David Harth Comic Reviews

Absolute Batman #8 has a lot riding on it, and it impresses with every page. It's hard to imagine a world where a comic from Scott Snyder and Marcos Martin could be bad, because it's definitely not this one. Absolute Batman #8 is a suspenseful masterpiece with art that needs to be seen to be believed. This is a perfect way to introduce Mr. Freeze to the Absolute Universe, and it fits into the horror vibe that Snyder and Dragotta built in the book's first story arc. Absolute Batman has a lot of competition in the Absolute line, but this issue shows that the book isn't ready to give up its crown any time soon.

Absolute Martian Manhunter #2 is able to follow up a masterpiece of a comic with a continuation that brings order to the beautiful chaos of what came before. This comic is visual storytelling at its finest, using page composition and art to bring a world to life. Absolute Martian Manhunter #2 brings together the disparate elements of comic storytelling, weaving them together into a mass of words and images that is completely unlike anything on the market. It's hard to imagine a comic can be this good, but here it is. Books like Absolute Martian Manhunter show just what comics can be.

Batman is DC's most important character, and Fraction understands the character and his world. I was smiling the entire time I was reading this issue, because the writing is spectacular right from the beginning. It picks up from the end of the last issue, and goes on from there. However, even if you didn't read the last issue, you won't be lost. The first few pages do a great job of putting you into the story regardless of whether you've been following the book.

Hulk Annual #1 brings the horror wonderfully. Pepose, Majado, Delgado, and Petit drop an excellent found footage horror story that works so well because of Marvel additions like the Hulk and the Mole Man. Anyone who isnt already excited for Johnsons upcoming run will definitely be after this issues ending teaser. This is a Hulk comic that will appeal to anyone.

Justice League Dark Annual #1 fills in some blanks from the back-up while also giving readers more information on the central menace of the story. V and Watters do a phenomenal job with the writing in this comic, and it begs the question: why can't the JLD have an ongoing? Mittens and Fajardo Jr. knock the art out of the park. The writing and art are outstanding, and this book is such a treat.

King and Gerard manage to deliver another stellar issue. Theyve reached a level of sympatico that only the best creative teams have. They perfectly balance mundane with the fantastic in this series, while also making readers question everything theyve just read. The enigma of what is real in the book is a fabulous way to keep readers on the edge of their seats and theyve completely nailed the characterization of every character in the book. Mister Miracle is the kind of comic that only comes around rarely. Its such a perfect encapsulation of everything that can be done with comics and its a book that will be talked about for years to come. This issue further cements it as one of the best books out right now and King and Gerard as a premier storytelling unit.

Mister Miracle #8 is yet another home run for King and Gerads. It seems simple, yet there are so many layers to it. Mister Miracle is one of the, if not the, best comics being published right now. These two creators have reached a level of storytelling sympatico that is rare to see. They use the comic medium perfectly to tell their story, with the words and the pictures working together in ways that are both overt and subtle. Mister Miracle is a storytelling tour de force and #8 keeps that going, while even perhaps surpassing the greatness that has come before.

Mister Miracle #9 is another home run. It does so many little brilliant things. Its always been a rather subtle book and this issue is no exception. Theres so much happening under the surface and that makes it all the more rewarding. It constantly subverts reader expectation. No other book being published by the Big Two is anything like it. King and Gerads are telling a story for the ages with this one.

So far, Mister Miracle has been a standout book, but this issue transcends what has come before, hitting a new level of brilliance.

If what comes next is as good as what's in this one, Mister Miracle will join the pantheon of greatest comic stories ever. Somewhere, Jack Kirby is smiling to see his creations used in such a perfect manner.

Fans are going to be split by Mister Miracle #12. It's definitely not what one would expect after the last issue, but it's better for all of that.

There were still some surprises, though, like the complete canonization of the Milestone imprint. For those who don't know their DC history, the Milestone imprint was created by a coalition of African-American creators like the late great Dwayne McDuffie, Denys Cowan, Chistopher Priest, Michael Davis, and Derek T. Dingle and published by DC. The Killing Joke is now a hundred percent canon as well, as is the controversial Identity Crisis. The issue also brings up the return of Supergirl from Superman/Batman in the early '00s, but doesn't explain how Kara came back, since her death in Crisis is also canon. Waid does a tremendous job of laying out the history of DC from 1986 to 2011, putting the right spotlight and emotional resonance to various events.

Videos by ComicBook.comI don't even know where to begin with my praise for this issue, that's how good it is. Ewing is doing everything right, and that's apparent from the first page. The issue starts with the current version of Loki speaking with Odin, and it's really everything you could want from Ewing writing these two characters. Questions are answered, but there's still so much mystery. Every speech bubble feels pregnant with meaning, which is honestly the best way to describe all of the dialogue in this issue. Ewing is hitting another level with Thor lately; it feels like there's so much going on under the surface of the story, and the story is so compelling that you don't even notice there isn't a fight in the issue until it's almost over.

Uncanny X-Men #19 is a throwback in the best possible way. Simone sets up multiple plot points for the future (and also slyly talks about the X-Men fandom), and that's before we even get to the Uncanny Village (you really need to read this one, folks). This is character based storytelling at its finest, and that's all there is to it. Simone and Marquez are nailing it with every issue, and that's really all there is to it.

X-Men: The Onslaught Revelation is one of the best X-Men comics of the Krakoan era. Spurrier built something special in Way Of X, and this comic is the culmination of that and gives readers a glimpse of the future, one that will hopefully still be worked on by this team. Quinn and Tartaglia give the whole thing the marvelous visuals it needs to impress. This comic was a huge surprise in the best possible way, a triumphant book that is one of a kind.

Home #1 is a powerful read that grabs readers early and never let's go. The cruelty of American immigration is laid bare for all to see, but that's only part of the story. Juan and his powers inform the rest of it, and it will be interesting to see how the book answers all of the questions this first issue poses. Anta and company have created a comic that everyone should read, one with all the potential in the world.

Home #2 continue its breakdown of the terrors of the American immigration system. Anta's script does a fantastic job of both being politically charged and telling a compelling, emotional story. The book works on multiple levels, and it's a joy to read, even if it does jerk the heartstrings. Wieszczyk's art doesn't seem like it should work with the subject matter, but it does brilliantly, really capturing the feeling of the whole thing. Home is a fantastic book, and this issue keeps that up.

Home #3 represents a creative team hitting on all cylinders. The story that they are building is excellent, and this issue is yet another example of that. It captures the sorrow of the sundered families, the love of the family members and has an amazing sense of wonder. Anta perfectly builds the emotion of the issue- it starts sad, and it just keeps rising from there. Breathtaking is the perfect way to describe this issue.

Home #4 continues this title's run of excellence. Anta is telling both a compelling superhero story and calling the way the US treats human beings who weren't born here. Wieszczyk's art does a fantastic job capturing the script in all its power. There are not enough good things to say about Home.

Home #5 is a wonderful ending to a great series. Some people may not like the cliffhanger, but it works both to build anticipation for what will (hopefully) be an upcoming sequel and to give readers what it feels like to not know what's going to happen next with someone's family. Anta and company have done a marvelous job with this series, and this ending is the icing on the cake. Go out and buy several copies, so it gets a sequel.

Inferno #1 is a fantastic comic but also so very bittersweet. It illustrates why Hickman is the perfect person for the X-Men, as he presents a tale that mostly just reiterates what he's said before but in a completely new manner. This book is a perfect example of why so many are sad he's leaving. Schiti and Curiel are the perfect art team for this issue. Enjoy Inferno, as you won't see it's like in the X-Men books for a long time.

Inferno #2 is amazing. That's really all there is to it. It blows everything else out of the water on a script and art level and shows why Marvel can't replace Hickman with Duggan or anyone else. This is storytelling at its finest.

Inferno #3 is straight-up amazing. Hickman does a remarkable job, and the art is great, even if Caselli's pages aren't as good as the others. That's pretty much the only complaint; the art isn't completely spectacular for a few pages, just mostly spectacular. Inferno is next level.

Hickmans legacy on the X-Men isnt going to be nearly as good as his legacy on Fantastic Four and Avengers/New Avengers. Part of the problem is that he didnt get to personally finish his story; part is that too many of the writers he handpicked dropped the ball that he gave them. Multiple X-Men books have been straight up bad and Hickmans own work on X-Men often felt like it was treading water as well. X Of Swords was not a good story by most metrics. Inferno is the best the X-Men or Hickman has been since HoX/PoX. However, the problem comes in that, once again, its just a really well done typical Marvel event book. It tells a story and sets things up for the next publishing initiative. The creative team does a great job and this is a wonderful read. It doesnt save Hickmans run from being kind of disappointing, though.

Primordial #1 is a pitch-perfect first issue. Lemire and Sorrentino are among the best working tandems in comics, and this book is another example of that. Their work in this book is brilliant; joined by Stewart and Wands, theyve created something special with this book.

Primordial #2 is visual storytelling at its finest. Lemire takes a step back and lets Sorrentino and Stewart tell the story, and the effect is breathtaking. The book's plot is still inscrutable, but that's okay because this issue is a work of art.

Primordial #3 follows in the footsteps of the last issue. This comic is an amazing work of art and represents a creative at the top of their game, gelling together perfectly. Everyone needs to experience this comic.

Primordial #4 grabs the reader and never let's go. Lemire and Sorrentino are an amazing team, and they invest this comic with emotion throughout, making the story hit that much harder. They'll certainly stick the landing, but it will be sad to see this one end.

Primordial #5 is yet another triumph of visual storytelling. Any other writer would be doing some world-building based on the alternate history of the book, but Lemire isnt doing that here. Hes letting the art team tell the story, as theyve been the books entire run, and it works brilliantly. Primordial continues to be one of the best books on the shelves.

Primordial #6 is visual storytelling at its finest. Theres not a wasted image in the whole thing, and Sorrentino and Stewart are on fire throughout. Lemire makes the ending opaque, but that opacity sharpens the whole point of the book for what it really is- trying to get home. Everything else is just window dressing.

Sabretooth And The Exiles #1 is an interesting animal; its both a sixth issue and a first issue. LaValle, Kirk, Beredo, and Petit are an excellent team, and this issue should leave readers salivating for what comes next.

Sabretooth And The Exiles #2 is excellent. It keeps up a lively tone, with the right mixture of fun, excitement, and danger. The cliffhanger ending is wonderful. LaValle, Kirk, Beredo, and Petit are doing terrific work.

Sabretooth and the Exiles #3 does everything right, but at this point, thats to be expected. The Krakoa Era has accrued its own stable of failures, but this isnt one of them. LaValle continues to do everything right when it comes to a Sabretooth comic and mutant book. Kirk and Beredo are brilliant. Theres really no other way to describe their art. Its always top-notch, and this issue shows off why. As usual, this book rises to the top.

Sabretooth and the Exiles #4 is yet another blockbuster of a comic. LaValle, Kirk, Beredo, and Petit have been putting out the best book in the X-Men line for a while now, and this issue keeps that up. Everything about it is great.

Sabretooth & the Exiles #5 puts a bow on another best-of-all-time series from LaValle, Kirk, Beredo, and Petit. The Krakoa Era Sabretooth comics are all-around brilliant, and hopefully, the seeds this one plants are going to sprout into another series from this amazing team.

A.X.E.: Judgment Day #1 could have been a lazy hero versus hero event, but Gillen makes sure thats not about to happen. This is a marvelous first issue, one that sets up a wonderful conflict. Schiti and Gracia are breathtaking together, their art really making everything look the best it can be. If the rest of the series is this good, fans are in for one of the best events in recent Marvel history.

A.X.E.: Judgment Day #2 is a wonderfully paced action comic that completely changes the tenor of this event by the end. Gillen, Schiti, and Gracia do a bang up job. This events first issue was brilliant, and this one is somehow better than that, which speaks to just how well this creative team is doing.

A.X.E.: Judgment Day #3 continues to be amazing. Theres really no other way to describe it. Gillen, Schiti, Gracia, and Cowles are making the best event books since 2015s Secret Wars and theres no two ways about it. This story continues to go in exceptional new directions, ones that no one would have figured when it was announced, which is why its so great.

A.X.E.: Judgment Day #4 is brilliant, and therere no two ways about it. Gillen, Schiti, Gracia, and Cowles are doing excellent work. This event is the best in a long time, a treat for everyone who reads it.

A.X.E.: Judgment Day #5 continues this event's book run of near perfection. The creative team is amazing, and this penultimate issue is terrific. Anyone not reading this book is missing out on something brilliant.

A.X.E.: Judgment Day Omega is an excellent coda to the best Marvel event since Secret Wars. Gillen does brilliant work with the Eternals, and it would be great if he was doing another series. Vilanova and Mossa are perfect for the art, and Lanhams letters really help sell the dialogue and the emotion. This book is fantastic, and thats all there is to it.

In his letter to readers at the end of the book, Gillen said that this issue is the beginning of the last twelve issues of Wic+Div.That being case, this is the perfect beginning to the penultimate storyline. It gives cast and reader alike answers, while promising more revelations in the issues ahead. Sure, it only sets the stage, but it does that stage setting in such an engaging way that the end of the issue comes as a surprise. Its not only immersive but it whets the appetite for what is to come, which is exactly what the first issue of any story arc should do. The creative team takes what could be a boring slog in the hands of others and creates something that works better than it has any right to.

The Wicked + The Divine #35 keeps the story chugging along with some jaw dropping revelations. Gillen, McKelvie, and Wilson are turning in some best of their work in this book and it just keeps getting better. This issues drops the readers jaws and leaves them begging them for more. The art is pitch perfect. Everything works together to create another amazing installment in the saga of the Pantheon.

This one gets off to a slow start, but it makes up for that quickly. Gillen and company drop bombshells on the reader, while also using the way the  visuals are presented to play with their subconscious and how the reader perceives what is happening on the page. Wic+Div continues to be one of the best books on the market, and it does it with bravura storytelling and art. Gillen, McKelvie, Wilson, and Cowles are a creative team that has perfectly gelled and are putting out a book that should go down as one of the best the medium has produced.

    The comic starts out slowly, but makes up for that rather quickly. It has some tough boots to fill; every issue in this story arc has been nothing short of stellar. It not only fills those boots, but surpasses the previous chapters in this story. The revelations in this issue arent as big as the ones from the other ones, but the battle between Baphomet and Morrigan is perfectly done. The way it ends is completely unexpected, but also fits the strange relationship the two had with each other. The way its structured is something that can only be done in comics, juxtaposing the way their relationship began with how its ending. Its visual storytelling at its finest and its a high point for the series.

The creators of this book are making something very special and it deserves all the praise that can be given it.

The Wicked + The Divine #39 is a quiet issue. Sometimes, story arcs end in a bang, but this one ends in a whisper, and it's quite fitting. It sets the stage perfectly for what's to come.

As the kick off to the last arc of the book, The Wicked + The Divine #40 delivers perfectly. It begins the set-up, giving readers new mysteries to mull over. Its structured perfectly and the art pulls it all together, taking a lot of faces in the crowd and making them into people that readers will get invested in. This is a book that often has a lot to love going on in it and this issue is no exception.

The Wicked + The Divine #41 pumps the brakes just a tad but still delivers some impressive moments for readers and sets the perfect hook to keep them coming back for the next issue. The creative team is working at the highest possible level, delivering a story that once again rises above the rest with its pitch perfect characterization and plot. The only bad thing is that there are only three issues left.

The Wicked + The Divine #42 drops some big reveals and lays out the path for the rest of the book. Beyond the reveals, there are other important moments that perfectly set the stage for the final act. Honestly, this issue is a masterclass for anyone who wants to write a story that not only reveals what it needs to but still delivers even more big moments that work with those reveals, neither overshadowing the other. The art is amazing as usual. It will be a sad day when this book ends, but if the ending is anything like what's come so far, it will be one for the ages.

The Wicked + The Divine #43 gives readers the answers theyve been waiting for. Its a masterfully crafted issue. It lays out the reasoning behind the Recurrence and offers readers a glimpse of Anankes greatest trick. It takes what could have been a big fight issue and makes it something more and tops it all off with an ending that fits perfectly with what we know of the character who instigates it. With two issues left, this books shows that it can still surprise readers.

The Wicked + The Divine #44 closes out much of the book's plotlines, and it does so in an emotionally affecting, perfect way. Kieron Gillen's script hits all the points it needs to hit, but saying it that way takes away from the sheer artistry and majestic beauty of what is accomplished in this issue.

The Wicked + The Divine will be missed, but the book couldn't ask for a more exceptional ending.

The Wicked + The Divine: 1373 is a integral part of the Wic+Div mythos. It fits into what the main book has been doing, revealing more about Ananke and whats going with her as a way of revealing more about the Recurrence. It houses some big reveals, and one very subtle one about Minerva thats worth the price of admission. On top of that, the art fits the story perfectly. This special is a must-have for Wic+Div fans, and worth every penny.

The Wicked and The Divine: 1923 #1 is another great example of Gillen and McKelvies amazing creation, an engrossing story full of interesting characters that keeps you turning the pages til the end, while also dealing with higher themes of art and how it affects society and individuals. Readers may not be totally on board for the prose sections at first, but they grow on you and show themselves to be indispensable to the story.

The Wicked + The Divine: The Funnies is a light-hearted romp. It takes the big, ponderous style of the main book and throws it out the window, giving readers glimpses of a funnier universe in its corners. It doesnt progress the main story or add anything to the mythos like the other specials did. Instead, it sets out to be a fun experience, a collection of Wic+Div comic strips from the coolest Sunday morning paper ever, and succeeds admirably.

Superman #1 is the best way to kick off a new comic. Its fun and full of interesting plotlines. Williamson gives readers a little bit of everything, setting up everything to keep readers hooked. Campbell is the best Superman artist in a long time. His art is beautiful, and theres no other way to describe it. Superman is in good hands.

Superman #2 is everything anyone could want from a Superman comic. It tells a compelling story, sets things up for the future, and makes it all look effortless. Williamson, Campbell, and Maher are casually killing it, giving readers a Superman book like no other.

Superman #3 is a great ending to an amazing story. Williamson has proved that he knows how to write Superman better than anyone could have imagined. Campbell is the perfect artist for this book, and Williamson definitely knows how to write for him. This is a stellar book, a wonderful addition to DCs current Superman renaissance.

Superman #4 is a marvelous comic. The saga of Dr. Pharm and Graft continues, while also doing incredible character work and throwing in some interesting changes to the game. The Superman renaissance continues, and Superman is at its forefront.

Sabretooth #1 takes something that could have been cliche and makes it truly special. LaValle was the perfect person to write it. Kirk is just as great an artist and gives the comic wonderful visuals. With a first issue this good, it will be interesting to see how this one turns out.

Sabretooth #2 is such a great work. LaValle is working his metaphor and giving readers an exciting story, which is more than a lot of the current X-Men writers are capable of. Kirks art may get some complaints, but thats for people who dont really understand what this book is doing because elsewhere, its excellent. Sabretooth is turning out better than anyone expected.

Sabretooth #3 switches things up on everyone in the best possible way. It's definitely one of the most brilliant books on the market right now. LaValle is doing an amazing job, and this book is already one of the best things from the Krakoa era. Kirk and Beredo's art is excellent and the perfect accoutrement to the writing. Sabretooth is a must-read comic, but that's not terribly surprising.

Sabretooth #4 proves that this is the smartest X-Men book being published. This is a perfect creative team, and the only problem with this book is that it will be over in one more issue.

Sabretooth #5 isn't as cerebral as some of the other issues, but it's still a fine comic. LaValle, Kirk, Beredo, and Petit have created an outstanding miniseries that set up the next chapter in Sabretooth and his fellow prisoners' lives expertly. It's not as great as the previous issues, but it's a fun read.

House Of X #1 is pretty much everything X-Men fans could wish for.

House Of X #2 is a gamechanger. Thats all that can be said about it. Hickman lays out a masterful retcon that in the hands of a lesser writer would never work; theyd never be able to make the scope of it work as he could. Pepe Larrazs art makes the whole thing that much grander, as hes able to execute Hickmans script in a way that makes that comes to life.

House Of X #3 presents a lot of great ideas, showing how both sides in the brewing mutant/human conflict are driving themselves closer to tragedy. The mutants newfound power is making some of them hubristic and antagonistic. While humans are playing with technological power that could very well their doom if it goes the wrong way. Its a great dichotomy, and Hickman lays out in a way that is subtle enough to not seem preachy. The art by Larraz and Gracia is a bit too dark in some places, but they still present some great imagery. While this issue doesnt have the huge, redefining moments that previous installments of this book or Powers Of X had, its still a great comic.

House Of X #4 is a book where the shocks keep mounting. Each one takes the wind out of the reader but works to sell the stakes of the mission. Hickman makes sure that none of it seems unearned or gratuitous. These moments also open up a whole lot more questions about the future of the book and where it goes next that are so very tantalizing. Pepe Larraz and Marte Gracia's art give the script the imagery it needs to be effective. Just like every issue so far, this one will leave readers breathless to find out what happens next.

House Of X #5 is where things really start to come together for this book.

House Of X #6 doesnt go out with a bang, but with a huge party.

Jupiter's Legacy: Requiem #1 delivers. There's really no other way to put it. This is Mark Millar at his best- superheroics, the humor, the characters, it's all there, and it's all amazing. Tommy Lee Edwards' art is often breathtaking and sells the grandeur of the book totally. John Paul Leon's pages are amazing; he's a talent that was lost too soon. This is a great comic, and if Millar and company can nail the rest of the book the way they've nailed this comic, then it will be one for the ages.

Jupiters Legacy: Requiem #2 builds on the promise of the last issue. It combines big superheroism thats very much reminiscent of Millars time on The Authority and combines it with deft characterization and wonderful dialogue. Edwards art is just breathtaking throughout; his heavy linework is insanely detailed and sells everything. Jupiters Legacy: Requiem is shaping up to be an amazing book.

Jupiters Legacy: Requiem #3 is an all-around excellent. By juxtaposing the current lives of Hutch and Chloe, Millar shows how different things are for each of them- but also how similar they are. He also sets up a lot of great stuff for the future. As for the art, Edwards is turning in some amazing work that needs to be seen to be believed. Jupiters Legacy: Requiem is shaping up to be the cream of this years superhero crop between the excellent writing and beautiful art.

Jupiters Legacy: Requiem #4 makes the argument for why this book is one of the best superhero books on the market yet again. The plot is excellent, but the characterization is the champion here, really showing Millars chops as a writer. The art remains breathtaking. Edwards, Chang, and Niro do amazing work together, and Edwards is showing why hes one of the great unsung talents of the comic industry with every line he draws. Jupiters Legacy: Requiem #4 is the pinnacle; few other books can reach it right now.

Jupiter's Legacy: Requiem #5 is a magnificent piece of writing. There's a reason that this book is month in and month out one of the best superhero books on the market, and this issue is a perfect indication of why. Millar builds the reader up, only to tear it all down and leave it all up in the air for the next issue. Smith takes over for Edwards and does a great job. All in all, another stellar issue.

Jupiter's Legacy: Requiem #6 is yet another wonderful issue of this book. Millar, Dow Smith, and Niro do amazing with this book. It's an all-out action issue with a great ending. Superhero comics don't get much better than this.

This is a great first installment that sets out its mysteries nicely and begs readers to come back and see what comes next.

Rorschach #2 shows readers one-half of the would-be presidential assassins, presenting him as more than a crazy old man, but just as a man beaten down by the small cruelties of the world. King does this in extremely effective manners, showing the sequences and how they change the man. Jorge Fornes and Dave Stewart do the heavy lifting, putting everything on the page perfectly. Rorschach is definitely going to be a slow book, but thats okay; if the rest of the chapters are like this, it will be a great ride.

Rorschach #3 is a great comic. This issue very much feels like an issue of Watchmen in the way that King tells the story, using metaphors and playing with what the audience knows and doesnt know. This book is a wonderful little piece of storytelling that asks some very important questions and demands that the reader pay attention to everything. Forness art allows the whole thing to hit home. King and Fornes are building something interesting here.

Rorschach #4 is a great comic. It shows that Laura has been looking for a hero to help her fight the squids and just how far people will go for what they believe in. It feels like King is using this book to say a lot about the real world, and it's very prescient, especially with the events of the last month. There's nothing so dangerous as true believers. Fornes' art is the perfect accompaniment to the whole thing, making it all feel more real. This is a better book than it gets credit for.

Rorschach #5 takes a look at a "hero" and shows him for who he is, leaving readers to decide if he's good or bad and if he deserved what might have happened to him. It's really interesting that Laura targets the governor because of conspiracy theories, and Turley has his own about what happened, forming a strange parallel between the two of them. King says a lot in this book, and this is another little illustration of that- everyone has their little conspiracies, and in a crazy world, sometimes the crazy are the ones with the power. Fornes knocks it out of the park again with the art, making King's writing look all the better. Rorschach is a very interesting book, with layers upon layers.

Rorshach #6 is yet another triumph of the comic storytelling form. King uses this issue to tell a multi-faceted story about how various types of people deal with the world and ends it all on a nice cliffhanger that will have readers questioning what comes next. Fornes is perfect for King in this story, his expressive pencils bringing the whole thing to laugh. This series is at the halfway point, and there are still so many questions left unanswered, and thats a wonderful thing.

Rorschach #7 is a very intriguing look into the psyches of those who are susceptible to radicalization and highlights how it can happen, the things that set people down the path to things that no normal person would ever consider. King and Fornes are doing an amazing job in this book, using the characters and events of Watchmen to tell a story that has a lot of real-world relevance. It works on multiple levels, and anyone who isnt reading it should. Rorschach has a lot to say about our world, and it needs to be heard.

Rorschach #8 is yet another brilliant chapter of a brilliant book. King has done a great job of giving this book a reason to exist- its one of the most vital and important comics being published right now, using Watchmen and its mystery to talk about how conspiracies and lies can poison people. Fornes does a marvelous job with the art, capturing the insanity and mundanity of the whole thing. Rorschach is a wonderful book, and this is another perfect chapter.

On the surface, Rorschach #9 isn't as insightful as some of the other issues of this book, but King does a great job of investing it with meeting under the surface. It's extremely effective and subtle. Beyond that, this is just another chapter in a stellar mystery, one that ups the stakes that have been set up wonderfully and change everything. Fornes and Johnson's art makes the whole thing work. Rorschach is an impressive book that keeps trucking along towards a hard to foresee end, but if it's anything like what's come before, it will be great.

Rorschach #10 is yet another outstanding issue. King knows how to keep the mystery compelling, revealing more and more layers to the whole thing. This chapter is entirely enthralling. Thats probably the best word to describe it. Fornes keeps killing it on pencils. Every month, Rorschach just keeps delivering.

Rorschach #11 is yet another excellent issue of this book. King, Fornes, and Stewart are doing fantastic work in this comic, working together perfectly to tell the story. With one more issue to go, itll be great to see how it all ends but sad that its over.

Rorschach #12 is probably not the ending that anyone expected, and it feels like its going to be very controversial with readers. Anyone wanting a tidy conclusion is in for a rude awakening- they already got it. They just have to decide how tidy they think it is. King is telling a story about America and how Americans process information. Whos the bad guy isnt a question thats going to be answered in this one; its all degrees and what the reader is willing to believe. King makes everyone who picks this comic up a part of the conspiracy. Laying out all of the information, like the characters in the book, the reader has to decide what to believe and who the bad guy is. Fornes and Stewart do a fantastic job with the art, as they have for the books entire run. Rorschachs team found a way to make the book special.

Savage Avengers #1 is a clinic in how to make a perfect first issue. Everything about it hits just right. It's exciting and well-paced and leaves readers with a perfect cliffhanger ending. The team of Pepose, Magno, Grundetjern, and Lanham pulled off something special with this first issue, and no matter where they take the book next, it's going to be amazing.

Savage Avengers #2 is yet another triumph for this book. Pepose and company are two for two so far. Savage Avengers is one of the best Marvel books dropping right now, creating its own identity in the best possible way.

Savage Avengers #3 is an action masterpiece. Pepose, Magno, Grundetjern, and Lanham deliver so hard with this issue it isnt funny. Its all so beautifully done. This book has been a must-read, and this issue is the best so far.

Savage Avengers #4 surmounts the high bar this book has already set. Pepose, Magno, Grundetjern, and Lanham are doing amazing work. There are so many great moments throughout this issue that will make readers smile, make them feel, entertain them, and leave them begging for more. Savage Avengers is the team book everyone should be reading.

Savage Avengers #5 sticks the landing and theres no two ways about it. Pepose, Magno, Grundetjern, and Lanham not only close out this story, but Conans time in Marvel with style and aplomb. This issue has it all and this book remains at the top of the heap at Marvel.

Savage Avengers #6 keeps doing what this book does best. Its an action-packed romp that is going to shock readers by the end. Pepose, Magno, Grundetjern, and Lanham are firing on all cylinders, and this book continues to be a highlight every month.

Savage Avengers #7 just keeps the hits coming. Pepose, Magno, Grundetjern, and Lanham are putting out a book that keeps raising the bar for everything else at Marvel. Every issue is better than the last, and this one keeps that up.

Night Of The Ghoul #1 works very well as the beginning of a horror story. Snyder sets it all up and then lets Francavilla run away with it. The atmosphere of this story is what it lives or dies by, and Francavilla delivers in that respect. As usual, Snyder does his onion style of storytelling- there are layers here that readers wont be able to wait to get to.

Night Of The Ghoul #2 is like the perfect horror serial that one can only get from a comic. It's cinematic yet still obviously a comic. Snyder and Francavilla are gelling perfectly for this one, as Snyder is amazingly playing to his artist's strengths. This is one not to miss.

Night Of The Ghoul continues to impress. Snyder and Francavilla are creating an amazing horror story with this one. Any fan of good horror comics should be reading it.

Night of the Ghoul #4 is stellar. Snyder and Francavilla present perfect old-school horror, and every issue is better than the last. Anyone who isn't reading this book is making a mistake because it's one of the best comics being published.

Children Of The Atom #1 is a great introduction to a new team of heroes. It grabs readers by the throat with a big fight in the opening pages and never let's go, dropping more and more interesting things into the mix before ending on a moment that is kind of predictable but no less gripping for that. Chang's art is pretty great throughout, selling the actions and the characters. Children Of The Atom does a lot with its first issue, and all of it will keep readers coming back.

Children Of The Atom #2 builds the story even more. Ayala uses Cherub's monologue to raise the series's main question: are things what they seem, or is there more than meets the eye? It works wonderfully, and they do a great job throughout the issue with the characters and events. This is an exciting book, made all the better by Chang's expert pencils and page layouts. Children Of The Atom is one of the most interesting X-Men's books being published right now.

Children of the Atom #3 is the most emotionally resonant issue of the book so far. Its easy to feel for Gimmick- shes the one friend everyone has who will do anything for her friends but never gets the thing she wants or needs. Ayala does an amazing job of illustrating who she is and the ending of the book is just perfect. Medinas art makes the whole thing work, bringing it all to life. This issue starts to answer questions and set things up for the future and is the most intriguing issue of Children of the Atom yet.

Children of the Atom #4 takes everything there is to love about an X-Men book and puts it perfectly on display. The characters are interesting, and getting to know them is enjoyable. There's the fun interpersonal drama, moments of growth, and setup for the future. The main X-line is full of books that go nowhere, but that's not this one. It's a fun, old-school X-Men book, and Ayala and Medina are doing an excellent job on it.

Children of the Atom #5 feels like showing off, honestly. Ayala, Medina, and Curiel are just so good together, and this issue is just them knocking it out of the park page after page. This comic has everything that anyone would want from it. Its just so good.

Children of the Atom #6 is a perfect ending to a great book. The only bad thing about it is that it is the last issue. Ayala and company have created something exceptional with this book, and it's a shame to see it go. It's been an achievement its entire run, and if readers are lucky, it'll come back.

Fantastic Four #47 is a great ride. Pepose is Marvels secret weapon right now, and this book proves it. He sets everything up brilliantly. Cabal and Aburtov kill it on the art, giving readers the visuals this story deserves. This one is a cant miss.

Fantastic Four #48 closes out this two-issue story perfectly. Pepose gets the Fantastic Four and shows that with every page. He even does great character work with Oubliette. Cabal and Aburtov were a terrific choice to draw this issue, giving readers detailed art that pops off the page. This is peak FF, from start to finish.

One of the biggest problems with Fantastic Four in the years since the end of the Hickman run (other than Marvel marginalizing them because they didn't have the film rights until recently) has been that most of the time, one aspect of the team was pushed beyond the other, and the book was never able to do what a Fantastic Four comic should do. It was either too sci-fi, too superhero, or too family oriented. North's run has succeeded so well because he has found the perfect balance of all the things that a Fantastic Four comic should have. Fantastic Four #31 is basically a perfect Fantastic Four comic in every way. The writing is constantly impressive, doing some deep lore digs and using them to inform the story he set up in One World Under Doom, hitting the right emotional notes, and giving readers an awesome cliffhanger ending. The art brings it all to life wonderfully. Future Fantastic Four creative teams need to take a look at this issue and follow it as a blueprint.

F.A.R.M. System is straight-up brilliant. There's really no other way to describe it. Koslowski does something nearly impossible today: he creates an enthralling new superhero universe from scratch. This book hooks a reader like nothing else on the stands today and doesn't let go until the last page. It's a long book, but well worth the time and honestly a steal for the price. It doesnt come out until November, but its worth the wait.

Green Lantern #1 is a perfect reintroduction for two DC icons. If theres any problem with this book, its that John Stewart isnt getting his ongoing. The two teams serve up a steaming helping of awesome to readers.

Titans #1 is brilliant. There are a lot of naysayers out there, but they should give this book a try, even if it is just to look at the gorgeous art from Scott and Kwok. Dawn of DC has been wonderful, and with this comic as the flagship team of the new DC Universe, things look to be in great hands.

Immortal X-Men #1 is the best the X-Men books have been in a long time. Gillen is a master of this kind of storytelling, building layers of plot that will play into the future. A book focusing on the Quiet Council is exactly what these books need with Hickman gone, and this is the best writing the line has seen in a long time. Werneck and Curiel's art is terrific, challenging Larraz's X-Men for the best-looking book. Just from a quality standpoint, this is the new flagship of the Krakoa Era. If the first issue is any indication, this is going to be a fantastic comic.

Immortal X-Men #2 is the total package. Gillens writing is brilliant, and the art from Werneck and Curiel is beautiful. This is pretty much the premiere X-Men book, and its only two issues in; it shows a creative team hitting on all cylinders, presenting great art, plot, and characterization. This is the flagship book, and no one can say otherwise.

Immortal X-Men #3 is fantastic. Gillen does an HoX #2 riff but invests it with heart that the original doesnt have. It works wonderfully for the story and shows the many futures of Krakoa. Werneck and Lima make a wonderful art team with some great standout pages. Immortal X-Men continues to dominate the X-books when it comes to quality.

Immortal X-Men #4 keeps proving why this book is the tippy top of the X-Men food chain. Its always a joy to read, especially when Gillen is writing characters its easy to tell he loves, like Emma Frost and Mister Sinister. Bandini and Curiel make a great art team, realizing Gillens scripts wonderfully. Immortal X-Men is always wonderful, and this issue keeps that up.

Immortal X-Men #5 is an example of the perfect way to do a crossover issue. Gillen ties it into Judgment Day but does it in a way where this still feels like Immortal X-Men, focusing on one of the books more interesting characters. Bandini and Curiel have worked together much better on this issue than last. All in all, another fine issue.

Immortal X-Men #6 is another excellent issue. The opening could have been axed except for Destiny getting judged, but overall it all works. Werneck and Curiel do a brilliant job with the art, which is to be expected. Its definitely a great read.

Immortal X-Men #7 is yet another excellent crossover comic. Gillen, Werneck, and Curiel keep proving why this book is the best in the X-Men camp. Its also extremely important to Judgment Day and definitely deserves a read from anyone who is reading that book.

Immortal X-Men #8 doesnt reinvent the wheel, but its still an excellent read. Gillen writing about Mystique, Destiny, and Sinister never gets old. Bandini and Curiel do a good job on the art, even if therere some places where the pencils arent the strongest. This is yet another fine outing for this book.

Immortal X-Men #9 is a perfect thrill ride. Gillen keeps things light, but the stakes never feel unimportant. Werneck and Curiels art complements the script beautifully. Immortal X-Men remains an amazing book.

Immortal X-Men #10 is the best issue of this book so far, which is saying something. Gillen is brilliant in general, but this book really takes that to the next level. This is the issue that every X-fan needs to read even if they arent, for some mystifying reason, reading Immortal X-Men. Wernecks art isnt as good as usual, but that doesnt mean its bad; instead of being amazing, its merely great, which isnt a bad place to be. Curiels colors help that out immensely. All in all, this is easily one of the most important comics of the Krakoa Era so far.

Immortal X-Men #11 is a welcome return. The creative team is firing on all cylinders, playing in this new era of the X-Men. Storm was an excellent choice for a main character, and it elevates this issue.

Eternals #1 is a perfect reintroduction for a property that hasn't exactly been a household name over the years. Gillen does an outstanding job of melding the familiar and the new while also giving new readers an in for the whole thing. He takes a complicated concept and streamlines it without sacrificing any of the things that make it special. Ribic's pencils are lovely and fit the book, bringing it all to life. Eternals #1 is the perfect first issue, giving familiar readers what they need and not leaving out new ones.

Eternals #2 is a great book. It starts with a great action scene and gets better from there, with Gillen adding more and more to the story. Who is behind Zuras's death and the damage to the Great Machine? What is Sersi's plan? How does it all come together? Gillen makes readers want to know the answers to these questions expertly. Ribic's art is the perfect compliment to his script, giving it the sense of scale and grandeur it needs. Eternals is shaping up to be something special.

Eternals #3 is a perfect balance between character building and furthering the plot. Gillen is doing an amazing job with this book so far, laying out who the Eternals are and progressing the story. This issue adds even more wrinkles to the plot, making things that much more interesting. Ribic's art continues to impress, even if his faces can be pretty weird sometimes. Eternals #3 keeps up the quality that this book is quickly becoming known for.

Eternals #4 seemingly puts an end to the mystery of who betrayed the Eternals to Thanos, but theres still so much more left to discover. This is Gillens writing styles greatest strength- he finds ways to answer the mysteries in his books that open up to more mysteries. Ribic turns in some of his best art of the series so far, and the more he gets to draw Thanos, the better. All in all, this is another top-notch issue of Eternals.

Eternals #5 is another triumph for this book. Gillen expands on the lore of the Eternals, introducing a new faction and using infographic pages to drop even more secrets and info on readers than before. Ribic's art is outstanding throughout, really capturing the emotion and power of Gillen's script. This issue sets up a lot of great stuff, and it'll be interesting to see how it all plays out.

Eternals #6 starts with a hard-hitting fight like only the team of Gillen, Ribic, and Wilson could deliver and then gets heavy. Its a wonderful twist, and it changes the Eternals forever. Itll be interesting to see where the team takes the book from here, but it will be uncharted territory, and thats exciting.

Eternals #7 does a lot of setup for this new story arc and possibly beyond. Adding Thanos to this book is the gift that keeps on giving, especially as hes been missing from Eternals comics. Gillen is exactly the right writer to bring him back, as he seems to understand Thanos is more than a cudgel. Too many other writers dont get that, and itll be great to see where Gillen takes things with all of the characters. Ribic and Wilson are working wonderfully together; the art looks sensational. All in all, this is yet another great chapter of this book.

Eternals #8 sometimes feels like Gillen showing off in the best possible way. Ribics art has a few little problems but its at its best when it needs to be, with Wilsons colors making it that much better. This is still the best comic Marvel is putting out.

Eternals #9 brings the action and the heart. Gillen does a great job throughout and sets the Eternals on the next phase of their battle against Thanos. Ribics pencils are a bit less detailed than usual but still good, and Vilanova definitely shines in this issue. All in all, another great issue of this series.

Eternals #10 is more proof that Gillen is one of the best comic writers working today. He juggles the books plots expertly, and his Thanos is the best since Starlin. Ribics art is mostly good, with the Thanos sections being excellent. However, when it gets wonky, its distracting and kind of funny. This is a great comic, though, even with the janky art.

Eternals #11 continues this book's superb run of quality. Few writers can match Gillen, and this issue is a beautiful example of why. It balances action and plot beautifully. Vilanova and Wilson are a great team, and the art fits the script very well. Eternals is the cream of the crop.

Eternals #12 is one of those books that is almost too good for words. Gillen is such a fantastic writer, able to find a way to make a standard length story feel long and satisfying, delivering everything readers want from a narrative. Ribics art goes both ways in quality, but its greatness far outweighs the few deficiencies, with Wilsons colors taking the cake. This is a crucial issue, and the entire creative team nailed it.

Eternals: Celestia is yet another brilliant piece in the Eternals saga that Gillen is crafting. Ajax and Makkari react to their circumstances very differently, and Gillen does a fantastic job with each character. Zamas art is breathtaking, bringing the script to life. This book takes the story to some interesting places, and it will be great to see how Gillen pays it all off.

Eternals: Thanos Rising #1 is an excellent comic. Gillen works his magic, proving why he is perfect for Eternals comics. Weavers art takes all of the brilliance of Gillens script and brings it to life. There are not enough good things that can be said about this comic.

Eternals: The Heretic #1 presents another chapter in Gillens unfolding Eternals saga, and its a doozy. Uranos is a great character, and it will be interesting to see how hell play into the future of the main book. Bodenheim and Salazars art beautifully brings the whole thing to life and gives readers another reason to miss Bodenheim. This comic has it all.

We Have Demons #1 is a perfect first issue. Snyder lays out intriguing mythology, sets the stakes, and lets it all loose. Capullo and Glapion bring it to life expertly. Honestly, there was pretty much no way this book wasnt going to be great.

We Have Demons #2 is a perfectly constructed thrill ride. It's an exciting lore dump that builds reader appreciation for the world, is action-packed, and has genuine emotion. This book is really ending up as something special, and where it goes next is going to be great.

We Have Demons #3 is the kind of comic that, in the hands of any other creative team, would have been a little much, but Snyder and company stick the landing. This is a fun, action-packed little number, injected with just enough depth to make it that much better. Itll be interesting to see where Snyder takes things, as Lam and Gus both tell readers this is a fall of man and rise of man story. Capullo, Glapion, and McCaig are amazing, and thats all there is to it. All in all, this is a fitting ending for the books first arc.

Absolute Flash #1 is an absolute blast from start to finish. Lemire has always done a great job with teenage characters one needs look no further than his Royal City to see this and he gives readers a very different and realistic depiction of teen Wally. There's so much happening under the surface in this book, with Lemire laying out the breadcrumbs on a journey of discovery. Not a single page or panel is wasted; this is a book that packs a lot onto every page, but it never feels like it's overstuffed. The issue is supremely well-paced, its break neck speed zipping readers through the timeline like they were moving at superspeed. The art is fantastic; shoutout to colorist Adriano Lucas, whose use of yellows and reds throughout the issue is outstanding. This doesn't feel like any Flash book that came before it, and it's full of the little hooks that have allowed the Absolute books to snare readers. Absolute Flash #1 is a flawless first issue, giving readers a treat for the eyes that w

I think one of the things that I've really enjoyed about Absolute Flash since its beginning is the way it's built its characters, something that is on display in this issue. I love Wally and Grodd, but there's something about Captain Cold that I find magnetic; he's so competent and in control that he draws the eye whenever he's on the page. Absolute Flash's Rogues have been a highlight since the beginning, and this issue uses them to perfection. Trickster remains the VIP; Jesse's acidic wit stays winning. The fight against Heatwave is a nice little mid-issue moment, showing the Rogues in all their glory with a cool surprise save. It's just a fun little sequence to lull you into thinking the big stuff is out of the way.

All in all, X Many Lives Of Wolverine #1 is an outstanding first issue to the newest chapter in the Krakoa saga. Percy and Cassara make a great team, and they knock this one out of the park. Theres not a ton of substance, but it gets right down in it, letting the events tell the story instead of getting too wordy. Its an exciting, fast-paced comic.

X Lives Of Wolverine #2 is an improvement over the first issue, and thats saying something. Percy goes nonlinear, and it improves the story immensely. Event books are light on character, but Percy uses it expertly here. Cassara and Martin are doing amazing work together, and this issues art is better than the last. This story is shaping up to be something special, and this issue is setting up something great.

X Lives Of Wolverine #3 raises the stakes wonderfully. Percy continues to be the best Wolverine writer in a long time, and Cassara and Martin are bringing his script to life perfectly. The developments in this issue bode well for the rest of the series and change things up wonderfully.

X Lives Of Wolverine #4 is a wonderful penultimate issue. Percy is such a great writer of Wolverine, and it bleeds through on every page. He's able to take the problems of a time travel storyline and sidestep them expertly by making it all play into the present and then wraps the whole issue up with a great cliffhanger ending. Cassara, Vicentini, and Martin do an amazing job on the art, making sure this is one of the best looking X-Men books on the market, even rivaling issues of X-Men by Larraz and Gracia. Every issue of X Lives is better than the last, which sets things up for a great ending.

X Lives Of Wolverine #5 is a good ending to an otherwise stellar series. Its action centerpiece is one of the best Wolverine fights in years, though, and while there are some disappointments with the comic, its still a good read. Percy, as usual, knows precisely how to write Wolverine. Cassaras art is a little lesser than in previous issues but still pretty good throughout. This has been a great series, one of the highlights of the X-Men line for the last year.

Ascender #1 is a book full of possibilities. It drops readers into a familiar place thats completely different and guides them along expertly without ever seeming like its guiding them. Lemire perfectly combines exposition with storytelling and lays out a trail of tantalizing clues to whats going on. Nguyens art is terrific as always, fitting this new, more magic based universe perfectly. Theres a lot to like in this first issue, and it does exactly what its supposed to- reintroduce readers to a new, old world and get them interested in what came before and what comes next.

Ascender #2 delivers on all fronts. It hits all the right notes, combining world building, character work, and action in a perfectly paced comic. Jeff Lemire has long been one of the most consistently entertaining writers around, and this comic is yet another of his hits. He understands how to use a single issue to tell a full story, sowing seeds for the future and giving it all room to breathe. Dustin Nguyens art is likewise just as perfect for the book. His sci-fi stuff in Descender was great, but the more fantasy-oriented material that hes been tasked with in Ascender might actually be better. Ascender #2 is the epitome of a creative team working in perfect sync, and its a joy to read.

Ascender #3 delivers on so many levels. Lemire and Nguyen are a fantastic team. The script and the art gel imperviously, drawing readers in and making them feel whats happening on the page. Lemire invests the whole thing with so much feeling, and Nguyen gets that feeling across on the page. Beyond that, theres a feeling of suspense throughout the entire thing as readers wait to see if Mothers forces will be able to get Mila and Andy in the present and a feeling of foreboding in the flashbacks. So far, Ascender has been a great ride, and this issue is a perfect representation of that.

Ascender #4 doesnt pack the same punch as the previous issue. Theres no big emotional moments, just suspense and set up. That said, its done in such an engaging way that it doesnt really feel like set up and thats a testament to Lemires skill as a writer. Nguyen knocks it out of the park again, deploying his excellent character skills to sell the suspense and keep readers invested. This issue doesnt reach the heights of some of the previous issues, but its still an excellent comic.

Ascender #5 works so well because the creative team gels and make it all work. One could say that the big moment of the issue is simple shock tactics, especially with the way the book ends. But Lemire and Nguyen have worked so hard to put readers into this world that it never feels cheap or manipulative. This issue opens the story, even more, giving readers so much to look forward to. It will be a treat to see what comes next.

Ascender #6 kicks off the new story arc with everyone in hot water. Lemire expertly uses the rapport between reader and character to give the story moments that will keep them coming back for more. Dustin Nguyens art is a perfect complement to the whole thing, giving the story the fantasy feel it needs while also making the emotional beats hit that much harder. How will the heroes get out of the jams they are in? Lemire and company make it a joy to keep coming back to find out.

Ascender #7 gives a reader a break from the overarching plot to spotlight Telsa, and it succeeds admirably. Lemire shows readers how Telsa went from being utterly loyal to the UGC to a broken down sea captain just trying to survive using three scenes. It's a deft bit of plotting. Nguyen's pencils and colors perfectly compliment the script. A lot of times, issues like this can anger readers- they want to see all of the stuff from the last issues resolved, but Lemire and company have mastered this kind of storytelling and use it wonderfully.

Ascender #8 does a lot of heavy lifting plot-wise but still gives the characters room for development, using little moments to hit home what's going on with them. Lemire paces everything beautifully, allowing it all to breathe and develop on its own.

Nguyen's art is amazing, as always. Lemire and Nguyen are building a story that rivals its predecessor in quality and succeeding at every turn. If they keep pumping issues like this one out, Ascender will go down as a classic.

Ascender #10 is a perfect example of both setting a tone and subverting expectations. Lemire sets out what the issue is about on the first page, then uses one shocking moment to seemingly get readers ready for another one" before reminding readers what the comic is about. He's very subtle with it as well, and that makes it work that much more. Dustin Nguyen's art is amazing, as usual. He and Lemire deliver a fitting capstone to volume two of the book.

Ascender #11 does a beautiful job of starting the third story arc. Lemire sets up some intriguing things- will Mila take magic? What's the source of magic Sister is looking for? Will the King Of Gnish, a shiftless teenager, harm our heroes or work against Mother's edicts? Except for some coloring obscuring his line work, Nguyen's art is wonderful, as always. Ascender #11 starts the next phase of Mila's journey with another fabulous issue.

Ascender #12 is yet another great issue of a great comic. Lemire and company know exactly what they're doing, and while they are definitely trading on Descender nostalgia, it works perfectly. The cliffhanger at the end is the icing on the cake. Ascender #12 keeps building the story and giving readers exactly what they want.

Ascender #13 feels like a clinic on how to do a mid-chapter of a story arc. Lemire sets up multiple plot points for the future and never skimps out on the good character moments that make this book shine. Nguyen's art impresses as always, giving the sci-fi stuff the harder edges it needs and the fantasy stuff a nice, dreamy feel to it. This is a great comic, plain and simple.

Ascender #14 is a perfectly paced comic and that makes a lot of difference. Lemire builds everything up, giving readers two big moments for the price of one. Nguyens art is amazing as usual and his use of color really sells the feeling that Lemire is trying to invoke with the scenery. While the plot structure of this issue is pretty familiar, that doesnt make the issue any less good, although it doesnt hit the emotional highs of previous issues of the book.

Ascender #15 is a masterpiece. Lemire and Nguyen are perfectly in sync, and their work mirrors each others- theres a sparseness to the issue that is also pregnant with information and potential. Its, frankly, a beautiful comic created by two masters at the top of their game. This is the first issue of this story arc, and if the rest of it can match this one book, Ascender will remain exceptional.

Ascender #16 is yet another example of Lemires way of setting up pieces for the inevitable end. He knows exactly how to array everything and bring in new plot points. This issue also does a great job of building tension, making readers wonder whats going to happen next. Again, Nguyens art makes the whole thing sing. While there are no massive story-changing moments, this is still a great read.

Ascender #17 is a great penultimate issue. Lemire keeps the pace high and fills the thing with action, and the books ending will leave readers hyped for the last issue. Nguyens art is breathtaking as usual. Everything about this comic works admirably.

Ascender #18 closes out Lemire and Nguyen's saga in a wonderful manner. They wrap things up in a neat little bow. This isn't a perfect comic, but it's a perfect ending for this book. The script and art are top-notch, and this is a beautiful ending for fans who have been following this story for years.

Whats The Furthest Place From Here? #1 is a wonderful first issue. Rosenberg, Boss, and Otsame-Elhaou work together beautifully, creating a world that sucks readers in and leaves them begging for more, like a great 7-inch. Itll be great to see how this album, as the metaphor goes, plays out.

What's The Furthest Place From Here? #2 adds to the world and makes it even stranger. Rosenberg and Boss are an amazing team, and watching them develop this story and world even more is going to be a treat for readers.

Whats The Furthest Place From Here? #3 is yet another amazing issue of this comic. Rosenberg, Tyler, and Otsame-Elhaou are crafting a thrilling story, and this is one of the best books on the market, especially when one factors in the page count, price, and just how good of a comic it is.

What's The Furthest Place From Here? #4 is a lot of fun. Rosenberg does an amazing job of setting up who the characters are and setting up what's coming. Boss's art brings the whole thing to life. This book just keeps impressing more and more.

Whats The Furthest Place From Here? #5 is a filler issue, but that doesnt make it any less entertaining. Rosenberg and Boss do a fantastic job on this issue and show a filler issue should be done.

Whats The Furthest Place From Here? #6 is a perfect way to end this first story arc. Rosenberg and Boss gel beautifully, giving readers a wonderfully constructed ending that opens up this opaque world and keeps enough mystery to tempt readers into coming back.

Whats The Furthest Place From Here? #7 is the perfect way to do a lore dump. Rosenberg and Boss present a story that definitely fills in some blanks but not all of them. Its a well paced and captivating story, one that draws the reader in and never lets go. The art by Hixson is an amazing accompaniment to the script, bringing it to life in the best possible ways. It keeps Bosss visual language while also using Hixsons own style to do different things with the art. This book is a treasure and this issue is yet another fine example of why.

Whats The Furthest Place From Here? #8 brings this excellent series back with an impressive prequel issue. Rosenberg and Boss do such an excellent job, but thats to be expected from such an incredible team. Lopez Ortiz and Titov give the issue a different feel from Bosss, but thats a good thing. This book was sorely missed, and its great to see it back.

Whats The Furthest Place From Here? #9 is a heartbreaker. The creative team gives readers a compact gut punch of a comic. Again, Boss and Rosenberg pick the perfect artist for this issue. The great part is Boos art at first doesnt feel like it should fit the tale as it gets darker, but it does brilliantly. This issue is wonderful, and thats all there is to say about it.

X-Men: Red #1 is a good but not great book. It sets out its reason for existing, and the last page reveal is pretty cool, but other than that, Ewing has an unusual feel an X-Men book, almost like he's following the guide, but that's it. Caselli and Blee's art is pretty good, but it could be better. That feels like this book in a nutshell- it's good, but it could be better.

X-Men Red #2 shows what this book is capable of: amazing stuff. Ewing really feels like hes hit his stride with the issue, which is wonderful after the squandered promise of S.W.O.R.D... He builds so many little hooks into this issues plot that fans cant help but be tantalized by whats to come. Caselli and Blees art is astounding and fits the script perfectly. If every issue of X-Men Red is like this, fans are in for a treat.

X-Men Red #3 is a clinic in character and plot. Its thrilling, and thats even before it gets to the fight scene. Ewing has hit a new gear with this book, and it shows on every page. Casellis heart is phenomenal, bringing the script to life beautifully. This comic is perfect.

X-Men Red #4 is yet another amazing issue of this book. Ewing slows it down, gets ponderous in the best possible way, and focuses on the books three stars in completely different ways. The three artists do a good job, but their styles are so similar that it feels like theres only one artist on the book. This issue is yet another triumph for this book.

X-Men Red #5 is yet another great tie-in to Judgment Day #1. Ewing and Caselli kill every single panel of the issue. Nothing is wasted, and it does a brilliant job of laying out just how Uranos was able to do what he did to Arakko and whats about to happen next.

X-Men Red #6 is fantastic. Its weird to read this book and think that X-Men sells more than it. Ewing is showing why he deserves his reputation as one of Marvels best, and Caselli and Blee make it all look amazing. Judgment Day has been full of great tie-ins, and this issue is yet another gem.

X-Men Red #7 is a clinic in how Ewing has made this book a cut above the rest. A reader may look at the cover and expect a big dumb spectacle, like this was Duggans X-Men, but what they get is so much better. Caselli, Blee, and Sifuentes-Sujo do an amazing job bringing the script to life, making the whole thing work. From beginning to end, this issue is a tour de force.

X-Men Red #8 is yet another solid issue of a top-tier X-book. Its still between this and Immortal X-Men on whats the best X-Men series out right now. Ewing does his Marvel sci-fi politics thing thats so much fun, pays off a lot of dangling plotlines, and gives an exciting story. Musabekov and Blee are a top-notch art team. If theres any drawback to this comic, its that it takes readers away from the Arakko stuff, which is the best part.

X-Men Red #9 is an action-packed issue. It has momentum and is just fun to read. It keeps the SWORD part going and combines it with the Arakko plots. The art is mostly great, but there are some character mistakes in the art that range from silly to insulting. Its still an amazing comic, though, and much better than X-Men.

X-Men Red #10 is yet another great issue. The team does what they always do, presenting an awesome story. Its a little emotionally vapid, but its still a fun read.

X-Men Red #11 is so fantastic it isnt funny. Ewing is like a multi-instrumentalist, playing everything perfectly. Camagni and Blee do a wonderful job on the art, bringing the whole issue to life. This comic has always been incredible, but this issue is something special even among the amazing books that came before.

Extermination #1s title makes a promise, and the rest of the comic delivers on it. There are a lot of jaw-dropping moments in this one, and it sets the stakes high right off the rip. Brisson has created a compelling narrative, with enough twists and turns to keep readers coming back. In the long run, the time travel aspects of this story have the potential to do away with any of the big moments this book delivers, but that doesnt take away from how powerful this first issue is. The art seals the deal, supplying the gorgeous visuals a story like this deserves. This is a quality X-Men story, whether readers are pro or anti-O5, delivering all the thrills and chills a story of this magnitude deserves. Its a must buy for any X-Men fan.

    The first issue of Extermination was consistently shocking, and those shocks helped make it so effective. This one isnt nearly as shocking, but it succeeds just as much as the last installment because Brisson has a constructed a story that runs on the actions of the characters, using them to inform the plot. The art is the icing on the cake, taking Brissons script and giving it the visuals it deserves. Extermination is easily one of the best event books Marvel has put out since Secret War. Its a must buy series, not just for X-Men fans, but for comic lovers in general. Brisson and company are doing something special with this one.

Extermination #3 easily hurdles the high bar set by the previous two issues, adding some interesting ideas and keeping the plot moving.

Extermination #4 delivers nearly everything it needs to. Sometimes, a writer will slow things down for the second to last issue of a story, but Brisson doesnt do that here. He keeps the frenetic pace of the book up, and is able to fit in all the exposition without sacrificing any of the drama or action. The cliffhanger ending will throw readers for a curve and keep them on the hook for the next issue. The only weakness is the art, and even thats a minor weakness. Extermination remains one of the best X-Men stories in years.

Extermination #5 is the perfect ending to time lost original five X-Mens story, while also being one of the best X-Men stories in years. Action packed, clever, and immaculately drawn, this is the rare Marvel event mini series that delivers everything it needs to and more. Brisson, Larraz, Gracia, and Sabino deserve all the praise for this book. Even for people who hate the idea of the O5 in present, this is a perfect story and this last issue is the icing on the cake.

Crossover #1 is the real deal. It's gripping and powerful right out of the gate and is just wonderful throughout. Readers are given just enough to get what kind of world they're dealing with, and everything about it is bait to keep them coming back. This comic is pretty much perfect.

While not as emotionally affecting as the first issue, Crossover #2 is still a great comic. Cates plays the whole thing perfectly, making all the set-up and world-building extremely interesting. He introduces a lot of plot points in this issue, ones that could make for fertile story ideas, and the book goes on. Shaw's artwork makes the whole thing look amazing, really bringing Cates' script to life. Crossover #2 sets up a lot of exciting stuff for the future and does it adroitly.

Crossover #3 is a wonderful comic. The opening flashback hits the right emotional notes, and Cates keeps things going from there, really fleshing out the characters. He keeps adding more wrinkles to the whole thing- what does Ryans father have planned? How are the Paybacks and Avas benefactor going to play into everything? Shaws pencils are some of the best of his career, making the whole thing that much better. Crossover hit its first Crossover, and its delightful.

Crossover #4 is a great book. It does a lot of world-building but keeps things exciting, and the end just keeps throwing more and more at the reader. Cates, Shaw, and the rest are doing a marvelous job of making this feel like a giant crossover between the comic universes, even though that would be so very illegal (Disney is known for being very litigious). Everything about Crossover is amazing, and this book keeps showing readers why that is.

Crossover #5 feels a bit convenient at times, but that's alright. The only disappointing thing about the comic is that the fast pace makes it go by too quickly. However, the ending is pretty perfect. Cates hypes readers up for the next issue expertly. Shaw's art is the icing on the cake as usual. Crossover is such a great book, and while this issue isn't the best so far, it's a fitting penultimate issue of this story arc.

Crossover #6 changes the whole book. Its a great ending to the first story arc. Cates and Shaw really bring it with this issue, finally giving readers the massive crossover moment theyve been looking for. The big twist at the end is nearly perfect, and it will be interesting to see where the book goes from here.

Crossover #7 is yet another stellar installment. Zdarksy and Hester tell a great story, giving Cates and Shaw a break. This is an excellent issue that takes a look at an artist and how they feel about themselves that also does some great work with the books story. Itll be interesting to see if the book does this again, inviting on different creative teams and showing different facets of this world. Its a nice change of pace and a fun issue that keeps up the comics quality.

Crossover #8 is yet another fantastic issue of one of the most fascinating books on the market. Cates nails every page, and Shaw and Cunniffe nail every panel. As far as opening issues go, this one succeeds at everything admirably. Sure, it isn't as brilliant as the Zdarsky issue it's better.

Crossover #9 is the best issue of Crossover until the next one. The way that Cates, Shaw, Cuniffe, and Hill keep turning in issues that are better than the last is frankly stupefying and should put everyone else on notice. The storytelling is on point, the art is brilliant, and fans are getting an amazing story. Those Bendis-speak panels and Elle's protestation are the icing on a delicious comics cake.

Crossover #10 is a lot of fun. This is the second issue in a row that made fun of Bendis, but its even funnier because Bendis himself did it. The art is gorgeous, and the book sets up some stuff that should pay off nicely in the future..

Crossover #11 continues this book's run of excellence. Cates uses himself as a mouthpiece to give readers more about the secrets of this story. It's a tantalizing glimpse that leaves the reader wanting more. Shaw's art is wonderful and is some of the best work he's done on this series. The end reveal is a big deal and bodes well for what's to come in this book.

Crossover #12 is a feast for comic fans, new and old. Cates and company do a great job, and it's really interesting to see where Cates and Shaw are going to take this book in the future, what guest creators are going to show up, and how it's all going to work together. If it's anything like this issue, it's going to be entertaining.

Crossover #13 is a fun read. One could desire for there to be more character growth, but it's okay there isn't; this issue gives readers everything they need. It's entertaining and deep in equal measure, and the art is gorgeous, elevating the whole thing to another level. Crossover is about to go in an exciting direction, but if it stays at this level of quality, things will be amazing.

Once And Future #1 is a fantastic beginning for an intriguing new series. Kieron Gillen takes a myth that exemplifies Britain and mixes it with the ugliness of a movement that talks about keeping the country as British as possible. He also introduces two great protagonists, giving readers a throughline into the story that isnt just about the antagonists. Dan Moras art makes the whole thing pop. His detailed, expressive pencils are just what Gillens script needs, and they dont disappoint. Even before being released this book already sold out two printings and if this first issue is any indication, this series will be stellar.

Arthurian myths have always been heroic, but Gillen is turning that idea on its head with this book. Its a beautiful little subversion.

Once And Future #3 injects a little bit of meta-commentary on the nature of stories into the mix, and it makes the book all the stronger. Beyond, Gillen sets a breakneck pace for the whole thing without sacrificing any of the needed exposition to make the scenes work. Dan Mora and Tamra Bonvillains art draws it all together, giving the book the visuals it needs to make it all work. This comic is just marvelous and does what every good comic should- add new things to its story without bogging it down and provide an entertaining narrative. Once And Future #3 is a triumph of storytelling.

Once And Future #4 is a perfectly paced book that keeps the action on a boil. While also giving some exposition that adds another layer to the whole thing. Gillen is using the book to say something about the way people interact with stories and how they can affect the real world. Moras art continues to impress. The issue ends on a great cliffhanger that will definitely keep readers clamoring for more.

Once And Future #5 keeps up the blistering pace of the series while also answering a lot of burning questions that the end of the last issue raised. Gillen is writing about the power of stories in this book. But this issue also shows that the real power in stories comes from those who are in them. Dan Mora and Tamra Bonvillain are the perfect art team for this book, gelling together to create some fantastic art. With only one more issue remaining, Once And Future remains a triumph.

Once And Future #6 is a great comic. Gillen, Mora, and Bonvillain turn in an entertaining chapter and set things up for the future. Looking at this issue as the final issue of a miniseries is the wrong way to look at it. Instead, this feels like the last issue of a story arc. Gillen sets up things for the future expertly. This modern retelling of Arthurian myth has many more places to go, and this issue definitely works to keep readers along for the ride.

Once And Future #7 continues the story, catching readers up with what happened in the interim in the most efficient way possible. In the first six issues, Gillen had to introduce the world of the book. Here, he trusts that readers know enough to give them the barest exposition before setting the story loose. Dan Mora and Tamra Bonvillain knock it out of the art again, making sure that this book is still one of the best looking ones on the stands. With the surprising resurrection at the end, it will be fun to see where the book goes next.

Once And Future remains one of the best books being published right now.

Once And Future #9 is another quality issue of this amazing series.

Once And Future #10 is another standout issue of this remarkable series. Gillen sets the perfect tone, building tension in two ways- underlining Duncan's panic about getting to the nursing home on time and the events therein. There's some great humor to cut the tension just enough to make the whole thing more palatable. Mora and Bonvillain's art is perfect, as usual. Once And Future #10 is a white knuckle ride all the way through.

Once And Future #11 gives a modern twist to killing Grendel, and it's a lot of fun. Gillen, Mora, and Bonvillain all do a wonderful job of providing an outstanding, entertaining fight. The issue keeps up the great sense of humor from the installment before. Once And Future #11 keeps up the little Beowulf story in this arc, and it'll be great to see what the next issue brings.

Once And Future #12 wraps up the Beowulf story perfectly. There's really not much else to say about just how good this issue is. Gillen, Mora, and Bonvillain knock it out of the park with every moment, balancing action and exposition, putting a bow on this phase of the story while also setting things up for the future. Once And Future is one of comics' best-kept secrets, and this issue keeps that up..

Once And Future #13 is a great example of a perfectly paced comic. It builds and builds till the end, giving readers a wonderful cliffhanger to keep them coming back. Gillen fits in some fun character work and even a new subplot- who is watching Duncan and Rose? Mora didn't get a gonzo action scene this issue, but he got to show off his character acting chops, and it worked perfectly. This book continues to impress.

Once And Future #14 is a fast-paced ride that drops a whole lot more on readers. Gillen has been ramping things up throughout this series, and this issue adds even more. It will be interesting to see what comes next, especially as England, is inundated with even more stories. Mora's art gets a bit sketchy in a few places, but it's still mostly excellent, with his character acting really selling everything. Once And Future #14 ends on a cliffhanger that will pique reader interest, but this would still be an amazing comic even if it didn't.

Once And Future #15 clues readers in some things they needed to know while also setting stuff up for later. Gillen accomplishes this without ever letting the book seem slow or boring, building anticipation and tension with the scene cuts. He doesn't give Mora any big action scenes but lets him show his character acting chops, making the issue work that much better. Once And Future #15 does a great job of cluing readers in and keeping things on the up and up.

Once And Future #16 is a fast-paced ride that moves all the pieces on the board where they need to go in an exciting manner. It's a testament to Gillen's skill that he's able to juggle four different plotlines in one issue, and each one feels like it has the exact right amount of time to breath. He twines them all together, building up to a four-way confrontation. Dan Mora continues to impress with his art, showing why he's one of the best artists working today. Once And Future #16 builds anticipation for what comes next in a wonderful fashion.

Once And Future #17 is an action-packed banger that ties all of this series's plot threads together in perfect fashion. Gillen keeps everything exciting throughout the whole issue, keeping the pace high while also letting the plot become known. Mora and Bonvillain continue to be one the best penciler/colorist teams in the comics, laying down some amazing visuals. Once And Future looks to be moving towards its inevitable end, and if this issue is any indication, it'll be a great ride.

Once And Future #18 changes everything about the series. From here on, the book will be completely different, and thats a very good thing. Gillen plays into the books central metaphor again pretty heavily in this issue, and itll be interesting to see where the book goes from here on in. Hes got years of stories to choose from to bring into play, and where he goes with it will be half the fun of this new world. Mora and Bonvillain are still one of the best art teams working in comics today, and this book hammers that home. Once And Future has an uncertain future ahead for its characters, but for readers, theres certainty- that it will continue to impress.

Once And Future #19 opens things up on a high note and never lets up from there. Gillen sets up the new status quo expertly, using the first few pages to not only outline the world but where all the other characters are in it. Mora and Bonvillain are one of the best art teams around, and this book proves that with every page. This opening issue of the new story arc does a great job at pulling readers in and comes highly recommended.

Once And Future #20 starts a new conflict and has a great emotional throughline. Gillen is almost showing off with this issue; he does such a great job of expanding the plot and hits the right emotional beats. Mora continues to be one of the best artists in the industry with this issue. The issue does what Once And Future does best, impressing readers with each panel.

Once And Future #21 is yet another example of what this book does best. It moves the plot forward, has great action, and showcases the art team. It doesnt all land, but its still an entertaining comic.

Once And Future #22 continues this book's run of excellence. Gillen, Mora, Bonvillain, and Dukeshire have reached a level that every issue is a great read. This comic remains one that no fan should pass up.

Once And Future #23 is a juggling act of the highest caliber. Gillen shows off his talents once again, and Mora and Bonvillain are again one of the best art teams in the business. Once again, this book remains among the best.

Once And Future #24 is yet another amazing issue of this book. Gillen does a remarkable job of closing out plots and sowing the seeds for new ones, giving everything the room it needs to breathe. Mora and Bonvillain are one of the best art teams in the business, and this issue is another example of why. This book is one of the best around.

Once And Future #25 once again proves just how amazing this coming is. Gillen, Mora, Bonvillain, and Dukeshire craft another wonderful chapter, full of amazing writing and astounding art. There are few books on the market that can compete with Once And Future.

Once And Future #26 takes things slow and is better for it. Gillen doesnt jam the book with plot, but gets across everything that it needs to in the most entertaining manner. Its a good breather before the coming storm. Mora and Bonvillain are the best art team in comics and this issue again proves why. This is yet another banger of an issue.

Once And Future #27 is fantastic. The creative team does a remarkable job throughout. The writing and art are expert-level, and the story has some surprisingly poignant moments that will stick with readers. Once again, this book manages to surprise in the best ways.

Once And Future #28 is brilliant. Gillen, Mora, and Bonvillain craft a wonderful story with a surprisingly poignant moment that shows just how great this book is.

Once And Future #29 is an exciting penultimate issue. Gillen does an impressive job of setting up the last chapter while also giving readers some great action. Mora and Bonvillain bring it all to life, and Dukeshires letters capture the voices of everyone wonderfully. Its sad this book is ending, but if the last issue is as good as this one, it will be an ending for the ages.

Once And Future #30 is a brilliant ending. Gillen, Mora, Bonvillain, and Dukeshire created an epic with this book, and this final chapter hit all the right notes. This comic has always been special, and the ending proves why.

Dead Man Logan delivers in a lot of surprising ways. There were a few directions this one could go, but Brisson throws in a few twists and turns that will surprise readers and provide a great hook to keep them with this book til the bloody end. Hendersons art is the icing on the cake. This is a must read for any fans of Logan.

Dead Man Logan #2 keeps the quality of the first issue going. Its only two issues in and anything can happen after this, but Brisson, Henderson, Woodard, and Petit are crafting a perfect Wolverine story and a fitting swan song for a character that has been the star of one of the best books Marvel has been putting out for the last three years. The cliffhanger ending of this one will keep readers coming back, but if they arent already sold on this book, thats their loss.

Dead Man Logan #3 has it all- great art, perfect characterization, and an engaging story that keeps getting better. Ed Brisson is making Old Man Logan's swan song something for the ages and Mike Henderson's art is the perfect accompaniment. This could easily be a grim, joyless book that would still be entertaining, but instead Brisson and company deliver something that subverts those expectations expertly.

Dead Man Logan #4 keeps up the high quality that this book has had since the first issue. Brisson is crafting a wonderful story, one that keeps surprising readers. Henderson's art works perfectly with Brisson's script. This issue adds another wrinkle to the plot and the possibilities of what will happen next are nearly impossible to guess. So many things can happen with all of the ingredients that Brisson and company are mixing up in this book that anything is possible and that's rare in today's comic industry.

Dead Man Logan #5 is another triumph in a series that has been full of them. Brisson again flips the script on readers, seemingly closing out one plot while opening doors for others. Will Logan go back to the Badlands? Does Mysterio have a new plan? What is up with Miss Sinister going down so quickly? It's anyone's guess where this book will go, but if it's anywhere like it's been, it will be well worth it. To top it off, Mike Henderson's pencils are the perfect accompaniment to Brisson's script. Dead Man Logan has it all.

Dead Man Logan #6 is a masterpiece. It combines deft characterization, great art, and fantastic story beats to create something that perfectly does its job. In the hands of another creative team, this could have been a glorified filler issue, but Brisson and Henderson give it the perfect amount of gravitas and fan service, making it truly special.

Dead Man Logan #8 succeeds, as usual, on the strength of Brissons scripting. He expertly deploys exposition in this issue, and it all has a pay-off. By giving Sabretooth a boss, it adds another layer to the book. Mike Hendersons art has been better than it is here, but he still draws a great action scene. This issue continues this books stellar run.

Dead Man Logan #9 does a great job of setting things up for the next few issues. Brisson is able to keep the set-up interesting, though, using it to do a bit of subtle character work. A lot of times, issues like this can be very boring, but Brisson keeps it all very entertaining throughout. Mike Henderson continues to express with his expressive, detailed pencils. While not the best issue of the book so far, its a solid, entertaining comic.

Dead Man Logan #10 starts fast and never slows down. Brisson makes this work perfectly, giving readers a great mix of action and exposition, keeping the breakneck pace. It wouldnt work as well without Hendersons art, which gives the whole thing a more kinetic feel, although there are a few places where his detail suffers, mostly in long shots with a lot going on. The two of them gel, giving the issue the right amount of pathos to make the ending work. This issue sets up a collision course between Dani, Logan, and Sabretooth and seeing as how the series has been fantastic so far, and it will be great to see where it all goes.

This issue is an action-packed treat, and Hendersons art makes the fight scenes look fantastic, and his character acting makes the big moment in the end that much better.

Dead Man Logan #12 is an excellent send-off for Logan. Brisson and company are a bit rushed by the page count, but it hits the right emotional notes. The fight, in the beginning, lacks a bit of punch because of the pacing, but it's still exciting. The highlight of the book is Logan's farewell to his family, perfectly capturing the man and his struggle with his past. Brisson, and Jeff Lemire before him have been writing one of the best Wolverine books in years, and Dead Man Logan was a fantastic send-off for the character. It had action, adventure, and emotion. Ed Brisson's writing captured the personalities wonderfully, and Mike Henderson's art made the whole thing that much better. This issue was almost perfect, a fitting end.

Ghost Cage #1 is a cool beginning for a new series. Dragotta and Goellner do a great job of sucking people in from the word go. It all feels familiar in its set-up and characters, a 90s cyberpunk manga, but its exciting and mysterious, which will definitely make a reader want to come back.

Ghost Cage #2 is a visual masterpiece with a pretty great story. Dragotta and Goellner take a rather standard manga plot and make it into something special, a story that every reader should experience. The last issue is still forthcoming, but it should be amazing.

Ghost Cage #3 is a wonderful thrill ride that sticks the landing. Dragotta and Goellner have done so much with these three issues, putting out an action-packed manga that has heart and humor to spare, as well as the kind of wild dystopian sci-fi concepts that make this sort of story work. Its been an amazing book, and this ending is wonderful.

Powers Of X #1 throws readers into the deep end, but in the best possible way. Hickman does some excellent world-building without giving away too much and lays out tantalizing clues of whats to come. The only minor quibble with the comic is how it fits in with House Of X, but Hickman is a master storyteller so the connection is sure to be something great. R.B. Silvas art isnt perfect, but it works for the story. His design work and his execution of the action scenes make up for the deficiencies of his artwork. Theres a lot to love about this book and it lays out a lot of interesting stuff. Hickman continues to work his magic on the X-Men.

Its storytelling like this that X-Men fans have been missing for most of the 21st century.

Powers Of X #3 takes Moiras mutation to the next level, using it as an unexpected plot twist at the end of the issue. It allows for Hickman to play with readers expectations in this book and the other one. Really, it makes perfect sense with her powerset, and its a surprise she hasnt done something like this before. Beyond that, this is a fun issue, fast-paced, and action-packed. The art by Silva and Gracia really make the whole work. Itll be interesting to see where Hickman takes the story from here.

Powers Of X #4 plants a lot of seeds. Hickman, instead of picking up where the last issue of House Of X left off, tells a story that shines a light on a lot of things, while also giving hints of things yet to come. The Phalanx storyline is the only clunky part of the issue, but thats only because its tough to see how it plays into present-day of mutantkind. The art by R.B. Silva and Marte Gracia is just gorgeous. The two of them work together so very well and present a lot of great imagery. This one definitely slows things down a bit, giving readers a chance to breathe after the last two issues of House Of X. Even though it sets up a lot of future stuff. It also raises some very interesting questions about the present of both books and what might be going on. Its a great ride.

Powers Of X #5 establishes and sets up a multitude of ideas. From explaining how Cerebros new mind downloading ability works. To the Krakoan Quiet Council and its governing powers. To Namor and his doubt in Xaviers motives compared to his actions. Hickman is planting seeds that will grow into something great. The Year One Thousand stuff is interesting, but what that seed will grow into is anyones guess. Silva and Gracia provide the high-quality images the story needs to work. With one more issue left, its anyone guess where Hickman is going to go with this book and thats the biggest strength.

Hickman is a master craftsman, and this issue shows it. The art team does a great job once again, taking Hickman's script and bringing it to life. Powers Of X has always felt like a supplementary book, and this issue certainly has that feel, but it adds just enough to the overarching narrative of both books to make it unique.

I walked into The Power Fantasy #8 completely blind. I'm a huge fan of Gillen's work, so I knew I'd like it, but I wasn't ready for just how good this issue was. I honestly expected to be a lot more lost than I was, but Gillen does a tremendous job of laying out everything we need to know. There's a wonderful emotional core to the issue that is apparent from the beginning, and I was able to find and tap into it quickly. Wijngaard's art is gorgeous. His pencils are beautifully skilled with a unique style, but his color choice is especially good. The colors in this book are outstanding. However, what makes The Power Fantasy #8 a great work and is a testament to the quality of this series overall is that this issue is one you can pick up completely cold and still enjoy immensely and still understand where the story has been even as it lays the groundwork for where it's going to go.

X Deaths Of Wolverine #1 takes an entirely different approach to things than X Lives, and its stronger for it. Much like HoX/PoX, itll be interesting to see how the two books play off each other. Percy is doing a bang-up job, and Vicentis art is killer. This one is something special.

X Deaths Of Wolverine #2 adds more wrinkles to the story. Percy is constructing a wonderful story here, and hopefully, he can stick the landing. Vicentis art is a beautiful fit for the story. All in all, another great issue.

X Deaths Of Wolverine #3 changes the context of everything about the Krakoa era. Moira's depowering was only the beginning, and hopefully, with the developments of this issue, she'll remain a major player in this era of the X-Men. Percy and company are doing great work in this comic.

X Deaths Of Wolverine #4 does a remarkable job of laying out the stakes of Moira surviving. Percy picks up Hickman's baton from Inferno and runs with it. He and Vicentini make a great team, and this issue is yet another triumph for this event with an incredible cliffhanger.

X Deaths Of Wolverine #5 is a good, if predictable, ending. Percy and Vicentini do a good job on this issue, and it looks like the ending will play well into the future. X Deaths has been the more important book of this event, and while the ending is a little formulaic, it still works and bodes well for the future.

All in all, Saga #49 is a return to form for a series that has went from amazing to merely great. It delivers everything readers have come to expect from Saga and brought back the sense of danger that drove the book for so long. Saga remains one of the top books Image puts out every month and, if this story arc is half as good as this issue, it will go down as one of the best stories in a book full of stellar ones.

All in all, Saga #50 does a great job of capturing a sense of foreboding without being too on the nose about it. It leaves a disquiet in the soul, a feeling that something bad is right over the horizon. Its just a feeling, though; at this point, theres a chance that everything will go according to plan and Sir Robot, Petrichor, and Squire will find peace in their new lives, that Doff and Upsher wont be the targets of vengeful governments, and that Marko, Alana, Hazel, and Ghus will get away and live happily ever after. Theres just enough doubt to keep the reader invested in the whole thing.

All told, this is an average chapter of Saga, with a few interesting standouts. Saga is still one of the better books being published, but it feels like its in a rut and this issue is a great example of that. It moves the story forward, it builds characters, and there are some cool visuals, but it all feels so rote. For most books, this would be perfectly fine, but Saga isnt most books. It set the quality bar very early on and in recent arcs hasnt been reaching that same point. This story arc does have the potential to change all that, but time is running out for that to happen. Its no reason to drop the book, but its a rather average chapter of Saga. Its not bad, just a little disappointing.

    Saga #52 breaks this story arc out of the doldrums its been in for the last two issues. Vaughan and Staples pull out all the tricks in their repertoire to give this one something the book hasnt had in a long time, a sense of danger and momentum. What happens next is anyones guess. This book has needed the shot in the arm this issue is for a long time.

Saga has always been a book with a simpatico between its creators that is unparalleled in this industry, and this issue is all the better because of it. Vaughan and Staples work together so well, first lulling the reader into thinking things are going to go one way then violently turning the wheel, sending the story down another path. This installment brings the danger back to Saga and its wonderful. The book has needed this shot in the arm for a while and Vaughan and Staples administer it perfectly.

Saga #54 is wonderful. Its perfectly paced and beautifully drawn. Its going to change this book forever. Its a must have for fans of the book. Its painful, but thats a testament to the amazing work that Vaughan and Staples have done. This one is going to mess readers up. Bring a box of tissues.

Saga #55 is perfect. It's a reunion after years, and Vaughan, Staples, and Fotographiks give readers everything they missed. It's Saga.

Saga #56 is a great work. Each creative team member gives their all, and it works very well. This is a building chapter, but its wonderfully done as usual.

Saga #57 is yet another issue showing off what this comic does so well. Vaughan, Staples, and Fonographix build a marvelous issue, fitting in a lot of heart and developing multiple plots. There are few other books out there that can compete with Saga.

Saga #58 lays out a lot of great plots and does some adroit character work. Vaughan and Staples continue to be an amazing team.

Saga #61 is more Saga fun. And by more Saga fun, potentially heartbreaking is the name of the game. There are some heavy plots popping off, but the characterization is what makes it all sing. Add to that the beautiful art from Staples, and Saga continues to impress like no other book on the market.

Saga #62 is exactly what readers would expect from the second issue of a Saga story arc. Vaughan and Staples build the story expertly. Its all to be expected, and its another entertaining chapter.

Saga #63 follows the plot formula of this book to a tee, but as usual, Vaughan and Staples make it work. There are enough tantalizing developments in this issue to get readers excited about whats coming next.

Saga #64 builds up the plot more. Its a pretty good story, with several plots that could go either way.

For readers who have been waiting for Wolverine to get his own book since the lackluster Return Of Wolverine, this book is perfect.

Wolverine #2 continues Percy's great work on this book. He understands Wolverine very well and is building a very cool story with this one.

Wolverine #3 is a casually brilliant comic. In three issues, Percy has shown he gets Wolverine better than just about anyone who has written his books since Larry Hama.

Wolverine #4 is another excellent Wolverine story from Percy and company. Wolverine has been ambushed before but never like this. It's an exciting way of doing an old type of story, and it plays into the way the Internet would be used against mutants, much like is being done in New Mutants. It will be interesting to see how the whole Dracula and Omega Red thing plays out as well. Bogdanovic had a tough act to follow, but he pulls it off well. Wolverine #4 keeps up the quality that this book is coming to be known for.

Wolverine #5 is a great little comic. There are a few deficiencies to it, but one of them helps the story move along, and the other isn't Percy's fault. It's still very entertaining, though, and while it isn't as artfully written as some previous issues, it's still quite good. Bogdanovic and Wilson do a great job with the art. Wolverine #5 is a lot of fun.

Wolverine #6 succeeds on two fronts- it's a well-done continuation of X Of Swords and a just a great Wolverine comic in general. This is a challenging balancing act to pull off, but Percy hits it perfectly.

Wolverine #7 is everything that X Of Swords could be, but thats hardly a surprise, seeing as how Percy has already been responsible for the best parts of the crossover so far. Together with Duggan, who after a bit of a long-winded, rocky start in Marauders #13, has really stepped up his game with issues #14, #15, and this one, they weave an exciting tale that gives readers more than they expected and changes the game for everyone. Combine that with Cassaras amazing art, and this one is a rollicking good time.

Wolverine #8 starts on a huge high but kind of goes down from there. That said, it's not a bad book, far from it. Percy can't write a bad Wolverine book, and this one is still pretty good, even if the prologue overshadows everything else. The story it sets up seems pretty interesting, and it will be nice to see what comes next. The art team does a fantastic job, with Wilson's coloring being a standout. As usual, Percy and company knock it out of the park.

Wolverine #9 yet another banger from Percy and Kubert. The two of them are proving to be an amazing team on Wolverine and have made the book into one of the best X-men books of them all. The stakes arent super high; its just Wolverine trying to save his friend, but the creativity makes it work and feel amazing. As intimated above, the only problem this issue has is that it ends too quickly.

Wolverine #10 is yet another Wolverine masterpiece from Percy and Kubert. Its an action-packed, fast-paced issue that sets out the relationship between Wolverine and Maverick perfectly and then changes it forever. Percy really captures the essence of Wolverine in every chapter, and this one is no exception. Kubert and Martins art is amazing throughout; the two men are putting down some best of their career on this one. This book wraps up a short story while planting the seeds of the future, and it does adroitly.

Wolverine #11 looks to be the culmination of the Vampire Nation arc, and so far, so good. Percy has built it up into one of the most unsung yet exciting subplots in the X-Men books, and this issue sets up all the pieces expertly. Eaton's art is hit-or-miss- some of it looks good, and some of it doesn't. It doesn't bog the issue down too much, though. Percy remains the MVP of the X-Men line, and Wolverine is still one of its strongest books every month.

Wolverine #12 is yet another chapter in Wolverines quest to destroy the vampires, and its the best one yet. Percys characterization is top-notch as always, and the method used to defeat the vampires is both novel and makes perfect sense. As usual, he sets up a lot for the future, and even though the book is about to be interrupted yet again, its just going to serve to make audiences that much more rabid for what comes next. Eatons art is okay- theres nothing wrong with it but nothing special either. Wolverine continues to be the best X-Men book on the market.

Wolverine #13 is an okay issue of X-Force. If someone bought it hoping to see Wolverine or whats on the cover, thats not whats in there. It sets up some cool stuff for the future, and Percy is always entertaining, but its nothing special. Eatons artwork is aggressively mediocre, which is a pretty good way to describe this issue in general.

Wolverine #14 is just a solid issue of Wolverine. Percy does such a great job with the character and builds an exciting plot, playing off what he set up in the Hellfire Gala issues. Kubert and Martin return on art and knock it out of the park. This issue isn't going to change the world, but it's a lot of fun.

Wolverine #15 gives readers some more background on Solem and sets him and Wolverine on a collision course. Percy has become an expert at building plots for Wolverine, and this issue is no exception. Kubert and Martin are amazing together, and this issue gives multiple examples as to why. Wolverine #15 is a great comic.

Wolverine #16 is an entertaining comic, but it feels like theres stuff missing. Percy does a good job of letting readers know who Solem is, but he doesnt give them the big Solem/Wolverine fight that this story seemed to be building towards. Kubert is at the top of his game again, which is pretty much what hes been doing the entire time on this book. Its not a bad comic; its just strange.

Wolverine #17 works so well because of how the tone builds throughout. It's that black ops vibe, that feeling that it's all going to fall apart because someone isn't who they seem to be, makes the whole thing work so well. Medina's art works, but Kubert is tough to come after. It all works so very well, though.

Wolverine #18 is yet another great chapter in Percys run. He plays off past storylines, closing some out while opening up new ones. This issue has it all, and the art is pretty good too. Wolverine is a perfect example of classic comic storytelling, and its a lot of fun.

Wolverine #19 is a perfect one-and-done story. Sure, it serves to close down one of Percy's plot threads, but it's also just a great Wolverine character piece and well worth the price of admission. Fernandez and Wilson are the perfect art team for it. They bring the script to life in a way the best art teams do and together create some stunning visuals. Not enough can be said about how great this issue is.

Wolverine #20 is more fun than just about any issue of any X-book has been in the Krakoa era. Percy builds a great plot and uses Deadpool adroitly, making everything that much more entertaining. The art team of Kubert, Martin, and Lima are on fire, but that's to be expected with a team this good. All in all, another fantastic issue.

Wolverine #21 is a fast-paced thrill ride that finds an amusing way to drop exposition on readers that never messes with the books pacing. Percy writes an amazing Deadpool and knows how to blend him with Wolverine expertly. Kuberts pencils arent perfect all the way through, but when hes hitting, its a thing of his usual beauty. Martins colors make the whole thing look like a million bucks and are the cherry on top of a beautiful read.

Wolverine #22 is an exciting, action-packed romp. Percy is able to build the plot expertly and reveal exactly whats been going on, the character interplay is gold, and the pacing is perfect. Kubert and Martin do their part to keep everything fast-paced and entertaining. Wolverine has been impressive, and this issue keeps that up.

Wolverine #23 ends this story expertly. Percy knows when to use action and emotion in this one, and it works so well on every page. Kubert and Martin kill it on the art, with so many amazing images throughout. Wolverine is always great, but this one goes above and beyond.

Wolverine #24 is a great crossover issue. Percy manages to use Judgment Day to his advantage again while paying off a long-time plot line. Wolverine and Solem are excellent together, but thats a given. Vicentini and DArmata make an excellent team, and Petits letters are wonderful as always. A fantastic comic all around.

Wolverine #25 is a simple comic, and thats why it works. It sort of feels like Percy wanted to use this chapter to prove just how much he knows about Wolverine because this comic is a clinic on who the character is. The art, from the main story to the back-up, is all amazing. This is a sensational anniversary issue.

Wolverine #27 is an intriguing addition to this book. Percy has been building towards this for a long time, and it will be interesting to see exactly where he takes it. Ryp and DArmata are a fantastic art team, and they work well together for this story. This is another fabulous issue of this comic.

Wolverine #28 is fantastic, and thats all there is to it. Percy has excelled in this new story, really capturing the pain and despair of Wolverine and the monstrousness of Beast. Ryp and DArmata do an awesome job on the art. Without their terrific work, this chapter wouldnt hit nearly as hard. Wolverine has always been good, but this issue is a real killer.

Wolverine #29 is brilliant. It cuts right to the core of who Wolverine is and reminds readers of that, something that some writers have forgotten over the years. The art is incredible and brings the whole thing to bloody life brilliantly. This story has been excellent so far, a crowning achievement for the book, and this issue keeps that up. Its easily one of the best issues of this run so far.

Wolverine #30 could easily be a blow-off issue, but Percy has more coming for readers. This is an excellent comic with exciting, well-paced plots and amazing art. Itll be great to see what comes next and what Beast has up his sleeve for Wolverine and company.

Wolverine #31 is an all-around well-done issue. Its the line in the sand, the big change for Wolverine and X-Force. Percy, Ryp, DArmata, and Petit have taken readers for a white-knuckle ride with this story, and this issue does a great job of selling everything.

Wolverine #32 continues this awesome storyline. Comics just arent written the way that Percy writes them anymore, and its a joy to see. Ryp and DArmata get better every issue, and Petits letters do an amazing job of selling the emotion of the art and script. Wolverine continues to be a cut above the rest.

Wolverine #33 continues this books run of excellence. Percy, Ryp, DArmata, and Petit are putting out the best X-Men story around right now, and more people need to notice that. Yang, Nguyen, and Ramos turn in an enjoyable back-up story as well. All in all, this is an excellent Wolverine comic.

Cheetah & Cheshire Rob the Justice League #1 is the perfect way to kick off a story. There's so much going on in this first issue that it grabs you immediately. There's no way to read this issue and not want to know what's going to happen next. Rucka and Scott make an amazing team, and if the rest of this book can match the first issue, this will be an awesome series indeed.

All in all, Dark Knights Rising: The Wild Hunt is a great book and a worthy part of the Metal saga. Knowledge of Metal and the DC Multiverse is necessary for it to work, but, for those who have it, its a choice buffet. The story works together so well even with so many disparate creators, which makes it an amazing book.

DC's Kal-El-Fornia Love #1 is yet another example of DC's anthology dominance. It's exactly the kind of story that should come out after a movie like Superman; much like the movie, it shows off how great Superman's supporting cast can be. It's lighthearted and fun, but also captures the power and heroism of Superman and his friends. If you have a friend who saw Superman and wants to read a cool comic without being inundated with lore they don't understand, this is the best comic to buy them.

Kennedy and Klein give readers the perfect beginning to a new kind of Hulk horror series, one where the monster is actually a monster. This is a major change to the Hulk status quo, and it's amazing. I'm sold on this book, and I'm pretty sure you will be too.

Juggernaut #1 is a great look at a character that really doesn't get enough spotlight. It's an entirely different look at him as well, one that most readers have never seen before. The series looks like it's going to be an in-depth look into Juggernaut's personality, and that can be a good thing if Nicieza can keep up the quality of the issue. Garney's artworks very well for this book as well- his Juggernaut is a huge imposing presence, and it will be great to see what he does in this book" especially if Juggernaut and the Hulk clash next issue.

Juggernaut #2 was advertised as a fight between Juggernaut and the Hulk, which would have been fun, but what readers got is something way better.

Juggernaut #3 is a great little issue. It touches on Juggernaut's old sins, adds some more mystery to D-Cel, and sets things up for the next two chapters with a surprise reveal. Why does this villain want D-Cel? That's a great question, and if Nicieza's work on this book so far is any indication, it will be great. Garney's art is spectacular. He was the perfect choice for this book, and he proves it every issue. Juggernaut is shaping up to be much better than anyone could have anticipated.

Juggernaut #4 sets things up for this series last issue. Nicieza has been doing a lot with Juggernaut through this book, showing his need to become more independent and become his own man. Garneys art delivers the good as well. Juggernaut has been a wonderful book so far, and this book continues that quality.

Juggernaut #5 closes out this amazing mini-series with a pitch-perfect ending. Nicieza finishes his redemption arc for Juggernaut and lays the groundwork for a new future for the character. Hopefully, this mini-series sold well enough for the story to be continued because Nicieza has done some stellar work with the character. Garney will hopefully continue to whatever comes next; his art in this issue is good but not his best. All in all, Juggernaut was a great mini-series that took a different look at a fan-favorite character and set him on a new path. Hopefully, fans will get to see more of his journey.

All in all, Newburn #1 is a great crime comic. Both teams present great stories, and it will be fun to see where each one goes. As far as first issues go, this one does everything right.

Newburn #2 is the epitome of a crime comic. Each team does a remarkable job with their story, showing two very different types of crime stories. This book is such a treat, and that's all there is to it.

"Priceless and "Out of the Ordinary are both good stories, but they don't reach the levels of the other two. However, it's not for lack of trying, as both of them dig into different portions of who Superman is. "Priceless shows off the care he has for the world and his family, and it's a lot of fun, showing why he is such a great hero. "Out of the Ordinary is one of those stories that also highlights the super and the man, and it's pretty great, but it doesn't have the emotional heft of "All the Time in the World. It may seem weird to have such similar stories, but they aren't actually all that similar, each telling its story in every different ways.

Way Of X #1 is an intriguing comic. Nightcrawler is one of the best X-Men, and getting a book that focuses on him is a great idea, one that should pay off in the future. Hes probably the best character to look at the spiritual and moral implications of Krakoas culture in regard to resurrection and such. Spurrier does a great job throughout this issue of really illustrating how the whole situation has affected Nightcrawler and sets up some interesting things for the future. Quinns art is solid but nothing spectacular. Way Of X looks to be a worthy addition to the X-Men lineup.

Way Of X #2 is an intriguing little comic. From the end of the book on bringing Legion to Nightcrawler just being a great person, this issue is building something worth reading. The little moment between Nightcrawler and Legion talking about their names is perfect, a highlight of Spurriers script. Quinns art has its upsides, but his style is nothing special. Way Of X has a great premise, and it will be fun to see where it goes.

Way of X #3 takes an interesting approach with the Hellfire Gala in that it barely even shows it. Spurrier knows he has to do something with it, but he uses it as set dressing for the story he's trying to tell in this book, which was the right thing to do. It all works out very well, and this book is a pretty good read. Quinn's art is solid but not great, and it works well enough. This is almost like the anti-crossover crossover issue, and it's fun for that reason.

Way Of X #4 is just another example of how great this comic really is and makes it sad that its only getting another issue and a one-shot to finish the story. Spurrier and Quinn are firing on all cylinders in this issue, perfectly working in concert. Shout out to Tartaglias colors as well- Quinns pencils are great, but Tartaglias palette really makes the whole thing sing. Way Of X is next level among the X-books.

Way Of X #5 is yet another X-book that feels like its ending before its time. Spurrier has done a bang-up job with Nightcrawler and Legion, threw love to lesser used characters like the Xorn twins and Doctor Nemesis, and built a great plot with Onslaught. While the book is getting its own ending, these characters and their stories are too interesting to lose right now. Itll be a shame to see this book go, but its been a great ride so far. Quinn and Tartaglia have really stepped on art, making the book look as good as it read. It will be interesting to see how everything pans out, but it would be better if the book was continuing.

Justice League #60 is chock full of Justice League goodness, from the main story to the backup. Bendis is doing a bang-up job with his new League, bringing a new team together and seemingly having a lot of fun with it. Marquez is the perfect artist for it- guy feels like he was born for this job. Add Bonvillains coloring to the whole, and its wonderful. V and Xermanico are building a great story in the backup, one that makes readers sorry they arent doing a full-length Justice League Dark book. Justice League #60 is a one-two punch of Justice League greatness.

Justice League #61 is yet another great issue of this book, both in the main story and backup. Both creative teams are expertly building their respective stories, doing a great job of keeping readers invested. Seeing where both stories go is going to be great.

Justice League #62 continues the high this book has been on since Bendis took it over. It's just completely entertaining, both the main and the backup, and that's just how a Justice League book should be. Both stories are a lot of fun, with cool twists and turns. Justice League is quickly becoming the premier team book in comics.

Justice League #63 is just chock full of Justice League goodness. Bendis has been a different writer since he hit DC, and the way hes structured this book is a huge example of that. He breaks his own tropes while also indulging them, and it works very well. Marquez is better with Bonvillain, but he and Plascencia still deliver a great-looking book. The backup remains worth the full price of the issue alone, with V and Xermanico knocking it out of the park. This new era of Justice League is shaping up to be amazing.

Justice League #64 is yet another example of why the Justice League is so good right now. Bendis does a great job with this issue, presenting a new threat and building in some hooks to keep readers coming back. Pughs art is pretty great throughout and really helps the script shine. The JLD backup, as usual, is the icing on the cake. V is proving to be a master of the magical side of the DC Universe, and bringing Batman in is an inspired idea, even if hell only be around for a little bit. Kumars art hits all the right spots. Justice League is the best team book on the market.

Justice League #65 is yet another example of why this book is the premiere team book on the market. It has it all: compelling plots, great action, and fantastic art. The creative teams are taking readers on a tremendous ride, and they never fail to impress. This is the book that every superhero fan needs to be reading.

Justice League #66 is yet another clinic in how to make an amazing team book. Both stories and creative teams are putting out some straight-up wonderful work, and theres pretty much no other team book on the market that gets close to it. Justice League is the cream of the team book crop, and this issue is yet another example of why that is.

Justice League #67 is yet another clinic in how superhero team books should be. The creative team of both stories do some fantastic work. These are action-packed tales that impress in entirely different ways. Justice League is stellar, and this is yet another example of why.

Justice League #68 is a good comic, especially the backup. The main story is uneven. It starts well, but the latter portions of it slow the whole thing down. The art is pretty great, so that helps. The backup is still amazing. Theres really no other way to describe it. It really buoys the whole book.

Justice League #69 is yet another entertaining issue of this book. While the main story has a few problems, it's still overall entertaining and different from other Justice League stories. The backup is worth the price of admission alone. This is such a good book, and that's all there is to it.

Justice League #70 is good, but the main story is uneven. Overall, this is an interesting plot, but Bendis goes too far with Royal Flush Gang being generic criminals. Still, it does feel like it's all going somewhere interesting. The backup is amazing, but that's pretty expected at this. This is an overall excellent team book with a few problems.

Justice League #71 is better than its going to get credit for. Bendis, Hester, and Gapstur do a great job with their story, V and Kumar masterfully take their bow, and Fajardo Jr. adroitly colors it all. Team books dont get much better than this.

Justice League #72 works as an opening chapter. Bendis is able to capture just how big the events are in this story with Xanadoth. It remains to be seen how it will play out, though. The art fits pretty well, with Kudranskis work standing out. All in all, a well-done comic.

Justice League #73 is a well-paced middle chapter of a story. Bendis shines in stories where he can't meander along, and that's on full display in this issue. Kudranski and Lupacchino do a great job on the art, with Kudranski killing it. All in all, an entertaining issue.

Justice League #74 ends this story and Bendiss run on the book. Its a beautiful issue with amazing art. Bendiss run on Justice League has been a lot better than it gets credit for, and this issue is a fantastic example of why.

Justice League #75 is a good prelude to Dark Crisis. It does exactly what it advertises and does it in an entertaining fashion. Williamson supplies an action-packed script, and the art team knocks it out of the park. Its not a perfect comic, but its entertaining, which is really all that matters in the end.

Justice League: Road To Dark Crisis #1 is a great aftermath issue and begins the set-up for Dark Crisis. There will be several more, and this one does a great job of setting some story beats up. The writing and art are all pretty great, and this one is a must-read for anyone planning on buying Dark Crisis.

East of West #36 is a masterclass in comic storytelling. There are few books on the market that can match it sheer scope and the audacity of its storytelling. Hickman and Dragotta are slowly unfurling an apocalyptic masterpiece that delivers the powerful moments and action such a thing needs while also finding way to connect emotionally with readers. Its complex and rewarding book that would be served better by a more regular publishing schedule or at a least recap page, but when it comes out, its one of the best books, bar none. Its a rare treat.

East of West #37 starts out very slowly and can be confusing for readers who havent been re-reading past issues to remember everything, but once it hits its stride, it presents a tight story of a man getting back on the road of revenge. In the hands of lesser creators, this installment would have started in a nosedive and never recovered, but Hickman and Dragotta pull it out of that dive with a combination of deft writing and detailed art.

    East Of West #38 gives readers a good pay off. It keeps things straightforward, which is a change of pace for this book, following a single plot line for the entire installment, with only a small digression to set up the future of the book, catching readers up with one of the books most entertaining characters. This chapter has some important developments, made all the better by Dragottas expressive character acting. Its one of the better single issue installments of East Of West and packs enough surprises to keep readers turning the pages in a different way than the book usually does it. Its simple and quiet and all the better for it.

East Of West #39 gets readers reacquainted with whats been happening, and pulls the rug out from under them in one fell swoop. Hickman expertly subverts what readers thought they knew, and presents an alternate take on what has seemed inevitable. The art team delivers their usual amazing imagery, with this issues colors being especially good. This is one of the better story-arc openers in the books history, because it works so hard to get readers caught up while also offering up tantalizing developments. Its not exactly a perfect jumping on point for new readers, but its the closest a book as densely plotted as this can get.

Hickman and company have put out another quality issue in East Of West #40. The feeling of it being a bait-and-switch is a little disappointing, but, otherwise, everything in this book whets anticipation. The art, especially the coloring, is fantastic. Where it will all go is a mystery, but one things for sure--its a great ride.

East Of West #41 is a strange bird. On the one hand, it's another brick in the wall of plot that Hickman is building and it succeeds admirably. On the other hand, the books steep learning curve harms things a bit. The thing about it is that even if the reader gets confused or can't remember what a character's name is, by the time they reach the end of the book, they'll feel extremely satisfied with what they've just read. Take the Vizier; even if one doesn't remember much about her character, her actions make perfect sense. The book's complicated nature and erratic shipping schedule don't hurt it enough to make this a bad book, just one with some flaws.

East Of West #42 takes an event that readers thought they knew and puts an extra little shine on it. That shine not only changes the way the event itself is perceived but also takes what readers knew about the dynamic between Death and War and changes it into something else entirely adding an extra dimension to it.

East Of West #43 begins the last story arc of the book explosively. Hickman gives readers an apocalyptic battle but makes sure to save the outcome for an upcoming issue to keep readers on the hook. Dragotta and Martins art is a fantastic compliment to the script, giving readers a breathtaking battle while also making smaller moments work. A recap page would be appreciated, but other than that, this is another excellent issue and a fitting way to begin the last story arc.

East Of West #44 delivers with high octane action and perfect set-up. Hickman fits a lot of set-up into this issue without it feeling stuffed to the gills or screwing up the pacing. As the issue ends, every character is in their position to play their part in the books ending. None of it feels contrived or undercooked. Dragottas art does a wonderful job of making the whole thing come to life, from the violent battle to his top-notch character acting. With one issue remaining, Hickman and company turn in a chapter that whets the anticipation for what is coming next.

East Of West #45 sticks the landing. At first read, it feels like something is missing from the book, but the more one thinks about the various endings, the more perfect they feel.

Clear #1 is peak cyberpunk noir. Snyder isn't reinventing the wheel, but this story is more than the sum of its parts because of Manapul's art. It feels like Snyder wrote it specifically for Manapul, and he makes it very special.

Clear #2 builds on the world and the mystery. Everything is more interesting, but the characters are kind of elementary so far. The ending of the issue is excellent, and the art is terrific. All in all, another fantastic read.

Clear #3 is cyberpunk done right. Snyder and Manapul aren't reinventing the wheel with this one, but they are still killing. They do a fantastic job of bringing the world to life, the most essential part of cyberpunk. The cliffhanger ending is perfect for this one and will keep readers coming back.

Clear #4 seems to bring the whole mystery into focus, but Snyder is such a good writer that theres always a chance this is a red herring. His personal style shines throughout the book. Manapul is hitting the next level with his art in this book; it looks incredible. All in all, another oustanding issue.

Storm & the Brotherhood of Mutants #1 is an excellent kick-off. The issue drops a lot on readers, but it never feels that way. Its a killer story throughout, full of action, engaging plots, and terrific art. If this is what Sins of Sinister is going to be like, its a classic in the making.

Storm & the Brotherhood of Mutants #2 is a fun comic, and the team does a fantastic job, but theres a fundamental problem with this story that it cant fix. None of this is going to matter, but at least its a fun read.

Storm & the Brotherhood of Mutants #3 takes the baton that Immoral X-Men #3 passed it and runs with it. Its built on a pretty standard X-Men trope, but Ewing does great new things with it, which is basically the most Ewing thing ever. Vitti and Beredos art is excellent, bringing the story to life in a way that really makes it sing. Year 1000 has so far blown the rest of SoS out of the water, and this issue shows why.

X-Men/Fantastic Four #1 is, for lack of a better word, fantastic. Chip Zdarksy has a keen understanding of the FF and their dynamic, and it plays out very well in this book. He also captures the feeling of the new status quo of the X-Men- they're young money in a world of entrenched power, and they're throwing their weight around a bit. The artworks in some places but not in others, but it doesn't hurt the story. The cliffhanger ending is great, and it brings back a character Zdarsky wrote very well on his Marvel Two In One run. This issue is a great beginning.

X-Men/Fantastic Four #2 raises the stakes from last issue. Zdarksy does a great job with each team, presenting them both as equally proficient without playing favorites. He sets up a good hook with the last page of the issue. What exactly is Doom up to? Readers will definitely come back to find out. Terry Dodson's art is an improvement over the last issue. All in all, this is a solid, fun comic.

X-Men/Fantastic Four #3 is a great comic. Chip Zdarsky was the perfect choice for this mini-series. He writes the best Doom anyone's seen" well since the last time he wrote the character in Marvel Two-In-One. More of Doom's plan unfolds in this issue, but the ultimate goal of his plan remains to be seen. The art by Terry Dodson isn't great, but Zdarsky does such a good job with everything else that it doesn't really matter.

X-Men/Fantastic Four #4 is a great comic with less than great art. Zdarsky crams so much story into this issue without it seeming crowded, and his ending perfectly captures who Xavier is nowadays. It would be nice if the art was as good as Zdarksy's script, but it's just not, and there's nothing that can really be done about that. However, even less than agreeable art cant take much away from this book. It's that good.

BRZRKR #1 is breathtaking. It feels like the beginning of a Keanu Reeves movie, which is fitting since he helped write it. He and Kindts working relationship seems to be very good. There are so many secrets in this comic, and the visual storytelling is strong, thanks to veteran artist Garney. Reevess first foray into the comic industry is a definite winner, and he has great talent backing him up. BRZRKR #1 is an intriguing, action-packed book that will leave readers begging for more.

BRZRKR #2 is an all-around great comic. Reeves and Kindt arent reinventing the wheel here, but its still an intriguing book with all kinds of directions it can go in. Itll be interesting to see where they take the book, but one thing is for sure- it will look good getting there; Garney is one of the best action pencillers in the industry. BRZRKR #2 is a cool ride that will leave fans wanting more.

BRZRKR #3 does a lot with only a little bit. Kindt, Reeves, and Garney deliver a ton of brutal action yet also fill the book with pathos to get readers into Bs head when he was young and questioning his existence. In fact, this issue makes his life even sadder in retrospect, as hes been doing the same thing for millennia. BRZRKR #3 is a great comic, both overt and subtle, and one fantastic read.

BRZRKR #4 puts the capstone on Bs origin and builds things for the future. This story isnt exactly a new story- Kindt and Reeves are sort of telegraphing exactly where the book is going, with the government trying to create more of him, the object that will make B normal, and how his powers came about- but its well told. Garneys art is the icing on the cake; it works with the script very well. This book may not be re-inventing the wheel, but its still great.

BRZRKR #5 does a lot with a little. Imagining Unute as unlucky in love makes as much sense as anything, but Reeves and Kindt capture it in a quietly devastating way. Garneys expert pencils bring every bit of pain to life. BRZRKR #5 eschews the gore and violence of previous issues to quietly devastate the reader.

BRZRKR #6 takes a story readers have gotten before and tells it in such a way that it still works. Reeves and Kindt work well together, and Garneys art brings everything they put in the script onto the page. This book remains a joy to read.

BRZRKR #7 brings some interesting ideas about Unutes life while introducing some great new plot developments. Reeves and Kindt take an issue that could have been all exposition and spice it up wonderfully, and Garney and Crabtree do a remarkable job with the visuals. With this issues reveals in mind, it will be interesting to see where this book goes.

BRZRKR #8 is a tour de force. Reeves, Kindt, Garney, and Crabtree deliver a sumptuous feast of visual storytelling, one that changes the direction of the book entirely and takes it on a new intriguing path. BRZRKR #8 is the turning point, and what a turn it is.

BRZRKR #9 is a feast for the eyes that raises a lot of intriguing questions. Its quite entertaining, with Garney and Crabtree carrying the issue on their shoulders like champs. Kindt and Reeves do a good jump, but they may want to start dropping some explanations soon, or things at the end are going to feel a bit bloated and rushed.

BRZRKR #10 could use a bit more exposition, but its still a nice read. It sometimes feels like Kindt and Reeves are writing this like a movie a little too much, but it does work in a lot of ways. Garney and Crabtree continue to kill it on the art, which does a lot of heavy lifting. The book is still interesting, and this issue is quite entertaining despite some deficiencies.

Eat The Rich #1 is a great first issue. This is horror done right. Gailey masterfully sets the tone of the book right off the bat, and it works great. Bak and Titovs art fits the script wonderfully. As far as first issues go, this one works very well.

Eat The Rich #2 changes the game. Gailey throws a great twist into the story that makes the whole thing that much better, taking a story that could have been cliche but still good and making it into something different. Bak and Titov bring the whole thing to life, really playing up the emotion and the atmosphere of Gaileys script. Eat The Rich is shaping up into something different than expected, and thats great.

Eat The Rich #3 adds even more to the story and does so in a wonderfully chilling manner. This is the third iteration of that word in this review, but it's really the perfect way to describe what Gailey, Bak, and Titov have created with this issue. This issue took a great story and made it something next level.

Eat The Rich #4 doesnt do anything special until the end. This is the books penultimate issue and ending it this way really makes the whole thing that much better. Where Gailey and company go is anyones guess, but it should be fun.

Eat The Rich #5 nails the ending unless the reader is a cynic. Gailey has done a fabulous job with the horror throughout this book, and the ending has a nice hopeful tinge to it. It's up to the reader whether the conclusion works for them, but that doesn't mean it's not good. It's very well done. The art is phenomenal, so it looks amazing no matter how the reader feels about the ending. Eat The Rich has been a great book, and this ending works.

Little Monsters #1 is an intriguing first issue. Lemire once again shows that he can write for artists like few others in the industry and Nguyen's art does all of the lifting it needs to. This issue gives readers just enough to make them hungry for more, like the vampire children within.

Little Monsters #2 plays on some well-worn vampire story tropes but does so in an entertaining manner. Lemire and Nguyen are a fantastic team, their skills blending together to create an excellent little chapter that gives glimpses of the future.

Little Monsters #3 is peak vampire horror. Its also a complete collaboration; Lemire and Nguyen are a great team, and this book sees them working together completely. Its one of those comics where it would be interesting to see the script and then look at the finished product again. Little Monsters is vampire horror at its finest from a team that is nothing short of brilliant.

Little Monsters #5 strikes the right balance of atmosphere and plot. Lemire, Nguyen, and Wands are dropping a unique vampire story on fans with this one, giving fans more glimpses into the blasted world of the book.

Little Monsters #6 is the turning point of this book. Lemire and Nguyen work together brilliantly in this issue. Whatever comes next is going to be great.

Little Monsters #7 is easily the best issue so far. Lemire creates a wonderful little dichotomy with the flashbacks and reveals some major league lore. Nguyens art is amazing and makes this book that much better. Its been a bit, but Little Monsters return is welcome.

Little Monsters #8 does a great job with pace. There isnt much to Lemires script, but he fills the whole issue and keeps readers on the edge of their seats. Nguyens tri-color art is the books strong suit; his working relationship with Lemire gives readers amazing visuals. Little Monsters continues to be an excellent little horror book.

Fallen Angels #1 is a great first issue. It focuses on a little-used X-Men character and puts some flesh on her bones. Hill sets up an interesting conflict, one that ties into Hickmans conceit about humanity using machines to equalize themselves with mutants, and has picked out characters who all have the same warrior spirit, ones who would bristle at the peace of Krakoa. Szymon Kudranskis art is impressive, and it will be great to see what he can do in more action-heavy issues. While not perfect, this is an excellent beginning for a new book.

Fallen Angels #2 works so well because it gives readers more of a glimpse into who Kwannon is. Hes taken what a groan-inducing change from the Hunt For Wolverine fiasco was and made it work out so very well because hes willing to put the work in on her. He also gives readers quick little glimpses into who Cable and X-23 are and their roles on this team. Kudranskis art makes the whole thing sing. His action scenes are dynamic and well laid out, and he does a great job with character work. Theres so much to like about this book. Its not the greatest thing ever, but its well crafted and an intriguing read.

Fallen Angels #3 is an action-packed little number that brings the team one step closer to their quarry. Bryan Hill does a great job with Kwannon, per usual. Her motivations make perfect sense. The pep talk in the middle of the fight is a little much, besides that, he does a great job here. Szymon Kudranski and Frank DArmata work together nicely. The action scenes are dynamic, and the dark coloring throughout the book sets the stage for the groups descent into Apoths darkness. This isnt the best Dawn Of X book, but its a good character study for Kwannon and an intriguing story nonetheless.

Fallen Angels #4 gives a lot of answers and sets things to come up nicely. Hill is doing a great job of fleshing out Kwannon, and his presentation of a rogue AI that thinks it's God fits with the overall themes of Hickman's Dawn Of X, while also subverting them just enough. Kudranski and D'Armata work together to give the whole thing an eerie atmosphere that makes things work so much better. There's a lot to love in this book.

Fallen Angels is a book a lot of people are sleeping on, and that's a tragedy. This issue is a wonderful example of why it's so great.

Fallen Angels #6 is a fitting end to a great series. This one has definitely flown under the radar, but it has been a treat the whole time.

Nocterra #1 presents an interesting world to readers, even if the setup for the journey for it is kind of cliche. Snyder uses narration expertly, as he's wont to do, laying out the rules of this new dark Earth (get it- Nocterra?). Daniels and Morey work well together, even if the creature design leaves a little something to be desired. Nocterra has a great premise, and the characters have a lot of potential, and that's all a new book needs.

Nocterra #2 is a treat. Snyder continues building this dark new world while also fleshing out the book's main duo. The crux of the whole thing is Augustus's story- which one is true, and how much of Val's opinion of him is true? Was he able to read her and just told her what he thought she wanted to hear? It will be interesting to see how all of this plays out. Daniel's art is doing an amazing job of bringing the whole thing to life. Nocterra is shaping up to be something special, and this issue shows why.

Nocterra #3 pulls off a tension-filled chase scene in a comic, which is a testament to both Snyder's skill as a writer and Daniel's as a penciler. From there, Snyder throws in a little more world-building, just enough to make this world even more intriguing than it already is. Moreu's colors deserve special attention in this issue, as they make the whole thing pop. Nocterra #3 is a wonderful little comic.

Nocterra #4 is another great installment in this series. Snyder, Daniel, and Morey are doing an amazing job of building a wonderful world, one full of hope and terror. This issue builds the plot even more, and it will be great to see where things go next.

Nocterra #5 is what happens when beautiful art, expert world-building, and wonderfully emotional storytelling come together to create something exceptional. Snyder, Daniel, and Morey reach another level with this issue. It does a fantastic job of setting up more about the world, adding new things to the mix, has several great cliffhanger moments, and an ending that will leave readers begging for more. Everything about this issue is a triumph.

Nocterra #6 ends the first arc pretty well. Overall, this is a fascinating book, and while Snyder nailed the finish, it feels like he got a little fancy in a few places. The ending still works; its just a tad overwrought. Daniels art works pretty well throughout, but its also not as good as previous issues. Theres nothing wrong with the comic- its still terrific, and as an ending, it works. Itll be interesting to see where Snyder and Daniel go with this book, but its a ride everyone should take.

Nocterra #7 does some great world-building and sets this new story arc on its road. Its a little too fast-paced at times and the art isnt perfect throughout, but its still a good book.

Nocterra #8 may not have any big action scenes, but the book makes up for that with the sheer amount of plot on display. The fact that its so fast-paced works in its favor and the way plot threads build off others is excellent. Snyder, Daniel, and company continue to impress with every issue of this book.

Nocterra #9 keeps up this book's run of entertaining issues. It has a little something for everyone and shows off what this book does so well on every page.

Nocterra #10 is another exciting chapter. Snyder, Daniel, and Maiolo do a great job with this issue, setting things towards the inevitable end of this part of the story. Nocterra is nothing short of entertaining, and this issue is another example of that.

Nocterra #11 proves good writing can make all the difference. The surprises in this issue are telegraphed from a mile away, but they work so well because Synder is that good of a writer. Daniel and Maiolo once again prove why theyre such an amazing art team, capturing the action and the pathos expertly.