Much like the X-Men counterpart, the new "Avengers" top series falls flat on its first issue. Mark Waid has a problem: he's not funny, like at all. His lines are too intricate and far-fetched to sound funny, let alone draw a smile on my face. I find extremely stupid how the subject of the story (there not being any Avengers group as of now) was treated, and the nth Chitauri menace feels so boring. The art is decent. The overall mark is not that low because of the sweetish first encounter between two recent and important entries in the Marvel Universe, Ms. Marvel and Nova. Both the story and the art were completely enjoyable.

A very poor and cliche story for a passable realization in pencils. This new cap is unbearable.

Oh my God. I never expected something this powerful from this new book. The new Ghost Rider is totally sympathetic to the reader and his gentle soul will make you love him in a sec. As he shows his "dark side", you'll love him even more. As he becomes who he becomes, you will be scared to death AND yet even more in love and eager to read more about this dude. The art is funny but simple and, above all, it perfectly depicts the transformation into the Ghost Rider.

Raymond Reyes continues his very special adventure in the haunted car by destroying a panzer of the soldiers who tried to kill him with the opposite result. The scene is incredibly cruel and I really love how the baddies cry and shout at the transformed teenager when they're chased by him. It's already evident that this power of his will lead the good child he is to a path of death and destruction, and I hope that it will keep going like this. The pink pills side-story isn't as compelling as the main one, but it is well related to the haunted car and crazily depicted by this revelation of an artist.

Just awful. The writing is that of a ten-year-old's and the art sucks too.

I wouldn't have guessed that this would prove good, ever. But I'm happy to say I was wrong: the all-new version of everyone's favorite X-Man assassin is well written, well drawn, fast-paced and with a (kinda) interesting story. I especially liked the dialogues and the interaction between X-23 and the Angel from the past, who might become a serious love interest for her. A solid start for a series that could get relevant in the Marvel Universe.

This is a 20-page book, but it felt like a volume for how crammed in words it is. Not that this is necessarily a bad thing, but at times it felt heavy. What this issue is really about, apart from the neat (in text and drawings) comparison between past and present Cyclops, was the amazing art by Stuart Immonen, once more showing his majestic ability at drawing action scenes. The showdown between the two X-bosses was for the ages and really exciting.

Another issue where Immonen's talent is put to show: between the old-style Beast's memories, Jean's sudden understanding of her past/future, and even that masterpiece of a cover, this guy has demonstrated he deserves all the acclaim he's got in the past years. The story was very well focused on two original X-Men (after last issue's Cyclops, now is the time of Jean and Beast) and it was an emotional dive into the past (which I guess is the whole point of the series). At first Brian Bendis looked so strange on a mutant book, but he's already a master at writing it.

Bendis keeps on delivering an emotional take on the original X-Men with the aid of another penciller this time: David Marquez. His style is more delicate than Immonen's, so the script is more about inner demons and pains than about fights, even though we also have some great Wolverine action here, too. Angel is dealt with in a couple pages as well, and although I'd have preferred more space for him, those are two cheerful pages you'll definitely love.

As Mystique tries to corrupt Cyclops into her plans, we read a beautifully written and smoothly pencilled issue, in which the other originals aren't really contemplated, but that's OK for the development of the plot. David Marquez is an excellent alternative to the regular drawer, as his drawings are detailed and overall splendid.

It was just a matter of time. Sooner or later the Avengers get to know things and to act consequently. It's not just a commercial move, it's what would happen in a vibrant world where all these series coexist, and Marvel is an expert of this. And Bendis is, too. So we first have a really awesome fight in front of the Avengers Tower between Angel(s) and HYDRA (with those neat onomatopoeia between panels) and then the, surprisingly not physical, confrontation between Avengers and X-Men. The whole thing is written in a funny way to entertain the reader while making progress for the story, and the ending is unpredictably shocking and frightening. Bendis is killing it here, man.

With an "in medias res" start, Bendis introduces us to the bombshell battle for Hank in Latveria. The whole actual issue is a long flashback to see how the Originals came back together, and it's engaging to see each one's situation. Dialogues are fresh and beautiful as always and the art respects the canon of the series. Finally, I'd like to point out what an incredible writer is mr. Bendis, managing to create a ton of books each month and (almost) always with high quality.

So, another issue #1 after last year's seems a little too much, don't you think, Marvel? Anyway, this nth new start finds our hero in a very strange position: he's become (quote-unquote) "the poor man's Iron Man". I certainly appreciate the fact that Slott immediately acknowledged that this is not the Peter we've known for decades, and maybe this could actually be his next level after becoming a regular member of the Avengers. The new gadgets are certainly cool, but the Spider-mobile steals the show with its countless uses. The Zodiac seems like a nice foe, and the ending page was a great cliffhanger. Way to go, if it weren't for the awful second half filled with uninteresting teasers for some of the new series connected to the spider world.

Now this is what I'm talking about! Issue #2 features a very classic-style story with Spider-Man teaming up with Prowler and defeating evil organizations in underwater secret bases. This is what superhero comics once looked like, and Dan Slott is an author who's always been very devoted to bring back long forgotten plot points and writing devices. Sure, there are a lot of comics that try to do so, but not everyone is able to make it feel classic yet fresh and totally funny at the same time. The art (and especially those watery colors!) by Camuncoli and Gracia was top-notch, although his Peter looks like he's still possessed by Octopus with his cold expressions. I didn't really love that cliffhanger, for it felt so standard I lost the count of times a mysterious, elegant baddie finds an old foe of the hero and promises him anything in exchange of his help... Not counting that last part, really amazing job.

Good start of a (hopefully) memorable story to end Slott's long run. Immonen's art was well done, especially in some of the Spidey panels and Osborn's creepy scenes. Slott manages to make a good bulid-up, even though maybe a tad too explanatory.

If last issue was the setting of the stage, this one blew up everything Peter has been building in the last few weeks, shattering once again his hopes for a "normal" life. Osborn as the Red Goblin is more menacing than ever and the final gambit at the end of the issue is pretty interesting! Immonen's art is awesome as usual.

Definitely a start that makes me hope for a better run than Slott's, but it still has a lot to work on to be great. For the nth time, Peter is down on his luck, no money, yadda yadda. Low quality jokes, check. Back in love with MJ, which will last for like 5 issues as usual? Check. Feeling bad for not being able to fulfill Uncle Ben's words? CHECK. The art style comes from the man who drew "Invincible", but it's not quite as good looking here, probably a problem with inker/colorist? However, there are very good plot points here and there, like Mysterio's encounter with what I assume will be the next big villain. I actually love Mysterio, so seeing as he will probably have a chance to shine a bit more in this story has me glad. Another interesting part was the Octopus scam, and how Pete actually acknowledges that it was his fault too. That's a great way to use an older storyline and process its effects on the present in a credible way. The Lizard ending was a bit silly, but we'll see where it goes.

Complete trash dialogues, story and art up until the last couple of pages. Probably still an idiotic turn of events, but I'll give Spencer the benefit of doubt, AGAIN.

The new storyline kicks in with an interesting cast and good, albeit sometimes sparse, art. The idea to make Colossus the center of it all is interesting.

"Aquaman: Rebirth" tries way too hard to sound like a classic comic while also providing a complete backstory for new readers, but although it points out some interesting concepts about the King of Atlantis it doesn't really manage to offer a compelling read and features an abused supervillain I have no interest in reading about. -Dropped-

This stuff is simple randomness of events without a logical or merely artistic meaning. And when it tries to steal a laugh from you, it only upsets.

Consistent issue with deep character analysis in the form of Rogers' hatred for the Illuminati and the vengeful Black Panther. The flashbacks enhance the spirit of the character-driven episode.

For the most part this issue is the typical superhero team crisis setup, with things crushing to the ground and exploding all over the world. In the very last pages, though, everything gets very, VERY interesting, capitalizing on a detail from "Marvel Legacy" I hadn't noticed at all!

Nothing particularly amazing, although the idea of dead Celestials raining down on Earth is kinda clean and ominous. It seems too early to judge the overall set-up, as many threads are unconnected for now, but I'll definitely check out the next few issues to understand more of what's going on. The dialogues were maybe too prone to comedy (MCU style), while the art was at times beautiful, at times just decent. I also want to note how similar this story felt to the "No Justice" storyline from DC being published in this same period... let's hope they diverge somewhat.

This comic is on the verge between a mediocre, common Avengers story and something much bigger and potentially important. Only time will be able to tell, for now we need to wait and see I guess, as some aspects are too cliche and nostalgia-oriented (Loki for instance), while others seem groundbreaking (the Avengers of the past and their connection to the current events).

As in the New 52 line-up, the "Birds of Prey" series sits in the lower tier. The usual synopsis of Barbara's past was way too long and detailed: DC's authors should get that their goal is to build an engaging story; the past of each character can be learned online by new readers. The mysterious identity of this Oracle person is quite interesting, but the interaction and motives of the Prey core trio doesn't work wonders. A "Titans"-like reunion would've been better. -Dropping-

While a lot of other issues #0 in this month were absolutely bad or at best passable, Scott Snyder took his chance to make a big thing out of a kinda stupid marketing strategy. He set the first hints for his longest and arguably greatest storyline on this series: Zero Year. And even though at the time I appreciated a lot the issue, in retrospect this was a brilliant job in building up a story to be remembered. Capullo was awesome as usual, particularly with the outstanding visual of a bank being cut in half by a giant knife... I believed that for a sec, and this is what an artist does.

We're finally well into the Court of Owl's story, with a shocking reveal showing how little experience Bruce really has with his own city he swore to protect five years ago. Snyder decides to start every issue with a combat between Batman and one of his multiple enemies, and he's shown his badassness in this number too. Capullo draws a superb city and the layout is great.

"The Court of Owls" proves itself to be a hell of a Bat-tale with an increasingly awesome background. What Batman finds himself in in the last page is something both shocking and utterly unpredictable, confirming that Scott Snyder is a good acquisition for the DC Comics team, which is right now not so full of great writers. Capullo gives us an intense and very dark performance, with the habitual style for the present time story and a nightmare-like one for the past experiences of young Bruce. This book is unmissable.

This one has always been one of my favorite issues in the series, maybe the best of them all. What often happens when reading a book in which someone is drugged and sees things, is that the reader feels pity for the character. In "Batman" #5, instead, we are part of the illusion and after the last page we wake up from a nightmare of tricks and realizations. Obviously art does much in this context, and Capullo and Glapion do an amazing job at positioning the panels messily and yet clearly enough to follow without interrupting to understand the sequence. In conclusion, this issue was the one that clarified to me that this run wouldn't have been just any run, but instead one for the ages.

On one hand I really loved how this issue was dealt with, art and script were just as good as they can get. On the other, though, the Batman's strength of will has been stretched way too far by Snyder, making him do things utterly impossible even for the toughest of men (as Bruce is supposed to be) in that condition. I dare say that the one hand is more important than the other in this comic so it's definitely another win for this awesome series. The astounding element this time was Batman's and the Court's transformation in the animals who represent them: if you want to understand what I mean, just look at the gorgeous cover.

With the reveal of what Dick Grayson's real purpose in life was supposed to be, "Batman" #7 is not only a well crafted comic book, but also one that will change our view on the guy forever. Apart from that, being this a transit issue between two portions of the big epic Snyder is unraveling before our eyes, the issue is pretty small in big scenes, and yet masterfully written, particularly the introduction. I'm really enjoying this series, because while I read it I sense the love these authors feel for the Caped Crusader.

The Court of Owls' story line is impressively long, and apparently we have just scraped the surface of the plot. Entering the second part of it, "The Night of the Owls", I don't feel any need for a change in enemies, as these killers are extremely frightening and in their number can be a big problem even for the Batman. This issue was very dynamic and Capullo did a great job at drawing every panel in a cohesive and understandable way, so that we don't have to go back and forth to keep up with the events. The writing is no big deal this time, as it isn't needed much aside from the usual first page reflection. Speaking of which, it was more painful than ever to read a Bruce Wayne who understands that all he thought he knew about HIS city was a big lie...

I guess that this was the right way to end a very dense story line, with a final question mark that leaves us wondering whether Thomas is Thomas or not. Both ways, the final fight between the Waynes surprised me, as I thought that it would have been a brawl in the orphanage, while it escalated into something way bigger. The flight and the plane moments were extremely well written, particularly in Lincoln's speeches, and Capullo nailed it once again with great visuals. As for the rest of "The Night of Owls", I found the side story by Tynion IV redundant and pretty useless, notwithstanding an impressive psychological insight.

There had to be a moment in which Greg Capullo would have been given a free month, just like any other regular artist in the industry, and that's what "Batman" #12 is. Fortunately the issue is drawn by two very particular and talented substitutes: Becky Cloonan for the first half and Andy Clark for the second. The story doesn't relate to the Court of Owls story (as the solicit wants us to believe), but it's an interesting take on a character we've already seen during the course of the New 52 Batman. She and her brother are well portrayed and are easy to love, to the point where I'm kinda hoping that she may become what it's implied she could become. All in all, an awesome way to give a free month off the core plot and settle down for the Death of the Family new narrative.

Such a complex story is this "Death of the Family", I'm in big difficulty reviewing it. After alternate quality in the script, we finally get into the big plan the Joker had in mind after coming back to Gotham with his face ripped off. The idea is simple and, as many simple ideas, great: Batman is a king, and his villains are his loyal servants, whose task is to keep him sharp and trained. This crazy and brilliant (as the Joker himself) idea is stretched as far as to transform Arkham Asylum in a sort of a castle, with tricks and special effects leading to a devastating encounter with a devastated man: the jester himself. I'm also happy that this time Jock's section was used in a more compelling way, continuing the narration of the main events instead of wandering off to other situations.

It was great as always, but maybe our favorite duo should tread lightly on all this almost-dead-but-not-really-thing 'cause it seems a little stretched sometimes. Everything else is well-written and masterfully drawn. Let's end this Dark City!

By deviating from the main story, "Batman" #28 introduces in a very fancy manner a storyline I'm not really sure caring about. The script is well done (as usual) and art is able to make the brand new Bluebird bad-ass as hell.

I always think that Snyder and Capullo won't get to surprise me again one issue after the other but they do, and very much so. Issue #29 is simply unbelievable. It's too powerful in its imagery, its references and everything you can find in those beautifully drawn pages to believe it. If the New 52 have one silver lining, that is "Batman", period.

The Riddler has taken over! The ominous landscape we first saw in Batman #21 is now reality, and so is the kid saved by the Batman therein. I got to love this boy because of his stubbornness to be the one who'll salve Gotham City from that psycho, whose plan is actually paradoxically simple: to mak people smarter. I love how Snyder manages to focus each Batman's main feature and to make it clearly in the fields of madness. So many great moments, such a grand series they're writing.

Another incredible entry in the oh-so-long "Zero Year" saga. I really don't understand those who complain about a long, articulated story while doing the same for the basic ones of five issues tops. Also, when the quality and fun are so high, why stop? This shit could go on for decades for me if it kept the same level of awesomeness. The cerebral challenge between the two geniuses here was perfectly handled, while also destroying my heart once again by showing the devastating outcomes of of Bruce's parents' tragic deaths. Knowing that there are only two issues left to put an end to this, I feel a little sad, but counting on this incredible team's permanence on the book.

By now we are used to these issues spacing out different story-lines by the core artists of the series (Snyder and Capullo) and we're also used to admit that they are really well made indeed. "Batman" #34 confirms this penchant: while the story (by Snyder and Duggan) is pretty good and the writing by Gerry Duggan sounds a lot like the main author's, Matteo Scalera steals the scene here with his fantastic pencils. His ability is in making this anonymous (if you read it you know what I mean) killer as terrifying as his famous "predecessor"... The final page is adorned with a very creepy drawing, which concludes very well the one shot.

As I expected, the second part of Endgame has been a big improvement from last month's issue. First we assisted to a spectacular -yet forced- "Batman v Superman" sequence, then to a heart warming confrontation between Alfred and master Bruce, all of which leading to the grand finale with our favorite jester ready to be on the stage. One of Snyder's big strengths is the creativity to make every Bat-villain familiar and yet somewhat different from the routine books: in "Death of the Family", Joker is seen as a lover who wants to help his master improve, and now that we became accustomed to that, everything changes again! The new Joker is as scary as the "masked" one, thanks to the great Greg Capullo, who draws a very intense sequence between Batman and a supporter of his... The side story is still quite weak, although its point is now clear.

Extreme issue with unbelievable cliffhanger. This was the most horrifying work by Snyder and Capullo since... ever, I guess. The old photos scene gave me chills. And that silent sequence with Batman and Joker experiencing almost the same situation was pure genius! All in all, I have nothing to complain about this issue, except this: why did the Joker spare Batman is he now hates him so much?! I'm used to Snyder's forced plot lines, but sometimes it's quite frustrating.

After a weak start, Endgame seems like the biggest story created up to date by the magic duo Snyder and Capullo. I'm not really a fan of this new possible origins of the Killer Clown, as I think that the Killing Joke set the perfect one and that Snyder himself did a great job to propose it again in the first part of Zero Year. Anyway it's probably a sham so I don't really worry about that. What this book really accomplishes is to feel the fear in Bruce's words, who doesn't have any plan and tries to investigate further to find one hint to the next move to make. But the checkmate seems inevitable. We shall see how this arc ends, and I hope that Scott will do it right, as it is not hard to fail here.

One of the most unsettling issues in the series yet, "Batman" #39 does a great job in depicting the almost-final moves from the prince of crime and Batman. That great ending from last issue was ended in a rush, though, and Alfred's extremely shocking scene didn't leave the right amount of horror in such a crowded issue. Backup story ended very, very well.

I have to admit that I was strongly let down on this issue, mostly because I'm starting to feel the repetitiveness of some points in the story that already occurred somewhere else in the series since Snyder took over. The action was great nevertheless and Capullo killed it as always.

Very nice start for the new Batman in Gotham City. I didn't think that Snyder would choose such path for the continuing of his run, but I guess it was a decision for the best. Gordon is surprisingly good at what he does now, and even more incredibly it didn't feel forced. Gotta know what's next for Bruce though.

Jim Gordon doesn't seem to me like a good character to take the role of Batman. Snyder is really trying to make it right, and I must admit he's doing a great job, but all these ideas to render the series new again seem quite messed up (like the Bat-truck...). I do hope to see Bruce back in the game real soon.

I'm back on "Batman" after a long hiatus, and here comes a brand new, mysterious villain: Mr. Bloom. For starters, we need to praise Capullo and Plascencia as usual for their outstanding job, especially awesome in the action sequence concerning Batman and the Devil Pigs. Bloom looks crazed thanks to his physical appearance, design and the odd lettering reserved to him making him more freakish than he already seemed. Story-wise, he actually reminds me of another villain we saw on this series some twenty issues before, Doctor Death, who also recalls the long, deadly fingers of this one. Hopefully, and I have no reason to doubt Snyder's so far excellent writing, he'll be different on many levels, starting from his presumably relevant identity, connected to Gordon's past. The rest of the issue was interesting and it was bitter-sweet to see where Bruce stands now and how he's coping with his previous identity. Snyder always manages to build greatly complex situations for his characters, and this is no exception.

Filler issues can be really tricky to deliver, but Scott Snyder (here aided by another amazing writer, Brian Azzarello) is able to emotionally strike in issues like this one just as he's capable of exciting in big events in the Bat's continuity he's unfolded in these years. #44 is a story about forgotten people, about revenge, about how stupid and arrogant Bruce was in his first years as the vigilante, about redemption. It touches the main story by giving us a glimpse at Mr. Bloom's beginnings, but it can really be appreciated on its own as a standalone as well. Jock's brutal style is always on point, and his collaborations with Snyder (other Batman stories and "Wytches" are those that I know of) deliver in a great and creepy way.

A strongly talky issue, and not necessarily in the best of ways, as technicalities and preparations for the future take the lead sometimes making it slightly dull to follow. On the other hand we are introduced to a couple of important developments in the story and in Bruce's persona, while Mr. Bloom looks scarier and scarier. Next issue is supposed to have a huge showdown, otherwise I will be very disappointed. The art is as incredible as ever.

As some fellow readers are saying here, there's a moment in Snyder's storylines when everything cool down in order to fire back up in the next issue(s). "Batman" #46 wasn't an exciting read as others were, but it still features the incredible art by Capullo (which kinda makes the comic good on its own) and some still blurry details about this incredibly mysterious character our new hero in faced against. Sure thing, the usual disconnection between politics and what the Bat needs to do is starting to feel boring after the 1000th time you read it, and this new Robin wannabe is annoyingly trying to be a character we should care about and has some really really unrealistic plans (birds hate death metal??). As we're getting close to the end of this plot line, I hope we'll get more awesomeness from the baddie and Gordon than this.

SO THERE'S THAT LAST PAGE. That was incredibly unexpected and well staged. But as it is a groundbreaking spoiler, let's not talk about it. The whole issue was interesting and full of good plot twists, but I didn't really like Gordon's way of getting rid of "rookie" and this goddamn wonder kiddo and his shenanigans. The train scene was visually fantastic and arguably a key moment for Bruce to take on his old identity, although if so Snyder will have to give us a few explanations about that terribly long discourse by Alfred to Clark.

Jesus H. Christ! This was arguably the most intense and eventful issue yet in the "Superheavy" storyline. The chat between Bruce and Mister J (let's call him that in lack of a better definition) was simply amazing, although Snyder should go a bit lighter on those bait lines. I have genuinely no idea of what might be in store for the (former) Prince of Crime and that's more than I could hope for. Bloom's anarchic attack on the city feels somewhat deja-vu (the Joker himself in "Endgame" did something quite similar to the citizens of Gotham, although they were not concious in that situation) but its awesomely creepy design by Capullo makes me love him regardless. I hope we'll get some answers about him soon so that we can make a serious judgment of the character. The cliffhanger was just incredible, by the way. Alfred crying as Bruce accepts his role is one of the most powerful images I've seen in the series so far.

The Batman obviously had to come back in some way, and Snyder found a very, very good way to do it. It was clear from the beginning of "Superheavy" that the memory-storage thing would play a big part in it, but this level of emotional charge was not as expected. I personally loved how Alfred reacted to it, both suffering for the return of the damaged man he served his whole life and immediately going back to work as soon as his master came to life again. As others say, the alternate realities are quite confusing, but in the end the idea is quite clear. Also, the lack of Capullo is always a let down, but it's understandable and Paquette does a good job anyway.

So Snyder just managed to write a fitting ending to the "Superheavy" storyline, his last long story on the character for this run, and a homage to Batman, Jim Gordon and especially to the heroes no-one ever talks about in superhero comics: the citizens. Sure, the means used to annihilate Bloom and the strange star were quite ridiculous, but we all know that sometimes authors get a little bit too inventive with the final blows of their stories. It was first of all a character study and it worked perfectly for that matter. Capullo is unbelievable as always, drawing an apocalyptic scenery and one of the sickest Batmans ever. These great authors' run is almost over, and this feels like a good example of closure with most of the things Snyder worked on in these five years.

I am in tears right now. This run of Batman was incredible. It introduced a few new faces while exploring like never before the old ones. It was everything a Bat-fan could hope for. Issue #51 is a clear statement of Snyder's legacy of the character (not only Batman, but Gotham itself) for the next years, and I truly hope that the future shapers of the city's destiny will do it justice. While bringing interesting reflexions on the table, this issue also featured a lot of faces we saw in these five years and closed symmetrically to how it began back in 2011. I don't know what issue #52 will be about, but this feels like the best way to end the story.

"Batman" is over. It was a fantastic run and as long as I'm concerned it finished with #51, the last one by Snyder and Capullo. Issue #52 is more closure than we needed (as #51 did it so perfectly we didn't crave more psychological insight), but it still has some good sparks of ideas and touching moments, making it still a good read. The actual story is silly, with a one-shot foe who works as a means to talk about the notebook Bruce used to write the (52!) ways to move on from the death of his parents on. Alfred has a big relevance in this issue just like in #51, and I feel that the New 52 really made right to him, being the actual side-kick of our favourite hero. Albuquerque's art is not at the top of its game here, with scatchy faces and whatnot, but still decent.

The Futures End issue is a one-shot filled with Bat-action and Bat-to-Penny-One talks, and in the best way possible. Although it feels a bit strange that Bruce would do such thing, the scope is interesting and sets up well for the main series/event. I rate it 8 because of some lack in peculiarity which doesn't let this book stand out that much.

Tom King and David Finch have a very hard task to fulfill: to substitute two of the greatest Batman creators in the history of the superhero AND to begin Batman's new life in the "Rebirth" line-up. While I'm certainly happy about Snyder not dropping the character with his "All-Star Batman" series, I'm also pleased by the change in pace that King is giving us in the main series. This story felt nothing like Snyder's and it had some of the cheesiness that the previous author so carefully avoided (the "death" scene got me facepalming), but it felt like a classic Batman tale, and that is definitely for the best. Also, the concept behind the "I am Gotham" storyline is sheer genius and I can't wait to see how it will pan out. Finch draws a very cool, menacing Batman, but I feel like he could put more detail and precision.

The story continues and we get more characters on the line, especially villains, which make this start of the series more and more interesting. King has an unsettling writing style I really like in the creepy/villainous scenes, and "Batman" is definitely the place to showcase that. Hell, he managed to make "Vision" kind of a horror series, I'm sure his Batman will give us chills. My only problem is Bruce's characterization, too far away from the Snyder version we've come to love; he and Alfred sound too detached, too. Finch steps up his game with the portrayal of a very cool Solomon Grundy, Hugo Strange and those two beautiful new heroes.

We're halfway through the first storyline and we're still almost completely in the dark of what's truly happening here. It's too early to judge this decision by King, but a little more clarity would maybe help to follow the events. Anyway, issue #3 gives us an origin story for the new super duo in Gotham and a very touching, yet brief, moment between Batman and Gotham. I feel likely that these two will disappear after this arc (maybe they'll be controlled by Strange's guy and become a threat), but my hope is that they will actually stick around in some fashion just like the Court of Owls after the first story in the New 52 "Batman" series.

Not bad, but the turn of events was hella predictable. At least we now have a clearer understanding of what was going on in the previous issues, and yet the anonimity of the "Gotham brothers" makes it hard for the reader to care about their possible, probable demise. Art is still really solid, if a bit too standardized.

One of the best issues so far by King. The initially slow, confusing pace has come to an end and the showdown is here. I like how King implements a lot of characters in this issue, showing how Batman is not "alone" in his journey at all, although external help comes sometimes with a little too precision at the convenient moment. There's an interesting use of lines, that refer to the actual story, but also to a sort of meta-story: Batman's relationship with Gotham (the city this time); problem is, in this issue Batman does very little of relevance to actually be the ACTIVE protagonist of his show, as he just stands there waiting for someone to come and help: this may become a pivotal theme in the future, but for now it just depowers our hero. Finch is in his natural element here, with so many chances to draw powerful, violent images of Gotham going berserk and Batman with his friends doing the same to stop him. The teasing ending was unexpected, but as serialized comics teach us we'll have to wait and see what those mysterious and ominous words really mean: for now, the series is working, although it could be refined under some aspects.

More interesting than the actual focus story on Gotham Girl, was this issue's many cameos. I mean, this more emotional and personal story was a good turn to end the arc and definitely an unexpected one (like most of the things that happened in this run so far). But the re-introduction of ages old villains like Colonel Blimp and Kite Man (hell yeah!) was definitely the winning point of the book, in line with the "Rebirth" editorial plan, which is complexively going great. The core of the story about the Gotham brothers and whatnot feels left incomplete, though. We didn't get the answers we should've gotten and sure, King can take his time and tell us everything in future installments, but as we don't know what the future will bring we must consider this arc only partially fulfilled. In any case, I now want and hope for a story completely focused on Kite Man: in good hands it could be quite as compelling as a Joker arc and it would bring some fresh air to the series. Art is by Ivan Reis this time around, and he doesn't make us feel sorry for Finch's pause. He may not be as expressive, but his technical skills, especially in those panels he cares more about, are undeniable.

So, we're finally getting some overdue explanation for the whole messy Doctor Strange mystery. Unfortunately, to really grip the whole context of this story, the reader is supposed to be on par with the whole plethora of Batman titles, which is something I have no intention to do and because of that the first part of the book can be quite confusing for someone in my situation. The brightest side to this issue is the art by Rossmo, an artist I never heard about before but who's done a very good job at giving us an unusual, more indie style for an A-level comic and some intense scenes with beautifully drawn (and titular) monsters. The complete absence of Gotham Girl from the issue is not a good signal, as she seems disappeared from the story already. At least a momentary addition of the character would have been a good idea to make it feel less like two separate arcs and more like a unitary world.

This issue seems to locate in the middle of the "Night of the Monster Men" event, and there are some pros and some cons. The pros: Steve Orlando is doing a good job keeping together the whole Bat-family here, giving the right space to everyone; Rossmo, as I said in the previous issue, does a great job at drawing the creatures and our heroes with his own, uncommon style. The cons: these still is no motive for what's happening, resulting in a seemingly endless series of fights with monsters with no purpose; also, there seems to be no effort at all from the Bats fighting these apparently all powerful beasts: they always have a clear plan and execute it perfectly. I understand that this is an exploitation event, where the how is more important than the "will they make it", but the mechanic gets repetitive after a while. All in all, while it seems to be dragging a little, the issue was enjoyable thanks to some awesome moments. It sure needs to get to the point now.

So we all know that Batman is a crazy individual, but this goes somewhat beyond that assertion: the idea behind this arc is that to save Gotham Girl's mental stability Batman needs to steal Bane's new ally, the Psycho-Pirate, and be aided by a band of villains. Arc two of Tom King's run has a very different approach from the first one and from the soft event of the Bat-family that just concluded, arguably in the most part because of the art switch to Janin whose character design and (limited) action scenes seem top notch. The idea of Batman leaving for a few weeks has a nice editorial touch, as every threat coming upon the city will be a challenge for the rest of the Family as they'll need to work without the big boss around. Batman's team on the other hand is definitely a weird and unexpected one. We have Jewlee and Punchee (who seem more interested in getting together than to work with Batman), the Ventriloquist (who's apparently let loose of his puppet), Bronze Tiger (who has a fantastic one-page that communicates clearly his respectful relationship with Bruce) and, last but not at all least, Catwoman, who has kind of disappeared from my radar since The New 52 started six years ago and may have her triumphant return here. So, Tom King's direction takes an unexpected turn with this sort of "Bat-Suicide Squad", but also a really engaging one, considering the characters he chose to form the team and their possible interactions.

This week, the day was saved by the art as the actual story isn't quite the best yet. So, we left the Caped Crusader with his new team, ready to attack Bane's mansion. Batman's goal is to get the Psycho-Pirate, who works for Bane now, to eliminate the sadness he instilled in Gotham Girl during the first arc, curing her from her deep depression. Bane, unfortunately, is the one who defeated in the most powerful way the Bat, breaking his back way back in time, and this can't be forgotten both by Bruce and by King, who decides to make a queer decision: for the best part of the issue, Batman repeats a mantra that concludes with his menace to break Bane's own back. This was not the best idea by the writer, as it feels like a cringey way to develop Batman's determination. Apparently, without his Venom, Bane isn't quite as strong and that is shown through a little fight scene and the subsequent incarceration of the Bat in the very cell that secluded him for 17 years, with no actual effect on our hero. The best part of the writing is definitely Catwoman's open letter to Batman, which is an interesting character study, especially in the horror she shows for the tragedy at the orphanage and in her understanding of her relationship with the Bat: it shows how they are so similar, yet so different in their goals. King is a good writer, with a lot of potential, but this kind of non-stories don't seem to fit him best. Catwoman's bit and the art in general were great, though.

After Tim's death, Batman seems willing to work with a group of villains who are ready for anything to get the job done. But are they? Following the weird issue #10, #11 takes a more straightforward approach presenting us with a linear rescue mission: there are two teams with separate goals (one to rescue the Pirate, the other to offer a diversive), while Batman just hangs out on the vents watching things happen. Apparently, a big fat double-crossing takes place, but I'm ready to assume it's actually a triple-crossing as this would be nothing new from the character that plays it. This sort of familiarity works better than the previous issue's experimental narrative, even though it doesn't come close to the gem that was #9. The true downside consists of Punch and Jewelee, a rip-off of the Joker/Harley relationship that really doesn't add anything relevant to the picture: King should get rid of them as soon as possible. Alongside Tom King's alternating quality, Janin's art is consistently solid and elevates the comic, so it would be time for the writer to get to his "I Am Gotham" level asap.

Amongst the diverse ways different authors have approached the Bat, the main psychological feature has always been the trauma after his parents' death. Over the years we've seen him face any kind of menace, villain and death sentence, only to exorcise that trauma. What Tom King does here, and has actually always done throughout the series so far is show us Bruce Wayne's complex psyche under a different perspective: as a mere human being, first comparing him to a much "godlier" competition (Gotham and Gotham Girl) and now facing him with his own mortality. King's Batman is a man under a coul, not a semi-divine creature that always has the answer he needs at the right time: a depressed individual, at that, with a dark persona behind his mythos. Issue #12 can be interpreted in different ways, depending on the approach we take. On one hand we have the events unfolding: Batman punches his way through hundreds of Bane's soldiers without any problem (he has been beaten up by Bane, so that feels kind of stretched) and only to get his ass beat by Bane once more, apparently: not a great way to continue this story arc that has already suffered from pace problems. Under an artistic point of view, as usual, the team does an outstanding, precise and beautiful job, showing us the Caped Crusader's fight to the throne room. Or, we can view this as a clear metaphor of Batman's struggle through life and the last, incredible panel as a sort of trinity in the face of the human: Bane's life, Catwoman is the Good (she'll definitely pull something out of her sleeve near the end of the arc) and the Pirate is Evil(as he's the cause of problems in this specific story). Finally, the psychological level: Bruce's trauma is taken out and analyzed, his suicidal thoughts as a child are sure to be a very dark new element in his journey to accept the death of his parents, which seem like the only impossible obstacle for him to overcome. In the final analysis, Batman represents life itself,

"I Am Suicide" has showcased the best and worst this series has reached for now. The point of the arc itself didn't become clear before #12 and only now do we get the whole picture: Bane and Batman are each other's monster they want to get killed by. We also finally see the point of the Ventriloquist, who probably lives his best scene in recent years. On another note, though, the whole heist was super predictable for the most part, especially Selina's role in it, and her relationship with Batman seems thrown away with how hurried it seems in the end (and yes, I know the next issue focuses on their love story, but we're considering this issue now). The art necessarily suffers from this more traditional approach, with Janin constricted into small panels (after we fell in love with his grand splash pages), but he makes do and conveys the "Suicide Squad" feel of the issue pretty well. Representing the story arc as a whole, issue #13 wasn't the best, nor the weakest entry in the run.

King breaks routine with a two-issues about Batman and Catwoman. I'd put the focus on her (and the amazing plethora of hilarious Z-level Bat-villains!): after The New 52 she's always been treated rather badly and now's the time to make things clear, apparently, about what's canon in her editorial past and what's her personality in the new continuity, favoring what readers are already used to. We're still in the dark concerning the horrible crime Selina is accused of, and maybe King teases our curiosity a little too much here. Also, the expansion of what was supposed to be a 1 issue storyin two is evident in the uneconomic way things are done: Batman and Catwoman kiss for three pages without any need of that. Art by King collaborator Mitch Gerads works well, it's more evanescent than Janin's wonderfully brisk pencil, and that's the right choice for these dream-like sequences. Despite its moderate flaws, then, this issue works well as a starter to a reborn Catwoman for a Rebirth DC.

I liked a lot how this issue worked the Catwoman mythos in relation to Bat's, channelling very convincingly her story. While the whole mystery about the murder of 237 people evolves in interesting ways, the real focus and most gripping aspect of the issue is the love relationship between the two (would you believe it!), even though it can at times be seen as a repetition of the old cliche of how superheroes can't find true love because of their life choices. The couple is seen evolving from the Golden Age times, through "Batman: Year One" by Miller, and getting to the present day all with the respective art styles, a not obvious and well appreciated choice. If not a most inventive story, it sure manages, once more in the King way, to show us a human Batman, this time as fallen under the spell of love.

Okay, it seems that King and Finch are starting on a very good note the third main arc of the Rebirth run. King's writing has so far been alternating between good to great ideas and not outstanding delivering, especially with the "I Am Suicide" arc; "I Am Bane" starts with a completely different tone, one that manages to be both ominous, quite scary and (finally) one of the funniest, most heartfelt issues in a long time concerning the Bat-family. The set-up is ingenious: Bane wants the Pirate's powers back, but Batman can't destroy his mask to return Gotham Girl to her sane self, so for five days the Robins need to run away while Batman tries to endure Bane's attacks. The highest point of the issue is the Bat-burger scene, by far the most honest relationship between the Robins and Batman I've ever read and filled with not obvious, brilliant jokes; the weak link may be the cliffhanger, that, while effective, is sure to be the usual trick to shock new, "naive" readers. Finch's work is amazing and he challenges himself to express comedic effect with great results: maybe the Robins look a bit too similar, but that's a trait of the characters themselves after all. Finally, the book doesn't even forget about any one of the treads left open by the King narrative, giving the proper space to each of them. Very well done!

As inconsistent as Tom King's work has been in the previous arcs, "I Am Bane" seems to continue the streak of strong, if not perfect, issues. The story starts with Black Tiger being left to suffer after venom after-effects, leaving me wondering why Batman doesn't help him in some way, maybe using the Psycho-Pirate himself. Then we surprisingly get to hang out with Supes at the Fortressof Solitude, leaving me wondering why Batman doesn't solve his problem with his help, which is in fact better to not considered when reading Bat-verse comics. I know King uses the "my problem, my solution" trick, but it feels kinda forced, considered the situation, but I get that it would be a shame to miss the opportunity of a Batman/Bane solo showdown. The reason why Bats is there also leaves me wondering how can the Robins be alive at all, if not by the luckiest of chances: he saw them hanged just in time to save them. Alfred's bit was nothing but awesome, as he always is, and shows he's willing to do what it takes to get the job done: he's the most optimal of the Bat-family members. There's a lot more happening in this issue that I loved, so let's make a random list: Pirate talking about other worlds, the return of Bane's henchmen, the unexplicably awesome splash page of Bats on a roof, references to previous artists/writers who worked on Batman and Bane before in the names of locations, the ending! Such a dense issue, and King, notwithstanding his missteps in plot logic, does a great job to keep everything fine and well paced. Let's go ahead and have a big fight now!

One thing is for sure: Tom King loves parallels between Batman and everyone else: first Gotham, then Catwoman and now, with effective results, Bane. This issue, as I hoped, featured the gruesome showdown we were waiting for and Finch's perfectly detailed art result in one of the most menacing Banes ever made, also thanks to a return to a more classic character design. Colorist Bellaire also does a great job at distinguishing the two pasts unfolding in tonality: one dark but vibrant, the other yellowish and hopeless. And it's the flashbacks that really make this an outstanding issue, even though the pretty linear fight is a treat for the eyes itself: it's in the specularity of their stories that we are allowed to understand where lies the difference in development in such similar personalities. This time King's habit of repeating a specific word or sentence, something he's done in the past with mixed results, really works as Bane's "Mummy"'s are sweet and then, as he grows up, freakish and scarily childlike. The point made by the issue is that Batman and Bane could've had their fates reversed in a different environment and both could've been what they fight (Killing Joke anyone?). We've been waiting for the showdown and it didn't disappoint.

"I Am Bane", like the arcs before it, has a very simple premise, which one would not expect to work out for five issues. But the King/Finch team has found a peculiar way of making each single issue feel like they stand on their own as an essential piece of the bigger picture: here we have Bane fighting his way through Arkham Asylum and confronting many of the A-tier Bat-villains, and making us wonder what would King take out of each of them should he build a story around them. What this issue really accomplishes is the marvellous experience of actually being able to empathize with the "bad guy": Bane was done, his life had gone on and he doesn't feel connection with all these crazy monsters that reside in the Asylum. Finch manages to be versatile both by drawing all the villains Bane encounters during his road to the Pirate and by framing each encounter in a different and meaningful way. While "I Am Bane" could've been told in a couple of issues, King and Finch show us why they're taking their sweet time: each new iteration serves more than a simple purpose of storytelling, but also a different experience every time.

This is it. As we're now used to seeing, King frames the main narrative (the brutal fist fight between Bats and Bane) with a long thought process spoken by an unexpected person in Bruce's mind, giving him even more depth than King has already done before. I must say that this time, after the already painful brawl in #18, King could've found a smarter way for Batman to approach his enemy, instead of just playing the punching ball all over again and mysteriously not succumbing under Bane's venom-powered hits. In this a pivotal role is played by Finch, who brilliantly manages to make the reader feel the power of every smash but without taking any to an absurd level of damage, making it less hard to believe that Batman is still alive after all that. To conclude this third act, "I Am Bane" has successfully re-established the villain as the biggest physical threat to Batman. Now it is time for King to show us the intellectual part of the World's Greatest Detective, after his fists have been more than busy.

Beautiful art and, as usual, an amazing and painful characterization of the new best Batman baddie of all time: Kite Man. King should be proud of himself for bringing to life such an incredible sort-of villain to the canon.

The Annual takes the form of an anthology of short stories. The first couple of them are great: written and drawn magnificently, with interesting messages to their core and top creators behind them. The following ones are definitely forgettable and look like they were put there just to bring some meat to the table. Overall, the good ones deserve to be read carefully, while you can definitely skip/skim through the others.

So, some comics are bound to make history. Some because they are a round number in a big series, others because the main character dies, others because the universe changes or is rebooted. In this case, two of the most important brands in the history of comics, Batman and TMNT, meet for the very first time, assuring that this is an issue to remember. What about the actual comic? The story is simple and linear, as it is suitable for crossovers, the dialogues are cool and funny (especially the turtles) and there is a good balance between the leads, which is fundamental for the correct realization of a good crossover. The art is nothing memorable, but Bats and the TMNT look good.

Beautiful art, but I'm not digging the narrative style Azzarello adopts here. There are some interesting aspects to it, like the astonishingly blasphemous and beautiful last few pages, but the overly vague voice-over from Constantine really didn't help throughout.

A new start for the Bat vigilante has come! What really strikes as important news here is the new Robin, although it seems that Bruce has something slightly different in mind this time around for his sidekick. The Calendar Man is one of the most intriguing baddies in the Batman mythology so it feels like a good idea to focus on him in the future (if this wasn't just a one-shot about him). Overall, the issue was nothing extraordinary, but the dialogues were slick as always and I'm very positive about having Tom King as the new Bat-architect as his "Vision" series for Marvel is simply amazng. Hopefully he'll do just as good with the Batman! -Pulling-

A great way to introduce a new chapter in T'Challa's story. It is not even clear IF the protagonist is T'Challa himself (and the same can be said for M'Baku and the others), but the storytelling, favoring silence over excessive explanations, makes it an emotional and definitely intriguing read. Only negative note: it reminds me way too much of "Black Bolt", which came out just a year ago.

This first issue bored me some. The beginning was rushed and ordinary in its situation, being also repetitive due to the thoughts of the main character. Remender has always had a thing for bad thought balloons and he goes on with his tradition. Artistically "Black Science" looks very good, with Matteo Scalera at his best.

Pretty cool issue, although I don't get all the excitement for this series and all the "weirdness" many plead. To me it seems a generic sci-fi adventure with some interesting points, but for now nothing of such interest. Ward as the main character was a little better than the talky professor.

Little has changed from last issue for me. Story progression has paused a little to show us more greatly needed flashbacks to understand the present situation. Scalera keeps up with the good work, although I think he's a little overrated by the critics.

This issue was the best to date, starting in the war-zone reality and ending in a futuristic alien society. The first segment was quite messy but touching as long as Ward is concerned: his story shows the naivety of every man that believes to be different from the rest. The second part was talky but very interesting, particularly the ending (presumed) bad guy.

This girl scares the shit out of me! She's so threatening she always gets the answers she desires, but at some cost. This Chaos organization, although kinda unoriginal, looks dangerous like hell and it won't be an easy enemy for Natasha to defeat. Meantime, she's trying real hard and got some points right. Under an artistic point of view, the pencils are a little low this month, but hardly so when your name is Phil Noto. What really gets me here is Black Widow's personality and psychological insight: she doesn't belong.

An interesting book by a creative team I admit I don't know. The horror vein is clear, although most of the time is spent to depict a society of justice officers (policemen, investigators, military, marines...) which is darker than you'd expect. Our main heroine is well portrayed as a "lone wolf" and the case is as horrifying as you can get. Colin Lorimer's style is very similar to Jock's, and definitely right for the series. What made me twist up my nose was the ton of banal cop-story dialogues, not in line with the quality of everything else.

This sorta Christmas special really hits the spot with a charming and fairytale-like adventure with the one and only Carol as its main protagonist. It is not really clear what was the villains' plan, but that is superfluous in the spirit of the issue. The ending is breath taking. Kudos to you Mrs. Fraction for your great job on the character!

The BOOM! Studios is a publisher that really cares about quality, that's for sure, and although "Cluster" #1 isn't exactly the most original comic out there, it still has some strong pros, like the essential art and an interesting development. Maybe it won't be an amazing series after all, but by now it may have what it takes.

I do admit my unconditional hate for John Layman as a writer, and this issue is no exception. This is such a boring and nonsensical story I don't understand why people praise it that much. Maybe not the worst work by the author, but definitely not my cup of tea.

When I read these 0.something issues about the Man Without Fear I see how important is Chris Samnee n the realization of the great main series we all love. Not that this book was bad, but just like issue #1.5 its pace seems over-dragged so that it becomes the forty page special we need. The plot isn't the most inventive and, even though its vintage style has something good in it, it bored me after half of it. The art was just OK, nothing really interesting about it as it is quite drab.

Awesome issue. As expected of such a creative team, the new beginning for Matt in Frisco is absolutely great, with an interesting mystery unfolding and an epic chase perfectly depicted in its dynamism. Hope that these guys stay as long as possible on the series.

This special issue was pretty good, but it can't compare to the regular series' quality, and it's quite disappointing to see that a standalone over-sized book is done worse than a monthly regular... anyway, both stories had some solid writing, but the art was sloppy and archaic.

Introducing a new threat in Daredevil's life has never been more awesome. I truly consider Mark one of those writers who (almost) always do it right, and with Chris's help this is mathematical. Shroud is a secondary character in Marvel's universe, but in a couple pages he's presented in a pitiful yet creepy and horrifying way. The ending gives the new readers a hint at what can he do to Daredevil's powers and how dangerous will he be in the future.

3/3 issues done goddamn right. The Shroud becomes more of an interesting character due to his triple play, and the Owl is presented as a real scary crime boss, unlike previous stories featuring the guy. Mark's writing is always impeccable, funny and epic even in relatively lesser situations like entering the Owl's mansion. Chris's art is brilliant as usual, particularly in the very first pages, in which all the fear felt by Eli is mirrored in us via a grim and violent storytelling.

Maybe not the best issue yet, but totally solid moments in here too, like the Owl's injection of that weird energy we will definitely hear more about of. Apart from the core story (Daredevil vs. Owl feat. Shroud) I loved the scene where Mark and Kirsten begin to understand what does it mean for a superhero to be a celeb. And I don't need to talk about art, as mr. Samnee is a certainty.

We finally get to know how did Foggy "die" and why exactly. The reason behind his death was pretty clear even without anyone explaining that, but the actual moment was pretty big. As usual, Mark Waid draws out of the fifty-years long history of the Devil a hilarious/lesser villain and uses it in a brilliant way. This is the time of the almighty Leapfrog, reinvented in a whole new fashion and with a much scarier plan. We know nothing about him, but that's what we actually need. In the end, this is a very emotional comic, with solid action in it and that neat art we all love by Chris Samnee. Next month Mark will be challenged to write a goddamn tie-in of Original Sin, and I hope it won't mess up this incredible run.

Tie-ins are usually published to make people buy the core story (in this case "Original Sin") and while this book may be an incentive to do so, it's absolutely enjoyable on its own and it provides us with every piece of information we need to follow the story. The sin Matt has discovered is his father's tendency at... going physical on his mother and that would probably be the reason why she became a nun. After an investigation, though, he understands that the situation is real bad for her in a way I didn't predict. I sure missed Chris Samnee this issue, but Rodriguez did a fair job himself, also drawing an outstanding all-hearing moment in a building.

I'll admit that I was expecting something more from this two-issue story, but all considered it just felt right for the mystery of Matt Murdock's mother to be revealed to write a simpler and more intimate plot. Her reasons for abandoning him are not so sharable, still Daredevil understands her in a very powerful way, highlighting once more how big a heart does he keep in his chest. The art is good but I'm missing Samnee very much and happy to know he'll be back from next issue on.

After two issues of the Original Sin tie-in, we're finally back to Frisco and to our favorite penciller. Not that that story was a bad one, in fact it was really well made, but the main series is something bigger than that. And the new narrative cycle, "The Purple Children" delivers as usual. What's stunning about this one is how cruel children can be, wiping out the classic ideal of purity kids inspire. These villains are vengeful and angry and I can't wait to see how will Daredevil manage to fight them and treat them, considering their social status. Samnee draws a horror-like premise (similar to that regarding the Owl in issue #3) and it is as tense as before. The amusing set of scenes where Kirsten's father is introduced are much brighter and whimsical, giving the book a fresh two-sided adventure.

The Purple Children are even scarier than I thought. Waid did a brilliant work in relating the autobiography side story and the main villains by showing us something I've been wondering a lot lately: how comes Daredevil is suddenly so full of joy after all the shit he's run into? The answer will satisfy you for sure and you'll feel awfully for Matt Murdock, no kidding. His reaction to the kids' attack is indescribably painful. I love you, Chris Samnee, could you please draw "Daredevil" for the rest of your life? Thanks.

Astonishing issue, which adds to the one about Maggie's psychiatric disease in the Original Sin tie-it in making this book also a powerful denounce of mental breakdowns that occur everyday to people and we don't really seem to care just because they're invisible to the human eye (which reconnects to our hero's superpower...). The very first pages are a brilliant definition of what depression feels like (I guess, as I never experienced it) and how to fight it back. Matt Murdock's real superpower is to never give up, to always find the good in the world and in his life, still even he can fall into despair sometimes. Kirsten is most definitely a blessing for his soul, being a wonderful woman both in the outside and in the inside. Waid is outclassing himself here, with an attention to touch gently this kind of deals rarely seen in the industry, and even more in mainstream comics. Samnee is just wonderful, and the perfect addition to let us understand fully the meaning of "Daredevil" #10.

New threat, good old quality. Going on in the list of minor Daredevil villains, we're (re)introduced to the Stunt-Master, except the original one is suing the new one for having stolen his identity. I'm not kidding when I say that Mark Waid and Chris Samnee manage to make enjoyable to read a dialogue about copyright laws and stuff. The final reveal is big enough, but what I really loved about "Daredevil" #11 was the first pages, a dive in the past with Foggy trying to make Matt tell the true hilarious story of the first confrontation between Daredevil and Hawkeye. It's heart-warming and beautiful to watch and read.

How crazy is Daredevil badass-driving a cabriolet with his extendible sticks?! Mark Waid is goddamn crazy and I cannot not love it. Apart from this incredible scene, the storyline ends with a big twist with a twisted man behind it all and a sort of epilogue that almost caused me to weep. This creative team mustn't be changed, ever.

Majestic issue, as usual. Albeit they're going to quit the series (sigh), Waid and Samnee continue the epic they've started years ago, with the return of the Owl in a very new and unusual role, especially in the last page. It was also a very heartfelt book, with heartwarming moments between Matt and his closest, Kirsten and Foggy. The fun was real, too, and the art is just a certainty.

Very interesting way of making us doubt Matt's convictions, even though he's probably being framed after all.

I love the idea of having the Punisher root for Devil now that he apparently killed a bad guy, it's a very clever twist that nods to the TV show as well.

After reading "TDK Strikes Again" nothing could've been a worse follow-up to the original masterpiece, and in fact "Master Race #1" is an enjoyable read, with an interesting new turn for the Batman himself and gorgeous art by Andy Kubert. Unfortunately, that "Strikes Again" idea of mixing up a story about Batman with every other DC hero in existence keeps going on here, with a big part occupied by the Amazon and Lara, Supes' daughter. That was a weakness back in 2001 and it is now as well, losing once more the focus on the (supposed) main character. The "Atom" side story is average, with a few interesting thoughts about the secret identity of superheroes and a good plot-twist.

TDK III keeps steady on the good path, not as messy as "Strikes Again" and not as relevant or well written as "Returns". Some of the dialogues are pretty interesting, but for the most part it's just another DC comic about the JL with some psychological insight. "Master Race" is different from its predecessors because it's more standard, for better or for worse. I was genuinely surprised by the Kandor plot-twist, and I guess this sect will be the big antagonist of the remaining issues.

This might be the most WTF issue amongst the Dark Nights Metal issues so far, and that's really something. As a reader who doesn't follow slavishly everything, this was pretty hard to follow, but I understand the grand scale of the story demands difficult concepts and wild reality-bending moments. The ending was pretty great. Art was inconsistent, with beautiful panels alternated with manga-style or simply poor quality art.

Barely acceptable. Like most Snyder comics the ending is a let down and this is no different. The whole event was a messy mash-up of things that make no sense, classic deus ex machina scenarios, where for no reason Barbatos always has a plan and for no reason the heroes always have a way to counter it. This story doesn't have plot holes, because it has no plot: everything happens exactly at the convenience of the author, with no logic and, thus, no real entertainment or thrill. Yet another "event" that does NOTHING except what is deemed editorially necessary to keep the machine going. Huge disappointment, but I don't despair since Doomsday Clock is, on the contrary, a beautiful event.

Joker Story: super creepy, super fun, super good. King at his best and the art was terrifying at times. Supes story: gets up to speed people who weren't following (like me) and the new threat looks promising, if not especially unique. Bendis's writing looks fine. Art kinda sucks. No Justice story: not even one month after the stupid-ass Dark Nights: Metal, here we are back at cosmic threats, impossible odds and obviously dumb endings that will make everything fine once again. I do not like the turn Snyder has taken recently because of all that and I would love for him to go back to his "Batman" self. Also, I would like to note how convenient the additions to the various new teams are, but that goes without saying. The manga-like art is not amazing, except for the last panel, which is jaw-dropping.

This was overall an incredible issue, which makes me happy and hopeful for the future development of the DC Universe. The story (surprisingly) features Wally West, one of the characters forgotten by the comics industry since the start of the New 52 and now back to explain to everyone how they actually forgot -or rather, were robbed of- ten years of their lives after "Flashpoint" by some misterious foe. While the issue's length makes it sometimes a heavy read, as it needs to touch every single main in the DC Universe, it really carries a big emotional strength which culminates with the unbelievably beautiful encounter between Wally and his mentor. The ending and the Epilogue had me shocked, fantastic plot-twist by Johns right there, just like his impeccable writing for the issue. "DC Universe: Rebirth" made me want to start over with all the new #1's that will once again shape this universe, and that is definitely a good thing. Hopefully they won't mess up their editorial past this time around.

This is some great stuff from an author I don't usually like, and results as an example of how good is Image Comics at letting out the best in every writer. The main character is very sympathetic and you get to love him (and feel bad for him) right from the start, the art by Wes Craig is unusual and multifarious, perfected by a creative use of lettering. The basic idea for the series may feel a little dated or, on the other hand, too extreme, but this issue was very little about that, so I'm happy for now.

Unfunny, populist junk. I understand the importance this matter has, but this is a Deadpool comic book so you either give me something really funny, or something really deep in its sarcasm, not a simplistic, boring book. The crayons are good.

A solid new start for the merc with a mouth, with a brand new life of fame and as a member of the Avengers. I actually liked the idea of a Deadpool team, with every element of it looking and sounding like an interesting character of his own. Maybe a little more laughs would've been appreciated, but the dark humor is quite enough to be enjoyed. The art is simple and effective, but nothing special.

Good start to the end of one of the most beloved Marvel characters, Logan. The issue is pretty enjoyable story-wise although little happens (aside from providing explanation for Wolverine's condition) and the art kills it with the recognizable style by McNiven.

I see what Soule is doing here. He wants the "last" story featuring Logan to be filled with everything that filled the Wolverine's life and myth. That's why here we meet Sabretooth, Viper an Deathstroke and we get a feel of Japan we'll discuss more extensively in issue #3.

What Soule and McNiven are doing here is a pretty complicated mess. And I don't say that necessarily in a bad way, as the book by now is being entertaining and artistically solid. But you gotta admit that this story is making Logan touch each milestone of his long history, and sometimes with a few stretches. Can't wait to read how this goes down, with Cornelius probably having a huge part in this scheme.

I didn't expect it to go that way. Not one bit. All in all it was a slightly rushed, but frankly satisfying ending (for now, I guess) to the legendary Logan. I was actually really impressed by McNiven's pencils and colors here, as they surely added a lot to the narrative in the whole mini, while Soule's writing was very heartfelt in the end, while hurried in other occasions. Overall, I can say I'm satisfied by this book, waiting to see how this HUGE death will involve the rest of the Marvel Universe.

Nathan Edmonson is the right choice to write this book, thanks to his experience in the genre. Maybe the story is a little confused, but knowing the guy I assume that everything will go into place at the appropriate time. Perkins is OK and simply functional to this kind of tale.

Holy shit, Deathstroke is one cruel son of a bitch! Priest's take on the mercenary is a very violent and gritty one, and it works very well for the character in his "Rebirth" series teaser. The story itself was a little bit confusing for a non-follower like me, but still pretty interesting and cool.The art is nothing special, and sometimes sloppy.

"Doctor Strange" #1 by Jason Aaron and Chris Bachalo is a fantastic introduction to a new adventure for the Sorcerer Supreme, with witty dialogue, a charismatic lead and that amazing Bachalo style I've loved anywhere I saw it but which is especially well put to use in such a dreamlike comic. Aaron was born to tell stories of magic, too, so this is supposed to continue as one of the best things Marvel can offer today.

Superb origin story, great analogies and connections to Kovacs' own life and absolutely beautifu. art as always. Just a tad more plot progression (considering it's a bimestral) would've been nice.

This issue takes us to New Shanghai, a Chinese (?) state ruled by Premiere Mao. The historical reference is clear as blue sky, but the book is very little about political abuse and much more about revenge. Differently from issue #2, where the politic talk was fundamental, here we just have a nation at war with a cosmic entity (to cite "Sandman") for the life of a girl. I was pleasantly surprised by the beautiful love speech said by the (sorta) warlock, as it deepened an otherwise pretty sterile number. It's still to be understood why his brothers are chasing him, but by now Death's adventure has been satisfying.

"East of West" #5 gives us some explanations of the mysterious sentences written on the white pages, also releasing a bomb information for the readers and for Death's wife. Apart from this, though, the installment feels wasted in its lack of happenings, and even some dialogues are all in all, hollow. For instance I expected much more from the encounter between the two bearded men of the series, Solomon and Chamberlain, which ended up being just a cynic criticism against hope. My score is also established by a poorer care in the artistic department, especially regarding faces.

This one was an excellent issue, despite the absence of all of the Horsemen of Apocalypse. Maybe the series needed a moment of break from those big personalities to concentrate on something more human, but not less compelling. It's time for us to come to know the legislation ruling Texas in 2064, which is an odd one, where the so-called Rangers kill every misruler for the greater good. This leaves some cause for reflection and a very well crafted "origin story" of this authority. The Chamberlain remains my favorite character, as I love those who can survive just by means of rhetoric. He's goddamn evil, also, and this makes it even better. I'm craving his own origin to be revealed.

Ed Brisson is tasked with streamlining the complex situation that started six years ago with Bendis's run on "All-New X-Men", and it looks like he's doing a good job at it. Sure, the story is nothing special at all and feels like the nth iteration of characters from the future/past messing up with the X-Men, but it is laid out in a very human, family-like way that I really appreciate in an X-Comic. The art is good and precise, although it doesn't particularly stand out. The final cliffhanger (which I happened to guess at the very first page) is kind of infuriating, since it's nothing new and is given no explanation at all, for now. PULL

"Extraordinary X-Men" is one of the new books about the mutants in the All-New, All-Different Marvel. Unfortunately, Jeff Lemire (whom I hugely respect as a whole) didn't get to introduce us to any new or different stuff: this doom scenario for the mutant race was presented to us a hundred times, just like most of the other plot points. It really doesn't feel like this story will add anything to the X-Men that wasn't said before. I don't feel like completely trash this issue, though, because of the energetic art by Humberto Ramos (from the pages of "Amazing Spider-Man") which makes for fantastic panels, one after the other.

All these reviews giving low scores because the FF aren't together yet don't see the point. This was a very good introduction to possible new readers but also featured a massively important event for the reunion of the team. It also has the light-hearted feeling that an FF comic should carry, so all seems to point to Slott being the right choice for the greatest super-team of all time.

They couldn't mess up such an important character in the current line of events, and fortunately Joshua Williamson manages to pick up the meeting between Barry and Wally from "DC Universe: Rebirth" and continue it in a delightful, if less impactful, way. The art by Di Giandomenico looks great for this series, with Flash releasing lightnings all the time in a very cool fashion. Hopefully the ongoing series will shed some light on the mystery of the "Watchmen" pin and everything connected to it. -Pulling-

It is not rare to see an old glory from the past trying to say something in the present. It is the case of Chris Claremont (writing "Nightcrawler") and the same goes for George Romero. The usual result is depressing, but this issue is not as bad as I would have expected. Romero is clearly still grabbing at an obsolete storytelling style, which is surprisingly somewhat engaging, though. With a good modernization the story could hope to compete with its primary rivals (i.e. "The Walking Dead").

The first issue of "God Country" was a breath of fresh air for me. I was just looking for a well-written, crazy comic and it looks like I found it. I do not know Donny Cates and that excites me more about the series as I have little to no idea where he will take me. For now his ability to switch from a family drama to a bombastic fantasy was incredible and his dialogues (and narrator!) were really enjoyable. I dig the art as well, it's the sketchy kind without the need to exaggerate it like many other artists do, practically drawing badly and in an unintelligible way. Beautiful last page and landscapes in particular.

Honestly, coming from issue #1 this was a bit of a let down. A lot of things don't make any sense under a characterization point: Emmett seems completely not surprised by the situation for no reason, considering the sword cured his dementia. He acts all cocky with a ten foot tall god for no reason and sends a taunt to an almighty divinity for no reason. Also, why would Attum create a sword that doesn't obey his own will? Sounds stretched at the very least. On another note, the art was still pretty consistent and I loved how Cates creates interactions between very realistic situations like Alzheimer's disease and mythical concepts like curses and divinities. Also, touching moment when Emmett remembers his wife and family in general.

This is how DC is going to make amends for the New 52. A group of new, fresh series have been announced and I have no problem to say that "Gotham Academy" #1 is an experiment gone right. Its artistic style is heavily digital, making it almost look like an online comic, but the attention given to it is a lot. What really makes the title worth it is the fast paced writing: a lot happens here, and at the end of the issue you feel home. It's still to be understood how this series will involve the Batman (or get involved by him), but the premise is strong. The threat is original for a superhero-ish book. I don't love the teen drama style, but it's bearable.

"Green Arrow: Rebirth" is what I hoped it would be and then some. The whole idea behind "Rebirth" is to re-establish some of the aspects of the pre-New 52 Universe that people loved and were mindlessly removed from the continuity. One of them was the love story between Green Arrow and Black Canary, so to see them meet each other again and start over their relationship was very cool, also thanks to the sharp and quirky writing by Ben Percy. Schmidt's art is fun and colorful, and I love that balloon choice associated to this kind of art style. The Underground Men seem like an interesting enough threat, although their design reminds me waay too much of Marvel's Moloids and Frank Miller's Mutants. I can't wait to start this series, that's for sure. -Pulling-

"Green Lanterns: Rebirth" is a promising new start for this side of the DC Universe, with the new Lanterns sporting a fun and competitive relationship and a very interesting menace on the horizon at the end of the issue. The idea of introducing the characters through the voice of the next big villain mirrors the choice made in "Aquaman: Rebirth", and in both cases it doesn't work wonders, but as they came out almost together I don't feel like accusing anyone of plagiarism. The difference between the two books is that while Black Manta is an overcooked baddie with too many stories and failures on his back, the idea of a "Red Dawn" after the Darkest Night and the Brightest Day is genuinely brilliant and makes me want to know how it will pan out. The art is average but fit for a space comic. -Pulling-

Even though most members of the team are totally interchangeable, the complicated story works well and the insight into Astro's past stands out for its beautiful art and compelling re-enacting of Captain America's destiny in a whole thirty-first century style.

These Guardians books from the All-Different Marvel line-up are just not good enough to be followed and are surely way less interesting than they were back in Marvel NOW. This side series seems to focus on interdimensional encounters between different versions of the Guardians, which in good hands could prove interesting, although the concept is old as f**k. Still an enjoyable read, without huge downsides, but it falls flat on the writing and the average drawings.

This new face of the Guardians doesn't really fit for me. I don't like the Thing being a member of the team (further assuring the end of the Fantastic Four at least for the foreseeable future) and although I liked Kitty in this issue, I don't love the IDEA of her being the new Star-Lord (or Star-Lady?) and leaving just like Ben her original team. The threat is not exactly thrilling for me, both because I don't know her (I understand she's a pretty new face, though) and because the ending was very cliche for the introduction of the next big enemy. On the other hand, the art was very enjoyable and Bendis's dialogues are the best as usual. I also liked the first sequence in the Negative Zone.

As I was not a reader of the "Green Lanterns" series in the New 52, I found myself quite confused by the new status quo of many characters (Sinestro's, for instance) and I didn't really understand why and how Hal forged a new ring for himself, but I still enjoyed the realization and art, especially in that last epic oath scene. A classic. I'm more of a fan of the other book about the Lanterns, but I'm gonna continue both for now. -Pulling-

I am surprised that DC Comics would publish something like this in their main universe, but they seem to be growing up from their New 52 disaster and rising with new ideas. Harley is, just like her male counterpart, a difficult character to write, but Jimmy Palmiotti and Amanda Conner did a very good job at it. She's just the psychopath she should be, and as mentally unstable as the Joker himself. The bike race and the job interviews were awesomely crazy, maybe the apartments thing should get more spicy to be really interesting and fun. Chad Hardin is okay, maybe his style is too heavy on computer aid, but he's got the big merit of making the Crime Queen a freaking sexy sociopath, and that's good enough.

I just had to review this book, which is to be considered the beginner of a long list of high-quality, indie-looking superhero comics thanks to this idea by Matt Fraction. "Hawkeye" #1 is not even close to what the series became after a few issues, but it's still a joy for every superhero fan to see Clint Barton, the least cool hero after Aquaman, become this badass and extremely well written character. The art by David Aja won him an Eisner for a reason: it's so unique and satisfying it set a new line of good comics art after this.

Lemire is always good, but this issue felt a little like a "filler" for the overall "DN: Metal" story than an actually relevant one. The inner monologue is a common narrative tecnique, and here it works decently. Art by Bryan Hitch is very good (although it should be, for a one-shot) and after all it's interesting to understand what's going on inside the monster protecting the Dark Forge.

I know close to nothing about John Constantine, so I thought this book could fill me in for the future installments in his story. Unfortunately I didn't really like the confused plot and the very sloppy art, although some of the lines, especially Constantine's, were well written. I'm sure fans will love his reintroduction in the DCU, but for me it was not enough. -Dropping-

Not a terrible issue, but I don't think it's that amazing either: the idea behind the comic is as old as the Hulk itself, and it has no shame in admitting that, but it also doesn't feel as riveting or clever as it might seem because of it. Dialogues are pretty poor and this new turn from Hulk needs loads of explanations. Art is decent, but nothing too crazy except for some Hulk expressions near the end.

With issue #2, I'm definitely in for the ride. This episode had a very smart idea at its core, the grieving thing, and some intense moments. The art has also improved. I still feel that the problems of the series are the vagueness in what happened between Banner's supposed death and the present, and some not-so-fresh or innovative ideas, like Bruce's internal struggle with the Hulk and the "death is better" piece. Overall, if Ewing manages to capitalize on the good aspects and corrects the smaller flaws, this could become a run to remember: something the Hulk hasn't seen in a long time.

Holy shit this issue was fantastic. Ewing is definitely stepping up the writing and the plot intricacy here, delivering each month a completely different type of storytelling, with the best being this one hands down. It is also the first time in my life I read a comic that actually makes good use of having different artists collaborating on the issue. Brilliant stuff. I am now, officially, 100% in for the ride.

Another chilling episode, with more links to the mysterious "One Below" mentioned in #3... great implementation of a lesser known character as well.

Awful. I've been trying to approach the Valiant Universe with "The Valiant", which is letting me down, and this other new series is definitely not intriguing me to continue this discovery. First of all, for a guy like me, who doesn't know this universe, it's hard to really understand what's going on and what does it mean to have their powers, whose effects we see in a rushed battle against some random Arabs who apparently are taking over the world (?). Then, the realization isn't between the best, regarding both art and writing. Joshua Dysart writes a dreary and boring script, where the only interesting idea (the vision) is too filled with complicate relations to a world that doesn't even exist. Also, the characters who show up aren't the least memorable or well characterized. The artist is average and not adding a lot to the experience.

It was a bit confusing for me since I haven't been following the Guardians series lately, but overall engaging and with a couple of awesome twists.

The usual recap episode before a huge event like this one. Small pieces of dialogue, the best of which is undoubtedly the one between Loki and Logan, a few shocking moments and... more recap. I liked the final section where the whole story of the stones is explained. It's good to refresh these old stories and remind everyone that they are still inside the writers' minds.

Bendis opens his new run on Iron Man with a pretty simple story that features his usual sleek style, perfectly matched by the elegant art by David Marquez. I already saw these two on All-New X-Men and they were awesome. I have several questions about what the hell is going on, especially considered who pops up at the end of the issue, but let's give it time.

Decent new starting point after a long break I took from comics. Arno is not a great protagonist, but the entire idea of Tony feeling more machine than human now is interesting. The cosmic threat of the "Extinction Entity" is boring.

Billy Batson has agreed to become the Shazam, but the how wasn't as great as you might think. Gary Frank's art is stunning, but Geoff John's scripting is vacillating at best, as usual. The dialogue between Billy and the old god is the dumbest thing ever (a fifteen yo teaching a millennial god that people are bad...) and I couldn't really stand it, then the Billy/Freddie bromance is kinda good and hilarious and finally the anticipation of the Trinity of Sin is mysteriously good. The plan was similar to Scott Snyder's in "Batman" #0, but the realization was quite not the same.

It mustn't be easy for anyone to start a whole new superhero narrative universe, but Geoff Johns seems to me like the least advisable DC writer to do that. I don't have much sympathy for his mediocre scripting, and with this book he doesn't disappoint. For God's sake, the #1 issue of the New 52 should be something incredible the team had worked on for months, and instead we have this somewhat funny and yet very ordinary League adventure. The ending was the icing on the cake with the so original Batman vs. Superman thing. Let's just say that I hope that the premiere of the new DC Universe won't correspond to its overall quality. Jim Lee was actually pretty solid, with his powerful figures fitting the context.

This is bullshit. I wanted to be sympathetic with Geoff Johns, trying to understand how hard it must be to rewrite all over again the Justice League, but this shit is just a sequence of cliche situations and, when not, it's just stupid. In the cliche section we have: Batman vs. Superman; Supes immediately understands he was wrong all the time and joins the team; bad cops want to put in jail a good superhero (this time the Flash). And in the stupidities we have the pleasure to assist to an intense father-son fight about... his not going to the son's football matches. Jesus Christ. And I'm already tired of this bombastic style of Jim Lee's, although the chain-breaking was actually great. I'm stupefied at the fact that this creative team is made of the bosses in DC Comics, while there are so many talents just waiting for something to write...

It's dragging so much. So much. It's painful. Geoff Johns doesn't need to introduce one character at a time, and mostly not in this way, which is by fighting a bunch of brainless monsters without the big boy (Darkseid) approaching. As we're still missing Cyborg to the gang I guess it'll take another couple issues to really kick in the story and, by then, I'll be definitely tired of it. Moreover, John's characterization of each hero is two-dimensional and bores fast old readers. This thing needs to be fixed, being the core series of the disgraced New 52 and, because of that, sure to go on for a lot.

Still not going well. As Aquaman enters the team and we are introduced to the big villain nobody saw coming (...) I'm more and more sure that any long time reader will want to gouge his own eyes out of boredom. And it's not like even the newest reader has never heard of the team or DC's version of Thanos, so why bother writing this obvious thing? If Johns wanted to roll out the new universe with a classic villain why not do something stranger and even revolutionary to have people surprised instead of uninterested? But I'd never expect this from such a conservative author, so I guess we'll have to wait for the Justice League to become something really interesting to follow.

I'll never get tired to say that writing the core superhero team for Marvel or DC might be the hardest feat in mainstream comics, and if anyone was going to be able to do it, that was Scott Snyder. He has by now proved himself over and over, both in more intimate stories (most of his Batman run) and in hyper bombastic ones (for one, Metal), so I believe he's going to make the Justice League great again. With this first issue he has brought back what fans love of the League: classic characters, fun interactions between them, cool villains. But he has also found a way of not making it the usual scramble of older ideas, with a threat that is mysterious and could herald something very interesting like Metal did. The art by Cheung was OK, with some great splash pages but also not fully polished at times. On the flip side, I'd argue that my main concern is Snyder's quest for constant gigantic, world-shattering threats, which might get fatiguing if not handled with care; also, on the same note, the ending felt a bit rushed and cliché, with Luthor being the most classic supervillain possible, line included. PULL

Pretty crazy and clever idea by Snyder, as we've come to expect.

Well, well... Snyder was tasked with taking Prime Earth more in a New Earth direction, and I must say he doesn't disappoint here. Every character is well characterized, fun to read and the teams are sure to bring interesting dynamics. Manapul's art is also very good, adjusting so well to the cosmic scale of the tale. What I'm not sure about is already hitting us with a multiversal threat, since we JUST faced the Dark Multiverse, so a few months of ease would've been helpful. Also, these Omega Titans look and feel way too much like the Celestials, who also are at the core of Marvel's main storyline right now... hopefully they will find ways to make them very different stories.

By now we should all know that when an artist writes his own stories the result is not the best. Hitch introduces the new status quo of the League with a boring, cliche monster to defeat, same old dialogues we've read thousands of times about how fantastic the JL is, and a very obvious choice by Superman from New Earth. I do love his drawings, though, so it's not a complete disaster. -Dropping-

I've been reading the premieres of some Image series, just to get accustomed with them and choose which to read first, and so here I am experiencing the first issue of "Lazarus". First thing I have to say is that it didn't get me as other Image books did, but secondly I admit I'm really eager to know how it goes on. The dystopian world the story is set in reminds me of "The Hunger Games" in some ways, but the disposition of charges is quite different. I liked the protagonist, Forever, for her apparently cold, but actually caring, heart and her powers too, obviously. Michael Lark was very good here, with that rough style which is so fashionable in apocalyptic settings and for a reason. The script is neat and reading this is really satisfying as it flows like water.

Good #1, with some of the typical cliches of a premiere issue (like the set-up nature of the events) and a not so deep look into the character, but the unusual art style and some interesting lines make up for it.

Very good one, solid writing and characterization of each character. Cheung is perfect for the series, so I'm glad he's back.

This one was more of a filler story for the most part, but it actually makes it up in the end with a well needed development and an unexpected and "revoltin" one that should make things interesting going on. I'm not sure why at the beginning the editor says that this story happens before "Invincible Iron Man" #600, so I guess I'll have to check that out!

A superb annual, with a serious psychological insight in Doom's mind and past, but also hilarious interactions between Doom, Ben and the Council. Amongst all this, a shocking revelation that starts to give a bit of sense to what happened to Doom after "Secret Wars" THREE years ago. Marvel has really wanted to keep the F4's story on hold, but now that we can finally find it out, it's great.

This book is certainly a "fake cover comic" as it is supposed to show us how Miles becomes an agent of S.H.I.E.L.D. It's interesting to notice how hard is Marvel pulling on this whole SHIELD thing to promote its TV series, but anyway it wouldn't have been a bad idea, so that our hero could say he is part of that innumerable multitude of super-humans who entered the secret agency. This is actually an emotional issue in which we uncover the undercover relationship between Miles' father and a young Kingpin. And, let me tell you, nobody writes emotional issues like Bendis does.

Incredible writing from mr. King here.

Yet another incredible issue. Gerads surpassed himself and the two plot-twists at the end are incredible. It would be great now to get some clearer answers in the "Darkseid is" deal.

The second I understood Warren Ellis was going to start up Moon Knight's new series, I was overjoyed. He's my favorite writer in comics, and I had never been able to get accustomed with the character. This is definitely the right time. I love Batman and love as well the way he's being teased here.The self-driving car and the moon-boomerangs are touches of style and I don't know if they already existed before this comic, but surely Ellis used them in an awesome way. That fight with the ex-agent of SHIELD was kinda gory and overall fantastic. Declan Shalvey is great at his job, drawing an intensely dramatic superhero, just as crazy as the creative team which is working on it.

My man Warren Ellis. He's just a master at creating something simple and yet unseen in the industry. This book was the classic 20 pages long, but it felt like a 10-paged one because of the lack in talking, which is not something unseen, but definitely not in a chase sequence. I've always wondered why every superhero talk to his villain while fighting; here we read a story where concentration in action is the real point of it all, as the plot itself is pretty bony. The first sequence is another artistic experiment, with those people inexorably dying without us knowing why and yet caring so much for them with a handful of balloons to characterize them. Incredible. This whole thing wouldn't have worked without the help of the great artist working on the book, who's gonna get a big reputation after this series ends.

I totally loved the art in this issue just like I did in the previous one. And, as in the previous one, "Moon Knight" #3 is very short of words. There's just one, full dialogue between the hero and Khonshu, the God that brought him back to life, the rest is neat drawings of ghosts and awesome action. The basic idea is interesting, and the ending is strong, but I think that if the series goes on this way (in unrelated issues, I mean) it might bore on the long period.

Mother of God, this issue was so weird. These one-shot stories Warren Ellis is telling us cover different aspects of who has become a traveler of the unknown, on the same level of Doctor Strange and John Constantine. It isn't even well clear what the hell has happened to the patients and all that, but it doesn't really matter as the sensitive experience we feel is beyond limits. I'm sorry to say that, 'cause I love Warren Ellis, but, although his work is brilliant, the real kicker in this series has always been Declan Shalvey, who still manages to steal the scene with a dream-journey that will blow your minds. Obviously the writer knows the guy's potential and for that he's giving him so much space, but still, wow. And I also loved the Odinburger.

Okay, I now understand what Mr. Ellis had planned to do when picking up the lead on "Moon Knight". And the problem is, you won't unless you read this. This amazing team is leaving the, otherwise ongoing, series and everything they have done to the character, which was a lot, letting him barely speak, will be inherited by the next writer, and I hope he won't throw everything down the draw. It's the art of violence: you feel extremely pleased at seeing a man beat the hell out of some thugs and that just feels right and wrong at the same time: he's so cruel, you can barely consider him a superhero at all, although he's the greatest man on Earth. Shalvey has a bright future before him, or at least, I hope so.

As many other fans, I'm extremely sorry to say goodbye to this (literally) dream team who changed our view of Moon Knight so much in so little time. Even the ending issue followed strictly the direction of the whole mini-run: a self-ending story not open to further installments. And also this time it is heartbreaking and deep, particularly the last words. Now, for the future, I hope that Brian Wood will be reasonably good and give this series a decent continuation of what Ellis did here.

Fortunately, Brian Wood and Greg Smallwood didn't disappoint me after the incredible (and incredibly short) run by Ellis and Shalvey. As I supposed, the winner style of the previous creative team was kept pretty much the same, but it looks like Wood wants to write a more cohesive plot instead of Ellis's one-shots. However, his characterization is solid and the "villain" -I wouldn't call him that- has an interesting background story. Maybe he's too similar to issue #2's bad guy, though. The art by Smallwood reminds me someway of Francavilla's layouts (and this is a BIG compliment!) and of Samnee's lines (and there goes a HUGE compliment!), but eventually he doesn't show a clear style of his own.

Well. Let me say that I preferred Ellis and Shalvey on this book, although the (Small)Wood team is keeping up satisfyingly. This issue had an unusual layout, that's for sure. The lettering were a little too difficult to tell apart, but still colorful and creative. I don't really love Smallwood on this one: he's too sketchy for my taste, but the last few pages redeem him. I like the idea that we are approaching to a more complex project, probably leading to a patient vs. doctor fight that would be awesome.

Great first issue to re-introduce us to one of the weirdest Marvel characters. Of course long time fans may be bored by the necessary catching-up, but for a #1 issue it does a very good job staying informative, quirky and at the same time giving some depth to the character. For now the threat is quite generic, but of course the benefit of doubt should be granted.

"Ms. Marvel" #3 is slightly better than the previous installments, but it still needs a lot of work to become the earth-shacking series it's supposed to be. I'm not gonna complain about the same problems as in issues #1 and #2 because I already have and they didn't get much better, but I found some nice idea here and there (like "somewhere in West Side Ave.") and a good cliffhanger that keeps me quite interested. The mosque scene was pretty good, too, finally deepening the cultural vein the series prides itself on.

Four issues in, I can frankly say that "Ms. Marvel" is the most overrated series of, like, the decade. Kamala Khan is supposed to be Marvel's "adorable-est" character, but on the contrary I hate her more every month. Her fake nerdy attitude just kills me and her random actions (like practically telling your mum you are sneaking out of the house) make her a dumb girl to my eyes. Her second-best friend is even more irritating, complaining about her not telling him her secret (have you never read a superhero story? They kinda do that) and trying to be the funny guy while he is definitely not. Willow Wilson probably thinks she's a great comedy writer, but she's most definitely not. Now I wanna see how this any-guy, the Inventor, a thug with laser pistols, will be this big threat/weird psycho... or maybe not.

My Lord, it sucks. This issue also had me realize how dumb is the artistic section: watching the oh-so-inspiring dialogue between Abu and Kamala you can easily see how crazy are proportions (like, his hand is bigger than her head) and this is really bad in a comic where physical proportions are so important. Otherwise, a cheesy script and a flat villain conspiracy make it once again something to avoid as much as possible. My real fear is that this gal could seriously become "the new Spider-Man"... but on the other hand that may be the occasion for other teams to work on her and maybe make her adventure better.

My patience may be worth it. Honestly, I don't know if this new artist is here to stay or he's just a substitute, but for what it's worth, he's way better than the regular. Wilson is always Wilson, unfortunately, so the story is not so great, but the team-up with a beautifully drawn Wolverine adds something to the story. The villain begins to show some more interesting features. If Jake Wyatt stays on this, he can really be a help for an otherwise poor series.

Never expect something linear and perfectly understandable at first by Grant Morrison. "Nameless"#1 is an odd book with an even odder pacing and quite hard to follow (although not so much actually), but leaves me with the interest to know how it will unravel, and that is absolutely something good. The art is somewhat "grainy" but what really sold me this comic, artistically speaking, was the panel layout, easy to read and yet ingenious. So, the good ingredients are right there, we'll see if the creative team will use them right.

An unexpectedly interesting turn for the first Robin with a fantastic foe (the second best after Joker in the New 52 "Batman" series) and clever character analysis. The art is cool, if nothing sensational. Seeley managed to hook me back to the beloved Dick Grayson and I'm happy he did. -Pulling-

The nth groundbreaking event from Marvel starts off with an issue #0 by one of my favorite writers in the industry: Mark Waid. Apparently this guy feels comfortable in any role, from the weird/funny/horrifying "Daredevil" through the psychological "Indestructible Hulk", to the introspective and somewhat scary "Original Sin" #0. This is the story of Uatu the Observer, a mysterious being whose motives are uncertain for the Avenger elite as well, as it seems. Waid builds an incredible origin story (and the "original sin" connected to it) for the character, managing to be both funny in his characterization of Sam (Nova) and upsetting in the second part of the book. Maybe the first pages could have been a little more lively instead of a synopsis of the previous episodes in Sam's life, but it was totally, 100% worth it. It's too bad that Waid won't keep writing the following issues.

Stunning art and a story that unfolds without giving away everything at once.

This new series has the right feel, but the wrong story. It just doesn't feel right to see Frank Castle as a heartless assassin during work and as a friendly customer at his friend's bar. This "Hawk-guy" thing can't work with any character, and this is definitely the case. The art is pretty good, although not always neat, and the coloring, too. I hope from this author a more complex and grim storyline in the future issues.

I get that it must have been hard for Waid to ship two issues in a week (the other being the wonderful "Daredevil" #12), but I expect a lot more from him anyway. Really looks like he was forced to cross over the agents with the new heroine and so came up with this cliche story with an even more cliche ending. As per usual I dislike Humberto Ramos's over-the-top style, even though it's not so terrible here.

"Am I shitting?". This is the very first line you'll read while starting "Saga". It's being said by a woman who's giving birth to a baby. I guess you have already understood how nuts this series is going to be thanks to this. Vaughn's rallying cry is "over the top", and this sci-fi epic sure provides something of the like. A conspicuous volume introduces us not only to the interesting couple of protagonists, but also to some minor characters with a lot of potential for future issues. It seems like a "Star Wars" on drugs, or something.

Still a very good one, with the good old outstanding dialogs, but not as riveting as previous issues due to its gluing nature. This finally takes us back to the interrogatory and lets us keep up with it.

Great reflection on the nature of war and propaganda. After a few slow issues, the creative team gives us a satisfying moment of pure deadly action.

Excellent wrapping up of the story arc. Most loose ends are closed, but some of them could have been handled better, such as the journalists one. Weird situations (like Alana flying and putting out Gwendolyn) are made up for by the beautiful art.

After the long hiatus, Saga returns with a somewhat slow-paced, yet very entertaining issue. Both Vaughan and Staples are back in great fashion. Maybe the opening scene, although surely unexpected, isn't in the best of tastes.

As a matter of fact, Saga is not the same comic book as before, but this isn't necessarily a downside, as the new take on the adventure is as bright and honest as the previous one. Betrayal, murder and, especially, drugs have never been more interesting to read about. I'm not really into what Marko is getting into, but I can understand his situation.

Another amazing entry for the series new story-line. The unsettling Dengo is a threat to gaze at with fear and shock, while the protagonists' relationship is even more heart-breaking with those subtle lines by Fiona Staples.

This is one of the best books on the stand and one of the best entries in the whole series. The psychological work made by both authors is simply incredible, with the massive confrontation between the two being a heartbreaking point of this big, bold adventure. That final cliffhanger had me scream, as the true nature of some motherfucker is revealed. Also, we finally get to see the King.

Yet another win for the creative team, whose work together is incomparable to any other in the industry right now. The unending twists and turns of the story never let me predict what is going to happen, and this is totally good. Staples is astonishingly talented, as she manages to give something more to every single panel, even though the writing is already pretty dense. It's unfortunate that the situation we have witnessed will definitely lead to another hiatus, because I'm really enjoying this comic.

So good, so good! For the 24th time, Vaughan and Staples confirm their unbelievable knack for comics with an arc ending that is just pure awesome set-up for yet another new era in this amazing and always in motion story. The final page was mind-blowing and, as expected, unexpected. As I said last issue, the only problem here is the hiatus coming by right now...

Yet another success for the best couple in today's comics, Staples and Vaughan. The story is addicting and very well staged, although something more compelling should happen on Marko's team side. His addiction is a nice turn, but already seen with Alana. The Rebellion is intriguing and shows its strength with the snake-man, while Gwendolyn's search for a cure is funny and I can't wait to see the "unkind" salamander.

Quite the strange issue here, with the whole 24 pages dedicated entirely to Marko and his overdose. The mind trip was an interesting in-depth analysis of the character, also thanks to the panel setting and the awesome art by Staples. Maybe something more meaty next issue would be good for progression, but for this time it's good to go.

Not really one of the best shots by the team, as the plot feels more rushed and random than ever. It's still beautifully written and drawn though, so it remains one good comic book.

It's not as if Saga had become a horrible read, it just doesn't feel like a masterpiece anymore. Okay, maybe the masterpiece feel fell short after the first storyline, but now it's really going down in the midst of so many other beautiful books by Image Comics. The story is not so gripping anymore and Vaughan and Staples don't seem to be able to invent anything of such impact as was Sextillion for example (although that perverted dragon was amazing). Death falls on characters but we don't care much as we have experienced so much in the past. Waiting to fall in love again. Still a, common, good read.

Finally an issue that stands out after a storyline so lacking of them. This "season" finale leaves us with a shocking death that finally made me feel something, a reunion that gave me chills and a cliffhanger that had me inquiring. All that coupled with a well written script and great artwork as usual. Plus, the goddamn Will is finally back!

Say whatever you want about "Satellite Sam" #1, except it isn't original. And I guess this is the line of work Fraction is taking after his Marvel era: he's trying to try every possible weird combination in comics, and does a hell of a job in the process. This book reminded me of another noir, movie related series, "The Fade Out", which also shares the episode title. Only problem, this one was out like an year before the other. So we have a comic book about a TV station and a TV show, something I honestly never heard of in comics, and a murderous case very well presented. So, all in all, the Fraction factor is here. What might become a problem, though, is Chaykin. Obviously, Matt loves him 'cause he's weird, but his pages are too stuffed, his drawings aren't always perfect and the balloons are sometimes hard to connect to the characters. That said, it's so different from the rest of what the comic industry offers that I want to give it a chance, in spite of this mild flaw.

Jonathan Hickman sure is an ambitious writer. If we weren't accustomed to how superhero comics work, we could actually believe that everything was destroyed and everyone dead in this first issue of "Secret Wars", but we all know it's not like that. It will be fun to see how things will change after this, and I have to say that the scale of the story is one of the biggest I've ever seen. Esad Ribic is a fantastic penciller, although I spotted some drawings he already used for other stuff, and his epic style well fits the story. The real problems with Hickman's events are that they are over-stuffed with characters and sub-plots, and that they are over-complicated and it's sometimes really hard to grasp the meaning of what is actually going on. Other than that, good start.

First of all, I must say that Esad Ribic must be praised for his astonishing artworks, as he's probably the main reason I enjoyed so much this issue. The writing wasn't bad at all, too, with the introduction to this famous "Battleworld" which is supposed to become the center of every other Marvel comic around. The idea is good, although not quite as original as it may seem, and I really appreciated Hickman's effort to put as much Marvel as he could in the different parts of this universe. I was saying that it's not that original because some aspects of the story remind me strongly of Game of Thrones (the wall that was built to prevent the dead and other threats from entering the realm, the Houses fighting each other...), but I guess that if you gotta take ideas from someone, it better be someone good. Finally, I loved that Doom has somehow managed to create a world of his own, and can't wait to get deeper in the story.

I was just wondering when our heroes from Earth-616 would pop out, and there they are, ready to wreak havoc on Battleworld. Our understanding of this new world order is clearer now, but many things stay unanswered, like what the hell were those light beams Doom was talking to at the start of the series? And what do they have to do with all this? Victor's psychology was further studied with a clean and beautiful dialogue between him and his beloved Susan Storm. But how will she react at the sight of not one, but TWO Reed Richards from past dimensions? The intriguing plot points are all there to be exploited, and I have a feeling that Hickman will do it right. My only concern with #3 is the evident drop in artistic quality by Esad Ribic, with some characters reduced to mere sketches. Hope it will get better soon.

This issue was intense. Like, really intense. The three sides to this story, the rulers of Battleworld, the survivors from Earth-616 and those from Earth-1610 all came together for one of the most epic showdowns in years. There wasn't much action after all, considering how Doom is apparently utterly omnipotent, but those deaths and those dialogues hit harder than any punch in the face. Against my expectations, "Secret Wars" is revealing itself as a mighty and worthy event very well led to its doom (see what I did there?).

The classic set-up issue that once in a while is needed is here, and it was an occasion to study difficult concepts like grief, guilt and responsibility. I'm really liking Valeria's strong personality which is starting to go against Doom's requests and how things are becoming clearer, from the death of the Beyonders to Strange's last effort to save his old comrades. On the other hand it was a very heavily expositive issue, so not the easiest to read through.

Things are getting in place for an explosive ending. This issue showed us how actually vulnerable even a god like Doom can be, with the Spider-Men finding out about his source of power, Black Panther getting a weapon that could change everything and return everything as it was before, the Reeds uniting their mighty minds to conspire against the ruler of Battleworld and Thanos inspiring a missing character to stand up and fight. It all seems ready for an amazing finale, but I fear that all this might be an all talk and no walk, and that everything may be re-established as if nothing happened. I honestly hope not, but judging from the other series that are bound to start soon, my hopes wobble.

This was definitely a passage issue, getting everything and everyone that counts on the plate and ready for the final passages. Its beautiful art by Ribic and epic writing by Hickman make it a comic worth reading like the rest of this -as of now- excellent event.

We get nearer to the finish line and "Secret Wars" delivers once more a delightful issue, with incredible art by Esad Ribic and a good story on Hickman's side. The idea of introducing Groot was honestly unexpected and appreciated, there were some memorable deaths (which won't last any longer than another issue I guess) and a little fun. What doesn't make me feel like this was a top level issue is the unavoidable fact that the final fallout was clearly set up and expected, losing some momentum and possibility for a jaw-dropping ending.

Wow, that was one hell of an ending. Or of a start, if you will. To be completely honest there are some elements that I'm not sure I'm grasping right now, right after reading it, but another couple of times and everything should be settled. Although we all knew where this was necessarily going, Jonathan Hickman once again managed to write a complex, satisfying and enthralling story, that technically literally changes everything and gives new life to the Marvel multiverse. As always, I can't help praising to the death the incredible work by Esad Ribic, one of the most talented and stylish artists in comics today. I especially love his use of pencils to fill the drawings, which feel like a homemade comic while not giving up professional precision. Simply fantastic and a perfect pairing for this epic story.

Matt Fraction is NUTS. Seriously. I'm enjoying a lot his completely unpredictable take on Hawkeye, but this story seems even weirder and at the same level of quality. Sure, the art isn't as competent as that by David Aja, but still we get a comic book with a crazy idea and a magnificent realization, topped with some deep thoughts and silly moments (the best being the "slut" teaching the protagonist the strangest sex positions... I freaking loved it.

This shit is pure genius. As we deepen our knowledge of Jon's (better, "this fucking guy"'s) story, we realize that Fraction has built two very different and yet real characters, each having his own voice and way of speaking. While she is quite delicate and talkative, he's a sympathetic stammering and rough talker. While she cums in "the Quiet", he does so in "Cumworld" (ew). I'm becoming more familiar with art, and this time I appreciated it more. Only snag is the excessive use of sexual references like EVERYWHERE which could start to bore after a few more issues. Be careful Matt, as you could be writing a masterpiece here.

Every issue manages to surprise me with new genius ideas. That "musical" piece. Seriously. Matt Fraction thinks comics differently. Just differently. And everything else was great, too, not a single thing to complain about. This book is incredibly funny, has a complex and compelling story and has one of the couples I've grown fond of in less time in comics. I seriously love this creative team and seriously want to know who the heck are those shiny guys chasing them.

I LOVE THIS BOOK! It's like when you meet someone and know he'll be a good friend for you. "Sex Criminals" goes on with a very well planned unveiling: this time we get to understand (kinda) who the hell is that woman who "speaks like the Sandman" and wants to arrest our heroes. As we are used to by Fraction, the issue is so damn fun and brilliant in its solutions, even though this time (maybe for my fault) I didn't really get some panels that were evidently supposed to be puns or funny situations. Anyway, this series keeps with the good stuff and I shall keep on reading it!

It was one hell of a ride to get here, and with issue #5 closing the first arc, I can frankly say that "Sex Criminals" is one of the best comic books of the present day. If you think about it, Matt Fraction offered us a simple and yet perfectly puzzled plot, whose completion is to be found here. It's also a deeper insight into Jon's life, drawing our attention on a matter I thought was just a funny idea, and instead is revealed to be something serious and possibly a threat to the couple's stability. Issue #6 will start a new story line, and I'm burning to read it!

"Sex Criminals" is back after a three-months pause and issue #6 is a joy for the eyes and the heart. The number is prevalently starred by Jon, and I'm getting to love "this fucking guy" always more. His psychological disease is analyzed deeper than before, to the point where your soul will hurt for him and the condition of distress the couple finds itself in. Probably for the first time, drama overcomes comedy, but there is still time for those usual sneaky genius signs here and there is a praise to leggings that made me cry from laughter. Finally, the revelation at the ending. My God. So awesome. I love this shit, and I hope it goes on forever.

I was expecting a ground-breaking episode, with a fight between Jon and Kegelface. Instead, "Sex Criminals" #7 is a slower -yet extremely lovable- installment in which Rachel gets to know the truth about her roommate (and her response is awesome), Jon breaks into the house to find out that the Sex Police is damn real, and there's also a quite long and out-of-tune flashback that doesn't add much, but is still an enjoyable read.

So many issues have passed with Jon and Suzie on a stable relationship, so to see them apart is strange and freshening for the series. That first scene at the gynecologist's was perfect: funny, extremely awkward and actually sweet in the end. To add Robert Rainbow in the cast was a great move as his shocking background is excellent for future, weird installments and sexy adventures. The ending was heartbreaking in Matt Fraction's style. And I definitely loved the sudden mixing of different points of view to describe it.

Now things are getting VERY explicit, in case you didn't expect that. The book is kindly dedicated to two great comic book authors, Kieron Gillen and Jamie McKelvie, and if you have been reading "The Wicked + The Divine" you will get why they are honored in the second page. That is yet another crazy and brilliant idea that enhances even more my respect for Matt Fraction's diligence at trying to make us the readers laugh and get astonished. For the explicit content we have to thank the great work by Chip, this otherwise unknown artist who's showing some big talent right there, with not a single imperfection and a wonderful way of dealing with emotions and, you know, boobs and asses. The overall look at a porn-star career was very interesting and inspires some thoughts.

You don't want people coming (sorry) in your room while you're reading this. There's like a whole page with a number of opened vaginas. Nobody who doesn't read this shit can understand its real value because it hides itself behind the sexual screen, but it actually is a series for the ages. This issue in particular pulled out (sorry) an excellent scripting -although, this is normality-, beautiful art, particularly the bench scene, and a crazily over the top plot. Also, the cover is neat and somewhat sexy (?). I freaking love "Sex Criminals".

I don't like this series, it is no mystery, but this issue was passable thanks to its final revelation (at long last she got it!) and the portray of the monstrous atrocities Galactus made Norrin do. Anyway dialogues are still a pain and art... is still the same.

The new creator-owned work by Jason Aaron and Latour gets a very intense and character driven premiere issue, with all the rawness you'd expect from the cover title and a few emotional moments. I hope to see it develop in a beautiful and savage way as we dive deeper in the story.

Holy shit, that #4 ending is leading somewhere straight good! Now that Earl is no more, our focus goes to Coach Boss, the motherfucker who killed him. It is one fine piece of psychological insight in the life of this other man, so different and yet so similar to Mr. Tubb, pointing out his maniacal need for power. The funeral got me really unprepared and uneasy, which means awesome writing. All this to say that what I said about "Southern Bastards" being just another vengeance story was right at the time, but everything has totally changed from last issue and is keeping up the cruel mood in a marvelous way.

Jason Aaron has really found his vibe with this story. First, the switch in protagonist was a punch in the stomach, then "Southern Bastards" #6 provides us with actual reasons to not hate anymore that fucking bastard that Coach Boss definitely is. Now. The reasons behind that are a perfectly crafted story of his youth, where we see why he became what he became and how Craw County was filled with bastards long before Earl Tubbs and shit. It's also time to praise Jason Latour's work, the real deal when it's about violent and graphic panels. I was skeptic at first, but right now I'm falling in love with this book.

The Jasons are going places with this series, that's for sure! I extremely liked this issue, like everyone before it, because of its precise dialogues, its rough drawings and tough story. It's a hardening read, something that almost changes you spiritually. God bless this series.

Just another excellent episode for what could be the best series on the shelves alongside "Sex Criminals". The characterization of the sheriff was incredibly deep although it took so few pages to be lain before my eyes. I don't think we'll have more from his point of view though, considering next issue's cover.

I was very, very skeptical about this idea of Gwen Stacy from another reality being said reality's Spider-Man, but this first issue I read about her was not as bad as I feared. Sure, it's nothing new, same old story about the hero who's taken for the villain, same old nemesis in another dress, but it was fairly interesting and it added some cool details (like Frank Castle being this world's Police Captain without losing his... physical manners) and cameos that might be interesting to see evolve in the future. The art was somewhat too cartoonish for my taste, but Gwen's costume is honestly very well thought.

I hear people complaining about the lack of story progression in this issue, but I think you guys should consider the content more than your need for adventure. What you will read here is something definitely out of the ordinary (and this is definitely a good premise), not entirely written by Dan Slott (thank god!) and filled with spider-madness, something the main series have been missing for a while now. Each story is interesting in its own way, particularly the punk-rock one, with a very hardcore style and writing. I think this anthology could become a funny regular with the right creative teams. And don't forget the memorable tale in Spanish! :O

I really liked this comic book. Jason Aaron isn't my favorite writer, I often disagree with his choices, but this time I have no problem to admit that he totally nailed it. What stands out is his ability to recreate those exact same cheerful dialogues I loved back when I first heard them, and still freshen them with modern, well-paced lines. On top of that, is another surprising performance: the pencils by John Cassaday, so evocative, so similar to the actual actors, and that Vader. Really, that Vader. Oh. My. God. I'm dying to start following these adventures with all the side issues due for the next months.

The rock-solid premiere issue of the Marvel come back at "Star Wars" is followed by another great book, with the same qualities as last month's. I'm talking about that sense of deja vu from the movies that feels perfectly appropriate as is in another context, satisfying the old pals who know well the cinematic saga and entertaining the young fools who don't. John Cassaday resembles again the character's faces a lot, almost creepily, but it's totally effective in a good way. But the real kicker of the series as of now is the extremely well-paced rhythm, jumping from a moment of pathos to a funny one and so on. What's going to happen now the first mission is accomplished?

The issue ends the first act in a satisfying but flawed way. Some action scenes are not well explained (when is Luke saved by the Millennium?) and the art is at times sloppy, but overall it followed the previous issues' qualities and it looks like there will be many surprises judging from the final cliffhanger.

After the big, explosive start of the series, this issue is a more reflective one, but also a showcase for other well-known faces that had yet to make their first appearance in this book and that seem to have a relevant role in the overall story. Boba Fett is merely introduced here, but in a few lines he's already established as the threatening and dangerous character he is. It didn't really add much story-wise, but still a good issue.

Jason Aaron is definitely taking his time with this book, slowly bringing together all the mechanics and the characters we know and love together with intriguing new entries like the bounty-huntress (it's a she, right?). Boba is more deeply introduced here, and he's at the cruelest we've ever seen him. "Star Wars" is one of those good-but-not-excellent books that you certainly want to keep reading but which is not at the top of one's favorite monthly pulls. It does have the potential to become one, though.

This was an improvement over the previous issues. The story really kicked in, with that well staged fight between Luke and Boba, the huge reveal of the bounty huntress's identity and that final scene which is both a shed light on a missing point in the movies and was executed brilliantly. Maybe what the book needs to get to real excellence is more artistically charged dialogue, but it's getting really awesome anyway.

An evidently filler episode to separate two main plot lines, this Obi-Wan centered episode about his days as a hermit in Tatooine was slightly cliched and I didn't necessary love the art style, but as usual it also mixed familiar and fairly new aspects of the Star Wars mythology for yet another enjoyable read.

Here comes the new story line, and with it a new artist. Immonen is definitely in my top 10 favorite Marvel pencillers and he does a very good -yet less faithful to the movies than Cassaday- job here. Aaron's bold new direction makes for a fresh story with a bunch of new, intriguing faces and a very complicated situation for Leia, Solo and his mysterious "wife". This last character starts to annoy me, but we'll see how she'll be used by the skillful author.

Excellent issue. Every set up situation here finds its full realization, with Han, Leia and Mrs. Solo running from the Empire, Luke being kidnapped by a super-awesomely designed Hutt (props to Immonen for that) and Chewie and C3PO ready to kick some ass. The artistic department really surpassed itself here, with beautiful designs, detailed landscapes and bright coloring. Also, that jedi scene was almost moving.

Since last issue was such a fantastic one, issue #10 had to pace down the rhythm and set up the incumbent face-off on the Smuggler's Moon. The art by Stuart Immonen continues to impress, especially in those amazing chasing panels in space, and Aaron's expertly exposed plot goes on quietly but steadily. Still not really excited about this supposed Solo wife, though.

A fun, enthralling entry in the as of now excellent "Star Wars" comic by Marvel. Everyone is getting to the Smuggler's Moon, ready for the titular showdown, and Jason Aaron once again manages to write a passage issue in such a compelling way it's probably better than what it leads to. His C3PO is amazing, funny and strangely (but not awkwardly) courageous; Chewie was never that physical and menacing; Han, Leia and Luke sound just like their movie counterparts. And I didn't even talk about Stuart Immonen's stellar art, especially bright and strong in this issue. If anyone is still skeptic about Marvel's management of the brand, they shouldn't be.

Awesome ending to another awesome story arc. Aaron's ability to write compelling stories inside a well established and known by heart environment is uncanny. This ending not only provided us with a fun story and an epic moment for our heroes, all of them wielding a lightsaber for the first time, but also with an actually relevant turn of events, with Vader taking everything Grakkus had about the Jedi and arguably confiscating it. The establishment of new characters like Sana and the Gamemaster was also appreciated, as they might become big gears in the stories to come. The art by Immonen was top-notch as usual.

Oh, how I love these two evil droids! The issue heavily featured action sequences concerning themm and other main characters, and it was very well staged and written while being drawn with incredible competence by Mike Deodato. The "Vader Down" event is proving a great move on Jason Aaron's side, converging the most interesting pawns of the story so far in an epic showdown that is sure to have interesting consequences. The final page was predictable, but still epic as hell.

It was just a matter of time before Marvel would start making cross-over events for his Star Wars comics, too. Fortunately, judging from this starting point, they're doing it right just like every other SW comic so far. "Vader Down #1" is an excellent read, with a perfectly written Lord of the Sith, an exciting battle and some of the most gorgeous art since "Star Wars #1". I personally dislike cross-overs because they force me to read stuff I'm not following as of now, but maybe this could be one of those times it's actually worth it.

"Chewbacca" #1 is the new miniseries about everyone's favorite wookie. I heard some people complaining about how this story isn't really Chewbacca's or really relevant to the Star Wars world. My opinion about numbers 1 in a comic series, for short as it may be, is that we just can't tell what twists and turns it can get, so on that front I say: let's wait and see. About this one in particular, I can say that I liked both the writing by Deadpool writer Duggan and the art by Noto, both pretty good but not spectacular in any way. The story is standard in its main points, but the whole idea of a Chewie working on his own and without the shadow of Han Solo deserves appreciation. If Duggan can manage to make all these new characters more defined and peculiar it could be a pretty miniseries after all.

Darth Vader is one of the most iconic villains ever created for the big screen, so being appointed to write his own regular series must be a dream come true and yet a hard time. Apparently, from what Marvel has already published, the House of Ideas' creative team was born to write the Star Wars universe. Sure, it's still early to say so, but "Darth Vader" #1 is the example of how much do they care about this whole project: artistically stunning and (just like Cassaday on the main series) very similar to the movies' visuals, interesting and uncommon plot, and fitting, sharp dialogues. Kieron Gillen kills it with this issue, delivering a Lord of the Sith tormented between his dark and his purer side (which is why this gruesome villain has become so important). I loved how Vader commands and suddenly is commanded by the Emperor and then again he's in charge, in a circular narration I particularly like.

Issue #2 offers some more badassness and smartness from the Lord of the Sith. It also provides a psychological aspect that may leave some doubtful: he seems more interested in his own plans than those of the Empire, but time will tell how he'll manage both. Larroca's Vader is extremely menacing and scary, so well done.

I'm enjoying Gillen's take on Vader, although I have a feeling that a series about the most dangerous Sith in the galaxy should be more action-packed and filled with gruesome scenes. Anyway, for now what we get is an interesting new pawn in Vader's plan, Doctor Aphra, and two beautifully thought and designed killer droids, who appear to be the evil counterparts of C3PO and R2-D2. For simple as it may be, this was a very funny idea and I'm sure it will make for fantastic scenes later on. I continue to be puzzled by Vader's decision not to tell the Emperor about his plan, but I guess there will be a good explanation to that soon.

So once again the droids steal the show in "Star Wars" for me. Triple-zero is definitely my favorite new character introduced in the comics right now, with his personality being the complete opposite of C3PO's. This issue's events were relevant but not so enthralling, with a standard mission and Vader being obviously OP against his enemies. Still, now he has a personal army and the issue ends on an exciting note: who's Vader's replacement? Can't wait to see him/her die as painfully as Vader can manage.

I'm having a minor issue with this series: its scale or even relevance to the rest of the Star Wars world seems undermost, so my affection for it doesn't really take root for now. It's still fascinating to finally see the Emperor himself and although the fight is clearly in Vader's favor it's a fair idea. I expect a turn in the story after this plot line is over so that we can move on to some more groundbreaking scenes.

Greg Rucka is a good writer. Not as good as the masters of comics nowadays, and not as average as most of the others either. His writing flows fluidly in what is a simple, yet very relevant story in the "Star Wars" universe: on one hand we see what happened right after the legendary Battle of Endor, and on the other we meet Poe Dameron's parents and get to see them in action. The foreshadowing of daddy's death was strong here, so I fear that he's gonna go soon, but regardless I'm hooked enough to stick around for the next issue. Checchetto's style is nothing spectacular, but his wide panels filled with spaceships and explosions are a treat for the eyes.

"Shattered Empire" continues its good run with a second issue that doesn't add much to the story but offers yet another fantastic flight sequence (this may very well be Checchetto's talent!), well-paced dialogues and the terrifying Messenger, whom I hope we'll see more of, his design and attitude were great.

"Suicide Squad: Rebirth" is a nice surprise, with witty dialogue and solid laughs. The real problem is the artistic department, which was terrible, but knowing that the actual series will be illustrated by the man himself, Jim Lee, makes me hopeful for this series.

The good ideas that led the premiere are still there, with Tony being a complete asshole with a guy in front of thousands of people and blackmailing him to make it seem like a set-up. On the other hand is the good guy Daredevil, who strives to shut down his plan. While it wasn't bad, the art is still sloppy and without style, making "Superior Iron Man" look like a B-series comic. And the rest doesn't make up for it completely.

After a slower issue #2, "Superior Iron Man" #3, apart from the horrendous cover, is a joy for Tony Stark fans and admirers (like myself). In this entry we assisted to three tremendous moments: Tony delirium of superiority, Teen Abomination being back and providing some neat action and emotional moments, and the heartbreaking encounter between Matt Murdock and his fellow Foggy Nelson, whom he managed to see after years of blindness for a few seconds. All of this plus a better pencilling make this one the best episode yet.

I understand the choice Tomasi made with this issue, but I don't approve of it. With Rebirth, DC Comics are clearly trying hard to compromise after the fan base shattering New 52, but to throw away five years of stories (I wasn't so mad to read) in this cheap way feels forced at best. Sure, the author can write and his account of previous facts was stylish and functional, but a whole issue to cover the past and set up an eyebrow-raising future is not the best "Rebirth" one-shot that could've been made. I'm not a big Superman fan, so I'm gonna stop at the start like in 2011. -Dropping-

Amongst indie comics, "Sweet Tooth" opens with a story that's pretty standard under many aspects, but actually very interesting under others. Cool art as well.

Jim Starling is anonymous both in his script and in his pencils. Awful story and confusing point of the mini: is this thing a clash between the two titans or one where the two of them will unite against Annihilus? There is no good answer for me.

Here we are with the new Image series by Jonathan Hickman. I must say that I was really impressed by the opening monologue about life and love, a touching thought, also considering the happenings meanwhile. But it was just the beginning: the issue is almost 60 pages long, and the second part is dedicated to the presumable protagonist, an old fellow whose wife is going to die from cancer. This way starts a strange ride thru the City, a place where white beings live and just as powerful as to be able to cure the woman. This section was admittedly a little too heavy on philosophical dialogues, but their meaning was interesting and the overall thing is very intriguing. I only have to say that these creatures resemble A LOT Death and his companions in Hickman's other series, "East of West". The artist kills it with horrible cadavers and astonishing views of the City.

Good issue, but still nothing THAT special. Also, the comment about early cinema and Edison is dumb af.

Good psychological insight, awesome Mangog shenanigans, beautiful art as always.

A REALLY solid issue. The urgency of Asgardia being destroyed is paralleled with Jane's own inner despair and will to fight in a beautiful way.

What a beautiful, beautiful comic. It still amazes me how stupid it is for a superhero to die of cancer in the Marvel universe, since people survive any kind of much worse fates, but it actually worked on an emotional level, especially in this issue. Every panel is a true work of art, the bloody fight with the Mangog is extremely intense and the last moments of Jane Foster are poetic and moving.

Unbelievable job here. This is the usual messed-up Morrison with a story strongly reminiscent of "Watchmen" and with a backwards, but not really, storytelling that could blow one's mind up. The whole meaning behind it is so complex I'm not really sure to have it all clear in mind, but anyway whoever has time to do that, should definitely work on the plot line to get even more from it. Actually I loved one scene in particular, the one in which the vice-president and his daughter walk down the stairs and each balloon contains a reference to a movement they're doing. I thought it to be brilliant. Frank Quitely is one of the greatest artists in the industry so, yeah, his art is pretty damn neat. I appreciated in particular the first and last scenes. "The Multiversity" is definitely the strangest thing I've been reading recently and that makes me want to dive in it more.

Ladies and gents, particularly you, "Deadpool" and "Superior Foes of Spider-Man" writers, THIS is how you create a nonsense comic book. The craziness you experience while reading this and its psychotic thought lines under the panels of each page emanates genius and not randomness as the previously quoted do. Those dumb dialogues were studied in their littlest details to hear stupid as they do. Thank God, recently I was wondering if there were good comedy comics anymore and here is the proof they do! Now, it won't be easy to keep the quality high, but let's hope. Galactus is waiting!

Issue #1 had me real interested, but with this entry I'm ready to say that this book is incredibly funny! Unlike most attempts at writing a comic comic book in Marvel lately, and they are many, I love how the story is kinda random and still makes perfectly sense, and how every single panel makes me at least smile, and at best laugh out loud. Again, unlike most new girl-friendly characters in Marvel (a.k.a. Thor, Ms. Marvel...) she's depicted as a REAL freak (you hear me, Kamala?) and you've got to love her in her stupidity and utter madness. Icing on the cake are those witty lines at the end of each page, which point out the author's care in writing this title.

A new storyline begins, and as we have learned to expect, The Walking Dead takes its time to introduce the new situation. Even too much, I'd say. I found quite a boring passage the preparation to something that MIGHT or MIGHT NOT happen and all the classic instructions are repetitive, and yet the brilliant dialogues keep me interested. I am sure that from next issue on we will see sparks.

Robert is really good at introducing new bad-ass characters to the reader. First of all we met Rick, then Andrea, Abraham and many others who we thought would be the real "tough guy" of the situation. But nobody has ever been as cool as mister Jesus. This issue is fantastic under this point of view, as it lets us know better yet another powerful boy in this wrecked world, also leaving us with hope for the future of our beloved group.

Rick and his small group meet the nth group boss of the saga, another old man with an arrogant attitude. It might be my problem, but I can't not love how Kirkman characterizes his new entries, even when they remind somebody else. It's definitely a game that he's playing, that of doubt, like every other time our people has met with strangers. And, incredibly enough, it still works. But it's not just that, of course. The new problem/threat feels really big and frightening and I'm eager to proceed to know more about Negan.

I cannot stand reviewers who dislike The Walking Dead due to its abundance of talkative issues. I agree that sometimes it becomes boring, but this time around I really can't say so. Negan is presented as a heartless psycho killer (will it really be so? I wonder...) comparable in cruelty to the Governor, and I sure hope that this depiction will dovetail with what we expect from such a cruel series. Rick's ending speech was the same old actually, but powerful as always also thanks to the "dirty" work by Charlie Adlar.

Excellent issue. The tension is growing. It's growing a lot. Kirk switches the focus from one side (Alexandria) to another (the field) with great ability, moving our emotions from the quiet talks after Mass to the enraging battle against Negan's thugs. I also appreciated the characterization of the talking one, who's personality seems somewhat creepily calm and weird, enhancing my eagerness to see this goddamn man.

I can't stand this US-fashion. As a foreign reader I know that American modern literature is heavily based upon action, but I don't really see why Kirk should write this kind of issues, just to remember his nationality. He's bigger than that, he doesn't need chasing tales to have his work appreciated. This issue is bad in my opinion: first we witness a senseless death (how does he keep on talking after what's happened to him?!), then the oh-so-usual threatening outside the gates/walls, and finally the unnecessary fuzz. With issue #100 approaching fast I hope to see better installments in the future.

Aw yeah, the feels are back. I was complaining about how Abraham died in a stupid way, but at least his funeral was bloody intense and powerful. That two pages of crying characters was egregious. Kudos to Charlie, always managing with his rough strokes to let us sense what Robert wants. What Rick decides to do is pretty rash, but I get his intentions. Last page will make you hope he didn't go that way, though.

After the explosive issue #100, Rick's group suffers the outcome of the encounter with Negan and his people. There are goodbyes and comebacks, but the ending page makes everything really interesting for the ending phase of the event. Adlar is dirty as usual and his zombies are more and more beautiful.

Events aside, I'd like to focus our attention on Charlie Adlar's incredible ability to keep us engaged by the story only by drawing people talking to each other. It's no easy task, but he's totally able to face it. As said the issue is deep with rich dialogues, fresh and interesting in Kirkman's style. The best part of it was Rick's decision, absolutely new and game changing. The only thing I miss is Negan's presence, but I guess we'll have more of him soon.

Great dialogue-centered issue, Kirkman's specialty, in which the supreme star is the most wonderful character ever seen in this series, Negan. Since issue #100 he's been the new bright star of the comic and here my love/hatred for him is enhanced by the way he treats and is treated by his villagers. They worship him like a God, with a number of wives at his service and unbelievable tortures for those who don't abide by his law. That last punishment scene was very intense and if I was Carl, I'd definitely shit my pants right now.

Issue #106 is still centered around Negan's lumbering figure, but in a slighter way. We see how the people in Alexandria are dealing with Carl's disappearance and, although we already heard some of the dialogues (see Eric talking about leaving the group and stuff...), it's still quite compelling. But the real kicker comes in at the end (obviously), with the big 2nd round between two big bosses. Who will win?

Sure thing, last month's cliffhanger was a huge scam to grab readers, but the way it turned out was just as effective. As I said, Negan is my favorite character in the whole series to date, and each issue he appears on is good to me apparently. He's such a shaded character, with all his contradictions and whims, that remind me always more of the Joker, in, like, a lighter way, I guess. The tactic decision he takes is great in its plainness and deepens the cold conflict in ways I didn't think would happen in this comic. Will be fun to know this Ezekiel guy, whose existence had been hidden by Jesus for some goddamn reason. I like the Biblical references, though.

Maybe the plot is a little bit dragging, but I'm still up for the game for sure after the introduction of who seems like another very charismatic character: Ezekiel and his tiger Sheeva. It's rather unusual for the series (if not the first time) that a good guy is extremely over the top, and the king of the Kingdom definitely is in a lot of ways. His dreamlike reign is something different from all the gruesome and "real" stuff the creative team gave us all these years, and it seems like a good idea. Adlar was quite weak this month, but his dirty style is acceptable even when sloppy.

TWD has always had its ups and downs, like every unending series does. I haven't been loving the Whisperers as a villain, since they seem to be more of the same (i.e. another group with bad intentions, like the Governor and the Saviors), but here Kirkman gives us at least two amazing reasons to rejoice: the mystery man behind the radio and Negan's escape. He is easily one of my favorite characters in comics in general, so to see him (probably) free again is so exciting.

A free Negan is a fun Negan. I can't wait to see where the story takes him next, and I really hope he survives this storyline as well. Overall, talkie issue, not much else of consequence happens, but the dialogues are still on point.

What a peculiar book we have here. I have always loved this genre of comics, kinda weird, strongly pop, generally written by Gillen or Fraction. And this one is one of the newest examples of what I mean by that. Now we know who is that creepy old lady and, being myself a classical student I am pleased by the reference to Ananke and her role here. The art is still stellar as McKelvie is one big big artist. The thing that's not really grabbing me is Laura: she's just too flat to interest me as the main character, but that may change in future installments.

Thor has never been a character I particularly liked, because I've always found the Gods/men relationship in the Marvel universe kinda forced. This first issue issues (sorry) exactly this point: Gods being mortal and thus reconnecting them with their inferiors, the men. The Aaron/Ribic duo is such an interesting one: I'm especially enjoying the calmer, more somber version of Odinson, which appears to be the way the writer intends to differenciate the three different timelines the story is comprised of. And this is the point of the utmost interest: seeing what happens in the end of the book was shocking and definitely a hook to read the rest of the arc.

"Blood in the Clouds" simply delivers what it's supposed to deliver: blood in the clouds at the hand of a God Butcher. While issue #1's tripartition was a great introduction to the whole story, #2 mostly takes place in the past, with a younger, and thus more arrogant, God of Thunder: Aaron shows his mastery in writing by not overcharging this characterization, which is subtle and works wonders. The super (you can say it outloud!) villain that remained in the shadows in the first iteration more-than shows himself here in all his ugliness and viciousness: Esad Ribic is an amazing artist for Thor and his character design here, with this naked, snake-like creature is on point. Present and future Thors are touched upon slightly this issue, but that's not a downside at all: the big event of the battle through the clouds needed time to be developed rightly and we needed to get familiar with this young version of our hero, so s'all right. The arc is just getting started and Gorr is already a marvellous addition to the Thor canon, so only time will tell what a big story will come out of this!

I like the idea behind the Thunderbolts: a group of antiheroes fulfilling a series of missions and trying to relate to one another. This All-New Marvel Now issue deals with the occupation of a new secret base for the group, some interpersonal relationship and a new objective, for which the help of Johnny Blaze is needed. The comic is funny (particularly well written is Deadpool) and badass, but it somewhat lacks creativity, in its final page reveal.

This was one of the core issues in the "Rebirth" storyline apparently. Wally manages to get everyone in the team to remember him again in a pretty dumb way, but it's so beautiful to see the Titans finally whole that we should definitely go past that flaw and enjoy this milestone in DC's recent history. It was an overall solid installment, with a lot of references to the past that can be understood and enjoyed by new readers as well. The artist is for the most part the one who worked on the New 52 "Teen Titans" title and he's quite good. -Pulling-

A pretty bad start for a series I already didn't have too much faith in. Let's face it: Dan Slott cannot write complex characters, and he really shows it here, with the most cliché issue #1 in the whole Fresh Start relaunch. The art was nothing special either.

Warren Ellis is arguably my favorite comic book writer ever, so I am very pleased to be able to read his new creator-owned story. And I wasn't disappointed. His unique and diverse storytelling is right there in all its beauty: a dark, violent and mysterious story awaits us readers for what I expect to be one hell of a ride. Those creepy trees, just standing there and occasionally killing some people with their corrosive filth are as owe-inspiring as you can get, omens of horrible things to come. Surprisingly enough, the art by Jason Howard almost overcomes the writings, with a beautiful sketchy style and some marvelous visuals. It's a nine for I know too little to stretch my opinion.

The tension is growing stronger as we meet a couple new "situations" around a globe filled with sky-high alien trees. The interesting concept Warren is working on is that to see how people manage a different world everywhere. Unlike, say, "The Walking Dead", only focusing on a limited region in the USA, "Trees" ranges from the Pole (with the classic team of scientists studying the phenomenon) to my homeland (Italy), where he hints to a possible connection between the mafia and the big plants. On top of that, the ghost "geezer" enhances the sense of strangeness which this book emanates in quantity. Art is as great as last issue.

This issue won't stand anyone's taste, I get it, but I loved it because it is not very action-packed, a feature many readers need to feel like they have read something, and instead it provides us with really intelligent dialogues, particularly the main one, that between Eligia (whose name means "the chosen one"...) and professor Bongiorno. The whole story is so deep in mystery and not understandable situation I'm blown away by Warren's ability to keep me interested. This time I have to complain about the artist's inability to differentiate the female figures, as they all look the same.

I read some reviews and I'm shocked by the incompetence of some "professional" reviewers... "Trees" is a big bold series. If you guys are too young or simple-minded to manage to read a comic without any action in it and still filled with great dialogues and a global scale plan behind it, then leave the book on the shelf. You don't deserve it. If you aren't, then you'll get to appreciate one of the most interesting plots of the last years. That said, I found the sequence set in Shu too wordless, although I understand the meaning of it.

This very underrated story is getting more interesting every issue. I had a strange feeling reading the last part, like the whole globe was in a big "Lost" world, where strange things happen and everything is deep in mystery. What I need to underline, though, is how brilliant a writer is Waren Ellis. He deserves an Eisner for his depiction of the characters and the building of so many different and engaging story lines in one. Excellent job!

"Trees" #6 is an incredible issue. The series should be about an alien something coming of Earth and instead we take all the time to follow the stories of two very different groups of people, with something in common: a breathtaking take on human's behavior. The whole series seems to be built upon this concept, surprisingly enough, and yet we are reminded of the big deals going on in this world by some wonderful stills by Jason Howard of the incoming war in the Middle East and of the weird flower infection (?) taking place in Alaska. I totally love this.

"Trees" #7 delivered a shocking reveal in the explanation of the black flowers' purpose. It looks like we're going to see something very much extraterrestrial, while for the moment all we see are beautiful and intriguing human stories develop under the shadows of these big trees all over us. In Italy Luca has managed to convince Eligia of his plan, making him a possible two-faced character in my opinion. In Middle-East the bombing attack has started after the offensive lead by Puntland. And finally, in Shu, Chenglei has finally found something real and sure about his life. This last one is showed in the mere first two pages, but with a power of words and art quite impeccable. Issue #8 is expected to be a big deal.

As everyone else thinks that this issue was the greatest released as of yet, I think it was maybe too sudden and crushing for its usual rhythm. Maybe Ellis was worried to bore the oh-so-many readers who said it was slow and tedious, but in any case there were a number of shocking moments here we won't forget. To see that person die in such an atrocious way made my heart weep and I felt moved when that other person let himself die as his mission was accomplished. Honestly I expected something more from this last story, but still. The helicopter scene was one for the ages as Mr.Howard has shown his rea potential in this last book. It's all set for the second plot line to begin.

While this issue should and could've been a milestone in the X-Men continuity, it feels like a filler with interesting character studies but very little actual meaning. The dialogues are great as usual when reading Bendis, but they have little impact and the composition of the story is quite unnecessarily convulsive. The art is mostly solid, but the continuous change every couple pages is a little annoying. The side story about Ice Man is just terrible.

I had no intention to pick up this book until I was informed of its creative team. And, I gotta say, Cates is a genius. Not because of the story itself (which is great anyway) but because he can make something good out of a clear exploitation comic, born solely because of the upcoming movie. It looks like the plot intends to touch a huge scale for the history of symbiotes, and its grim, mysterious narrative is very engaging. Stegman's art is very 90's style reminiscent, which is fitting for a character who found its relevance in those years. I had no intention to pick up this book, yeah, but now it's at the top of my reading list.

Overexplanatory, with bad to average dialogues and cliche mechanics, but the overall idea is interesting and tempts me to keep reading regardless. Art is OK.

It is now more and more unusual to read a psychologically complex comic book from Marvel, and "Vision" #1 is a perfect exception to the rule. The idea itself of a strange family made of the Vision's clones/family members is genius and the fulfilment of it is even more so. While the first part of the issue gives us a calmly paced, yet suddenly disturbing, introduction to the elements of the story, it's the ending that leaves shocked and with no clue of how it will go on. I'm officially hooked.

Worst art I've seen in some time.

Such a wide cast cannot work at all when its members aren't precisely framed. Only Mistique and X-23 stand out as living characters, and both aren't really well portrayed in their actions. No need to add that I'm frankly bored to death with these all similar, God looking villains who threaten our heroes just for the sake of a storyline. Do better please.

I didn't think it would be this hard to describe this comic. Rucka has the same task every other writer in the "Rebirth" team has: to re-establish a character while weakening the line between Prime and New Earths. The writer offers us a very complicated and convulted story, but his words are so good you forget you're not understanding anything that's going on. The artists on the book are worthy. I feel like giving this a chance to see if we get answers or more confusion. -Pulling-

Scott Snyder is principally known for his horror comic books, hell, he's making his Batman run a very scary one too, but this series starts with the most incredible atmosphere. If you read the special contents you know that this story has a lot to do with his personal story and this makes things interesting and even more frightening. This take on the witches is something fresh in the genre and every member of the family that finds itself in the situation is well characterized and funny to inspect. Jock is wonderful in here, with his peculiar, muddy and messy style, which is absolutely perfect to depict the haunted wood atmosphere. May this book have success!

After reading "Wytches #2" I was as scared as the first time. Snyder's capability in creating a weird and frightful situation is majestic. The child at the hospital, Annie at the pool window, and the jaw-dropping ending stayed with me for the whole night in a combination of terror and excitement for the following issue. Jock was even stronger on this one, introducing to us the monsters this is all about. I don't know how will this go on, but still.

I didn't expect the ending to issue #2 to be wrapped up this way, but it was still a convincing issue dealing with Chris's terror to be crazy and have imagined what he actually experienced. The creepy old lady puts some mystery into the kinda linear plot, and Snyder's usual simile between two events strikes here too in a delightful way as always. This time around I found Jock's art a little down, as some figures are quite hard to make out, also because of the confusing, though very scenic, watercolors. What I really love is that each time I don't know how the story could possibly go on, and that's why I'll be there for issue #4.

With issue #4, "Wytches" is starting to be a little too messed up for me, so I do hope that a good 80% of the question marks my head is filled with will get an answer real soon, otherwise the whole thing could get too complicated to follow once a month. Anyway, it was another demonstration of what a good team is this, with Snyder writing some intense and dramatic dialogues and Jock doing what Jock is supposed to do: draw creepy images. The hanging scene in particular, the woman's eyes, her hatred, everything was perfect. And Sailor having a bad time is connected to a past she may not have wanted to remember... something big is building up, I reckon, and don't want to miss it.