Kelly Thompson Comic Reviews

While there are definitely things to appreciate in this first issue of "5 Ronin," from evocative art to Milligan's sometimes beautiful writing, in the end it feels a bit soulless. An emotional connection of some kind could have made something as blas as revenge a bit more engaging.

If Milligan's story or execution had been particularly good or emotionally resonant, maybe he could have saved it from the unfortunate choice of casting Psylocke, the only lead female, as a prostitute, but it's not. We're left, instead, with a bad decision and a poor execution.

Rich and Nourigat's "A Boy and a Girl" proves, in the end, to be more than the sum of its parts. Not content to be just another love story, it offers up thought provoking ideas on the human (and inhuman) condition with a lightness that makes it easy to digest.

At the end of the day, I think price point is the biggest issue. This comic costs $3.99, which is just way too much money for what you're getting. Comparably, the same day, I bought "Batman: Li'l Gotham," which (even ignoring any quality comparisons) at 20 pages is nearly twice the size of either of these stories on their own and cost only 99 cents. Even though there wasn't anything horribly wrong with "A+X" #1 and the idea of the series in and of itself is fun, my comics budget is precious. I wouldn't buy this comic again unless it featured my absolute favorite creators or favorite characters (thus I <i>will</i> pick up "A+X" #3, which features Rogue and Black Widow by Chris Bachalo). However, I think that kind of reader defeats the very purpose of the book. The book should be super fun stories that allow readers to search out new characters they might not have otherwise known they'll love, but at $3.99 a pop, it seems unlikely to happen.

Though this issue is undeniably fun, it's still a lot of money for two 10-page short stories that are, by their own admission, of no consequence, except as a good time. But when they hit like these two do, they are indeed a very good time, and better than many of the more "important" comics I read on a weekly basis. If "A+X" can continue delivering creative teams and short comics of this caliber I may have to keep reading despite the price tag. Your move, Marvel.

When reading such short pieces as "A+X" tales, it's hard to decide what makes it worth reading, especially at a $3.99 price tag. The stories, because they are so short, are necessarily slight and they rely perhaps too heavily on jokes and clever pairings. In the end, individual mileage likely varies from reader to reader based on both affection for the character pairings and interest in the creative teams. So far, I confess to being far more entertained than I would have imagined.

As anyone reading "A+X" month to month can attest, the quality varies wildly, primarily dependent on the creators involved, the cleverness of the tale and (to a lesser degree) the character pairings. Regardless, even for the better tales, $3.99 remains a very high price point for stories with little significance beyond some laughs and pretty pictures. It's an especially hard sell when you barely get even that, as with this month's offering.

As always, and like any short story collection, "A+X" as a title, is a gamble. "A+X" #11 doesn't pay off in any way, shape or form. Save your money for an issue of "A+X" with some creators you love and trust and skip this one.

"Adventure Time" is one of those great books that seems like it would be enjoyable to anyone young and old. For kids it's full of rad (I use this word deliberately, I promise) adventures and adorable character design with popping bright colors; and for adults it's got sharp-witted writing that can't help but leave you smiling. "Adventure Time" is the definition of a fun and funny comic, something far too rare these days.

Capturing the innovation and originality of a show like "Adventure Time" is not easy, and it's impressive to see this series doing it so well. It's also incredibly refreshing to see some great comics for kids that are also so effortlessly enjoyable for adults. "Adventure Time" gets it right.

"Adventure Time" continues to be a nearly flawless example of adapting one medium to another. The writers and artists continue to capture, with seeming effortlessness, what makes the "Adventure Time" world so creative and exceptional, "Adventure Time" #31 is no exception.

"Adventure Time" continues to get so much right about talented creators, energy, enthusiasm for characters, and boundless creativity when it comes to comics -- and "Adventure Time: 2014 Annual" is just another great example of that commitment to excellence in comics. Also, after discovering Becky Dreistadt here, I will follow her anywhere.

The "Adventure Time" comic books are, without hyperbole, some of the best adaptations I've ever seen from one medium to another. Without sacrificing anything, the bright colors, graphic character designs, and bizarre no holds barred sense of humor of the cartoon lends itself effortlessly to comics. And since Kaboom!/"Adventure Time" has done such a superb job of sourcing the talent -- both writing and art -- for these books, they are easily at the top of any list of good comics, and great adaptations.

On the whole, the "Adventure Time" comics are doing an excellent job of capturing the energy, fun and humor of the show, and this mini-series was no exception.

The cliffhanger in "Alex + Ada" is excellent, and I'm hard pressed to imagine a reader that wouldn't be intrigued enough to come back for issue two to see exactly where Luna and Vaughn plan to take this story. On the whole "Alex + Ada" #1 is simply an excellent start to an exciting new book.

On the whole, "Alex + Ada" remains a solid entry in Image's increasingly strong line-up. With lovely subtle art, smart, crisp writing to match, and an intriguing concept poised to go in compelling possibly "dangerous" directions this is a book worth checking out.

Exposed weaknesses aside, "Alex + Ada" #7 is a smart and very cool book telling a supremely engaging story that moves well despite being technically rather decompressed. We've all read stories that mine similar territory to "Alex + Ada," but never quite like this. Luna and Vaughn have already proven that they have something interesting to say, and with time they might even be headed towards legitimately insightful.

In the end, I admit to interest in where Milligan plans to take this book and more specifically where he plans to take Doop as a character, since the end reveal is a rather aggressive new direction. However, I liked the character before, and almost resent the idea that he has to change so much in order to get a "real" story. Why pine for Kitty? Doesn't nearly everyone already pine for Kitty? I'd rather learn more about what Doop does and who he/it/whatever is, than see him fall for the most loveable of all mutants. Time will tell if Milligan can turn this into a worthy limited series, or if it indeed will fall by the wayside as fun but ultimately inconsequential.

Perhaps this quieter version of "All-New X-Factor" would have been more passable in a different era of comics, but there's a large amount of high quality and incredibly well-conceived superhero books on the market -- including those that sit next to this one on Marvel's own shelves. With a thin plot, inconsistent writing, ill-considered costume design and poor character work, this just doesn't cut it.

Time will tell if this idea has the legs to be interesting long term, I have to believe with a launch and book this big they've really thought it out, regardless, as a standalone comic, this is a great issue.

"All-New X-Men" is Bendis and Immonen at their best, which is always a great thing to behold. For me, as a reader, it's been the first big surprise of Marvel NOW! A book I didn't expect much of, despite the creative team, has turned out to be a total joy to read.

All in all, Bendis' "All-New X-Men" has been a pleasant surprise. This issue is perhaps the weakest of the bunch thus far, but it's still a solid comic book, and the potential, as Bendis keeps showing readers, remains marvelous.

Ten issues into its run, "All-New X-Men" has surprised me repeatedly since its inception. Smart character work, gorgeous storytelling by both Stuart Immonen and David Marquez, and a story that's keeping readers on their toes is all adding up to one of the more interesting Marvel offerings of 2013.

I was an early skeptic of this title and it has impressed me from go, regularly subverting my expectations. I'm still not sure if it can go the distance (is there a very clear plot strategy here? I hope so.), but from sheer emotional weight alone, "All New X-Men" remains a book that stands out from the pack, and continues to be one of the most beautiful books on the shelf.

For readers that can manage the suspension of disbelief required to enjoy "Battle of the Atom" in general and "All New X-Men" #17 specifically, there's a great time waiting in this latest stunningly beautiful piece.

This misstep with Kitty is particularly alarming considering Bendis' similar issue while writing Magneto in "Uncanny X-Men" #16 -- also a really great issue, which depicted Magneto as a character at odds with his previous appearances in the series. In the end, a stunningly gorgeous and surprisingly charming "All-New X-Men" #22.NOW is undermined by two panels of sloppy character work and all-too-convenient plotting.

With stunning art, it's impossible to be too disappointed in "All-New X-Men" #24, but from a writing and plotting point of view, it's pretty unremarkable. It's especially disappointing as the lead up to the finale of a major story arc that should have real emotional weight given the history and context.

It's impressive that 27 issues into this book, a book many (including yours truly) feared would be a gimmicky nightmare, there's still a ton of creativity on display with the original creators still on board, which is indeed rare. Now that the teams from "Uncanny X-Men" and "All-New X-Men" are housed under the same roof, it will be interesting to see what Bendis can do as he has two books focused on one huge team. It brings back nostalgic memories of the old X-Men Blue and Gold Teams era with a whole different spin.

Overall, though "All-New X-Men" #29 has a few nice moments, it's uneven and not as strong as previous issues. The storyline feels like it's dragging out. Although it has an ending, when a comic dips its toes into time travel, there needs to be something more definitive than what's contained in this issue.

When "All-New X-Men" hits its mark, even a slightly quieter issue not filled with a world in peril, it really sings. Bendis and Asrar turn in lovely work that renews my love for these characters and belief in the potential of this book.

Like "Ame-Comi I: Wonder Woman" this book starts out with a ton of charm and a bold new take on long existing characters, but the abrupt ending and thin plot (at least at this point in the "Ame-Comi" series) leaves a lot to be desired as a standalone reading experience.

Snyder has, in just the last year, made an impressive mark in comics with his powerful storytelling, fine craftsmanship, and detailed character work. This latest book is no exception. Next to his exceptional work on "Detective Comics," "American Vampire: Survival of the Fittest" is easily Snyder's most compelling work to date.

All in all, Albuquerque's art is more than gorgeous enough to compensate for the minor weaknesses. The book is a nice easy read full of beautiful moments, and adds at least one intriguing new character to the "American Vampire" landscape.

While "An Aurora Grimeon Story: Will O' The Wisp" #1 has some execution problems, it is committed to a strong visual style, and almost revels in the knowledge that it <em>is</em> a strange little book. It clearly wants to be that strange little book, and that may not be a bad thing. Certainly there's enough of interest to warrant a look at the second issue.

As someone deeply familiar with this universe, it's hard to know how well this first issue might work for a new reader. I think enough is there to make it new reader friendly, but this is dense stuff with a lot of complicated history behind it, so that's always a bit of a tightrope to walk. For existing fans however, this is a hell of a start to a new series. With an incredible creative team in place and Whedon's rich universe to play in, this issue is a slam-dunk.

""All in all, "Angel and Faith" is a very strong series that shows no signs of letting up. With an incredible creative team, closer ties to the ongoing "Buffy The Vampire Slayer: Season 9" series, and a great first arc under its belt, this series is off to a great start.

"Angel & Faith" continues to barrel through as one of the best and surprising new books out there. Smart and funny, with beautiful art and exceptional character arcs, so far "Angel & Faith" is comics done right.

"Angel & Faith" has been a strong book since it debuted and this issue is good, but just doesn't quite hit the same sweet spot that others have managed.

On the whole, this is a solid origin issue, but there's nothing must-read about it. Compared to Lemire's very good run on "Animal Man," it feels like a little side-step that we just have to get through before returning to the great stuff. While "Animal Man" #0 is a strong entry among the DC zero issues I've read so far, it's a weak entry among good comics in general and Jeff Lemire's work specifically. It will be good to get back to business as usual on this book next month.

This title deserves all the praise it's getting as it's a solid, emotional, and thoroughly engaging book that is both complex enough to engage readers familiar with the characters, but simple enough to be new reader friendly. "Animal Man" stands out as one of the best books of the new DCU and it shows no signs of stopping.

"Animal Man" has been a strong book from go, one of the best of the New 52 and a book that developed one of the greatest new characters of the DCU in the form of young Maxine. It will serve the book well if Lemire can finally move Buddy into a little more active and intelligent role in his own title, rather than being the guy that has to be told everything all the time.

I tried "Aphrodite IX" on a whim (having a vague fond memory of the original series -- or maybe just a cover? -- from my youth) but what I found wasn't anything I'd come back for a second time. Too bad, as I've always liked her weird green hair, and the idea of cool killer androids is never far from my heart (especially when they grow self-awareness and a conscience), but there was really nothing of that in this issue except the green hair.

We all need that quiet before the next storm, and "Avengers" #18 with its fun character moments and intriguing set up is a great example of that small book that actually makes the next crisis we're running toward work.

"Avengers" has been a solid book. Bendis and Acua are a great fit together, but it's falling short of what it should be given the talent and characters involved.

On the whole, this is a great start for both Marvel NOW! and for The Avengers in general. "Avengers" #1 feels like a book that both longtime fans of comics (and specifically the Avengers) can sink their teeth into, while speaking to a much larger film audience that might be interested in trying on this book. Blending and balancing those two ideas and audiences is no small feat and if Hickman and Opea can keep it up, we may indeed have something really interesting on our hands.

"Avengers Academy" is a book that has been hit and miss for me since it began but it's obvious now that the book desperately misses artist Mike McKone. It would also do well to pare back its cast to a more manageable level, and to limit its big A-list guest stars until these new characters are more assimilated. Magneto casts a long shadow and if you don't know what to do once you're in that shadow, things can only go badly.

In fact, the only problem with The Runaways as guest stars in "Avengers Academy" is the painful reminder of what a superior book "Runaways" was to so many superhero books. Gage and Moline do some great work in "Avengers Academy" #27, but the inconsistency really undermines that work and makes this issue adequate at best when taken as a whole.

My biggest complaint (other than backgrounds needing more attention) is that Big Zero has a far more interesting character design than anyone else in the book (save perhaps Mettle and Hazmat when powered up). It's a small nitpick, but a reminder of how much fun comics can be and how safe the designs for much of Avengers Academy are in general. It makes me want to see Gage really take the kid gloves off when it comes to some re-design. We're 35 issues in -- maybe it's time for new looks after the "Final Exam" is over.

There's a ton of potential in "Avengers Arena," but I find myself wishing that Hopeless was writing a completely out-of-continuity book, and maybe not even a Marvel book, so that he really could let loose and be bold in his choices. As it is right now, some issues are more enjoyable than others, but already the series feel too formulaic and rote.

I consider myself a pretty devoted Hopeless fan, having thoroughly enjoyed everything of his I've read prior to "Avengers Arena," but for whatever reason -- flawed conception, editorial interference, poor execution, all of the above -- this book is a miss. I gave it as many chances as I could and I'll surely give Hopeless himself another chance as I know he can write a great comic, but "Avengers Arena," seven issues in, has had ample time to prove itself, but all it's outed itself repeatedly as not worth the time or money.

"Avengers Assemble" #11 is not a book that is going to change the world, it's not even a book that will end up on a "best of" list, but it's just good old-fashioned fun, and sometimes that's exactly what readers want and need. I am, after this first arc, officially a monthly reader of "Avengers Assemble." Go ahead and bring it, DeConnick and Caselli. I'm on board and can't wait to see what's next.

All that said, "Avengers Assemble" #15AU is not a comic book that will blow you away. There's nothing here that will leave its mark on you forever, you may even forget about it not long after reading. But it <i>is</i> a good solid comic book, that manages to tell a nice heroic story, and excels at telling a complicated one that any reader can pick up regardless of irritating event tie-ins.

This crossover between "Captain Marvel" and "Avengers Assemble" has been deceptively satisfying. It has never shied away from letting it be Carol's very personal story and one in which she never loses agency. However, it has also nicely melded with the larger world and heroes that populate Carol's life. Crossovers can be the death knell for a lot of fans, but this one was well chosen. Given DeConnick's writing of both titles and the natural character overlap, fans should give both "Captain Marvel" and "Avengers Assemble" a chance when the story ends. These are both solid superhero books delivering consistent and compelling stories.

In the end, there's just not that much to get excited about or connect to within "Avengers Assemble" #20. The comic itself is fine, delivering a clear and easily understood story, but it's not one you're likely to remember and at the current price of comics, adequate but unmemorable is just not enough.

In DeConnick, Ellis, Buffagni and Woodard's hands, Anya is a character I would follow to any book and it suddenly feels like a crime that she doesn't have one. But such is the power of the right creative team writing a character they're fond of -- magic can happen, even in an otherwise inconsequential book. "Avengers Assemble" #23.INH is a great example of how fun simple superhero books can be in the hands of people who enjoy writing fun superheroes.

"Avengers Assemble" continues to be, despite a little hiccup in this issue, a really great venue for telling tales with a rotating and flexible Avengers cast. It's been accessible in a way that some other big team titles aren't, and I'll miss it greatly when it's gone. Perhaps more to the point, DeConnick and Ellis are a great writing team, and they've proven that Anya/Spider-Girl probably deserves another shot at her own title, preferably with some heavyweight guest stars. Here's hoping she gets it!

There are a lot of quality creators involved in "Avengers Vs. X-Men," enough that I find myself intrigued even though the concept is not one I'm wild about. This first issue was a good example of the creative talent managing to rise above the concept and leaves me hopeful they'll be able to bring something even more interesting to the table as the series progresses.

Although I have not cared much for the hero Cyclops has turned into over the past few years, it's been well-developed and slow building work. Bringing it to a head this way has many rewards. Additionally, I'm hard pressed to think of two characters I'd secretly like to see go head to head more than Emma and Cyclops, so as we prepare for that showdown, I confess to secret giddiness. Perhaps the biggest problem is that I care less than ever about Hope's involvement in any of this. Still, these writers took what we all expected and did their best with it, and in this reviewer's opinion, saved this crossover from the brink of pointlessness. As in any good story, there is no black and white. Nobody is entirely right or entirely wrong, and if nothing else that will hopefully leave an interesting field in the wake of "Avengers Vs. X-Men."

With the right hand (and I think Gillen can be that hand), "AvX: Consequences" has the potential to be more interesting than the crossover that birthed it. Time will tell if it can go deep enough and ask enough tough questions to make this book more than merely additional "AvX" padding.

The promo for "AVX: VS" #3 suggests that we're going to see both The Thing and Colossus/Juggernaut again (which will make three appearances for Colossus/Juggernaut in the "Avengers vs. X-Men" crossover and two for The Thing). Why? With all of the great potential matchups out there, why do we need to see these particular characters repeatedly, especially when these are two characters that arguably have very low stakes for this particular "Phoenix fight" compared to so many others on the field. I don't think even the 15 year-old in me that cared less about plotting and character development and more about punching people out would be moved by these bouts.

Despite everything coming together very nicely in this issue, it didn't quite have a wow factor for me that made it the must-read I wanted it to be. Perhaps the problem is, as I mentioned above, that the final reveal was lost on me. If there was something especially significant about that reveal, maybe it would have been enough to give this story the slight punch I felt was missing. On the whole though, a solid well-done comic book, and a nice start to a new arc for B.P.R.D.

"B.P.R.D. Hell On Earth: The Long Death" #1 is a very smart comic in how it handles plot and character with gorgeous visuals. Mignola's "Hellboy" universe books are usually very good but this is one of the best I've read in some time. I can't wait to read the next issue.

Nguyen is a great fit for this book, and a coup. Miller is lucky to have him, and I hope he'll continue to bring his A-game while he has one of the best pencilers in the business at his disposal. And Stephanie Brown is lucky to have them both.

As readers we've been lucky that some writers were given the opportunity to close their books up nicely, before the re-launch, some of course were not so lucky :: cough "Birds of Prey" cough ::, but Miller does the best of any that I've seen thus far (with the exception of "Detective Comics") and gives readers something satisfying and emotional, personal and proud, for both the book and the character. Miller's love for the character and book is palpable on the page, and you can't ask for more than that.

However, if you can clearly separate the main story from the back up story, you're in for a treat. Both, on the whole, are very strong. Their only significant flaw is they don't work as well together as I'd like. Perhaps after reading Synder's story set the book down, have a sandwich and come back later to read Tynion's back-up. Both deserve high-praise individually, regardless of being a bit confusing when paired together.

While "Death of the Family" hasn't been my favorite Batman arc of all time, it's good solid comics, and this issue has readers poised for it to get even better before it finishes. It's only the best of creative teams that can take a character I've already tired of and re-invent them, all while building a pivotal story. I can't wait for what's next.

Short of some compelling, albeit horribly disturbing, visuals by Clarke, there's nothing of interest in "Batman" #23.1. In fact, it's odd that it even exists as a comic book. It's an idea (and execution) that should have been left on the cutting room floor.

Pak takes everything one might expect in a Batman/Superman book and subverts it just enough to make it more interesting than you'd expect. When those ideas are paired with such exceptional artwork it's easy to be smitten with "Batman/Superman" #13 and excited for this new arc.

"Batman and Robin" has not been a must read for me since Quitely left, though I hung on devotedly for a while, but there was some fun and interesting stuff going on in this issue. Perhaps more importantly, it was a look at Jason Todd that made me see the potential for him as a truly interesting and layered pseudo bad-guy.

As is becoming apparent with the New 52, some books are getting major makeovers and reconstructions, and others, like "Batman & Robin" feel like they got the most basic of touch ups " in this case switching out Dick for Bruce " and were set back on track without even a change of creative team. I'm sure more changes will emerge over time in this book, but for now, it seems like business as usual in "Batman & Robin." Unfortunately, this was just one okay issue from a sometimes brilliant run. Time will tell if it has more to offer down the line.

Most of "Batman and Catwoman" #22 is a home run, with a nuanced look at Batman and Catwoman's very complicated relationship and a successful done-in-one story for the two characters. However, Carrie Kelly's very presence as written and illustrated feels like a garish blemish in an otherwise smart and subtle book.

"Batman and Robin" has always been an interesting book, even when it wasn't exceptional. Without Robin, its fate is unclear (though this issue continues to make the case that a Robin replacement will happen). Unfortunately, while Robin as a character may be replaceable, Damian is not. It's good that readers get the full force of Bruce's mourning in this title as it's where the grief belongs and generally it's being handled well, but I confess to a complete lack of interest once it's time to "move on" to a new Batman and Robin.

This is a strong Bat-book in a field fairly full of strong Bat-books, but Snyder has proven that he knows this world well. With a strong team in Higgins and McCarthy, "Gates of Gotham" is a must read.

"Gates of Gotham" was a strong series from start to finish and one of the better stories I've seen that focuses on the Bat-family. The strength of this series is largely thanks to the wonderful parallels it drew between past and present from the first issue to the last, combined with an opportunity to see the Bat family working together in all their functional dysfunction.

In a way, Nguyen and Fridolfs have hit on the absolute perfect book and tone for this series. Batman's over the top colorful villains are the most natural fit possible for these expertly crafted stories that take themselves just seriously enough to have significance and just lightly enough to make them the brightest most refreshing corner the DC Universe has seen in a very long time. At the end of the day you can just feel the love seeping out of every corner of this book, and love is something the DCU needs desperately these days.

Even with one story doing the heavy lifting, Nguyen and Fridolfs' "Batman: Li'l Gotham" remains a bright warm light in a relatively dark humorless DC Universe. "Batman: Li'l Gotham" takes the absolute best of the Bat-Universe and comics in general, mashing them together into heart-warming, hilarious, and beautiful stories that comic fans of all ages can enjoy.

Though the story doesn't offer much that we didn't already know, it does bring an interesting twist to Kate's idea of when she believes she finally "became Batwoman." It's a good moment that says a lot about the character on a lot of well layered levels, a story element worthy of the character and feels like the kind of important storytelling you would see for Bruce/Batman and other A-list characters. If only the rest of the issue had the gravitas of those last pages, this book would be a huge standout along with books like "Dial H" #0. Instead it's just one of the better zero issues among a sea of mostly mediocre comics.

If you read comics and you're not reading "Batwoman" I just don't know what you're doing and you should maybe consider giving up this whole "comics thing". This book is breaking boundaries and being a hell of a good read while it does so. You just can't ask for more than that.

I appreciate that Williams and Blackman tried out this ambitious story. There were times when I thought it might work if it all tied together brilliantly in the end somehow, but the finale has not proven to be worth the confusion and disconnect. I'm certainly in for the next round, but I hope it's more like the first arc.

The "Batwoman" ongoing always had very big shoes to fill after the exceptional "Batwoman: Elegy" from Greg Rucka and J.H. Williams III's "Detective Comics" run that set the stage, but issues like this don't even come close to that quality. It's not a "bad" comic but it's hard to not compare it to what we all know it can be, especially since we've seen it before.

As an art book "Batwoman" #16 is five-stars, easily; as a comic book, I can only see giving it three and a half stars. I wish it could be more, truly, as the jaw-dropping art and care that clearly went into that aspect of the book is something I want to reward, but the book is overwhelmed by too much narration and too many narrators.

There's no book I'd like to love more than "Batwoman," but it's apparently just not meant to be. Williams III remains one of the best artists in comics, and McCarthy is turning into a true talent, but issues like "Batwoman" #20 make me wonder if I should even be reading the book, let alone trying to love it.

There was a time when "Batwoman" as a title held so many of my hopes and dreams for mainstream superhero comics. Unfortunately, the book has not delivered. It's not a bad series, but unless it's being drawn by J.H. Williams III, there's just nothing exceptional. For a book that started with such promise and ambition, that's a disappointment.

With "Birds of Prey" #12 next month we head into a brand new arc and with an exciting new artist for the book, and hopefully a new direction. I find myself excited about the future of the book and all the possibilities Simone might unleash in her enthusiasm for these characters.

"Birds of Prey" #12 is a huge step in the right direction, and almost feels like the "real" launch of the series. This issue has a much stronger and a more appropriate creative team, a smart terribly creepy storyline that's still full of humor and personality, and a cover that announces itself to the world in full badass mode.

There's probably a good story in here somewhere, but a complete misfire on the art makes it impossible to find.

It's unfortunate Saiz is absent for this pinnacle moment for the story arc, as his attention to detail and flair would have helped with delivering a more powerful issue. As is, the art doesn't feel worthy of the story Swierczynski has set up and ultimately makes "Birds of Prey" #6 a bit of a let down from the fantastic and powerful series presented in the last five issues.

"Birds of Prey" has consistently been one of the best and most surprising books of the re-launch with lovely art, smart storytelling and good character development including the introduction of a brand new character in Starling. As a reader, I worry about it getting swallowed up in the "Night of Owls" crossover, but mostly I hope that it helps get the word out to other readers about what a strong and intelligent book this is. It absolutely deserves a bigger following.

"Birds of Prey" has been beset by frustrating creative shifts since early on in the reboot. Though Swierczynski stayed on until just recently, the constant artistic shuffle has taken this book from a title I listed among the best of the New 52 to a book I totally lost interest in. Though Marx is just getting started and might be able to find her footing, this first installment is not promising and the art continues to be a miss.

"Black Widow" continues to prove itself as a finely constructed, utterly engaging comic that's free of heavy continuity -- at least so far. It's exactly the kind of beautiful book Natasha deserves, and let's hope it can keep on this steady and impressive roll.

Edmondson and Noto have done a fantastic job overall of establishing the series, and who the Black Widow is within that context, but this issue definitely suggests it may be time to spin the dial and change things up. With a solid base now established, it would be a missed opportunity not to see other shades of Natasha under Edmondson and Noto's direction.

"Black Widow" #10 is a fantastic example of the smart understated work Edmondson and Noto present in this series. Full of action, but pared back, poetic, beautiful, and easy to digest for readers new and old, it's solid superhero-meets-spy-comics every month without fail.

"Brides of Helheim" #1 is a nice start and one worth checking out, especially if you like Norse mythology, but I hope that the creative team can dig a bit deeper and kick it up a notch in the next issue.

Joss Whedon has managed the impossible yet again, somehow reinventing and reinvigorating these beloved characters and putting them on entirely new paths and adventures. I cannot wait to see where he's taking us this time, although I cannot pretend that I desperately hope that one of those places will be one where Buffy and Spike get together. Hey, I said I struggled to keep the balance between critic and fan, I didn't say I succeeded.

"Buffy The Vampire Slayer Season 9" is shaping up to be an excellent series committed to Joss Whedon's long standing tradition of exploring and pushing on these beloved characters in a myriad of complex ways. Already, just three issues in, the results are compelling, and "Buffy The Vampire Slayer Season 9" has quickly become one of the best books I'm reading, and the first book I reach for, which speaks volumes."

Regardless of that misstep, "Buffy The Vampire Slayer: Season Nine" #6 is a comic to be reckoned with. If the creative team can continue to be this true to Whedon's characters, we're in for a run of powerful stories, indeed.

If it were not for my absolute faith in Joss Whedon, this development might worry me. How will it resolve? Is there a plan? What does it all mean? But I <i>do</i> have great faith in Joss Whedon, as last issue reminded me when he delivered a controversial story I could both respect and felt absolutely true to these characters he's created. So I will sit back and wait very impatiently at whatever he has in store for these characters. Chambliss and Jeanty have proven themselves more than worthy of rolling this story out with all the respect, beauty and consistency it deserves. I am unprepared, but incredibly intrigued.

"Butterfly" #1 is a strong opening and well worth a read, but a few small decisions hold it back from being a truly exceptional first issue, especially in a field already peppered with smart spy stories.

Between this book and Matt Fraction and David Aja's "Hawkeye," I'm feeling a real love for clever, beautiful superhero comics. Like Fraction and Aja, Bunn and Francavilla seem to be doing something a little different, if only in the perfection of the execution. "Captain America and Black Widow" #636 has the kind of quality and smarts that all superhero comics should aim for.

Bunn and Francavilla have proved to be an excellent match up for this spy tale, and one can't help but wish to see more of them -- perhaps even on a horror book, as their noir-ish collaboration would lend itself beautifully to an even darker story. Regardless, I'll be sad when this arc is done and Natasha exits the book. In the meantime, I'm excited to see where they're going to lead us in the concluding chapters, and I sincerely hope for a Natasha vs. Natasha knock-down-drag-out.

Seeing Bunn and Francavilla cut loose with the spy noir vibe on this book makes me wish we could have something like this more regularly. While this issue has not been the strongest of the run, a book like this with either noir or even horror elements with creators like this at the helm would be a great and unusual addition to Marvel's slate.

"Captain Marvel" has been a solid book since it's debut, but it's nice to see DeConnick and Rios together again. Their affection for working together, and for Carol as a character, is palpable. They're having a great time making comics and it's evident in this issue.

I have liked a lot of what DeConnick has done with this series but I struggled with Dexter Soy as the artist. The fit just wasn't quite right. With Andrade, "Captain Marvel" is a whole other book. I wouldn't be surprised if Marvel felt his style was too extreme and not as mainstream as they want/need "Captain Marvel" to be, but for me, if this issue is any indication, he is a perfect fit. Andrade is as comfortable drawing a fantastic fight scene with giant dinosaurs in downtown Manhattan as he is sharing and intimate scene with Carol and her doctor. That's exactly the balancing act this book needs, as it highlights the balancing act that is Carol's life. Together, DeConnick and Andrade have made this book everything I've wanted it to be and I'd love to see them get the opportunity to keep it up.

While "Captain Marvel" has taken a while to find its footing, it has really begun to sing in these last few issues, in large part thanks to DeConnick and Sebela finding a wonderful balance between the oh-so-human Carol and her superheroic persona. "Captain Marvel" has a vision and voice that only the best of superhero books can manage and I can't wait for what's next.

While "Captain Marvel" has struggled a bit in finding the right artist and thus settling on a consistent visual identity, it has never struggled with Carol Danver's identity, which has been stunningly handled and developed over the last year. I hope Marvel continues to support this book as DeConnick's work with the character has been exceptional and the book, despite some hiccups, has been a solid superhero title overall, with flashes of genuine brilliance.

I thoroughly enjoyed DeConnick's first run at "Captain Marvel" despite some problems with the book, but this new series has thrown out everything that didn't work, kept everything that did, and engaged a perfect creative team to bring readers a truly exciting second run at a book that works. Too often in comics, the baby is thrown out with the bathwater for a relaunch, and I'm very glad the creative team managed to hang onto the baby in this case.

While the previous "Captain Marvel" series had a lot going for it, it was a bit uneven and ultimately lacked the same cohesive vision of this revamped series. The new "Captain Marvel" is firing on all cylinders and is a wonderful argument for not throwing the baby out with the bath water. It's simply a damn fine comic book.

Though not the strongest issue of the arc, "Captain Marvel" #6 is still good solid comics and this is a simply magic creative team that one hopes will be delivering Carol's adventures for a long time to come.

For readers that have been reading Medley's series all along, this is another great installment, and one that is both open ended enough so that Medley can do whatever she likes, but complete enough that it feels finished if need be. For those that have never tried "Castle Waiting," I cannot recommend it more highly, though you should of course start at the beginning.

I've been excited about a new creative team on this book, and since Melo is not going to be the ongoing artist, I suppose I will give issue #13 a chance to see if Nocenti can do something with present day Selina, but this is a really bad start. I shudder to think of someone that enjoyed Christopher Nolan and Anne Hathaway's great take on Selina in "The Dark Knight Rises" picking up this issue in the hopes of finding a good jumping on point. I can't imagine that person ever picking up a Catwoman comic ever again if this was their first taste.

While this issue might hang together more impressively within "Death of the Family," it's incredibly unsatisfying as a standalone. While Sandoval is quickly finding his footing for Catwoman and has the potential to be a great artist for the book, it feels like we won't know what Nocenti can really do as writer until she's out from under the shadow of the crossover.

Between the lack of clarity in the storytelling and the plot not making a lot of sense in the first place, this book just doesn't deliver. It's enthusiastic and full of energy and I want to give it credit for that, but ultimately it's disappointing. Four issues into this new creative team run I'm afraid I'm going to have to move on from this book. Someday, Selina, we will meet again!

I keep coming back to "Catwoman" because I love the character and hope the book will have magically transformed while I've been away into something I can love, but it keeps just missing the mark. "Catwoman" #26 has less overt problems with voice, character and storytelling than previous issues by this team, but it's still just a mediocre comic book.

While "Coffin Hill" #1 isn't entirely successful, there's a good book somewhere here, and I'll certainly give it another issue to find its legs. Kittredge and Miranda may have something wonderful in "Coffin Hill" if they can just pare it back, focus up and find its soul.

"Collider" #1 is a fantastic start to an exciting new series and a reminder of what a quality powerhouse Vertigo is and can be. It's also a nice reminder of why the industry needs <i>more</i> books from Vertigo, not less. A higher quantity of smart, beautifully executed comics that explore the fantastical and bizarre without being about traditional superheroes is a very good thing.

Wood, Cloonan, and Stewart are an exemplary creative team, and Dark Horse deserves credit for bringing them together for this book. There's an effortlessness in their collaboration that makes reading a pleasure. With an excellent first issue under their belt, their collaboration is already leaving its unique mark on Conan, and perhaps converting more skeptical fans, like me.

"Conan The Barbarian" thus far has been the perfect example of how to make great comics. Dark Horse is getting it right with top talent, a consistent schedule and smart editorial choices. The result is simply great comics, month after month.

Farber, Godlewski and Riley's "Copperhead" is a total delight. It's a dark horse I never saw coming that mixes the best elements of westerns and space stories effortlessly with its classic detective tale.

On the whole, "Creator Owned Heroes" is a wonderful idea and one I'd not only like to see succeed but like to be repeated over and over by all sorts of creators (and publishers). Though the interviews are fun and will hit some fans' sweet spots, I'd rather have a third great story in there. Regardless, it's inspiring and exciting and if they can keep this level of quality, I expect they'll do well.

While a weekly horror book in October is a great idea, at $3.99, the quality is just not where it needs to be. "Cutter" #1 suffers badly when compared with other terrifying, smart and well-considered horror books.

There's a lot that works surprisingly well in this one-shot, and for Dean Haspiel's art alone it's worth picking up. Unfortunately, some of the great ingredients don't quite come together as one would hope, and the story ends up overwhelmed by too much of a few of the less successful elements.

Though there are some minor visual failings in "Cyclops" #5, Rucka's clever story solidifies an emotional bond for this father and son that makes it one of the best issues yet in the series.

For longtime "Danger Girl" readers, I'm sure this is a fun and sexy beginning to a new mini-series, but for a reader unfamiliar with the characters and uninterested in gratuitous cheesecake there's little to grab onto and no real reason to return for a second issue.

Considering all the press it's gotten, one assumes that people who love superhero comics are already watching "Daredevil" with a close eye, but ten issues in, even a simple story like this one proves this book is in excellent hands. So much of what Waid and Rivera have tapped in "Daredevil" is what has been missing in mainstream superhero comics. It manages to be important and also entertaining, full realistic darkness, but with the hope that should come with superhero stories.

"Daredevil" #16, while not especially ground breaking or important, is still solid comics -- in some ways, it's comics storytelling at its finest. When a story is told with no great twist or hook is still utterly enjoyable, it's clear the reader is in good creative hands. This issue also highlights how exceptional the creative teams on "Daredevil" are -- when Samnee is your guest artist, you have a damn fine comic indeed.

"Daredevil" #29 is likely not a book that will blow your mind, or that will be remembered forever and put on a Top 10 list some day, but it's exactly the kind of strong "meat and potatoes" superhero stories readers should both hope for (and demand) in monthly comics. It doesn't break barriers or break all the rules, but it still manages to be smart and well-considered, beautifully drawn and engaging.

"Daredevil" #33 is a great example of a solid comic. While the issue isn't the pinnacle of Waid's seminal run, as the writer's series winds down, it's all the more important to appreciate the shocking high consistency of "Daredevil." This book's exit will leave a gaping hole in Marvel's line, but readers are incredibly lucky to have had it this long.

"Daredevil: Dark Nights" is a must-read for any serious fan of superheroes. Full of startling and vivid visuals and powerful writing, these first two issues suggest an exceptional and moving mini-series.

On the whole there are a lot of strengths to this book from a cast of colorful characters with intimate and complicated relationships to the epic feel of any story that travels through time. While as a new reader I'm still figuring some things out, there was more than enough great stuff here to warrant a return.

Mignola, Wood, and Dorkin's stories make this issue of "Dark Horse Presents" well worth the money. Though anthologies are risky, they also offer an opportunity for every reader to find something that resonates. By picking such quality creative teams, Dark Horse is going about this anthology smartly and they've absolutely converted this reader.

Surprisingly effective and emotionally engaging, Ralph's "Daybreak" is bold and scary in all the best ways. Though at heart it's a horror story, it's also just about people, and survival, and loneliness, like all the best zombie stories are.

"Deadly Class" has been impressive from the start with its bold, aggressive and unapologetic concept and commitment to that concept. However, issue number four is the best issue yet, by a good distance, and I'm on the edge of my seat to see what this creative team will bring next.

"Deadly Class" #7 is an issue that continues to develop a concise identity, thanks to a clear vision by creators Rick Remender, Wes Craig and Lee Loughridge -- and it is tremendous.

I generally enjoy Deadpool more as part of an ensemble cast, especially due to the oversaturation of the character in the recent years, but there's no way not to buy issue #2 of "Deadpool" after such a strong debut. The "Deadpool" creative team was expertly chosen and knows exactly what they're doing, a great sign for future Marvel NOW! books in the coming weeks.

A huge 40 pages would make "Death Vigil" a good buy even if it weren't such a charming surprise. But it <i>is</i> a charming surprise with a good sense of humor, smart subversive world building, and very pretty art, all adding up to a book well worth a read.

At 99 cents for this first issue, "Deathmatch" #1 is a particular steal, but even regularly priced this is a comic worth checking out. Jenkins and Magno have set up a very cool and smart story that, although it could easily fall into seen it all before clich, is so far expertly avoiding all those traps and delivering a great reading experience.

Even in an issue in which "Deathmatch" stumbles a bit as it juggles exposition heavy back story, it's still a solid comic, and one that is worth picking up -- against all odds. I remain impressed, and perhaps more importantly, excited to see where Jenkins and Magno are taking us.

In a book that is literally about characters battling to the death in a "match," it's nice that Jenkins is taking the time to really think about what might make these pair ups interesting and give the battles an incisive physicality. It's the polar opposite of lazy superhero writing and is the kind of smart writing that makes this surprise title stands out from the superhero comics crowd.

"Deathmatch" has proved to be that high-concept book that just <i>works</i> thanks to bold storytelling, smart writing, and highly detailed art. "Deathmatch" #9 isn't the best issue of the series, but it's a solid comic book that edges readers ever closer to what's sure to be a bold conclusion.

"Deathmatch" has been a great surprise. While this issue lays it on thick, and not everyone will feel satisfied by the complex explanations, it's still a fascinating book with excellent stakes that feel earned. As a reader, I'm anxious and excited to see what Jenkins and Magno will do next month, and the future beyond that is rife with potential.

In the end, "Defenders" #1 is a beautiful, very fun book that leaves you with the feeling of a lot more of the same to come. While it might have benefited from digging just a little bit deeper, I'm absolutely excited to see what Fraction and the Dodsons can deliver in the coming issues. This is a good start to what promises to be an exciting new series.

"Defenders" has not been the most consistent book for these first eight issues, with a variety of different artists piloting in and a sometimes strange take on plotting, but Fraction is a good writer and he's clearly having a fun, which comes across in the pages. The book has also benefited from some really great artists "- if you're going to have rotating artists, these are good ones to have! Still, I hope in upcoming issues Fraction can anchor things a bit more so we have a little more consistency to go with our rollicking good times.

Matt Fraction's "Defenders" has been a good book, and though the art has been solid regardless of the artist on board, the rotating artists does give the book an inconsistency tonally that's disappointing. A book about these A-Listers that tumbles through time, space and alternate dimensions should just feel more fun than this issue. Hopefully we can get back to that soon.

"Delilah Dirk and the Turkish Lieutenant" is simply a lovely book. Appropriate for all ages, but never too dull to engage the adult mind, it's pure adventure -- and who doesn't like adventure?

On the whole, "Delphine" is an engaging fairly tale for those that like their fairy tales dark, and for those that appreciate a whole new level of creativity in their interpretations of existing work. "Delphine" is also a nice contrast to the unrelentingly bright and happy fairy tales that are so often seen when it comes to modern reinterpretations of those early dark tales.

While "Demeter" is currently available for the insanely low price of $0.99 on comiXology, the print version is available via Cloonan's website. No matter what the format, I urge readers to pick up all three and spend some time immersed in Cloonan's beautiful but haunting world, all for less than the price of your average superhero comic.

Snyder is doing seminal work on "Detective Comics," work that others are going to build on and try their best to outdo. Comics will be better for it, but I'm not sure many that come after are going to be able to do it better than Snyder is doing it right now. If you read comics and you're not reading "Detective Comics" right now, you're screwing up.

This was quite simply a historic "Detective Comics" run by Snyder, Jock, and Francavilla. It makes the ending of this run and the re-launch next month all the more bittersweet, but if you're going to go out, what a way to go out. It's nice to know that the last running issue of Detective Comics prior to starting over at number one was one of the best runs the book has ever had. That can't ever be taken away.

The art is the star in "Detective Comics" #23.2, an otherwise useless origin story that brings little to no real insight into Harley Quinn. That said, tackling Harley Quinn's origin is a thankless and near impossible task and it's unsurprising that Kindt was unable to deliver a fantastic one-shot with all of that working against him.

The sole complaint I have of the book is that there's just so much going on, and so much of it is bizarre that there are places where it's a little hard to follow. But it's honestly so good and interesting, that I found myself not caring much that I had to do a little extra work to make sure I was getting everything. Certainly the layers, the creativity, and the sheer quality make this book worth the extra effort.

One small failing of the book is that is quite complicated. For new readers that might have jumped on at issue #0, this arc probably feels pretty inaccessible. While this issue is a satisfying conclusion to this arc, and one that introduces plenty of new mysteries for future stories, I can see how new readers might be thrown. Hopefully they can see the quality both Miville and Santolouco are bringing to the table, and give it the chance that the already devoted "Dial H" readers know it deserves -- readers are in good hands with this creative team.

This particular issue of "Dial H" has some artistic inconsistencies and a slightly confusing story as The Centipede puts the pieces together and meets up with our heroes, but it's still a totally creative book that deserves as many readers as possible.

"Dominique Laveau: Voodoo Child" has an interesting setting and the potential to be a story that focuses on characters, places and themes we don't get to see enough, but so far the execution is not living up to the idea.

"Egos" takes some really classic superhero tropes, like the building of the "exciting new team!" concept and turns it completely on its head. As a reader, I found myself completely caught up in Moore and Storms "all new team!" before Moore flipped the script and made everything more interesting. It's a talented creative team that can make something as old hat as the "all new team" feel so fun and exciting, but it's a whole other level of creative team that can then throw that excitement out the window simply because they've got something more interesting planned. I simply cannot wait to see what this series has in store.

All in all, while there are still some rough edges to be worked out (most notably, Elektra being allowed to take real ownership of the title), Del Mundo's visuals are magnificent, and exactly the follow up that a character of this caliber has deserved for a very long time. It took nearly 30 years, but finally a new "Elektra" title has a chance at stepping out of the shadows of "Elektra: Assassin" and breathing fascinating new life into the character.

Like "Red She-Hulk," which felt like it wanted to be called "Machine Man," Elektra still feels like it wants to be called "Bloody Lips," and that's maybe a book I would buy, but for an Elektra solo title, Blackman and Del Mundo's "Elektra" is not quite getting it done. Despite incredible art by Mike Del Mundo, "Elektra" continues the struggle to find its voice.

Though the non-visual side of the series stumbled out of the gate, "Elektra" #5 has found some glorious footing. If Blackman and Del Mundo can maintain that energy and precision, they may have a wonderful ongoing series on their hands.

Overall, this is working well as an adaptation. Though I was disappointed in comparison to Lee's other work, the art is still lovely and unique. For any fan of Austen or adaptations in general, there's a lot to enjoy here, and even more to anticipate in the next issue.

I think there's actually an interesting story in "Evil Empire" #1 somewhere, but it's not presented in the best way. Had Bemis and Getty presented a better destination, a better opening hook -- then perhaps the lack of nuance in the journey might have felt worth it. Unfortunately, as presented here, clunky and heavy-handed and with an unclear destination in mind, it's hard to invest in the journey, regardless of cliffhanger ending.

This particular storyline will continue in the recently announced "Fairest" mini-series from Willingham and Phil Jimenez, which sounds promising, but this issue on its own is a bit frustrating of a read. Hopefully when Rose's tale begins in "Fairest" she'll be able to claim some agency in her own story, despite her definitively inactive "power."

Perhaps knowing what Willingham is capable of as a writer is part of what stands in the way of enjoying this first issue as much as I'd like. I've read amazing stories by Willingham and so far this just doesn't feel like his best effort. The visuals are stunning and Willingham can easily turn this series around, but for now I'm not as impressed as I'd like to be.

I've always been a huge fan of both Fairy Tales and their adaptations into different media. However I've learned the hard way that those responsible for the re-imagining matters a lot when it comes to how well they actually work. Editor Chris Duffy has assembled a truly spectacular array of talent for this volume, and I can only hope that future editions will follow.

Going in, I hoped that "Fantomex MAX" would feel like "Hawkeye": creative, unconventional, smart and sharply funny. That was perhaps too much to hope for given that "Hawkeye" is one of the best comics currently on shelves, but this feels so far from "Hawkeye" it's not even playing the same sport, let alone fighting in the same weight class. I wanted to like this for all the right reasons, but it's a misfire from page one with a tonal disconnect and forgettable premise and characters.

This is absolutely the best of creative teams, clearly doing something they love. And there's nothing better than that -- creators at the top of their game, pouring that much energy and passion into a story -- the exceptional results simply cannot be denied.

Brubaker and Phillips' "Fatale" is an excellent example of the great modern comic -- an exercise in perfecting storytelling, in creating a cohesive and consistent vision for an entire story the same way you would expect a great novel, film, or television show to look and feel. "Fatale" #24 is an excellent example of why this is a book to be read again and again, standing the test of time, in spite of the fact that -- or perhaps because -- people will always worship monsters.

Three issues in, "Federal Bureau of Physics" is shaping up to be a great book in Vertigo's library. Next to "The Wake," this is the most fun, creative and smartly challenging book of Vertigo's new line. Hopefully, it's a sign of even more great things to come for the imprint.

"FBP" continues to be one of my favorite books that is also way over my head. I have to leave a fair amount of investment in understanding the particulars at the door in order to enjoy "FBP," but as long as I do, I find I always come away happy.

Unfortunately, if you're not reading a lot of 'Fear Itself' then the final page, I suspect meant to have serious impact, is mostly lost on you. That, paired with the eye-rolling deus ex machina device makes for a real let down of an ending. On the heels of Marjorie Liu and Daniel Acuna doing wonderful, very smart, very beautiful things with Natasha in her short-lived "Black Widow" series last year, I've become a big fan of Natasha. It's a shame to see her wasted in such a throwaway tale.

All in all, I'd say half of this book works like gangbusters and the other half falls short. From a writing standpoint, everything that relates to Bentley and his crew including the shocking cliffhanger is fantastic, but Jen's date is a weak spot that readers have to return to time and again. Meanwhile Allred's art varies from absolutely stunning to lacking clarity from page to page, making this an inconsistent issue at best.

This issue promises a strong cliffhanger leading to something a bit more significant in our future and I'm interested to see how Fraction and merge this light (and slight) book with something that has a bit more gravitas. If he can do it, I'll be more excited than ever to have a book like this on the stands. If he can't, I'll still be glad its here. Even when it's not a perfect book it's still a unique snowflake in a blazing desert.

After a rough opening ten pages, Zub and Andrade really find the sweet spot for their book. With Figment and Blair's relationship as the cornerstone of the series they have something solid and energizing to work with and though the first third of the book is a bit of a bore, by the end it's full of promise.

Overall, this book is very close to being brilliant, but while it blows its budget on some of the epic set pieces and larger ideas, it feels like it's cutting corners on the some of the smaller but unfortunately key storytelling elements that make a story work on the most basic of levels. This is a good comic book in its current form, but it could be great.

With brilliant Cliff Chiang covers, and characters Dick Grayson and Deadman starring, I had high hopes for "Flashpoint: Deadman & The Flying Grayson's" but there's not much here to hold onto and the result is an unsatisfying mish-mash.

In general this issue delivered an interesting story and set up despite some utterly bizarre art decisions. Abnett and Lanning have this series surprisingly well in hand, even for a non-believer like myself. Time will tell if others can follow them as competently.

I would absolutely read an ongoing comic about the young adventures of Cassie and Val by Gagnon and Smith. I would consider reading the grown up adventures of Cassie and Val if Gagnon and Smith were delivering those as well, but with the current creative team on the main story, even at this bargain basement price, I'm afraid this is a skip.

While Hicks' debut comic "Zombies Calling" was great fun, her books have gotten progressively better over the last few years. Her artistic skill grows and her writing becomes more layered and nuanced with each new book. "Friends With Boys" is so good it leaves one simply excited to see what she'll do next.

The ending of "Gambit" #1 has some promise about where this series could be headed in the future -- i.e. a much less stereotypical story, but this first issue is best ignored. Everyone on board can do better, which I hope will be reflected in future issues. I'd love to see Remy LeBeau in a regular series that's as good as I know that character <i>can</i> be.

The teenaged me wants to love this book, and "Gambit" #4 is certainly a solid issue, but it still feels like it's missing that all important x-factor (no pun intended) to help it level up. I'm not sure what that missing element might be, but I'd be happy to see Gambit rehabbed into a stronger character, and it seems like having his own series might be that opportunity, so I hope it gets the chance to find its feet, its "x-factor" and an audience.

I'd love to be reading about Gambit's adventures in a solo title, and I may give this another try as I seem to have just been unlucky in the issues I've picked -- the first had some technical issues with the art that I heard were solved -- and here we've got the giant team of artists all chipping in. I see Rogue due to appear in a future issue soon, so perhaps I'll give that a try to see how Asmus handles that relationship. I find, despite the disappointment, I don't want to give up on "Gambit" just quite yet.

I keep dipping a toe into "Gambit" as I continue to hold an almost unreasonable affection for the character, and I hoped that these issues with Rogue (another character I enjoy) would help me settle into a nice affection for the book. Unfortunately, with the tag team art, and my inability to connect to Joelle and thus care about her fate, I'm underwhelmed, again.

I was certainly excited, if a bit anxious, about Gambit getting his own series, but Asmus and Mann were never able to pull it together. Inconsistencies in the art (and creative team in general) plagued them, and never was there a sense of what they wanted to do for Gambit, or whyreaders should root for him, not just as a hero, but as a character that deserved his own title.

Like all the best comic books you can see Epsin and Gillen working in wonderful synch on "Generation Hope," and it makes me excited about what they can do here together.

Kieron Gillen is hitting it out of the park on "Generation Hope," and though all the artists on the title thus far have been excellent, with McKelvie as his right hand, this is a nearly perfect book. If you're not reading this book, you're missing out on some great comics.

Time will tell if "Glory" can find that perfect tonal balance but no matter what it will be a good time watching these creators (and characters) get there. "Glory" #23 has some of the most innovative and ballsy work comics has seen for a long time. <i>This</i> is a re-launch, people.

As a fan of Campbell's work I always expected to enjoy his visuals for this book, but I was not necessarily convinced the story and characters would compel me. However Keatinge has delivered an interesting take, and one worthy of Campbell's visuals. The result is book you simply must be buying, if only for the fearlessness with which it is executed. You won't see much like this elsewhere in "mainstream" comics and that makes it precious indeed.

At the end of the day I have to give Image (and Liefeld) huge props for their willingness to let Keatinge and Campbell truly cut loose in this book. As a result it was perhaps not their most popular title, or one that could go on forever, but it will stand the test of time as being one of the boldest, bravest, and most wonderfully bizarre superhero books -- a superhero book that is utterly un-superhero in the best of ways.

All in all, though the series still has some rough edges to smooth out, "Grayson" #1 was a solid start to an interesting new book and new direction for DC. Hopefully this creative team can stay in place for the foreseeable future -- and if we're very lucky, some of the other re-launching books will have the same energy and rush to them that "Grayson" exudes.

We need more comics like "Green Wake:" smart and mysterious, beautiful and well considered. It's a book that will leave you thinking and wondering about it long after you put it down, the mark of a great comic.

"Green Wake" is shaping up to be one of the great mini-series of 2011. Smart, fast moving, and full of intriguing mystery, "Green Wake" is a beautiful book that you'll be thinking about for hours after you finish.

The most impressive thing both Wiebe and Rossmo have managed to do here, however, is to wrap up their initial arc and then effortlessly pick it up here so that it still feels organic and not like some desperate attempt to keep the magic going. No, they've still got the magic, and there's nothing desperate about it.

So often in comics endings don't deliver as they should, particularly true when a series is cut short, but Wiebe and Rossmo easily avoid that trap and end this series the way it deserves with an emotional punch and just enough mystery resolved to satisfy readers.

"Guardians of the Galaxy" #14 is a very expensive, mediocre issue with two shorts -- one exceptional and one exceptionally bad, but neither very relevant -- and leaves me on the fence about coming back next month. The characters are interesting, but judging on this issue alone they worked better as the guest stars in other books than as the stars of their own.

"Guardians of the Galaxy: Galaxy's Most Wanted" #1 does have one thing in its favor in that it includes a reprint of Thor #314 which has a battle between Thor and Drax The Destroyer.

It's exciting to see such a strong new offering from Valiant as the publisher begins its launch of new books. Dysart's reputation as a talented writer precedes him, but he delivers on that reputation absolutely in this first issue.

Kate Beaton's "Hark! A Vagrant" collection is perfect for fans of her work both new and old. Whether you've already read every single strip online or are completely new to the work, the book is a must have for any comics fan that likes their humor smart and their visuals hilarious.

In the end, "Harley Quinn" #1 zigs when it should zag and falls asleep at the wheel when it should be driving laps around the track. Even if there's room in the current DC for a true off-the-wall Harley Quinn title, "Harley Quinn" #1 isn't it.

Marvel has had their share of missteps lately, but they have also made so many cool and smart choices of late, like bringing on Brian Wood and letting Fraction and Aja do this book exactly as I imagine they wanted. The result is a smart, modern comic that pulsates with creativity. "Hawkeye" #1 joins books like "Wolverine & The X-Men," "Ultimate Comics Spider-Man" and "Daredevil" as one of the best and most interesting superhero books on stands.

One of the best things about what Fraction and Aja do in "Hawkeye" is that it works completely free of continuity -- something easy to overlook in the general brilliance of this book. Though you would be a fool not to pick up the first two issues, you simply don't have to. This story, like the two before it, stands effortlessly on its own with brilliant, funny storytelling full of heart and promises. It's pretty exciting to find a comic book you can love this much. Thank you gentlemen. More, please.

Being in love with a superhero comic book is such an amazing experience. It's rare enough that I'm having trouble remembering when I last felt this way about a superhero book. Perhaps it was Greg Rucka and J.H. Williams III's "Batwoman/Detective Comics" run? It's fitting that though these two titles could not be more different, they both perfectly represent what makes superhero comics work. Brilliantly talented creators with a passion for their work, fantastic characters, and editors/publishers unafraid, and even excited, to do something a little different and a lot wonderful.

Eight issues in, "Hawkeye" continues to be the standard upon which all great mainstream comics should be judged. Consistently beautiful, funny, smart, human, heroic and decidedly alternative, despite its publisher, it's simply the best superhero book I've read in a very, <i>very</i> long time. This issue stumbles slightly by acknowledging that other comics exist -- in introducing the complexities of Clint's love life in continuity -- but it's barely enough to even put a dent in everything else that is oh-so-right about "Hawkeye."

Superhero fans are lucky to have such a stunning book as "Hawkeye." To think, a year ago, I was exceedingly grouchy that Hawkeye was getting his own book (by Fraction and Aja no less!) while Black Widow languished without. While I still think Natasha deserves her own book -- and with as celebrated and perfect a team as Fraction and Aja -- I can't possibly regret the continued brilliance that is "Hawkeye."

Death in comics can be such an easy clich. The sideways angle that Fraction and Aja use to approach this issue is like a quiet revelation. Kate's inspiring but melancholy speech to Hawkeye (who sleeps through the whole thing) is the kind of desperate and wonderful missed connection and agonizing humanity that "Hawkeye" is all about.

For anyone that doesn't regularly read Hellboy it should also be noted that the book does an excellent job of bringing potential new readers up to speed. In two easy to read illustrated pages at the start of the issue, readers are given "the story thus far." It's incredibly effective, despite the Hellboy lore being complicated at best. It surely beats retcons, relaunches, and reboots. "Hellboy: The Fury" is a great comic, that despite the character's intricate history makes for a great jumping on point for anyone that has been interested in the character and wanted to take the book for a spin.

All in all, it's good to have Kunkel's characters back, and perhaps this issue still has him shaking off the dust and getting back into his groove. We need more good, kid-friendly, all-ages comics, and if Kunkel can get "Herobear and the Kid" back up to snuff it'll be a welcome and needed addition to the comics landscape.

This is not a bad comic, but it suffers quite a bit when compared with its previous issues. The bright spot is the ending, which leaves us with an powerful cliffhanger as other issues have, and which hopefully signifies a return to what has been working so well in the series thus far. Overall, though this is an unsatisfying issue on the whole, the book has otherwise been exceptional. Hopefully we can get back to business as usual in the next issue.

This issue, like the previous issue, ended on a bright note that seemed to herald a return to what worked so well in the first three books. However, once burned"twice shy. I'll be giving this book another chance for sure, but I'm not sure how many more chances I have left in me.

We're still not quite back to the exceptional comic that "Heroes For Hire" was for the first three issues, but issue #6 is a marked improvement from the last two issues, and leaves me hopeful for the next one. Keeping this creative team on board and focused will be key to not losing momentum, not to mention fans, for this book.

All in all, "Heroes For Hire" #11 is one of the stronger issues, particularly in the writing and penciling. The writing delivered the kind of twists and turns that not only tell a compelling story but also build upon already existing great characters to make them even greater.

With an interesting, if slightly uneven, execution and a particularly strong ending, there are many reasons to come back for a second issue of "Hexed."

Davis' work has a take-no-prisoners approach to storytelling that will generally leave you gasping for more, or for mercy. At the same time her work is blissfully free of judgment. In "How To Be Happy," Davis doesn't seek to teach a clich lesson or shame anyone, she's simply grasping for the truth, and reading her work will leave you grasping for it too.

Overly earnest work sometimes falls painfully flat, so it's always with come hesitancy that I enter into something so grandiose as "Hunger" #1 appears to be, but Fialkov's down to earth approach (so to speak) really sells it. As a result, a concept I wasn't necessarily interested in becomes a story I'm intrigued enough about to keep reading. In the end, Fialkov's contrast of the intimate and the monumental is more than enough to warrant a return for issue #2.

Overall this is a the beginning of a solid mini-series with an underused character full of potential. It's better than most of the new DCU 52 books I read. It makes one wish that this book was going to keep going instead of being relegated to a mini-series. Regardless, if you like strong well-rounded female characters, support this book so we can see more like it.

A year ago, "I, Vampire" was a title I never really had much interest in, let alone expectations that it could last in such a massive re-launch considering its characters were new and without an existing fan base. However, consistently good work from both Fialkov and Sorrentino has made it one of the stronger titles of the "New 52" and this zero issue is a solid jumping on point for anyone that has been intrigued but hesitant.

"I, Vampire", could have easily fallen into clich, as vampire stories tend to when they're not well-conceived. However, thanks to Fialkov's strong writing and solid character work, and Sorrentino and Maiolo's gorgeous artwork, "I. Vampire" continues to be one of the more interesting titles from DC, and one with the best ongoing hook.

In the end, Doctorow and Wang have created a socially relevant, heartfelt and emotionally engaging story about a female gamer that will likely inspire and encourage generations of awesome girls.

In the final analysis, I found myself wishing that Marvel was letting Kindt and Sanders do a legitimate "Contest of Champions" book. <i>That's</i> a book I would certainly commit to buying at least a few issues. But based on the first issue there's nothing new or special in "Infinity: The Hunt" #1, and the quality isn't high enough overall to make it a must-read.

The upside is that there's still a lot of potential here. Gwen, a zombie, is now dating a monster hunter, which seems rife with possibilities; Ellie sounds like she's going to help Marvin find a less simian body to inhabit; and eventually I suspect Anon and Galatea are going to get up to some mischief, whether together or separately. But almost a year in, I'm wondering why we're not well on our way to a lot of that already.

All in all this is a strong and beautiful start to a compelling adventure tale, and I'm excited to read the next chapter.

I said this won't be my last issue of "Jonah Hex," but I'm afraid this issue has set the bar rather high. I look forward to next month and hope that Gray and Palmiotti can deliver another equally chilling tale.

Overall, what's most impressive is that Immonen and Schiti have created a journey for Sif in this first issue that feels both epic and also extremely personal. The story ends on a particularly compelling note, one that leaves me anxious for the next installment, and with this creative team at the helm, I'm excited to see what's next.

This is a creative team and book that snuck up on me. Immonen, Schiti and Bellaire are surprising and impressing me with the one fine issue after another. There's a deftness of hand in both idea and execution that makes "Journey Into Mystery" a joy to read.

Despite a decent story from Immonen, the book badly misses both Schiti's art and Sif's star power, further proving what a dream team of creators and character they truly are. If anything, "Journey Into Mystery" #651 has reminded me how much I generally enjoy this book, how consistently stunning it has been and how much I hope the creative team gets the opportunity to continue cranking out delicious tales.

For a run cut too short, this is a solid wrap up for an interesting book. Looking back at "Journey Into Mystery," one can only hope that the series' talent is quickly snapped up for other interesting projects and that Sif, so wonderfully brought to life by Immonen and Schiti, finds herself a home elsewhere. Especially considering her beefed up role in the forthcoming "Thor 2: The Dark World" it seems like Sif's star should be on the rise, despite the cancellation of this very good book.

As a comic, "Julia's House For Lost Creatures" probably only rates about average. It's very simple and doesn't make a lot of use of sequential art on balance. As a children's book, it's a delightful charmer for any young child, but not necessarily one with enough layers to grow with them for long.

The most successful of the zero issues this past month have been ones that managed to show something new about their characters or bring important ideas to the table, while still being new-reader friendly. Lemire's "Justice League Dark" #0 isn't an amazing must read-comic, but it does manage to intrigue on the character front and serves as a decent jumping on point for one of the stronger ongoing books from DC.

This series still isn't doing everything it should be, in large part because there are just so many characters on the board, but the story is interesting, the characters compelling, and the art improving by leaps and bounds with every issue.

Next month Jeff Lemire will be taking over writing tasks for this title, and I sincerely hope he can find a way to make "Justice League Dark" work. The character line up is an embarrassment of riches, but those characters come with a lot of power and thus they need a very careful hand. These first eight issues never managed it, despite some bright spots, but I look forward to seeing another writer try.

"Justice League Dark," from the beginning, has been one of the new DCU books I was most excited for and most wanted to like, but it never quite hung together right. It's good to see that DC realized they had a great concept and great characters and made a few tweaks rather than canceling the title outright or doing a complete overhaul. So far just changing out the writer has given the book a new look and feel, and a direction I'm excited to see play out.

On the whole, I'm delighted with the direction this book has taken under Lemire's pen. I'm not quite in love with all the characters yet, but the story is complex and intelligent and nothing is quite what it seems. Similarly, Lemire seems to have reinvigorated Janin and the book looks better than it ever has, a great example of DC making a few smart changes rather than jettisoning the project or creative team altogether.

"Justice League: Dark" is the dark horse of my pull-list. I wanted to like this book from go based on concept and characters alone, but it still struggles to convince me to fall in love, despite Mikel's lovely artwork. But I'm not giving up; I've read enough "almost great" issues that I'm going to stick it out. Even when the book doesn't hit on all levels it's still a compelling read full of potential.

"Justice League Dark" continues to be a book that I want to like more than I do. It's not bad, but it's just not great. Some issues and arcs are better than others, but 18 issues in, nothing but the art has really blown my socks off, despite featuring some of my favorite characters in all of comics. I'm not sure what's missing here, but I wish one of these great creators involved with the book could figure it out. I still feel there's a brilliant book here, but it's still just waiting to be discovered. Maybe that last panel in this issue holds the key?

This issue does expand to include a couple extra pages. I guess those pages, plus the massive number of characters on the board, are supposed to justify the extra price, but for this fan, it doesn't even come close. Give me my old "Justice League Dark" trying hard to be the best book it can, for my regular price, and featuring my small, underused cast members, anytime.

This is perhaps the worst "big two" comic book I have ever read. A terrible idea coupled with rushed nonsensical visuals that never come together into a readable story. The fact that a book like this can make it past any kind of editorial process or quality control at DC Comics is a shock.

Johns takes pains repeatedly in this issue to make clear that this is not a new "Suicide Squad" -- and for good reason, since that's exactly how it feels. But why distance themselves from it? A vintage "Suicide Squad" knock-off would not be so bad, but their desperate attempt to stay away from it only spotlights the similarity of the concepts. At 34 pages of story, I guess the $3.99 price tag makes sense, but it's ultimately a very high price to pay for a comic that is, at this point, only mediocre.

Though this issue is very uneven, especially the forced ending, there's something intriguing in "Katana" that makes it unique to the DC line, and that's a good thing. Two issues in, it struggles to find a strong and consistent voice, but given time there might be something worthy here.

"Lazarus" #4 is a pitch perfect ending to a stand out new series; it's the kind of book that reminds fans just what great comics are capable of. Emotional and resonant, beautiful and smart, "Lazarus" leaves readers begging for what happens next.

From its first issue, "Lazarus" was one of the breakout stars of an already impressive line up from Image. As the beginning of a second arc, "Lazarus" #5 proves that the book has lost none of its steam, growing in scope and complexity. Forever Carlyle is poised to become one of the comic book character greats.

"Lazarus" is a book that just gets better and better as it builds up the kind of layers to characters and world building that all comics should strive for. The depth is rich and the emotion is palpable, and I'm on the edge of my seat for what's next.

"Lazarus" is Rucka's best work in a long time, which is no small feat given the consistent high quality of his output. "Lazarus" is layered and smart, and with every issue Rucka and Lark deepen and strengthen everything that came before while aggressively pursuing new aspects of the world and characters.

Lack of substance and inconsistent execution plagues "Legendary Star-Lord" #2. It's not a bad comic, but there is little to distinguish it from the pack.

Two issues in, "Legion of Monsters" is a wildly fun layered romp, with a significant mystery buried at the center. Solid character work, strong writing, and recklessly wonderful art have come together to make one hell of a book.

With its boundless enthusiasm, gorgeous art, and smart writing, "Legion of Monsters" is a fantastic book, the kind of mini-series that deserves an ongoing. And if we can't have more "Legion of Monsters" I'd love to at least see some more from the excellent creative team of Hopeless, Doe and Quintana. There was magic here, and I have a suspicion they could easily capture it again.

In the end this might have been a good, or even a very good random issue of "Legion of Superheroes," but as a number one issue it's a mess. I was legitimately excited about the idea of jumping into a whole new super group I'd never tried before. Now was my chance! And I took it, but it was a colossal failure and I won't be signing up for a second chance.

Cute goes a long way with an all-ages book of this kind, and the story is fun enough, but there's not much to encourage a second read. In the end, "Li'l Sonja" #1 proves to be charming, but ultimately forgettable.

Strong work from all parties is unfortunately undermined by bad layout decisions which prevent each of the stories from performing at their highest level. Still, I'd happily ingest more "Li'l Vampi," especially with cartoonist Garbowska at the helm.

"Loose Ends" is ballsy and bold, and I wish more comics could be like this book. While we all know that every story out there has been seen before and too frequently done to death, the execution in this first issue by Lautner, Brunner, and Renzi is straight up sublime.

This is only the first issue and there are enough good things at work here that there's plenty of time for the creators to turn it around and make this a solid little series. However, I hope in future issues they can pay more attention to the little things that really make a book work, otherwise this mini will end up feeling a bit ill-conceived and sloppy. The concept and talent here deserves, and can deliver, more.

Certainly a single issue is not enough to say definitively whether there's something interesting, engaging or new to be found in "Low," but this first issue feels like a misstep. Remender and Tocchini are capable and experienced creators, so surely they can turn things around, but "Low" #1 is not as encouraging as one would expect from creators at this level.

Two issues in, Rich and Levens' "Madame Frankenstein" mini-series is more interesting than I would have expected as it blends together some disparate ideas and genres to make a more fascinating whole. Still, as a reader, I yearn for some agency for Courtney/Gail and suspect the book will become more layered once it reaches that point.

I'm willing to concede that this book, being the start of a new arc, and thus incredibly slow in the action department save the vampire slayage, is perhaps not an accurate representation of the how the book usually reads. But in an issue low on action, I'd hope that strong character work would compensate. Instead I found it impossible to care about either of the main characters and it felt like a lot of filler so that we could get a hot chick fight. I certainly don't mind a hot chick fight, but I'd like there to be believable women behind that fight.

Three issues in, this remains a solid mini-series that deserves more attention than it's getting. Though there are some writing inconsistencies and a plot that is too big for its mini-series britches, the idea remains impressive. When the writing lets loose, it's a lot of fun. And the beautiful artwork is worthy of the best most expensive books on the stands.

"Mara" is not a traditional superhero story, nor is it deliberately <i>not</i> a superhero story; rather it's a fascinating character piece exploring what it's like to have power, and what it's like to live in a society that feeds on that power, with no concern for you. In corrupt world, Mara is a bright shining star, and I'm excited to see how Wood will close up this unique mini-series.

Two issues in, "Marvel Knights: X-Men" is shaping up to be an interesting and beautifully illustrated little mini-series. Certainly for fans of Rogue, dealt a horrible blow last week, this out of continuity gem that gives her lots of room to shine, is a must-read.

"Marvel Now What?!" #1 doesn't have the pedigree of Marvel's exceptional "Strange Tales II" from 2010/2011, but it's still refreshing to see this sense of humor from Marvel and more importantly that willingness to laugh at themselves. This isn't a book that will (or should) win any awards, but it will give any fan a good chuckle.

"Men of Wrath" is a strong start to Jason Aaron and Ron Garney's first creator-owned effort together and a smart choice for the Marvel Icon line -- a debut issue with a dark edge and an ending that defies you to ignore the next issue.

"Mighty Avengers" #8 is full of characters I'm interested in and want to love, but this issue is mediocre at best, despite having one of the best artists in superhero comics on board. I'll give it a few more issues to win me over because of the characters, but it's going to have to really up its game to keep me as a reader.

Ironically, though Bendis is a writer known for his deconstructed stories, this one felt rushed and packed too full. If Bendis had given himself and Marquez more pages to deal with the emotional ramifications and spent less time on, let's face it, a mostly pointless Green Goblin fight, this book might have had some real gravitas, as it is it's nearly forgettable the moment you put it down.

I would love to see more books like Kindt's "Mind Mgmt" at places like Dark Horse. Though I'm sure books like this are risky and don't get as much high-profile attention, the quality is simply sublime.

This book is never going to be a huge seller for Image the way something like "Saga" is, but it's a wonderful way for the publisher to expand their library, adding variety and layers to an already impressive line. "Minimum Wage" is a great book to round out that line as it's got its roots and influences easily traced to the best of indie comics. It's slightly aggressive and cringe-inducing in its portrayal of reality, but all in the best of ways.

Unfortunately, the biggest problem with this book continues to be the art. While clear, crisp, and easy to follow, it's just far too uneven for so otherwise compelling a book. The characters are mostly well drawn, but occasionally look nothing like themselves, even from panel to panel. The backgrounds are generally bare, making the book feel visually inconsequential, instead of rich. A story this textually loaded, with intrigue upon intrigue layered together, should feel that way visually as well, but Joe Eisma's art is too inconsistent and sparse to manage it at this point.

"Morning Glories" continues to be an intriguing concept, with a ballsy approach. Nick Spencer has clearly outed himself as a talented writer, but this book needs to start leading somewhere and adding up to something or readers are likely to wander away. I know I've certainly started drifting.

As with any collection of short stories, reader mileage will vary. On the whole these stories were enjoyable and did a decent job of further building the world of "Mouse Guard" but it wasn't a volume that will stay with me the way much of the regular series has.

"Mouse Guard" continues to be one of those books that just works on every level, delivering satisfying emotional adventures for a vast cast of characters. The sole issue with the series is that issues can't come out more frequently.

"Ms. Marvel" is a superhero comic book long overdue, but even for those that haven't been waiting for something like this, it's hard to argue against it. It's fun, it's smart, it's beautiful, heroic and inspiring. Here's to a long future for "Ms. Marvel" and Kamala, hopefully with Wilson and Alphona at the helm.

Four issues in, and "Ms. Marvel" shows no signs of letting up. It's the definition of a well-constructed comic book with the perfect creative team, one with not only incredible talent, but an obvious passion for their subject material. If you're not reading it, you're making a mistake.

G. Willow Wilson, Adrian Alphona and Ian Herring are a dream team, crafting an effortlessly enjoyable superhero coming-of-age comic in "Ms. Marvel." If you're not reading, you're not just missing out on a wonderful series, you may just be missing out on the start of a zeitgeist for comics.

"Mudman" is traditional mainstream superhero comics done with an independent bent, and it's what makes the book interesting and clever, but the stakes still need to be raised considerably in order to bring "Mudman" to a must-read level.

Though the annual is double-sized (clocking in at 47 pages plus a slew of alternate covers) it's also a heft more than double-sized price tag, so mileage may vary on value for your dollar. For fans, this is a fun and pretty -- if insubstantial -- book; for newcomers, it's a detailed and friendly introduction to the primary characters (as Equestria Girls) of the "My Little Pony" world.

Though surely to be a delight for kids with its bright visuals, expressive personality-driven ponies, charming story of friendship and goodness, it doesn't have the additional layers needed to make it a great read for adults as well. It's fun, but a bit shallow, and ultimately (like the show) it's capable of more. More jokes <i>and</i> more layers. However, the book is just getting started and there's plenty of time for Cook and Price to find that sweet spot of just enough story to make sure that the visuals don't get lost in too much story.

I think for a younger audience, especially young girls, this is an ideal book. It's fun and beautiful, well-considered and energetic. It's the kind of book we need more of, quite frankly. It's not a perfect comic book for me specifically, but good comics are good comics, and this is a good comic.

In the end, though the book has its visual strengths, the poor acting gives it a decided lack of depth, and some of the weaker storytelling choices are jarring. A series exploring the town of Buckaroo and how it has become a birthplace of serial killers -- the why, the how, and the very nature and nurture of that phenomenon -- would be quite interesting. It's possible that Williamson intends to focus on the town more than one killer, but what's presented in "Nailbiter" #1 is not particularly convincing or innovative.

There's certainly a market for hot female vampire anti-heroes (Vampirella's series springs to mind instantly) but you need a better and more consistent book than "National Comics: Looker." There's simply not enough greatness or intrigue here to compel a reader to come back for more.

Overall, Carey is doing amazing things with "Age of X." It will be a shame if when it's over we have to go back to business as usual. In Carey's hands, that's still interesting, but not as interesting as this has been.

All in all, this was a great little comic book that manages to feel like its own book despite having a "Fear Itself" banner stamped onto it. A single issue like this ensures I'll be picking up the next issue, and you should too.

All in all, "New Warriors" #1 is completely competent and an enjoyable enough superhero comic, as well as one that deserves kudos for handling a tough reintroduction to a large roster. However, it's just not an issue that's going to leave an impression over time, and unless you're already very attached to the characters, I'm not sure there's enough to compel readers to return.

Though I've immensely enjoyed seeing Tomine's illustration work in "The New Yorker" over the years, and I hope that continues -- both for my benefit and for the steady work I'm sure it provides Tomine -- reading the few strips included here is a reminder that he is so much more than just a talented illustrator. He is an exceptional storyteller, one with a sharp self-deprecating and observational sense of humor that never ceases to make me laugh and think. Reading and absorbing this lovely book really leaves me yearning for more actual comics from Tomine. He's greatly missed, even though he's not really left us.

When you're dealing with an adaption of a novel, it really is in the art that the work sinks or swims, for if not for the art, why not just read the original prose? Marvel has been smart in choosing powerful artists with very distinctive bold styles for these adaptations. That has helped to set them apart from what could be very rote executions of pre-existing works. There's nothing rote about Butler and Lee's take, and for fans of adaptations or of Austen, this new series should be a treat.

It's a true shame that this is the last arc of Brian Wood's exceptional "Northlanders" series, a series that has been among the best ongoings of the last few years. But it's a relief that Wood is clearly prepared to deliver his absolute best work with this nine-part story. Frankly, I'd expect no less.

These words can be taken so many ways, but coming as they do at the end of an excellent run of a quality series I cannot help but see those words as a comment on the state of comics. It's both a beautiful and sad sentiment, and one that is all too true. Perhaps it's a bit overdramatic for comics commentary since it's intended to be a more literal comment about life and death and everything in between, but I cannot help but nod to myself in agreement with the words on all levels.

I'm always up for a good dystopian story, and there's an interesting idea in here somewhere, but it's getting buried in a quagmire of conflicting elements and visuals. Hopefully the creative team can sort out the weaknesses and rebound in the second issue with something a little more focused.

The plot reveal toward the end of "Outcast" #1 takes the book from being a thoughtful standalone story to a more marketable story -- something you can package and brand and launch into an ongoing series (as well as a television show), which is not necessarily bad. "Outcast" #1 would have been a good standalone comic, or the first piece of a wonderful graphic novel, but instead it's the first installment of something much bigger and more ambitious. Given the quality in this first issue, it's without doubt that readers will return for the next piece of the puzzle -- and if Kirkman, Azaceto and Breitweizer can keep it up, many, many more pieces.

I've often mourned the fact that Young works almost entirely on all-ages books these days as it leaves me reading his work less frequently than I'd like. However, seeing what he's doing here, you can't really blame him for the choice, as he's clearly enjoying every minute of it. There's a freedom and excitement in his work on the Oz books that's thoroughly contagious in its wonderment.

Children and adults the world over are lucky comic fans indeed to have Shanower and Young doing these exceptional adaptations. They're the kind of comic books that could make you a fan of comics for life, no matter what age you are.

While Painkiller Jane is an interesting enough character and the idea of a cool buddy cop book starring two ladies is certainly appealing, the execution leaves a lot to be desired. So far there's just nothing particularly sharp, funny, or original in "Painkiller Jane: The Price of Freedom."

Great autobiographical and memoir work manages to transcend the narcissistic and mundane, finding ways to become intimate and relatable. Despite being a woman, having been in a romantic relationship most of my adult life, having never been to a prostitute (and not to mention not being a Canadian) I found myself engaged (and engulfed) by Brown's own questions to himself about romantic love, and the incompatibility of romantic love as a lasting and immutable thing. I pondered his questions intently, my own answers surprising me. It's only in the best work that we are inspired to turn important questions back onto ourselves to truly examine and learn from them, and "Paying For It" is exactly that kind of work.

If you're tired of all the same stories and like your comics smart, unexpected, and slightly off the beaten path, give "Polarity" #1 a read. It has all the elements in place to be not only a hell of a first issue, but also a hell of a mini-series.

Sami Basri's art has been consistent and reliable for his entire run on the series, and mostly suffers by having to follow up Amanda Conner's art, which was more emotional and a better fit for Karen's personality and style. Basri's art is very pretty and soft, but occasionally flat and stiff, which doesn't help the fun that sometimes seems to be missing. This, however, is one of Basri's better issues, as he gets a chance to cut loose with some dinosaurs (always fun) and also do some good character work with Karen and Clark as Power Girl and Superman.

On the whole, younger readers will enjoy this bright fun issue, but there's not much here to revel in as an older reader. Only the absolute best of all-ages properties can <i>truly</i> manage to satisfy readers of all-ages, so perhaps it's too bold to expect from every book.

It's rare to see a series that's been around this long still manage to feel so fresh and page-turning. It's wonderful to see that after all this time, Bendis and Oeming have lost none of the magic that got them noticed in the first place.

Regardless of small complaints about the execution, Bendis' hook for this new ongoing story is brilliant and one readers will be coming back for in droves. I, for one, can't wait to see the always stellar Bendis and Oeming execute it.

"Powers: The Bureau" is a dense enough world that at this point that jumping on board as a new reader is not effortless. However, a new arc is the best time to give such a thing a try, and with a little effort, even a new reader can come on board with "Powers: The Bureau" #8 and get what makes it such a great book -- and more to the point, such a fascinating world worth exploring.

Though "Powers: The Bureau" #9 is not a bad issue overall, some elements lacked clarity thanks to minor failings in the storytelling -- both art and writing. Ultimately, it was a lackluster and confusing ending to an otherwise solid issue.

Overall, this is an exceptional book and the best kind of all-ages comic: one fun for kids, but still with plenty of depth and humor for adults. "Princeless" is a must-read comic, regardless of your age.

In the end, this series serves as an excellent springboard for what I hope will be many more issues of "Princeless." It's a book overflowing with charm, humor, warmth and smarts. I simply cannot wait to see what Whitley and Goodwin have in store for these characters moving forward.

All these inconsistencies aside, I still really liked lga as a character and want to see her journey unfold. Though the visuals let me down from a storytelling perspective, I like the design and energy of the book and I can't help but see its vast potential. Though this first issue is a bit of a miss, I'll definitely be back to see if Naifeh can smooth out the rough edges and create something really exciting out of the framework he's established.

Like many, the first I really saw of Sean Murphy was his gorgeous art for Grant Morrison's "Joe the Barbarian" and I've subsequently bought everything of his I've seen. He's quickly established himself as one of the great comics artists working today, but "Punk Rock Jesus" proves him to be a talent to watch on multiple levels. He has the makings of more than just a great artist, but a great comics creator as well, and we may be seeing it right now with his bold and exciting "Punk Rock Jesus."

Everything about "Punk Rock Jesus" shows Murphy to be not only the brilliant artist we've all known he's been, but also the extremely talented creator that we'll all be getting to know for many years to come. The entire mini-series, though it had a few unsteady moments, was breathtaking, fearless and exactly the kind of comics the medium needs more of.

With such a solid first issue, "Quantum and Woody" is poised to be yet another critically acclaimed hit for Valiant comics. In a very short time, Valiant's line seems determined to bring readers smart, fun comics with talented creators -- comics that operate just slightly outside the corporate comics box, to the benefit of all involved.

I've read a surprising number of really good "independent" new comic books this summer, and "Rachel Rising" is at the top of that really good pile. Intriguing and mysterious, beautiful and smart, "Rachel Rising" is a must read for anyone interested in "good comics."

One of the best new series to debut recently, among a sea of new series, "Rachel Rising" is a fantastically mysterious horror story filled with beautiful art. I can't think of much I'd rather read.

"Rachel Rising" is chock full of decadent mystery, unspeakable horror, strong characters, and beautiful black and white artwork, and it's on its way to becoming the best of Terry Moore's already impressive work.

Although I'm a long time fan of Moore's work, I find "Rachel Rising" to be his most interesting work to date. He's taken a careful, steady hand with it and every issue has revealed more mysteries, while still leaving the reader confident that the story knows exactly where it's going. "Rachel Rising" is the definition of must read comics.

"Rachel Rising" is thus far one of my favorite offerings from Terry Moore as he perfectly blends and contrasts a story and characters that feel entirely realistic with fantastic elements of horror and mystery. This particular issue is not a standout from the pack, but the series as a whole so far is one of his best.

Perhaps my favorite thing about "Rachel Rising" is that Moore has expertly strung us along for nine issues, building mystery and revealing tiny clues along the way, all leading to some big reveals in this issue. Yet, there's still obviously a lot to come. If what's to come is as interesting as what we've already seen, then we're all in for a treat.

Terry Moore's "Rachel Rising" has simply not had a weak issue since its inception. Some issues have a bit more gravitas or importance than others, but they're all strong and so far show no sign of stopping.

"Rachel Rising" has been an incredibly strong series from its first panel, leaving no doubt about Moore's talent for horror and the ability to effectively balance it in a realistic story full of humor and insight, emotion and drama. With every issue of "Rachel Rising," I become more certain that it's my favorite work of Moore's to date.

Perhaps my favorite aspect of Moore's story thus far, beyond the sheer delightful horror that he's managed (and my unreasonable affection for Jet, whose fate I wring my hands over constantly) is the wonderful moral grey area he's managed. It's difficult to pin blame on characters as many of them have done very bad things, but perhaps not of their own free will. Even more importantly, our "villains" have an actual legitimate point, as most great villains do. Their revenge is certainly unfairly directed, but they more than deserve their revenge, even if it is too late to visit it on the responsible parties. What goes around comes around, even if it's a century too late, and the people of Manson are headed toward finding that out the hard way.

"Rachel Rising" remains Moore's strongest and tightest work to date. It has not let up one bit, slowly tightening its horrific grasp on readers and the fictional town of Mason. If you're not reading "Rachel Rising," you're missing out.

Though "Strangers in Paradise" may always be his most famous work, "Rachel Rising" continues to be Moore's best. The series is a stunningly beautiful and effortlessly intriguing blend of horror and humanity; the very things that make people -- and the world -- tick and go boom.

Moore does a great reversal in the opening of "Rachel Rising" #28, setting the reader up for a gruesome -- if rather obvious -- beat, only to turn it on its head by the end of the issue, making it even more gruesome and far more complex. It's a moment that reminders readers in short order that nothing is quite what it seems and never has been. Those are that kind of smarts that keep a horror story going strong for more than two years.

It was a mistake not to be reading Wiebe and Upchurch's "Rat Queens" from go, a mistake I have now corrected, and you should too. "Rat Queens" is joyously violent and violently joyous. It's awesome, and I'm in, terrible name be damned.

Though "Rat Queens" #7 feels like a bit of a misfire compared to some of the humor and heroic greatness the series usually displays, it's just a small misstep to an otherwise awesome book.

With so few female led titles at Marvel these days, it's especially exciting to have a "Red She-Hulk" series. Parker and Pagulayan have the skills to deliver a strong series and the set up has a lot of potential, but it's not yet found its groove in this first issue.

If Parker, Pagulayan and Alves can capture the magic of that final panel and extrapolate it out into the rest of the book they might have something, but three issues into this series, I don't see it.

I have stuck with this book out of interest in the character and hope that Jeff Parker's solid writing could eventually turn this title into something compelling. Unfortunately, a combination of passionless art and She-Hulk's continued minor role and lack of agency in her own book has finally forced me to move on. Maybe next time, Red She-Hulk.

On the whole, the set up here for the mini-series is nice, and Ramos's unique visuals combined with Jenkins capable writing are more than enough to warrant a look. However, in this first issue at least, "Revelations" is missing some deeper layers or exceptional execution that might make it work more effectively in 2014 than in 2005.

While "Revival" #9 as a single issue is not going to blow readers' minds, it's another strong entry in a strong series. With each issue, "Revival" has racked up new mysteries, but has never felt like it doesn't know where it's headed. Too many books I read suffer from "Lost"-itis with no clear plan for a resolution, leading to broken hearts all around. "Revival" has excelled with consistently good individual issues and a confident story arc assuring that all will be revealed -- eventually.

"Revival" is a detective meets horror meets zombie book that isn't a zombie book at all, in the best of ways. The compelling mysteries at the center of the book are coming at a solid and well-paced clip, driving forward my need to know with each new installment. One of the best things Seeley and Norton have set up is that it feels as if there are limitless places they can take us, and I'm excited to see where we will indeed end up.

"Road to Oz" #1 isn't the most compelling opening for Shanower and Young's Oz adaptations but that may be due, at least in part, to remaining faithful to the material. Regardless, there's no doubt, even with a slow start, that this limited series will be of the same high-quality and attention to detail as those that have come before. Shanower and Young are a gift to comics, and their interest in kid-friendly material -- all too rare in today's comics landscape -- is something for which we should all be grateful.

All in all, Skottie Young's "Rocket Raccoon" #1 is a nearly perfect book in concept and execution. Young and Beaulieu have delivered a gorgeous funny issue.

Waid wouldn't be able to accomplish any of this nearly as well as he does without the capable lovely art assist he gets from Micro Pierfederici. Pierfederici has a strong sense of place and character and tells a clean clear story while also making time for some really beautiful panels, especially of Bishop. There are a few minor inconsistencies where the art looks slightly rushed, but overall it's excellently paced and easy on the eyes. It synchs up well with Waid's slightly off-beat story.

I find myself quite in love with this book a mere two issues in. You know you're reading something exceptional when you look around at most of your comics and wonder why the hell they're not half as good as the book you just put down.

"Saga," eleven issues in, has simply not missed a beat. It continues to be a perfect blend of humor and drama that will make readers gasp alternatively in horror and hilarity at every turn. Vaughan and Staples are doing career-defining work and it's exciting to watch. This is <i>the</i> book to read. Period.

"Saga" remains, now 13 issues in, easily one of the best ongoing comics around. Vaughan and Staples have created a world that positively seethes with vitality and creativity. Like the best comic books, just when you think they've pushed as far as they can push, they break through and push to even greater heights. At this point it's impossible to even guess at what awaits readers in this new arc, but suffice to say, I expect continued greatness.

Fifteen issues in, "Saga" has not stumbled once, delivering powerful comics with a shocking consistency. "Saga" is the definition of a well-considered, brilliant, beautiful comic that will stand the test of time. This is the bar to aim for.

When a comic book is as exceptionally consistent as "Saga," it's hard not to get unreasonably attached to the characters. As a result, it will be hard to wait for the next installment, but like every time prior, I'm sure I'll not be disappointed in the next arc. Vaughan and Staples have got this down to a science.

The word "saga" might imply to some readers a large bombastic story, but some of the dictionary definitions are simply "a long, involved story" and a "series of incidents" and Vaughan and Staples interests seem to lie at the definition's heart. They are interested in tiny, intimate stories that connect beautifully into a larger and more epic picture, all of it having a connected and universal meaning, that is also manages to be highly personal. Or perhaps I'm just reading too much into everything as I continue to reel from the emotional one-two punch of ongoing heartbreak at their magnificent hands.

Though "Saga" #24 marks the next break for the book as it heads into its planned hiatus, it's a strategy that does not seemed to have hurt the enthusiasm people have for the series in the least, and more importantly it has ensured a flawless and consistent vision. "Saga" remains, more than two years in, a fascinating, innovative book that constantly surprises. It went from "great" to "important" long ago and shows no signs of stopping.

Kelly's skills take a lot of pressure off of Cornell, allowing him to do exactly what he needs to with the story, without worrying about whether Kelly can deliver the visuals in a realistic and compelling way. A book like this could easily go wrong, but thanks to a strong creative team that is confident in their endgame, it's instead a fascinating book and one of the most unique I've read in a long time.

Between the stories are one page introductions to each, which, honestly, are the weakness of the book. Perhaps they make more sense to regular "Scratch 9" readers, but as this is my first outing with the title, I didn't get any of the in-jokes or recognize the characters as anything that mattered to the individual tales. Other than that, "Scratch 9: Cat Tails #1" operates as a great introduction to Scratch 9, and the expansiveness of the character's potential for any new readers.

I pick up pretty much any comic featuring Valkyrie (well, depending on the artist) but they rarely have much insight to offer on the woman herself. This issue was, unfortunately, no exception. And thus Valkyrie remains a mystery to me, one I wish some great creative team would come along and solve.

"Secret Avengers" #16 is a nearly-perfect superhero comic book. I would like Marvel to clone this issue, program in slight variations (some should include dinosaurs) and begin cranking them out immediately please. Thank you.

We now have three of the six planned standalone Ellis stories, and I have to say that as a reader they are a welcome change from many of the superhero comics I read. Whenever I read one-shots, I tend to lower my expectations quite a bit thanks to the limitations of 22 pages, but these issues go a long way toward proving that a great standalone comic is entirely doable. I will take as many of these as I can get. Keep 'em coming Marvel.

When Ellis' spectacular "Secret Avengers" run wraps up with issue #21 next month, it is going to make one of the best "Avengers" collections ever. These are smart and beautiful superhero stories worthy of the name.

There are so many Avengers-branded books that I haven't been reading "Secret Avengers" regularly, but after this issue I'm going to have to come back next month. If they're this good even for quieter issues like this one, maybe I've been missing out.

Not every book can (or should) be "Hawkeye" but when you aim for it and don't quite stick the landing, it's noticeable. What's here is enjoyable and eminently promising and in the end it will be better served finding its own voice, rather than aping "Hawkeye's."

Eight issues in, "Sex Criminals" is going strong. Fraction and Zdarsky have created a book in which the unexpected is always right around the corner, but somehow in a fluid natural way that's emotionally resonant and fulfilling, even while you're laughing your ass off.

Overall, "She-Hulk" #1 is a great start to a new series for a character well deserving of the spotlight. If Soule can find a way to better balance the lawyer element of the book by sprinkling in a bit more action, he and Pulido are likely to have a hit on their hands.

Not every "She-Hulk" story can or should be a simple done-in-one as this is, but Soule, Pulido and Vincente have found the magic in this issue and I hope they can hold onto it. "She-Hulk" is a book unlike any out there right now and the chemistry between the characters and creators is near perfect. This one is a slam-dunk and I hope there are many more to come.

"Sisters" is yet another strong offering from Telgemeier, adding to an already impressive line up of books and proving yet again that she's one of the most impressive modern comic creators.