.

Donny Cates is already shining in his run of "Doctor Strange" after 2 issues, delivering a fun and interesting story. This arc takes a bit of a different turn than I expected by focusing on Stephen over Loki; Stephen's relationship with Bats the talking dog makes this issue. Gabriel Hernandez Walta's art has never looked better. He continues to knock it out of the park after "The Vision."

While this issue is entertaining and fun, I'm kind of pissed to be having to read a tie-in to another fucking event. I like Donny Cates, and he does a really fine job making this issue work on its own (I haven't read "Damnation"). But does this mean I have to read that to get the continuation of this story? It totally slipped by me and I didn't add it to my pull list! I'm getting tempted to say, as good as Cates has been on this, fuck it, see you in May with a new creative team, Doctor Strange. So, in summary, this was actually a really good read. But I think I just might drop this anyway. Well, one more issue...? Thanks, Marvel, you #@&!!#$ers!

I haven't been reading "Damnation," but kudos to Donnie Cates and Niko Henrichon for keeping this more or less comprehensible, and more importantly, enjoyable, on its own. The appearance of Clea brought me back, and the whole premise of the issue and how it ends is really well done. There's a sense with Marvel titles lately, like, well, it'll all start over again in a couple of months, so does this really matter? This is one where I'm trusting the creative team to bring it, even though its all ending.

This was an awesome end to Donny Cates run on "Doctor Strange," a fun and funny issue that wraps up the things that have been going on in this book since the beginning of Jason Aaron's run and the introduction of Selma. This issue is very entertaining, with Spider-Man adding a lot of laughs. The two-page comic strip of Spidey talking to an actual spider (and skipping stone) drawn by Chip Zdarsky is great Frazier Irving does the pencils on the rest of this issue, so of course it looks great. I wish Cates would have stayed on this character longer, but it was fun while it lasted.

This is a really great looking book. Jesus Saiz' work on "Steve Rogers Captain America" was pretty great, and this painted style is really cool. The first few pages are exciting, as Stephen does some cool magic, and then....ehhh. It seems as if Mark Waid (or the editors) failed to read Jason Aaron's run, because he's lost the magic once again. Add in a heavy handed narration from Waid chronicling the magic-free life of Strange, and this issue really loses its way. Perhaps its greatest offence is how boring it is. Maybe Mark Waid is stretching himself thin writing, I don't know, 5-6 books, but this is really uninspiring.

The last issue left me unmoved, as It seemingly offered little that seemed new or different. But writer Mark Waid steps it up here with a much more interesting an issue, one defined by character interaction over heavy 3rd-person narration (still there, not as all-present as last issue though). I liked Talla (I think that’s it) as a companion for Stephen on his journey through space. This fun well-paced issue has definitely got me coming back for more after I was really uncertain about issue #1.

I don't know what the fuck is going on, but I'm still entertained...is that a review? That's what I got..

Maybe it's because I have never read anything about Doom Patrol before this series, but I have no idea what the fuck is going on. Maybe that's on me, but ending each issue perplexed is hurting the book's readability for me.

I opened up this issue already frustrated, thinking, oh, this is so impenetrable, I forget what's going on...but everything came together for me soon, and this turns out to be a really strong issue. It's trippy ideas reach a head with Jane's personalities outrunning the dominant one, in what was a really cool idea. I liked the moments with her and Cliff, and the group action to resolve the story. I am looking to reread all the issues to make some more sense of the overall arc (I never read Doom Patrol before this, but maybe now the familiarity I've gotten with the characters will help) and starting a new one.

I'm not sure where "Doomsday Clock" is going, but the first two issues have definitely hooked me. This is an interesting one with many cool moments...the bank robbery starts off rough with the flimsy "jerk boss" character, but then the scene turns for a funny moment. The confrontations of Ozmandias/Luther and Batman/Rorschach are fascinating, leading well into the next issue, and the book ends with a shock I did not see coming. I felt a bit of the dialogue from Johns was rough, but he does also include these aforementioned cool points to make this book good--and Gary Frank is awesome again. I thought his facial expressions, the "acting" of his characters, is really well done.

"Doomsday Clock" #4 is an interesting read, delving into the origin of the new Rorschach, and filling us in further about what went on in the aftermath of "The Watchmen." This doesn't really move the plot forward really, however, as things still seem to be in low gear with the series a third done. Gary Frank's art makes this worth the price of admission alone, so this is definitely a really solid book.

The story marches on, albeit slowly. The remaining horsemen, as usual, lend a grim aspect to the story, offset by an almost tender moment between Wolf and Crow. I must admit that what I really am waiting to see is more interaction between Death and his son, but this issue is good in its own right, and I know Hickman will deliver more in time.

Strong issue of "East of West," with the framework of burning leaders, and different reasons why. Because of the nature of this book, the depth of this world, I sometimes feel I am missing something I might get by rereading a whole pile of previous issues, or that this might read better in trade, but it doesn't feel this way here. Nick Dragota's art is, as always, spectacular. "East of West" continues to remain interesting as it marches along.

This is a really good issue of "East of West," focusing on Death and his son, Babylon. If someone had told me that an issue of this series would feature an extended father/son fishing scene, I would not have believed it, but there you go. The family moments are bookended by a really awesome opening and a really awesome ending, with great Nick Dragotta art throughout. It's a testament to Dragotta and Hickman that "East of West" keeps delivering.

Somehow, "East of West" is still an interesting and captivating read, even as I begin each issue a bit unsure of where the last one ended. The pacing of Hickman's series, slow, somewhat challenging, somehow works in a way that the actual chronology of the story seems less important than the overall progression of the great, major story. It provides an allowance for me being occasionally lost. A large part of this book's charm is the great work of Nick Dragotta, who provides another clinic in storytelling here. The bits we get with Death and Babylon (and Balloon) seem generous, and also build up the inevitable momentum of the series. Great title.

I've read "East of West" since issue #1, and it's continuing quality is still remarkable. That said, there have been 37 issues over that last five years, so sometimes certain elements of the plot escape me from issue to issue. But this one was a slow burner, a suspenseful prelude to a whole lot of bloodshed. Anyone who reads this series regularly knows that certain issues are going to emphasize mood, or the emotion and feel of a pivotal moment over a lot of action. And that makes certain action issues (issue 22 is an almost wordless action-dominated story that is one of the best examples of sequential art out there) all the more special. The most underrated guy in the industry has to be Nick Dragotta, who delivers amazing, amazing art time in and out. Great stuff.

This seems a bit silly but it was also a lot of fun, one of the best issues of the series. Immonen's art is incredible here... I look forward to the return of the series of the future, as the story ends on an interesting note.

Fascinating and entertaining start to this series, as a man of science sets out to explain and define a magical crime. My interest really picks up when we leave the Dr Seuss-ian visuals behind and enter, however briefly, the destitute conditions our scientist/detective finds himself living in the real world, and the flashback that follows. Kindt and Rubin have me hooked...

Liked the first "Ether," but this bored me. Didn't like this elf sidekick. Didn't want to finish it. Dropped.

This strange series continues to be interesting, but I think the question of what happened to Boone in real life (and what there is real and what's not) is more intriguing than the fantasy world he travels to.

This was an entertaining issue, and I think things may be getting more interesting with the ending and a suggestion that we may be seeing both of Boone's world's merge.

Wow! I'm amazed after reading this brilliantly told story! I have been enjoying this series, but I did not expect an issue like this to come along, and that made it all the better...the dark underside of the Ether is exposed here in an unexpected but amazing turn...hands of to sirs' Kindt and Rubin for this great issue!

This is a strong conclusion to this series, which I'm glad to see will be returning. We get to see in greater detail the personal stakes Boone must pay to enter the Ether. Very interesting stuff.

I don't know...I don't think this series is for me. It reads as too didactic to me. The conversation between Snugglepuss and Huckleberry Hound is sort of interesting, but none of this has the cleverness of Russell's "Flintstones" or "God is Disappointed in You." I need something more to make this bit of moralizing palatable.

This is an interesting, if unspectacular issue. I haven't read "The Flash" since dropping it 7-8 issues after Rebirth, due to a revolving door of artists and a basic failure to really connect with the character. But of, course, I'm back for "The Button." After the spectacular comic that was "Batman" #21, I thought a lot of that would carry over, but that was distinctly a Batman comic and this is distinctly a Flash comic. I've always been more of a Marvel than DC fan, so maybe this issue has greater significance to DC diehards.

I dropped "The Flash" after about 10 issues, frustrated by the inconsistencies in having various artists. But I picked it up for "The Button" and, seeing Di Giandomenico was back on for this issue, decided to stick. It's pretty good. I really enjoyed the opening sequence with the hall of Flashes, which was pretty cool. It slows down a bit as Barry remains lost in thought about recent events, but picks up and builds to an exciting ending that ensures I'm staying on board. I don't like Williamson's writing for DC quite as much as I did "Nailbiter," but when he and Di GIandomenico are together, it's hard to miss. I'm sticking with it.

"The Button" brought me back on board with "The Flash," and I'm glad to be back. This issue was really good, and felt really high stakes, the prelude to a big Flash storyline. I love Di Giandomenico's art on this character. Question: when Hal forms a bar and bottles and glasses with his ring for he and Flash to sit at, are real drinks created by his ring? Or is it all props?

Yeah, I dunno, I don't wanna hate, but, I didn't really like this...I didn't really dislike it either, I just am not very into it. There's too much going on for me to care about much of it. But Porter's art was pretty good.

I haven't read an issue of "The Flash" in a while, but decided to give this one a try. First off--the cover is seriously awesome. The power of Grodd here is imposing. Next, it was a pretty good read--there is one moment in the book where things get eerily quiet and the atmosphere established by Williamson and Di Giandomenico is really creepy. As always, when Di Giandomenico draws this, it becomes a much more dynamic book. The ending has me looking forward to a very cool arc.

This issue did a solid job of establishing the world of "Flavor"... I felt at one point it was growing a bit tedious in its exposition, but then the cool ending happened, in which a shocking act of violence is counter spliced with a cooking montage. Because of this last scene, I'll read issue #2. But my main complaint is, where was the cooking? The editorial brags of having a "food scientist" as a consultant, but any cooking scenes are indistinct, just one off shots with no ingredients shown...Listen, this may seem geeky, but "Starved," from 2 or so years ago (?) presented a distinct world and making the food, as well as the characters, the star. I'm hoping this series (though a million miles away from "Starved" in terms of look and tone) can do the same.

I dunno. For all that was going on, I was bored and struggled to finish the issue. I don't think this book is necessarily bad, I just think it's not for me.

Thrilling story by Josh Williamson with great art ny Jason Shawn Alexander. This issue is filled with suspense and action. But what do the Snow Queens do to the men they capture?!

This is a strong series. Great character work by Williamson here, and Alexander's art is outstanding.

A bit of a down issue, but it sets us up for the conclusion next issue. Overall, this series has been very good, and I'm excited to see how it wraps. I'm also excited by Jason Shawn Alexander's artwork, and seeing where he lands next after this.

This is a strong final chapter to a strong series. "Frostbite" #6 gives us a satisfying fate for Keaton, with a cool ending that suggests this series can continue in the future. Josh Williamson provided an interesting story here, and I'll be on the lookout for more art from breakout Jason Shawn Alexander.

Strong introduction to the series

Very entertaining issue. I enjoyed the Archie-style art as a conceit for the popular girl's mindscape.

Fun, smart comic that keeps getting better...the more I see of this team, the more I like them...

This is evolving into one of my favourite titles... "Generation Zero" is fast paced and action packed without being at all overstuffed; the intriguing story and characters are complimented by outstanding art. Can't wait to see the next issue!

This issue was a bit of a drop off for me, but it is still a great series and I'm sure it will pick up. I just think the first storyline is dragging on too long. And I don't see how this is the start of a new arc...anyone picking this up as a jump-on point will be clueless as to what's happening.

This was an action-packed and fun issue, as the storyline that has been building since the first issue is nearing it's conclusion. Adele was pissed and provides Gen Zero with their greatest adversary, in what was a funny turn. This series is a quality one.

In terms of story, this comic is kind of light and inconsequential. However, the artwork of Ramon Perez is absolutely breathtaking. Perez mimics the style of Steve Ditko for this issue set during Ditko's original run on "Amazing," to terrific results. This book is a treat just to look at.

This is a terrible comic. Trite storytelling and substandard art.

I liked "Gideon Falls" #1, but at the same time didn't love it like I thought I would. Sorrentino's art looks great, but I didn't always know what was going on in this book, be that attributed to the artist or the writer. The ending was intriguing, and I'm sure Lemire will answer the questions this issue raises in cool ways, so I'm totally down with this series. I just think, with this creative team, greater things are to come.

“Gideon Falls” is still on a slow burn as of issue #3, but it’s deeply rich in terms of creating a mood and tone of dark fear. There is also interesting characterization here, a given for Lemire. The showstopper is still the gorgeous, complex design and layout by Sorrentino. This book looks incredible. I reread the first two issues before this one, and together they make a brooding, suspenseful read, leaving me excited for the further development of this story.

This series is on a bit of a slow burn, and I hope the ideas about celebrity go a bit deeper, but I enjoyed this issue.

This is a great introductory issue. The story starts as a riveting personal drama, a son torn between his responsibilities to his family and his ailing father, turning towards the supernatural at the end. I'm intrigued by the possibilities of watching Emmett confront his Alzheimer's in his fleeting moments of escape. The narration gives a biblical, large feel to the narrative. The writing and art are superb. I'm not sure exactly what this is going to turn into, but I thoroughly enjoyed this issue in itself.

Well, that was about as good as a second issue can get. It builds so well upon the first issue. After seeing the shattered remnants of a man last time, we see the proud, stubborn fellow he once was. And the part where we cut to the past to show her and his wife dancing in a 1970s country and western bar was so bittersweet. I'm sure in what direction this is going to go, since the supporting cast has expanded to contain the Gods of a distant world (I think?) here, but this series has gotten off to a fantastic start.

Another strong issue, filled with action and emotion. The last two issues haven't quite lived up to the promise offered by the first two, but that's no matter. It's still really good.

The opening pages of this issue do a good job showing parallels between the war god who has watched everything around him crumble with age and Emmett, who experienced the same thing. Later, Emmett echoes this war god's reluctance to give up the power to fight time that Valofax is. Donny Cates has crafted a really interesting story here, and Geoff Shaw's art captures the epic and the down to earth with equal skill. I'm sad this is ending, but excited to see how it all wraps up.

"God Country" #6 blows its comic competition out of the water. A powerful, moving, emotional conclusion to this epic tale. There is so much good about this issue, but a double-page collage of a father passing on his experience, the story of his life, to his son stands out. I was almost moved to tears reading this, which something that almost never happens when I read comics. This is so great. The creative team has been locked down by Marvel, and I can't wait to see what they bring to the House of Ideas.

The credulity of the love at first sight angle seems questionable, but Robinson and Feister made this entertaining enough to bring me back for the next issue. This is a pretty fun comic.

This is a strong introduction to the Grass Kingdom and the indigenous peoples who live in isolation there, off the grid. We get a glimpse of the King himself, a broken man, haunted by loss. The conversation in the car is a little too obvious an exposition tool, but there is a lot to like here. Tyler Jenkins art and watercolours give this book an awesome look. It even features paper that make those colours look even better. This is a really good comic.

This is a really strong issue...I'm very impressed with the skills of Tyler Jenkins...I'm thinking of one page in particular that just so perfectly captures the desperation and loneliness of Robert, as he talks to the mysterious woman he has taken in, her back turned to him seemingly asleep...he sheepishly asks, "Rosa, is that you?" before he collapses his head in his hands...this is a powerful, evocative comic

"Grass Kings" is deliberately paced, and at the same time very captivating. The book uses flashback excellently to fill in some gaps, and I am excited to see how the mysteries of the grass kingdom and the past unfold. In addition to the intriguing story, the Tyler Jenkins art is just great. The loose, sketchy style works perfectly with the tone of the story. And the watercolours are beautiful. Really good stuff.

"Grass Kings" feels like it has been on a slow boil that looks to erupt into violence...that is certainly the sense here. Kindt is doing a good job building the suspense, assisted by flashbacks that add to the growing sense of uneasiness. Tyler Jenkins' art is also rough, sketchy, and fantastic looking. This is a good book.

I found this issue kind of hard to follow. I like Jenkins artwork, but this issue is all about action scenes, and his art is kind of confusing. Still a solid book, but nearly as good as the more contemplative issues.

Things slow down in issue 2, but I am captivated by this series nonetheless. This was really just a call back to arms, but I am excited for what lay ahead.

Intriguing twist in this issue shakes things up, leaving me excited for what comes next...

This series continues to impress me with its humour and humanity. Max Landis does a great job on character, and Giuseppe Camuncoli's pencils look fantastic. This is a fun book.

This series has been a great read so far; this issue is mainly action and fighting dragons, which is all good, but not quite as good as the character-driven moments for me. Still, it's amusing to see our courageous (for the most part) heroes battle the evil wizard/dick from the future with technology. Looking forward to the next one.

This series has been a pleasant surprise; I didn't really know Max Landis before "Superman: American Alien," but I enjoyed that a lot and am glad that he is keeping up the strong work with "Green Valley." I enjoy the premise of modern-day douchebag returned as evil, all-powerful wizard ("Well... he is an idiot"), and I enjoy the cast of warriors Landis has him opposing, with all their flaws and fears. This issue was a rallying point, I think, leading up to the conclusion, but was an entertaining one. Oh, and Camuncoli's art continues to be a perfect fit for this story.

This issue is a real killer, packed with action, and of course those character moments Landis does so well. It's funny to see the brave knights of Kelodia in battle with essentially a 21st century douchebag. The art is outstanding--Camuncoli's work is top level stuff. This series has been, and continues to be, a treat for comic fans like me.

A more action-driven episode, natural given that it is the penultimate issue. It's really good, and sets us up for an epic conclusion. This series has been a treat, and I am very excited to see how Landis and Camuncoli wrap this up.

This series has been pretty great, and it has an ending that is fitting and exciting and true to the whole story. This series turned my expectations around throughout, proving itself with every issue's originality. Max Landis' "Superman: American Alien" was an exceptional series and he followed it up so well here; I can't wait to see what he does next. Also, so reliably excellent, Cammuncoli nailed it in this issue and the series as a whole. It's a bonus to see that issue #9 really does stick the landing.

Totally charming Groot story, told in the fashion of Dr. Seuss.

F**king Captain Marvel!

In the "Grounded" storyline, Bendis has been giving us individual stories that are, well, grounded, giving greater insight into character along the way. This is the first one that kind of falters. I didn't know much about Angela, and I still don't really. It starts all right then descends into an action scene that I didn't really find that interesting, not knowing the stakes. Not bad, but as interesting as the last several issues.

I enjoyed this issue...it was a lot of fun, with a lot of great art. The story is lighter than your average fare battling Thanos, but the overall tone works in this issue.

Sorry. I was bored. i went from reading to skimming half way through. I loved the "All-New, All-Different Guardians of the Galaxy," but, this didn't really work for me.

I liked this issue better than the last, as the story was quickly paced and interesting. I found the art to be uneven, though; I like some of To's images, like the splash of Ant Man, but in most panels the figures are small, the background emphasized. The art was so good during the "All-New Guardians of the Galaxy," this is a pretty big comedown for me. I'm kind of on the fence on this series.

I didn't realize how much I'd missed "Hadrian's Wall" until I read this issue. It's a really great comic. The mystery and suspense continue to build, and I love the art and the pacing of this series. It's also a credit to the creative team that, after a hiatus of a few months, I fully understood exactly what was going on here, without the help of boring exposition. This is some good shit.

This is a strong issue that keeps the plot moving forward. Peter Stanchek reunites with his former teammates, but continues to struggle when new foes bring his demons back to life. He remains the most interesting character to me. The art excels in a couple of points but is overall merely fine. Overall, though, I like this book a lot.

This was an exciting issue of "Peepland," as the stakes surrounding the murder tape grow more and more deadly. Full of twists and turns and lots of 80s NYC grime, this comic is good stuff.

I really enjoyed this issue, where Emmy contemplates the recent revelation about who she really is. I enjoyed the measured pace of this issue, Emmy's relationship with Pa and the hunters getting more than they bargained for in their hunt of Malachi. Of course, "Harrow County" really only truly feels like "Harrow County" when Tyler Crook draws it, so his return for this issue was welcome. Really good stuff.

Good issue, great Tyler Crook art.

This series has been eerie, creepy, and awesome for a long time, and this issue is no exception; it ends with a surprise that I didn't see coming, and has me anxiously anticipating the next issue.

This is a subtle, nuanced horror title, and we face a conflict between Emmy and her best friend here--one where it looks like things can't end well; Bernice has become a hunter of haints, and the world of haints is Emmy's world. Tyler Crook's art continues to be a perfect fit, contributing so much to the mood and tone of this book.

This issue is a winner in atmosphere, with a freaky vibe throughout the issue. Bernice continues to pull away from Emmy, and we are left with a sense that Bernice will soon seek Emmy's destruction. I also have the sense that Bernice is being manipulated by forces beyond her knowledge. It's all really good stuff. Cullen Bunn and Tyler Crook bring it every month.

"Harrow County" always brings the creepiness, but this issue has a dark and fascinating ending that promises things are only going to get darker. I love the dialogue in this book, the characters' manner of speech; it seems to transport the reader to a different time, which adds a lot to the atmosphere. Great stuff.

Powerful, intense, startling issue of "Harrow County," as we see the stakes raised with devastating results. Bunn and Cullen are the perfect team. This book continues to fly under the radar as one of the best in comics.

“Harrow County” #28 seems like the culmination of a couple years of story, as Emmy and Kammi comes to a final head. At the same time, it feels as if the major conflict in this book is only starting now, given the ending. Bunn frames all this in a cool way as we see Hester devouring the intestines of her victim, only to see the same scene repeated later in the book, in a shocking twist. This continues to easily be one of the top horror comics today.

"Harrow County" #26 is a riveting, captivating issue. As we build towards a climax to this series, the stakes seem--and are--huge. Hester displays a power that reveals why she was so feared, and the scene in which Emmy tries to clean the blood off herself in the water is reminiscent of "Macbeth." I can't wait till they meet to give this series its epic conclusion. This has been a great horror series, and it's a testament to the creators that, even as it approaches its end, its as good as it has been throughout the whole run.

This is a strong conclusion to what I think has been a really great series...I love the world and the characters of this book, and things come to a fittingly epic conclusion here. Credit to Bunn and Tyler Crook for creating this compelling little county of haints and ghouls and a dark, dark history. I'll miss reading this!

In the early pages, I was very sceptical about the art style of Ricardo Lopez Ortiz, but before long I had fallen for his work here, sketchy, rough, cartoony. The story worked well enough.

I enjoyed this issue of “Hit-Girl” with its over the top violence and cartoony art. The plot with the Padre and the Colombian gangs is interesting enough and the issue was paced well. Loved the art—the page where Mindy and the assassin guy are riding the back of the train is great—Roderigo Lopez Ortiz brings an incredible sense of movement to his panels here. One would think Mindy and Big Daddy’s code would prevent her being friends with this dude, kind of odd, but this has also gotta end with a showdown between the two...Anyway, I liked it!

I kind of found this bloodletting issue to be a bore, and for the first time since the debut issue, I felt the art did not really fit what was going on--or else the tone just did not work for me. What has me excited is Jeff Lemire (cool!) and Eduardo Risso (holy fuck!) taking over next issue...this I am down with...

This book was pretty fun and enjoyable. It's not really bringing anything new to the table, but it is a cool story to read. I was delighted to see Eduardo Risso on pencils, as he's easily one of the best artists in the industry. And I'm Canadian and this is taking place in Canada, so, yeah! Fun book.

Creepy, dark, fascinating opening issue.

I liked this issue. Jen's new client suggests an interesting story to come, and I absolutely loved Nico Leon's art here. The pace is slow, as Jen doesn't actually become Hulk here, and I'm okay with that. I guess what feels weird is that this fragile, damaged version of Jen is unlike any other iteration of her I've read. Like the opposite. Exploring PTSD with a comic character is an interesting idea, given the trauma many of these heroes go through, and perhaps having it affect Jen, so normally gregarious, underlines its damage. So it may feel a bit out of place, but I am definitely on board and excited to see where the series leads.

This book is interesting, but plodding in pace. I do want to know what follows, but hope that things pick up a bit from the slow build of the first two issues.

This series may be on a bit too slow of a burn, but I'm enjoying it nonetheless. Suspense is building as to just how Jen will behave when she finally does hulk out. Nico Leon's pencils are great here, kind of reminding me of Adrian Alphona's Ms. Marvel work. The book looks really sharp.

The story continues to burn slowly, but I didn't mind this issue. It digs deeper into what is going on with Maise and offers the promise that next issue, Jen shall surely hulk out. And I'm loving this Nico Leon art.

This series has been slow paced, to say the least, and I've been largely okay with that, but it is kind of grating here, where the first half of the book is a gratuitous flashback and the cover offers more than the interior delivers. It looks like we'll see Jen in Hulk form next issue, but on this one, I'm a bit annoyed by the delay.

Well, Jen finally hulks out, and it's pretty underwhelming. I've enjoyed Nico Leon's art in this series, but it seems pretty bare and rushed in the fight scene. After all this slow build up, this barely feels like a resolution, as, well, nothing is really resolved. Maise goes to jail. Whatever. I gave this six issues, but the fascination it held for me in the beginning has turned to impatience. I'm dropping this book.

I dropped this title after the first arc, but not fast enough to avoid getting this one, so, yeah. The story was kind of annoying. Thanks for the meaningless Hellcat visit. Jen herself has outworn her welcome for me. And the guy makes the toxic (or whatever) cake after his boyfriend watches some dude pour green stuff out on the ingredients, so...this comic has wasted my time for the last time and I don't really like Jen Walters anymore and I'm not reading this lame nothing-ever-happens book again.

Wolverine is back! And there are clues! I probably wouldn't have gotten this if not for the David Marquez art, and, sure enough, his pages look great. The story of Logan's body going missing is mildly interesting. The back up tale, kind of skippable. But, hey, Guardian shows up! Is it me, or wasn't he killed in Alpha Flight #12 in 1984? Anyway, this is followed by four mini-series surrounding the mystery of Logan's location, none of which I will be reading. So...yeah.

A fun issue that sort of serves as Larry's origin story before veering off into an alternate version of his life, this time without Gert, in which he emerges as an even more misanthropic character.

Scottie Young's "I Hate Fairyland" continues to be a fun, entertaining series...this issue had me giggling a bit, and I felt real emotion (you got us Skottie) when Gert reunites with her parents, but that just makes what follows all the more effective. After 16 issues, it seems this premise should have run itself out, but Skottie still makes it vibrant, funny, and interesting.

"I Hate Fairyland" is always fun, and this month we get a Duncan Dragon-centred issue. It's all good here--but Skottie has created what looks like the most fearsome foe yet in the series. I'm interested to see Gert and this new baddie interact.

This is a set up issue, but it is a good one. We join Duncan Dragon as he recruits the hard-living Larry to find Gert. Looks great, fun read.

Well, I'm not sure what this exactly is, but it was creepy as fuck! The whole scene where the kid comes home to his parents while the effects of the spider-bite are narrated to us is really effective (if not a bit reminiscent of "Kill Bill 2," when Ellie kills Bud with the Black Mamba), and the ice cream man character seems pretty sinister. For a first issue, it gives enough intrigue, and raises enough questions, to bring me back for more.

“IceCream Man” #2 is a stunning, powerful, and complex look at addiction. We start the story with a young couple whose lives have come down to stealing for the next fix, anything to feel better. But Prince and Morazzo complicate things by presenting another side of addiction as a counterpoint, a man who has become an addict based on pain prescriptions and the woman who bears the brunt of his frustration. It’s a difficult issue to explore, but it is done here with attention paid to all of the nuances surrounding addiction. Great, tragic stuff.

This issue certainly twisted in several directions I did not expect, and I went from thinking, "This is stupid," to "This is stupid, but it's fun," and I certainly didn't expect anything this silly from this book. The ending left me kind of like, "Eh," but this is a really good series that brings something different in every issue.

"Ice Cream Man" #4 stands as a great example of a horror comic as it was kind and touching in some areas, but absolutely dark and depressing in others. The scene in hell when Chris watched his father, over nine panels, leave over and over again, is pretty devastating. And it managed to be funny too. Really fun/dark issue of a series that I'll be definitely picking up the next issue of in July.

Wow. This comic is fucking awesome. I loved Al Ewing on "The Ultimates" 1 and 2, and he really brings it here. I loved this issue. The opening scene is one of the most tense and tragic I have witnessed lately--absolutely suspenseful. And this Hulk doesn't seem like any Hulk I've read before, in a good way. He's immensely scary in this. And he is intelligent and vengeful. I think its a smart stroke from Marvel to rebirth the character in this new/old way, and making a genuine horror comic. And with a being as powerful as the Hulk, it's amazing that the story of a convenience store robbery gone wrong is a powerful and captivating challenge. I'm also really excited about Joe Bennett's pencils, while seeming a bit kind of old school, were really powerful and cool. Great facial acting--the Hulk looks scary as fuck! I am so on board for this...buy it!

Wow, this issue is pretty great! I am loving this iteration of a Hulk book--it's really a lot different than any Hulk I remember reading. The horror vibe that Ewing and Bennett create is really working for me. I also love the way the issue came full circle from Bruce's initial thoughts on how his senses, the basic things that are so powerful, are the way he can basically find some meaning in life. It leads to the bitterly ironic ending. And this Hulk is a guy with a strict sense of morality, who isn't afraid to match the cruelty of his victims. I really loved everything about this book!

This issue of "Immortal Hulk" is a bit different than the last two...it features a cast of rotating artists, which I found slightly jarring, though I can't say I disliked any particular section. There was just some art that, stylistically, I didn't envision seeing in a Marvel comic book. The artist for the bartender section has a real indie feel. It certainly isn't bad, but it was unexpected, and the differences between the art styles kind of distracts. All said, I did like this, I did find it interesting. Just not quite as captivating as the first two issues.

I liked this issue--and am looking forward to the Doom/Thing confrontation--but the overall storyline is kind of plodding so far. I hope the pacing picks up next issue with our adversaries face to face.

Great issue bringing Doom's adoption of Tony's armour into clearer focus. Great art and the pace of the story picks up, leading to the cool conclusion of the story, with the Thing and Victor's mother.

This is a great issue in what has been a very fascinating series so far. Von Doom returns to Latveria to find it in a shambles, leading him back to Castle Doom where his mother awaits. Not a lot of advancement plot-wise, but another strong character issue. I'm really enjoying Victor in this role.

This was a fascinating issue with a narrative framework I really liked, picking up on last issue from the perspective of Ben Grimm. The dialogue has been strong for this whole series, and that continues here, giving us more insight into what drives the sort-of reformed Doom. The action scenes where Victor attacks his mother with magic are beautifully rendered here, as Alex Maleev and Matt Hollingsworth do great work. Adding a bit to my grade was the ending, a serious wtf moment for me that, at the same time, invested me in this series all the more.

This is one of my favourite Marvel titles right now. I look forward to seeing Victor face of against Ultimate Reed, and his first meeting with Riri as well. The pace is slow, but I still find myself enjoying every issue.

This is an interesting issue, but only that. It's pace is sloooow, and Victor is almost too humble to believe here...I mean, he is still Doom, right? I'm looking forward to the next issue, though, where it looks like Doom and Reed will face off.

This an interesting issue, as we see twin conversations that build the slow burn of the story and serve as excellent character moments. I like the interaction between Victor and Riri (and Riri and A.I. Tony). The conversation between The Maker and Ben is interesting, too, as Reed attempts to win over Ben by talking about the good ol' times; this is before he makes a request that, to me, reveals he is definitely not the Reed Ben knows. Add a total WTF ending and this is a pretty great read.

Continues to be strong in characterization and art, though the story seems a bit plodding. But when the first two of these elements are done so well, I'm not complaining that much. The Johnny/Ben Grimm interaction was great, and makes me long for a return of the Fantastic Four by Bendis.

This issue has good moments but an ending that is pretty unclear and muddied. The scene with young Victor and his mother was interesting, and I really liked the scene with Ben Grimm looking through the ruins of Doom's castle, and the encounter he has. This book has a strong Fantastic Four feel. It has good characterization. But things continue to move at a snail's pace.

Because of the slow pace of this series, it is easy to criticize it for what it doesn't do rather than celebrate it for the things it did. While the tendency to ask for more action and plot movement is there, this series has been endlessly fascinating as a study of Doom's character and his relation to the rest of the Marvel universe. Bendis accompanies this great characterization with interesting dialogue, and when paired with Maleev's exemplary pencils, this series has been one of my favourites over the course of its run. With only one issue left, I am sad that it is over; surely this is the test of a fine series.

Bendis fails badly in the lacklustre #12 issue that has been, until now, a deeply fascinating title. The story that gained momentum over the first near-dozen issues crumbles at the end, with a rip-off quick ending that wraps up the necessary plot lines in a cheap and unsatisfying "Mephisto did it all!" Ending. The breaking of the 4th wall by Mephisto was beyond belief dumb. An interesting series that shits the bed at the end.

Not sure what to make of this series, but I liked the prequel issues, and, whattaya know, it was pretty fun! Kuder's art is great, and it's a fun little reunion with he and the Guardians, coming after a pretty fine run on the belated "All-New Guardians of the Galaxy." These things can be a slog of too many characters, so I like that Duggan chose to focus on a relatively small cast. I'll be back for more next month!

I wasn't looking forward to this, still wary of Marvel events, or in this case, a pre-event series, but it was really fun! Loved Aaron Kuder's artwork. His style seems to have developed into a really clear, not minimalistic, but Samnee-esque approach to detail. And it was fast paced and really readable. I forgot I missed the Guardians! My faith in this series is restored!

Strangely enough, I continue to enjoy this prelude to an event miniseries--fun, exciting, interesting writing and art, Guardians of the Galaxy fix, cool new ideas in every issue. I like it a lot!

This was an average comic book, with inconsistent art and a kind of meandering plot. I was surprised about the reveal at the end, which was cool and will have me back for the next issue. So there you go.

Although not much is really happening here, the point being to give us a heads up on the location of each of the stones, I enjoyed this issue. The opening scene with Wolverine was fun, and Mike Deodato's art looks great. The backup bit with a history of the stones led me to skim a bit, but it's accompanied by a great sampling of old Avengers art. For a prelude, I was pleasantly surprised.

The Inhumans intrigued me since way back when Paul Jenkins and Jae Lee did the awesome 12-issue limited series. But they've underwhelmed me since. Lately, with the battles with the X-Men and the endless stream of Nuhumans, I've grown to downright dislike them. But, since this deals with the original, core members, I thought I'd check it out. And it's pretty good. An interesting start to the series, a refreshing break from the nonsense that started with Marvel trying to force them down our throats, and awesome Phil Noto art, which makes it worth looking at alone.

This was okay. Cory Walker can draw, but this issue feels very rushed, as it doesn't seem up to standards. And the conclusion of the story seems like a bit of a cheat. I'm still looking forward to what is to come, but this didn't fully deliver for me.

Allen! Say it ain't so! This was a very strong start to the final arc of "Invincible"...We're entering the stretch run, and things are gonna be crazy. And welcome back Ryan Ottley!

I really liked this issue as the characters all recognize their responsibility, coming face to face with the idea of losing all they have because fighting is the right thing, the only thing to do. A character heavy issue, I found this quite charming (as was the return of the original costumes!).

While these kind of epic battles can get long and drawn out, this issue is just fine as a set-up to further mayhem and action as the stakes continue to rise. "Invincible" has been a great series for a long time, and looks to finish strong if this issue is any indication.

The epic battle continues, and Ryan Ottley shines in this issue, which is pretty to look at before being overcome by his trademark gore, where it becomes a mishmash of smashed and severed bodies. I'm more a fan of character-led issues than all-out battle ones, so I hope Kirkman allows for these moments alongside the carnage.

Setting things up for next issue's big battle, mostly, this felt disjointed for me, as seemingly every page cuts to a different faction readying for war.

This is an all-battle issue, with some really strong art by Ryan Ottley. And there are casualties. The stakes seem to be getting higher and higher as we approach the end.

Robert Kirkman's "Invincible" comes to an epic close here in the extra-sized issue #144. Having started the series through trades early last year to catch up around the "Reboot" in the #120s., I have read a whole lot of "Invincible," and this conclusion brings the series full circle. Not many series, certainly not superhero series, allow us to view the whole scope of a man's life, his failings and his victories. Mark was never perfect, and that makes him, and the universe Kirkman, Ottley, and Smith have built around him, believable. This was a truly unique series, and I'm gonna miss it.

There's nothing that wrong with this book...Stefano Caselli's art is great; I enjoy Riri Williams; but it's pretty much superhero origin crafting by rote... and of course the spectre of what happened to Tony Stark looms over all.

Good issue, even though not much happens...the art is stellar, and Riri is a likeable character so far. I did raise a cynical eye at the editor asking where the Riri cosplay pics were, for this character in her second issue who we are just getting to know. Marvel really wants Riri-mania to happen, it's clear, but need to just let the character evolve, not force the issue...

I know it's fashionable to hate on Bendis right now, and it's true that "Civil War II" was an unmitigated disaster, but I was genuinely charmed by this issue. Bendis dialogue and characterization are on; I enjoyed Riri's interaction with AI Tony and Pepper. Also, Stefano Caselli is a damn fine artist. His "acting," the facial expressions of the characters, is dead on, and the montage of Ironheart fighting various villains while arguing with (again) AI Tony looked great. Pleasantly surprised by how much I enjoyed this issue.

This was the first issue where there was more action than character building, and the result is a comic that is just okay. I'm not sold on the protagonist, but I like Riri so I'm going to stay on.

Good issue, but I didn't like it as much as the previous issues. First, the selfie cover reminds me of the Oscar Awards selfie, and please, Marvel, don't do that. I missed projection-Tony Stark, and this Inhuman villain was as bland and generic as every other Nuhuman...Nu-Inhuman...whatever. It still has knock out art and I thought the scene in the first half of the book with Riri's mom was well done.

This issue was enjoyable, if a bit heavy on Riri being gobsmacked to be in the position she is now because ohmygod. A big help in issues like this where not a lot happens is Stefano Caselli's art, which is just great, and always helps this title stand out.

Riri continues to be a pretty charming character, and her chemistry with A.I. Tony continues to provide fun moments. Bendis effectively uses flashback scenes to develop Riri's character. And Stefano Caselli really delivers on art. "Invincible Iron Man" continues to quietly be a pretty damn good comic.

Fun issue with Riri subbing in as Queen of Latvaria. This is silly, of course, but an enjoyable read. Caseli kills it on art once again.

This series has been pretty damn good, but this issue is a disappointment. It's basically a space/time-filler before the Legacy relaunch next month, and it reads like filler. The women of Tony's life gather to discover he's not a total asshole after all! I found the multiple artists here jarring--they really took me out of the book. When your regular artist is Stefano Caselli, any drop in quality is shocking. There are a few pages of anime style big eyes near the end and I was like, "Nope. No no no." This is probably just a blip in the quality radar, but there's nothing that will be missed from skipping this issue.

I was reading this when I stopped and thought just how much I like the cast of this comic, and how great it could be if they keep Victor (and Maleev!) involved in the Iron Man universe. Caselli's art is great, and there is a cool, genuine sense of mystery over where Tony has gone. Strong work.

This issue looks pretty and is interesting, even if it feels a bit like treading water. I found the opening with Victor and his discovery interesting, but the whole bit with Riri's shit being stolen was kind of pointless. The art from Caselli, and especially Maleev, is pretty great here. And the ending suggests the story will be making a bigger advancement with the next issue--I only hope Bendis has enough time to give this big story he's crafted over the last few years properly.

This issue is not good. The first few pages are beautiful to look at, but very little of interest happens here. Doom falls to the Wrecking Crew, who seem to me like goons who are not at Doom's level. And Riri is going to get her armour back. And Tony is still missing! The thrills never end...

"The Search for Tony Stark" is a dud. At this point, I don't really give a fuck where Tony is, I know he'll be back for his relaunched title in a couple months. So we get to watch Victor being bested by a host of clownish b-villains, and Riri make friends, and it looks nice, but man, Bendis' Iron Man story is flaming out. Wasted potential from what was a really intriguing storyline a few months ago.

Umm...Part 7 in this endlessly boring tale of "where is Tony Stark?" I'm waiting for the 2020 sequel, "Tony Stark is Missing Again: Dare You Give a Fuck?" I don't really care about this at all. It's kind of crummy to see the two Bendis' titles on Victor and Riri succumb to this...boringness? I'm even thinking of opting out of the new Dan Slott Iron Man title, because...enough of this guy. Which is a weird way to think when he actually hasn't been here for a year. Except, oh yeah, his a.i. self was here, so it was like he was never gone...And then Leonardo! Fuck off, Bendis. Yeah, I didn't like it.

I was shocked and disappointed when I first heard Bendis was leaving Marvel (my faith even surviving "Civil War II), but after his farewell tour, I'm kind of like...thank fuck. This issue is woeful. It's like Bendis just sweeps all his post Civil War II Iron Man work away in an issue that substitutes solid storytelling with an absolute fuckload of exposition via dialogue. Riri and Victor have been the subject of some great comics in the last year or so, but she is nowhere to be found and Victor has the entire post-Secret War slate supposedly reversed. And, and Rhodey is alive again, because exactly no one was clamouring for his return, but, back to square one. I think I'm so turned off by this horseshit that I am considering skipping out on Slott's Iron Man relaunch. If you enjoy comics that are good and make sense, please do not read this.

Somehow, after the terrible prelude that was "Death of X," this issue turned out to be awesome. I love the opening assault launched by the X-Men; The scene with Jean Grey and Karnak was especially cool. My support lies totally behind the mutants: Old man Logan puts it best when he says, more or less, if the cloud survives we all die. If we destroy the cloud a bunch of people stay the same but don't get to have superpowers. I do have the sense, given the way Marvel has treated the mutants in the past year or two, that I'm backing the losing horse, but the last couple of years I've also built up a fervent hatred of the Inhumans in me. In any case, this issue was very well written and has beautiful art , and I am very excited for what is to come.

After a pretty flawless opening issue, this book slips back a bit, showing the X-Men's attack and incapacitation of the Inhumans. However, most of the Inhumans' heavy hitters aren't accounted for here, so the tide will turn. Even so, it's nice to see the mutants confident and powerful in defence of themselves. I'm still super excited for this series, but this issue was a bit light.

This issue is a bit of a holding pattern. Forge's machine to destroy the Terrigen cloud is destroyed, and the Inhumans continue to rally. Outside of the interesting Jean Grey/Karnak scene, not much excites here. And the artwork is sub-par, with awkward poses and faces. I understand that Lionel Yu couldn't continue to draw this and have it stay on schedule, but choosing a back up artist who is in the same ballpark would have helped. This series started great, but it's starting to lag pretty hard.

This series, which started so well, is tanking. Hard. The moment in which...Synapse? Is that his name? Takes over Magneto, who conveniently takes off his helmet to allow psychic attacks, and then begs of to go to the bathroom is...stupid. Just stupid. These nuhumans are not appealing characters at all. They are not memorable, with gimmicky names and powers. I don't care about them. The tide shifts here in favour of the Inhumans because this has to be six issues. The art is frustratingly hack-ish for an event like this. I understand Leinil Yu couldn't keep up to keep this coming out, but...it's bad. And, I shouldn't be surprised by this at this point, but the writing is just as bad. Jeff Lemire is one of the best writers in comics, and I can't believe he is associated with this mess. Charles Soule...ughh. And Ms. Marvel again asks, "Who are the bad guys?" in a bad flashback to Civil War II. The Inhumans! Obviously! I'm looking forward to Resurrexion, but the whole creative team is shitting the bed with this series. It's just a pointless, bad comic.

After a terrible 4th issue, "IvX" rebounds somewhat here; it is also a wildly inconsistent book, with hideous dialogue. Fantomex and Karnak argue about boring each other. Havoc talks about how Medusa destroyed his brothers reputation, then shrugs and says, basically, "Sure, take Black Bolt. After all, where can you go?" Sigh. Cyclops turns on the mutants, for a good cause and blah blah blah. They Inhumans, after acting like assholes for the past year+ say "We're not monsters!" Javi Garron's art continues to underwhelm. This is a colour-by-numbers "event" comic. On a more positive note, there's only one more issue of this shit.

This issue, like the series, is wildly inconsistent. On the positive side, Lionil Yu returns and the book looks great. I also enjoyed Emma Frost's turn toward's more complete villainy, even if I sympathized with her. On the other hand, Medusa is told that the X-Men only attacked because the terrigen cloud was killing them, and she was like, "Why didn't they tell me?" Didn't Beast tell her this in the first fucking issue? So after 7 issues (including #0) the conflict is wrapped up in minutes. The dialogue was also quite often terrible; Psylocke tells Medusa, "I've got a sword. You can't beat me with hair!" and Medusa responds, "Wanna bet?" Ehhh. So, my overall thoughts on the series are: 1) Well, that happened. 2) Couldn't this story have been told in two issues? 3) I appreciate the need to use back-up artists to stick to the schedule, but when there is such a drop in quality between the primary artist and his replacement, it is not good. 4) Now that it's done, I'm so glad to have the Inhumans out of my life.

Well, this issue was a bit shaky for me. The fight in the alley between Felix and his ex-love Russian spy was a bit awkward (i.e., why is Felix blinded? how does she disappear?) I found the art to be so-so. One panel (the shot of the bridge) in particular looks like the most blatant example of photoshopping I've ever seen. Also, not much comes out of the characterization of Felix except he's beaten down. I'm not too sold on this version of Felix.

Diggle has a great handle on Bond, from the witty dialogue to the suspenseful spy action...this is a fun book.

I picked this issue up, then put it down, and left it for a week, thinking I needed to read the fist three to catch up. But then I tried again and it was all clear, and this issue was absolutely thrilling, with a great ending. Good job on the creative team to deliver an issue absolutely in the spirit of Bond, and make it so everything I needed to know was right here in this issue, without any heavy handed exposition. Hey, it's not anyone's fault I read so many books and sometimes forget the plot directions. But great books like this make it so everything is clear through the writing and action.

This issue raises a lot of questions that have yet to be answered, but I am enjoying the intrigue. Jessica and Luke's conflict is intense, leaving me wanting to know what caused such estrangement. Bendis and Gaydos are in top form here. Can't wait for the next issue.

Progress made in the first two issues falls off a cliff here. This issue goes nowhere, failing to advance the plot in any way. And it's boring.

This issue started alright, but proved frustrating. I really enjoyed Luke's talk with Misty Knight in the opening pages. What I did not like is Captain Marvel showing up, dragging Jessica into the bullshit fallout from Civil War II. And it seems this Allison woman she falsely accused in Civil War II has become a villain, because Ullyses. And Carol selfishly asked Jessica to sacrifice her marriage and family to go undercover. And Jessica agreed, for some reason. Ugh. I really liked how this series started, but the direction it has gone in the last two issues has left me just annoyed.

I had a problem with the direction and pace of the last two issues, but this surprised me and pulled me back in. I did not expect to see this darkly intense look at the ramifications of Secret Wars, and didn't really consider them in the way this issue forces the reader to, as the nullification of billions of lives, countless universes. It's very smartly done, and has me reinvested in this series.

So Jessica fucked up her life and her marriage and custody of her child to help stupid Carol Danvers with her stupid plan to nail Alison Greene, so Bendis can have her be right about everything in "Civil War II" because Marvel has to continue shoving her down our throats? I don't think I've had such a love/hate relationship with a comic like this before. Just when an amazing issue pops up, Bendis shits the bed in the next issue.

This series has been pretty erratic so far, with Bendis impressing me at one turn and infuriating me at the next, but this issue I enjoyed. The two pages with Jessica in the liquor store amongst countless bottles (countless escapes) says a lot about where she is right now without words. I still find her choices regarding going undercover and risking her family for it head shaking, but this is a good issue.

Meh. Too much Maria Hill, too much S.H.I.E.L.D. I would have preferred this book to go on its own direction for a bit after having the last arc tie around Captain Marvel, but to no avail. Not looking forward to another arc draped around characters I'm already tired of.

"Jessica Jones" can be frustrating, and yeah, not a lot of plot happens, but this character issue truly delivers. It's a lot of fun and shows us what's really going on in the mind of these characters. This is the good that comes with the bad of Bendis. We feel the great chemistry between Luke and Jessica for the first time in a long time, and Gaydos kills it. With this, and his work on "The Black Hood" last year (?), he is really on top of his game.

An okay issue. Not much happens, but it's not boring either. More excellent Gaydos art. Not great, but not bad.

This issue uses a creative flashback, using Javier Pulido's classic Steranko-esque art to bring us back in time. I did find, however, the flashback a bit hard to follow. Moreso, however, is the fact that I don't really care about Maria Hill, so this arc is falling a little flat for me. This series has been wildly inconsistent, ranging from excellent to solid to frustrating. I'd say this is one of the solid, but unspectacular issues.

This issue rounds out the whole Maria Hill mystery, in an issue that is above average largely for its art. Michael Gaydos does his usual outstanding job drawing Jessica in gritty, modern-day style, while Javier Pulido's clean lines draw us to the past with an early meeting between Hill and Nick Fury. The contrast works great in dividing the story's past/present. I have found this arc inconsistent and occasionally frustrating, but it ends on a higher note, with the ending revealing an explosive hint of what is coming.

This is a generally well done issue, even if nothing really happens. The killer ending leaves a strong impression, and has me thoroughly creeped out/pumped for the next issue.

Bendis’ time with Marvel is almost done, as we see the series he writes reach their conclusion. This is trademark Bendis, an issue built around a conversation—but it’s a very interesting conversation that leads to a rather unexpected conclusion. Time is almost up—I’m savouring Bendis writing Jessica for what may be the last time.

This feels like a last issue. Jessica's struggle with the Purple Man comes to a close, albeit a somewhat underwhelming one. I'm not even sure if this series will continue post-Bendis, but there is at least one more. This is a little too conversational (too Bendis-y?), even if it does have great Gaydos art.

"Jessica Jones" has come to an end, or at least Jessica Jones as we know here has, as Brian Michael Bendis is moving on to DC. This issue is not what I expected the conclusion to be, but it was wonderful and amazing, a fantastic one-shot that really epitomizes everything Jessica Jones is. Bendis smartly equates Jessica with the issue's not-really antagonist, and the way they mirror each other and learn from each other in their conversation is just great. Michael Gaydos absolutely just brought it here for the finale, and this one looks so good...his versions of Spider-Man and Ben Grimm left me dazed. This is a great end to a great run.

My only Judge Dredd memories are reading some Simon Bisley issues---never really left an impression, except maybe being kinda weird. But, seeing Mark Russell doing this intrigued me, and I checked it out. It's okay. I'm not quite sure what to make of it yet. I'm hoping that Russell will flesh things out more in the upcoming issues. The art was solid, pretty nice. This didn't blow my mind, but I'm interested enough to put it on my pull list.

Doesn't reach the heights of the last two issues, but very solid

Solid fun, but lacking the charm of North and, er, Charm's first Jughead story with Sabrina.

It's been so long since the last issue that I forgot a lot of details that probably would have helped this issue stand out more, but Frank Quitely's art makes it good enough. Of course it is a great looking issue, and it has an optimistic ending. At some point I'll probably reread all five issues in a sitting, which will probably make this instalment stand out a little more.

I haven't read a "Justice League" book since early in the New 52, but with the new creative team, decided to give it a spin. And...it's fine. Pete Woods art is, for the most part, pretty strong here, and I felt the book was nicely paced at first, but by the end, I felt like...well..."ehhh." I wanted to be grabbed here, like I was by the awesome cover, but I don't think I'll be adding this to my pull list.

I've never read an extended Justice League run because somehow the book has never captured or captivated me enough to keep me coming back. However with this relaunch I thought I'd try it again, but, looking at the Justice League assembled in the psychic boardroom did not get me. I just was kind of bored here, and the heavy-handed narration is just a further reminder that Scott Snyder's style has evolved into something I don't really like reading. The Jim Cheung art is rougher than usual, but still pretty awesome. But he's gone next issue, and so am I. I don't care enough about anything going on here to read issue #2.

I really enjoyed this issue of "Kick-Ass"-- it's well-paced, violent, funny, and has heart, just like the original "Kick-Ass." Romita Jr.'s art was good, and I like Patience as a character so far. Fun book.

I'm kind of surprised by how much I like the new "Kick-Ass," but Patience is a likeable character, and this brings the mix of humanity and brutal, crushing violence that the original series did so well. This is a fast, exciting read that leaves me wanting more. And what more do you want from a comic than that?

This was a good issue. Lots of action and tension, and a clever plot point referring to last issue to save Kick-Ass's...well. But I found JRJR's characters look a lot a like, confusing me a bit in the midst of the action.

I liked this issue. Tense and interesting throughout. I thought this Solo dude made an interesting nemesis. He's kind of a cliche, but it's well played. JRJR's pencils were strong. Nothing too deep going on here, but a fun read.

This was not what I was expecting from this book, but it was an interesting read nonetheless. This issue has lost a bit of momentum in the last two issues, as we break away from Dylan's narrative, but I imagine this is to fill out the story and make it deeper, which is fine.

This was a really great, suspenseful, anxiety-filled issue of "Kill or be Killed." The story flies by almost as if in real time as Dylan continues to dig himself deeper into chaos. The series generally features stories that start dead in the middle of the action, then fill things out with flashbacks, and it works again here. The scene where Dylan is talking to the Russian in the van, and the Russian realizes, when Dylan starts talking about the demon, that this guy might be fucking crazy, is chilling. Great, great stuff from Brubaker and Phillips.

"Kill or be Killed" continues to be an awesome read. This issue finds things growing further out of Dylan's control, and the deep narrative in this issue effectively made me question his sanity. Sean Phillips art is stellar once again.

This is a great issue, the start to the third arc. Brubaker and Phillips storytelling is exemplary here...the way the words work with the pictures is just perfect. I hope their creative partnership lasts forever. We get back to the beginning here, and focus on Dylan's continuation of killing after the demon is revealed to be a creation of his un-medicated mind (or so he thinks). It's just a great looking, really fascinating book. The way Brusker coreographs actions scenes is incredible. A pretty perfect issue.

This series continues to shine in an action and intrigue filled issue. Brubaker has done a great job in his characterization of Dylan, once hesitant to commit violence, now a cold killer. The beast, if it exists, seems to have taken a back seat as Dylan no longer needs its motivation to kill. Great story, great Sean Phillips art.

Things reach a conclusion of sorts here, even as Dylan assures us that this is not the end. Brubaker and Phillips continue to knock this out of the park, as we see Dylan wishing for a normal life, but the return of a friend ensures this is not so. This is excellent stuff. Great cliffhanger. Go buy this!

"Kill or Be Killed" has been one comics' best series over the course of its 15 issues, and though this one isn't as perfect as some entries, it does open the new arc interestingly. The ending was surprising and left me wanting to read the next issue now. As for its weaknesses, I felt this issue relied a bit too much on the demon haunting Dylan. I'm sure this was deemed necessary by Brubaker to make Dylan's descent into madness make sense, but it's always been a bit of "less is more" with the demon, in my opinion. He pops up everywhere after Dylan here, eventually striking me as more annoying than scary. Still, good issue, great book.

This is a great chapter of "Kill or be Killed" has Dylan, and the reader, unsure what is real and what is not. I was stunned by the developments of the book by the end, and can't wait till the next issue. This series continues to be great.

I liked this issue as almost a kind of one-shot; of course we are deeply immersed in the larger storyline, but this issue shows us Dylan conceive and execute a plan, with plenty of hiccups along the way. The side characters and subplots, even the main driving plot, fall away as we follow Dylan's focus...or obsession...with making his kill. The artwork is especially beautiful here, with many scenes set in snowy New York...beautiful Philips artwork to go with a compelling Brubaker plot.

Another great issue of "Kill or Be Killed." This one is measured in pace for sure, but definitely amps up the storyline in that our Detective sharp has singled her focus on Dylan as the true culprit. I liked the character, but perhaps Sean Phillips goes overboard on her arching her eyebrows in a curious Spockian way? Other than this, the issue looked spectacular, and the case of the imitation killer is really interesting to me as well. I really liked it.

This, the second last, is a stunning issue of "Kill or be Killed." Sean Phillips creates the perfect backdrop for these scenes with his brilliant depiction of the winter streets and the claustrophobia of the mental wards. The philosophy is clearly established in the first few pages of narration by Brubaker, and his story almost allows Dylan a moment of nihilistic victory, before a conclusion that reveals we have almost come to an end with all of this. This comic was just so intense and so suspenseful, I was captivated throughout. Awesome stuff.

This was a really good comic. It's a fascinating look at the Kingpin of Crime, and how he's...changed? The dialogue was sharp, Sarah Dewey's character was well done, and the ending was a great bit of characterization for Wilson. I'm keeping on with this series.

Rosenberg continues to explore the human side of the Kingpin, with a certain dark menace underlying his displays of humanity. A deeper look than we are used to. I liked it.

I picked up this series because of Matthew Rosenberg's work (I like it), and I am glad I did, because this was as good as any mini-series on the Kingpin that could be expected. The book took a turn towards the Kingpin's more conventional characterization here, but it makes sense due to what Rosenberg established in the first four issues. The ending takes on a more sinister edge because it isn't quite what I expected from the last page. Series' based upon a villain can be tough, but the team did a pretty good job here.

The story takes an interesting turn in this issue, as Josie is compromised by her friendly agreement with "Uncle Irving." This series and its predecessor have never spared darkly comic violence, and this issue is no different; Joelle Jones absolutely nails it with her writing of Josie and her fantastic art. This issue's a killer.

This series keeps on being one of the best in comics. In this penultimate issue, the stakes are raised as heat falls on Gene for his boss's death, and Josie's ex-partner (and Nazi!) Irving has turned his attention to her family. Joelle Jones is doing maybe the best art in comics right now, and as a writer, keeps Josie cold-blooded but a sympathetic protagonist at the same time. Half tupperware parties, half brothel murders, "Lady Killer 2" is an incredible series.

Joelle Jones continues to be a revelation, one of the most talented people working in the comics industry right now. "Lady Killer 2" wraps up with a bloody battle that does the series justice, with an ending that suggests we are not through with Jose. Jones has, I believe, gone exclusive with DC, and her work on "Supergirl Being Super" really delivers; let's hope, though, it doesn't keep her from creator owned work like "Lady Killer" for too long.