David Harth Comic Reviews

The Secret X-Men feels like a waste of time. Howard writes some entertaining interplay between the characters, but the plot is barely even worthy of being called that. Even if it plays into something in the future, there's really not much reason to actually buy the comic. Francesco-Mobili and Aburtov are a great art team, but it's not enough to make this book worthwhile.

The plot is classic Marvel cheese, which is part of the problem. Morgan le Fay has decided that the best way to destroy the Avengers is to go back in time and make the US lose the Revolutionary War. It's not the strongest idea in comics, and it feels slapdash in the worst possible way. It honestly kind of feels that editorial wanted a rah-rah America story (possibly trying to cash in one the wave of jingoism sweeping the country) and worried about the plot later. The book is kind of spineless why not send one of Marvel's black heroes back to those days so we can talk about the hypocrisy of the Founding Fathers although it does have a part that talks about whether it would be so bad if the British won the Revolutionary War. However, if you don't like old school Marvel-type stories, this isn't a book you're going to enjoy.

Hunt For Wolverine is a commercial that fails to sell the product its for.

Marvel has been pushing Knull pretty hard lately, and honestly, I was kind of surprised when they announced a new series following the villain on his journey to regain his power. Knull has always been a tough sell for me, mostly because the character is a perfect example of "what you see is what you get. Knull #1 is everything you could expect from a comic like this. We have the powerful villain in a cage getting sassed by everyone, that sass allowing him to escape, and then a bloody battle through Hela's fortress that ends with Knull "getting away, which was the dark goddess's plan all along.

X-Corp #1 is, at best, an underwhelming first issue. Howard doesn't really make an argument for why this book needs to exist, which is very important in a first issue. She mischaracterizes the book's star to make her fit the book, which is a shame because this book would be a lot more interesting with the old perfect Monet at its head. The plot itself is alright, but it's nothing special. Foche's art is clean, but it's also bland, and it doesn't really do anything to elevate a pretty mediocre comic. X-Corp's premise is so broad that it's worth sticking with to see how it will develop, but it's a bit of a chore to read.

X-Corp #2 is a slight improvement over the first issue, but only a slight one. Its a bit boring but not terrible, and the Fenris plot puts some juice into the whole thing, even if it probably only should have been established here and expanded upon elsewhere. As an aside, David Aja, whos doing covers, is totally aping the covers from Grant Morrison and Chris Westons The Filth. Like everything else about this book, its obvious, cliche, and a little boring. This book is improving, but theres still a long way to go.

X-Corp #3 is an exercise in mediocrity, except for the back-up. The characterization is poor, the overall premise of X-Corp becoming a telecom company is not thought out enough, and it's just kind of boring. There's a bit of corporate intrigue and a cliffhanger ending, but they don't save this comic at all.

X-Corp #4 has a glimmer at the beginning of being a good comic and then spends the rest of the issue torpedoing the book's premise. The ending makes no sense, and while it's a good cliffhanger, why should anyone care if the whole thing doesn't make sense? The art is okay but nothing special. X-Corp is a different kind of X-Men book. That doesn't mean it's any good.

X-Corp #5 gets all-action, but it has the same problems as every other issue of this book so far. Howard does a good job with the Fenris Twins and the structure and pacing of the chapter, but other than that, everything else in this issue falls flat. Foches art is okay, although some panels arent exactly great. X-Corp #5 is a change of pace, but its still stuck in the same race.

X-Men #1 is a strange animal. Its hard to say if a superhero X-Men book is the right way to go after two years of anything but, however, Duggan, Larraz, and Gracia deliver an entertaining story that hits all the right points. Theres some set up for the future, and it will be interesting to see where this book goes.

X-Men #2 is entertaining if what you want from an X-Men comic is different from what Hickman has been doing. Its a standard superhero book now, which is fine. Duggan does an excellent job with that sort of thing, and the book is never dull- every page gets used well. Larraz and Gracia are phenomenal once again, probably one of Marvels best art teams working right now. X-Men is a superhero book again, for better or for worse.

X-Men #3 shows that a superhero X-Men book can work in the Krakoa era if done right. Duggan impresses with this one. It's mostly just a big dumb action issue, but it all works, and it's a lot of funny. The ending is the icing on the cake, ready to throw a spanner into the Krakoan works on multiple levels. Larraz and Gracia deliver on the visuals and elevate the script immensely. This is the best issue of the book so far, hands down.

X-Men #4 is one of the worst X-Men books of the Krakoa era, if not the worst. The only thing that saves it is the art by Pina and Arciniega. Duggan makes so many mistakes its almost like hes never actually read X-Men comics before. If this is what the supposed flagship of the franchise is, its in trouble.

X-Men #5 is a terrible comic. There's really no other way to put it. Duggan messes up from the first page and then never really recovers. In fact, he continually makes the book worse and worse until the end. This is kind of okay until it gets to the part with the big bad with a parabolic microphone watching Cyclops and Urich through a window. Pina and Carlos get nothing great to draw, and their art is fine, except for the Reavers, who look sooo very bad. This issue isn't comically bad, where can you laugh at it. It's just really, really bad.

X-Men #7 is a comic with fantastic art. The writing doesn't match the art at all, but Duggans writing is merely bad in this issue, not as abysmal as it has been. At least he choreographed a nice action scene. Larraz and Gracia are the MVPs because of course they are. The art elevates the so-so writing.

X-Men #8 sees an underused X-Man finally gets some use, but it's hard to say whether it's good use or not. It feels like Duggan has kind of invented this version of Synch from whole cloth, and it's not great. The plot is just sort of there and feels like an excuse to use MODOK. Pina's art looks great, even though Duggan doesn't give him a lot of action to draw. It's yet another disappointing issue in a book that's been full of them.

X-Men #9 is another example of the multitude of problems this book has. Duggan just isnt the right fit for this comic at all; he can come up with some good ideas, but his execution of them is frequently bad. As always, the art saves this book from being downright abysmal, with Villa especially shining in the action scenes. Its hard to be disappointed in this comic anymore; its so mediocre that reading just sort of renders one numb.

X-Men #10 is pretty good when Duggan isn't doing too much, so the Wolverine scenes work very well. It's nice that he finally remembered to do something with her after ten issues of her barely doing anything worthwhile, but that's a deficiency of how he plots the book in general. Pina's art is weak in a few places but is overall very good, pairing wonderfully with Gracia's colors. Any issue of X-Men that's above mediocre is rare, so this one is a pleasant surprise.

X-Men #11 is yet another example of a beautifully drawn book that fails completely when it comes to the script. Duggan seems to do his best writing in the art direction because anything he does on his own that the artists don't have a say in is terrible. At least in this issue, he remembered the Phoenix never actually had control of Jean Grey. Honestly, this is the type of comic where the reader should just look at the pictures. They'll still understand what's happening and save themselves from reading some weak writing. That's why there will be two grades for this issue- one for art and one for writing because the art doesn't deserve to be bogged down by this kind of terrible writing.

X-Men #12 closes out Duggans first year on the book, and it keeps up the bad work this book has become known for. Duggan and Tini Howard seem to be in a death spiral to see who can write the worst X-Men book, and the only reason Howard is winning is because Duggan has Larraz and Gracia making the book look good. Other than that, this is mostly drivel.

X-Men #13 opens up with a massive mistake thats impossible to forgive. Therere several other problems throughout the book as well, but this book is almost too simple for Duggans shoddy writing to screw up. That makes it the best chapter of this book in ages, which is damning it with faint praise. Villa and Milla do a good job on the art. This issue isnt great, but it isnt as terrible as usual.

X-Men #14 isnt terrible, which is pretty good for this book. Its not really a tie-in, feeling like something that Duggan planned anyway. X-Force #31 did the same thing, but it felt better in that book, mainly because Percy is just better than Duggan. The book is a mixed bag, but the good parts shine enough that it overshadows Duggans usual dross. Villa and Milla do a good job, for the most part. All in all, its a mostly entertaining issue that has just enough good stuff to overcome Duggans usual shoddiness as an X-Men writer.

X-Men #15 is yet another Duggan-written book. There's a good plot, but his execution of it is as poor as always. Marvel needs to stop putting A-list artists on this book and see if Duggan's writing can survive without amazing artistry. Cassara and GURU-eFX are brilliant, and Duggan does give them some cool stuff to draw, at least, but it's still a mediocre comic, and they deserve better.

X-Men #16 is a terrible comic. Duggans script plays to his strengths, but those are so very weak. There were so many interesting ways this issue could have gone, but instead, he took it down the stupidest road possible. Somehow, the work of the typically fantastic art team of Cassara and GURU-eFX is mediocre. Its almost like the terribleness of the script infected everything else in the book.

X-Men #17 is like digging through sewage to get a lunch box. Theres lunch, but everything stinks. Duggan is his usual terrible throughout the issue. Cassara and GURU-eFX arent up to their usual stellar, which is just plain weird. This book continues to be abysmal, but thats not even surprising anymore.

X-Men #18 is another issue that would be a total fail without the art. However, thats basically X-Men since Duggan took over, so theres no surprise there. The dialogue is mostly terrible, the plots are mediocre, and the humor is bad. Luckily, Villa and Milla do a really fantastic job with the art. Reading this book is a groan-inducing chore, but looking at the art is pretty great.

X-Men #19 is surprising because it isnt completely terrible. Duggan somehow stays out of his own way and doesnt completely botch this issue. Nothing is spectacular, and the subplot makes some dumb mistakes, but the art makes up for a lot of the normal Duggan problems that are baked into the script.

X-Men #20 is not a well-written comic in any sense, but the art is amazing. Thats pretty much par for the course for this book.

Duggan hits new lows in X-Men #21. Nothing about his writing works in this comic. The art is great, but it cant save such a terrible story.

X-Men #22 is terrible. Duggan is taking Orchis and making them lame. Thats the whole thing about this book. Orchiss schemes arent scary; theyre petty. Under Hickman, Orchis was powerful and unstoppable. Now, theyre cliche. The art is fantastic, but the script is so bad its not funny.

X-Men: The Hellfire Gala #1 is a slog of a comic.

The '80s were the X-Men's best decade, and this story takes place during that period, when Elizabeth Braddock and the X-Men walked through the Siege Perilous, leading to her being body-swapped with Kwannon. Seeley does a good job of capturing the characters of the era, but if I'm being honest, this feels like a weird time to set this story. Fans love Kwannon Psylocke, and she eventually takes the helm in the story, but this is a very early version, one who doesn't remember her life or Betsy's. Her fans begged for her to get another series after the last ended, so it feels weird to give her a book starring a version of the character that isn't completely the one that readers want.

So far, this book feels like a collection of cool ideas done poorly and nothing about this issue changes that impression. Soule just isnt the right fit for an X-Men book. His ideas have potential, but his character work mostly falls flat and his threats never feel very threatening, even when all the characters are talking about how dangerous the villains are. The issues art saves the book a little, but in the end, this issue is all filler and it shows. Little to nothing of it sticks with the reader. It moves the plots forward in an efficient way, but its all empty calories.

The only thing astonishing about Astonishing X-Men is how awful it is. It feels like Soule theoretically knows how an X-Men story is supposed to work, but he just cant execute one correctly. This books cast is some of the most interesting X-Men characters, ones who could make the stories pop that much more, but the only thing Soule gives them to do is comment on the tepid plot. The art in this issue would work better in a horror comic than a superhero one but, even in a horror comic, the coloring wouldnt do it any favors. It boggles the mind how anyone at Marvel could look at this comic and think that its a good idea to continue making it. Astonishing X-Men is a waste of everyones time.

If this book was being judged solely on the art, it would be getting an A, but Soule's scripting is so bad, it drives it down a few notches.

Astonishing X-Men #11 is a much stronger installment than any of the others before it, but it suffers from a lot of the same problems that have been plaguing the book. Weak characterization, hit or miss art, and a predictable twist damage a lot of things that should have worked. Its still a head above nearly every other issue of this series, though, so it has that going for it.

Astonishing X-Men #12 takes all of the problems the book has been having and bundles them up. Misuse of characters, uninspired visuals, repetitive storytelling, and art that fluctuates wildly in quality are the hallmarks of this series and they're all on display in Astonishing X-Men #12.

    After Charles Soules terrible run on the book, this issue is a welcome change. Greg Lands art hurts it a little, but Rosenbergs script is too good to be held down by it. Its not exactly a return to the form of Whedon and Ellis days, but its a strong start and a massive improvement over what Soule was doing. Rosenberg tells his story while also giving readers glimpses into Havok and Beast that they may not have had before. It all serves the plot, but it also feels organic and earned, something that Soule was never able to manage during his run. If Rosenberg can keep this up, theres no reason why Astonishing X-Men cant become the crown jewel of the X books.

Rosenberg and company arent reinventing the wheel with this X-Men story, but it does all the little things right. The characters are entertaining and endearing, theres good action, and the plot, while at this point not seeming like anything special, has the potential to take some interesting turns, especially with the way this issue ended. The art isnt consistent, which is a shame, but this book is light years better than it was under Charles Soule and deserves a look.

Astonishing X-Men #15 is another successful entry in Matt Rosenbergs continued rehabilitation of the the book, after Charles Soules disastrous run. The book would benefit from a better art team, but Rosenberg is able to make it all work by telling an intriguing story and using the great characters he has in interesting ways.

Astonishing X-Men #16 combines great characterization with some fun action, and thoroughly entertains. It has a few problems, but not enough to sink the book. Rosenbergs handling of Havok is a highlight, and theres enough little twists and surprises in this one to keep readers invested. The art could be better and the villains could be more filled out, but that doesnt detract very much from how enjoyable this issue is.

Since Wolverine died, readers have gotten great Wolverine stories from the likes of Jeff Lemire, Ed Brisson, and Tom Taylor. In an environment with stellar stories such as these, nothing in this book makes a case for why it needs to exist.

Return Of Wolverine #2 is a better comic than the first issue because it focuses on a well-drawn, well-written fight, instead of the cliche early-90s Wolverine story that Soule is laying out in the book so far. The end of the issue sets up a reunion that many fans have waited years to see, but thats really the only thing to look forward to with this story if youre a long time fan of Wolverine. This one still has a few of the same problems as the last issue, but it also does a few more things well.

The Return Of Wolverine #3 is a good single-issue comic, but does very little to progress the plot of the book, which, while not a great plot, definitely needs some polish. This is the third issue, and things arent even remotely clear. The villains are so generic, it hurts. If Soule wanted to do a greatest hits Wolverine book, he didnt need to include anything about Soteira in it at all and would have had a much better comic. Shalveys continued wrongness for the art doesnt help matters much either. If it was just to be judged on the strength of Wolverine/X-Men confrontation, this would be a better book, but this is the middle of a five issue mini series with a plot and stakes that are still unclear. It feels a little too indulgent and thats a problem.

Return of Wolverine #4 is yet another lackluster issue of a series that should have been a much bigger deal and better executed. The villain and her organization is still pretty one dimensional and the reasoning behind Persephones motivations is interesting, but doesnt really explain anything about why shes really doing anything. Declan Shalveys art is a bad fit for the book in most panels. This series has been a minor disaster with pretty much every issue. Logan deserves better than this muddled, lackluster effort.

Return Of Wolverine #5 brings this mini series to a close and it ends the way it began- disappointing.

X Of Swords: Creation is a tough comic to recommend. It's not a bad comic- it's well made, the story works, the art is good. However, it's still kind of a hard sell because this is the beginning of a 22-part storyline, and it doesn't feel like there are 22 issues of story here. The set-up is good, but as with any huge event story, one has to judge the first issue on something besides how good the first part is and on what the story that comes after is going to be like. This event story is especially huge, with few other stories in recent memory being this big. As good as this issue is, what comes next is still a hard sell.

X Of Swords: Destruction is a good ending to a remarkably uneven event. The creative team pulls out all the stops in this one, presenting an ending that opens up some possibilities that are intriguing. That said, the events ultimate place in history depends more on how those events play out than anything else. The ending of X Of Swords saves the story from many of its more unfortunate excesses in the first half. Its not perfect, but its a lot of fun.

Straight up, X Of Swords: Stasis #1 is a cash grab in every sense of the word, a way for Marvel to bilk five more dollars out of readers. Nothing happens in it all and while from a technical standpoint, its a well written, nice looking comic, it is completely superfluous. It does nothing to make an argument that its existence is needed. In that way, its completely emblematic of X Of Swords. Apparently, some readers and critics are somehow enjoying this story but how they are doing so is mystifying. Dawn Of X has been excellent up to this point, so maybe theyre looking at this story through rose-colored glasses, but otherwise, this whole thing is a bloated mess and hopefully, it will get better when the actual action starts.

It's hard to identify who Avengers Forever #1 is for. It's not for fans of the original and there isn't a large contingent of Aaron Avengers fans out there. It's not bad, just thoroughly average, which is a huge problem for a new book. Maybe it'll get better, but the first issue doesn't make a huge argument for its existence.

Videos by ComicBook.comDoctor Strange went to Asgard last year, after Doom took the mantle of Sorcerer Supreme in Blood Hunt. That particular chapter in his life saw him becoming the Sorcerer Supreme of Asgard, in an effort to get back to the Earth. He's still stuck there in this latest issue, but Doom is no longer Sorcerer Supreme, and this book needs a new identity. The identity it seems to be going for is the Asgard book; Thor is no longer the main character of that world, and it seems like writer Derek Landy wants to make Strange that character. It works to a point.

Giant-Size House of M #1 never reaches the height that the story reached in Giant-Size Dark Phoenix Saga and Giant-Size Age of Apocalypse, but it's not a bad comic. It's nice that Collin Kelly and Jackson Lanzing remembered that Ms. Marvel has experienced racism before she learned that she was a mutant, which is something that a lot of Ms. Marvel writers have seemed to forget over the years. However, much like House of M before it, this is a very anemic story, and the lack of plot hurts it in the long run.

The best Godzilla stories use the monster to talk about humanity. Shin Godzilla and Godzilla Minus One are both extremely deep Godzilla movies, while the American Godzilla movies of the '10s and the '20s have been more about crowd-pleasing entertainment. Godzilla Vs. Hulk #1 definitely plays into the latter. Duggan was never going to tell a Shin or Minus One-type story it's just not his way of writing superhero comics but he does sell an entertaining kaiju romp to readers, one that hearkens back to the older days of Marvel and Godzilla. Camuncoli, Orlandini, and Blee's art is the best part of the book, keeping that old school feel while lovingly rendering the kaiju. There's some interesting bits of world-building throughout the issue, but not so interesting they overshadow the main event. All told, this is an average comic, but that's fine. Not everything needs to be groundbreaking and deep, and fans of Godzilla will definitely enjoy this book.

Imperial #2 does its best to give readers some action, but there's just so much going on and the art doesn't really fit the issue's events. Hickman redefined what space battles could be in Infinity over a decade ago, but this issue shows sometimes that not every artist can make them work. This isn't a bad issue by any stretch of the imagination, but it never really finds its flow. The pacing is too fast, and that can keep the issue's events from really hitting readers like they should. Imperial was always going to be a tough sell, and the second issue puts into question whether this book can be everything it was promised to be.

Videos by ComicBook.comWriter Steve Orlando lays out a rather standard story. Galactus has become Abyssus after being taken over by Knull, with Dracula acting as his herald. They destroy a server planet, causing chaos that sets the stage for the 2099 characters to show up, and Silver Surfer goes to Mephisto for help. The story then becomes a challenge between Abyssus and Mephisto, with each of them grabbing champions; Mephisto from the 2099 timeline and Abyssus from across the Marvel Multiverse. There's a surprise character joining the battle at the end as a spoiler.

Silencer #2 isnt a perfect book by any means, but its fun and keeps things moving. The art is its biggest strength, but the plot has potential and Silencer is an intriguing character. Its not the best ride at the theme park, but its still worth your time.

To begin with, the book is written by Chip Zdarsky, a writer who is honestly a master of the Fantastic Four, and that makes a lot of difference in how the book reads. I remember back when the Marvel Two-In-One reboot came out under Zdarsky, and he proved how well he understood the team; I was hoping he'd get to write the reboot of the team that we eventually got. The Fantastic Four is one of Marvel's greatest groups, and Zdarsky is a creator who certainly understands the characters and how they all fit together. The dialogue in this book is great, all because of that understanding. This is a cool little Fantastic Four story, and that does a lot of heavy lifting.

This has been a big problem with a lot of "The Age of Revelation" so far. Unbreakable X-Men doesn't take advantage of the blank slate of the story. We don't really know who this team of X-Men are in this future. Are they the same team as they are in the present? What is their place in the fight against Revelation? What is their place in the superhero community? These questions aren't answered, instead making this into "Dark Artery Part Two This Time with Galactus". That's a fine story, but anyone who doesn't read Uncanny and is picking this up to get the full story of "The Age of Revelation" isn't going to understand why the Dark Artery stuff is so important and why they should care about this book.

From a structural level, there's nothing wrong with X-Manhunt Omega #1. It's a well done issue with some cool scenes and good moments. But it's endemic of the problems with "From the Ashes". It's predictable and it feels like it's setting everything up for the eventual return to the Mansion. This is how Brevoort's X-Men works; there are no new ideas and everyone already knows the goal. If you enjoy that goal, then you'll be very happy with this issue. If you don't, like me, than this issue is more of the stuff you don't like.

MacKay's X-Men has been something of a disappointment and this issue illustrates why. While it does everything right from a structure standpoint, it feels anemic when it comes to ideas. This is a bog standard X-Men comic that stands on the shoulders of much better runs that came before it. This is the kind of comic where you're definitely better off just thumbing through the issue; the art is good enough that you'll get a bunch of cool action imagery and not have to read a story that has nothing new going on under the hood. Ever since Hickman left the Krakoa Era, X-Men has become a book defined by good art and so-so writing and MacKay seems to be keeping that going. Maybe this is a good comic if you know nothing about the X-Men. Otherwise, it's an exercise in rehashing.

Videos by ComicBook.comX-Men: Age of Revelation Finale was a disappointing comic for me, and I've never really taken to writer Jed MacKay's X-Men too many of the ideas have seemed like remixes of better stories, and I've struggled to feel hooked. But my expectations were roundly blown away here. "Age of Revelation" disappointed a lot of readers, but this issue actually uses the main idea behind it Cyclops of the future switching places with the present version much better than Amazing X-Men #1-3 did. Cyclops has been having a renaissance, and this issue plays off that beautifully because this is Cyclops' story right from the start.

A.X.E.: Eve Of Judgment #1 has a huge problem. It should have been Eternals #13, but Marvels zeal for hyping events and using them to pump sales is a huge mistake. Gillens writing is on point, but the art by Ferry and White has some problems. All in all, this is a serviceable comic, but it could have been better.

Avengers #1 is entertaining, but its not breaking the formula. MacKay, Villa, Blee, and Petit do a wonderful job together. This book needs to overcome a lot of bad will from the previous run, and this issue succeeds in getting readers hooked.

The plot of the issue is simple: Bolt does some superhero stuff, we get introduced to Kid Thor and the other members of Capes Incorporated, and then a few more plot elements kick off before a kind of abrupt ending. Kirkman establishes the workplace/cop show feel of the book quickly, uses that to set up a few longterm plots, drops a mystery on readers, and takes it all home with a little more character development. Capes #1 is a fun read, but it's not going to change the way non-Marvel/DC superhero comics work. It's firmly in the tradition of non-Big Two superhero comics. It's not as raunchy or violent as some other examples, but it has just the right adult edge for those readers who want something a little more mature from their superheroes.

When I first started reading this book, I was really happy with it, but as it went on, it just felt like we were getting a pretty standard X-story starring Cyclops. One of the problems with the X-office lately is that so much of it is kind of cliche; these books can still be entertaining, but there's no depth to them. Cyclops #1 has that feel, just like the art feels like every other generic X-book out there. This isn't a bad comic; it's entertaining with some cool art. However, if you're looking for a book that's going to dig into Cyclops and change the way you look at him, you're not going to get that. Cyclops fans will like this book, but I don't really see it bringing a lot of new readers to the character.

One World Under Doom #4 has A-list writing that easily outpaces the art. North's Doom is perfect, and he plays the arrogant villain expertly off of Dormammu. North's Doom is the best Doom has been since Hickman wrote the character, and this issue shows a lot of that off. The battle at the center of the book is an exciting fight, but the art pumps the brakes on reader excitement. Silva and Curiel have been a good team throughout this book so far, but their art in this one has a million little problems that hurt the fight. There are still some great visuals in this issue, but the art's problems drag the rest of the book down.

Fantastic Four has been firing on all cylinders for the last few years, so this book has some really big shows to fill. Anyone who steps up to write the team is going to have to work overtime to make it all work, and luckily, writer Josh Trujillo is up to the challenge. He's written the team several times in the past, and he gets the characters, which is very important. The Fantastic Four is a family, and Trujillo knows how to put each of them in their place. The issue starts in media res and then fills us in on why the group is on trial with the apes when we open up the book. Johnny Storm steps up to plead their case, and the way the team reacts is perfect, setting the tone for the rest of the issue.

As far as the story goes, she also nails the various elements of it. The plot drops readers into a world without a leader, one full of scheming parties trying to take power. Planet She-Hulk #1 is a snapshot of world in chaos, with She-Hulk as the only person who doesn't want anything from the planet but to go home. The issue begins in media res with a wedding, gives us a flashback to the set-up, then back to the wedding. It's sort of a cliche to take readers to a wedding gone wrong, but it's an entertaining one that leads to another action scene, sets up a few mysteries about who the villain is going to be, and ends on a last page reveal that propels things forward well. It's functional without shaking the boat.

Wonder Woman #20 is basically a jumping on point. The first phase of the Sovereign story is over, and this newest tale is a nice little pause. Wonder Woman is getting a lot of attention, so throwing in a quick little mystery story is the perfect way to give new readers a taste of what the book is like. This issue definitely isn't going to convince anyone who doesn't like King's run that it's gotten better, but it's still a rather entertaining issue with some cool moments. March's use of the nine panel grid is outstanding. It gives the story beats the right kind of rhythm, and pulls the reader along. March seriously makes this story read like a million bucks. Art is always important to a comic, but this would have been an entirely different story without March's work; it would have still been good, but it never would have been this good.

As a huge fan of the X-Men in the '90s, this issue going back this 1995 version of the team, was a lot of fun. It was cool to see bone-claw Wolverine again. That said, Loeb doesn't drop readers too far into the weeds of that old continuity; it's just set-dressing, pretty fun set-dressing at that. We learn about the AoA X-Men's mission in the 616 universe, and it's extremely predictable. I'm not going to spoil the specifics of the mission (since if you're reading this, you already know why they're there, you just don't know how they want to accomplish the mission), but I will say two things about it: it's copying numerous other X-Men stories you've read before, and it also makes perfect sense. So, at the very least, it's good predictable.

This is a pretty standard alternate universe story, though, so its success is going to depend on whether Loeb can sell the few secrets this issue keeps from readers. So, while there's a chance all of this could crash and burn, this is a pretty good issue.

The issue focuses on Dani Moonstar, who has become the team's Captain America, and she's awesome. Dani is one of those characters that has been around for ages, and has always been really great but has never actually gotten the chance to live up to her potential. Seeing her at the head of the Avengers, and learning that a dying Cap choose her to lead the team, is exactly what the doctor ordered for this character. Jason Loo nails this new version of Dani, and she's the main reason why this book is great to read. It's a joy to spend so much time with Dani. The rest of the cast is great too, mixing some underrated members of the Avengers with a couple of the legends of the team. It's a wonderful cast for a fun book.

X-Men: The Trial Of Magneto #1 is a brilliant book. There's really no other way to describe it. Williams is one of the X-Men's book's hidden weapons, and hopefully, after this is over, she gets her due; X-Factor was amazing, and this book follows in those footsteps. The ending really puts the question to what actually happened, and it's the icing on the cake of a great chapter. Werneck's art is breathtaking throughout, selling the script expertly. X-Men: The Trial Of Magneto is a tour de force.

X-Men: The Trial Of Magneto #2 is great for the characterization. Williams nails each character and who they are. The plot of the issue is pretty standard, but there are a few nice little additions as the chapter goes on. The ending sets the stage for the rest of the book, and where it goes from here will be intriguing. Werneck and Wilson are the best art team for this book, as every page is impressive. All in all, this book is one of the highlights of the current X-Men line.

X-Men: The Trial Of Magneto #3 has a great ending, but the rest of the book feels like padding it. Its not a bad comic, but its not as good as previous issues. The art is also weaker than what came before, which doesnt help. This one is lucky the ending is so good.

X-Men: The Trial Of Magneto #4 is certainly a choice. This one definitely isn't it anymore for anyone who wanted an X-Men story. It's yet another piece of apologia for Scarlet Witch, but it does have some good moments. Williams is a good writer, but this book is just mystifying. The art is the best part of the thing, at least. Where it goes next is anyone's guess.

X-Men: The Trial Of Magneto #5 has a good ending, but it also shows just how bad this book really has been throughout its run. It would have been a fine mystery book, but Marvel apparently had other plans for it, and it hurt things immensely. The ending doesnt do much to redeem the story and is even more frustrating because it could have been a great story if it had been done differently. Wernecks art is uneven, which is basically this book in microcosm. This comic is the ultimate missed opportunity, and its ending cant save it, even if its the best part of this five-issue tale.

Ahmed hasn't exactly shone on Wolverine, so some readers could be reticent to pick this book up. He's a writer who had one amazing comic almost a decade ago, and has since given readers some pretty basic superhero stories. This annual is one of those. Annuals in the 21st century are usually comics that tell a cool little snapshot story that doesn't really dig too deep into the character or the main story arc of the book (although, obviously, that does happen sometimes). That said, I think Ahmed was the right writer for this issue. This book plays the right notes you want from a Spider-Man book in an entertaining manner and doesn't really bend his skills to a breaking point.

Kelly, Larraz, and Romita Jr. have a tall order in front of them. The Amazing Spider-Man is the most hated bestselling comic on the stands right now, and the Wells run, combined with editor Nick Lowe's well-known disdain for the fans of the book, is enough to keep most people away from this issue. That would be a huge mistake. I'm a person who stopped reading TASM after "One More Day", and this book sold me on this new run. Joe Kelly is one of the most underrated writers in the history of the medium, and this book is an example of why he's such a great writer. It's intriguing, action-packed, has a great hook, and is funny. It's everything you could want from a Spider-Man comic. Pepe Larraz's art is beautiful. There's really no other way to describe it. In a lot of ways, Kelly and Larraz's Spider-Man feels like the platonic ideal of Spider-Man. It's not going to make you happy if you're Mary Jane partisan, but if you just want a good Spider-Man comic, this is exactly the boo

The Amazing Spider-Man #2 is a fantastic follow up to the last issue. It pays off the ending of the first issue, using that to inform the rest of the issue's plot, as Spider-Man being drugged keeps coming back throughout the issue. The humor is classic Spider-Man, and the character interactions are always entertaining. The central mysteries of the issues what is Hellgate and Hobgooblin's plan, how did Spider-Man get drugged, and who was after Rhino are built up well. Kelly and Larraz are doing their best to make readers forget about the mistakes of The Amazing Spider-Man's recent past, and succeeding pretty well. I didn't think that Marvel would be able to sell me on liking the mainline Spider-Man book after so many years of making me hate it, but Kelly and Larraz are showing that The Amazing Spider-Man can still recapture some of the glory of the past.

SWORD #1 is alright. There are some very cool moments in the book, but Ewing doesn't really make an argument for why this book exists. For example, why is this even a mutant book at all? A SWORD book isn't a bad idea, but it feels like the only reason this is a mutant book is that those are what's selling right now. That said, Abigail Brand is a very cool character, and there are some obscure mutants in this book that some fans love, and that's reason enough to come back. Ewing has proven just how good he can be in other books, and this book does have some potential. Valerio Schiti's art is pretty great throughout, and he and Gracia work well together. This isn't a great start, but this book does have potential.

Its usually inadvisable to throw a book into a massive crossover this early, but S.W.O.R.D #2 pulls it off admirably. It helps that this book is tailor-made for dealing with this kind of thing and that Ewing is such a good writer. Hes able to hit the story beats that work for the crossover and for the book itself, which isnt easy in situations like this. Svhiti and Gracias art is perfect for this issue and captures the characters and the action wonderfully. S.W.O.R.D. is a different kind of X-Men book and its starting to show.

S.W.O.R.D. #3 is a really good issue. Putting the focus on Manifold is a great move by Ewing. While the story mostly deals with King In Black stuff, it still does a bit of set-up for the future by bringing Gyrich into the book and revealing him to be working with mutantkinds greatest enemy. The art is very good, considering the number of artists who worked on it, with no jarring stylistic changes. S.W.O.R.D. #3 is yet another crossover issue done right.

S.W.O.R.D. #4 is an action-packed romp that uses its cast wonderfully. Its hard to know whether Ewing set out to show how little of a threat Knull would actually be to the heroes of the Marvel Universe, but he does show that, and the book is better for it. Schitis art does a great job of setting the scene and giving the whole thing the kind of momentum it needs. S.W.O.R.D. has been a fun ride so far, and it will be great to see where Ewing and company take it.

S.W.O.R.D. #5 deals with the disruptive element that is Fabian Cortez but also sets him up as someone to watch in the future. Ewing scratches his sci-fi itch in this issue and also finally does something interesting with Arakko, which was completely unexpected. Schiti art is a great compliment to his script. S.W.O.R.D. remains one of the most impressive X-Men books.

S.W.O.R.D. #6 is the best issue of the Hellfire Gala. Not because anything Earth-shattering, or in this case of this story Mars-building, happens, but because it sells that event with aplomb. Ewing and Schiti combine to create something wonderful in this comic. S.W.O.R.D. continues to be one of the must-read X-Men books.

S.W.O.R.D. #7 is a bit of a double-edged sword in that it's an entertaining book that is also super annoying. This book deserves to be able to do its own thing, and it's never got to. Ewing is a good sci-fi writer, but he has a whole lot of great characters that he's doing nothing with, and that's a travesty. Caselli's art is excellent, which definitely helps. One day, this book won't be bogged down by crossovers and get a chance to be special.

S.W.O.R.D. #8 shows off just what this book can be when its not bogged down in whatever sci-fi crossover Ewing gets it involved in. This is a great Storm-centric issue, showing her new life as Regent of Arakko, and it honestly kind of makes a body want a Storm on Arakko book. Vilanova does a fantastic job with the art. This issue doesnt reinvent the wheel, but it is good fun.

It feels like S.W.O.R.D. #9 is the bare minimum. It works on a surface level, but it feels like it was written according to a chapter in Comic Book Writing 101, and Ewing is just better than that. Camagnis art is excellent, which is a plus. Theres nothing wrong with this comic, but theres nothing special about it.

S.W.O.R.D. #10 continues the downswing in quality this book has experienced. Ewing just doesn't make anything in this comic feel like it matters, and that's a huge problem for a book that was so mired in crossovers that it never developed its own identity. The art is the best part of the book, but the coloring makes it look a little too polished. This whole book is becoming a disappointment.

S.W.O.R.D. #11 almost feels like a futile gesture, a Hail Mary pass in the fourth quarter in a game that's already been lost. Stretching the football analogy further, it's a great play, but it does nothing more than show that the team is good and the next game will be better. Ewing finally does something worthwhile with this book, and while it bodes well for the future, it just makes one wish he was doing this sort of thing the whole time. Camagni is a good artist but nothing special. Hopefully, this book's developments will allow X-Men Red to be better than it was.

DC K.O. is full of powerful beings, so starting out with a fight between Superman and Captain Atom shows just how wild things can be. The book is written by Superman writer Josh Williamson, so you would expect the Man of Steel to be the focus, but instead, we get Nathanial Adam giving us the narration at first. It's an interesting look into a character that we don't get to spend too much time with; when was the last time anyone actually cared about Captain Atom?

DC K.O. has been killing it, taking the simple idea of a tournament arc and using it in the smartest way possible. The tournament isn't the story; the story is how the tournament affects the fighters. DC K.O.: The Kids Are All Fight Special #1 keeps this up, with writer Jeremy Adams kicking the issue off with Jon Kent wanting to join in the fight somehow, feeling overlooked. Much like DC K.O. and December's Fight Month, this issue is all about what this tournament means for Jon. Meanwhile, Fairplay, Quiz Kid, the Boom, and Cheshire are all going through the same thing and find something for themselves, some way for them to help. Those are the inciting incidents for this story, and they fit.

Wolverine Infinity Watch #1 is a wonderful set-up for an intriguing story. In reality, this should have been the book to bring Wolverine back into the Marvel Universe proper. Duggan succeeds here where Charles Soule failed because he's not trying to add anything new to the character, but put him in a new situation, with stakes and characters that Logan has rarely had to deal with. Adding Loki to the mix is an inspired choice as well, as the two characters will play well off each other. Andy MacDonald's art is detailed and expressive and it will be great to see what he can do now that Duggan has gotten all the exposition out of the way. This is a pitch-perfect first issue.

Wolverine Infinity Watch #2 doesn't really add much new to the story, but it doesn't need to. The fun of this book is Logan and Loki getting thrown into bigger and bigger situations, and this issue delivers on that in spades. The pacing really puts the reader into the chase and Duggan keeps things action-packed throughout. MacDonald's art perfectly captures the breathless momentum of the book. He delivers excellent action while also doing wonderfully expressive character work with everyone in this book. Two issues in and this book remain stellar.

Wolverine Infinity Watch #3 is an action-packed and overall fun book. It gets a little predictable later on with Logan and Loki pretty much taking exactly the roles youd imagine they would during the fight, but Duggan fills it with enough solid characterization and expert character interplay that the books few flaws dont sink it very much. MacDonalds art is off in a few places, but overall does an admirable job of bringing the script to life. This book is definitely a treat whenever it comes out.

Wolverine Infinity Watch #4 is a disappointment compared to preceding issues. Its hard to put the finger on the why of it, though. Its fast-paced, there are some great plot points, and MacDonalds art mostly looks excellent. In the end, it feels like Duggan dropped the ball on this one a bit and thats a shame. The ending is overbooked and sets up a fight that readers already saw two issues ago. Its not a bad comic, not really, it just feels off, and thats a shame because the rest of the book has been excellent. Hopefully, Duggan will be able to course correct in the next issue.

Wolverine Infinity Watch #5 goes in an entirely different direction than the ending of the last issue. It builds the character of Hector more than over the previous four chapters, but it sort of comes out of nowhere. Its an exciting way to end the series, but its so abrupt that it might leave readers a bit cold, because, for the majority of the series, Duggan has been playing with Loki and Wolverine. Andy MacDonalds art is good, but he could use more work in his character acting for the most part. All in all, this is a satisfying ending, even if it does come out of the left field.

All in all, this is a near-perfect first issue of Superman. Bendis shows readers the heart of Superman and gives them a lot of cool Superman-being-Superman moments.

Superman #2 works regardless of its strange structure and a big part of that is the amazing art. Reis, Prado, Albert, and Sinclair put on an artistic tour de force, throwing powerful, detailed images at readers that keep them turning the pages. Even though Bendis makes some strange decisions, its still an entertaining issue that sets up multiple threats for Superman to deal with. Everything about this book screams epic, and the art brings the whole thing to the next level. It allows the book to transcend the disjointing story choices and makes this a worthy follow up to the first issue. It fails in small ways, but succeeds in huge one.

It doesnt seem like its going to be one for the ages, but its very much a solid Superman story, one that wont disappoint long time fans.

All in all, Superman #4 feels like the first comic where Bendis has really understood what it takes to write a Superman comic.

Superman #5 does a lot of heavy lifting, continuing an already entertaining story and setting things up for the ending and beyond. A lot of the time in his career, these setup issues have been the most boring parts of the story, but Bendis and the art team work together to give this story the feel it needs to keep readers invested. A lot of readers arent completely on board with his Superman run yet, but showing them this book would go a long way to getting them into it.

Superman #6 delivers an action packed finale to the Phantom Zone storyline and sets up a few glimpses of things to come. Its rare for a Bendis written book to be this action focused and the art team takes full advantage of it, laying out some beautiful double page spreads that capture the fight perfectly. The big reveal at the end is already controversial, but readers will have to wait to see where it goes. Superman is easily the better of Bendis two Superman books and this issue keeps that up.

Superman #7 takes something that a lot of fans are up in arms about and handles it rather gracefully. Fans reading through the book, hoping to find Bendis destroying Jon for his own sake are going to be in for a disappointment. This isnt a groundbreaking book; most of the stuff in here feels like things most fans have already figured out, but its well told and the art is mostly great. This was a classic Bendis info dump book, but it doesnt suffer from his penchant for long winded, boring dialogue and it works to hopefully keep readers coming back to see what comes next. This is a good comic and hopefully fans can look past their own prejudices and give it a chance.

Superman #8 is a bit of disappointment, story-wise. So far, Bendis has kept the worst of his writing style over in Action Comics, introducing bad OCs, cramming it with unneeded dialogue and sacrificing action for that, and basically doing whatever he wants with continuity. This issue introduces most of that to Superman and it's a shame. The ending is cool but probably will never be explained, the art is great, but Bendis indulges his worst tendencies in this one and it brings the book down. It's not terrible, but it's definitely disappointing.

Superman #9 is a Bendis book through and through, and that's it's the biggest problem. Visual storytelling is about showing, not telling, and Bendis has always ignored that lesson completely. This issue wastes a lot of pages talking about Ultraman visiting Jon, a plot point that seemingly goes nowhere, that could have been better used showing Jon's journey through Earth-3. Ivan Reis art is hit or miss, but Peterson is shining right now. There's a glimmer of some good characterization for Jon in this one, but Bendis wastes it. That glimmer and Peterson's art are the high points of the book, but they aren't enough to save it. This issue had potential, but Bendis squandered it by indulging his base tendencies as a writer.

Superman #10 is probably the best of this story arc so far. Bendis is able to craft a narrative that plays to his strengths in precisely the right way. It never gets bogged down by all the dialogue because none of it is superfluous or boring. Peterson's art is stellar, and while Reis has some sporty pages, the last big page is fantastic. This issue takes the story in a bit of a new direction, which hopefully Bendis can pull off. It isn't perfect, but this one is an enjoyable read.

Superman #11 is the pinnacle of Bendis run so far. It combines his penchant for being too verbose with actual action. There are very little points in this issue when the action flags and when it does, it serves the story. Reis art is the best it has been in a while. Reis earned his stripes penciling things like The Rann Thanagar War and Geoff Johns Green Lantern and that shows in this book. Everyone is firing on all cylinders for this issue and it shows.

Superman #12 is hard to quantify. It starts out really good, with wonderfully drawn and exciting action. Ivan Reis knocks it out of the park in these pages, showing readers how great he can be. The second half of the issue is well done, but how much a reader enjoys it will depend heavily on how much they are into Bendis Krypton retcon. This isnt at all a bad issue; far from it, really. It does a great job of setting up more things for the future, and they are all pretty intriguing. However, if the reader doesnt like what Bendis has been doing, they arent going to like what they see.

Superman #13 is a treat. Bendis made his retconning very non-obtrusive so far with this story, and that works in its favor. There are a few flaws, the Tamaranean delegate of the Circle refers to his cousins bar mitzvah and makes a phone joke that doesnt work at all, but the rest of the issue is pitch perfect. Theres an understanding of these characters, throughout the chapter, that is quite different from Bendis usual style of writing. The art is the icing on the cake. Brandon Peterson has only gotten better over the years, and his work on this title is some of the strongest of his career. Ivan Reis pages arent as good, but they certainly arent bad. This is a near perfect comic.

Superman #14 is a disjointed affair. Critical elements to the plot just seem to happen out of nowhere, and it makes the whole thing suffer. Maybe Bendis is going to reveal things down the line, but not doing it here leaves so many questions that it almost ruins the entire thing. However, the art is fantastic, and the ending is a great feel-good moment for fans of the LoSH, bringing them back in grand fashion. The ups and downs of the quality of the writing hurt this issue, though.

Superman #15 puts Bendis' first big Superman story to bed in a beautiful fashion.

Superman #16 is pure entertainment. This is easily the best issue of the series so far. Its funny and poignant, a reunion of two friends that readers have been missing together. Bendis hits all the right notes in this issue. Add to that Jons decision about joining the LoSH, and this issue has it all. David Lafuentes art perfectly compliments Bendis script, making the humor and emotion work so well. This is the kind of comic that can be read over and over again. Its so much fun. Bendis is writing a lot at DC right now, but this issue proves just how amazing a SuperSons book by him would be.

Superman #17 is okay. Bendis highlights the relationship between Lois and Clark and how well they gel as a couple, and its the strongest part of the issue. The other parts in the book feel inconsequential and dont seem to fit in with the story hes trying to tell. The art by Kevin Maguire, though, makes even those useless seeming scenes look great and lends itself to the best part of the book perfectly. It feels like things are about to change in this book, and this issue is supposed to be the prologue to that, but instead of focusing on whats important for that it jumps around a little too much.

Superman #18 is a way bigger deal than it seems. If this was a Marvel book, it would have been announced over a half year ago, have 20 variant covers, and be priced somewhere around $7.99. Bendis lays out his case for why Superman should reveal his identity and why he made that decision at this point in time, and it makes perfect sense. Its a move that is entirely in character for the Man Of Steel, and, strangely, it never happened before now. Ivan Reiss art really captures the emotion of the event. This is a beautiful start to a story. Theres always the chance that what comes next wont be as good- this is Bendis, after all- but much like his Action Comics #1017, this is a near-perfect beginning to a story.

Superman #19 continues the story of Superman revealing his identity by focusing on the Daily Planet. Bendis uses his signature tropes in the best possible way in this issue. It's entertaining. A problem is the chapter doesn't seem to lend itself very well to a story arc. Sure, there's a cliffhanger ending, but other than that, where is this story going? Ivan Reis's artworks at the beginning of the issue, but suffer later, possibly because of the number of inkers on the book. As stated above, this is an entertaining issue, but it doesn't feel like it works for a long-form story.

Superman #20 is a lot of fun. Bendis gets the right mix of action and drama in this one. He even gets in one of his best jokes ever- the Daily Star editor jokes that everyone at the Daily Planet worked there, a deep cut reference to how in the Golden Age, Clark, Lois, Perry, and Jimmy were all employees of the Star before the Daily Planet even existed. Reis's artwork makes the whole thing sing. While this still very much feels like two different stories, they're both entertaining.

Superman #21 is a tour de force. While the beginning is a Bendis cliche, the rest of the issue makes up for it. Bendis uses his page space efficiently, focusing on the action in the sections of the story with Superman and the drama on Earth in the Lois Lane parts. Reis makes the whole thing look great. The ending sets up the next issue expertly, as well. This issue is a lot of fun and an exemplar of what a good issue of Superman should be.

Superman #22 is a lot of fun. Bendis writing action can be a mixed bag, but this issue isn't like that at all. The battle between Superman and Mongul is pulse-pounding. The interplay between Lois and Cameron is a lot of fun as well. This issue sets up some interesting stuff for the future as well. Kevin Maguire's art makes the whole thing work- his action is bombastic, and his character work is top-notch. All in all, Superman #22 is a fitting ending for the "Truth" arc.

Superman #23 is an okay issue, but it's a classic Bendis opening issue of a story arc comic- a whole lot of talking and set up.

Superman #24 is kind of mystifying, which should be a good thing for a magic story but isn't. It's sort of cliche and could have been more interesting if Bendis went full Bendis on it instead of tacking on an action plot with a new villain that is lackluster at best. The art is pretty good, so there's that. It's not a terrible comic, but it's nothing special.

As far as it goes, this issue works well enough to get a reader to come back, but it isn't anything special.

While his run hasn't been entirely perfect, installments like this prove that Bendis is a good Superman writer and will be missed when he moves on in a few issues.

Superman #27 is a great Superman story, highlighting exactly who he is as a hero and person- a man who strives to defend and understand, wanting to end fights with diplomacy as much as with violence. Bendis nails this perfectly throughout the issue and paces the whole thing wonderfully. He strikes a delicate balancing act, and hes at his most Claremont-ian in this issue- using caption boxes to describe whats going on in Supermans head while also giving readers great action set pieces. Reiss pencils make sure those set pieces look great. Superman #27 is another example of just how good Bendis has gotten with the Man of Steel.

Superman #28 is Bendiss final issue on the book and its perfect. Not so much the plot of the issue- it merely feels like some cool background scenery for the real action of the book- Lana Langs narration and her sharing Lois Lanes opinion of Superman. Bendis makes his final statement on Superman and he nails it, just as hes nailed the character continually, even if some of his stories werent the best. Ivan Reis proves why hes one of the best Superman artists on the last twenty years with this issue, his action penciling bringing the action home with his character acting really sealing the deal and giving the comic the oomph it needs. Bendiss run hasnt been all roses and this issue is kind of like that in microcosm- the story the issue is telling is good but Bendis nails Superman so well that it elevates the whole thing.

Superman #29 is the beginning of a new Superman epic, and it definitely delivers. Kennedy Johnson tells an interesting story, one of fathers and sons, and adds some more intriguing elements like what exactly Waller is up to. Hester's artworks for the action and the character acting but isn't as good when it comes to the monster's designs. The back-up story by Lewis and Basri is interesting as well, and it will be fun to see where it goes. This is a great Superman issue, a wonderful way to open up a new era for the character.

Superman #30 is a wonderful little Superman story. It plays into Johnsons overall narrative about fathers and sons while also telling a cool Superman story. Again, Superman is thrown at a threat that could mean his death, and its rather thrilling to have stories where Superman is vulnerable in new and different ways. Godlewskis art does a great job in this issue, giving it just the right feel. The backup story is good, too, and it will be interesting to see where it goes. Superman #30 is chock full of Superman goodness.

Superman #31 is another great Superman comic. Kennedy highlights one of Supermans weaknesses while also showing one of his strengths- his selflessness. He keeps playing with the whole fathers and sons thing, and it works. Godlewski and Rapmunds art is pretty great and fits the story well, and the backup is pretty good, even if it reads a little fast. All in all, this is an entertaining read.

Superman #32 is definitely a book with two different stories of varying quality. The main story is a lot of fun, just a great Superman story that boosts Jon. Johnson and Godlewski do a wonderful job throughout. Lewis and Basris backup isnt nearly as good. Its a bit too long, and it feels like it, but at least the art is good. It hurts the book overall, which is a shame.

Ultimate Wolverine #3 is yet another stellar issue of this series. There's so much going on under the surface of this book that every panel seems pregnant with meaning. This is the type of comic where you comb each page looking for something that you might have missed. Bringing in Gambit, Kitty Pryde, and Black Widow is an excellent choice, as all of three of them have a history with Wolverine. Is Black Widow a spy? Is Kitty Pryde? Was Wolverine always a spy, working with Kitty? This issue gives readers some answers, and then drops even more questions into their lap. Every issue of Ultimate Wolverine makes the story more interesting and tantalizing than the last, and this issue is no different.

Condon uses the final data page to put the icing on the cake, describing the fates of Xavier and Jean Grey, while introducing Magneto into the mix. It's a great capstone to an issue that goes above and beyond. Ultimate Wolverine #4 could have went in the direction everyone was figuring, and it would have been a good issue. However, Condon and Cappuccio go in a different direction and it pays off. No one would have complained if this book would have just done a straight-up "Weapon X" pastiche, because Condon and Cappuccio are so good. It would have been a bloody feast. However, dropping the metaphorical battle between the wolf and the bear into the book was perfect. It's the book's plot in microcosm, and it's wonderful. Every issue of this book keeps knocking it out of the park, and this issue shows why it takes a story we've read a million times, recontextualizes it, and presents it in a new way. Comics can fall back on nostalgia, so finding new ways to present it is a mus

Ultimate Wolverine has been one of the better-selling Ultimate books, easily outpacing the 616 series in sales. This latest issue does everything that the book has been doing throughout its entire run, which is both great and also something that is going to cause the people who don't like the book to continue not liking it. We just came off a huge moment in the book the end of Opposition and this issue is all about revenge. Condon hits just the right notes for this kind of Wolverine story; I especially enjoyed the captions, putting us in Logan's head as he walks into a situation that could easily mean his murder. The Ultimate characters are often great, and this version of Wolverine has always been better than he gets credit for.

Videos by ComicBook.comUltimate Wolverine has its strengths, but one of the problems is how much of it has felt like filler. Thinking back over the book's run, there are definitely some great moments, but it often feels like Condon didn't have very much actual story. This is the problem with the new issue. It opens up in the aftermath of Ultimate Wolverine #12, which has set up a rather interesting new status quo for the Logan of Earth-6160. Issue #13 starts off cool, showing readers the origin of this universe's Magik, but then it just sort of forgets all of that to give readers a much too long fight between Wolverine and Ursa Major.

Uncanny X-Men #1 is a good return for the most important mutant book of them all. The two stories it contains are very good X-Men stories, but the first one is weakened by concepts that readers have seen multiple times, and the second suffers a little from uneven art and the ending being spoiled by Marvels publicity machine. Readers expecting something akin to Grant Morrisons revolutionary and transformative New X-Men arent going to get their wish. This book is more like Joss Whedons return to form Astonishing X-Men run than anything else: indebted to what came before, but extremely entertaining. Its a must-buy for X-Men fans, and also gives new readers with only a cursory knowledge of the X-Men a good place to start.

The writing team throw more fuel on the fire in Uncanny X-Men #2. The art is solid but uninspired and the story hits some nice notes, building up its central mysteries rather expertly. Theres also a lot of instances of good character writing and humor that doesnt seem lame or forced. The first issue was good, yet safe, and used concepts that have been a tad bit overused in the franchise. This one introduces some new things, and, while it still feels safe, theres also definitely room for things to get crazy later on, especially with the big return at the end of the book. The art could use a little more flair, but this is a satisfying comic thats building an intriguing mystery.

Uncanny X-Men #3 ups the ante, ending the first third of this ten week story with two big reveals. The characterization is perfect, and the highlight of the whole thing. The art and coloring are mostly good, with a few noticeable deficiencies. The big reveal at the end should keep readers on the edge of their seats, though, and makes up for a lot.

Uncanny X-Men #4 lays bare what has been going on the book, without giving away everything. This story can still go to so many places and thats what makes it interesting. Nate Grey and his quest to make the world a better place at any costs are sort of a perfect conflict for the X-Men to deal with since its almost a twisted inverse of their mission. The drama between the different generations of X-Men is great and the art is solid. It will be interesting to see where the book goes from her, but so far, this is the best issue to come out.

Uncanny X-Men #5 keeps adding more to the plot. The art isnt great, but its not terrible and theres plenty of interesting little turns in this one to keep readers coming back. It leaves readers with a lot questions- will Apocalypse be able to influence X-Man? Can Legion and the young X-Men actually hurt X-Man? Exactly how powerful are the Horsemen of Salvation? Will Psylockes gamble blow up in her face? Its questions like these that intrigue readers and drive them back to the book and this book is definitely worth coming back to.

Uncanny X-Men #6 is the disagreeable issue of the book so far. This one is just pure filler, stretching the story out. The ending has potential, but the rest of this book does nothing special. This comic shows the overall story is lacking, but unlike some of the issues, theres no great characterization or character interplay to save it. Its a mediocre comic.

Uncanny X-Men #7 is a marked improvement over the last issue, which was just glorified filler. Its nice to focus on the younger X-Men and the AoA is always great to visit. Combine that with some great art, cool redesigns, and a smart script and this one is a winner.

Uncanny X-Men #8 takes all the promise of the last issue and runs with it, giving readers a satisfying and intriguing chapter in this story. The last two issues have improved things immensely, making this story relevant again. The twist ending here is great, giving the heroes a seemingly insurmountable obstacle to overcome. Theres only two more parts left to this story, but if they can match whats been in this and the last issue, this story will have redeemed itself nicely.

Uncanny X-Men #9 delivers big time. This story arc has had some ups and some downs, but the creative team has righted the ship. They deliver a fast paced, action packed comic with this one, while still hitting all the right emotional spots. The Beast and Anole thing seems a bit out of place, but in the end it works toward the overall plot. As far as penultimate issues of a story arc go, this one is nearly perfect.

Uncanny X-Men #10 is a strange beast. Its a good book with a shocking conclusion and great art, but that conclusion feels so cliche for an X-book by this point that its not very special for long time fans. The book also doesnt really use its too large roster effectively. This issue is emblematic of all the good and bad things this story has done so far. Its not bad, its just extremely by the numbers. This story arc has had a lot of ups and downs quality wise and this one lands somewhere in the middle: not bad, not great, but kind of average.

Uncanny X-Men #11 takes the last story arc's ending and it uses it to set up a new status quo. It is a familiar one to long time X-Men fans, but Rosenberg has proven his writing chops elsewhere and this issue is no exception. The Blindfold story feels superfluous, but other than that, this issue is a great reintroduction to the X-Men. The art is top notch and Rosenberg paints a bleak picture without giving away too much. It will be very interesting to see where everything goes from here.

Uncanny X-Men #12 is a mile a minute thrill ride. Rosenberg sets things up quickly and gets right to the action, giving Larocca and Rosenberg a chance to shine with some great action sequences. It will be great to see where all of this is going and what role O.N.E. plays in all of it. This book has gotten way better since Rosenberg took over sole writer, giving it a focus that it didn't have before. Uncanny X-Men #12 tells a satisfying story and sets things up for the future.

Uncanny X-Men #13 is chock full of good stuff for X-Men fans. So far, Rosenberg is focusing on rebuilding Cyclops, and he's succeeding wonderfully. Man on a mission Cyclops is the best Cyclops. The team line-up is intriguing and could lead to a lot of fun character interaction.

Uncanny X-Men #14 is a plot-heavy chapter but is able to squeeze a lot in and not feel bloated or boring. Rosenberg knows when to cut around, giving all of these plot threads an excellent sense of momentum that keeps things moving while still setting things up for the future. Larocca's art looks great, but his action scenes could use more fluidity and a feeling of movement. All in all, this issue continues the streak of quality this book has been on since X-Men Disassembled ended and maintains it's pitch-perfect rehabilitation of Scott Summers.

Uncanny X-Men #15 is chock full of good stuff. Rosenberg is churning out a lot of plots and they are all interesting enough to keep readers hooked. He's a master of fitting a lot into a book but making sure it never seems bloated or slows down. Larocca's line work is good, but GURU-eFX's colors don't do his pencils any favors. All in all, this issue is another brick in the wall Rosenberg is building and it will be wonderful to see how it all stacks up.

Uncanny X-Men #16 closes out Rosenbergs first story arc with Marvels merry mutants and so far, his writing style is great for the book. Hes able to do a lot of exposition and dramatic work without the book getting boring or wordy. Sometimes, like with Havoks nagging, it takes a while for anything to develop from it, but when it does develop, it fits wonderfully with what hes trying to do with the X-Men in this new status quo.

Uncanny X-Men #17 puts a real-world spin on Rahnes murder, and it fits very well. Its not the evil plan of some mutant mastermind or a government-sponsored hit (although something like that sort of happens in the book), its just a symptom of the hatred and bigotry of the world. After six very Cyclops centric issues, this one focuses on Logan and his own guilt over another death on his watch, one he feels in part responsible for. Unfortunately, this art doesnt fit the caliber of the script. Its blandness hurts what could have a stellar issue of Uncanny X-Men. It doesnt kill the chapter, but this issue could have been so much more potent if the art was better.

Uncanny X-Men #18 is a miss on all fronts. Rosenberg has always tried to cram a lot into every issue as if he was mid-90s Scott Lobdell, but this one is a failure. Nothing feels like it has the room to breathe. Events happen, but its all so suffocating that none of it has any impact, not even the death of an X-Man. Villas art is merely there, doing nothing to elevate the script. The developments with Emma Frost promise something, but with the way the book has suddenly gone, theres guarantee it will be anything worthwhile.

Uncanny X-Men #19 adds a lot of interesting wrinkles to whats been going on in the book. Emma, as a master manipulator who is also being manipulated, is a nice touch and seeing the lengths shes willing to go to for survival will give new and lapsed readers a feel for who she is. The art is the books biggest weakness. It doesnt do anything very bad, but it doesnt do anything very good either. With better art, this book would have been amazing, but its still very good.

Uncanny X-Men #20 does an admirable job of tying together a lot of Rosenbergs plots from this run. The inclusion of the Upstarts takes away what makes them special and the fight with them is sort of static and lifeless, but theres a lot to like about this issue. Laroccas art is much better than what readers have gotten in the last few issues, while still not being the best it could be. Rosenberg gets in some great character moments with Dark Beast and Emma, though, and it buoys the issue and the fight between the Wolvie and Revanche and the Hellfire Club makes up for the Upstarts fight. This is a solid comic, even if it does drag a little.

Uncanny X-Men #21 is a fun read for such a dark comic. Rosenberg has shown a proficiency for heavily plotted comics in his run so far and does it again in this issue.

Uncanny X-Men #22 caps off Rosenbergs run and wipes the slate clean for Hickman to come in and work his magic. Rosenberg has used his 12 issues to let readers into Cyclops head and hes done a great job. Things have gotten a little dark but it all fit the story he was trying to tell. The only weakness of his run has been the tired mutants are in danger of extinction trope that has been Marvels go to mutant story since the end of House Of M, but hes made it work rather well. Laroccas art in this issue is some of the best hes turned in on the book and really strengthened the story Rosenberg was telling. Messinas art feels out of place taking over for him, but it is still good. All in all, this issue worked. There were a few little things that could have been better, but overall, this one is an action packed roller coaster.

Action Comics #998 is everything you could want from a Superman comic--action, adventure, humor, and it hits all the right emotional notes for a story about people and their fathers. The art and writing are first tier and in a perfect world, this team would continuing telling Superman stories forever. As it is, they put a fitting cap on a storyline that could have went either way, but managed to soar, like a bird. Or a plane. Or a certain Kryptonian.

Jurgens, Conrad, and Nunes deliver another great issue. Its really hard to imagine any other team taking this many plot threads and resolving them all in one issue and doing it so well. In this age of comic deconstructionism and taking six issues to tell stories, this team is able to touch on multiple themes and put a nice bow on them and do it all in a single issue.

Action Comics #1000 is a love letter to Superman, pure and simple. Its the kind of comic that a person could give to a some hypothetical person who has no idea who Superman is and by the end, theyd not only understand the character, but have fallen in love with him and gotten excited about the future of the character. Its worth every penny of the $7.99 cover price and not just for Superman fans.

Much like Superman #1, this is a near perfect first issue. It sets up a few plot lines, the art is great, and works to hook readers in.

    This is a weird issue. It does away with a few of the mysteries in this storyline before they could be developed more. Its entertaining, but Bendis makes some choices that are suspect for this arcs longevity. Revealing so much already raises the fear that Bendis will pad this story with his special brand of the filler: a lot of boring talking. The big reveal at the end is nice and opens up a lot of possibilities, but this is a strange time for it. The art is the books saving grace. Gleason and Sanchez kill it and elevate the material to a level that it couldnt reach on its own. This still an interesting story, but Bendis picked a strange time to lay down some of his cards.

Action Comics #1003 is a marked improvement over the last issue. Bendis uses some of more annoying tropes to good effect here, but he still finds a way to mess up the story a little bit because of them as well. Yanick Paquette and Nathan Fairbairns art make up for that, though. The pencils are detailed and expressive and the colors fit the mood of the various shots perfectly. Its not a perfect book, but it has a few moments in it to keep the reader on the hook for the next issue.

Action Comics #1004 is the worst issue of Bendis' run so far, and it doesn't bode well that it's come so soon. The issue kills all of the momentum of the Invisible Mafia storyline, chopping it up to foster cheap drama and make readers buy another issue to see what happened between Lois and Clark.

Action Comics #1005 is all of Bendis fault wrapped up in one book. Theres a lot of talking but none of it is important, the events therein dont have any impact, the action is muddled by unnecessary filler, and the reveal is both underwhelming and an easy one to guess. Ryan Sooks art is wonderful, but when a story is this bad, thats just gilding a piece of fecal matter. In the end, none of it really matters and it leaves no impact at all.

Action Comics #1006 is good, but its too little, too late at this point. The reveal at the end of the issue could lead to some interesting developments, but its something long time readers have seen before and its hard to see how it will really affect the plot. Sooks art is the highlight of the book, as its been on every issue hes drawn, but that doesnt make up for the legacy of bad decision Bendis has made on this book. Its a shame, too, because this is a well paced enjoyable read, but this story arc is already so tainted that it cant really save it on its own.

Action Comics #1007 is a complete and utter disappointment. This issue is supposed to be the kick off for Bendis big DC event, setting the table for what's to come, but there's nothing here. That said, there's always the chance that this story will get better as time goes on, but this is a very inauspicious beginning and it doesn't really bode well for what's to come. There are a few bright spots in this one, but not enough to elevate it to level that could be called good. As usual for Action Comics, the art is top notch and Bendis does have a grasp on Lois and Jimmy's characters in this issue, but other than that there's nothing to hook readers here.

Action Comics #1008 is competent, but that's the best that can be said for it. It ratchets up the threat of Leviathan but fails in making readers care about the group or actually fear them. The art feels a little rushed, but it's still pretty good in most places. Bendis uses a lot of double page spreads in this one, but it seems like he's mostly just using them so he can have more room for dialogue, not for action scenes and the like. There's nothing to hate about this book, but there's really nothing to love either.

Action Comics #1009 is the best the book has been in months. It actually serves to get readers interested in Bendis forthcoming Leviathan event, adding some intrigue to the whole thing. There's some good characterization in the book, the only exception being Jimmy Olsen. The ending is quite interesting, and it could be fun to see how it all works out. Epting's art is much better than it has been. All in all, this is a good book; it's not great, and it definitely doesn't make up for the mediocrity of Bendis Action Comics so far, but it entertainingly does its job.

Action Comics #1010 is a strange beast. Its tonally all over the place, but its still a crucial issue with a lot happening. The way it jarringly shifts from deadly serious to light-hearted hurts it a lot. It feels like Bendis couldnt decide what he wanted the book to be, so he kept changing it around, maybe hoping that the lighter moments would make up for the darker ones. While the lighter moments are entertaining, they feel almost like an affectation, and that takes away from the book. The art team turns in some dynamite work, though, and that helps a lot. All in all, this would be a better comic if Bendis could pick a tone and stick to it. As it is, this one never feels as important as it should.

Action Comic #1011 does what this storyline struggled to do in the beginning- it sets up Leviathan as a powerful and mysterious organization, but one whose plans are way more interesting than they seemed at the beginning. Bendis doesnt waste any page real estate in this one, just dropping more bombs, whetting interest in his upcoming Event Leviathan. That said, event set-up has always been Bendis strong suit, and there is no guarantee that hell be able to keep that up in the upcoming book, but here he turns in an exciting story that leaves readers begging for more.

Action Comics #1012 would have been a tremendous comic six months ago, but so much time has elapsed since readers saw the Invisible Mafia that they feel sort of insignificant. That is not a good look for what looks to be a big part of his plans for this book. The addition of Rose and Thorn is excellent, but Bendis looks like hes ready to ignore things about a character to do what he wants with them to make his story work, a hallmark of his. Szymon Kudaranskis art is excellent and buoys this lackluster issue is. The Invisible Mafia is an interesting concept, but Bendis abandoned it for so long that readers might not care as much as he does about them. As it is, this issue doesnt feel very important, and thats a bad look for the start of a new story arc.

It would be nice if Bendis could have stuck to one plotline instead of watering the whole thing down by including so many. None of them are bad, but it just doesn't feel right putting them all together.

Action Comics #1014 is a breathlessly paced, wonderfully written comic with great art. Bendis moves things around quickly while still giving everything the room it needs to breathe. It would be nice if Clark Kent/Superman were more proactive in the whole thing, but thats a very small gripe. Kudaranski and Anderson gel together perfectly, producing beautiful art. Its tough to say much bad about this issue. While Its not exactly perfect, but its a home run nonetheless.

Naomi is a wonderful character, but instead of doing something dynamic with her, Bendis just expositions her to death. All hope is not lost, of course, but this issue suffers because of the way Bendis presents things.

As an introduction to Naomi, this issue and the one preceding it present her a fun character and even give readers a hook to go and check out her book. There's a lot to like in this one, and it outweighs any problem the book has.

Action Comics #1017 is such a great way to open a new story arc. Bendis grabs readers right away, making them anticipate how things got the way they are and keep turning the pages. There are a few Bendis-isms in the book, but they dont hurt the story as much as they could. The art has a few problems, but for the most part, is pretty good. Small critiques aside, this is an outstanding issue, and it will definitely keep readers coming back.

This comic is basically all the problems with Bendis' writing in a nutshell- focuses on his OCs to the detriment of the story, skipping most of the fight, and progressing plots that don't fit into the story he's telling.

Action Comics #1019 starts like it's going to be another cliche Bendis comic- a bunch of boring talking heads fawning over a Bendis created concept. However, he salvages it by having it actually play into the story at hand, a welcome change from the last issue. Romita Jr's art works for everything in this issue, his versatility as an artist working with the peaks and valleys of Bendis's script wonderfully.

Bendis still has a few more things to clear up in next issue's conclusion to this story arc, but this issue fills in a lot of the blanks from previous issues and has some great action.

Action Comics #1021 is a great comic. This story arc is probably the best one of Bendis's tenure so far, and this issue ends it in perfect fashion. This issue is action-packed and a roller coaster ride of ups and downs. Romita Jr's artwork makes the whole thing pop. This story could have gone a few ways, but it turned out great, and this ending is a testament to that.

Action Comics #1022 delivers on so many different levels. It's a quiet spot after the sturm and drang of the last story.

Action Comics #1023 is a good issue that, unfortunately, shows off the creative team's weaknesses. Bendis drags the middle of the book out with a whole lot of repeated dialogue. A lot happens, but very little of it has any real weight. Romita Jr.'s art has some of the problems that have plagued his work, with indistinct line work and some strange lack of details in a few places. There's still a lot to like about this issue, and it's entertaining, but it does have some problems.

Action Comics #1024 could have went either way- Bendis's track record on mid-story arc set-up issues isn't great, but this one ducks a lot of the problems that those comics of his have historically had. It sets things up and is entertaining throughout, not feeling drawn out at all and giving readers a nice ride that gets them excited for what's coming next. Romita Jr.'s art is better than it was last issue, which is a huge plus. Action Comics #1024 isn't perfect, but it's very good and leaves readers begging for more.

Action Comics #1025 is one of those times when it being a cliche Bendis comic works out very well. It's full of dialogue, but it's well-paced. There could be more action, but overall it doesn't hurt the book that there isn't any, and seeing as how this is one of Romita Jr's off issues artistically, it's good that there isn't any big action scene. All in all, this is an entertaining comic that will leave readers waiting to see how it all shakes out.

Action Comics #1026 is an action-packed romp. Bendis balances his seemingly pathological need to write reams of dialogue while also keeping up the pace of the issue by showing the Superman family battle Parasite. The ending is pretty cool as well, if a little mystifying- why are the F.B.I. arresting Lois? On Leones word? Its weird but it makes for a good cliffhanger. All in all, this a pretty good comic and another example of how good Bendis has proven to be at writing Superman, even if it took him a bit to get this good.

Action Comics #1027 sees Bendis tie up a lot of loose ends, putting a boo on the S.T.A.R. Labs stuff and the Invisible Mafia. He does it without breaking any of his toys on the way out, giving future creators the chance to use them. The issue itself is just a good Superman story, with every member of the cast getting a chance to do something cool. Romita's art is uneven but more good than bad. All in all, a fine effort from all involved.

Action Comics #1028 puts the capstone on Bendis's run, and it's pretty wonderful. This isn't an action extravaganza. It's just a bunch of very well done character moments. It's a great goodbye from Bendis to Superman and his cast. Romita Jr.'s art is a bit uneven. It isn't bad, but it's great in the places where it needs to be. This is a great send-off for Superman.

Action Comics #1029 gives the payoff to the last issue, trading parental anxiety for parental triumph. Kennedy does a great job in this comic of playing with the emotions of the scene. This issue also raises some questions about the future and Amanda Wallers role in everything, as well as setting up a great cliffhanger. The back-up story is interesting if a little weird. All in all, this is a satisfying comic that is building something interesting.

Action Comics #1031 is a solid issue. Both stories end on nice cliffhangers that bode well for the future. The main story is action-packed and intriguing, and the backup's ending finishes the whole thing with a lot of questions. The fact the stories oddly mirror each other is icing on the cake.

Action Comics #1032 is such a fun Superman comic. Johnson and Sampere deliver a straightforward narrative that sets things up for the future but does a great job entertaining in the present tense. The backup story is really ramping up nicely, with Cloonan, Conrad, and Oemings story starting to branch out and really get some legs. Action Comics continues its streak of good stories since Johnson and company have taken over.

Action Comics #1033 is a fun comic. Johnson has built an interesting Superman story. Hes been doing a great job on the Superman books so far, and this issue keeps that up. Samperes art is outstanding and compliments the story very well. The backup keeps things going and is a lot of fun. This comic is a wonderful read, even if it isnt reinventing the wheel.

Action Comics #1034 does some great stuff. The main story is action-packed and builds the plot up even more. Johnson has shown that hes great at this sort of thing, dropping great stories in every issue. Duce steps up with the fill-in issue, keeping the art at the high level it had previously been, and the backup team is firing on all cylinders. Action Comics #1034 delivers a lot of bang for its buck.

Action Comics #1035 downplays the action and replaces it with emotion in the main story and mystery in the backup. Theres a lot of good stuff in these two stories, and the creative teams do a bang-up job.

Action Comics #1036 is just an all-around entertaining comic. The Warworld Saga is shaping up to be something special if this beginning is any indication, and the backup remains just plain fun. It would be great if DC just put out a Metropolis book based around them. This comic is more bang for the superhero buck.

Action Comics #1037 lives up to its name. Johnson and company give readers an action-packed comic full of surprising moments. Its exciting and where its going to lead is anyones business. The backup is a great kick-off for a story. As usual, this book is killing it.

Action Comics #1038 is yet another hit in a book that has been full of them lately. Both teams do a remarkable job of building their stories. The art is mostly great, but it lacks in places in both stories. All in all, this issue is gets it done.

Action Comics #1039 is terrific. Johnson is creating a once-in-a-lifetime epic, and Federicis art is the perfect complement. The backup is heating up, and things are getting interesting there. Aldridge and Melo are doing an excellent job with Martian Manhunter. Action Comics has truly reached the next level.

Action Comics #1040 is further proof that this book is the finest superhero book on the stands. Both creative teams are in rare form, and every comic fan should be checking this book out because its nothing less than a must-read.

Action Comics #1041 continues to deliver. This is low-key one of the best superhero books on the market, with both creative teams really nailing their stories.

Action Comics #1042 is such a masterpiece of art and storytelling. The main and backup teams do a fantastic job, although the art in the backup slips a little bit. Action Comics is one of the best superhero books on the market, and reading this issue reveals why.

Action Comics #1043 adds some more to the story, but other than that, it feels very much like the other chapters of this story so far. The art is phenomenal, and all in all, this issue definitely makes things more interesting than they were before.

Action Comics #1044 is so great. Johnson and company are firing on all cylinders, giving readers great action and incredible plots. The main and backup stories are all good, and this one remains a must-read.

Action Comics #1045 is yet another great story, both in the main and back-up. The creative teams are hitting hard, and other than a few weaknesses in the art in the main story, this is a great read.

Action Comics #1046 is a great penultimate chapter. Johnson is excellent at making an action-packed story, but he has no problem showing why the heroes are heroes. He does that with Superman and Steel in this issues stories. Ossio, Loughridge, Lapham, Mulvihill, and Sharpe supply the story with amazing visuals. This issue does an incredible job of getting everyone ready for the finale of this brilliant story.

Action Comics #1047 kicks off a great new story. It hits all the right notes, which is expected from Kennedy at this point. Kal-El is back, as is Lex Luthor, and all is right with the world. Federici, Loughridge, Lapham, Mulvihill, and Sharpe provide excellent visuals that make this story work better than anyone could imagine. If the beginning of this story is this good, the rest should be a blockbuster.

Action Comics #1048 is yet another winner. This book honestly feels like it cant lose ever. Johnson is the best Superman writer in a long time, and when hes teamed with artists like Perkins, Loughridge, Lapham, and Mulvihill, the book is going to be exceptional. Combine that with Sharpes fantastic letters, and readers get something special on every page.

Action Comics #1049 continues this books run of excellence. Next issue is the big blow-off to Johnsons run, and itll be amazing to see what comes next. Both stories show off teams at the peak of their powers, giving readers remarkable tales. Action Comics is consistently better than nearly any other superhero book on the market, and thats all there is to it.

Action Comics #1050 is yet another great book in this series repertoire. It expertly sets up the new status quo for Superman and really builds anticipation for what comes next. Its a perfect Superman comic.

Action Comics #1051 kicks off the new format with a bang. Each story has its strengths, but the Power Girl one is the most unexpected and the best one. This is three creative teams coming together to give fans wonderful stories. Its just as great as everyone assumed it would be.

Action Comics #1052 continues the Superman renaissance. Each story has its strengths and is building towards something interesting. This comic is always worth every penny, and the new format makes it even better.

Action Comics #1053 is yet another Superman spectacular. The middle story is weaker than usual, but the other two are still great. Williams and Sauvage are the highlight, with their story ending in the upcoming Power Girl special. However, no matter how it breaks down, this comic is a treat.

Action Comics #1054 delivers with all three stories. The main story is the winner this month, but the third is a pretty good replacement for a Power Girl short. The second story has taken a nice twist, even if there are still some problems with it. Action Comics has been amazing for ages now, and this issue keeps that up.

Action Comics #1055 goes from awesome to good to okay. Its still an excellent book, but the back-ups feel like theyre running out of steam, which is a problem in a book with two of them.

Videos by ComicBook.comAction Comics is one of DC's must-read books in 2026, and this issue shows off why. Waid has always written an amazing Superman, and he's just as great with Superboy. Waid is basically a doctorate-level expert on old school DC, so giving him a chance to redo the tales of Superboy was honestly the best idea that DC could have. Superboy is one of the most important concepts in comics, and getting a new modernized version of the Teen of Steel is everything a Superfan could want. Waid does an amazing job with young Clark Kent, capturing the goodness of the boy as he tries to navigate a world that has changed completely since putting on the red, blue, and yellow.

Superman: Warworld Apocalypse #1 sticks the landing. Theres really nothing else to say about it. Johnson, Peterson, Conrad, Raynor, Mendonca, Loughridge, and Sharpe produce an action-packed finale, one that has wonderful moments and sets things up for the future. Endings are difficult, but this one makes it look easy.

Pepose was able to reintroduce the Captain Planet mythos in the most entertaining manner possible, doing a great job of bringing a story that is over thirty years old into the present. This is an exciting comic with a lot of storytelling in its pages and does a wonderful job of getting people interested in the story. Casallos and Sutil's art works well for the most part, taking the excitement of Pepose's script and bringing it to life. Captain Planet and the Planeteers #1 is a great way to bring back a group of classic characters, giving readers some nostalgia while also introducing something fresh and new and very worth getting excited about.

All in all, I like what this issue says about the characters, as well as how it sets things up, and gives me a different view on my favorite Daredevil fight (the character is too OP in my opinion, so I love seeing him get trounced in a fight).

Female Furies #1 gives readers a different look at Apokolips, but it's one that makes perfect sense. The only thing holding the book back is the steep learning curve, but Castellucci proved on Shade The Changing Girl and Shade The Changing Woman that she can take difficult, esoteric concepts and make them accessible. Adriana Melo's art is perfect for this book. The ending is a good hook to keep readers coming back, but beyond that the hope that Furies will get comeuppance against their oppressors should be enough for most readers.

Female Furies #2 adds to Castellucci's abuse narrative while also adding new wrinkles to the story. Adriana Melo's art continues to impress, bringing a level of emotion the story needs. The only problem this book has is that many readers aren't ready for the very frank discussion of misogyny and sexual abuse this comic puts forth and especially don't want to see it in the Fourth World. However, the art and writing are top notch, and that's all that matters.

Female Furies #3 is another triumph for this series. Castellucci goes a bit more subtle and it pays dividends. She uses this halfway point in the series perfectly. There's the feeling of a bookend to this one, the ending of somethings and the beginning of others. Melo's art keeps wowing, fitting Castellucci's scripts to a tee. Readers familiar with the Fourth World will see where the story is going from here but Castellucci's proven how good she can be, so it will great to see what she adds to what readers already know.

Female Furies #4 opens the series up as it reaches its second half. Castellucci is able to fit in her narrative about how women are treated in society while giving the book a new place to go. This issue introduces several new elements to the plot, ones that will be very interesting to see play out as the book heads toward its conclusion. Adriana Melos art seems to get better with every issue. Theres a lot to love about this book.

Female Furies #5 is a great issue, but it isnt perfect. The Furies reaction to Earth is humorous, the fight scene is exciting, and Bardas speech is heartfelt and powerful. However, Williks groveling and the added chauvinism of the Apokolips inner circle feels tacked on to make the bad guys look worse, but that really isnt needed at this point. Adriana Melos art is still top notch and continues to impress. It will be cool to see what the Furies scheme entails next issue, and this issue sets it up rather well.

Female Furies #6 is a bit of a disappointment, especially after how good the preceding issues have been.

The Justice League is in a great place right now. DC All-In and "We Are Yesterday" have set up a lot of great story ideas for the team. Justice League Red #1 adds to that. I'm always a little leery about Ahmed's work after wowing readers with his Black Bolt series, Ahmed has been kind of disappointing ever since, and his Wolverine has torpedoed the books sales but this issue takes an idea I like (the black ops Justice League team a la Justice League Elite) and sets it up well, asking some interesting questions about the League and AI. Henry's art is very good, and does a great job with the script. Henry's art doesn't wow you, but it's still pretty aesthetically pleasing. Finally, it brings back one of my favorite DC characters, with a plot that can go a variety of ways. All in all, I'll be buying the next issue of this book to find out where it's going and you should too.

Knights Of X #1 is a cliche fantasy opening chapter. Howard is a talented enough writer to make it all work, but this book has nothing outstanding. Its all boilerplate, but there is enough to keep a reader coming back. The art is what really sells the book. Quinn and Arciniega are an incredible team, and they elevate the tepid script and make the book special.

Legion Of X #1 is an oversized issue, but it still feels like its stuffed with content. Its well done, as Spurrier, Bazaluda, and Blee make a great team, but this issue can overwhelm readers with plots and characters. It would have been served better by either getting more pages or slowing the pacing down and making it two chapters. Its still a good read and sets up some intriguing things for the future.

Namor #8 is a book that excites me as a Namor fan. Namor can get trapped into a cycle of snarky heroism, betrayal of his surface comrades, war, and repeat. Seeing him actually grow beyond that cycle, realizing that he's kind of always known and kept it from himself, is a great little bit of character development that Namor has needed for a long time. This issue has a lot of great moments in it, and it caps off a series that could have went in the same direction every Namor does, but instead veered into a new direction. It'll be interesting to see whether Marvel keeps this new status quo, because it could lead us to the most interesting Namor stories ever.

Planet-Size X-Men #1 is a great read. Duggan and Larraz give readers a breathtaking look at the re-creation of a biosphere, and its a move that looks to have massive repercussions on human-mutant relations in the future. That said, its a little too convenient for the plot and actually one of the least intelligent moves Krakoa could make. All in all, its a good comic.

This story starts out wonderfully, dropping readers into a battle between the X-Men and a giant monster. It's an exciting little fight that shows Rogue as a leader, while reminding readers of her past. This is a great way to start a new issue. New readers might not know that Rogue is a leader (especially if they're X-Men '97 fans but haven't picked up the comics in a while), so showing her in the field and how proficient she is in command is a great thing to show. There's a little tease of which way the story is going to go in the first few pages, and the whole sequence is extremely entertaining. Schultz does a bang-up job of showing why Rogue is one of the X-Men's best superheroines, and she nails the character's individual voice and where she is as a character right now. Even if you don't know a lot about her in the past few years, this story will still work for you.

Writer Steve Orlando has been in charge of building up Scarlet Witch over the last few years, and he's been doing a pretty good job. One of the problems with Scarlet Witch over the years is that creators have only given her a few kinds of stories. She's usually either too powerful and gets driven to evil, or her adventures are defined by the men around her. Orlando has changed that, making Wanda into a character that is more than just sexist ideas of what a female superhero is. Sorcerer Supreme #1 continues this, and it's one of the many enjoyable parts of the issue. Scarlet Witch becoming Sorceress Supreme isn't a huge surprise Marvel has been working to lift her profile for a while and this issue develops why this is actually a good idea.

Super Sons #13 keeps up the legacy of pitch perfect characterization and solid artwork that have been a hallmark of the book since its debut. It has humor, heart, and action, something this book has been continually bringing.. Bringing Talia in lets readers see Damian in a new way and this story has the potential to sow some discord into Jon and Damians relationship. Its not perfect, and this story arc could go either way, but if you havent given Super Sons a try yet, this is a perfect place to start.

Wolverine: Black, White, And Blood #1 is a Wolverine tour de force, telling three great Wolverine stories, each highlighting a different part of him- the beast with a heart of a man, the expert black ops operator, and the blood-soaked avenger of the innocent. The art is perfect, with the limited palette making the violence that much more stark and brutal. This comic is a must-read for Wolverine fans and just fans of good stories in general.

Wolverine: Black, White, And Blood #2 is a bit of a step back from the first issue but still very entertaining. Claremont and Larocca are the MVPs, but the other two stories have their moments, even if they aren't perfect. The art is very good but falls a bit short of the last issue. However, its still an action-packed ride and would entertain even the most discerning fan.

The first story is the strongest of the bunch, touching on Wolverine's past in Japan and telling a story that touches on his life's weariness and the things he sacrifices for being a hero. The third is a lot of fun and shows readers that Wolverine is as smart as he is tough. The second story is a huge disappointment on all counts. It barely belongs in this book, and Bachalo's art just doesn't translate well to black and white.

Wolverine: Black, White, And Blood #4 isnt the weakest issue of the mini, but its not the strongest either. Its pretty good all in all, with the last story bringing down the curve. The idea behind this series is sound, but its kind of been a case of diminishing returns since the first issue, which was just about perfect. Its presented some fun Wolverine stories in a novel way, though, and this issue succeeds in that as well without too much trouble.

You'll Do Bad Things #1 keeps you guessing from start to finish. There's a mystery at the center of this book, and it's one that is impossible unravel on the first read through. Boss knows how to hook readers. I want to know what happens next in this book and anyone else who reads it will, too. Turtulici's art works brilliantly for the book, its old school vibe never tipping the book's hand on what kind of story this will be. While it falls into some cliches writer's block, pushy agent, unfulfilled artist it's presents an intriguing enough mystery that will draw readers in.

All in all, Superman #40 is an average chapter in what has mostly been a rather stellar Superman book. Its not bad, at all, its just nothing special, but the story does have the potential to get better. Robinson introduces some interesting wrinkles into the whole thing and Mahnkes art is great.

Superman #41 doesnt reinvent the wheel, its not going to solve all the worlds problems with religion, but its a good time and it tries to tackle to difficult subject without being preachy or judgemental. It succeeds at that rather well, even if its basically preaching to the choir.

The Bizarro section is full of little things like that and it makes the issue that much better. Bizarro stories should always be mixes of the ridiculous and the serious. Some creators err too far to either side and the story falls flat, but so far, Tomasi and Gleason have struck a great balance. The rest of the book contrasts with that opening section, while also setting up a nice thematic resonance with it. The first few pages are a little jarring, but sticking with it rewards the reader with a smart and fun Bizarro story.

The Bizarroverse storyline is shaping up to be a great one. This first issue in the story gave the impression that this would be a meeting between Superboy and Boyzarro, with a good old fashioned Superman/Bizarro tussle in there somewhere. Thats a fun, albeit simple, premise, but Tomasi and Gleason have expanded on that, adding new layers to the story and upping the ante. This story will be the last one the team gets to do before Bendis comes in and its looking to be one for the ages.

Superman #44 is a good ending to a what was shaping up to be a great story . The creative team nails it when dealing with Bizarro and Superman, but when it pulls out for the other things going on around them, it pales a little bit. It doesnt ruin the whole thing; this is still a really good story and the best Bizarro story in a long time. The first two issues of this arc were amazing, setting up everything so perfectly and while the ending of this is good and works, it doesnt fit the set-up. Its a bit disappointing, but still worth the read.

Tomasi and Gleason end their Superman run in a perfect fashion. Sure, theres no huge fights. Theres no big sci-fi stuff. Manchester Black doesnt come back to menace the Kent family. Bizarro doesnt try to attack Hamilton and destroy the son he loves so much. Its just about the Kent family and their friends, and its a great issue. Its simple and elegant, a beautiful little story about a family moving on with their lives. Between this and Action Comics #1000, this week has been an embarrassment of riches for the Superman titles.

X-Men #1 is an excellent introduction to Hickman's new era.

X-Men #2 is a lot of fun, plain and simple. Hickman takes three of the grimmest X-Men- Cyclops, who has been through so much in the past few years, Cable, and Prestige, both of whom come from dystopian futures, and shows how much the feeling of security and hope Krakoa gives mutants has affected them. One of the underlying themes of this issue is family, and the dynamic between the Summers family underscores that. He even offers Apocalypse an almost paternal streak, while also teasing for some big stuff in the future. Leinil Yus art is outstanding, with the only problem being some of his expression work. Everything about this issue lands wonderfully.

X-Men #3 is another home fun for Hickman and company. Hickman introduces a significant new threat in Hordeculture, one that has nothing to do with humanitys racism against mutants. They are an interesting bunch of characters, and their background in horticulture gives them a way to undermine Krakoa. Leinil Yus art makes the issue work so very well. His pencils are detailed and sell the action and dialogue on the page. X-Men #3 sets up some interesting stuff for the future and continues this books run of excellence.

A heavy dialogue issue like this can turn a lot of readers off. But there's so much tension going on in this issue and that's what makes it so fun to read.

X-Men #5 is a good issue that could have been great with just a little tweaking. Hickman is setting something up with this one, but spends too much time telling readers about the Vault and spends very little time showing them anything. This issue is intriguing, but it could have been so much better. R.B. Silvas art is wonderful. He makes some very cool design choices, except the new costumes for Synch, Darwin, and X-23. This one was right on the cusp of greatness, but fell a bit short. Its still very good, though.

X-Men #6 is stellar. Hickman sets up a lot of things in this issue, but the most important parts aren't the set-up for future plot lines, but the sheer emotion of the whole thing.

This issue is just next level good. There's no other way to describe it.

This is a pretty fun issue, all and all.

X-Men #9 is a good issue of this book, but that's a disappointment with just how good this comic has been since Hickman took over. The beginning of the story is excellent, but the rest of it feels too rushed. It's not a bad comic, it's just sort of average. What's not average is Leinil Yu's art. This story could have used more room, whether it be just a few more pages for the two issues or another issue entirely.

X-Men #10 is an event crossover that doesn't feel like an event crossover, and that's one of the many reasons it's so good. Hickman uses it to do a character study on Vulcan and pay off some clues he's sprinkled in the book about Vulcan. It all works really well, even Sway and Petra's shallow party girl attitudes. Yu's art is at its usual level of greatness, his eye for design, emotional storytelling, and detail, making the whole thing look amazing. X-Men #10 works even if someone has no idea what's happening in Empyre, and that's great.

X-Men #11 gives readers a sight they haven't seen in a long time- Magneto cutting through his foes like a hot knife through butter, and it's glorious. Hickman and Yu work together perfectly to give readers a treat they haven't had since Magneto joined the X-Men way back in the Utopia days and capture the force of nature that is Magneto. X-Men #11 is as close to perfect as one can get.

X-Men #12 gets readers ready for X Of Swords, answering a lot of questions and asking even more. Hickman is building something great with this one, and it will be wonderful to see where it goes next. Yu's art is perfect for this issue, making Hickman's script come to life. If this issue is any indication, X Of Swords will be great.

X-Men #13 is a competently done issue and that's pretty much the best that can be said for it. Structurally, it's sound and everything in it works towards the story it's trying to tell. Hickman and company do a fine job with it on the level of putting together a comic that plays into a larger saga. However, it also contains a terrible retcon that changes everything fans knew about a character in the worst possible way to sell a story that isn't all that good.

X-Men #14 is a well done comic, but one's enjoyment of it entirely hinges on whether X Of Swords is working for them. It's all very predictable, but it does do an excellent job of getting across the kind of person Genesis is- she may actually be more hardcore than Apocalypse. The art is great if a little static. However, it's just more set-up for a crossover that already feels like it's gone on too long.

X-Men #15 is a powerful issue, the best of this book's foray into X Of Swords. It's pacing is much like the pacing of the story itself, except it's actually trying to say something, whereas the slow parts of X Of Swords were set-up that was meant to stretch the whole thing out, sometimes having very little to actually do with the plot of the story. Hickman finally had something to say in this issue, and that makes it much more effective than any other issue he's written for this particular story. Asrar's art does the heavy lifting for the Quiet Council scene with aplomb while also capturing the power of the battle between Apocalypse and Genesis. X Of Swords has been remarkably uneven, even Hickman's own work in this very book, but this issue is wonderful.

X-Men #16 is a well-written comic, but it doesn't feel like anything important. It's a problem this book has been having for a long time. Hickman is a great writer, and there's nothing really wrong with this issue and how it's written. It just doesn't feel like anything special. Noto's art is the issue's saving grace, but even then, there's just something empty about the whole affair. It's just setting things up. The wheels are spinning, but the car isn't going anywhere.

X-Men #17 is fine. There's nothing wrong with the writing; the story is exciting, there're some fun moments. Cannonball and Sunspot are very entertaining. However, it just feels like it's there as filler. Sure, the Shi'Ar Empress owes Storm a favor, and that will play into things later, but does any of it really matter? Is this a story that demanded to be told, especially right now? Hickman is a creator who rarely missteps, but it feels like he's just spinning his wheels. Booth's art is very good, but there's something that is kind of anachronistic about it. X-Men is like a ship without a rudder- it gets somewhere, and the trip isn't always unpleasant, but it is aimless.

X-Men #18 finally fulfills the promise that Hickman made in House Of X/Powers Of X. X-Men has been coasting for too long, and this issue finally changes that. By continuing the story of Wolverine, Darwin, and Synch in the Vault, Hickman is showing readers just how dangerous the post-human threat to mutantkind is. This issue is a breath of fresh air, and it feels like this is the type of X-Men book readers were promised when Hickman came aboard. Asrars art is the perfect complement to the whole thing. It reads great and looks amazing, and is everything one could want in an X-Men comic.

X-Men #19 is everything this book should be. It tells a great story about evolution and change, pushes plot lines that have been dormant for ages while mediocre ones get pushed, and has a great doomed love story at its center. This is Hickman at his best and shows just how much other issues of this book have taken it off the rails. Asrar's art is wonderful, with him really catching the quiet moments of love between Synch and Wolverine. If X-Men were more like this issue, it would be the best book on the shelves. However, with another drawn-out, overly long "read every issue" story coming, it feels that this issue will be the exception and not the rule.

X-Men #20 ties up another loose end from Hickmans run on the book as it comes to a close. Hickman does a remarkable job in this chapter. Between this and the last two, its hard to say which ones are the best. Mystique has failed again, yes, but Magneto and Xavier are still stringing her along. Itll be great to see how this plotline develops. Mobilis art is excellent, almost perfect for this issue except for Nimrods size, which is a minor quibble. Its a shame that after spinning his wheels for so much of his run, issues like the last three come and show just what readers could have had if it wasnt for the all-tie-ins and crossover events. However, they were a fantastic read, and this issue keeps up the quality from whats come before.

X-Men #21 is completely unsatisfying. Hickman writes well, and there's some definite setup for the future going on, but this isn't House Of X/Powers Of X quality, and it's not even close. If one isn't on board with the meandering, oh so clever riddles of the Red Diamond Sinister Secret pages, then it's going to do nothing for the reader. It feels like set up for the sake of set up and says very little. Now with more celebrity cameos! It's perfectly fine, but it feels like it's trying to be profound and fails at it. That said, at least it looks amazing. All in all, it's perfectly fine, but it's not going to whet anyone's appetites. It doesn't even feel like it's meant to; it's infuriatingly open-ended. It's endemic of Hickman's time on the book, for better and for worse.

Old Man Logan #36 is a great start to a new story arc. The art could be a little better, but Brissons story is so good, if a little cliche, it still engages the reader. The whole set up for this story arc is pretty intriguing. If there is ever a weakness to Wolverine/Logan stories, its that they fall back on the same types of villains, usually ninjas, shadowy government agents, mutant threats, or old foes with scores to settle. Pitting Logan against the Kingpin, especially the new mayor of New York Kingpin, is an inspired choice. This isnt a perfect book, but its an entertaining read with a great hook for the issues to come.

This story had a lot of potential. It was interesting to think of what kind of ways Mayor Fisk would try to get the flash drive back, but its all become rather cliche. There were so many places this story could have gone. There still could have been a fight with Bullseye, but it could have been structured differently to make the whole thing better. The point of Wilson Fisk being mayor is for him to be a new kind of threat than he was before, but this story shows him just doing what hes always done. The fight makes the whole thing better, but it doesnt change the fact the story veers into same old, same old territory.

Old Man Logan #39 pulls double duty. Its a great place for new readers to jump into the book and it moves things forward for readers that have been with the title for a while. Globs subplot is the heart of the book and is a nice spotlight for an underused character. Theres something for everyone to love in this issue.

Old Man Logan #40 isnt much of a Logan story. It showcases a character who has rarely gotten any starring roles and is better for it. The plot is tried and true, but Brissons script is brimming with emotion and is easy to connect with, and Robersons art is expressive and dynamic. Its all very cliche, but it works in the best possible way.

    Old Man Logan #41 is a solid book. It presents a never before seen match-up, while also bringing back two classic Wolverine villains for a nice bit role. There are a few problems, but overall, its an entertaining issues and sets up what could be a very interesting story as two hunters fight to survive the Savage Land and each other.

    Old Man Logan #42 looked like it was going to be a same old, same old, hero-and-villain-forced-to work-together-to-survive-the-Savage-Land story that readers have gotten multiple iterations of. Instead, Brisson and company give readers something with a little more meat on his bones. The art could be better, but Brisson is moving ahead with the story hes been telling in the book since he came on and making some smart choices with where hes going. If hes executes them as he has in this issue, then readers are in for a treat.

Its one easily one of the best installments of Brissons yet, and is a must-buy for fans of the book and those who just want to check out something new.

    Old Man Logan #44 is an entertaining book with a few minor drawbacks. Theres too much focus on Bullseye, which isnt entirely a bad thing, but it takes away from the effects his actions could have had if readers were more in the dark about what he was doing. However, even with that weakness, its a well-paced, exciting comic that will leave fans clamoring for the next issue.

Old Man Logan #45 delivers a sense-shattering conclusion to what has been a stellar story. Brisson and Ferreyra have expertly managed to create an ending that elevates everything that came before it. This one packs powerfully realized action scenes with deft, sometimes subtle, character work into a wonderful denouement. Theres a lot to love in this one. Its an embarrassment of riches.

Old Man Logan #46 does some nice character work, expanding on some of the themes that Brisson has been setting up in this books. Unfortunately, the plot and art arent anything special and Brissons solid characterization cant buoy them up very much. Theres a chance hell turn it around in later issues, but this an extremely average comic. It fits into Brissons overarching story, but its not going to wow anyone.

Old Man Logan #47 could have been a cliche affair and, while it still definitely has elements to it that could considered as such, Ed Brisson throws in a twist on the formula that makes the whole thing shine a little bit more, and the cliffhanger ending sets up the next story arc wonderfully. These two elements, along with improved art, make this one into something special. Subverting a formula while still giving readers something satisfying isnt always easy (ask Rian Johnson), but Brisson and company pull it off here and make it look effortless. The art could be better, but this is definitely a story worth picking up.

Old Man Logan #48 is probably one of the best issues of Ed Brissons run. He weaves strands of horror, superheroism, and fantasy together to create what amounts to a nearly-perfect first issue of a story arc. It sets the scene for whats to come, and builds tension and anticipation, giving readers everything they need to get invested. The art is detailed and powerful, complimenting the script and giving it the tools it needs to wow readers. This is a comic that does everything right.

After the no-holds-barred slugfest of the last issue, Brisson and company slow it down here, cueing readers in on whats going on in subtle, and not so subtle, ways. Old Man Logan #49 delivers some nice atmospherics and wonderful art. This is the penultimate issue for the book, and it brings a new dimension to Logans decision to hunt down the Maestro, setting things up for a cataclysmic slugfest in the last issue. The creative team has built a near-perfect middle chapter for their story. This one doesnt disappoint.

Old Man Logan #50 goes out on a high note, setting up Logan for what could be his last adventure.

All in all, Proctor Valley World #1 is an effective first issue. Morrison and Child set out who the characters are effectively, do a great job of setting the scene and let it all play out. The art by Franquiz and Bonvillain is great, cartoony, and colorful and works well for the story even if it seems like it shouldn't. This isn't a typical Morrison experience, but that's okay- it has a nice flavor and wonderful set-up.

Proctor Valley Road #2 does a great job of keeping readers interested. Child and Morrison do a great job of fleshing the characters out and keeping the intrigue going. Their writing combined with Franquiz's deft pencils makes this book a treat to come back to.

Proctor Valley Road #3 feels like it cops the formula from the last issue, but Child and Morrison make the whole thing work with excellent character work and little moments that shine through. The story keeps getting more interesting, and it will be fun to see where this one ends up. Franquizs art doesnt always work with horror, but its still excellent. Proctor Valley Road might not be what fans expected, especially if theyre looking for super weird Morrison, but its still a lot of fun.

Proctor Valley Road #4 is both intriguing and standard penultimate issue fare. It does all the heavy lifting it needs to and sets things up well. Morrison and Child do a great job of building a world around the story, and Franquiz's art is perfect for this story, even if it doesn't seem like it at first glance. Proctor Valley Road is the fun summer horror movie that everyone needs after the "joys" of the last years.

Proctor Valley Road #5 is as cliche as they come, but that makes it no less entertaining. Child, Morrison, Franquiz, Bonvillain, and Campbell have created a fun horror comic that just begs for a sequel. This issue serves to tie everything up nicely, and while it definitely leaves things open, its enough of an ending that if theres never a sequel, its still a satisfying story.

Adventures of Superman: Jon Kent #1 is a pitch-perfect first issue. Taylor, Henry, Bellaire, and Abbott give readers a thrill ride that sinks its hooks into readers and dares them not to buy the next issue.

Adventures of Superman: Jon Kent #2 is a fast, action-packed ride with a cool ending. Taylor does some good character stuff, and the art team makes it all look wonderful.

Adventures Of Superman: Jon Kent #3 is a fun comic to read. Some fans groan at Taylor combining Jon and Injustice, but for fans willing to give it a chance this is a killer story. Henry, Belleaire, and Abbott are the key to all of this, as their art takes a good script and makes it fantastic.

Giant-Size X-Men: Fantomex #1 is a very good book. It gives the reader a glimpse into Fantomex's past that they've never had before, but it's also very respectful of Morrison's original vision of the character.

Giant Size X-Men: Jean Grey And Emma Frost #1 is a perfect homage to one of the most striking issues of Grant Morrison's New X-Men.

Giant-Size X-Men: Magneto #1 is one of the most disappointing books that Hickman has written during Dawn Of X so far.

Giant-Size X-Men: Nightcrawler #1 has the look and feel of an old school X-Men story. This is a plus and a minus. It's cool to see such an old school approach, but there have been lots of X-Men stories that follow this exact formula in the past, so it robs it of a lot of its impact for long time fans. Alan Davis's art is amazing, as always. This is a fun, one-off story. It isn't perfect, but it doesn't have to be.

Giant Size X-Men: Storm #1 ties up a lot of plot threads in a satisfying manner. Hickman lays out some clues to what might come next for the World, and it'll be fun to see where he takes the whole thing. Russell Dauterman's art makes the whole thing pop, with Matthew Wilson's colors giving the pencils the flair they need. All in all, Giant Size X-Men: Storm #1 is a wonderful ride.

Giant-Size X-Men: Thunderbird is the real deal. Orlando helps Rose, a wrestler turned comic writer for this issue and a Native herself, turn in an impressive script about one mans quest to find himself and his people, the latter literally. The art perfectly compliments the script, with the team nailing both the action and the character work. Thunderbirds return bodes well for the future, and this is easily one of the most exciting and well-done issues of the nascent Destiny Of X era.

Hellions #1 has a fascinating premise. Putting together a group of mutants to use in the worst situations, a team that is already on the edge of breaking Krakoan is a great idea, and Wells pulls it off admirably.

Hellions #2 is a gut-punch of a comic. The pace is quick and brutal. Wells doesn't waste a lot of time getting to the action, but he's still able to do some nice work with his characters, balancing things very well.

Hellions #3 does a great job of setting up the threat of Madelyne Pryor. Her mania makes sense, but she's just insane enough to keep readers from sympathizing with her too much. Wells sets a nice spooky vibe, and Segovia and Curiel's art does a great job of upholding the tone. Hellions #3 has it all- thrills, spills, and chills- and is a wonderful comic.

Hellions #4 makes some strange plot decisions to do some character work that is arguably better than any demonic invasion. While it is weird not to get the cliches, what readers get is more compelling than what they may have gotten if Wells made more run of the mill decisions. Segovia's art works for the issue as well. Hellions #4 closes out the first story arc in fine fashion.

Hellions #5 is a fun read, but in the overall X Of Swords story, it just feels like a placeholder, a way to pad the run time, to use a movie metaphor. The Hellions aren't going to be able to make enough of a difference in the whole thing; it would completely ruin X Of Swords if they did. The idea is good, and the characters make the whole thing worthwhile, but it's just a way to justify X Of Swords being 22 issues long. Well and company do a great job, though, so there's that.

Hellions #6 is an action-packed romp that will have a lot of repercussions in this book. Whats going to happen with the members of the team left in Arrako? What did Tarn do to Mister Sinister between the survivors retreating and him killing the team? What happens next? Wells does a great job throughout this issue of posing new questions for readers and setting things up for the future. Carneros artworks very well, even if its sometimes a little undercooked. This one feels like a turning point for this book, and thats a good thing.

Hellions #7 serves as a turning point for the team- no one trusts Sinister, and now a lot of the team is silently judging Psylockes defense of him as well. Wild Child and Nanny have become wild cards, vicious survivors changed from their experiences. Wells finds the sweet spot between humor and drama, and Segovias pencils get the points across with aplomb. Hellions #7 sees a team changed by the experiences of X Of Swords, and its a great look.

Hellions #8 is another example of why this is one of the most interesting of the X-Men books. It combines a good sense of humor with a lot of dark stuff, making the whole thing more palatable. Wells is the perfect writer for this book, and Segovia's art really makes his work shine. While this isn't a groundbreaking book by any means, it's very entertaining and a treat to read.

Hellions #9 is a good issue. Wells shows that he can do a lot with his characters in a few pages, using his page space strategically. The main plot of the issue is pretty interesting as well, as Sinister is outsmarted and Mastermind just does exactly what he's known for doing. The surprise villain reveal at the end is pretty great as well, as it's a villain that hasn't been seen in a bit and is always fun when he shows up. Segovia's art is the icing on the cake, his character acting, selling the issue's moments admirably. Hellions #9 sets up a new storyline and does some cool character work.

Hellions #10 works for what it is, but it could have been so much more. Wells hits all the right marks, but there was so much potential here that got left behind. Its a perfectly fine comic but nothing special. Segovias art marks everything look great, so thats one in the plus column. This is still an interesting story, but it could have been more than it is.

Hellions #11 redeems what felt to be shaping up to be a mediocre, at best, story. Wells expertly cleverly subverts reader expectation- of course, Sinister and Mastermind, mutants known for their subterfuge, had something shady planned. Its a great twist, and it pulls this issue into the stars. Segovias art is the icing on the cake. Hellions #11 does a lot of heavy lifting for the books future, and its looking to be a great one.

Hellions #12 is a fun comic. The Hellfire Gala isn't a traditional multi-part story, so there's a certain amount of wheel-spinning that has to go on, and this issue does it entertainingly. Wells and Segovia do a fine job with this one, fitting in character development, a lot of great moments, and an ending that bodes well for the future.

Hellions #13 has an old-school feel and looks to be building an excellent story. The Hellions' past is coming back to haunt them, and if it's anything like previous issues, it'll be a great story. Wells and Antonio make a good team for this one; it balances character work, set-up, and humor expertly.

Hellions #14 is another example of why this book is so solid and entertaining. Wells knows how to balances a book very well, getting the right mixture of action, exposition, humor, and stakes to make the whole thing work. Antonio and Beredos art makes the entire thing look great. Hellions remains one of the highlights of the X-line.

Hellions #15 starts like any other chapter of the book, and then the ending hits and just shifts the whole thing into another gear. Wells is doing a fantastic job with this book, and Antonio continually knocks it out of the park on pencils. This story has opened this book up to go in so many directions, and it will be a treat to see where this stellar team takes it.

Hellions #16 is an issue of build-up expertly done. Wells lays out a script that is heavy on emotion, and it lands amazingly, with Segovias pencils bringing it all to life. This is set up done right.

Hellions #17 is the books penultimate issue, and its a tragedy. Wells sets up an amazing story, Segovias artworks brilliantly, and the story has a great ending. This book is the direction the X-men books should be taking, but most of them cant hold a candle to it. The fact that great books like this keep ending and the remaining books are so mixed in quality is a problem the X-Men line will have to deal with in the future.

Hellions #18 is the end to one of the best X-Men books being published. Wells sticks the landing with the writing, even doing some build-up for future books he wont be involved in. Segovia is his usual amazing, and Carloss art is perfectly fine if a little uninspired. All in all, this is a great ending that would have been perfect if Segovia drew the whole thing.

Sins of Sinister #1 is everything anyone can want from a kickoff for an event. Its well-written, full of killer art, and best of all, exciting and fun to read. The X-Men books can seem pretty event heavy at the best of times, but this issue shows that sometimes, thats a good thing.

Sins of Sinister: Dominion #1 is a fitting ending for the story. The writing and art are both well done, but it cant really fix the disquiet this story leaves in a reader. The Krakoa Era is one unfolding story, and at the end of events, it feels that way the most. SoS is all the weaker for it, and this ending plays into the feeling that plots are just pieces moving on a board.

Cave Carson Has An Interstellar Eye #1 brings Cave and company back in grand fashion. Sure, the story is simple, but its a good hook for the next issue and its so visually intriguing that it keeps the reader turning the pages. Michael Avon Oeming and Nick Filardi are doing amazing work and it elevates the whole thing.

All in all, Cave Carson Has An Interstellar Eye is a wonderful-looking book that suffers a bit in the character department. Cave and Chloe are obviously the stars, but none of the other characters are memorable enough to care about. The cliffhanger ending comes out of nowhere, nullifying any impact it should have. Its a shame that the writing isnt as great as the art, but its not a bad book. Theres some very cool stuff going on, but there are enough drawbacks to tarnish the luster of this book.

Cave Carson Has An Interstellar Eye #3 takes what could have a bland, formulaic sci-fi story and tweaks it a bit, taking it into territory that make it a much more worthwhile experience. Its not perfect by any means, but its an improvement on the last issue. The creative team uses the books hallucinogenic flavor to enhance the whole affair, but its starting to feel a bit formulaic in its use, which could be a problem down the road. However, this is still a trip worth taking.

    Cave Carson Has An Interstellar Eye #4 takes everything the book has done well so far and adds to it by giving it an emotional core. By putting a focus on the relationship between Cave and Chloe, it gives readers something that was missing and makes the whole thing more realistic. It also casts the series in a whole new light. Its not just a bunch of trippy sci-fi adventures, its a journey of discovery for a man and his daughter as they learn to be better to each other. Its nice when a book can transcend what it was while keeping the same entertaining flavor, and this one achieves that admirably.

    Over the last two issues, this book has improved immensely. The second and third issue was a decent sci-fi story, but it didnt play into a greater plot and felt a little too reliant on being trippy. Last issue was a good one-and-done with a perfect emotional core, and this issue served as a link, not only back to the first issue, but also to the back-up story, while containing some cool sci-fi concepts and the same high-quality artwork that has graced the book since its debut. With the way its picked up in quality, its sad that readers will have only one more issue to enjoy it.

Cave Carson Has An Interstellar Eye #6 is a pitch-perfect send off for them. It transcends the already lofty heights the book has risen to.

    Man Of Steel #1 has a lot riding on it and it delivers. Bendis has captured Superman perfectly and set up several interesting plots. The cliffhanger ending is extremely effective in whetting the readers appetite for more. Bendis seems to get Superman and gets what makes the character work. If Man Of Steel can keep this up, it will be able to stand with the biggest and best Superman stories.

    Man Of Steel #2 is the kind of comic where it very easily could have turned out very bad. Theres so many plotlines going on that, if any of them failed, it could easily sink the book, and if the art wasnt as top notch as it is, none of it would have worked. Fortunately, this isnt the case. Rogol Zaar not knowing about Superman is a stretch, but so far, Bendis has transcended a lot of the negative tropes in his work and is turning in a very engaging Superman story that is hitting all the right spots.

Man Of Steel #3 delivers a big moment and sets up the cataclysmic confrontation between Zaar, Superman, and Supergirl. Bendis paces the issue perfectly and Sooks art brings it all to life, granting it a fluidity and sense of movement that it needs. Its a straightforward issue, but Bendis is still able to include little teases of other plots in a way that doesnt slacken the pace of whats happening. Bendis seems to have learned a lot of lessons about the deficiencies in his personal writing style and worked to correct them. So far, Man Of Steel has been an entertaining ride and this installment keeps that up.

Overall, The Man Of Steel #4 is a very strong comic. Bendis and Maguire are able to lay out a great, kinetic action sequence that also shows Superman for the type of hero he is, one who is always thinking as hes punching, trying to make sure his battles dont affect the city and people hes sworn to protect. The reveal will probably make sense in the long run, but it feels a bit cliche and lacks the menace that it seemed to be building towards. Bendis is giving readers an entertaining Superman and moving past a lot of the deficiencies in his style. Hes not completely past them yet, but The Man Of Steel bodes well for his future with Superman.

The Man Of Steel #5 continues this mini-series run of quality. Adam Hughes art is the MVP of the issue, and Bendis continues to balance the action and the drama perfectly, setting up things for the future without neglecting the main plot. Its not perfect, but The Man Of Steel #5 still soars.

    Its a good comic that sets up several things for the future, but its not as good as it was building up to be and thats a disappointment. As a whole, The Man Of Steel did a lot of things right and proves that Bendis can be a good fit for Superman, that he can mostly transcend a lot of the negatives in his work, and that he can set up things that may provide great stories down the pipe. This issue shows that he can still falter sometimes, though. Its a good comic in an otherwise great miniseries. So, sure, its a disappointment, but its a disappointment in that it wasnt as well done as the other five issues, but is still a worthwhile read.

White Savior #1 is an excellent kick-off issue. Theres a very obvious joke here that the creators arent scared of, but the first issue doesnt lean on it. Todd is a fantastic character and is a big reason this issue is so successful. This book lays out a fun story that readers will enjoy and is definitely worth checking out.

White Savior #2 is better than the last issue and thats saying something. With all the set-up out of the way, the book can concentrate on the humor and building the plot. Nguyen, Burman, Triyoko, and Myers are doing brilliant humor with this book, while also poking an outdated trope for all its worth.

White Savior #3 is good, but not as funny as the previous issue. The jokes are still there, though, and the team does a lot more plot work in this issue. The reveal of Neal feels to be stretching things, but its a small problem in what is definitely an entertaining issue.

Deadly Class #32 goes for the throat and doesnt let up. Theres really not much more that can be said about it. Its action packed, but still finds time to tell a story. The reader not only feels like theyre watching it, but also that it is happening to them. The creative team gels everything together so well. It serves as a good jumping on point and sets the tone for the forthcoming story arc.

All in all, this issue is half great, half okay. The scenes between Kenji and Saya and Marcus and Viktor are well done, with the latter being less than what it should be but still really good. The other parts of the book are merely okay. Petra and Helmuts pages sell Petras aversion to killing, but ends on a strange note and the presentation of Zenzeles origin feels weird and out of place. The book also feels really short, which is another detriment. The last issues fast pace carries over to this issue and it doesnt really work here. This isnt a bad comic, but its not up to the books usual par.

    Deadly Class #34 is very well written, but the weak art hurts it a lot. A lot of important events happen in this chapter and the art detracts from the proceedings instead of adding to it. Its a shame, because the art of the last two issues have been so good. Maybe Craig and Boyd overworked themselves to get these last three issues out so quickly, but this one would have benefitted from a little more time taken on the art. The script is so stellar and it deserves better art than this.

If the art was better, Deadly Class #35 would be one of the best issues of the series so far. It does a lot of important things with Marcus character and sets up the future of the comic in a perfect way. Unfortunately, the often ugly artwork mars the whole thing. Its definitely worth picking up, but its not the total package.

Deadly Class #36 gets a little tropey and the ending is predictable, but the great art and some interesting character development keep it from being a waste of time. Its a good comic that suffers a little bit on the execution of the reveal from a script standpoint, but more than makes up for it in other ways. It sets the stage for a lot of action to come, though, and that makes up for a lot.

Deadly Class #37 exemplifies what makes this book so enjoyable, even if the art isn't as high as it used to be on every page. Remender can stuff much deft characterization into the book very subtly. Craig's art is a little rough in places but shines throughout the last two-thirds of the book. It's a shame that this isn't the Craig of the book's earlier days, but this one is a still a banger.

So far, theres no inkling of what shape Marcus and Marias plans will take beyond revenge, but this issue does a great job of setting the table for whats to come.

Deadly Class #39 feels old school, and thats a great thing. In a time when so many stories are written for the trade, this issue feels like a one and done while still moving plots forward. Its a testament to Remenders skill that hes able to make this work. Theres so much good character work in this issue that the surfeit of plot and dialogue never bog this issue down. Wes Craigs art is better than its been for a long time, with a sharpness and detail that its lacked. The ending is a big moment for this book, bringing back a favorite fan character. This issue is the best Deadly Class has been in a long time.

Deadly Class #40 kicks off the new story arc in an action-packed issue that balances the carnage with a smart set-up. Remender and Craig work together to present a chapter that flows from one point to the next, sweeping the reader along and tantalizing them with what could be on the horizon. Its not anything groundbreaking or next level, but it does everything it needs to do in an inimitable fashion.

Deadly Class #41 is ponderous and a bit slow, with very little going on. Remender uses too much page real estate to get inside Marcus head than to set up an exciting story for the issue. While getting into a characters head isnt a bad thing, it is when it just feels like a rehash of what readers have gotten from the character before. The art by Wes Craig and Jordan Boyd doesnt do the book any favors, either. Its muddy and indistinct in most places, with only one scene really working. Hopefully, the next issue will have something happen, because this one is dead in the water.

Deadly Class #42 is a game-changing issue for all the characters. Everyone's plans are thrown into disarray by actions beyond their control, and it plays out wonderfully. Remender throws a lot of balls in the air and catches them all in this one. Wes Craig's art isn't as bad as it has been, but that doesn't mean it's good either. However, the writing is so compelling that it does all the heavy lifting of the issue, and the art doesn't detract from it very much. It'll be interesting to see where things go in the next issue.

Deadly Class #43 starts like any other issue and then veers wildly in another direction before coming back around to more usual Deadly Class territory. In some ways, Remender changing things up is pretty great, but then one realizes that even the change is just another twist that he would usually use and it robs it of a lot of its impact.

Deadly Class #45 is a welcome return. The book had major ups and downs, but this new direction feels right. This is a great comic, one that sets up many interesting plot points, ones that will be fun to watch Remender explore. Craig's art has a lot of problems that it had before, but Loughridge's colors do a lot to smooth things out, and the fight scene looks good. Where this book is going is anyone's guess, but this is a good start.

Deadly Class #46 is the best this book has been in ages. There are so many factors to it, but Remender, Craig, and Loughridge are firing on all cylinders, and this issue is even a marked improvement over the last, the beginning of the story arc. What happens next is anyones guess, but if this issue is any indication, itll be great.

Deadly Class #47 is depressing, but it all makes sense. Remender does a beautiful job of showing addiction without getting too stereotypical about it, but he never glorifies it. Craig and Loughridge's art is almost as good as it ever was, which is excellent. It's one of the best issues of Deadly Class in a long time.

All in all, Deadly Class #48 is one of the best issues of this comic ever. The entire creative team turns in some fantastic work. Its an action-packed romp that drops readers into things at 60 mph and then rams it into 200 mph. Its the end of this story arc, and its a great way to end it. This is pretty much a perfect issue of Deadly Class and sets a high bar for the eventual end of the book.

Deadly Class #49 starts the last story arc with a bang. This book has picked up a lot since the doldrums of the middle of the book. Remender does a fantastic job with this opening story, and Craig and Loughridge are on point. This is a great opening chapter.

Deadly Class #50 is a piece of classic Deadly Class greatness. Remender, Craig, and Loughridge have been firing on all cylinders in the last two story arcs, and this issue is a prime example of what makes this book so great.

Deadly Class #51 continues this books farewell victory lap with yet another action-packed banger. Remender, Craig, Loughridge, and Wooton are in rare form for this one, and it shows on every page.

Deadly Class #52 is a roller coaster of emotion. It can get a little preachy, but thats fine. Remender, Craig, and Loughridge are doing fantastic on this book, and this issue definitely whets the appetite for what is coming next.

Deadly Class #53 hurts. It hurts a lot, but that also shows just how good the creative team is and has been. Readers care about these characters, and Remender tears them down expertly. Craig and Loughridge do a fabulous job on the art, bringing all that pain to life.

Deadly Class #54 is all about an aging punk asking himself the hard questions. Remender using Deadly Class to talk about Gen X isnt exactly new, but this chapter has some moments of happiness that readers dont often get from this book. Craig and Loughridge do a lot of heavy lifting to make this very dialogue-heavy issue work better than it has any right to.

Deadly Class #55 is a great penultimate chapter. Remender gets a little preachy in the beginning, but it works for the characters. The second half of the book is where it shines. Craig and Loughridge are perfect, really selling the script. This issue expertly gets everyone ready for the books ending.

Deadly Class #56 sticks the landing with an issue that is cathartic and emotional. Remender, Craig, Loughridge, and Wooton have done a remarkable job with this final storyline, and this ending is the best way imaginable to end this book.

New Mutants #1 is such a fun book. Hickman and Brisson set the right tone immediately. Theres something hopeful and cheerful about this book that really impresses upon the reader. The characters are fun and play off each other well. Having them go on an adventure to Shiar space is a wonderful plot, allowing the book to branch out for their first story arc. Shiar stuff is still very much in the X-Men wheelhouse, but its just outside the box enough to work for this team, who have a very unorthodox feel to them. Rod Reis art is the icing on the cake. His characters are expressive, and his linework is simple yet detailed. If this first issue is any indication, this is going to be a great book.

Rod Reis' art really sells the tone. His characters look great. His sci-fi renderings are a little underwhelming, but so far, that's okay. A lot of the Dawn Of X books have been kind of dour and serious, so it's really nice to have a palette cleanser as great as this one in the line-up.

This issue isn't as much fun as the first two, but its still just as entertaining.

New Mutants #4 builds on the last issue rather well. Brisson uses human greed as a prime motivator in this one, and it works very well. On top of that, he does some subtle character work, which shines a light on several of the characters. Marco Failla's art is okay, but it suffers in a few places. It will be interesting to see how things play out in the next issue. Can a drunken Boom Boom save the day or will she make an escape already in progress even worse? Brisson knows how to bait readers into coming back.

New Mutants remains the most fun Dawn Of X book.

New Mutants #6 throws a lot of interesting little tidbits for attentive readers. Brisson knows what he's doing, and there's a lot of shy little hints in this book.

New Mutants #7 takes what could have been a by the numbers issue and stands the whole thing on its head in the best way possible. It's plain to see how much fun Hickman is having writing this issue because it's that much fun to read. Rod Reis's art is great, referencing classic New Mutants stylings while still keeping it his own. This issue is a treat.

New Mutants #8 is a great single issue. Brisson shows that he hasn't forgotten how to write a compelling single-issue story that is both new reader-friendly and a treat for returning readers. More comics need to be like this. He fits so much into this issue. The art Marco Failla does a great job with his script. There need to be more comics like this one.

New Mutants #9 shifts tone a lot, but it never feels jarring to the reader. Brisson is great at this. He sets up a lot of stuff in this issue, from interpersonal problems within the team to Magik dismissing Cyclops, to Doug experimenting with Krakoa. There's so much going on in this one, but it doesn't feel overstuffed.

It starts off very strong, but then the quality falls a bit; it's not bad, it's just nothing special. That's New Mutants #10 in a nutshell- it's not bad, it's just nothing special.

New Mutants #11 wraps up its storyline nicely and gets readers ready for what's coming next.

New Mutants #12 is a nice one and done that ties up a bunch of loose ends from other issues, ending the DOX website's threat. Brisson picks up a plot thread involving Nova Roma, a nice bit of set-up that will eventually pay-off. Failla's art makes everything look great, especially the stuff with Glob. Brisson and company give readers a good succinct issue.

New Mutants #13 is almost like a pause button on X Of Swords. It focuses on the characters and how they're reacting to the overarching plot, making it an especially good crossover issue. Character gets left out of these kinds of things a lot, and Brisson does a superb job in this issue, making this issue about Cypher and his struggles. Rod Reis' art is excellent, especially the way he uses color. All in all, this is a great comic.

New Mutants #14 is a strong debut for Ayala on the book. They give the team a new purpose, one they are perfectly suited for, and the choice to bring in the Shadow King is very nice. Something came to him in his youth and brought him into the Astral Plane could it be someone from Arrako? Who is the mystery man that haunts Karma? These are great questions that Ayala's script asks. Reis's art is good throughout. His action scenes look good but aren't extremely dynamic. Nevertheless, his character acting is top-notch. New Mutants #14 is a great fresh start for the team.

New Mutants #15 has a lot going for it, but the art doesn't help much. Ayala does a great job building up to why it's so easy for Shadow King to get his claws into the mutants and do some excellent character. Reis's art, though, barely does the script any favors. It's okay in some places but sketchy and rushed in others. Still, the book is definitely worth a read.

New Mutants #16 does a great job with the characters, but the plots are all over the place. Perhaps Ayala is trying to say something about the ADHD generation with the way plots keep jumping around seemingly at random. Ayala's plots have a lot of potential, but there's just too much stuffed into this issue, and the story feels like it's lost its focus. Reis's art can be good, but it's definitely an acquired taste. New Mutants has a lot of promise, and this issue is okay. There's just way too much going on.

New Mutants #17 has some intriguing things going on under the surface that make it better than it would be. The story going through the book is fascinating because of what it says about mutants and whats happening to them on Krakoa. However, the books other plots are alright at best. Reiss art is highly subjective, with some good parts and some parts that might not appeal to everyone. New Mutants works more because of whats under the surface than whats on it.

New Mutants #18 is the best issue of Ayala and Reiss run by a country mile. Both of them are at the top of their game for this book, and it shows. The key to this issue is the emotions of the character and the creators hit with all cylinders. Things are building nicely, and hopefully, the creative team can keep up the quality of this issue in the stories to come.

New Mutants #19 is a great read. Ayala uses the team as family concept to iron out differences and get the team on the same page again and still finds time to play into the plot that they've been building throughout their run. Lins' artworks very well for the issue, and it would honestly be nice if he stayed- he and Milla are a great team. All in all, this comic effectively uses the Hellfire Gala setting to take a breath and recharge the team's batteries.

New Mutants #20 is all Ayala talking about acceptance in different ways. It works wonderfully; it all plays into the plots theyve been building throughout their run, and the ending builds such anticipation for the next issue. Linss art delivers as well. This is a beautiful installment throughout, and its a joy to read.

New Mutants #21 is just another example of how good Ayala has made this book during their run. Each plot gets the room it needs to breathe, and each one is interesting. There's a sense of momentum to the whole thing that really makes the whole thing work very well. Reis is back on pencils, and it's the best his art has been in a long time. All in all, New Mutants #21 is another fantastic issue.

New Mutants #22 does a great job of juxtaposing Shadow Kings pessimism with the power of community. Ayala presents both sides very well. Reiss art does a good job of illustrating the issue. Its an entertaining issue and continues this grand, long Shadow King story Ayala has been building.

New Mutants #23 is a revelation. Its such a fantastic comic from start to finish. It feels weighty in the best possible way. Everything about it is incredible. It feels like Ayala and Reis have leveled up with this one. Its that good, and it needs to be seen to be believed.

New Mutants #24 is yet another example of Ayala putting the other X-writers on notice that they are the best. This issue is exactly what the X-Men books should be. Beyruth's linework isn't perfect, but he has a skill at getting emotion across that is second to none. This book has set a high bar, and this issue vaults over it effortlessly.

New Mutants #25 is yet another stellar issue of one of the X-Men line's standout books. Ayala's writing is never anything short of brilliant; they're one of the best working right now, and this issue gives another example of why. It's action-packed and dripping with character, with events and an ending that makes readers beg for more. The art fits the script wonderfully. Reis is in rare form on this issue, and Duursema and Redmond nail the flashback. This issue is yet another triumph from a book that has been full of them.

New Mutants #26 feels like a clinic. Ayala, Reis, Duursema, Redmond, and Lanham all do a marvelous job in this issue. This chapter of the story is rather unexpected and is much stronger for it.

New Mutants #27 is yet another wonderful chapter of this story. Ayala, Reis, Duursema, and Redmond are saying goodbye to Magik in epic fashion. This is a great story, and its sad theres only one issue left.

New Mutants #28 is a beautifully crafted comic. Ayala is brilliant with these types of stories, layering character beats and action adroitly. The art by Reis, Duursema, and Redmond is top-notch, selling everything they need to get across. New Mutants is never anything short of amazing, and this issue is another example of that.

New Mutants #29 works well as a one-and-done. Its not exactly an issue that will hook a new reader, as it deals with a lot of stuff that a reader would need to know, but Lore does a good job. Sanna and Brown deliver some kinetic action, but the character acting isnt as strong. This one is a fun comic and a great read, despite some of its flaws.

New Mutants #30 is a good comic for fans of the team. Sadly, Ayala is leaving, but they go on a high note. It's a fun comic, and anyone who loves the team should give it a read.

All in all, New Mutants #31 is fine. Its average, which is a step down from what it was before. It has its moments, and Anders, Alburquerque, and company show potential. Itll be interesting to see how this book goes in the future.

New Mutants #32 is pretty basic, all things considered. It suffers from coming so soon after a defining run on the book. All of the creators are good, but theyre just not as good as what came before. This story is average at this point, but theres room for improvement.

New Mutants #33 sees the book go out with not a bang, but a whimper. Its just a disappointing, badly written comic. The story was never better than okay in the previous issues, but Anderss writing in this one falls off a cliff. The art is better than its been, and the lettering is nice, but if this is the quality of the upcoming series, theres not much reason to stay with this book.

Immoral X-Men #1 has a vibe that makes up for some of the weaknesses of the story. Emma is awesome, Sinister is a bit disappointing, but the set-up is intriguing. The art is pretty strong, but nothing jumps out. All in all, its a pretty cool comic.

Immoral X-Men #2 is pretty good, but it ultimately doesnt matter. The nature of this story means that nothing that happens in this issue is going to stick, so its hard to really get invested in any of it. Its very well done and entertaining, though, so that makes up for the yawning emptiness at its center.

Immoral X-Men #3 launches the last phase of SoS expertly. This story was stalling a bit in the middle, but this one kicks it into the next gear. Gillen, Vitti, Beredo, and Cowles give readers an engaging read that sets the stage for the next phases wonderfully.

It's a stark and heartbreaking look at the effects of trauma on a person. Joshua Cassara's art captures the feelings of these moments and makes the book's action look great. This issue works on so many levels.

X-Force #6 feels like a nice one and done issue that will have greater consequences in the future. Percy focuses on Beast in this one, showing how he runs black ops. His mindset is very scientific and methodical, which fits him perfectly. The art by Stephen Segovia is good. It serves the script very well. All in all, this is an entertaining issue with an ending that shows that maybe Beast doesn't go far enough in his methods.

X-Force #7 is a great comic. Percy uses it to keep playing with his theme of PTSD that has been running through the book, using Domino and her tragedies to show readers that not everything on Krakoa is sunshine and rainbows and that being a superhero is hard work.

X-Force is a book that takes a look at the horrors that the guys who fight in the shadows have to face and doesn't look away and it's a stronger book because of that.

X-Force #9 does a lot of nice character work while also bringing some chickens home to roost from earlier issues. Percy does a lot of heavy lifting in this issue in the best possible way, moving the story along nicely, while also doing some great character work. Joshua Cassara and Dean White's art looks great, adding to the whole thing. Life in the mutant CIA is tough for everyone, and this issue does a great job of illustrating that.

Joshua Cassara's art does a beautiful job of making everything work. X-Force #10 proves why this book has been a secret highlight of Dawn Of X.

X-Force #11 may be a prelude to another story, but it's one done right. Percy manages to keep his own plots moving forward while still serving the purpose of the prelude story. While the beginning of the issue is a little clunky, it all develops nicely as things go on. Bazaldua's art is fantastic and, with GURU-eFX's coloring making the whole thing pop. As a prelude to X Of Swords, this issue is excellent, and it also just a great issue of X-Force in general.

Percy shows readers just how much X-Force is about the greys in this issue, and it's kind of fascinating. Bazaluda's art is nothing special- there are some problems, but it's not bad enough to jeopardize what is an otherwise great comic.

X-Force #13 is a great Wolverine comic, and that's a good thing. Percy's chapters of X Of Swords are the best so far because they not only move that story forward but also don't feel at all like crossover issues.

X-Force #14 continues to right the ship of X Of Swords. Its a fast-paced issue but gets across everything it needs to. Percy and Duggan dont waste a panel- everything builds the story. Cassaras art, combined with the deft coloring of GURU-eFX, is a treat for the eyes. X Of Swords started off rocky, but chapters like this prove that it can be a great story.

X-Force #15 is yet another great issue from Percy and company. The writer throws a whole lot of balls in the air and juggles everyone of them while also doing a lot of great character stuff with Beast, Wolverine, Jean Grey, and Colossus. Cassara and GURU-eFX are the perfect art team for this book, making Percy's script come to life. X-Force #15 throws a lot at readers, and it will be fun to see where it all ends up.

X-Force #16 is a little heavy handed with the metaphor at its center, but Percy makes up for it with the deft character that has become his stock in trade. The issue is also pretty exciting, with Cassaras art looking great and really getting across the gravity of the situation. X-Force continues to impress and has quickly become one of the best X-Men books being published.

X-Force #17 puts a spotlight on Kid Omega, and its wonderfully done. Percy digs into the character, reinforcing who he is for readers familiar with him and giving readers who arent what they need to know about him. He also introduces a nice little mystery into the proceedings. Cassaras art does a great job with the visuals, as usual. X-Force continues to be one of the best of the X books.

X-Force #18 is yet another example of why this book is one of the best X-Men books on the market. Percy is using a Claremont-like storytelling style in this book, and its paying off, using elements from earlier stories to build new ones and using each story to talk about who the characters are. Browns art isnt great, but it works well enough with GURU-eFXs colors, making them look even better. X-Force #18 is another brick in the wall Percy and company are building with this book, and its great.

X-Force #19 completes the redemption of Quentin Quire, transforming Kid Omega from the enfant terrible of the X-Men into something better. Percys metaphors can be heavy-handed and obvious, but they work. The gritty quality of Browns pencil does the story more justice than one would think. X-Force #19 can be a little obvious and predictable, but its still a great issue.

X-Force #20 gives another view of the Hellfire Gala, showing what the security services do during diplomatic dinner- ensure security in more ways than one. Percy does a great job in this chapter, but by now, thats to be expected. Cassaras art is sensational, and all in all, this issue doesnt disappoint, with a nice cliffhanger leading into the next issue of Wolverine.

X-Force #21 plays with the concept of telefloronics that Percy has been building up throughout his run. Its intriguing, but its not enough to save an aggressively okay comic. Theres nothing wrong with this book- the writing is good, the art is good, the plot is good, and it builds up intrigue for the next issue- but its just good. Theres nothing spectacular about it. Thats okay, of course. Its still an entertaining ride, and thats all that matters.

X-Force #22 is another excellent issue of this book. Percy is doing something exciting with his storytelling in this book, and the last two chapters show why it works so well. This issue is generally a great read, but it introduces new factors to the battle between XENO and X-Force that could play into the future. The art team of Gill and GURU-eFX kill it on this issue, making it look great. X-Force is a solid book, and this issue is another example of why.

X-Force #23 opens up a new battle for the team and does so in an entertaining manner. Percy has been building these plots for a while, and seeing where he takes the whole thing is going to be a lot of fun. Coccolos art is outstanding, and GURU-eFXs colors make the entire thing pop. X-Force #23 is a good beginning for a new story arc.