Brian Salvatore Comic Reviews

Marvel has been doing such fine work over the past few years " if this is what their books will look like in 2061, I'm pretty sure I won't be buying them.

It's a rock solid start that beautifully sets up this arc and beyond. Having read issue #2 already as well, we can assure you readers " this is just the tip of the iceberg.

I think Max did a fantastic job. His art has the ability to make even the most insane events seem realistic, and there is this air of danger and fear that runs through every panel of this issue. Lots of great character moments, but dread is never too far away.

And that is a shame, because this issue seems to present Morrison an opportunity to really turn it on for his last 4 issues of “Action,” and together with a stronger backup, this would have been, hands down, the best issue of the run so far. As it stands, it is still the best issue of the back-end of the year and, hopefully, is a sign of thing to come from Morrison's last arc.

So, next month if there are no more than 20 pages of content, I'm done with Action Comics in monthly form, and that is a shame because I seriously enjoy the story that Morrison is telling. However, I feel it is equally important to tell good stories and be fair to the consumer and, until I see that happening, I'm not going to actively support this book. If this is a onetime aberration, I can look past that, but I fear this is going to be the new status quo for $3.99 books and I just don't have the patience for that.

Together, these two are created something really and truly worthy of the character they are working on. Bravo, gents.

I know we sound like a broken record around these parts, but bless Greg Pak's heart " his Superman comics are so good! This issue, like every other "Action" issue he's done thus far, has felt like a classic Superman story in the all the right ways, and yet has been accessible and fresh in the ways that DC envisioned the New 52 to be.

A nice bow on "Doomed," and a really fulfilling issue of character growth.

A solid start, but I hope that Clark comes back to his Smallville roots a little and drops the Metropolis potty mouth.

A transitional issue in a transitional arc " hopefully the second act of stories has more action.

A solid, if overdone, introduction to the new Superman status quo.

There's nothing really wrong with this issue, but not enough happens to satisfy.

Ultimately, this collection feels unworthy of such an incredible milestone, but what could live up to it? How can you accurately sum up not just 80 years of Superman stories, but 80 years of superheroes, 80 years of American obsession with this character, and 1000 issues. Sure, there are weekly books, either in Europe or in manga, that have easily reached 1000 issues or more, but this still feels significant and special. Here's to – at least – 1000 more.

Regardless of what the future holds, "Action Comics" #1036 is a bold start to this long-simmering status quo.

A strong start and a weak ending lead to a mixed bag that always looks great, but sometimes lacks the punch the early pages suggested.

A nice start to, what is currently, the only Supergirl book on the stands.

This issue isn't quite up to snuff with the rest of the series thus far " it's just too on the nose with the Lovecraftian stuff, and not connected to the main story " but it is a bizarre, fun diversion. Francavilla's art continues to be impressive, if overly bathed in orange, and the dream sequences, in particular, were beautifully handled.

If the “Flashpoint” comparison winds up being true, in that this book makes some major (and long lasting) changes in the 616, then shame on everyone involved. Marvel is on such an incredible roll right now with their Marvel NOW! initiative (one that this author preemptively mocked on more than one occasion) that it doesn't need another shakeup right now. In fact, half of the NOW! pitch was the end of shakeups (a claim that has been hilariously ignored)! So, to promise more shakeups, from the architect of a bygone era, in the guise of an egregiously delayed book, is a slap in the face of Marvel NOW! For once, I am hopeful that the “everything will change!” tag is bullshit, as opposed to every other event, when promised changes falling short are a disappointment.

A classic, and classy, end to a very good miniseries.

A somewhat jumbled book with some transcendent moments.

This is clearly Robinson's love letter to classic Marvel and this issue, in particular, feels like a book out of time. Using Jim as the main narrator allows a different voice to slip in, and lets his overwhelmingly positive outlook really color the book. There isn't a hint of cynicism in this issue, and coupled with a crazed Eternal, a WW2 flashback, and Pugh's art, these 20 pages represent the most I've smiled reading a comic this week.

I don't love paying $3.99 for a book, but when there is 28 pages of actual illustrated story content, with a quality creative team at the helm, it is a bit easier to swallow. I am hopefully optimistic that All-Star Western can have a run as impressive as Jonah Hex, both in terms of quantity and quality. I hope that leaning on the Bat-connections don't grow tiresome, and I hope that the backups continue to be a place to tell slightly left-of-center stories.

And it is precisely the enthusiasm that makes this book work. While, to be fair, the much-discussed location of Pittsburgh was never utilized, the book feels like its carving out a little corner of the 616 for Alpha to play in, which is precisely what the character needed. There are a lot of supporting Spidey characters; for this character to succeed, Marvel needed to take him out of the shadow of the Spider, and place him somewhere he could take root. They did that and, with any luck, this is the start of Alpha's integration into the Marvel Universe as more than just a Spidey wannabe.

A strong debut that presents some interesting challenges for the months ahead.

While most of the X-books barely resemble the comics I fell in love with in the late '80s, "Amazing X-Men" feels like a classic X-tale in all the best ways.

A strong start to a series that looks to help re-establish Vertigo as a line of substance and depth.

Instead, he gets to draw a lot of sand, and we are left with a bratty, emo Aquaman, surrounded by douchebags laughing at him, and Mera having no real characteristics besides “worried wife.” At least there's a dog.

I really hoped that "Aquaman and the Others" would take the need for monthly updates from the Atlantean council away, but that clearly isn't the case. This is a solid comic, on the precipice of being a great comic.

This is the most an "Aquaman" issue has made me care about the characters inside in over a decade, and is a great start to the new series

A strong start to 'The Deluge' arc.

A solid start to a series from exciting new creators.

A strong start to a series that, hopefully, can shake a little bit of the 'boiler plate scifi' plot and deliver something special.

A solid entry into what, hopefully, isn't a forgotten series.

Overall, this is a solid first issue that plants seeds for a fun new ongoing. My only gripe is that I was hoping for a little more Ash (J), but I'm sure this series will have plenty of that going forward.

There is a good Ash comic out there in the ether somewhere; sadly, it isn't here.

But Hickman has taken that in stride, and given some very compelling in story reasons for a bigger team, and deftly manages to tie in, somewhat, the core team from the film as the core team here. We also get a glimpse at Tony's big board of names, and some easy to spot names such as Brian Braddock (Captain Britain), Bonita Juarez (Firebird), Marc Spector (Moon Knight) and Jennifer Walters (She-Hulk) are listed as potential future members of the team, and fit into what Hickman has said in various interviews, which is that the team will expand and change over time. This, in terms of scope, feels almost too big. This, unfortunately, continues the trend of Marvel making all non-Mutants Avengers, and no longer having unaffiliated heroes. But that is not Hickman's problem; he has to create a functional team and an exciting book with the characters at his disposal. And for the most part, he does that quite well.

The two audiences aren't mutually exclusive, but I can't help but see certain people picking up this book and thinking "what the hell did I just read?" I'm not one of those people, but I can see their perspective. Hickman has spoken about a "three year plan" for this and "New Avengers" " let's hope that Marvel doesn't hit the panic button and pull him off before he can achieve that plan.

This event is firing on all cylinders, and while the scope can be intimidating, once you're inside the event, it really works.

This was an average "Infinity" tie-in issue of "Avengers" " you've got some decent action, some nice character development stuff, but nothing really out of the ordinary.

The issue starts off with a great mystery, and while it isn't resolved at the end of the issue, it makes a lot more sense. A nice start to a new arc from all involved.

This issue feels very slight " half poor re-tread of Smasher's origin, and half poor re-tread of the Builders arc. Caselli does some nice work but, ultimately, this is further proof that "Avengers World" is a book that is very, very much in need of a point, and fast.

David: I'll go with an 8.5. I guess we can think of it as the second fifth of a movie. If I were watching a movie and the second fifth was great and I didn't know where it was going completely still, I think I would still really dig it. But I'd have to demerit it a bit. I think minus 1.5 is fair enough.

That was a rocking, action packed issue with a lot of big moments. Can't ask for much more from a B.P.R.D. comic really.

Loved it loved it loved it. Super badass. Really fun read. Does a great job with the characters and art.

Mignola, Arcudi, Campbell and the rest crushed this arc, and I am just so impressed by this. Wasteland is and was amazing.

It's a rock solid issue with unclear motivations, but it is still a high quality issue of B.P.R.D.

David: Agreed on the grade, agreed on most everything. The good thing about these questions is they make us want to find answers, and those are the good kind. I'm all in on "Reign of the Black Flame", and I just hope our favorite characters survive the trip.

This issue also continues Enos's ascent as one of the stronger voices in the Bureau; he seemingly has no issue stepping up to Johann, or even to the intimidating Howards. He seems to be someone who can rally the troops behind him, while still maintaining a somewhat antagonistic relationship with just about everyone. He's a very interesting character, and one I'm glad is getting more attention.

It is because of issues like this that "B.P.R.D." remains one of the finest books in all of comics. The nuance all the creators show in their handling of the death of (what could be described as) a minor character shows just how dedicated Dark Horse and co. are to presenting this book as something without precedent in the world of comics.

A strong issue, full of development, but also a great teaser for what is to come.

This issue teases a bunch of new mysteries and developments – seriously, what's with the ghosts? – and doesn't really give us anything all that concrete to hang our hats on, but we know that this is the ‘beginning of the end' for “Hell on Earth,” and that this time next year, we'll be wrapping up John Arcudi's time on the book. This issue seems to be laying out the pieces for the last year of this incarnation of “B.P.R.D.,” and while it is a book that is a bit stretched thin, it is still a hell of a ride.

This might read much better as part of the eventual trade paperback, but right now, this issue was less than what we've come to expect from "B.P.R.D."

David: Bingo bango. That was what I was going to give it. It's a really solid, but unspectacular, issue. It does B.P.R.D. things quite well. 8 here too, so 8′s all around!

This issue had so much to enjoy: old and new characters playing together, lots of forward progress with a fair dose of looking back, and some truly creepy shit. My only fear is that Mignola and co. are biting off a lot here; let's hope they don't choke on it.

A solid issue, but a perfect memory.

The art leaves a lot to be desired, but the story is pure fun.

A strong opening issue that delivers more than promised.

A final note on the cost – at $4.99 for 38 pages of story, the cost per page is actually the lowest of any book DC is currently publishing.

And so, yeah, this issue isn't going to win any awards, nor is "The Court of Owls" storyline exactly the next 'Year One,' but it is still a fine arc that firmly established the Snyder/Capullo team as the bar to reach for when writing Batman in the New 52. However, with John Layman and Jason Fabok taking over "Detective Comics" and Gregg Hurwitz writing "Batman: The Dark Knight" (not to mention "Batman Inc" by Grant Morrison and Chris Burnham), the Bat books seem to be in a pretty healthy place for the next year or so. Let's just hope that the next arc doesn't sputter out at the end like this one did; as fine as their work has been Snyder and Capullo can do better.

Well, that's a depressing place to end this review.

Regardless of how it winds up concluding, I must applaud the book's sheer audacity: in this issue, Alfred loses a hand, Batman makes a deal with the devil(s), and the Joker seems somehow even more driven and terrifying than he has in the past. How's that for a penultimate chapter of an arc?

The biggest problem with the book is that it is still starring King's Batman, who is as close to a robot as he has ever been portrayed. His Bruce is a sharp detective but a flat character, showing no thought process at all, and taking a character that, even at his best, can be borderline unsympathetic, and turning him into a full fledged prick. Throughout this issue, he barks orders, withholds information, and generally is insufferable, and not in a fun way.

Brett Booth is excellent at what he does; what he does just doesn't fit the same tonal area as what Lee does. This, visually, no longer is set apart from the usual New 52 scrum, and suffers greatly.

Damian Wayne is a character that went from reviled to revered to reshelved – there is almost nothing essential happening with the character right now. I expect Grand Morrison's "Batman, Inc." to rectify that in two weeks, but this is really a spot where the DCnU dropped the ball. A well written story, even if not the focal point of a franchise, can steal the spotlight and enliven the fan base (look at Snyder's "Detective Comics" run). However, this title continues to be a second class Bat book, and with the lackluster stories Tomasi has been writing continuing for the time being, I can't see it getting an upgrade any time soon.

I still have a few questions about the logic behind this series, and worry that it not being solicited as a 12-issue maxi-series, as intended, doesn't mean that Morrison is going to try and continue his saga, but rather that another writer is going to come in and take the reigns from him. And while I'm sure there are plenty of writers who could do a good job on "Batman Incorporated," it feels like this should be Morrison's tale to end as he pleases.

Overall, this book is fun to look at, fun to read, and overall, a real boon to DC's digital line. I hope that these are collected eventually in print, so I can easily share them with my daughter in a few years. But for 99 cents, you can't afford not to go for it right now. Viva Nguyen!

A solid, nostalgic trip to the Diniverse Gotham, which leaves lots of doors open for future stories.

A really strong issue of a surprisingly nuanced miniseries.

The silver lining here is that Zavimbe walked away from this experience alive and motivated to do good in the world; if I know comics at all, he'll be back eventually. Let's just hope that while he's gone Gray and Palmiotti can write some stories that will do honor to the book bearing his name.

A solid introduction to the magical world that Dorkin, Dyer, and Thompson create.

David: Yeah, I'll give it a 7 too. Great art, nice kindling for future story beats. We'll see where it goes, but like the rest of these series, it has a lot of interesting potential.

Brian: I'm genuinely excited for Cooke and Conner to be working together, and this issue was good enough for me to give it a try.

In a bit of news that I'm suspecting isn't really sad to anyone, we are going to suspend our “5 Thoughts” columns on these books because, frankly, they are getting harder and harder to find interesting things to talk about. We will be back with a “Dollar Bill” review, as well as an eventual review of the “Curse of the Crimson Corsair” which may need to be done 4 Color News and Brews style (that is, drinking while doing it), and eventually a series-wide wrap up. Try not to miss us too much!

Brian: David Harper, king of the tease! See you guys next week when “Ozymandias” drops.

There was talk of also doing a monthly podcast discussing these with myself, David, and David's 4 Color News and Brews partner, Brandon Burpee. Be on the lookout for that once we get some time to throw it together. And we'll see you next with for our double shot of Darwyn Cooke, “Minutemen” #2!

Brian: And I can almost guarantee another poop dollar next week, when the great Adam Hughes tries to make sense of another JMS script. We'll be back for next week's debacle, and we hope you will be too!

The characters are fun enough to anchor a nice, long series, but the question will be: will the fans show up? If they do, this team, along with Carpenter's guiding hand, should be able to produce some really, really fun stuff.

Overall, there's nothing egregiously bad about the book – it just feels like a lost opportunity and, sadly, one that so many licensed comics make. I am not advocating for having the first issue be a totally fresh start, but there's no reason to expect the audience to be an encyclopedic fan to pick up the series.

This issue is not the best of the series, but it is keeping the series on point, and allowing interesting stories to be told outside of the cowl in Gotham City. It also has 5 strong female characters at its core, and it never feels like a book that is pandering or attempting to tackle female issues a male writer isn't suited to cover. This is simply a good team book, where the team happens to be female. Neither Saiz nor Foreman draws gratuitous skin, but both allow the characters to be sexy without being sexpots. That is more than most female-centric/male-written comics can say, and they should be applauded for it.

All told, this is, perhaps, the best #1 DC has put out in some time and looks to be the best “Birds of Prey” book since its first volume and, perhaps, even the best since Gail Simone left that volume in September of 2007. It may sound hyperbolic to heap such praise on the book after just a single issue and, yes, it could all go sideways next month, but this book has been bad since that first volume. The New 52 version wiped out any charm the series had, and the Rebirth era never clicked. But beyond that, those books felt like perfunctory stabs at giving a DC legacy team a title. This book feels like a Black Canary story that is worthy of the name. That makes all the difference.

A story that works on just about every level you could hope one to work on.

A bitter pill, presented wonderfully.

A truly enjoyable trip through some less than enjoyable struggles.

Simply put: this book never really had a chance in the modern comics landscape. Despite decent reviews (our reviewer sort of liked the first issue, too), this book was pegged for cancellation before it got off the ground. Hopefully, Costa will find a place on another book at DC, because I think his handling of the team dynamic/the government bureaucracy angle was pretty good, and that could be applied to any number of other DCnU titles. And maybe next time, DC will put some of its money and creative juices behind a book like "Blackhawks," to ensure that smaller books won't meet the same fate in the future.

If you weren't on board with this event before this issue, I don't know if anything will really tip the scales in its favor for you. But if you've been a fan of Lemire's work on the character, and if you dug the first issue, you'll really enjoy this issue. This is a nicely paced event (a lot hs happened in two issues), and seems poised to really do some fun stuff in the back half.

Ultimately, I just don't have too much to say about this book. It is certainly hurt by its Extreme Studios brethren “Glory” and “Prophet,” both of which have had major retooling and have been two of the most unique books coming out this year. This is a softer reboot, and therefore doesn't have the passionate take behind to bring it to a new place. This just feels like a meh Liefeld comic, and there are more than enough of those floating around right now.

And therein lies the problem with this, and about half of the New 52 books, they want it both ways. They want to pull on the nostalgia strings without explaining every single tiny detail in case a new reader is lurking around the corner. This just doesn't work. Pick a horse, damn it, and see it through to the end. Until that happens, "Blue Beetle" and its ilk will just be mediocre takes on potentially great characters. And I will not be buying them.

I am still not 100% convinced that this isn't going to be an instance of a brilliant concept executed in a less than brilliant way, but I am hopeful enough to keep reading.

A remarkable start to this new series and, hopefully, a sign of what is to come from Vertigo over the next few months.

Overall, this is a book that is best paired with Bowie's actual music, and since it can't reprint the lyrics, that's up to us to provide. Put on your favorite couple of Bowie records (I'd suggest period appropriate ones) and marvel at the visual feast that is this graphic novel. And then buy a second copy so they can do a sequel.

In this issue, Van Lente reveals about 10 different twists, all of which work, although it leaves the book feeling a little heavier than it probably should. There is a lot of good here, and with a little pruning, this title could become great.

This issue has an unenviable task of being open to new readers and satisfying to old ones, but that isn't an excuse " most comics have that same challenge. Instead, this just falls short in just about every way; there is hope for the mini, but it needs to pick up the action and, especially, get Williams doing better work.

The last act of this issue is a doozy, and I'm not going to say anything here about it, other than it raises far more questions than it answers, and it sets the course for the rest of the miniseries in a stunning fashion. Barbiere and Peterson set up relatively standard tropes, and then drive trucks directly through them, allowing a far more interesting, sad, and worthwhile story to drive pass between the walls of expectation.

Now, I know JT Krul is an easy target, especially post-'Rise of Arsenal,' but there isn't much here to praise or shit on him for – this just exists. It's like the skin flap on my dog's ear – it serves no purpose, it doesn't harm her, but it isn't worth doing anything about. In the case of this book, it has already been rendered useless, it isn't good enough or bad enough to create waves, and doing something about it means buying it, something I don't plan on ever doing again. And the shame of that is that over the past few years Captain Atom was involved in some great stories – his role in the 'New Krypton' saga was inspired, and he was a great part of "Justice League: Generation Lost." Inevitably, Atom and his mohawk (oh, the mohawk) will find his way over to "Justice League International," and hopefully he begins to revert back to the character that once inspired Moore, instead of the one that steals from him hand over fist.

In addition, as she says in this issue, “Time travel is not a Carol Danvers problem.” By throwing a character who isn't exactly well suited for time travel 70 years into the past, there is far more drama and intrigue than if it was the story of someone who feels comfortable being careful not to “step on any butterflies.” One of the charming aspects of the Avengers has always been the wide scope of membership, and so while there may be time travel protocols on the books, most Avengers would never need to know them, something Carol learns the hard way here. Without a way back to the modern era, this book appears to be set in the past for the time being which, again, continues to distinguish itself from most of the other books on the shelves.

Overall, this doesn't feel as indebted to Kirby, visually, as I expected, and in a way, that is a relief. I love Kirby, but I am glad to see everyone here following their own muse, instead of trying to replicate a style that few can master.

Overall, this book just feels like an afterthought – especially after the fantastic "Penguin: Pain and Prejudice" book, which took a Batman villain, fleshed him out and gave him a great story. This just seems like it's trying to fill the sexy female quota for the New 52, and does so in the laziest way possible. Winick can do so much better than this – hell, he IS doing so much better than this in "Batwing." And until the stories move up the chain from vapid to at least mildly interesting, that will be the only Winick book worth purchasing.

My favorite 'Young Animal' book, and one of the best comics out there, period.

So, the one dude's name is Shaw, the setting is Chicago, and time travel is a part of it. I understand this issue more now, but am angry that it took reading the solicit to do so.

As a series, "Constantine" has been stuck in that weird middle ground created by the New 52 " the series tries to be darker than the usual fair, but can't do anything too "Hellblazer"-y. This is the first issue that really worked for me, and maybe that is because I'm a huge fan of Shazam (I have to get used to typing that as a character name instead of Captain Marvel), or maybe because the story feels like exactly what DC is aiming for " a place to tell magical stories that involve crazy shit within the New 52.

Overall, this is the definition of a comic that would've been celebrated as a free digital supplement " a little backstory on the cities involved, a nice looking Superman story, and a way to get a reader who has stayed off the internet for the better part of a year up to speed on the event. As a five dollar comic, it feels a bit light, both in terms of page count and in terms of impact. And there's the rub: the content is ok, but the price is insulting " and if that isn't the story of too many Big 2 comics in 2015, I'm not really sure what is.

A decent debut that needs to commit to being a comic instead of a tie-in product.

A solid, if familiar, tale.

Even though Wizord can promise no curse, wars, or loves, this book can promise a thoroughly enjoyable experience.

John Stewart bewares his power while Huckleberry Hound is...also there.

More than anything else, my overriding thought while reading this book was: “Wow, I guess really no one cares about “Men of War,” huh?”

This is yet another bizarre move by DC, a company that seems content to use nostalgia to get you in the door of your comic shop, but then wants you to instantly forget all the positive associations you have with their characters once you pay your $2.99 and open up the first issue.

This should be the standard for this series – high profile creative teams telling new, different stories using classic characters. This should be the longer, more established version of the new "National Comics" line – characters that need a story to recapture the attention of the masses, by writers and artists who are up to the task. Sadly, the Kid Flash story solicited in issue #12 seems like more of a case where DC wanted to finish up a story but didn't want to do a one-shot, so they stuck it here instead. Regardless, DC got this one right, and hopefully this is the first in a series of good decisions to put this anthology series on the right track.

Regardless of why, it is good to see Lightning back, as he has been a much more fully formed character in the past 15 years or so, taking a big role in “

The Rosetta Stone of modern DC Comics is not so much a comic as it is a glyph, through which we can understand our own fandom, and then view the future through that lens. I'm hopeful that I'm not seeing things clearly, but I fear that I am.

And because I don't think they are, I am clearly not the target audience for this book. I still maintain my theory that Liefeld is brought onto dying books to put them out of their misery, and so don't be shocked if "Grifter," "The Savage Hawkman," and "Deathstroke" make way for the Third Wave sometime in the autumn.

A wonderful conclusion to a magnificent series.

Is this a great comic? No. It is a pretty average one (with maybe the worst Bat-item pun of all time: the Ro-Bat, a robot camera shaped like a bat). Daniel doesn't rewrite the Batman bible here. However, with the ultra-creepy new villain, the great ending, and the sheer possibilities of where this story could go, I have to say that I was impressed by this issue. Let's hope that Daniel has more tricks up his sleeve, because it would be a shame to let an idea this good go to waste.

If Layman came in and salted the Earth after Daniel's run, no one would blame him, but it wouldn't be the smartest way to start his DC career. Instead, Layman isn't showing all of his cards, and the simple, yet effective, story told in this issue gives him time to work out his beats with Fabok, to get in the mind of the character, and to, essentially, start building his Bat-world. The Bat-books are pretty well stocked with writing talent right now, from the aforementioned Hurwitz to Scott Snyder and Grant Morrison, and Layman doesn't seem to mind that he's playing in the same sandbox as those guys. He appears content to leave Morrison to the grand epics and Synder to being the cornerstone of the Bat-world. Layman's happy to be writing the world's greatest detective, and why shouldn't he be?

This is the book in the Bat-line that most appeals to me a a reader, and I'm glad there is a book like this in the line right now.

This team delivers.

Overall, I want to give this book another shot, because it has the potential to be a compelling story by a fresh creative team. That is what comics are supposed to be; I just hope that in their future issues, the team can put a focus on the reader, and what the reader needs to get out of each issue, instead of treating this like a novel with pictures.

“Black Canary and Zatanna: Bloodspell”serves as a reminder to the rich history of DC – full of dynamic characters, impossibly strong bonds between the denizens of their world, some beautiful art to convey all of that and more, while unintentionally shaming what its present looks like. I am a believer in the fact that the books of the New 52 are in the best shape they've been in since, well, perhaps ever – but none of that holds a candle to the feel and joy of reading a story set in a world that feels like the home of an old friend: inviting and warm. While the story itself might be slight in scope and the physical product a little overzealous, it is a welcome addition to my shelf.

Dynamite and Vertigo have an inspired pairing here, and I wonder if we'll see Django cross over with other fictional heroes in the future. I'd love a Djano/Jonah Hex book, for instance, and DC wouldn't even have to go out of house for that. Ultimately, this is a very fun, very well made book that rewards the reader with a truly well-crafted tale.

A book that is starting to find its footing, and has potential to be truly interesting.

The final arc (presumably) introduces some really interesting interplay between the Doctors Fate; hopefully both show up in "Blue Beetle," where Kent has been teased.

A flawed book that traffics mostly in imitation and nostalgia.

A fairly successful ending to a confounding event.

Of course, none of that would matter if the story wasn't entertaining, and it most certainly is. Bowers, Kowalchuk and Sims create a story that is almost deceptively simple on the surface – man fights mascots – but has a rich tapestry running underneath that main story. Regret, pathological addiction, family dynamics, the nature of fandom and loss all feed into what is, essentially, a redemption story. If there is a major criticism to have, it is that the story feels a little rushed in the back end, and could have used another 20-30 pages to tell its story to its completion. The solicitations read “Volume 1,” so there is hope for more of this tale, so perhaps that critique will sting less a few years from now, when volumes 2 and 3 complete Chuck's story.

Because if this is what it feels like to have creators perfectly matched to their titles, shouldn't DC have thought longer and harder about who to put on all the New 52?

I'm not a connoisseur of Rocha's work; he's never overly impressed me or caused a groan. But here, he manages to do some really expressive work that recalls the 1970s setting without feeling like a cliche " sure, he puts almost everyone in sideburns, but there are worse things than that.

If you enjoyed Robinson's run, it's not too far off. If you didn't, you might still want to stay away.

This book, under Tom Taylor, has remained better than I ever thought it would, post-James Robinson. But this issue is a mess " hopefully, the weekly rights the ship.

Tim Seeley has been on a real kick lately, between "Sundowners," "Revival," and his co-writing gigs on the Bat-books " and that kick continues here.

A stunning debut that rewards re-reading.

In the interest of full disclosure, I picked this book for review because so many of this week's titles seemed, frankly, boring to me. In my despair, I found this book which, from the striking cover image, had me curious. The book manages to be a comic about music, a rare thing, and an even rarer thing to get right, and it, again, succeeds. The characterization, art, and coloring work together to give you a visual image of what the audio might sound like, and that is no simple task. “Emily and the Strangers” joins the lineage of books like “Phonogram” and “LP,” where a visual medium has been able to bring across an aural one. That is a rare feat.

Interesting groundwork was laid for the rest of the event, but there was simply too much fluff to really get invested in the story thus far.

Overall, the book looks like a fun place to spend some time, and hopefully, future issues will rely less on the character's backstory, and instead, tell new ones.

The issue also moves the mini forward in ways that feel a tad bit rushed, but that's the nature of a 4 issue miniseries that is trying to both build a character and tell a story. Hopefully, "Faith" gets another mini (or an ongoing!) soon, and we can see more from this corner of the Valiant Universe " one that any comics fan would be smart to investigate.

"Falconspeare" is another fun and surprising chapter of the Meinhardt and Knox saga from Warwick Johnson-Cadwell.

Instead, double dipping is already the name of the game. “FF,” due to Allred, was always going to be a slam dunk for me, with “Fantastic Four” in the maybe pile; two issues in, this book feels like it isn't even a thing yet and, in many ways, it isn't. Because of Fraction's track record, I presume many people will give him at least 3-4 issues to get his bearings, and that is fair. However, it rarely seems wise to defeat your own mission statement 60 pages into a two-book run. Hopefully, the family being in space will provide Fraction and Bagley with the infinite palette to do a truly interesting comic – but so far, this is less Marvel NOW!, and more Marvel Wait and See.

They are shaking the team to its core, and in doing so, seem to be starting a pretty unique, while undoubtedly classic, run on this title.

As masterfully as Robinson's script is, and as well as Leonard Kirk manages to shuck indelible expressions from people sitting in a court room, the real stars of the issue are the guest artists who provide flashbacks and diversions, who run from the great to the fucking incredible: Mike Allred, Jim Starlin, Chris Samnee, Phil Jiminez, Dean Haspiel, and more, all take their shots, and all perfectly evoke the time period that they are covering. It is hard to not simply focus on personal favorites, but Haspiel and Allred, in particular do such exceptional work that they overshadow Kirk, which is something very difficult to do, because Kirk is absolutely killing it on this book.

This book is off to an extraordinarily strong start, and continues the tradition of excellence that the work Brubaker and Phillips have done together in the past has reached. The issue ends ominously, and tips the scales of the series ever so slightly towards the horror side " but that is a good thing. The horror elements here continue to distinguish this work from others in the noir genre. Bishop and his cult members are downright creepy and add a strong evil presence to a book full of morally ambiguous characters. So far, there isn't really a purely "good" character in the whole comic, which fits right into the noir playbook. But the pure evil of the cult recontextualizes the other characters as basically good (well, maybe not Walt) " it is still too early to see the long game here, but I am confident in the talents of this creative team that they will make this series as interesting as its second issue was.

I know it seems silly to be speculating about what the book will look like a year from now, but the book is engrossing enough to merit such questions. Because, dammit, this is a lot of fun, and I hope it's here for the long haul.

While it would be a little disingenuous to say that this book hasn't slipped at all since Matt Fraction stopped scripting, the difference has been far less than many worried it would be. The Allred brothers have this locked down, though, and the book is still one of the most fun being published.

The book picks up right where the first miniseries left off, but is also accessible to new readers.

If you look at the books that have been most successful thus far, besides having Darwyn Cooke was a creator, both take place long before the events of “Watchmen.” We are truly getting a peak at what happened, ahem, before. This book is showing us more detail into Blake's time in Vietnam, but I don't think is showing anything more than what Moore implied in the original. This is also true of “Nite Owl,” another less than stellar piece of business. Why would creators, when given the opportunity to tell stories about these characters, simply want to re-tell prior ones? Category: Reviews Tags:About The AuthorBrian SalvatoreOn Multiversity, Brian is one third of the Hour Cosmic, writes reviews, prognosticates via the Multiversity Projections, greets all the visitors to Earth 2, and is one half of Mignolaversity. When not talking about comics, he is writing about music on The Waster, tweeting as @BrianNeedsaNap, and writing/podcasting about random stuff at Th

However, the book has established a hook in the initial appearances of Wally West " both times as a tragically deceased teenager. The last sequence almost has a Primer vibe, with Barry going back in time again and again to save Wally. Handled properly, this is a fun place to take Barry " and hopefully Booth's rendering of his running improve enough to make the book satisfying visually, as well as plot-wise.

This is the third issue (counting the Annual) of this creative team's run on the book, and while it isn't instantly grabbing, there are some really interesting ideas present. Booth's art, usually something that is undoubtedly rooted in the 90s, feels slightly more contemporary here, and complements the book's kinetic energy decently. Personally, Booth's style doesn't do too much for me, but this is the best it has looked in the New 52, and hints at some potential growth in his work.

A really fun issue that, while a little decompressed for my tastes, promises a really fun story going forward.

Despite some lackluster art, "The Flash" #769 continues to establish this new status quo as one of the most fun books of 'Infinite Frontier.'

This issue really shows the potential for the book " zany adventures, smartly written and brilliantly drawn, inhabiting infinite worlds. This is one of the more exciting books to be released this month and, perhaps, this year.

Parker, only a few issues in, knows these characters inside and out, and has crafted a story that feels fresh and classic, surprising and pleasingly expected, and does so almost effortlessly. This creative team can write this book for the rest of time, as far as I'm concerned.

A truly fun experience.

This book picks up, more or less, directly after “

Overall, this issue feels more like a Justice League comic than almost any issue of "Justice League" or "Justice League of America" that Johns has written for the New 52. The "team" is coming together, and it is an exciting thing to see.

The "Monster Planet" idea is similar to the "fighting the moon" arc in Stormwatch, and I think that a S.H.A.D.E./Stormwatch crossover could be a TON of fun (make it happen, Cornell and Lemire!). What am I saying? This book is already a ton of fun.

A strong start that only scratches the surface of what "Future Quest" can be.

Look, I want to love this book. I really do. But until the story can read in a way that is more inviting to a casual, or even ignorant, fan, it will never transcend its time period and nostalgic nods of approval.

If my suggestion a cosmic battle in “G.I. Combat” didn't tip you off, this isn't my type of book. But I said the same thing about “I, Vampire,” which i now adore, and it is what I said about “Starman,” now my favorite comic of all time. This book has potential, but until I see anything worth a $4 look on the cover, I'll continue to pass on it.

However, the book is solid enough that I'll finish out this arc, and possibly even start a second one, to see if the steam picks up a little. And if you had told me that even six months ago, I'd never believe you.

But, sadly, the story is so cliched and dull that the art takes a backseat to the yawns from trying to get through these 20 pages. I am a huge Perez fan, and would love to see him do more work than he has in the past few years, but not if this is what it will look like.

For a book I didn't care about, by a creative team I knew little of, for a publisher I had such high expectations for, "Glory" #25 has exceeded any expectations I had.

This isn't a book you pick up if your primary goal isn't to laugh, and if you don't want a good laugh, what's your deal?

This feels like a Hickman book in the broad strokes, but nothing about the book itself either has Hickman's brilliant ideas, nor Costa's gift for crafting compelling dialogue.

A strong return to form for "Gotham by Midnight" " next issue, when all the establishing is done, I am excited to see Fawkes and Ferreyra really shine.

A solid book that will be sorely missed come January.

A strong debut that fumbles in a few key places.

Surprising in all the best ways.

But, again, this is a story about stories. No one in this issue is exactly telling the truth, and the creators are no exception. You are being told to buy a book for a secret origin of a super spy, told from the perspective of a superhero. Instead, you are getting a meditation on truth, storytelling, and deception. And while you might not be getting what you are promised, you're getting more than you've paid for.

This issue also begins to draw in more of the DCU as a whole " we see Midnighter again, but we also get Apollo, and the first mention of Stormwatch. There's also a discussion of Checkmate, and even a reference to the events of "Batman Eternal." This is a pretty great example of DC's recent run of creating singular books that still manage to make sense in the grand scheme of their line.

Still a strong title, but it is losing a little of its breezy feel. I know this is the path for a book becoming 'bigger,' but I'm still going to pout a little about it. But just a little.

Perhaps a few too many swerves, but overall, this issue rights the ship from last month's #10, which was the weakest thus far.

Just about every comics reader I know either has an affinity for Oliver Queen or Ann Nocenti, and so there was actually a little trash talking when I was able to snag this in the Multiversity Comics review draft this weekend. People were jealous that I got to review this book. How fucking wrong were they?

Of course, this is a flawed argument as well, as creators need time to work on their books and gain traction, and it is only through the flops of the past two creative teams that this one was allowed to take the book in such a radically different place. So, in a weird way, thanks JT Krul and Ann Nocenti for not knowing how to write Oliver Queen. Your mistakes paved the path for this book, and for that, we are all thankful.

His "Green Lantern" run sagged a bit before the relaunch, but we are seeing some truly great work from this creative team (fill ins or not), and the book is managing to both expand the mythos of the shared universe, while focusing the characterization and making each character more three dimensional and interesting than they've been in a long time.

It is odd that this, the flagship Lantern title, is the one with the least sense of purpose of any of the titles, post-new creative teams.

A great value for $2.99, and you get two ok comics.

A strong chapter, but visually a bit stuck in the 1990s.

Aside from the incongruity of the art, "Green Lantern" #2 does just about everything you'd want to push the series into surprising places.

It is either a total dismissal of world history or a glaring oversight that this title remains intact. Either way, this is unacceptable and is a real misstep on the path to picking up new readers. To be fair, so is the unusual story told within this issue. I have high hopes for this creative team on this book, but this first issue is a bit of a mess.

For the second straight issue, "Green Lantern Corps" was a really fun comic. Jensen and Venditti are telling a Stewart story that is different than anything he's really been featured in before, drawing on the various aspects of his history in subtle and rewarding ways.

The arc this issue kicks off deals with characters called Godkillers going after local deities, and seems like a good fit for the book which can, at times, feel a bit rudderless. There's a fun to be had in a book that is freewheelin' and roaming the furthest reaches of the universe, but putting a little giddy-up in its step isn't a bad thing, either.

A book that is still finding its footing, but is showing signs of real promise.

Overall though (and despite a really unusual printing error in the backmatter), this is a solid introduction to the crossover, and acts as a fitting start to the New Gods' time in the New 52.

I really think that Liefeld just doesn't want the same things as I do, and therefore, his comics just aren't for me. He is a super nice guy who clearly does work that some people enjoy and, sadly, I'm just not one of those people. This bothers me the least for "Grifter," slightly more for "Deathstroke," and has the potential to be really bad for "The Savage Hawkman." Knowing how many great writers love Hawkman, it is baffling that Liefeld was put on that book. But that is a discussion for the future. I'm really trying to not come down too hard on Liefeld; that would be like a jazz pianist dismissing a dub step artist; it's comparing apples to oranges. I just happen to like the apples a whole lot more.

If the job of this book was to whet appetites for next month's #1, it succeeded. However, if part of the mission statement is producing a comic worth your four bucks, then the book is far less successful.

So, as I've suggested before on "The Hour Cosmic," maybe Liefeld is the Wolf of the DCnU " when you need someone to come in and fix your book, you call him in. If by fix, you mean mercy kill. Maybe "The Savage Hawkman," "Deathstroke" and "Grifter" all are next on the euthanasia block, and so DC asked their best hit man to come in and kill them off, just like he did with "Hawk and Dove." So, farewell Hank and Dawn, and we'll inevitably see you in "Justice League International" soon enough.

A fun issue, but needs its own identity, badly.

So, I will ask it again – why does this exist? An under-exposed, over-talented, licensed comic is a weird, weird thing. And while I've seen a lot of great and a lot of terrible this year from DC, I haven't seen anything like this yet. Bravo, DC – you still manage to surprise me.

A strong debut from two underrated creators.

A truly fun slice of holiday cheer.

This is a book that requires a deeper look, and it isn't the sort of thing that our review can even really help with. It isn't as if there are dense plot points to untangle; this is just a knotty book. It takes time to unravel, but is worth the time and effort to do so. The more I read it (I believe I'm at 4 or 5 reads now), the more I appreciate it, and I'm glad that I read it a few times before we began discussing it.

When comparing Mignola's art to just about anyone who works on "B.P.R.D.," it is easy to forget that the two started out as a unified property. The intricate linework of James Harren or the stunning retro atmospheres of Tonci Zonjic seem miles away from the world Mignola is building. That said, no one else could ever draw this book with any speck of credibility; this is Mignola's creative essence, distilled down to its purest form for our enjoyment. So, stop reading this, and go read (or re-read) one of the saddest, most unique, and finest books to come out in a long time.

Both the most and least interesting thing about Hellboy is his destiny – it is the sword of Damocles that hangs over the entire Mignolaverse. On one hand, we are all waiting for that story to be told; on the other, that story being told will bring an end to all of this. So, while I cannot wait to see how that, eventually, wraps up, I am very glad to have Mignola telling such amazing tales of Red while he can, before we all find out just how incorruptible his destiny really is.

A mixed bag, but a generally enjoyable special issue.

This is probably the best Hellboy Winter Special yet.

While flawed in parts, this is a good start to the revived series.

Overall, this was a minor series for DC, but one that hit all the right notes, had some really great art, and sets the stage for how to do a miniseries properly.

And while Doll might turn out to be America's sweetheart, that's not the book I'm being sold. At a time when DC's Superman books have been anything but traditional, Marvel had a chance to do their own version of Superman. Instead, they've chosen to focus on a character most reminiscent of Fenix from “B.P.R.D.: Hell on Earth,” but strip her of her powers and urgency. Doll is a damsel in distress, and Hyperion is her knight in shining armor. And while that might turn in a good story, it doesn't seem to be delivering a great one.

In interviews with Symons, he has said that Stephenson envisioned this as the start of a shared universe of real life people dealing with being granted super powers in a more realistic setting. If anyone call pull that off, it is Stephenson, and a series of loosely connected minis could be a fun way to put it together. Despite the art issues, this series has a lot of potential, and could potentially build to something really special and unprecedented at Image.

Hopefully, the lasting legacy of this book is that something different can work in the New 52. If you had told most readers back in September 2011 that "I, Vampire" would outlast "Justice League International," they'd have laughed at you. But it did. It outlasted a lot of books that could have, and, frankly, should have, worked better than a relatively self-contained vampire story. And even though Fialkov got an arc to wrap it up, it still stings a bit that the final 7 issues didn't get to be, instead, the final 27 or 37, or 47 issues, and to let all the rushed ideas instead play out naturally. Even if the finished product came out less than stellar, all parties must feel pretty good about where things wrapped up. Yet "Catwoman" lives on.

The book is building to something " I just hope we get that something sooner than later.

A stellar, hopeful, exciting shot across the bow.

A strong kick off (well, after the #0 issue from March) to what promises to be an exciting miniseries.

A strong issue of a really exciting series, only slightly hamstrung by its art.

This book works really well as a companion piece to "Infinite Frontier" and a nice primer on where the DC Universe is, and is heading.

This issue lays threads for a number of big events for Marvel going forward, and overall, is probably the best ending to a Marvel event in quite some time. At least five years, if not closer to ten. Hickman came as close to sticking the landing here as I think he possibly could, and created a memorable event that will, hopefully, lead to similarly effective Marvel events in the future.

And for us grownups (or man-children, as the case may be), this book is incredibly fun. There are jokes that a non-Mignola fan would easily overlook, but the story doesn't feel too inside joke-y, either. This is a comic by Hellboy fans, for Hellboy fans and their kids. And the world is a better place for it.

There is just no way to say how fun and great this is each month without getting super-repetitive. Baltazar's designs capture the characters perfectly, and he and Franco manage to put them in situations that work both for the Itty Bitty nature, but also seem shockingly true to the B.P.R.D. roots.

A fun way to spend an evening reading comics.

An unnecessarily small stakes relaunch.

The aforementioned serial killer sequence is the most violent in the book, and violence is something that Jordan is known for, specifically because of his ‘Luther Strode' books. But Jordan, as shown in his work on “Green Lantern: New Guardians” isn't just limited to big violence. This book fits in nicely among Jordan's bibliography, as it feels like the most refined pitch from his creator owned work, but it still has a real edge and excitement to it.

Call me a cynic, but for a book that already operates on such an intellectual plain, I don't know how many more ingredients can go into this stew before it simply becomes too much. But Gillen is a writer I trust, and the nice part about working on a book that operates on the fringe of the Marvel Universe is that you can play with lots of characters, get esoteric, and hide lots of little jokes in your work.

Oh yeah, there's some sort of league of super villains. Forgot to mention that.

This book still has potential – it has some of the best comic characters ever on a team together, with a competent writer and a series of talented artists. There is no reason that this book can't be what DC wants it to be: the destination where new readers can go for exciting stories featuring iconic characters. But so far, this has to be among the most disappointing books of the New 52.

Instead, Johns and Reis deliver a dark, stormy story about heroes struggling to deal with each other, with major threats, and with sustaining an enjoyable comic. While there is a place for a story like this, “Justice League” doesn't feel like that place.

Overall, this issue is a reminder that the New 52 is a bizarre hodgepodge of old ideas, new ideas, decisions made to appeal to new readers, diversity attempts, good work and bad work. For every slow moving “Shazam” piece, there is a sloppy bit of storytelling wedged next to a necklace from a 20-year old comic on a female version of a traditionally male character and a classic villain being reintroduced. “Justice League” is supposed to be the flagship book of DC's line, and with its inconsistency, it certainly earns the title. Here's to hoping Trinity War can set the book straight.

This isn't a terrible comic, it's just a bit of a mess.

Seriously " this issue was off to a great start, helped along by Doug Mahnke's inimitable art, and then everything goes 1998 digital, and the wheels fall off this issue. That, mixed with the unnecessary exposition that opens the book, really drags down the fun atmosphere the Metal Men bring to the issue. While this issue stumbles, this seems like a pretty great back door pilot to a new Metal Men series at DC " it'll probably last 8 issues, but I'll dig it.

"Justice League" was supposed to be the flagship book of the New 52, and it never quite lived up to that role, but lately it has felt like something close to that.

A nice walk down memory lane with some outstanding art.

A strong entry into the most appealing "Justice League" event in years.

This, of course, all plays into the recently leaked rumor about a Guillermo del Toro directed movie featuring a lot of these characters. If that is true, which seems highly suspect, then don't be surprised to see the Dark books get ever more cozy, with Phantom Stranger and the Demon joining the team as well, all amping up for del Toro's movie. Regardless if that manages to be true or not, the book is becoming something special under Janin and Lemire, and is well worth checking out.

The crossover leaves both books in more interesting places than they were a few months ago, and with renewed senses of purpose. "I, Vampire" has been the better book thus far, and so its issues within 'Rise of the Vampires' worked better, but "JLD" has kept a steady, if unspectacular, course since the beginning to, and its first arc wrapped up in a relatively satisfying way. I will still be buying both books next month, and I encourage you to as well.

If only the name of the book wasn't so dumb.

The fact that this book has transformed from “worst named book of the New 52″ to the most enjoyable team book, by a long shot, that they are putting out says a lot about how Janin and Lemire have taken the book from the, surprisingly unsuited, hands of Peter Milligan, and turned it into something special. Fawkes seems like an addition that will pay dividends in the future, and with the cast having various loose allies in other books, the possibilities seem like they will keep coming and impressing as the months go on.

With all due respect to Ivan Reis and Doug Mahnke, I think Janin's issue, thus far, has been the most visually interesting and well drawn of the bunch. His Hawkman, in particular, is a revelation, when that series is inevitably relaunched in 5 years, hopefully Janin gets the call.

Characters are getting developed at a rate faster than they did in the 20 issues preceding these, the integration of Shazam, the Atom and Element Woman have been handled very well, and the action feels worthy of a big summer blockbuster event. This is not the smartest event ever constructed, nor the most perfectly put together, but this is exactly what the Justice League books needed, and this points to DC having a solid idea of where those books are headed post "Forever Evil," which is more than can be said for most of the books they're publishing.

Editorial cleanliness is sort of the reason for this annual, as the story is a self-contained one without too much impact on greater DCU, despite many claims to the contrary. Sure, little things were hinted at: Brother Eye as a future Batman villain, the Global Guardians, a potential shout out to Vibe (a "dimensional specialist from Detroit" who can sense "vibrational anomalies"), but this isn't exactly the year 2 of the DCnU cipher the book was sold as.

But overall, it is a little too early to call this one a success or a failure; much like the other Justice League #1, this just doesn't provide enough to make a call either way.

The nice thing about this issue is that, now that the big bad has been defeated (until the last page, that is), the characters can move to the forefront and be the focus of the book, not some newly created villain to which no one has a real connection. However, with next month's adventure, there is no guarantee that this will newfound characterization will continue. This book has been floating on the fringe of my pull list since the start, but I will let it stay there a little longer, to see if the unique properties that can make it great do.

Or maybe the numbering will pick up in a few months with #13? Or maybe the group will continue to exist in the background, or as backups to the main “Justice League” team, which will have more of a rotating cast? Who knows; no matter the outcome, the feeling is the same – what a waste of potential for this book.

The rest of the issue doesn't fare that well. What is so frustrating about this comic is that all the elements for a really great Justice League book are here – quality characters, a compelling story, and room for growth. However, Johns and Finch spend so much time making sure that everyone under the sun knows exactly who each character is, that no one has the chance to do anything interesting enough to make you care who each character is. After a relatively solid debut issue, this brings the series back a step. Let's hope next month something happens, and the book is given a chance to excel – because as it stands, it's a less interesting read than “Vibe.” Really.

While not exactly the Citizen Kane of comics, Geoff Johns has created a fun title here that, more than anything else, resembles his early work on "Teen Titans" " a group of inexperienced heroes, tied together through circumstance, getting in over their head.

This is about as good as this book could be, given the various agendas, quotas, and the general lack of JL-ness that DC seems to like in its Justice League books nowadays.

Again, there is nothing really wrong with the art or the dialogue, but to earn a buy, especially at $3.99, it needs to do significantly more than this; namely, anything.

A bloated, expensive, disappointing comic

A great introduction to Choi; a flawed introduction to the Atom.

And it stars Vibe. How weird is that?

And so with ten issues, "Justice League of America's Vibe" goes out to pasture. Sure, it is a ridiculous character to build a series around. Sure, it is even more absurd as he was just reintroduced to the New 52 directly before it started. Sure, the creative team changing early on wasn't a great sign.

Overall, the issue relieved some of the fears I had going in that losing Mike McKone would kill the vibe of the book " Green and Lemire fit together nicely and craft a story that I am excited to pick up again in 28 days.

Ultimately, this issue feels like the penultimate installment of not just an arc, but of a major run or series. If rumors are true, Lemire is done after next issue, and there is more than a little bit of the end of James Robinson's "Justice League of America" run present here, with Lemire cramming in a ton of ideas to cover what he might have wanted to do with twice as many issues. The issue flies by, because each panel is packed with a ton of information, a slew of characters, and a lot of action.

When the preview was released, the DC3 compared it to the Jonathan Hickman “Avengers” run, and this truly feels like a Justice League world. However, it skipped directly from the fun recruitment issue to the ‘Illuminati playing chess with human lives' of “New Avengers” without a real chance to let the novelty of the status quo get any play. However, next month's lineup seems more lighthearted and heroic than this, admittedly, quite dark start to the book. Here's to hoping that Parker and artist Paul Pelletier can find a tone that suits the team as well as Parker and Foreman did for this arc, but with a little more sunshine.

An incredibly fun journey, month in and month out.

A stunning achievement, even if the title is unbelievably unruly.

A strong debut issue for an unexpected title.

A really compelling and strange in a good way modern JSA story.

Regardless, once you find your way into the story, it is a fun, odd, and funny book. I would like to see more about King and his family/past, but I can't imagine the book won't go there soon. Until it does, I just hope to get a lasagna joke next month.

The biggest problem with this book is that it is only a miniseries. Parker and Laming really killed this first issue, and Dynamite, in general, has been bringing in a lot of really great talent as of late. Hopefully, the success of this book will lead to more stories with these characters, hopefully from this creative team. I really did not expect to find this book as one of, if not the, best #1 of the year thus far, but I'm hard pressed to find a debut issue I enjoyed this much in the past 12 months. This perfectly paced, fun without being silly, apocalyptic without being dreary, re-imagining deserves your eyes and your dollars.

This mini seems to be a launch pad for these characters to have solo adventures, which is an interesting idea, especially considering Dynamite's relaunch of the Gold Key characters coming next year. This issue doesn't quite have the bombast of the first, but it is still a solid comic with a lot to enjoy within.

This issue, in particular, showcases the action, and sets up the big finale between Ming's forces and the Flash Gordon/Mandrake/Phantom gang. There is a lot to like here, from Laming's Golden Age inspirations to Parker's ever-logical plotting, to seeing characters from the childhood of every generation since the Great Depression ride again. News that Parker will be continuing to write Flash's adventures is wonderful " but don't miss this mini, which has done a great job re-establishing these characters.

As fine as the book looks visually, it still holds little intrinsic value because the story is so dull and pointless that it makes reading said words seem like a chore.

Hopefully, internally, there is an end date in mind, and DeFalco and Woods can bring this to its conclusion, because the team has been working quite well together, especially considering the problems with the book when original writer Fabian Nicieza was on it. I went into this expecting something bland, and am happy to report I was proven wrong.

A breezy journey through DC's futures, but with little to really take away after closing the issue.

And that is part of the disappointment here – I am not a huge Lobo fan, but the parts of the issue that harken back to that time in comics are the times that got me smiling and really enjoying the book. Instead of doing a book that feels retro, instead, there is a book that feels like nothing at all. It isn't quite modern, it isn't quite retro, it isn't quite good, and it isn't quite bad. This is the definition of mediocrity in 2014, and it becomes instantly forgettable. Aside from the first few pages, I had completely forgotten this issue just minutes after I read it. To review it, I had to re-read it four times just to make sure I had everything committed to memory. This is barely anything at all, and everyone involved, from the creators to the characters to the fans of the original series, deserves more.

I would also be remiss if I didn't mention that, despite all the fine work done before and after him, Tonci Zonjic has really solidified himself as the LoJo artist, and whenever a mini or a one-shot comes out without him on it, it somehow feels incomplete. I know that is not fair to Nixey, and I'm glad to see him joining the Mignolaverse, but I can't help it " Zonjic just gets this character in a way that no one else does.

This was a propulsive, powerful issue that underlines everything we like about Lobster Johnson. It was a damn fine read.

This is the Lobster Johnson comic I always wanted, combining beautiful, expressive art with a pulpy, driving story filled with monkeys and wu assassins. This is just a fantastic comic.

There isn't too much more to say here; I've talked before about finding new things to say about Lobster stories, but after reading this, it became very clear to me that this is my problem, and not a fault in the storytelling. These stories scratch a very particular itch: pulp heroes who punch and kick supernatural things. This issue delivers a great version of that.

This story goes full on supernatural and, with spirits and diamonds both being smuggled in via glass, and the Lobster and his crew respond exactly as you'd expect – with bullets flying and punches thrown. Again, there is nothing that breaks the bold here, but the mold is enjoyable enough that you can read the issue, enjoy the hell out of it, put it down, and not worry too much about it. While that may not be what I want from all of my comics, I'm happy to get that from this one.

"Locust" #1 is an enjoyable, though slight, trek through a predictable setting.

A letdown from what could have been a lot of fun.

Ha's art shines; his script struggles

Overall, this book is a fun update on the classic character, and is showing a lot of potential for future installments.

This book is inviting you in as a superhero title, but reveals its horrors quickly. The character lets you believe that he is a humanoid hero, but reveals that he can be anything he wants to be. By having their book be so clearly defined by fear and sadness, the creators are putting out a challenging read for fans to take a chance on. I beg that you do, as you'll find few superhero books with as many layers or rewards than this one.

Another solid chapter that leaves the reader begging for more.

A slower, but just as powerful, issue of the series.

A book that is playing off nostalgia and curiosity and satisfies neither.

David: Same score I was thinking. I'll give it another 8.0, for an average of 8.0. A nice little step. Looking forward to what is next.

It is hard to talk about this book without spoiling it, so I'm going to keep this review short and tell you that this will be the best 4 bucks spent at your comics shop this week.

There's a lot here, but not a lot of great stuff.

This could be the start of another great arc, but needs Wood to let Smallwood do more of the heavy lifting to achieve a better read.

Overall, the book pairs nicely the, if not post-apocalyptic than pretty damn close, world with the beauty and joy that Graham finds in these creatures and landscapes. While at times I felt lost, there was nothing a little deeper reading couldn't fix, and my reading experience was all the better for it. While I wish I had read the initial Oni chapter, I still feel I got a lot out of this comic, and I'm looking forward to the next installment " hopefully not five years away.

A missed opportunity in almost every way.

A supremely interesting story that zigs when you expect a zag, but never feels like it is doing it for any reason other than to further the plot.

A fun concept trapped in an unremarkable package.

I suppose my biggest problem with this book is that with this creative team, with this property, with this format, it doesn't add up to what it should be. There is a nice cliffhanger ending, should DC decide to bring the character back for a second issue and, as I said before, I wouldn't be too shocked to see Eternity show up in the pages of “Justice League Dark” eventually, but when you get one of the most creative writers in all of comics tackling a weird, fun character like Kid Eternity, with a top notch artist, to launch a new book, expectations must be high. Even though I love the Quantum Leap aspects of the book, it just doesn't do too much for me. I would give it another shot, but honestly, if we can't get Joan of Arc to help with our French homework, is it even worth it?

A solid entry point for new fans, and a rewarding read for old ones.

But overall, this is a really nice example of editorial requirements being met with creative work. Ferreyra and Seeley are giving their all on this book and, even if it still isn't quite my “Suicide Squad,” it is far better than what we've gotten for most of the New 52.

Ultimately, this book was a bit of a tease: it gave the illusion of new stories, but were really just the equivalent of a Saturday Night Live fake commercial: no matter how hard you laugh at the sketch, or how much you love these stories, you still can't buy the product tomorrow.

But hey, if this means we'll get another New Teen Titans OGN, I'll buy an issue of "Night Force Vol. 2" next year for sure!

A perfect place to pick up Dick's story.

More fun than a trip to the circus.

A good main story is encumbered by overly sentimental or utterly fluffy bonus material. There is a good comic in here, but the extras drag it down, instead of elevate the issue to truly being a celebration of the character's history.

Nor should he be – this isn't “Kyle Rayner” #1, it is “The Omega Men” #1, and the book does a nice job establishing who they are, and fits Rayner into the picture as well. This isn't an instantly gratifying book; it is a slow burn that rewards re-readings and delving deep. If fans can find it, I think they'll be intrigued – here's hoping that it gets the fair treatment and long run that the preview and first issue suggest.

A continually strong and exciting book.

The last bit of the book ventures into some spoiler-y territory, so I'm going to avoid that for now, but it is the only part of the issue that really affects the story going forward, and only does so incrementally, just reinforcing ideas that have been suggested elsewhere. One of the aspects of the book that I really enjoy is the decision that was made to make Rayner as close to a pure hero as possible. This book is all about shades of grey, but he is firmly still in the white (lantern) hat. Having him as the foil for the sometimes villainous actions of his counterparts works very, very well.

A remarkable series that just keeps turning the screw on the reader.

A truly satisfying ending, without being a neat wrap up.

An unnecessary historical artifact that doesn't do the lead character, nor the overall story, any favors.

Ultimately, this is a book that doesn't work on any level – I'm not interested to read more of these adventures, I didn't particularly enjoy the adventures I did read, the proposed “Freedom Fighters” series still seems like a bad idea, I didn't love the art, and I didn't love the story. And while there are good characters still on the shelf, doing a Phantom Lady book – cousin to Ted Knight or not – seems like a silly exercise in confounding your fan base.

Personally, it is an apt set of symbology for my relationship to this book. You see, I find soccer mind numbingly boring to watch, play or even think about, and this book falls right along those lines as well. In soccer, there is a lot of holding, passes that result in nothing, turnovers, and periods of seeming inactivity. Sound familiar? This issue is one giant holding pattern, story wise, while introducing you to characters new and old that don't really make sense, teasing things, only to dismiss them, and to do so in the blandest way possible. This comic is in the World Cup of Dull, with pretty good odds at taking the whole enchilada.

This is the first book with "Trinity War" on the cover that has felt completely detached from the main storyline, and for that reason, this should be skipped.

And perhaps that is another reason why this will be the most read mini of the batch; because we all have our emotional attachments to the music videos of our childhood, whether or not they coincide with Gillen's childhood or not. This is the first volume of the series that isn't about a specific type of music, but rather a delivery system for that music. So, while some #millennials might still be too young to grasp the import that videos at one point had, they can still appreciate what videos were, and are, capable of doing.

Pires's script has a lot of fun moments as well, and he isn't afraid to throw some absolutely laugh out loud moments in there, whether it is a take down of fancy coffee (sorry, David Harper!) or some well-landed fat jokes. The pair manage to make a plot " pre-fab pop stars " that might seem to be unbearably cynical feel breezy and enjoyable, without losing its edge.

My only complaint here is that, for a guy who has sported a mohawk more than once in his life, I want some punk rock! I'm sure that is coming down the pike, but I can't wait for some misguided fashion choices and reductive thought from teenage punk Jesus. But all in all, this book hits all the right notes, and sets up a world of possibilities for the remaining five issues. Count me in.

"Punks" is like no other comic on the stands, and whether that fact sounds appealing or repulsive will determine how you feel about it. The book is not illustrated in a traditional way " Chamberlain makes the book like he was making a 'zine " photocopies, X-acto knives, scotch tape, more photocopies. Because of that aesthetic, the book reads quite differently than any other comic you'll pick up this week.

A solid, expansive and, most importantly, fun new Mignola book.

"Radio Spaceman: Mission to Numa 4 #2 takes everything the first issue does well, heightens it, and throws in more chaos. While it won't leave readers unsatisfied, it will leave them wanting more. Hopefully we'll see Radio Spaceman again in the near future.

While not as moving or beautiful as last month's, "Reborn" #2 was an enjoyable step in what looks to be " in this writer's opinion " the best thing with Millar's name on it in a long time.

But at this point, this book is in a very stagnant place, without much going for it outside of this crossover. The solicit reads that a “Red Lantern will die,” and the book delivers on that, but if you expect it to be one that you'll miss, well, you may be a little disappointed.

This issue is a big ol' bucket of water being dumped on the 'Lights Out' campfire.

A haunting, violent, and over the top portrait of modern society.

A problematic, if not thought provoking, teaser.

Unless something seriously changes in the next few issues, Reggie has pranked himself back into obscurity. The "Reggie" part of the title will remain, but I don't see "me" coming back anytime soon.

The other hope is that we get an opportunity to know the modern day characters in ways that aren't just retreading their past lives. The last page reveal, which shows how wrong Jericho has been about his own detective work into his own past, was the most interesting character beat of the issue. Sure, they are reliving their lives to an extent, but I know more about what their lives today look like, I'll care more about their past.

Christin's script focuses on four periods of Moses's life, and each shows the man in different positive and negative lights. In the early chapters, hubris is what makes Moses a questionable character, whereas his secretly held opinions come out in the light much more clearly as the book goes on. Despite him bring brought down by said hubris, Chrisin portrays it as really being a shift in media perception that brings him down. It is an interesting way to look at it; when Moses's life is viewed through the prism of public opinion, his story is far more linear and easier to plot than when it is viewed through actual successes.

A strong opening salvo for the "Robin War" crossover.

Reeder's work here continues to be absolutely astounding, with 1986 New York looking every bit as grimy and superficial as it was, and 2013 seeming like how an outsider/person looking back without real knowledge would "fix" the past. But it is in her character work that she really shines here " the innocent abutting the cynical is always good fodder for art, but Reeder and Montclare refuse to let cynicism win, and that infectious spirit makes this book an even greater joy to read.

There is still a healthy sense of mystery to this world, but there is nothing confusing or unclear about what we see happening " sure, we don't know why there are (seemingly) demons and the supernatural present, but no one else does either. Everyone in the book seems to approach the world with a certain sense of skepticism or defeatism; there is no certainty anywhere here (except that Mr. Cogan's tab hasn't been paid in a very long time). After reading the issue a few times, all I'm certain of is that I want to read more.

Either way, it'll be ok – the only way to really lose this battle is to stand right in the middle.

In the end, I am hopeful, about both this book and the fate of the characters within. I want to believe that The Will's crew won't hunt the happy family, but help them. I doubt this will happen, but having some hope for this poor couple and their already war-affected child isn't the worst thing in the world. And I think this book has done such a fine job of world building thus far, that as the series expands, it will be one of the richer books on the market. But I stand by my statement that this would work far better in trade than it does in single issues. But, if we're being truthful, doesn't almost everything?

A disappointing issue from a storytelling place, and a disturbing one visually.

This is the definition of a book that doesn't need to exist, but that I'm glad does. This was an extremely fun read, with an underused creator with a healthy pedigree able to have fun in this sandbox for a little while.

A fun read that marks the third great Captain Marvel book from DC in the last few years " where's our ongoing?

A fun romp through space with the best pets in comics.

A fine finale to one of the best miniseries of the past year.

I wanted to like this book a lot more than I did " and I hope that I can look back on issue #1 a few months down the line and see the beginning of a lot of great things. I hope Hickman continues to pull on the threads found here, and I hope what unravels is something more interesting than what I'm seeing so far.

This issue feels like the start of the creators really finding the sweet spot of their talents " is it next month yet?

"Secret Avengers" is a book that is firing on all cylinders right now, and seems to have an incredibly strong grip on what it is trying to do. The book is trying to blend espionage and humor, with some sci-fi tossed in for good measure. For the most part, it is succeeding at that. Kot's script here is full of a lot of action/spy movie cliches, but used in a knowing way; Kot isn't trying to play something off like it is an original idea, but rather playing with the form and creating something fun and fresh with familiar ingredients.

A much stronger installment than the first issue, but still lots of room for improvement.

The issue ends on a cliffhanger, and because of the tone of the book, it feels more dramatic than it probably, in reality, is. But again, the book's tone is so specific and unique, that maybe we really are in for a dramatic event next issue. This book, with one foot in the Bat-verse, one foot in the 'Dark' line, and with its ass clearly in the classic 'bwahaha' Bronze Age DC, is a real under-appreciated treat right now.

The first two issues of "Sex" give you a good understanding of the world in which the story takes place, and lay the groundwork for things to come. Casey and Kowalski both exhibit enough here to get excited about that it is easy to forgive the relative lightness of the first two issues.

In many ways, the characters in this book are good people, but they go about things in pretty terrible ways. Because of that, there is a level of moral ambiguity which breeds tension in the book that is rare for a comic. You're rooting for these sexed up kids, but you understand why they probably should fail.

The story isn't quite as instantly engaging as the first few issues, but now that the principles have been established and there's some emotional skin in the game, an issue like this sets a nice tone and gives the reader a chance to invest ever further in the characters, as well as deal with the question that, I feel, will take up a good chunk of the arc " what if these two are totally wrong for each other?

A strong start to the series that is both reverent to its past and blazing towards an unknown future.

Worthy of the name 'Bradbury,' and that is high praise, indeed.

Though not as strong as the first issue, this anthology gives some incredible bang for its buck.

A solid debut with a stunning backup, that promises a lot for the future.

The strongest issue of "Shazam" since its debut.

A bold and fun debut issue. If only this was an ongoing...

Two modern masters of comics making a really fun, exciting comic.

This issue wraps up the first arc, and in doing so sets a tone for the rest of the series. Slott has injected a little levity into a character that can sometimes feel a little stiff, and Allred's style, with its winks and nods to the Marvel comics of his youth, continues to bring a levity to the property. This book, operating as it is on the fringes of the Marvel U, can go anywhere and do anything it wants " and boy do I want it to do just that.

Eaglesham, who also drew Sinestro's "Villains Month" entry last year, really has a handle on the character and the world he inhabits. The constructs, always the way to test a Lantern artist, are refined and with purpose when created by Sinestro, and less well put together and thought out by the lesser Sinestro Corps members. The issue doesn't quite have the bombast, artistically, of the debut, but that isn't Eagleshame's fault " his work is as well done as is expected from his reputation.

The strongest issue of "Sinestro" yet, and a fine addition to the "Godhead" storyline.

I think this is a case of something hitting right in that sweet spot of "comic I wanted but didn't know I wanted." I relished every panel of this issue.

Not ready to headline a club just yet.

This issue, to a degree, lays out the mission statement of the series without being clunky about it, and gives plenty of reason to continue on with the series.

A visually fun, if ever so slight, space action book.

A disappointing Flash side-title.

Overall, this is the ‘We are Legends' story that I think has the strongest legs, and this second issue really makes the case for Xanthe to be a key part of the DC Universe for years to come. The pairing with Constantine and Cassandra is inspired, and shows that the character is already a versatile and unique character in the DC Universe.

A great debut issue that plants lots of interesting seeds for future issues to reap.

A really engaging second issue, with an all time great cover by Alex Ross.

Overall, the first issue did everything it was supposed to do " it gave a reason for these characters to interact, it established a world that felt applicable to both franchises, and it gave a story that is interesting and worth continuing. More than anything else, this book left me wanting more Green Lantern presence, which is a good thing in the long run " there was plenty of Lantern mythos, without spoiling too much actual interaction. Hopefully, in future installments, Hernandez can loosen up his style a little, because there is literally no limit to where this book can go " it's already reached the final frontier.

A book that is finding its way into greatness.