Aaron Duran Comic Reviews

The triple art duties by Aaron Kuder, Jed Dougherty, and Karl Kerschl make for an unbalanced read. The more emotional tone required of the story is lost between the three. One moment Superman looks like an angry bully, only to appear as a penitent survivor in the next.

So like the best episodes, Marceline Gone Adrift #1 is a tale that everyone will find humor and meaning within. The book is the perfect start to a miniseries with a lot of promise.

Jack Morelli on letters even has more than a few chances to help drive the emotional rises and falls in this issue. His design and layout crafts some pretty heavy dialog into something that feels very real. It's a subtle addition to the comic, but goes a long way in elevating the work. For all of my concerns with the bogged down story, there are still a few things Aguirre-Sacasa gets right. He never forgets the roots of these characters. For even in the midst of all the horror, classic Archie love triangles and social concerns find their way into the story. It's a nice reminder of where these characters come from. Sadly, this is still the weakest entry within the Afterlife with Archie series. Still, it's an ending no fan should miss, if only for the stunning art and the many promises of what is to come.

Alice Cooper #1 is very much a product of a time long past, which is something that writer Joe Harris could have played upon. Instead, the reader is presented with a very by-the-numbers "album summons the devil" comic that just feels tired and a little sad.

If anything, the writing pedigree between Paul Scheer and Nick Gionvannetti on Aliens vs. Parker #1 suggested some good laughs from within. And it did, for the first few pages. In time, the jokes became old and the overall story simply isn't strong enough to maintain interest.

With a back-up story that introduces a new hero to the DC universe with her own rich history only adds to the enjoyment (and financial value) of All Star Western #4. Dealing with issues of cultural assimilation and old world institutions, the Barbary Ghost back-up definitely grabbed my interest and I'm looking to see where they take this character. Without a doubt, this title is one of the strongest from DC since launch and that level of quality has yet to falter. Like the title character, All Star Western gets the job done and gets it done well.

If you missed the Point One issue from a couple weeks back, Amazing Spider-Man #680 is still a great jumping-on point for new readers and a hint at what is to come for long-time fans. While this isn't the book that "changes Spider-Man forever" or "makes you question all that you know," it is a great time with a couple of buddies. In space. With Doc Ock zombies. Come on " you gotta love that.

At any given time, the American Vampire Anthology #1 is beautiful, violent, seductive, horrific, but always fantastic. This is one comic that shows what happens when you collect some of the best in the industry and ask them to have fun.

Family and responsibility are some of the stronger themes running through these character, and both the flashback scenes with Giles and the perfectly "squee"-worthy issue ender only reinforce these themes. Really, the only thing that prevents this from being a perfect comic is the rather dense knowledge of Buffyverse that's required. However, if you haven't been reading the adventures of Buffy's darker half on the other side of the pond, then you really are missing the best stuff since the halcyon days of the WB Network. So get the reading!

teve Pugh really shines in this issue and marks a rare time when I prefer the art to the story in an Animal Man comic. As much as I loved his take on disgusting beasts of the Rot, his return to classic Animal Man imagery is a welcome breath of life in a book that's steeped in some serious pain.

The only thing that keeps this book from being a complete loss are the moments where we see Mera cut loose with her powers. But that does little to redeem Aquaman #6. Mera is a cool character, she and the reader deserve better.

It's been two years since Aquaman debuted as the surprise hit in the New52 and Geoff Johns brings us the penultimate issue of his run. Alas, I just can't shake the feeling that much will go unanswered. I realize such is the nature of serialized comics, but this buildup feels very rushed.

The art in the issue is vibrant; Paul Pelletier and Netho Diaz have a nice lock on anatomy. However, their facial expressions have a slight disconnect with the emotions as read on the page. Aquaman #26 is still a strong debut and if the art team can find cohesion, this title will soar.

Aquaman #31 is juggling two separate but equally interesting stories between Arthur and Mera that could possibly hold their own titles. Tightened up within a single issue, you've got a book that's well worth your time and money.

As a prelude to Futures End, this is a null book. On it's own, it's good enough, but just barely.

Arkham Manor isn't the instant breath of fresh air that was Gotham Academy, but that's not necessarily a bad thing. This is a title that wants the slow build and it has a creative team that should be able to get us there.

As anthologies go, Atomic Robo Presents: Real Science Adventures #1 is a strong debut from the crew at Red 5 and I hope to see more. While they weren't all total home runs, this is still a great title to read, for both new and old fans of Atomic Robo.

This issue wraps up Bendis' ongoing Dark Avengers revival arc, and reveals to the reader the burden poor Captain America carries as the leader of the Avengers and the head of S.H.I.E.L.D. As a story wrap-up, Avengers #25 a little on the soft side, with still Bendis not fully hitting the right tone with Thor, Storm, or Red Hulk. But as I said in the beginning, that quickly falls to the wayside when you allow Simonson's wildly kinetic art to pull you into the book.

Avengers #14 isn't the multiverse-bending installment Hickman and Spencer normally deliver, but it's still some interesting superhero adventure.

This is the forth time I've reviewed an Avengers Academy comic and I feel like I'm starting to sound like a broken record. Well too bad, this is a great title and if you're not reading it you're missing out on Marvel's best team book (possibly best book period). In fact, I'm going to up the stakes even more. While the art is still lacking, I don't think Christos Gage and the Avengers Academy has turned in a bad issue yet. Yes, it's that good.

Issue #31 is just another example of why Avengers Academy is one of Marvel's best books. Fact.

The series depends on past readers knowing and loving these characters, but then their deaths only anger the faithful. While new readers are left wondering just why the heck everyone is so mad.

Writer Dennis Hopeless takes what's left of these poor kids after Murderworld and prepares more pain in Avengers Undercover #1. Although he does a serviceable job of bringing new readers up to speed, it's a lot of talking head exposition and pulls the story down a bit.

While there are still some elements that left me wanting, like our own government's rather dull response to the coming crisis, or splash pages that didn't fully blow me away, I am still glad to jump on this Marvel event. Unlike previous event books, the set-up by Bendis and Romita actually has me believing this is a conflict years in the making. No small accomplishment for a book that still manages to bring the newest reader up to speed. Bring on Round 2.

This issue has a fair number of caveats for someone to truly enjoy Roderick Kingsley as he moves from villain to motivational superhero. But, if you're comfortable in your recent Spider-Man lore and have a soft spot for referential humor with a post-modern slant. Then yeah, AXIS: Hobgoblin #1 is a pretty darn fun read.

No one really needs this issue. Not the characters. Not the readers. Not even the story as presented. There is no way anyone new to the B.P.R.D. series can pick up this issue and have a hope of understanding what's going on. While long-time readers aren't going to experience any real forward progression of the over-all story; save the last couple of pages. Most of the content found within The Devil's Engine #1 could have been trimmed down to a few extra pages and included in a denser installment. Decompressed storytelling has its place, but this issue reads like filler and won't satisfy anyone. This is a well-written comic that is expertly illustrated. But stand back, you'll see it's all faade.

Ed Benes stills draws with an eye towards the sexy bad-girl look, which is not something I want in a story that's focused on a teenage girl.

Ardian Syaf's pencils have never looked sharper or more brutal. His stylistic homage to J.H. Williams whenever Batwoman tosses into the action is perfectly balanced with his own style. Adding an interwoven story of James Gordon, Jr., Simone and Syaf are telling one heck of a story and have me hooked.

Apart from the core title, I'd assumed the Death and the Family arc would most effect Batgirl. Issue #15 gives me a little more to chew on, but Gail Simone is still missing the target. Although not by much, as most of the emotional intensity between Barbara and the Joker reads as genuine and intense

Visually strong, Batgirl #18 is still held back by narrative uncertainty " one that I hope will pass soon.

I really like what Gail Simone wants to do with this book and character, I just wish the title could find it's center before throwing us around.

With a highly satisfying ending, Batgirl #26 might be the books strongest showing to date.

Although I can appreciate writer Marguerite Bennett tackling Barbara's emotional issues surrounding Forever Evil; using a Bloody Mary inspired monster as symbolic cipher for her fears and dreams doesn't quite work here.

For all it's winking and nodding at the audience, there is no denying the truth. Batman '66 #4 is just smart storytelling.

At best, Batman Annual #1 is an interesting if wholly unneeded tie-in with the Night of the Owls event. Thanks to previous titles in the series, we already know the hows between Mr. Freeze and the Owls, and anyone that has a shred of knowledge on Freeze will immediately know the whys. So what we really have on our hands is an annual that promised a deeper understanding of one of Batman's best villains. What we got was just another cookie-cutter nutjob with a gimmick. And that is a real crime.

Unlike Snyder's previous arcs with Batman, issue #20 doesn't play with concepts of ego, family, or hubris. This time out, Snyder gives readers a flat-out love letter to Batman: The Animated Series.

While it might all be setup, Batman #23.2 is still a solid entry in the Villains Month event.

I might be overly hard on Batman and Robin #10. But, it's only because I know how great this title can be and to see such progress dropped is wholly disappointing.

The DC Universe is at its strongest when heroes of different powers and personalities unite under a common goal. Indeed, that's the entire point of the Justice League. So, it's nice when a solo title acknowledges the shared universe and invites others to come along for the ride. Batman and Aquaman #29, while deadly serious, is a reminder of how much fun a reader can have with these characters. Tomasi and Gleason take both Bruce Wayne and Arthur Curry out of their comfort zones in this comic and it's a better read for it. If this is the tone we can expect in The Hunt for Robin arc, we should be in for a fun arc.

Peter Tomasi has done a compelling job of balancing Bruce's sadness over the loss of his son with Batman's need for righteous vengeance against Ra's. Still, this "final" chapter reads as unfinished. Which I know is a staple of the genre, but the twist at the end feels just a bit egregious.

As it stands, this just reads like another Batman book, layered with angst and regret. Not something we really need more of.

Batman Beyond Universe #1 reprints the first two issues of both Batman Beyond 2.0 and Justice League Beyond, and reveal to the print only crowd that DC digital has some of the strongest storytelling in the company. Both Higgins on Batman and Gage on Justice League prove they know these characters and the continual evolution of the animated series universe.

This book pops from panel one and never lets up. Alas, if you're expecting any kind of connection to the current DC universe, look somewhere else. It's that disconnect from every other title that stops this from being a perfect comic " that is, unless you only care for Grant's take on Gotham. If that's the case, though, you've got perfection in your hands.

With a good tale about the Squire and her attempt at moving on, as well as fan favorite Batcow, Special #1 has something to please most fans of Morrison's run. Even if the grand ideas may have gone with their creator.

This is a heck of a way to launch a new title. The greatest strength of Batman Eternal #1 is its trust in the reader to simply dive in with the characters.

Make no mistake, Batman Eternal #3 is an entertaining enough read. But the weekly nature of the series might turn out to be its greatest weakness if the team continues on this style of storytelling. I can't help but wonder just how well the story would move were the team forced to tighten up the bloat within a strong monthly or biweekly series. Hopefully we're getting past the pieces simply moving on the board into the real power struggle. Because at this pace, my interest will surely break before the story.

This is an issue that simply moves the story along, with little to add, save the last ending that doesn't have the impact the creators intended.

Nguyen's watercolors are truly gorgeous and are packed with enough Easter Eggs to keep you scanning the page long after you've finished the story. You won't find a better use of 99 cents. Ever.

As always, Li'l Gotham works for those that miss the whimsical fun to be had with heroes in tights, even ones born of darkness and stuff. Some of the art does a look a little rushed, with Nguyen's lines and colors not as tight as I've come to expect. Issue #12 might also delve a little too deep into the wacky territory with all the Bat-boys trying to cook for Alfred. Still, this series has me hooked. These are small missteps in a series everyone should try to embrace.

With good-natured pokes at New52, Robin 900 numbers, and furry bare-chested Batman, Li'L Gotham #21 again shows why it's the jewel in DC's digital comics crown.

I have no idea what's going on in Joker's Daughter. I think I understand what writer Ann Nocenti is trying to accomplish. That of a young woman with issues, takes Gotham's under city and decides to make everyone ugly. Strike that, I have no idea.

The nature of duality is layered on pretty thick as Batman looks into this all new and far more violent version of Man-Bat. Gregg Hurwitz produces a script that moves along well enough, but adds little in terms of character exploration or even wild action.

If you want hints and seeds of stories to come, Batwoman #0 will leave you wanting. Me? Any chance to get inside Kate Kane's head is time well spent.

Although it reads more horror than hero, Batwoman is still one of DC's more intriguing titles.

This is such a frustrating book. After all the build-up and world-ending threat; that's how the bad guys go down? There is playing the long con and then there is not knowing how to wrap a story and I feel J.H. Willams III and W. Haden Blackman's latest is the latter.

Batwoman #19 is not a perfect book. Williams and Blackman still have some pacing and character issues to work out, but it is a fresh start and a good place for new or lapsed readers to jump on. Things will never be sunshine and rainbows for anyone wearing that bat symbol on their chest. Still, I'm glad to see a return to the elements that made me fall for this character all those years ago.

It truly is a testament to Francesco Francavilla's skill as a visual storyteller that I didn't really need Williams and Blackman's words to enjoy Batwoman #21

There is nothing bad or great to Batwoman #25. It's safe superhero storytelling. Hopefully the team gets to stretch once Zero Year ends.

From page one we can see both artist Jeremy Haun and colorist Guy Majors are working better together, with Batwoman #28 finally starting to step away from JH Williams' shadow

While this isn't a bad book, it's a rough start for the new team that will hopefully find their ground next time.

Bryan Lynch does a great job of capturing the voice and tone, but the story plays it a little too safe

"To be blunt. There is something really wrong with Eric Powell, Tracy Marsh, and Kyle Hotz and it shows in Orm of Loch Ness #1. And I really wouldn't want it any other way. In fact, stop reading this review and go out there and get this comic. Seriously. Stop reading and go buy this book! You'll thank (or hate) me later.

Brides of Helheim #1 does not have the explosive opening fans experienced in the first series. In that way, it may distract a few fans. However, there is enough here to fully hook a new reader looking for something different, but still want some blood and gore in their fantasy comics. That being said, Bunn and Jones already proved they can hook us with the violence. With Brides of Helheim #1, the creators are merely asking the reader to sit back and let the darkness slowly work over you. It's a request I'll happily accept.

The premise is strong and Jeff's natural wit plays well to Willow, but the story lacks real depth. Brian Ching's art feels more like a hindrance to the mystical elements Parker is writing. And while the book pops with vibrancy, the excellent coloring gets a little lost in Ching's undefined pencils. It's a shaky start, but one I'm willing to take another shot at. If only for more Willow.

The time shifting at the end is distractingly jarring. I understand that's the nature of the time-traveling trope, but this makes it hard to get back into the story. Most of this concern coming from Al Barrionuevo on pencils and Wil Quintana on colors. Although a decent team in their own right, with art reminiscent of a smoother Howard Chaykin, it's a distracting shift. Thankfully, DeConnick keeps up the strong banter between Helen Cobb and her ace pilots, so the panels move with a brisk pace. The tone of the final page suggest interesting times in Ms. Danvers' future. As the team DeConnick and Soy continue to gel, I for one can't wait to see what happens next.

Captain Marvel #14 reads like a book scarified to the next big event.

Kelly Sue has the character nailed, she just needs an art team that can claim the same.

So here is the thing. This is a spin-off one-shot about a hyper-violent-cybernetic-warrior-chicken. You're either down for the premise behind Chew: Warrior Chicken Poyo or your not. While I doubt any critic can sway you one way or another, we're going to try, because John Layman and Rob Guillory amp the crazy to 11 with this one.

Although the issue is primarily setup, with little characterization, the setting and art is strong enough to make you want to come back for issue #2.

Collider #1 is definitely a book that someone can read for the crazy science and fantastic art. However, to do so would be to miss out on all the questions the creative team is asking. What happens when we rely on something so completely? Even something we thought was as constant as the laws of physics. Can humanity truly adapt to anything the universe wishes to throw at us? What happens when we're the reason these laws fight back? This is a solid debut and hopefully an example of what we can expect as Vertigo slowly evolves and grows.

Don't let Conan and Red Sonja #1 get lost in the shuffle, this is one fun and impressive debut.

It should be plainly obvious by now that I thoroughly loved this comic. Wood and Cloonan are an amazing team and if I had one worry, it would be that Cloonan might not pencil Wood's planned 25 issues. I've read this debut issue a few times now, looking for a flaw. But, when you combine Brian Wood's writing, Becky Cloonan's art, and Dave Stewart's stunning colors there simply isn't a flaw to be found. Dark Horse Comics has produced some fantastic Conan in the past, but this is the Barbarian we've all been waiting for. Well done.

To be sure, issue 4 is a big tonal shift from the previous story arc. But step back and take a deep breath. This is a path that Conan has to take and it should be an interesting one.

A rare stumble for a normally strong title.

Conan #11 isn't an easy issue to read, but it's still a very good one.

Conan the Avenger #1 is another strong debut from a company that knows the genre.

Tony Bedard has a good handle on a monarch disposed from his home, his people, and his love. It's a shame the issue needs to rush towards the conflict.

Greg Rucka and Cully Hamner play minimal lip service to the Convergence event, and in doing do, turn in one powerful ending to this two-parter.

Creator Owned Heroes is turning into the great experiment that just might work.

Writers FJ DeSanto and Bradley Cramp are rather successful in distilling a character and series into a short introduction that not only entertains, but ensures I reserve the pending graphic novel.

Up against Before Watchmen and AvX events, Dark Avengers #176 isn't going to make any headlines. But it's easily the most fun you'll have all week with superpowered folks in tights.

Packed with jokes of celebrity sex tapes (nice to see Green Arrow is still the you-know-what of the DC universe), slipping TV ratings and clunky art, DC Universe Presents #6 is everything I hoped it wouldn't be. Boring and forgettable.

I'll be perfectly honest. I wasn't expecting much going into this issue, and being of fan of Gail Simone's Secret Six, I was a little annoyed this wasn't a "reformed" Scandal Savage. Still, this is a very good debut from Robinson and Chang. One that will hopefully solidify Kassidy Sage as a new strong female character into the DC Universe. This is exactly the kind of story I was hoping DC Universe Presents would tell. Well done.

I went into Debris #1 with absolutely zero expectations, indeed, I read this comic based on the cover art alone. What I found was a pleasant surprise. To be sure, this book is firmly rooted in the all-too-familiar post-apocalyptic and classic hero's journey tale, but both Wiebe and Rossmo bring enough to the table to make the familiar read as fresh and interesting.

. Detective Comics #21 is a functional, if unbalanced issue that brings more players into Batman's world. Not a misstep, but nothing great either.

There are more than a couple twists to the ending that attempt to tie everything back to this new version of Batman and to be honest, the coincidences are a little hard to accept. Still, I can't help but see it as a suggestion of the relationship that will form between this upstart vigilante and the man that will become Commissioner. It's not perfect, but it's still a highly entertaining slice of comic book storytelling. A comic that reminds us why Gotham City is more a product of its players that don't wear the cape and cowl.

This is all a very long-winded way of saying that with Francis Manapul and Brian Buccellato taking over with Issue #30, Detective Comics has felt special again. It's felt like a comic that is slowly starting to earn back its legacy, and Issue #31 does not slow down this momentum.

This is an impressive installment that avoids the mid-arc slump, and one that Batman fans need to place at the top of their read stack.

Even with the slight plot disappointment, there is still much to love about Detective Comics #40. The road to the finale was strong and filled with many moments of excitement and drama. And thankfully the comic is just so darn nice to look at, it's easy to led the less that stellar ending slide. But I truly hope the creative team of Brian Buccellato and Francis Manapul can tighten up their storytelling. Because together they have the makings of a truly classic run.

Like much of Futures End, this event installment of Detective Comics promises much, but delivers very little.

It's strange to have concern about a comic book that, upon initial reading, is fast and fun. Aaron writes a good debut, but it isn't something we really haven't seen before. But what he does do, he does quite well and that more than makes up for the less than original plot. It's Bachalo's visuals that makes this book a required reading. Dr. Strange #1 breaks many of the conventional superhero rules when it comes to design and flow. If you're looking to lock new readers into mystical Marvel, it's a good start, and maybe that's enough for now.

The subtitle to Doctor Who #3 really should read Road to Gallifrey, as writer Brandon Seifert has some fun with the tried and true buddies on the road theme, with perhaps a hint of Quantum Leap coincidences. It's not his strongest writing, but it's clear he loves these characters and a good sense of whimsy comes through to the reader.

If you like the heavier Doctor Who, then issue #4 might not be your cup of tea. However, this is a strong issue and goes a long way in recapturing the more lighthearted nature of the character. The overall plot involving the Silence is wrapped up a little too quickly for my tastes, but considering the serial nature of this title, I am certain we haven't seen the last of them. Although hindered a bit by unbalanced art, Seifert's comfort and understanding of these characters helps push Doctor Who #4 over the top.

To be sure, Dragon Age: Those Who Speak #1 is competent storytelling. But it brings little to the overall mythology of the series. People that know little of the game will feel lost by the various historical references. While longtime fans will wonder when the book will get to the actual story. There is some potential within the series, both in the characters and the plot. However, Gaider and Freed need to pick up the pace if they want to hold the readers interest. Strong pencils and coloring can only carry a book so far.

Drifter #1 is a book that, for now, lives or dies on its visuals and setting. There is very little in terms of story a reader can cling onto. To that end, this is a title that may not be for everyone. Although the final page has a fairly strong hook for what is to come, the reader is either already one board for the story or isn't. This isn't a run and gun piece of science fiction. Drifter #1 is slow and methodical, and wholly worth your time if you're willing to give it.

You know, from Page 1, that this is the final showdown for our heroes, but it's a showdown they will face with honor. It's exactly what you'd expect from men and women that dedicate their lives to defending those they love, yet Scott is able to capture the sadness in their actions. These are people for whom even victory will bring no joy, and still they stand strong. Were you not all but required to read World's Finest as a companion book, Earth 2 just might be a perfect comic. Still, as it stands, Robinson and Scott are drafting a compelling world, one I can't wait to revisit in a month.

While lacking the emotional punch of Issue #1, Worlds' Finest #2 is still a solid read. One that hearkens back to the DC of old, which ironically, feels fresh in the New 52.

For all my frustration with Earth 2 #3, it's still a title I'm really excited about. This reads like an honest take on classic characters, unlike much of the New 52. It just feels like it's all happening a little too fast and coincidentally for my tastes. In a way, Robinson is building a team in the classic Golden Age style, but is hampered by modern sensibilities. We want fast pacing, but not at the cost of development. This is where Earth 2 trips the hardest. If Robinson ever finds that balance, then he and Nicola Scott are going to have one heck of a book on their hands. It just ain't there yet.

I sincerely hope Robinson gives these new heroes time to breath. They've got my attention for now, but I need real reason to keep coming back.

Since the beginning, Earth 2 has been a slow burn title. But also one of DC's most consistently entertaining ones. Tom Taylor does a decent, if a little uninspired, job of moving the series to its violent confrontation. However, Taylor does manage to find time for real emotions between the characters.

Coupled with wonderful coloring that highlights the grotesque nature of the story, it's a real treat and makes me wish the whole book was an extended adaptation. However, taken as a whole, The Raven and the Red Death is frustrating and only for the Corben completist.

Those minor hiccups aside, this is a strong art team that should only improve as they become more comfortable with the character. Which is the main message one can take away from this title. Few things are rarely perfect, especially compared to what we build in our own minds. Freeing ourselves of such expectations are the only way we can truly fly and be the hero. For that, Faith #1 provides and strong and entertaining lesson that we should read.

Although it didn't hit all my favorite notes, I can't discredit the appeal the book has with those that just can't get enough gonzo zombie action without all that Walking Dead angst.

The real star of this book is artist Leonard Kirk. His grasp of the team look is spot-on and his composition during moments of action are bordering on cinematic.

At it's core, this is a very simple heist gone wrong book staring the titular mutant. From there it's nothing but tired, sexist, and often homophobic jokes that all but the nastiest of Internet trolls would find tasteless.

Like Barry Allen, this title continues to quietly work as one of DC's most consistently entertaining books, and doing so without headlines.

Flash Gordon #1 is clearly one of the comics you give to someone that thinks the time of grand heroics is over.

Forever Evil #3 is still an entertaining read, but I can't help but feel this story will play out better when it's all contained in a trade.

As much as I dislike the phrase "popcorn entertainment", Freelancers #1 might fall into that category. Brill and Covey aren't breaking any new ground here. But they are having some serious fun with a couple of strong ladies that I can't wait to watch week in, week out. Or, month to month as this is comics. Freelancers #1 is just a good time.

It's pretty rare when it happens, but it's a nice surprise when a story can pull off the hyper testosterone tone, without sacrificing quality or character. Writers Brandon Jerwa and Eric Trautmann do just that with Frost #1.

Even when writer Erik Burnham works the pretty heavy deus ex machina into the joke, it still cheapened an ending to an arc that's been really strong. Still, Ghostbusters #15 is a fun ride that will appeal to any fan that looks fondly upon the animated series.

While some of the story reads a bit forced, it's still an enjoyable read that will please Ghostbusters fans. As with most of IDW's licensed books, Ghostbusters is in good hands.

It's rare to read a book that's this mean, unbalanced, and poorly executed from one of the major publishers. Rare and a real shame.

The environmental message in Great Pacific #1 is but a vehicle in which Joe Harris and Martin Morazzo drive their narrative. For now, it's a smart call. It would have been easy to focus on the very real danger of our trash collecting in the ocean, and ignore the driving force of this tale.

Although Green Lantern #24 doesn't leap as a must-read, it certainly hints at something great. A first step in a long road.

There is little sense of urgency in the issue. Instead it reads like the calm before the storm, again.

You can keep your angst-ridden space cops and their rage buddies. This is now my favorite Lantern book out there.

Hacktivist has good ideas that given more time to gel might have made for a strong debut. As it stands, it's too safe and middle of the road.

Newer readers might feel overwhelmed, but Harbinger Wars #1 offers just enough to make me want more.

Visually, Harley Quinn #1 is a real winner. Chad Hardin's style and composition is a perfect fit for this character, and while the book had one too many cheesecake shots, they weren't wholly out of the moment. Combined with some stunningly colors by Alex Sinclair and you've got DC's prettiest book of the week.

It's a real shame the Darwyn Cooke installment of the Harley Quinn Holiday Special is one of the shortest. It's easily the best, with both Palimotti and Conner writing towards Cooke's strengths as a visual storyteller.

While the book has a few missteps here and there, they read more like compromises made to a parent company in hit key talking points. To the younger reader, these will be fun shout-outs, while older readers might lose the scene, but only for a moment. In the end, The Haunted Mansion is a book for hardcore fans of the attraction, and any lover of horror. Because no matter how twisted your horror tastes may have become, we fans of the macabre will always hold a place in our dark little hearts for this place and the 999 ghosts that unlive there. This book is a proud addition to any fan's collection.

No doubt, Keith Giffen knows exactly whom his audience is with He-Man and the Masters of the Universe #1. People like me. People that know enough about this setting and characters that we don't need any recap. It might cost the book the casual reader, but who the heck is going to pick up He-Man wondering just what it's about?

A skill that's often overlooked in comics, even by well-meaning critics and fans, is the letterer. This time I feel a special consideration must be made to Ed Brisson on lettering. There are some subtle (and not so subtle) uses of fonts, balloons, and word weight that add a level of realism to an otherwise outlandish story. It's easy to overlook, but without a doubt, added to the overall enjoyment of this book. In all, Oni Press has put together quite a team for Helheim. It's a strong first issue that promises all kinds of fun in future. And were it not for the editors note at the end, I'd make the same chocolate and peanut butter joke as he. What can you do? Frankenstein and Vikings. Bunn and Jones. They really are a literary Reese's Peanut Butter Cup.

There really isn't a weak link to be found in Helheim #4. The colors by Nick Filardi work perfectly with Jones' pencils. Together they bring to life a setting and mood normally reserved for film. The lettering by Ed Brisson is never once intrusive and indeed ups the ante in more than one occasion. Oni Press has something special with Helheim and the team that makes it. This is easily one of the best books on the shelves these days. If one simply must find an item to complain about, it's that we only have one more issue to go.

I've been a champion of Helheim since I first saw samples well over six months ago and the series did not disappoint. If you simply want crazy violence as your blare Nordic metal through your speakers, Helheim will work for you. But, in all that insane dark ages combat and bravado sits an emotional tale that spins a classic myth and works it's way into your head. HelheimHelheim really is an example of what a comic can do. As the book teased, I do indeed hope we see more.

Without a doubt, Herobear and the Kid is truly a title for the imaginative of all ages.

Sebela and Moustafa are a strong team and they've set a high bar for the remainder of the series. I can't wait to read more.

High Crimes might be the best thriller in comics today.

Higher Earth is a mixed bag to be sure, but it's a bag I want to keep rummaging around. The characters still don't feel fully flushed out, even for a first issue. However, Humphries fills the story with enough action and questions that I want to know what happens next. Like I said, Higher Earth isn't yet a return to classic hard science fiction. But it could be, and I want to be there if it happens.

Hit #1 is a dense story with some great twists that will appeal any noir crime fan.

Matt Wilson's colors are functional in telling the story, but does little to truly add to the line art. But, nor does it take anything away, though there are times when some of the backgrounds get washed out with the forward characters. It's a style that would work with less aggressive line work, but within this book, misses the mark. Which seems to be the theme throughout this entire issue. There is nothing truly bad about the title, but nor is there anything that lets it stand out. Especially within an already crowded Battleworld setting where we really have seen some high stakes. Perhaps as the series progresses to it's suggested conflict we'll see something special. As it stands, this house has some shaky foundations.

I know Red Hulk is still a very hard sell for many comic book fans. Well, it's time to put all those well-earned preconceived notions aside. Jeff Parker is writing one of Marvel's most well-rounded and complex characters in years. Although he hasn't been at it as long, Parker has a keen eye for character interaction and understanding of the Marvel universe. As such, he just might go down as one of the best Hulk writers since Peter David. Jump in now, while you can.

This is the Marvel event to end all events. Galactus is nigh all over the multiverse. Or, at least that's what Hunger #1 hints at. Fialkov does a good job in using Rick Jones as the "everyman" to bring even the most casual of Ultimate Universe fan up to speed. Still, for a comic that's intended to end all the worlds, the pacing of Hunger #1 feels off.

By playing it relatively safe with plotting, character, and art, each issue has yet to blow me out of the water, but neither Levitz and To have disappointed, either. With events, sequels, and prequels the standard of the day, there is something to be said and appreciated about good old-fashioned superhero fare."

A well-crafted, if wholly unnecessary, final issue to the Huntress' reintroduction into the New 52.

Still, as a relative newcomer to this title, the political intrique is just dense enough to keep me interested. If Soule can lock in his pacing issues and if Stegman can open up his art for all scene, Inhuman could shift into a strong title for Marvel.

Issue #527 isn't the big explosive end we wanted, but it is the quiet epilogue we needed.

It Came! #1 is a fun, if flawed, romp through an era of filmmaking that is all but gone. If you're looking for deeper satire on historical and modern sci-fi tropes, this book might feel lacking. However, if you have fond memories of late night Mystery Science Theatre 3000 marathons, then It Came! #1 will hit all the right beats for you.

A year into the new Justice League and this is still an underwhelming title at it's best. Geoff Johns is asking interesting questions of the League and their potential danger to the world. However, Graves is a weak villain that provides little in terms of dramatic storytelling.

They say there are no new stories, but I would have enjoyed Justice League #19 more had I not been able to name two within six pages. Intentional or not, Geoff Johns is pulling deep from Mark Waid as I felt the influence of both Kingdom Come and Tower of Babel throughout this entire issue.

Although it has a few entertaining moments, Justice League #32 stumbles because it fails to move the story ahead, nor act as a compelling backdoor pilot for the Doom Patrol.

By now you'd think Jeff Lemire couldn't keep ramping the crazy supernatural action that is Justice League Dark. But somehow, he and artist Mikel Janin keep it coming with Issue #13. As has been the case since Lemire took over the title, this issue not only shows how well the players act as a team, but also gives them space to shine on their own

Like I said, I can enjoy a trip back to an older era of comic writing from time to time, but Jurgens and Lopresti go far beyond the comfort zone in this issue. With a title that's supposed to celebrate a diverse cast, in a line of comics trying to usher in a bold new era; Justice League International #8 succeeds at neither.

I never thought I'd say this, but Vibe #1 is darn near everything I ever wanted in a classic superhero origin.

Justice League United #0 is easily the most fun I've had with a DC title in a long time. I truly can't wait for more.

Katana is not going to be an easy sell. She has the potential to be a fun character, and I think writer Ann Nocenti knows that. Although she isn't quite there yet. Nocenti drops hints at a much deeper story. However, Katana #1 loses focus when it spreads her story between Kanata's past, the history of Japantown, and the relatively confusing main story.

Don't worry, Kill Shakespeare: The Tide of Blood #1 still entertains, it just lacks the spark that made the original so wonderful.

This book is dirty, nasty, gritty, and quite possibly the best Conan book Dark Horse Comics has ever put out.

For a book that hasn't even let the so called Kings Watch meet yet, it was a great time. Dynamite Entertainment has a strong team on this book and I really can't wait to see how this adventure plays out. As a longtime fan of these characters and setting, I've been looking for a book that captures the spirit of these stories, without having to quantify the tone of the era. Parker, Laming, and Boyd are on the right path. While Kings Watch #1 isn't quite the perfect adventure, it's darn close.

Krampus #1 isn't going to break any records, but it's a fun addition to the usually stagnant Christmas comic.

Even with the visual concerns, Lazarus #6 still manages to tell a compelling character study with Forever Carlyle while dragging us deeper into the world.

This creative team has truly created a special book that demands attention.

I love the idea behind Legends of Red Sonja. Separately, each creator has an interesting idea and story, but just not enough time on execution.

There are some pretty big ideas happening in Letter 44 #1 , with a creative team that isn't afraid to give the reader a slow burn. With all the pieces securely placed within their opening moves, this is definitely a title that's one to watch in the coming months. Politics, aliens, and the unknown; Oni Press just might have a real hit on their hands with Letter 44.

Lobster Johnson: The Burning Hand #1 isn't quite what you'd expect from a pulp noir story set within the Hellboy universe. No big supernatural villain, yet. No death-defying stunts, yet. Shoot, the title character barely makes an appearance. But, this isn't a comic that tells you to hold onto to your hat, because it's going to be a bumpy ride. Nope, this is a book that asks you to take that hat off. Sit down. Pour a nice drink. It's got a story to tell and you don't want to miss a word of it.

Miracleman #1 may not feel as groundbreaking to modern readers. That thought, however, is not fair. Taken for its time and place, this is still a book any comic fan should read.

As a concept, Miss Fury #1 is all kinds of fun. The first female pulp hero transported into the present to fight secret Nazis while combating her own questionable sanity. Nice. Yet there scenes writer Rob Williams chose when detailing Fury's past that make me, as a modern reader, rather uncomfortable.

I get the vibe that this team wants to make a modern Morbius by way of John Carpenter movies, but it just isn't there yet.

While there are a few too many "cute" moments, both in words and pictures, Ms. Marvel #7, is a book continues to grow in spirit and charm.

The best books work when they take the expected and turn it on its ear. Yet still managing to do so without breaking the line of believability. Nailbiter #4 does so with such ease that I can say with confidence that we are no longer in the hands of stable individuals. And when you're hanging out in a town like Buckaroo, Ore., that's exactly who you want guiding you. Nailbiter is yet another hit in Image's growing catalog.

While New Warriors #1 isn't the best launch for these characters, the potential between Yost and To is enough to keep me around for a few more issues and hope everything gels.

Annuals allow for a book to tell a fun out of arc story, or even set-up what's to come and while Nightwing Annual #1 comes close, it still feels lacking. Like a visit from old friend that's cut far too short.

Although this is a matter of personal taste, as a reader, I always feel a little cheated when more than half the book consists of one- or two-panel pages. Still, Higgins and Barrows do a good job of taking point on an event that I'm legitimately excited to read.

Nightwing #16 is one of those comics where the art team is so spot on, one doesn't even need the dialogue from writer Kyle Higgins. That's not to say his work isn't strong, but it clearly takes a backseat to the visual feast happening on the page.

Kyle Higgins clearly has some love for Nightwing and the direction he's taking him is interesting. Yet, for a character that's always been about living on the tightrope, the pacing of issue #22 is a little lacking.

Writer Kyle Higgins seems to be doing the best he can with a Nightwing that's essentially in a holding pattern as Forever Evil takes it's sweet time in wrapping up.

There is no getting around it. Nightwing #29 reads like a story where everyone wanted more time, but had the rug pulled out from under them.

It's wrong to assume we, as readers, know what's best for a title. A creative can defy expectations and still manage to tell an exciting and emotionally powerful story. But when you're dealing with family-shattering emotions, such as the perceived death of a friend, brother, and mentor like Dick Grayson, we deserve that moment. We may not agree with the choice behind the writers, but with compelling dialogue and reason, we might understand the choice. This just isn't the case with Nightwing #30. This is an issue that's just mean and nasty, offering the reader little hope for what is to come. I know it's never going to be sunshine and rainbows for any member of the Batman universe, but Dick Grayson and his fans deserved far better than what this issue provided.

There is no doubt, the incredibly bright and vibrant work of penciler Robert Love and colorist Heather Breckel betray the violent and dangerous tone of Number 13 #3. It's a disconnect that alienates the reader, and yet within a few pages, you can't imagine another way to visually present such a setting.

There is a lot of information crammed into Original Sin #0, the fact that it never visually bores is a testament to two artists that know how to get the most out of classic comic art. Some of the colors feel a little one-sided, when compared with the scale of the issue. Still, this is now a Marvel event I'm actually excited to read.

Still, my gripes with Pathfinder #1 are quite minor. Taken as a whole, this is one entertaining read and a more than welcome entry in the woefully small fantasy comic genre. Dynamite has a strong team on this book. Like the classic adventuring party, if this creative team can sync up their strengths, we're going to have one fine book on our hands. Pathfinder #1 is definitely worth your hard-earned gold.

I'm still willing to give this series a second look, if only because I see the potential and I have such a love for the genre. Still, with Pathfinder #4, we've fully crossed over into the territory where only the hardcore tabletop gamer is going to have much of an interest, or enjoyment, of the title.

Like any real RPG group, Pathfinder has really started to gel in the past few issues and #10 is no exception.

Pathfinder: Goblins! #1 might not be the fantasy comic the hardcore fan wants. But if you like a little slapstick (with a slice of ethics) slipped in with your sword and sorcery, then this is a solid read. A nice one-shot to enhance your gaming and reading experience.

Overall, the dialogue and plotting is as lively and picaresque as those stories of yore, and Luke McDonnell's color work is great - favoring bolder versions of the sort of color schemes used in the old Sunday strips. There's one final, terrific moment, a fight where we are given a glimpse of Popeye's indomitable spirit, and that sort of spirit and good-nature is what propels this new version of Popeye (and Sappo!) to delirious heights.

It's a solid new issue that works for both new and returning readers.

That minor quibble aside, this is a book that so very clearly stands up to the hype. Ted Naifeh is off to a wonderful start with this title. Within a few pages we learn so much about Ülga. Yet behind those eyes we see there is still so much more to experience with this wee berserker. While it's hard to tell if Princess Ugg #1 will truly subvert the “princess in a strange land” trope, it's clear that the adventure will be a joy for both character and reader. Hail and well met, indeed.

Princess Ugg #6 is a great step forward for both character and reader as we finally see Ulga coming to terms with what truly makes a brave warrior, and maybe someday, ruler.

Still, both Guggenheim and Yu are trying their best at something new for Frank. A tall order. They get close. Close enough to make me wonder what happens next.

Still, it's a shame this will be Rucka's last run with this character for the foreseeable future. His take on the Punisher is still as fresh as the first time he got into Frank Castle's head... even if this isn't the strongest outing.

I know Ragemoor won't be to everyone's liking. However, if you miss the days of Vincent Price and Peter Cushing, then Ragemoor is a place you simply must visit.

Like I said, I could keep going on and on about how this is one of the best titles on the shelves right now. Even if you didn't grow up on a steady diet of Dungeons & Dragons with a side of saturday morning cartoons, Rat Queens is a title you must add. This isn't just another sword and sorcery story made edgy with nasty words and flowing blood. Well, it is that, but it's also so much more. Rat Queens is packed with heart. Heart that has you rooting for these ladies no matter how nasty they get. Image puts out some of the best comics in the industry these days and Rat Queens is a jewel in that crown.

Some special attention should also be played to Ed Brisson. His letters do more than simply move the dialog along. Since Issue #1, he's helped bring the vocals to life with these characters, and in Issue #7, he locks them in tight. I can hear accents and tones in my head as the women speak. And when combined with Upchurch's wonderfully energetic fight scenes, the lettering is indeed a special effect that enhances the story. For an issue that's all about emotional honesty and secrets revealed, there is so very much more going on just below the surface. There is just no getting around it, Rat Queens is still a perfect title that everyone should be reading.

In the end, this is a fantastic return to form for fans of these butt-kicking adventurers. And while this is probably not the best place for brand new readers to jump on board, it will still be some of the most fun you'll ever have reading a comic.

Minor quips aside, this is a strong and promising debut. I think Simone knows well enough to avoid some of the more egregious tropes of the female fantasy character. In addition, her skill at combining the brutal with the humorous will go a long way in maintaining the correct tone for Sonja. If Geovani and Lucas can find a better balance between line art and colors, then Red Sonja will quickly find itself an audience hungry for strong fantasy.

Robin: Son of Batman #2 is another example of DC Comics making a new commitment to fun, hopefully one that will last for years to come.

here is simply no getting around it. Frank Miller's style hasn't changed in years, perhaps even decades. If you're a fan, then Robocop: Last Stand #4 will be right up your alley.

We are watching an almost too realistic portrayal of politics and power unfold in a supposed fictional Portland, Oregon. But in that short year between issue #5 and #6, there was a massive paradigm shift in how we view our saviors and revolutionaries. And to be perfectly honest, I'm not sure Scarlet, and by extension Bendis or Maleev are up to the task. As new fathers, the both of them, they see the world so very differently than their title character. In that, Scarlet now walks without guidance in her own book. She's still asking the questions, but her creators may not have the answer. Scarlet #6, is both compelling and frustrating. Not unlike modern American life.

So yeah, this isn't your old Secret Six, but that's okay. Because this group looks worse, and that's a win for us.

Out-of-continuity stories represent an opportunity for a creator to truly explore the themes and morals of a well-established character... Which is why Sensation Comics Featuring Wonder Woman #1 feels lacking. Gail Simone and Ethan Van Sciver debuting this title is a big launch for DC, but unfortunately both played it a little too safe.

Serenity: Leaves on the Wind #1 is by no means a bad book, but nor does it soar. If anything, the issue reads like a weak television pilot, but with just enough meat on the bones to land it a season. Going back to that Stan Lee quote however is a tough trick. Would this work as someone's first comic? Of course, but only if they already identify themselves as a card carrying Browncoats, with a deep understanding of the 'Verse. If Dark Horse Comics merely wanted to snag the Firefly loyal, than this book will be a welcome return to characters you love. If you're looking for some fun science fiction in your comics, without much prior knowledge of this setting, then I'm afraid this just isn't going to be the book for you.

She-Hulk #3 is not the strongest issue to date, but still a fun way to spend $2.99.

Strange to heap such praise on a book that, for all intents of purposes, didn't really get moving until the last couple of pages. It's a credit to Keatinge, Del Duca, Gieni, and Brisson as storytellers that I am already this vested in both the character and setting. With Shutter #1, Image Comics has yet another hit on their hands.

Don't let the light-hearted art or content fool you. Skullkickers is one of the smartest comics out there and issue #24 only sets the stage for more crazy to come. Bring it on!

While I wish there was more meat to this story, Pichelli and Ponsor make sure Spider-Men #1 is still a satisfying read.

Spider-Men started incredibly strong, but after three issues, Bendis' story lacked focus. Apart from a few powerful character moments, the story itself fell short. Issue #5 reads as an extension of that.

I know it may not be everyone's cup of Raktajino, but I'm having fun. But I'll be the first to admit, your mileage may vary.

Although this issue and series has had a few bumps, it's still the best Star Trek has ever been treated in comics.

In terms of story, Star Trek #16 is definitely fun, but it's executed with such haphazard writing and lack of attention to detail that it makes it almost unreadable.

As a long-time (and rather obsessive) Star Trek fan, these IDW one-shots have been a real pleasure to read. Although we all love Kirk and Spock, too often the supporting characters get lost in the adventure. Fleshing out their place within this new Trek not only strengthens their role, but the setting as a whole. Although I will admit, we've now had two (technically four if you count Kirk and Spock's cinematic tales) deaths that drive our leads. With that in mind, I'm really hoping for some variety in inspiration with upcoming issues. Still, it's a good time to be a Star Trek fan, in no small part due to IDW and the creative teams they've put together.

Star Trek #19 is a serviceable story, but not one that will impress the loyal or attract the newcomer.

There is no doubt, this is still a total hoot to read. My own personal preference on the art not withstanding, this is hitting all the right notes for fans of both Star Trek " The Next Generation and Doctor Who. And while I don't know how long they can pilot the nostalgia train without giving us actual plot content. I'm still willing to have some fun and ride along.

For the first time in years, Dark Horse Comics has published a Star Wars comic that will reach far beyond the hardcore fan. Brian Wood and Carlos D'Anda truly have the making of a classic on their hands. If you ever wondered if Star Wars could ever recapture that childlike glee of those earliest of memories, wonder no more. Star Wars is back and it's never been better.

Brian Wood, Carlos D'Anda, and Gabe Elataeb set a high bar with Star Wars #1. One they don't quite achieve in Issue #2, but I am still having a blast with this book. This issue is all about laying the ground work for what is to come as Princess Leia sets her covert team into motion

Wow, this one is all for the Star Wars nerds. You know, that ones that will totally know what Han's talking about when he mentions how a TIE Fighter performs in the atmosphere. Indeed, most of issue #4 from Brian Wood and Carlos D'Anda is all about the fan service.

"Although nothing truly ground breaking happens in the issue, there is something to be said for a strong setup that promises a good follow through. Hard Targets promises just that. And, it should prove enjoyable to read just where Ostrander intends on taking his Imperial spy. Agent Jahan Cross is slowly emerging as one of the more complex characters within the Star Wars expanded universe. For that alone, I want to know what happens next."

The creators have found the balance often lacking in most Star Wars products. They've managed to create a comic that reads as a dangerous tale of revenge, while maintaining an all-ages appropriate tone.

The final issue wrapped up stories a little too quickly for my tastes, but the seeds of distrust and hate the Brothers Sith plant are just fun.

A seemingly uninspired main character paired with lack-luster art will make it hard for me to come back for issue #2.

As it stands, Star Wars " Dawn of the Jedi #1 is a very basic foundation to a potentially grand house.

Of all of Dark Horse's Star Wars titles, Dawn of the Jedi is the least approachable. But for the longtime fan, a welcome addition.

The book has set up all manner of branching stories and concepts, to say nothing of the core arc. But as we wrap Issue #4, I am beginning to wonder if we'll see a proper resolution to it all. That is a real shame, because there is a lot of good ingredients here. Ingredients that I fear are going to go to waste.

I'll give writer Peter Milligan credit. He does his best to bring new readers up to speed in an entertaining manner. There is just so much that happened while I was away. Artists Will Conrad and Cliff Richards strike a fine action scene, but their character definition could use some work. There were a few times where one could be forgiven for thinking Apollo was dating Hawksmoor, not Midnighter.

In the end, Strange Fruit #1 is an impressive debut coming from the best intentions, yet somehow manages skip a real emotional connection. Still, this is just the first issue, and both Jones and Waid do a great job in painting the picture of the era and place, while staying true to the mythical roots they're attempting to sow with this comic. Although it lacks the raw passions of the Billie Holiday song of which it shares a name, it's still a worthy read that will hopefully start a conversation - and that alone is a good start.

#5, along with the rest of the arc, is still compelling enough, but lacking the impact of the previous stories.

Rucka is rarely better than when he's writing in the crime genre with a strong female lead. Dex Parios and Stumptown #1 is no exception. Rucka and Southworth play with familiar detective tropes, but do it with such charm that you welcome them. Like the busted-up Ford Mustang Dex drives, Stumptown is the book that makes you smile as it drives by. Dents and all, she's a beauty.

Stumptown has always had it's feet firmly planted in the great American P.I. genre, and you simply can't do that without a car chase. It has it's bumps, but Stumptown is still one of the best rides on the spinner rack these days.

This isn't a bright and joyous world where everyone looks up in the sky for a savior. This is a world that's seen it all before and is no longer impressed by their gods. Still, as much as I enjoyed the visuals in Super Crooks, I just don't care about the people in it.

There is quite a bit of exposition in this issue and Ramos manages to make those scene not only interesting, but darn right exciting at times. This one could have been simple filler, but Slott and Ramos continue to surprise and this is one reviewer that thinks they'll stick the landing.

Charles Soule does his best to focus on the characters while the world, and its heroes fight to survive. In that respect, he succeeds, but at the cost of many story moments lost in the chaos.

Bringing movie characters into comics proper isn't new, so adding Faora in Superman/Wonder Woman #5 isn't all that shocking. Nor is it all that amazing. Charles Soule does an fine enough job in bringing her in, but I get the impression he'd rather delve more into the relationship issues between Diana and Clark.

If you've been there since Issue #1, Swamp Thing #18 is a perfect ending to a run that stands as tall as anything from Alan Moore, Len Wein and Bernie Wrightson.

This might not be the end of the world epic we've come to expect from the title, it's no less enjoyable and I'll make sure it stays on my pull list. Good times.

I'll be the first to admit that Tally Marks #1 may not be for everyone. That being said, if you want to expand your knowledge of the medium, this is a fine place to start.

Brett Booth's art is a bit dramatic for my tastes, as everyone is always in some form of epic heroic pose. That's all well and good when the scene allows, but on every other page, it becomes a bit tedious. Still, if you miss some of that old-school internal monologuing from Tim Drake, Teen Titans #15 is an OK, if uneven, inclusion in an otherwise tight mini-event.

Not horrible, but not great, Teen Titans #1 simply fills up shelf space.

I really want to like this comic, and to an extent, I do. I love me some giant monsters, science gone amuck, whip-smart kids as heroes, and slobbering dinosaurs. Really, that's the kind of stuff that fuels the imagination. While I can shut off the more analytical part of my brain and give into the crazy. There was still a lot of the all too familiar to make this a genuinely original and fantastic read. That isn't to say Terrible Lizard #1 is a bad book, very far from it. There just isn't a whole lot here to grab a new reader that they haven't seen, read, or even played before. However, for all those concerns, Terrible Lizard #1 is still a book one could gladly give to any young reader and feel confident that they'd have some fun.

Artistic concerns aside, The Answer! has just enough mystery and interesting character work to keep my investing in the next issue. If Norton can bring the same attention and excitement he used on Devin to the rest of Issue #2, then we just might have a real winner on our hands here.

Avenging Spider-Man #9 was more than I was hoping for. I had a feeling I'd enjoy DeConnick's snappy dialogue, the same with Terry and Rachel Dodson's art. What I didn't know was if I would finally find that connection with Carol Danvers I was looking for. Now I get it and I can't wait for more.

Gabriele Dell'otto on pencils have some vibrancy to them, but most of what he draws gets lost in very muddling coloring by Dommo Aymara. It's a real shame, as there is some fun action in this book, but you just can't see it very well. Both Bunn and Dell'otto showcase some good talent in this book, it's just too bad so much of it gets buried in heavy shadows and blurred coloring.

But the thing is, I don't have the energy anymore to focus on this outdated and damaging philosophy. Or this book.

Fearless Defenders #12 will remind the fans of the fun they had, but sadly, the sting of wondering what could have been may trump the good times.

To be honest, were it not for the great book ending moment with Erik Lehnsherr, I don't know if I'd come back for Issue #2.

Although if I'm being honest, I'm pretty sure most people that read Hypernaturals #1 will be entertained. Because I was. I wasn't challenged. I wasn't blow away. But I was entertained, and if that's all Abnett and Lanning want to create, that's fine. Still, I was really hoping for more from them. I wanted "Can't take my eyes away" programming, what I got was "Ugh, the remote is all the way over there."

Hickman and Pitarra have crafted a book where I see the whole picture, but get lost in the little details. Even better, they've reminded me how much crazy fun you can have in comics.

For all its message of equality, what intrigues me the most about The Movement is the opportunity it provides two talented creators to truly stretch their talents.

The New Ghostbusters #1 has some really fun stuff going on with it. It deserves a bigger audience than it will likely receive. Give this one a look.

Taking the bulk of the exposition that was pleasantly missing in issue #1, issue #2 is the lull I was hoping this arc would skip. Not a bad issue, but it's not going to pull in new readers.

The Pound is a fun debut with lots of potential.

The Secret History of DB Cooper is not for the casual comic fan. It demands multiple reads. If you're coming in late, by all means, get this issue. Just go looking for back issues first. If you've been here since Issue #1, well then I'm really just preaching to the choir.

There is no doubt: The Sixth Gun is everything that is good about comics.

Mind you, a less than stellar installment of The Sixth Gun is better than most books on the shelf. I guess that's one of the dangers of putting out such a strong title, when you do take that misstep, it really shows. As we're only two issues into this arc, I'm hoping all this exposition is a necessary evil for what is to follow. Nobody is perfect and this is still a comic you should be reading.

As I said in the beginning, we're getting hints at the inevitable end of this series. However, that ending is still a long way off and in that time, I hope Bunn, Hurtt, and Crabtree continue to show why this is one of the best books on the shelf. Few titles are able to mix the darkness with humor and genuine human emotion as The Sixth Gun. Although the series has had a few bumps here and there, issue #30 proves there is still a lot of story to tell and Becky Montcrief's journey is far from over. It's a good issue for new folks to jump in, for those that have been there since the beginning, here we go again. Hang on.

Each character looks like they're highly rendered photos that are dropped onto the panel, rather than a living element in the story. Even during moments of intense action, if it doesn't actively include the Spider, the art just doesn't pop. Which is a real shame, because Worley has the look of the Spider down, sadly, he lives in a world that doesn't look real.

The themes Curt Pires explores within Theremin #1 are most interesting. I only wish he'd taken more time in exploring the concept behind the idea, other than simply jumping into a fictional retelling of history.

Jordie Bellaire makes some smart coloring choices. Almost avoiding shades and gradient tones all together, Bellaire raises Gane's lines, which could have been lost with a muted color palette. Better still, by avoiding the use of heavy shading, Bellaire is stepping in line with the story and concept. For those with the power, there is no true gray. No middle ground. They are better than us, so why mask it with muted colors? Even the lettering of this book generates a feeling of roughness, but never amateur, a balance that is so rarely achieved. They're Not Like Us is an extremely impressive debut from a visual stance. While the story doesn't hook the reader immediately, Stephenson manages to ask all the right questions to elevate this comic into one people should read and certainly be excited for more.

Jason Aaron pens an issue that has both the reader and the new Thor trying to understand the hows and whys of the hammer. It's a fun approach as it furthers both the character and reader.

Jason Aaron is doing a bang-up job of maintaining the mystery the woman under the helmet, without losing the stronger narrative within Thor's internal monologue.

I don't know what the future holds for this title. So for now, I will keep singing the praises of Marvel's glorious misfits.

On the surface, it's horrible people doing horrible (though humorous) things at and around poor Todd, a postmodern Charlie Brown. It's a book that unflinchingly asks if we're laughing at or with the characters. Todd, The Ugliest Kid on Earth opens with a lot of promise. Making good on that promise will be the real trick.

There is potential in Transformers: Robots in Disguise #1. Is there enough to bring me back for another issue? Perhaps, but just barely. I know it's weird to say about a franchise that's all about cars and jets turning into robots fighting each other, but slow things down a little. Give the story a chance to grow. It will make those big moments have all the greater impact.

To be blunt, this book is simply trying too hard. Which I know doesn't make any sense. Every title should try and exceed the reader's expectations. Still, there is a difference between exceeding expectations and tossing everything at the reader and hoping something sticks. And that there is the real problem with this debut issue. This is supposed to be the comic that launches the first event that will truly shake up the New 52. As it stands, it not only misses that mark, I'm not even sure you need to read it. Mind you, this isn't a bad comic. The writing is serviceable and the art is on par with most superhero titles on the shelf. However, it very much feels like a comic designed and plotted by committee. In the end, Trinity of Sin: Pandora #1 would have worked better as a shorter installments within other books or as bonus digital content. The comic is simply okay and okay is not how you launch an event.

While Pak's dialog reads a little choppy at times, the twist and art more than raises Turok: Dinosaur Hunter #1 to a must-read.

The Twilight Zone #1 is an interesting, but bumpy start. The ideas and pieces are all there. If the creative team can synch up their individual styles under one form, the book has the chance at being a modern classic. As it stands now, fans of the original television series will find elements to enjoy, if a bit lacking. New readers, however, will be an even harder sell.

Which brings me back to how I feel about this issue. It's a growing pain. All 20 pages of it. It isn't perfect, but nor it is worthy of scorn. Like life, Ultimate Comics Spider-Man #6 is simply a little step in a much larger story.

While I love Sara Pichelli's work, Samnee's Spider-Man feels more childlike, with an almost Peter Pan quality as he jumps through the air. This sense of innocence in the face of danger only adds to why Ultimate Comics Spider-Man is one of best books in comics; be it Marvel or anywhere else

I'm warning readers right now: Where is Jake Ellis #1 is not for newcomers. Nathan Edmondson and Tonci Zonjic make a small attempt to bring newbies up to speed, but you're better served to read the first collection and come back. And you better, because this is one heck of a setup.

On all fronts, Witch Doctor: Mal Practice #1 is a step up for a series that was already hitting all the right notes. This is some can't-miss comic reading right here. Bring on issue #2.

If issue #1 of Witch Doctor: Mal Practice was all about Ketner's growth as an artist, issue #2 is the time for writer Brandon Seifert to shine. This is a very dense issue, with a large chunk of Dr. Morrow's wonderfully bizarre world brought to light.

Although not the strongest installment in the series, Witch Doctor " Mal Practice #3 is still a comic worth getting excited about.

I know this is an unusually gushy review from me, but this book is just too much fun to not heap praise upon. When Seifert and Ketner are on the same page, thematically and tonally, they're one heck of a team. Taking into account the ongoing story, as well as the many hints at stories to come, and you've got one great issue with Mal Practice #4. Hopefully they can maintain this level of narrative fun as the arc enters its final stretch. Go get yourself some Witch Doctor. It's weird. It's funny. It's creepy. It's smart. It's simply good comics.

What the future holds is uncertain, but with this new character growth, it is sure to be interesting. This is still one strong title.

Witch Doctor - Mal Practice has been an incredibly enjoyable arc. Although it had one or two bumps along the way, the series brings itself to a wholly satisfying ending. An ending that in no way cheapens the reader with a tease, yet still makes darn sure you want more from these characters. While their debut arc was strong, there is no doubt, Mal Practice solidifies both Seifert and Ketner as some of comics' fastest-rising stars.

Witch Doctor: The Resuscitation will still leave new readers a little lost with quick character introduction and explanation, while long-time readers will sense something is lacking. Still, this book is a fun bridge to the next story arc for Dr. Vincent Morrow and his weird medical team.

Wolverine and the X-Men #15 is by no means a title you need to read to understand the Avengers vs. X-Men event. But it's one you should.

Sadly, this first issue is far too disjointed to work as a proper prelude (or even epilogue). Instead, it reads like a series of notes set to artwork.

While not perfect, Wonder Woman is still one of the best books DC has to offer and one you should be reading.

It took me longer than most, but I think it might be time to put down Wonder Woman for a while. With issue #19, Brian Azzarello continues his vision of the Amazon princess that's more family drama and less, well, Wonder Woman.

While I've enjoyed the mythology Brian Azzarello has been creating since the beginning, Issue #24 still suffers as a title that sidelines it's main character. Even more frustrating is Azzarello's pacing. There is setting up the pieces and then there is flat out filler. And, to be honest, I'm already living in a world with tedious government bickering, I don't need it in my Wonder Woman comic.

Brian Azzarello is certainly playing the long game, but I don't know if it's working to the books favor. This is a dense issue, with dialog that reads clunky in it's attempt at natural conversation.

This is still a well crafted comic with a compelling story and good art, but it's also still a comic where the Queen of Themyscira is a supporting role.

Unfortunately, the inks from Richard Friend do little to bring definition to Finch's rushed line work, save the moments where Wonder Woman is not the focus. This is redeemed a bit by colorist Sonia Oback - while the palette from which Oback works isn't all that vibrant, her coloring adds some much needed depth to panels that would otherwise fall wholly flat. There are still a few strong moments in Wonder Woman #36, moments that fans will enjoy. Unfortunately this new creative team continues to suffer from the same inconsistencies that plagued the title under the previous team. Diana feels like a side character within her own book. For too long, Wonder Woman has simply reacted to the world around her. It's time for her to step back into the light that made her a cultural icon. As it stands, this still isn't the comic where that happens.

Tempest Tossed gives the new takes on characters like Steve Trevor and Etta Candy. Both updates feel natural within this version of Wonder Woman and the world the creative team is building. And this book is very much about building and growing " Anderson commendably works hard to incorporate many current issues we are all facing, and Wonder Woman is perhaps the best character within DC to face these issues.

I get that sometimes you have to take a step back in order to move forward, but Worlds' Finest Annual Issue #1 is a bit too far. Too far and unnecessary. Although far from perfect, I've rather enjoyed the world and relationship between the Huntress and Power Girl created by writer Paul Levitz. This massive flashback acting as a prologue to the big Batman and Superman reveal does little to explore either character or world.

Moreso than the issue itself, I am intrigued by the possibility this story holds between the siblings Wayne. The concept has some legs, I really hope they can stick the landing.

I really want to like this comic, but it gets harder every month. Also, the boob window is back. Which is all I will say, because it's all the explanation we readers got. Deal with it. I guess.

There is little time to breathe in Wytches #2 as the characters deal with the events from the debut issue. Scott Snyder does a great job of ramping up the scares, but in doing so at such a pace, we've lost some of the dread that made the first issue such a shot in the arm.

I know I keep hammering away with the whole comics-by-the-numbers thing in regards to X-Club, but that doesn't mean it wasn't a fun read. It was. Could this team of supporting characters maintain an ongoing title? Probably not. Can they maintain a five-issue miniseries? If Spurrier and Davidson keep up the pace from issue #1, sure. I know I want to know what science does next.

There is simply no way around it, were I allowed to rate a book a zero, X-Force #1 would be that book. These characters, Marvel, and the readers should expect more.

For a title called Manowar, I want to see some absolutely insane, balls-to-the-wall action. What we get is all setup, with but a sampling of what might come. This is by no means a Conan-in-space-style adventure, but it wants to be. Maybe now that our hero is in space and the foundation is poured, Issue #2 will deliver on that title promises.

Still, X-O Manowar #11 does a good job of bringing in lapsed readers like myself back into the fold. Unlike the start of the series, there is enough here that I want to know what happens next. If the creative team can find cohesion between art and words, this "Planet Death" arc could be a real winner for Valiant.