Blair Marnell Comic Reviews

There are some good character moments throughout, and I wasn't as annoyed by the art as I usually am. This book deserves the benefit of the doubt before the claws come out.

This issue fulfilled the promise of DC Universe Rebirth, and I can't wait to see where the series goes from here.

Aquaman is peaking at just the right time, and there's never been a better chance to see just how great this book can be.

If there's a complaint here, it's that Cho holds back on some of the adult humor by hiding the visuals. But this issue is so great that I'm absolutely on board for any future Skybourne comics beyond this miniseries.

So far, this has been a masterful way to turn this book into one of DC's finest superhero adventures.

Aquaman has been DC's best-looking books ever since Stjepan Sejic joined the series, and that trend continues here. Dan Abnett's scripts have also been strong since Sejic arrived, and now the series is picking up momentum by reuniting Aquaman with his supporting cast and furthering the rebellion storyline.

By the end of this issue, the straightforward Cable vs. Deadpool fight is no longer very straightforward at all. Things are only getting crazier, and I love it.

This issue might have the most brutal comic book fight in recent memory that also barely has any punching, stabbing, or shooting. Instead, the vendetta between Madcap and Deadpool reaches its conclusion with a few choice words that land harder than any hit.

Now, that is terrific. This issue is everything that a Chip Zdarsky Spider-Man story can be and more.

There's nothing quite like a satisfying send-off to make the whole series seem worthwhile. Gerry Duggan and Pepe Larraz pull off the landing for this Uncanny Avengers run, and it leaves most of the characters in a pretty good place while bringing everything full circle with Duggan's first issue

This issue may not have the same impact if you weren't reading Gerry Duggan's Uncanny Avengers run, but for those who have read it, this is a fitting conclusion to the connection shared by Deadpool and Rogue.

Plus, now that Fear Itself is over, Alpha Flight is more of a standalone story than ever before. I wish we could get more comics like this. Alpha Flight may never set the sales charts on fire, but it is well worth your money.

The tale of the Astro-naut is truly affecting, and it's another instant classic issue from a series that's almost always great.

Avengers #3.1 is unapologetically a throwback to earlier eras in comics. There are a lot of panels per page, random hero cameos, thought bubbles, and some very old school superhero action from the team of Mark Waid and Barry Kitson. I love it.

This book is thoroughly entertaining, and it makes me want to see Steve Orlando and Scott Snyder do a modern version of The Brave and the Bold, just as an excuse for more Batman and the Shadow team ups. This is a great, great comic.

None of the other Secret Empire tie-ins have come close to the quality of the Deadpool issues.

Deadpool is great. And I don't just mean the character. Gerry Duggan and Matteo Lolli have really hit their stride with these Secret Empire tie-ins.

This issue offers a few hints about Deadpool's next move, and it looks like it could have bigger ramifications for the event. But the most satisfying aspect of this series is just how devastating the entire thing has been for Deadpool himself.

Deadpool is peaking in quality at just the right time, and it deserves to be recognized as one of Marvel's top books.

Duggan and Lolli have clicked so well together that it seems likely they'll eventually be paired on an even more high-profile book. But for now, they've made their mark on Deadpool, big time.

This issue also has the most interaction that Deadpool has had with Colossus since the first movie came out, so it feels a little overdue to see their fight here.

Month in and month out, Detective Comics has been one of DC's best ongoing series. It deserves to be on the pull list of every Batman fan.

This is a rare tie-in issue that feels like it's far more important than the main book.

I don't know what it would take to make Fantastic Four a top selling title again, but I'm really enjoying Robinson and Kirk's run so far. This comic is everything that the Fantastic Four should be.

For a one-and-done chapter within the current storyline, this was a remarkably strong issue. If Percy and Ferreyra ever get tired of this series, they seem well-suited to bringing their A-game to one of the Superman series.

This is a great setup, and a great issue.

This issue is drawn by Juan Ferreyra, and that's really all you need to know about how terrific it is. But what makes this issue stand out is that Benjamin Percy delivers a script that's almost as great as Ferryra's art, and the result is one of the absolute best issues of their already stellar run on this book.

It seems like Juan Ferreyra can do no wrong on this book, and if Green Arrow hasn't established him as one of the best artists on DC's roster, then I don't know what will.

Boom! Studios' Power Rangers comics have done a lot to rehabilitate that franchise in the comic book realm. But Justice League/Power Rangers has done something equally impressive - it's made the Rangers feel like they can legitimately share the stage with the world's greatest superheroes.

I absolutely loved this issue, and that's not something that I'm always able say about the modern X-Men series.

The overall story is a little light, but it's easily one of the best Rogue and Gambit tales in a long time.

Savage Things #1 has a great premise, fantastic art, and is almost flawless executed. If you love comics, this issue belongs on your pull list.

It's an inherent problem of midquels. There can't actually be any change to the outcome, so we know that Han will eventually come through for the Rebellion. The most important note is that this issue is a very entertaining read. And again, this comic is worth the price for the artwork alone. Fortunately, the story is also worth recommending.

Uncanny Avengers is one of those rare comics that I just can't wait for the next issue, much less the trade. This is one of Marvel's best books at the moment and it's at the top of my reading list when it comes out.

It still has a long way to go before it reaches the heights of Ellis' previous Wildstorm run, but this was a great issue and an encouraging step in the right direction.

Davis is also a master at conveying emotions on the faces of his characters, even on Cyclops when a mask obscures most of his face. This is just a really good looking book that happens to be well written as well. I can't speak for everyone, but that's exactly what I want out of a superhero comic.

It's not clear if the mystery villain can maintain that threat level for the entire story, but Dini and Churchill actually made him feel relevant for the first time in years

The "Revenge Squad" arc has had its ups and downs, but the combination of Jurgens and Herbert has already demonstrated the ability to elevate this story to a much higher level. And I can't wait to see their next issue.

Aquaman has been one of DC's best books ever since Stjepan Sejic joined the creative team, and his art once again elevates this issue to a higher level.

Believe it or not, this issue does have a tie-in with Secret Empire. But for the most part, it's a done-in-one adventure that's perfect for anyone who misses the old school Deadpool. He's back.

This is a very satisfying read that even sets up a potential game-changer for Oliver's legal status. I can't wait to see what's next for this title.

This feels like the final issue of Thanos, which is an odd sensation considering that it will continue with a new storyline. Jeff Lemire goes out of his way to wrap up most of this book's major storylines and subplots. But most importantly, Lemire gives us a Thanos who is unrepentant about who and what he is.

This is a really beautiful looking comic and Churchill has turned out to be the perfect artist for the back-to-basics Man of Steel that we have after Superman Reborn.

If the Guardians of the Galaxy have to ape their counterparts on the big screen, then it would be a great consolation prize if their ongoing adventures were always this good.

It must have taken restraint for DC to put Stjepan Sejic on Aquaman rather than one of the bigger books like Superman, Batman, or Wonder Woman. Sejic clearly has what it takes to be a superstar artist, but Aquaman is the comic that needed him the most, and his pages have revitalized this series in a major way.

It feels like this issue is a road-map for what will come after this, and it's got an intriguing role reversal for two of the book's leads. That's why this is still one of DC's best titles, month after month.

Avengers #4.1 is a relentless throwback to the way that superhero comics used to be... and I love it. Mark Waid and Barry Kitson get just about everything right in this issue.

The dynamic between Doom and Nadia has a lot of potential. There's also something here for readers of Waid's other Marvel series. But if you've been skipping that book then the conclusion of this issue may not make much sense. Regardless, this was a very entertaining issue.

Priest brought his A-game to this one, from the quiet moments between Kid Flash and Power Girl to Slade's hilarious attempt to con someone else into doing his killing for him.

This is just a great book that rarely falters, and this creative team is on a roll.

This is still Marvel's most consistently great book, by far.

The name on the comic may be Detective Comics, but this is more like the zero issue of the upcoming Batwoman series.

The "Revenge Squad" arc has had its ups and downs, but the combination of Jurgens and Herbert has already demonstrated the ability to elevate this story to a much higher level. And I can't wait to see their next issue.

The ending is abrupt, and it may have been a little too easy to let things play out that way. But as a complete package, this was one of the best issues to come out this week.

I love a good surprise, and Imaginary Fiends is a great one.

This is a visually stunning issue with confident sequential choices that make it easy to revisit for future readings as well.

This was a very strong epilogue for The Clone Conspiracy, and in some ways, it was even better than the event that preceded it.

We can't really call Uncanny Avengers a groundbreaking book, but the creative team deserves a lot of praise for managing to do everything extremely well. Even as single issue experience, this one doesn't disappoint.

The X-Men books don't always have the best records when it comes to crossovers, especially in recent history. But Marc Guggenheim and Mike Mayhew really do an excellent job in this opening chapter.

This is still one of DC's best monthly books, and well worth your time and money.

Batman: The Merciless follows the same path that the previous Dark Nights: Metal tie-ins used to introduce the various evil incarnations of Batman. But those books didn't have Francis Manapul as their artist, and that makes all of the difference here.

It's a great issue, and maybe Duggan and Lolli should have their own Marvel event book in the future. They've earned it.

This might be the run that finally makes the comic book Guardians live up to their cinematic counterparts.

This isn't just a great Inhumans comic, it's simply a great comic.

Duggan's script strikes the right balance of humor, horror, and superhero action. Now we just need to see if the conclusion of this story can live up to the buildup.

I wish the story had been stronger, but the art is about as close to perfection as it gets.

The cliffhanger ending is a bit abrupt, but that's not enough to derail a very good issue.

All told, it's a very entertaining package.

Cullen Bunn has pulled off a delicate twist with the second issue of this series. He's made Deadpool's murderous rampage into a superhero tragedy, while giving the series comedic interludes that are genuinely funny.

Herbert deserves a permanent place on DC's A-list books, instead of the fill-in pages he got here.

On its own, Action Comics #3 makes for a surprisingly dense and enjoyable read. I still don't buy that this is the same Man of Steel being portrayed five years later in Superman, but if you're only reading this book than it doesn't matter what happens anywhere else.

This week's issue of Action Comics is a great example of what happens when an artist elevates a script to the next level. Will Conrad's art is phenomenal, and he makes these pages sing.

If you needed a reminder of how well this team can work in a comic, then this is definitely for you.

Alpha Flight is one of those Marvel books that just doesn't work without the right creative team. In that regard, Pak, Van Lente and Eaglesham have done a terrific job of making these characters interesting again. It's a shame that the next issue may be the last time that they have their own title for the foreseeable future. But I'm eager to see how this story finally wraps up.

The action was exciting and the story is still building up its momentum. That's not an easy thing to maintain for a weekly series, but it's working so far.

It's unfortunate that most of these characters are going to fall by the wayside when the next Avengers relaunch happens in a few months. But at least they're going out on a strong note.

The first thing that has to be said about Captain America #25 is that it has great art by Jesus Saiz and Joe Bennett. Their pages capture the best aspects of modern superheroes with nods to the past. Even if it didn't have a strong script, this issue would have been worth it for these pages alone.

Joe Bennett's performance in this issue is masterful. And I say performance because so much of what's happening between Tanya and Slade is conveyed in their faces and body language

But the biggest star of the issue is Ben Oliver, whose gorgeous painted artwork popped off of the page. Oliver simply does everything that you could possibly ask from a comic book artist, including interesting page layouts as well as expressive and distinct-looking characters. More of this, please.

This issue finally brings Tim Drake back into the orbit of his extended Bat-family, and that's just a joy to watch. It still doesn't make much sense to tie that into the ridiculous Mr. Oz storyline, but Tim's return makes the team feel more complete.

The main adversary is still a little too over-the-top to take seriously, but the visuals make it very easy to overlook the issue's shortcomings.

It's an interesting ride so far, but the art is what makes this issue feel complete.

The first two issues of Rocketeer Adventures have been some of the most fun comics I've read all year. This may be the best comic book anthology on the market and a fitting way to keep the legacy of Dave Stevens alive. Now we just need IDW to bump it up to an ongoing series and give some of these creative teams more than eight pages to play with.

Secret Empire: Uprising is one of the nice surprises of the current round of tie-in issues for Marvel's latest event.

This is not a perfect start for the new Superman creative team, but it’s really good and it’s more than enough to rekindle my interest. Johns and Romita really clicked together in this issue. I want to see if they can make Superman “Super” once again.

This issue doesn't really have any traditional action, but it delivers an emotional gut punch that was very effective. Can't wait to see where this is going.

It's very good, and it deserves to keep going.

For a new series, this is off to a very promising start.

This is a terrific-looking comic book that captures a lot of the old Avengers spirit. Izaakse's Yanick Paquette-meets-George Perez style compliments this book well, and the return of Beast and Wonder Man also goes a long way towards establishing a good mix of modern and classic superhero vibes.

This might be the best-looking issue of X-Men Gold to date. For that, credit has to go to Lan Medina, a criminally underrated artist whose work is always outstanding.

I hadn't been looking forward to this before, but it's proven to be much better than expected.

The cliffhanger is something that we've seen many times before, but hopefully Tynion will put a fresh spin on this familiar face.

It's no secret that Green Arrow has been one the best books of the DC Rebirth era, and that's still true in this issue. While there are some elements here that seem to be inspired by the Arrow TV show, it feels less like this is aping that series and more like it's just on the cusp of a classic Green Arrow run.

It's a great combination of writing and artwork that makes this one of DC's best books in the Rebirth era. And we're happy to say that this book is once again living up to that level of quality.

The funny thing about Guardians of the Galaxy's current run is that there are things that I absolutely hate about it, like the revamped loser Nova Corps and the way that so much of the MCU Guardians' characteristics have been forced onto their comic book counterparts. And yet it's still one of the better Marvel comics on a month-to-month basis.

This series tends to get the most out of Ethan Van Sciver and Rafa Sandoval on art, but Patrick Zircher has made a very strong showing for himself in the last two issues. Zircher's classic style suits Green Lantern well, and he draws a really terrific Superman as well.

The ending is a little abrupt, but on the whole, this was the best Inhumans story in years. And if there's another Inhumans relaunch down the line, Priest and Noto should be the go-to team for that book.

It's not a very deep story by modern standards, but as an old school Thor flashback, it's a welcome return to what this book used to be. If anything, it proves that classic Thor can still be entertaining.

Gail Simone has believably forged a bond between Conan and Diana that seems destined to break when he goes back to Marvel next year. In the interim, there's some genuinely moving material here.

Patch Zircher is proving himself to be one of the very best Superman artists. His Man of Steel simultaneously looks classic and modern, and his pages have a lot of life to them...even when depicting the undead.

The jury is still out on whether it was a good idea to make Mr. Oz that particular character, but Viktor Bogdanovic stepped up with his best art in the story to date. That goes a long way towards making this a strong conclusion to a somewhat uneven arc.

Credit where credit is due, Charles Soule pulled off a good twist in this issue. What's really impressive is that Soule clearly set this event in motion during the previous issues, but he didn't draw too much attention to it at the time. Just a few pages and panels, here and there. But it really works.

If Jason Aaron wasn't so entrenched on Thor, Waid and del Mundo could take over that book without missing a step.

One of the more effective aspects of the Batman/The Shadow miniseries is that it retroactively makes the Shadow an important part of Batman's history. And he may even be the architect of Batman's destiny. That could have been very annoying, yet Steve Orlando and Scott Snyder pull it off so well that it could fit into the backstory of almost any version of Bruce Wayne.

This book has largely become a Slingers revival over the last few issues, and oddly enough, that makes it feel more like a legitimate Spidey comic.

It's still really good, but it falls just short of being great.

It has to be said that Joe Bennett does an excellent job on this issue, particularly with the way that he makes his characters emote. The previously mentioned reunion is an artistic highlight that simply focuses on one young woman's face for an entire page...and it's great.

This series didn't always find its way, but it went out on a high note.

"The Button" definitely has our attention, and hopefully it can maintain this level of quality. Because when DC finally does get around to officially reintroducing Doctor Manhattan, it had better be a great story. But this is definitely a good start.

Its connections to the overall Generations event are negligible, but it is a very big story for Jean Grey, and that includes her younger self as well as the Phoenix. The issue kind of dances around a few continuity details, but it does actually fit into a moment of X-Men history without significantly changing anything.

It's always a pleasure to see Ethan Van Sciver back on the Green Lantern titles. His art elevates the entire series, and even an opening chapter of a new story feels like an epic thanks to the level of detail and craft in Van Sciver's work.

This is one of the strongest issues of Jean Grey's solo series, thanks in no small part to the art of Victor Ibanez.

One of the great things to come out of DC Rebirth is that Superman gets to be inspiring again. This issue opens with a beautiful double page splash that simply captures the awe and hope that the Man of Steel brings out of ordinary people. This feels like the classic Superman, the small touches really bring that point home.

Jim Cheung's artwork is terrific, and he seemed to excel when there are dozens of characters on each page. Cheung delivers the best visual joke in the entire book when we see what the Jackal has been attempting with his resurrected bad guys.

This issue was an unexpected pleasure, and now this miniseries is firmly on our radar.

Jim Zub's latest issue of Uncanny Avengers finally seems to capture the team's dynamic without rehashing 2012's Rogue vs. Scarlet Witch subplot.

It's not clear if Uncanny Avengers will be coming back after the next big Avengers crossover, but it deserves to keep going.

There's a lot left in the wind for another book to explore. However, this issue does deliver on the initial promise for the series: a serious battle between Psylocke and Magneto.

Overall, this was a very good issue, and even the humor seemed less forced than usual.

One of the things I really like about Gerry Duggan's run on this book is that, even with the title characters seemingly squashed into something that resembled their MCU counterparts, Duggan still manages to get in some deep dive Marvel Universe references.

As comic artists go, Stuart Immonen is an international treasure. But that face is gonna take some getting used to. You'll know which one when you read the issue.

Mark Waid throws in some genuine surprises that feel in character for everyone, including Octopus' scheming, Scarlet Witch and Vision's alone time, and a character's decision to lie at a key moment in the battle. That makes one of the few heroic members of the team complicit in a pretty brutal atrocity, which could have some very interesting fallout.

This tale could have ended with four issues, but I'm eager to see where Steve Orlando and Scott Snyder take us in the remaining two issues.

This has been an especially good crossover, and I'm already looking forward to the sequel.

As a chapter in a crossover, it doesn't really do much to advance the story. This series probably shouldn't have even been part of the crossover at all. It's more of a tie-in issue than an essential part of the saga. But it's very entertaining, and that's really all that matters.

This is a very underrated book that is worthy of more attention than it's currently receiving.

Priest hasn't lost his touch, and I want to see where he's going with this tale.

Christian Duce's artwork is passable, but definitely not up to the standards set by Eddy Barrows and Ben Oliver on this title. Still, Duce does enough to hold up his end of the bargain, even if the script is far superior to the art.

This isn't quite as strong as some of Tynion's previous arcs. Hopefully the final outcome will be worth the rebuilding phase that comes after this.

When they're together, Percy and Ferreyra are pure magic. And this issue feels like a new beginning for the series.

I feel like I must have missed an issue of the Gotham Resistance crossover, because Green Arrow #32's script is really disorienting, and I had no idea why the heroes' costumes had changed so radically. This could have easily gone off the rails completely, but Juan Ferreyra's art once again proves to be the decisive factor in this book.

Guardians of the Galaxy once again demonstrates Gerry Duggan's ability to use Marvel's continuity to his own advantage. Instead of ignoring the previous stories, Duggan is able to skillfully explain why Star-Lord didn't know Nova was alive.

This was a good chapter, but it narrowly missed greatness.

For the first time, the Paul Dini & Jimmy Palmiotti classic Harley Quinn story by Bret Blevins isn't the best part of the issue. It's still a very fun tale, but the primary tale is simply more compelling this week.

This is a very good issue, and it may even have some broader implications for the DC Rebirth storyline.

This is a silly, silly comic, and yet it's just a lot of fun to read.

It's a very funny and enjoyable issue, although this crossover still has a long way to go.

This issue is delightful, and it gives both Wasps their due. It's hard to ask for anything more than that.

This is a good chapter, but we've all seen this story before. Now we need Robinson to show us something new.

This isn't a perfect issue, but it's hard not to be happy with it. This is what I wanted from my Superman.

Green Arrow has had an embarrassment of riches when it comes to artists since the beginning of DC Rebirth. Jamal Campbell turns out to be a very strong addition to that artistic line up, and there's very little drop-off in quality.

This series has been a nice surprise, and it's been very good so far.

This issue's biggest crime is that it doesn't let us read the story that pissed off Kamala in the first place: "Ms. Marvel and the Teenage Love Triangle from Space." We do get to see who wrote the offending tale, and now we really want to know what was in it! But that didn't detract too much from a very enjoyable issue.

This issue's biggest crime is that it doesn't let us read the story that pissed off Kamala in the first place: "Ms. Marvel and the Teenage Love Triangle from Space." We do get to see who wrote the offending tale, and now we really want to know what was in it! But that didn't detract too much from a very enjoyable issue.

As a one-off issue, it's a very good interlude between arcs on this book. It kind of makes me want to see what Duggan could do with the team if he didn't have to force them to fit within the boundaries that someone else came up with.

It seems like the Parker Industries era is coming to an end soon, and I'm going to miss it. But it's going out on top.

This book is still far better than it used to be. However, its quality might be coming back down to Earth.

Of the three current ongoing X-Men titles, this is still by far the best one.

Astonishing X-Men almost always looks good, and Paulo Siqueira's guest stint as the artist is no exception.

Another intriguing aspect of the new Kang war, is that it was started by one of the Avengers themselves. That twist was built on something that happened during Waid's last Avengers series; which may be off-putting for anyone who missed that the first time. But it's also a welcome sign that Waid has long term stories in mind for this series, and there's even a one-page "trailer" for the next few issues. Minor problems aside, this was a very exciting read, and we're eager to see what's next for these Avengers.

This one-shot does a good job of establishing the Red Death as a pretty credible villain, and that's an accomplishment in of itself.

. I'm still not sure that we really need a Scarlet Spider book, but it's been much more entertaining series within the last few issues. Maybe that's all the justification that it needs.

All in all, the best issue of the series to date. Too bad it's not actually about Black Bolt.

That said, this was one of the more entertaining issues of the new 52 and one of the few that will remain on my reading list next month.

Dalibor Talaji's chameleon-like ability to mimic manga and a more kid friendly style is very impressive, and it also fits in perfectly with Deadpool's delusions.

Slade is still a jerk even when he's trying to follow a more heroic path, but that's why he's so much fun to watch. So far, the Dark Titans are off to a very promising start.

Martinez's action scenes are also exciting, and his rendition of the last page should have some fans very excited to see what the next issue has in store for Batman's extended family.

It's still good, but it's not as satisfying as the earlier issues. I'm genuinely curious about what's going to happen next, but this run may have already peaked.

Without giving away the issue's biggest surprise, it has to be said that Cornell and Jones have pulled a fast one us. The story that we're gonna get isn't what we expected, and that cliffhanger has us really excited to see who else might show up. It's one of those moments that would have been really difficult to pull off in live-action, but it's perfect for the comic book realm. Long time Doctor Who fans are gonna love this twist, and even fans who have only watched the modern series should pick this up. This is classic Who with a modern perspective.

At the end, Evan is still alive and somewhat overwhelmed by that fact. I would have been a lot happier if this had been a definitive end to the story, but the larger issue of Dracula remains unsolved and now even Marta may be among Evan's enemies. The story didn't wrap up as much as it simply stops. It didn't hamper my enjoyment of the book too much, but I think that I would have liked to have seen what Evan would have done in the future.

This was a very pleasant surprise and this issue seems to prove that the modern take on Space Ghost deserves his own ongoing series from this creative team.

This is just a really fun issue that shows off what this title can and should be when it inevitably returns.

This feels like an ideal setup for a long term series, and it may even have as many legs as Polly Peachpit herself.

This is a very strong opening chapter, and it made the Inhumans feel compelling again for the first time in a long time.

We're admittedly quite curious to discover how Jessica blew up her life, considering how angry nearly everyone is at her. Bendis and Gaydos have torn her back down to a nearly pre-Alias state. But the fun will be seeing Jessica slowly crawl her way out of this hole that she's created for herself.

Setting that moment aside, the rest of the issue is genuinely exciting. Lex makes use of his new information about Batman to confront a familiar face from Batman's allies while two other supervillains appear to be coming to the League: Captain Cold and the new Power Ring. I haven't been this interested in the Justice League since the New 52 began. I want to see where this goes before I recommit to anything from DC. But it's got my attention.

The pace of this issue is a little sluggish when it isn't dealing with Flash's outer space rescue, but it's still moving in a promising direction.

CRAVE ONLINE RATING: 8/10

. Even if this wasn't a comedy book, Nauck's pages would have made it a standout issue. Maybe Kalan and Nauck should stick together for their next project. I'd buy that book.

Regardless, the Superior Spider-Man was one of the greatest Spider-Man epics in Marvel history. And for the most part, Slott and his collaborators nailed the ending.

Of course, it just wouldn't be Tarzan or the Planet of the Apes without a little tragedy to get the story going. By the end of the issue, young Tarzan and Milo faced the loss of someone important to them as the Tarzan of the present edged closer to reuniting with someone from his past. As an opening chapter in the miniseries, it was very effective at baiting the hook for the rest of the story. That's what all comics, not just crossovers, should aspire to.

Somehow, I've never come across Germn Peralta's art before this Thanos ongoing series, but I'll be keeping an eye out for his work from now on. Peralta's pages make Thanos feel like an event book, as it should when the title character is fighting his Phoenix-empowered son, Thane.

This is a series that deserves to continue past the next Marvel relaunch.

There's enough here to make the new setup for the Ultimate universe intriguing. And it's going to come down to whether Spencer and Hickman can help make the line relevant again in their respective relaunches of X-Men and the Ultimates. It's way too soon to call that one, but in this issue they were both outshined by Bendis. And if the Ultimate line is ever going to flourish in the future then it needs someone other than Bendis and Millar to step up to the plate and deliver.

I think that Uncanny Avengers would be better served with a different artist, but it’s still one of Marvel’s most consistently entertaining books. That’s more than enough to keep me coming back.

Starting off a new run in the middle of a crossover isn't ideal, so it's not entirely clear how Jim Zub's time on this book is going to play out. This is a fairly self-contained story within the Secret Empire event, but I'm not fully sold on Zub's take on Rogue.

This issue may not be perfect, but it is a solid start for Aaron's run with the X-Men.

It's only the artwork that keeps me from giving Wolverine and the X-Men #2 a higher mark. This is one of the few X-Men books that's worthy of carrying on the tradtition of Chris Claremont and Grant Morrison. And with a more conventional artist, it could be unstoppable.

Piskor doesn't hold back from some of the stranger elements in the X-Men's backstory, including the Stranger and (finally) Lucifer. The only truly objectionable thing here is that the second issue abruptly stops and the back of the issue states that more issues of X-Men: Grand Design won't be coming until "late 2018." That just stops the momentum of this series dead in its tracks.

Astonishing X-Men's rotating roster of artists keeps undermining the look of this series. Ramon Rosanas is a competent artist by anyone's standards, but Carlos Pacheco is a hard act to follow and their styles don't fit well together.

One prominent comic book creator on Twitter recently argued that Marvel's heroes are no longer allowed to fail. Champions #11 makes that statement a lie. Because the heroes not only fail in this Secret Empire tie-in, they are broken by that failure.

Dalibor Talajic's art is gruesome and even grotesque where it has to be, while also charmingly insane when the events take place from Deadpool's perspective. Talajic's range as an artist is very impressive, and he deserves a bigger showcase after his performance in this miniseries.

This crossover has been a little shaky in terms of story, but hopefully the final part will give it a powerful conclusion.

This book has gotten away from some of the team dynamic that made Tynion's early issues so enjoyable. I'd like to see this run recapture some of that sensation. It's still pretty good, but it used to be great.

Without the absolutely terrific backup story, this would have been a very pedestrian and forgettable issue.

This week's regular issue of Harley Quinn was the last one by Amanda Conner & Jimmy Palmiotti, but this one-shot is a more fitting coda for their run with the character. This is just pure Harley insanity with great art by Conner, Chad Hardin, Otto Schmidt and Ben Caldwell.

I've never liked the villain of this Superman story, because he was always the pale imitation of a much better character that DC also happens to own. His presence in this issue is annoying, but the book looks so good that it's hard to concentrate on the story.

Whether the new era of Uncanny Avengers will be as good as the previous run remains to be seen. But this issue was well above average, and an encouraging sign for the future of this series.

The Unity Squad isn't very united at the moment, but Zub's command of these characters has greatly increased since he started writing the book. Overall, the issue is pretty solid.

Stephen Segovia is also a very talented artist, but his style simply doesn't flow very well with Zircher's pages. By abruptly cutting from Segovia to Zircher on more than one occasion, this issue is less fun to read. But the story is fun and engaging, and that's the most important part of the equation.

There's potentially a major change in the status quo at the end, but we'll see if Tom Taylor follows through on that promise. Overall, this was solid.

Snyder is also walking a fine line between cool and cheesy with Batman's very public appearance. But it's fun, and there is some nice misdirection late in the story.

Well, no one can say that Scott Snyder isn't having fun with one of his final issues on this book. But it's really a showcase for Rafael Albuquerque as an artist and a co-writer in the backup tale.

This book is off to a pretty solid start, but I really want it to be the "great" X-Men title. It's not there yet.

Aaron Lopresti's art is a homerun on this issue, and he was well-chosen for this assignment. Lopresti is simply terrific throughout, and his storytelling skills make the book even more enjoyable.

In the end, Deadpool #27 does what any crossover tie-in issue was supposed to do. It gets us excited to see what's coming up next.

It's too soon to judge how the rest of this crossover will play out, but it's entertaining so far.

I didn't realize it until this issue, but this series has basically become a team-up between Doctor Strange and the Netflix Defenders. It's something that we probably won't see in live-action anytime soon, but it does offer some fun pairings, including Doctor Strange and the Kingpin.

Ferreyra's action sequences are terrific and even the argument between Green Arrow and Black Canary really pops off the page thanks to the emotions depicted in their faces and bodies.

As for the story, the ideas behind the Ninth Circle's strategy are interesting, but in execution, they're just another group of supervillains.

Juan Ferreyra is just in a class of his own. But even the best art can't hide one of the weaker issues of this book's DC Rebirth era. Hopefully this title will bounce back quickly.

This series could have used more of that emotion earlier in its run, but better late than never.

The real joy of the issue is the interplay between Sam and Richard, especially in their brief downtime and their telepathic conversation. It's such a great dynamic that it seems like it will inevitably be ripped away from them. But for now, it's a lot of fun!

The Novas finally have the right tone, now we just need to see if Rich and Sam will stay in each others' lives.

There's a lot of heart in this book, although it hasn't entirely come together. But even the brief glimpses of its potential have been enticing. So much so, that Zdarsky should be considered for the flagship Spidey title, now that it seems like it's about to need a new writer.

If Itsy Bitsy had been a more compelling threat, this issue would have been even greater. But even a lackluster villain can't pull this one down too far.

It's refreshing when an issue with Deadpool is actually as funny as it's trying to be. Elliott Kalan's script has a lot of amusing moments, but it's the artwork of Todd Nauck that makes the visual gags sing.

This issue was on a roll right up until it essentially comes to a sudden stop just as things are really getting interesting.

The basic story by Tomasi and Gleason is pretty solid, but it glosses over what should have been the fun part.

It's too soon to tell if the rest of the crossover will live up this opening chapter, but it's a great calling card for Jimenez's future work. He's got the makings of a superstar artist.

This is a much more down-to-Earth take on the classic Wildstorm characters than anyone could have expected. It's too early to say how this will play out, but this is more interesting than the earlier issues of the series.

Somebody needs to get Height on a full time X-Men book immediately. That's exactly the kind of art that this book needs. The script narrowly misses the mark, but the artwork more than makes up for it.

Guggenheim is clearly exploring some of the classic X-Men tropes, but it would be more refreshing if the creative team didn't feel the need to rely on the nostalgia factor.

Most of this Avengers and Champions crossover story has been pretty forgettable. But isn't it amazing what great art can do for an issue? Jesus Saiz, welcome to the Avengers.

Marc Andreyko and Jeff Parker have a pretty strong handle on these characters, and Steve Lieber's deceptively simple art style really compliments this tale. This issue is a quick and enjoyable read until it gets to the bizarre backup story with Top Cat and Batman.

This issue really belongs to Cassandra, and Tynion has proven that she can still carry a story largely by herself. Marcio Takara's art is still rougher than it needs to be; which is frustrating because he's quite capable of delivering more finished looking pages than he has here.

Depending upon how you feel about Benjamin Percy's work, this issue is either a jumping-on point or a place to stop reading it entirely. Because it looks like the Ninth Circle plot is going to keep on going into the next year. At this rate, it won't be over until Green Arrow #50, assuming the double shipping holds up.

Once again, Rafa Sandoval proved to be an apt choice for this title. Sandoval is no Ethan Van Sciver, but this issue let him go big with his action sequences and some of his pages are really impressive. His art enhances the script, and it almost made sense out of the Metal tie-in. Almost.

This is one of Rafa Sandoval's best issues to date, and he gives the villains a real sense of danger and power that they've missed in their last few appearances.

Conner and Palmiotti have done an excellent job of making the readers care about Harley, and John Timms really delivers on that big moment. Timms' art has been easy to overlook, but his improvement has made the book even more enjoyable.

It's hard not to appreciate a crossover that actually takes the time to mash up the mythologies of both franchises.

This is a good issue, but I want more out of this title than "good."

Bryan Hitch clearly learned a lot while working beside Warren Ellis on The Authority a long time ago, as his current Justice League story feels a lot like something that would happen to that team... minus the vicious cynicism.

The early scenes with Roland aren't that enticing, but his story improves over the course of the issue until his confrontation with Nightwing. And I kind of want Nightwing to say "yes" to Blockbuster's offer, just to see what he has in mind.

Tim Seeley has given Blockbuster an interesting motivation in his campaign against Nightwing. As far as Blockbuster is concerned, Dick's not nearly as committed to saving Bldhaven as he is, therefore Nightwing is a fraud. That's not a bad way to go, although that cliffhanger ending isn't fooling anyone.

This is what I want out of a Nightwing ongoing series. Hopefully it can maintain that when the tie-in is over.

This series could have easily been derailed by everything else going on in the other Spidey or Deadpool books. Instead, it still works as a standalone title, and that's very good news.

Dennis Hopeless and Veronica Fish wrap up their run by essentially justifying Jessica's life choices to her friends and colleagues in the superhero community. And it's telling that Jessica makes her final decision based on the people closest to her, and not her acquaintances.

Gwenpool the series is still good for a few laughs, but it's far more refreshing to see a serious approach to her antics.

If I was judging this book by the art alone, it would be a 9 or a 9.5. However, I have to admit that I didn't enjoy it as much as Wolverine and the X-Men #1. Uncanny X-Men #1 is the more straightforward superhero book of the two core X-Men titles. But there's nothing wrong with that.

It felt like the early issues of X-Men Blue were more interested in rebooting classic threats rather than introducing something new. Issue #5 doesn't really break from that trend, but it's at least drawing from more recent characters who I didn't really expect to see again. Unfortunately, the personalities that made these characters interesting in another universe don't seem to have made the transition.

There is a certain amount of running in place to pad out the storyline. But once the pretenders stand revealed, this "meaningless" tale feels a lot more important in the long run.

It's a good issue, but it falls short of greatness.

This crossover is turning into more of a diversion than a big event for the X-Men. And that's fine, as long as it continues to be entertaining. But the shock value has already worn off.

As part of a trade, it may be fine. It's just not as satisfying to read in this installment. But when the art is this good, I regret nothing.

"Revenge" started out as a potentially classic Superman story, but it ultimately fell short of greatness.

Sometimes, this timeline is simply more compelling than the one Marvel is offering in its prime universe. This is one of those occasions.

This issue strikes a very good balance between the comedic aspects and the action. I'm very curious to see if the final issue can neatly wrap it all up.

It should surprise absolutely nobody that this issue has great artwork by Ethan Van Sciver. We've come to expect that from Van Sciver, and he almost always delivers. He was one of the architects of the Green Lantern revival over a decade ago, and he's extremely well-suited for this book. Whether the story lives up to the art is a little harder to pin down.

The friendship between Ganke and Miles is still one of the best parts of this book, but the sluggish pace really does work against it.

There are times when it feels like Warren Ellis is too in love with letting his characters talk endlessly about what sexy bastards they are. And there's some of that here, but there's also some shades of The Authority and even a flashback sequence that seems reminiscent of Planetary.

This is an enjoyable issue to read, largely for the character dynamics and the art. Guggenheim wants to give us a Negative Zone arc for the next few issues. Hopefully it won't detract from the more earthbound stories.

It really feels like the Lana/Superwoman plot belongs in another book, but this was still an entertaining read. It's also a crossover story, which means that we'll only have to wait a week to see how that cliffhanger plays out.

Surprisingly, the backup story has eclipsed the featured tale as the most entertaining part of All-Star Batman.

Just not with Alpha Flight.

This is definitely more decompressed, which makes parts of the book less than enjoyable. The rest of the issue is solid, but there could and should be more X-Men in this X-Men book.

Pepe Larraz is definitely missed, although Kim Jacinto's art is also quite good. If that's what it takes to keep this weekly story going, then it's a relatively small price to pay.

This miniseries may not match the drama of Tynion's Detective Comics run, it's still a worthwhile crossover for fans of both franchises.

When watching the Bill & Ted movies, it never occurred to me to ask whatever happened to their mothers. Bill & Ted Save the Universe not only deals with that idea, but the answer is wilder than anyone could have guessed.

The march to Secret Empire is getting more overt in Captain America: Steve Rogers. And regardless of anyone's feelings about Hydra Cap, this is a very good issue with incredible art by Jesus Saiz.

The biggest problem with Sam Humphries' script is that it's too self-aware and borderline parody even before Bugs shows up. It just isn't very funny, and that drags down the rest of the book. However, Grummett's artwork really does make up for almost all of the issue's shortcomings. It's that good.

However, this is the first relaunch title other than Action Comics or Batgirl that has me looking forward to the next issue.

I wonder how long Priest can keep the semi-heroic Deathstroke and his superhero team together. It's an intriguing turn for the title character, but not one that seems fully sustainable.

Alvaro Martinez comes on strong in the final part of the "Intelligence" story arc, and it's a performance that really elevates a finale that would have been lackluster under another artist.

Issue 11 may not be the best starting point for Dracula: The Company of Monsters. But this has been a consistently entertaining series and I'm eager to see how Busiek and Gregory wrap it up.

Schmidt's style seems at home both in the sewers of Star City and in the more sci-fi aspects of the issue. That versatility is going to take him a long way. Percy also demonstrates his talent for making the script relevant, with an opening page that's all too current with the state of the country.

This is a very strong issue, but it's still carried by the art. Because of that, Zircher is welcome to stay on this title for as long as we can have him.

The first thing you that may notice about this issue is the phenomenal artwork by rising star Jack Herbert, with industry veteran Tom Derenick lending an assist on the layouts. Hal Jordan and the Green Lantern Corps has had the benefit of great artists since DC Rebirth began, and this simply continues the tradition.

Robert Venditti didn't have to try too hard to make the Kryptonians and their worshipers seem like they can actually take on the whole Corps. That gave this story a lot of potential places to go in the next chapter, and it's worth sticking around for.

This story would have probably been better suited for the classic Archie style, but it's been progressively more fun with each issue in the series.

Melba's plot still feels disconnected from the one that her FBI partner is investigating, but the ongoing mayhem is entertaining.

This one-shot felt like the end of the last few years' worth of Inhumans stories. The former royal couple can't simply resume their relationship, but "forward" seems a great note to leave them on.

This is good, but I want something great from this book. And I've been waiting a long time for that.

This isn't what I want from Justice League on a regular basis, but as a one-off, it's fine.

It's an intriguing take on the Kingpin, but there's not enough here to render a judgment about its long-term story. So far, it's promising.

It feels like a B-story for a character who belongs on the A-list. Even great artwork can't change that.

This special is only worth it if you love Simonson's art or if you're a New Gods completist. But for anyone coming in without any background on these creations, it might not be enough to sell new readers on these characters.

This is a very solid read, but we're hoping that next issue's ending isn't simply another variation of this cliffhanger.

There are some occasionally terrific images, including Spider-Man's Batman-like moment and the final panel in the book. However, it still feels like this book hasn't found the right artist to capture the tone of the story.

It's neither bad nor good, it's simply functional for the issue. But it isn't a deal-breaker.

This is the final tale of Spider-Man 2099... maybe. It's really tough to say whether Miguel O'Hara will be back in the webs anytime soon after this. But if this is the end, then at least Spidey 2099 went out on a high note.

It's doubtful that Luthor will remain in the light for much longer, but at least this opening chapter is entertaining.

This isn't a masterpiece, but it's off to a good start.

Of the Metal tie-in books, this was easily the best one yet. However, it feels like the Teen Titans have been relegated to guest stars in their own series. That's never a good look.

Thanos isn't the easiest character to turn into a protagonist, but Jeff Lemire has knocked the Mad Titan down several pegs and now we get to see him at rock bottom. More impressively, German Peralta's art carries most of the story by itself, as Thanos barely says a word through most of the issue.

It's still too early to call Zub's run on this book one way or another, but I'm hoping the series can be great again.

But unfortunately, this book is just about out of time.

Even during the moments that the script couldn't quite bring home, Medina's art still looked amazing. Medina would make a great permanent addition to this title, and I'd love to see that happen.

Whenever the marriage or family dynamics are in play, this book is gold. However, it falters a bit with the villains, particularly Normie Osborn. Asking the readers to take him seriously is simply a bridge too far.

Dusk's reunion with Ricochet is one of the best parts of the issue, but the highlight may have been the subversion of the heroic beat-down.

The characters are still the best part of this series, and it hasn't lost its charm yet.

But you can't miss this artwork. It really is something special.

So far, this story is not living up to the art.

It's a good start for what may be Jessica's last adventure with her original creative team.

This is a fun book, even with its imperfections.

The story of Superman and his family stuck on Apokolips with Lex Luthor has been fun, but this rotating group of artists is starting to hurt the book.

It may not be peak Guardians yet, but the foundation is getting stronger.

On the whole, it's a good issue, but not great.

I have some mixed feelings about Scott Snyder's pending departure from this book. On one hand, it's really time to go when Alfred suddenly has a secret vigilante history and an enemy from his past who is out to kill both Alfred and Batman. But here's the thing that Snyder does so well: he keeps writing these emotional moments between Alfred and Bruce, and they all work.

Is it wrong to like the alternate world X-Men of Amazing Spider-Man: Renew Your Vows more than the stars of the current X-books? Not when this is the only book that has the real Wolverine, Jean Grey, and Cyclops... even if their dynamic has radically changed.

Ryan Stegman is the regular artist and co-writer of this book, and this is his first issue that he's written alone. Unfortunately, it's a bit of a mixed bag.

Visually, this issue is not done in a style that I enjoy and it may be better off in the hands of another artist. The distorted faces and bodies are distracting, even though a few panels manage to capture the emotions of the widow.

More impressively, Priest manages to make Deathstroke #13 a satisfying read while still serving the larger "Twilight" storyline. It's a lost art, but that's why Priest is still one of the best writers in the industry.

The overall issue is better than average and it's building the tension by keeping Batman's team apart. Not perfect by any means, but it's still very good.

The ending is abrupt, but powerful. This feels like the conclusion of everything that Tynion has been building towards since the beginning of DC Rebirth. We'll just have to wait and see if what comes next was worth tearing it all down.

Doctor Strange isn't the natural choice for a Secret Empire tie-in, especially considering that his current power level is very low. But this issue really places Strange in some tight situations because he doesn't have his usual mystic objects and because most of New York City is in a Darkforce bubble.

Green Lanterns # 16 is a comic with really terrific artwork by Neil Edwards. Every page in the issue looks great, and that's down to Edwards and inkers Jay Leisten and Keith Champagne, as well as Blond the colorist. However, this is also an issue that may cause you to ask unintended questions about tight continuity in shared comic book universes.

The ending does a lot to make up for the weaker parts of the issue, and the conclusion definitely seems to promise some fun times ahead.

It's strange reading an issue of Jean Grey after this week's Generations: Phoenix & Jean Grey #1, because that's a much better Jean Grey story than this one.

The art really is gorgeous and it can make up for a lot of those issues, but the execution of this story is lacking.

This issue keeps dropping hints that a much bigger evil is on the horizon, but that constant foreshadowing doesn't make for a very exciting conclusion. We're curious about Hitch's endgame with this comic, and hopefully the next storyline will begin to clear things up again.

On the writing front, the story is still a little iffy. The Justice League's kids aren't the easiest characters to sympathize with when they're trying to murder one of their parents. But the bigger problem here is that Hitch hasn't quite hit the epic notes that he's going for.

The ending is a little abrupt, and it leads directly back into Metal without really resolving the "Bats Out of Hell" mini crossover. Still, it was an enjoyable diversion, but not necessarily one that we needed.

It's unfortunate that Orlando and Houser couldn't quite make Mari connect with the reader in this condensed story. Even within the issue, other characters complain about Vixen being too emotionally remote, and it's not a problem that was solved here. Regardless, the artwork is definitely worth checking out.

Ben Torres' art actually makes Fisk seem creepy, as he's often the figure on the page who looks out of place among normal people. It's unsettling, but effective. Now if only the star of this book had a bigger role in it.

It's a little disappointing that the battle with Dr. Hurt wasn't the epic confrontation that it could have been, but this issue hits its emotional marks.

After a few issues that felt like they went off the rails, Nightwing seems to be back on track with its current Spyral storyline. It still seems like Tim Seeley is paying homage to his own run on Grayson with Tom King, but it's a joyous throwback.

The ending is a bit rushed and almost too easy, but the series doesn't really leave many loose ends at the conclusion. It's refreshing that a book doomed for an early cancellation still managed to have a satisfying wrap-up issue.

Three issues in, it's pretty clear that Chip Zdarsky's Spider-Man is a much more comedic take than we normally get with Spidey. But not all of the humor hits the mark.

Superwoman #8 may be this week's best looking comic where nothing happens. That may not be a nice assessment, but it is true. Almost the entire issue takes place within the mind of Lana Lang, whose real story is playing out in the Superman Reborn crossover.

In terms of the issue itself, it accomplishes what it set out to do - it made Captain Marvel's space battles feel important.

It's a very good start to the storyline... even if it does have to cheat to get Slade back into fighting condition.

Out of the major Secret Empire books that hit this week, U.S.Avengers seems to be the only one really having fun with it.

It's always a thrill to see an artist jump on a X-Men book and immediately nail it. Cory Smith's artwork in the latest issue of X-Men Blue is very impressive, and his characters pop off of the page. Even Jimmy Hudson is improved upon, although he really should lose the "Kid Wolverine" hair.

This is far from an essential issue, but it's still a noticeable step above the current X-Men: Gold arc.

It's not bad, but it's also not very satisfying.

This isn't going to go down among the best Astro City stories, but as a single issue diversion, it's fairly solid.

This Avengers and Champions crossover has a very '80s vibe to it, which isn't too surprising, given Mark Waid's involvement. Waid can handle a variety of tones, but he seems to be set on old-school super-heroics for the clash with the High Evolutionary.

This is what it looks like when an event storyline completely upends a loosely affiliated series that just happens to share the same universe with it.

The biggest issue is that this series gave Black Bolt his voice back, and he sounds just like anybody else.

When it comes to the story itself, this issue was somewhat frustrating with its pacing. But it's a good-looking book and the story has potential.

It's not perfect, but Detective Comics is still very enjoyable.

James Tynion's story is starting to get a bit convoluted. There are two competing narratives in this issue and they're not meshing well.

One of the big reasons that James Tynion IV's run on this title is so good is that he has really strong takes on the new team of Gotham City heroes. And that's why it's so disconcerting to see the characters seemingly acting well outside of the personas that Tynion has established.

It's an intriguing setup, even if I don't necessarily like the creative direction that the book appears to be moving in.

Visually, the book is as great as ever. However, the inconsistent tone and jarring story beats make it less enjoyable than it should be.

Invincible Iron Man #593 has a lot of ground to cover to bring readers up to speed on Brian Michael Bendis' run, and for the most part, it succeeds. Although the double-page spread of Friday delivering an exposition bomb was perhaps not the most elegant solution in the early part of the issue.

It's not a bad issue, but it's also far from great.

It's really funny watching the team deal with an ally who sees them all as little more than servants. The only downside to that lighthearted take on the story is that none of the dramatic elements come together.

This chapter is a little weaker in the story department, but Gleason makes up for it with his artwork.

Rosenberg does pretty well on his end, and I always appreciate characters who come from a deep dive into Marvel continuity. Now I want to why they're back.

One of the things that's really admirable about this Thanos series is that neither Donny Cates nor Jeff Lemire before him have tried to soften the Mad Titan. He's the main character, but still completely unrepentant about everything that he's done and continues to do.

It's a better than average issue, but the artwork is the biggest reason that issue has a score higher than a 6.

The main Inhumans vs. X-Men event has been somewhat lackluster, but at least the tie-in issues are doing some good character work for the supporting players.

Apparently the DC heroes are all villainous dicks in the rebooted Wildstorm universe. Now that sounds like a Warren Ellis story. However, it's getting harder to invest in Michael Cray as a leading man when the issues seem to be more interested in which corrupted DC hero he's going to go after next.

The cliffhanger has a lot of potential, but it feels like a lot of the momentum for this story hit a wall.

This issue's biggest failing is that it builds towards a moment that would have been big for both the Guardians and for Secret Empire before pulling back and leaving only the team bonding intact. That's a frustrating way to end an issue that was close to being more than just a throwaway tale.

Black Bolt is never going to be my favorite character, but Ahmed has done an admirable job of turning him into someone who is worth reading about even when the Inhuman royal family isn't around.

The latest issue of Captain America: Steve Rogers is a prime example of what can go wrong when using multiple artists whose styles don't compliment each other.

Mark Russell's script isn't always as funny as it's trying to be, but some of the gags do land, especially when dealing with Booster's fellow time travelers.

What's interesting here is that Elektra is really trying to be more heroic than she's been in the last few years. But she's failing on a spectacular level, and when she fails, Elektra is much more compelling.

The comedy bits are really good, but the ending means that we're probably in for something a little more traditional. That's not always this book's strength, but it was a better than average issue.

I want to like this comic more than I actually do, but the art is carrying it right now.

This book has an eclectic style that may not be for everyone. But Spider-Gwen is one of the more unique comic books that Marvel produces. And it hasn't lost its touch yet.

It's refreshing when writers embrace continuity and build on it instead of pretending that the previous stories didn't happen. Cullen Bunn actually picks up a few threads from Brian Bendis' All-New X-Men run, and he even remembers that Young Cyclops wasn't around for that particular tale.

In many ways, Action Comics #995 feels like a throwback to the way that comics were two decades ago. Dan Jurgens' approach to writing Superman and Booster Gold doesn't seem to have evolved too much in the last twenty years, although Superman is uncharacteristically angry with Booster.

That said, this was a very strong opening chapter to the next phase of the crossover. The Colonial Marines are far from out of the woods, and they've got more than just Xenomorphs to worry about.

Even with a few minor hiccups, All-Star Batman #1 is one of the few comics that feels like it's worth the $4.99 cover price. It's not perfect, but it is entertaining.

One of the more satisfying aspects ofAll-Star Batman #2 is that it's worth the $4.99 price tag. There's a lot to unpack in this issue, and it feels like a lot of bang for the buck. We do feel like the constant betrayals of Batman may be Synder's way of making this issue's primary story seem more important than it actually is. We're not fans of the old bait and switch, and frankly, we're starting to think that's where Synder is going with it. That does temper our impression of the book. But overall, it's beenvery enjoyable experience so far.

On the story front, Slott is still delivering a pretty entertaining new chapter in the life of Spider-Man. I just wish that Ramos would move on to another book so I can enjoy the art again.

Tags amazing spider-man, dan slott, Dead no more, marvel, marvel comics, peter parker, Prowler, spider-man Related Posts What's New What's Trending Decoding The Clues of SPIDER-MAN: THE CLONE CONSPIRACY article

Long time comic book readers are probably going to see the twist coming in this issue, but there's still something to be said about creating suspense for the fans.

In terms of story, there's not a lot happening here. But Dan Abnett takes the time to give Aquaman and his supporting cast some interesting beats, including a confession that Erika Watson shares with her high school crush.

But for now, McKone's art is still the best reason to check out this book.

Astonishing X-Men isn't required reading if you're an X-Men fan. But if you want a fun diversion from the angst of Uncanny X-Men and the bizarre art of Wolverine and the X-Men, then Astonishing X-Men may be the title for you.

This arc wasn't groundbreaking by any means, but it was one of the better Batgirl stories since DC Rebirth began.

This isn't essential reading, but it might be your Batman vacation from Batman, if you need a break from the marriage and Dark Nights: Metal events.

I suspect that The Drowned is going to inspire some very talented cosplayers to bring her to life. But as a character within her own book, a strong visual isn't enough to make her compelling. Fortunately, the art keeps this one-shot from sinking into the sea.

I actually don't mind if Ben and Kaine are going to be co-leads going forward, but their stories should at least be equally strong.

As a stand alone issue, some fans may find it somewhat lacking. But if this is one of Sam's final appearances as Captain America then it needed to happen to complete Sam's journey.

But overall, it's a pretty strong beginning for one of the flagship titles of the Young Animal line. Cave Carson may finally be a star after this series takes off.

It's a shame, because until the clown and his captives showed up, this issue was really firing on all cylinders. It's still one of the best books out this week, it just betrayed one of its own central themes. The team that's trying to be more than just superheroes were quickly sucked into a pretty standard superhero plot. Given Waid's experience, we still feel that Champions has the potential to be a great book, but that's going to require Waid and Ramos to show us stories that we haven't seen many times before. So far, they haven't. That said, we're still very curious to see what they can do with these next gen heroes.

Waid really excels in creating the emotional stakes for the team, especially Miles Morales. He cares about his teammates, and he still has his compassion even when he's helping strangers. The downside of this issue is the rushed conclusion and Humberto Ramos' art.

Chad Bowers and Chris Sims not only pay tribute to Darkhawk's past, they advance the story for his alter ego, Chris Powell, and it feels like a natural step forward.

The end of the issue sets up an intriguing fight between Deathstroke and one of the more recent additions to the DC Universe. Now that's something to look forward to, even though it's probably not the endgame for this arc.

If you're looking for an important chapter in Secret Empire, this definitely isn't it. But if you want a Doctor Strange vs. Baron Mordo with a side of the mystically empowered Kingpin and Ben Urich, as well as Spider-Woman with a ghost plane, then this might be for you.

I'm not necessarily sorry to see this book end, since it really feels like it has run its course. But it's good to know that the series has become more fully realized as it heads into its final issue.

I thought that the point of The New 52 was to revitalize these characters and tell new stories. So then, why is DC already lining up a remake of Crisis on Infinite Earths? That did slightly diminish my enjoyment of this issue. The rest of it was fairly solid. This isn't enough to get me back into the New 52, but it's a start.

Overall, this is a solid issue, but it doesn't entirely click.

I'm beginning to think that these classic Harley Quinn backup stories are just an excuse to keep running shorter installments with the bulk of the book. It's a trade-off that I'll take because Paul Dini, Jimmy Palmiotti and Brett Blevins have recaptured the spirit and tone of Batman: The Animated Series.

Chad Hardin's return to Harley Quinn means that the opening story of the comic finally looks as strong as the backup story. Hardin's excellent character work and visual humor make this issue, but it can't do too much with the lead feature.

The storyline may not hold up under much scrutiny, but Harley lives and dies by her personality, and she has that in full effect here.

As much as I loved the "Harley Loves Joker" backup stories, the main Harley Quinn title has been improved since it no longer has to fight for space in its own book. Jimmy Palmiotti and Amanda Conner have been able to write full-length stories again, and the extended page count has helped the story feel less inconsequential.

David and Goldfine have treated the story like an excuse to mash up characters from both franchises, and admittedly, some of their dialogue choices have not been great. But it's really a lot of fun to see Lion-O and He-Man fight side-by-side against their greatest enemies with the fate of the multiverse on the line.

This is the second installment of a two-part story, and Hitch manages to bring it to a satisfying conclusion while taking the time to establish the emotional stakes for both the Flash and the man he assumes to be the villain.

This is one of those occasions where the comic may work better in the trade paperback than as a standalone issue. It's good, but it felt like it should have had more.

I still want more from this book than it's currently giving, but this is a step in the right direction.

Mikel Janin's art is very strong and his figure work is impressive. His female faces need a little more variety, bit overall Janin's pages stand out as one of the primary draws of this book. There's a lot of potential in Justice League Dark and I'm willing to stick around for a while and see where it goes.

Justice League Dark still isn't a perfect book and the pacing could really some work. But compared to some of the other New 52 titles, this was a much needed respite. Also, that cover by Ryan Sook is very impressive. Just had to add that.