Pierce Lydon Comic Reviews

I love a book that focuses on an oddball group of heroes, and Rosenberg establishes a decent dynamic with his characters here. But fairly by-the-numbers plotting drowns out the best parts of the script.

This anthology does a good job of trying to get to the heart of each of these Robins, and it makes for a solid Wednesday read.

This issue takes a hit because the second story is so lacking. The first one might have been worth the price of admission had it actually been a full-on one shot but I'm hard pressed to want to plunk down hard earned cash on something that's so inconsistent. Still, it's nice to see these characters outside of their solo books or their typical team settings and for fans of whichever characters are featured month in and month out, A+X might be a decent way to get your fix.

Is Absolute Carnage a perfect event? No, but few are. This issue isn’t even the best the series has been so far, but it does lay some important groundwork for where the series can go from here, not only from a plot and action level, but from a character level as well. There’s a feeling that if Cates can really stick the landing, there’s an extremely satisfying catharsis coming for Eddie Brock and a further upheaval of the role of symbiotes in the Marvel Universe. That feels like what this creative team has been aiming for with this entire run, and they’re clearly still on that path.

All in all, it's a good effort - it's not the kind of finale that will blow you away, but it serves its characters well and will have lasting consequences for Venom moving forward.

Absolute Carnage: Scream pays a lot of lip service to redefining the women who have hosted the symbiote in the past, but ultimately it doesn't do anything unique with that opportunity.

With this issue, Morrison is truly beginning to show us his hand. He has huge plans for the book but with this issue we truly begin to understand just how encompassing they may be.

It might not jive with the rest of DC's Superman output, but Greg Pak is writing the best Man of Steel comics right now.

Superman fans yearning for some old-school Kryptonian action will want to check this one out.

Action Comics #42 is an incredibly powerful issue, and a return to form for one of America's most enduring heroes. Pak and Kuder handle their premise with poise and maturity. While some readers will decry this as another attempt by comic book creators to infect "Big Two" comics with their own personal politics, it should be seen as a stark reminder that the times we're living in are dark and getting darker. Even our greatest heroes don't stand a chance against systemic oppression, and that should be something of a wake-up call. Pak and Kuder have managed to call attention to a problem that has permeated our culture so deeply that we've let it become an acceptable status quo. But Superman can't let these injustices stand, and neither should we. Clark Kent is just like you. He barely has any superpowers now. So what's your excuse?

I loved the last issue of Action Comics but this one sees Greg Pak, Aaron Kuder and DC pull a resounding #NOTALLCOPS, undermining the statement that they started making.

In trying to get us to the finish line that is the end of the "New 52," DC is really limping along. While Batman has gotten a fairly succinct finish to this era of DC publishing, Superman's final days are spent much like the first ones - a varied, scattershot approach that doesn't serve the characters or creators as well as it should. This storyline is a mess and one that readers will, no doubt, want to move on from. But why should they have any faith that DC will handle the Man of Steel correctly in the next go-around? Completists won't mind flipping through this one but more casual fans might just want to wait for Rebirth.

Action Comics #976 feels like it has really large implications for “Rebirth” as it moves forward, but it’s hard to entirely see the writing on the wall. This crossover has definitely existed to move certain pieces into place and it might frustrate some readers that there’s very little clarity as to whether or not what we’re seeing is as real as it seems. But the art team does a really good job of upping the stakes and overall, “Superman Reborn” puts the Superman family in an interesting place. We’ll just have to wait and see if the creative teams on these titles can deliver on this mounting uncertainty.

Altogether, this is kind of a neutral beginning. It doesn't really give us anything new, but it reminds us why the story is at this point in the first place. It's a decent base and a quick read, but not quite a must-read yet.

This one is a solid read if you're on-board with the storyline but otherwise, it's little more than villain monologuing for 20 pages.

Action Comics #991 is worth your time if you're fully invested in this arc specifically, but there's nothing here that can't be summed up quickly on a recap page.

At this point, Bendis is a very known commodity. Whether you love him or hate him, this issue isn’t going to sway you to the other side and will likely only reinforce the opinion you already hold of him. But art fans who want to see how an artist can keep their style fresh and resonant even when they’re treading familiar territory should be following Gleason’s every move. He is without a doubt one of the best Superman artists of the last decade, and he’s continuing to build his legacy here.

When Brian Michael Bendis is on, he's really on. Action Comics #1006 stands as further proof that DC made the right decision putting him in the driver's seat for their flagship character.

"Leviathan Rising" still has yet to give us many answers but if the team can keep this level of quality through the build up, we might be in store for a really special story.

Brian Michael Bendis' "The House of Kent" storyline is really collapsing in on itself, and we're only two parts in.

Venom fans might be a little disappointed with this considering Cady's story doesn't do anything exciting with Eddie and his partner, but readers looking for new characters to get excited about might be enticed by Lady Hellbender.

All in all, Adventure Time with Finn & Jake #1 marks a promising debut for the all-new ongoing title.""

Time travel is awesome. Time travel Adventure Time might be even better.

The opening is a bit overwhelmingly dialogue-laden, but North turns on the charm after a few pages, teaching us how ghosts work in the land of Ooo and having Princess Bubblegum team up with Anti-Ghost Princess, the warrior princess.

All in all, another quality entry in BOOM!'s Adventure Time catalog that stays true to the source while forging ahead with fun stories.

Boom! is continuing to pump out quality Adventure Time work and The Flip Side is no exception. Coover and Tobin are clearly familiar enough with the property to what works and what doesn't. They're packing in so many jokes that this issue will beg a second read. They have the benefit of being coupled with an artist with a talent for visual gags in Wook Jin Clark, as well. This a definitely must read. So Adventure Time fans who have plenty of time, now you know the way.

The biggest knock on this series is the length of each chapter. Because what you're reading is essentially half a comic book, there's a feeling that things don't really get going. That said, it still works in terms of giving more to fans of the show who might not have interacted with comics before now. The team has a great handle on the tone of the show and translating into something palatable for a new audience. With the support of the show and a lack of messy continuity, I wouldn't be surprised to see this Supergirl overtake the current DCU version as the preferred take on the character.

This is a joyful, fun book. It may not have the world-altering consequences of many other titles in the DC Universe, but it's a nice bit of levity, and that's enough.

Maybe it's time to put this concept on the shelf. Age of Apocalypse holds a lot of nostalgia for many readers of a certain age (including this reviewer), but this is a bit of a jumbled mess. The stakes are unclear. The characters ring a bit hollow. The art is stylistically strong but that can't overcome the lack of visual clarity on display. We like to remember the '90s as a time of excess and bad comics. Maybe this was a meta-commentary on that, but I doubt it. Instead of an interesting new chapter in the Age of Apocalypse, all we get is a middling Secret Wars tie-in.

While this book might not feature stalwarts like Wolverine and Cyclops or seemingly be connected to the prime Marvel Universe, it feels like the X-Men have finally broken the shackles of rote monotony that has defined much of the line over the last few years. Finally, there is some joy to be had with the unknown, and with Age of X-Man: Alpha, Thompson and Nadler have injected some of that joy back into the X-Men.

Seeley gets to do a little more than some of his fellow writers in that he's giving us almost entirely new information rather retracing details that we're at least somewhat familiar with. But Espin's artwork isn't consistently the best fit, and the psychedelic angle feels more like a gimmick that a meaningful part of the story at this juncture. It's issues like this one and last week's Prisoner X that can easily make the case for trade-waiting this event.

It's hard to know who this series is for, what it's setting out to do and how it really relates to the rest of the titles and that's definitely a bad sign for an event mini.

Your mileage with Nextgen will vary, as the trappings of it will feel very familiar and Brisson doesn't reveal all that much about the world beyond that. To isn't a terrible fit for the book, but his work doesn't elevate the script and he doesn't have any standout moments. (Though I don't think I've seen quite so many accurate depictions of chickens in an X-book before.) Brisson does ensure that this title syncs up with the rest of the event in a neat way, but it feels like there should be a little more meat on this narrative bone. Your enjoyment of Age of X-Man: Nextgen will hinge mostly on how much you like Glob Herman and how patient you're willing to be.

Nextgen is rounding into one of the best books in the "Age of X-Man."

"Oz meets X-Men" should be a slam dunk of a concept - and it might still be - but as it stands, Vita Ayla and German Peralta's first issue leaves a lot to be desired.

It's just about everything you'd want from the swashbuckling savant but it doesn't as additive to the "Age of X-Man" at this point as maybe it could.

Seanan McGuire and Juan Frigeri's The Amazing Nightcrawler keeps chugging along and mostly stays in the same lane as the debut.

Age of X: Marvelous X-Men #1 is a solid addition to this event providing some more context for the world and showing that there is more to this utopia than meets the glowing eye. But it treads water a little bit while waiting for its companion titles to come out. The art is similar in that Failla seems more content working in concert with what Rosanas has already delivered rather than forge his own identity on the book. That said, “Age of X-Man” is off to a captivating start, one that will have X-fans foaming at the mouth for more.

As X-Man's control is wavering, Nadler and Thompson are honing in on the things that make the X-Men the X-Men and that's a strong choice.

The zipatone effect is a little heavy in the opening scene but on the whole, this is one of the more satisfying issues of the entirety of the "Age of X-Man."

Age of X-Man: X-Tremists #1Written by Leah WilliamsArt by Georges Jeanty, Roberto Poggi and Jim CharalampidisLettered by Clayton CowlesPublished by Marvel ComicsReview by Pierce Lydon‘Rama Rating: 6 out of 10

X-Tremists is a book that's probably bitten off more that it can chew. Halfway through the series, it feels like writer Leah Williams has yet to dive into the themes that she set out to.

Airboy will probably get a push from the controversy that surrounded this issue, and maybe the last two issues will prove that push to be deserved. Hinkle's art definitely deserves attention, but Robinson has yet to find his footing. The "depressed artist" trope is a well-worn one, and I kept waiting for the script to really say something about, well, anything at all. We do get an interesting bit of self-evaluation from Robinson, but it isn't the tentpole moment that the comic needs. Some readers might be enthralled with the bit of "inside baseball" that the comic provides, but that's a terribly small niche to be aiming for. I believe that Robinson has something to say - some of his previous work has had a very strong voice - I don't think this is an effective vehicle for him to say it.

Comic books are episodic. It's what sets them apart from other printed mediums. Each individual issue must have an arc, just as a larger run or miniseries does. Alex + Ada is definitely a comic book that comes out tomorrow. It is definitely about artificial intelligence in the mold of I, Robot and classic science fiction. But Luna and Vaughn have made their opening issue a non-event, and that's a shame.

I wonder if the layouts could have been improved to really take this book to the next level but for fans of fast-paced, fun superhero action comic books, this one is a winner.

All-New All-Different Avengers is an interesting addition to the Civil War II canon. Waid, Whitley and company stay away from the main fray and craft a careful character study that puts into words some of the feelings that readers themselves have about the current state of superhero comic books. Kubert is as effective as ever, despite a couple of odd shot choices, but he’s able to deliver Waid and Whitley’s script here with aplomb. This issue of Avengers might not be what most readers are expecting, but over time it should stand out as one of the better tie-ins to come out of Civil War II.

Steve to Sam with an opening narration that nails down Sam's character for the uninitiated. From then on out, this book is non-stop fun.

Stuart Immonen's artwork is on point. He continues to show more and more range with regards to his expression work, shot selection and panel layouts. The visual language of Sam as Cap is (and should be) different than Steve Rogers as Cap. Immonen recognizes that and is able to give this book its own unique visual flavor.

Smith tries to prop the book up on brotherly love schmaltz, but it's hollow at best.

Duggan writes some really big, silly stuff into his script and Kuder doesn't shy away from it at all, proving that they're just the creative team to bring out the best in this ragtag group of intergalactic flarknards.

If you aren't reading All-New Guardians of the Galaxy, what the flark are you waiting for?

Irving is a master at creating mood with his artwork, but some of his stylistic tendencies can overwhelm the clarity of the narrative at points. But overall, Irving's art works well with Duggan's haunting script and provides some additional depth we didn't have before.

All-New Hawkeye is suffering from a little bit of identity crisis right now. Lemire definitely has a direction he wants to take the book in, but he doesn't dig deep enough into yet and then drowns himself out by aping Fraction's quick quipping on the superhero side. Prez pulls something similar, letting loose during the flashbacks but then moving closer to Aja's style for the rest of the book. The book tries to play both sides of the new reader/old reader coin to some only middling effect. If the creative team continues to cuckold itself by hewing to the one that came before them, it's going to take a while for this book to find its own voice. If that's the case, they'll have to hope that readers stick by them.

Ramon Perez is the biggest reason to buy this book. All-New Hawkeye is, by far, the best work he's ever produced for Marvel.

This annual is a weird move for Marvel especially, with seemingly no further Miracleman material on the immediate horizon. All the creators involved are great talents (and Quesada in particular is a standout in this issue) but, especially at a $5.00 price point, this seems like little more than a cash grab. It's an expensive reminder that, oh yeah, Marvel owns that guy. Neither story develops a foundation for Marvel to continue with their vision of Miracleman and that might be because they don't have a vision yet. For hardcore Miracleman fans, this is an interesting piece of work, but it's one that a more thrifty fan is better off waiting to find in the $1 boxes.

Diehard Laura Kinney fans might feel this is a satisfying ending, but this arc is one of the lowest in Taylor's run.

Peter David does little to make his team compelling and their mission lacks a real hook. On top of narrative deficiencies, Carmine Di Giandomenico's art is lacking. Hes almost a Walt Simonson without any of the charm of Simonson's work and he has a penchant for awkward posing and unruly facial expressions. Hopefully once the entire team is together, David and Giandomenico can flesh out a solid direction for this book.

All in all, All New X-Men has been a really fun book thus far, even if the plot seems to be spinning its wheels a bit.

Brian Michael Bendis has a lot of fun having the All-New X-Men interact with the Guardians of the Galaxy. It gets a little tiresome when he leans on Iceman and Rocket Raccoon for humor but its pretty much par for the course for a Bendis title.

While some might write this off as an anthology comic that's simply marching toward to inevitability of a big event, I see it as crash course in X-Men mythology for the uninitiated. Sure, it might not be familiar and it might not even be showing things that are going to happen. But the beauty of comics is that on any given page you might be seeing something incredible. The narration is big and sweeping, enveloping readers in a grand scheme that may never come to be. For readers new and old, there is something intrinsically exciting about that. Comics are about infinite possibilities and while the modern media machine seems to have stripped them of that quality, All-New X-Men #25 reminds us that it still exists.

Brian Michael Bendis and Stuart Immonen team up for an incredible first half of an issue but they can't sell the rest as they try to further the plot

All-New X-Men is losing some of its luster. Someone should call Doc Brown and get these kids home.

All-New X-Men #31 plays more like filler than anything else. In an age where marketing and PR has completely robbed us of any surprises, storytelling decompression has only served to annoy readers rather than enhance their experience. I think Bendis presents us with a fairly classic "X-Men go find a new mutant" story (complete with another "survive the experience" reference to X-Men #139) in order to reacquaint readers with these characters before thrusting them into a new situation. But it only serves to delay the inevitable and it makes the final splash completely predictable. Asrar doesn't really get much to draw in this issue either. Without any action to anchor the book, the lack of detail almost comes across as disdain for having to draw so many talking heads. Maybe this journey into the Ultimate universe is what's needed to reinvigorate this book - ya know, if they survive the experience.

This issue acts as an epilogue for "The Black Vortex" crossover that has consumed both the X-Men and the Guardians of the Galaxy, and in typical Bendis fashion, it's a pretty breezy read with a couple of big soap opera moments throughout.

All-Star Batman works in tandem with the other titles in the Bat family to create a really complete picture of the world of the Batman. This is definitely the strongest that the line has been in a while and where the main Batman title might be the brain, All-Star is the heart, pumping lifeblood elsewhere in the line when needed. These stories feel like the essential takes on certain characters that we saw with Batman: The Animated Series. While the medium is different, the idea that these arcs deepen the established roles and continuity of these characters is really powerful. Not many other families of titles can claim to have an emotional core that keeps evolving. Add to that the fact that Snyder has a murderer’s row of talent joining him on the title, and you’ve got one of the best books currently running in superhero comic books today.

The real MVP is letterer Steve Wands, who packs pages with text when needed but never makes the pages feel overwhelmed. He deftly works around Jock's penchant for not leaving enough negative space when Snyder's waxing poetic and really holds the book together.

Overall, this isn't a bad book at all, but not as cohesive as one might expect given the talent involved.

I think that most fans wanted new adventures from Peter Parker and not think pieces on what it means to be Spider-Man. Unfortunately, this issue doesn't do a great job of delivering either one.

"Learning to Crawl" is unoriginal and it has no heart. It's basically the opposite of the main Amazing Spider-Man arc.

"Learning to Crawl" is an interesting case. Considering the sliding timeline of Marvel's heroes with regards to their continuity, it makes sense that we would eventually see a teenage Peter Parker in the Internet age, but the retroactive inclusion of "Clash" is a little bit heavy-handed.

Slott has worked with Spidey/Peter analogues in the past (remember Alpha, everyone?) and their storylines always come to a similar conclusion: if you don't learn that with great power comes great responsiblity, then you can't be a hero. It looks like we're getting set up for that again. But, on the whole "Learning to Crawl" is more enthralling at the moment than Amazing Spider-Man proper.

Peter Parker is truly back and with him, the ol' Parker luck. We're along for the ride as Peter navigates a myriad of messes left by the Superior Spider-Man, and while the light tone comes in heavy contrast to the recent web-slinging stories, it lacks any real gravitas.

Writer Dan Slott really steps up his game here, turning in the best issue of Amazing Spider-Man in about six months.

It's incredible how easy Dan Slott falls back into writing Peter Parker. This issue is more of a set-up issue than the last one, but it features a lot of the old Peter Parker charm.

This issue kind of comes out of left field. Hopefully, the end of Original Sin will get it back on track.

Spidey definitely swings out on top this week as we are treated to a near-perfect amalgam of his world.

This issue is another win for the Spider-Man office. Slott is constantly resolving plot points with satisfying answers while still bringing up new questions and that's one of his greatest strengths, the ability to keep moving forward without leaving any dangling plot threads. With Silk, Black Cat and Parker Industries all vying for Peter's attention in some way, we're sure to get some interesting new stories. Plus all of these storylines have the potential to link back to Spider-Man's central maxim, "With great power comes great responsibility," and that's how you know you've got a creative team that's on the right track.

"Spider-Verse" is off to a good start. We'll have to wait and see what Slott does with the idea that Peter Parker is the greatest Spider-Man in the multiverse. That's an intriguing title considering that we know that he isn't even the strongest member of all the Spiders currently assembled. Slott is doing a good job of keeping all the mysteries at play fresh in our minds. Olivier Coipel is a great fit for this event. His involvement is the shot in the arm that this title needed to remind everyone that this isn't your average Spider-Man story. I think it's easy to get caught up in the fact that there are so many different versions of Spider-Man featured in this book but it's important to remember that there's a larger story underneath it all. Slott's always writing for the long game and so far this one should be keeping everyone guessing.

Slott's dialogue is not at the level is usually is as he tries to balance the large cast, but the book does deliver some big moments (can you say Leopardon?) that keep it fairly entertaining.

"Spider-Verse" will be over soon, but even it's conclusion looks to be overshadowed by Marvel's recent S" announcements. These are all imaginary stories, but at least when the universe isn't coming to a close they feel like they have some weight. The hype machine needed for Marvel's next big event might have cut the legs out from under Slott and company, and that's a shame. Up until now, the book had been carrying along at a nice pace. Unfortunately, it gets too caught up in it's own machinations in this penultimate chapter, and muddies the potential for a strong conclusion.

With so many ideas in play, it's no surprise that we needed an epilogue to tie up loose ends. It's just too bad we couldn't get a better one.

Event hangover is in full effect in this one. Without a new one to jump into, Dan Slott and Christos Gage's narrative meanders about in a bland attempt at establishing some sort of baseline for stories moving forward.

Humberto Ramos' artwork is effective but the story is a bit of a bore, making this issue one that most readers can probably pass on.

Amazing Spider-Man is a fine book, but maybe it's time for some fresh blood. By taking Peter out of his element, the writers have definitely opened up the story possibilities, but they've also moved away from some of the things that make him unique. The back-to-basic approach has been done time and time again, but if New York can have the Avengers, Fantastic Four and many other heroes, I think there's room for more than one webslinger. There are still ways to make his adventures unique without rehashing old stories or forcing him into another character's general concept. There are worse books you'll read this week, but if you're looking for a more classic Spider-Man yarn, you might want to look elsewhere.

Amazing Spider-Man is a little cheesy but it has heart. It might be a little bit ho-hum for long-time readers but Slott shows that he knows how to work with his collaborators and turn out an entertaining story. The team has coalesced so much to this point that sometimes they're going to churn out an issue like this. They moved the chains on the A, B and C plots just like you would expect. That was the goal here. It only feels disappointing because of the talent involved. We've seen what these creators can do when they let loose. I guess we'll just have to wait a bit longer.

We all know something big is coming. I just wish the road to get here was a little more interesting.

This already feels like a story that will have fans missing Slott as soon as he's gone.

We're ready for a big finale but issues like this feel more like they're biding time for the big round number rather than revving up the story in wholly meaningful ways.

If this issue truly is a sign of things to come from this creative team, then face it tiger - we've just hit the jackpot.

This series feels notably lighter than what we saw even in Dan Slott's status quo-changing run, but it's clear that it's a great time to be a Spider-fan.

The high concept in Nick Spencer's Spider-Man is so far a solid one - splitting Power and Responsibility and pitting them against each other works from a structural standpoint. But four issues in, Spencer's narrative has lost steam.

This one very much feels like a middle chapter in a story, and that's okay.

The newest entry in Nick Spencer and Humberto Ramos' latest Spider-Man arc "Hunted" still feels like it's locked in to building a foundation for this event. And that robs the narrative of a lot of momentum.

"Hunted" feels like it's losing momentum, and that's not quite a problem yet, but it's getting there.

Love him or hate him, you can't deny that Humberto Ramos' linework is some of the most energetic in comics, but it feels like he's really laboring here. He doesn't get as much consistency from his renderings of Spider-Man as we're used to.

Amazing Spider-Man feels like it's in a weird holding pattern under Spencer's pen - always looking back and never really pushing forward.

Overall, Amazing Spider-Man #850 is a celebration of Spider-Man has been and will always be and a testament to the narrative flexibility of the character.

As always, 'time will tell' if this arc will really engage and satisfy readers but at this juncture, it can't help but feel anticlimactic.

Amazing Spider-Man: Renew Your Vows could have been campy fan service, but it avoids that with an almost-twist ending. That sets the stage for what's to come in a big way. Dan Slott and Adam Kubert took a good approach to this one and executed very well. Minor hiccups abound, but they're not enough to take you out of the story or affect the readability of the issue. While it's hard to gauge how important these miniseries are to the main narrative, some of them have undeniably been fun, and Renew Your Vows is no different.

We haven't seen too much direct Secret Wars influence to this point, but Renew Your Vows is a really fun read and a return to form for Slott after an overlong Spider-Verse event.

The concept is strong, the Secret Wars tie-in is enough to pique interest but not overwhelm the book, and the return to this family dynamic for Peter and MJ is really refreshing. Slott lets us all take a breath here while also giving Annie May Parker a chance to show us what she's made of. The art team's work as whole may not be the best that it's been but they have an issue to pick up the slack. Overall, this is a well-balanced issue that readers who have been sticking with the series will enjoy.

Renew Your Vows was a nice trip down memory lane, but it doesn't have the teeth to be considered memorable on its own.

Venom Inc. involves a new symbiote host and his new mind control abilities, but Dan Slott and Mike Costa don't have any depth to add to the overall concept.

Amazing X-Men #2 is by no means a bad comic. It's really fun, with lots of action. But the lack of real stakes and worthwhile characterization - not to mention the absence of the main attraction - make this issue something less than the debut. This issue will read so much better in trade when you can immediately get to the next issue. If the point in slowing this story down was to get five issues of McGuinness' art, then I'm all for it. Ultimately it succeeds in making me want to read Issue #3 and one some level, that might be all that matters.

"World War Wendigo" might be an eye-catching title but this issue isn't worth the cover price. Hopefully, Kyle and Yost will do better than to use ol' Canucklehead as a storytelling crutch.

The change is here. It’s right now. It’s going to wreck everything. And comic books will be so much better for it.

America has suffered a massive drop off from its first issue because it isn't solidifying its identity in a meaningful way through the writing or art.

America weathered a couple lackluster issues, but comes roaring back to life here. Rivera tones down some of the trademark quirkiness in her writing, trading sass and one-liners for some genuine emotional stakes - and she's finally got a vice grip on who America is

Gabby Rivera's narrative to this point has settled in and centered itself around themes of family and friendship, allowing Rivera to really play to her strengths as a writer. There's a still a healthy dose of Marvel Universe weirdness on display (Arcade, the Mindless ones and a bevy of supervillains), but by drilling down to the interpersonal conflicts between America, Madrimar, Kate and Magdalena, Rivera is able to tap into the heart of her book.

Azzarello has a track record miles long. A lackluster debut issue could be long forgotten by the time #2 rolls around. The art side of this title is what will keep me coming back in hopes that book lives up to its pedigree at some point. Fans of Azzarello's other darker creator-owned work will see some similarities here, but for me it hews a little closer to stuff like Southern Bastards. The difference is in the creative decisionmaking to emphasize plot or characters (or neither). American Monster looks to be a slow burn, but right now it's barely flickering.

I am excited to see more of Amy Reeder's work moving forward but right now, Amethyst is not a testament to the level of quality we're used to seeing from her. It is a merely okay comic when we have definitely seen more from her.

The opening pages are rocky, but the creative team overcomes a bad start to deliver a fun debut issue that sets the stage for what's to come. Angela has become a character that thrives in just about any story she's been placed in, so fans worried that she might seem out of place can breathe easy. The final page reveal gives us a reason to keep checking in on Angela, as her tenuous relationship to her newfound family is sure to keep this book going for at least the first couple of arcs. The editors made the right decision by putting two artists on this issue, as they're able to provide two different looks that enhance the reading experience and don't overwhelm one another. Angela is a good start to this book and a reminder that while they might stumble once in a while (ahem, Spider-Woman), Marvel isn't afraid to give a diverse cast of characters a spotlight.

I was a little bit skeptical that an Angry Birds comic book would work. I mean, the game itself isn’t the most original app on the block. But the entire team puts together a convincing package. This might not be the kind of book that you’ll buy month in and month out but if you need to keep your kid entertained for a few minutes or you’re trying to introduce an otherwise video game-obsessed kid to reading, this is a solid purchase.

Animal Man has really come back into its own thanks in large part to Steve Pugh's phenomenal work. This book is at its best when Lemire continues to expand our knowledge of Animal Man's mythology while still grounding the conflict with his family, some of the greatest supporting characters in comics ever. A great comic satisfies you with answers but always leaves you with questions and this one fits the bill.

This issue is a prime example of what's been so problematic about Lemire's run on this book. In spending so much time with added Red/Green mythos, we lose Buddy's family and it waters down the threat of Brother Blood.

Animal Man is hurtling towards an ending, and Jeff Lemire is making sure it goes out with a bang.

This final issue serves as a warm reminder. It's like the night before graduation and you're sitting on the hood of your buddy's car drinking a beer saying "Hey, remember that time..." The memories flow out of you. You think about where you'll be next year. What's going to happen? But you take comfort in knowing that you'll always have the past, even while you are thrust into new beginnings. This isn't the last we'll see of Buddy Baker or Animal Man. This isn't even the last time Lemire will write him. This wasn't a run without any faults but it's important to relish the good stories because you don't know when you'll get the next one. On the whole, Animal Man was a good story. It's sad to see it go.

Apocalypse Al is the kind of book that wouldn't be out of place on any primetime network if it was a TV show. The question is, is it better than the offerings that are already on the shelf in this crowded genre? JMS' vague "Book of Keys" that serves as the center of conflict might not be enough for seasoned veterans even though the writer does bring in a supernatural heavy hitter in the finals pages. The miniseries is only four issues so it might be worth taking a chance on. IT's solid and unassuming. It achieves exactly the goals that it sets out to. But don't be surprised if you get burned by another fire and brimstone narrative in a world chock full of them.

It's far from the worst book you'll read this week but it definitely won't inspire anyone to really dive into the hero of Atlantis.

While you might see the ending coming, Johnson is still able to adequately tug at your heartstrings.

When Abnett digs into the bureaucracy, it feels real, like a scene you might see in House of Cards but it's not terribly interesting and that's because we know so more information than the characters do.

There's a fun final page, but there's nothing here that feels really essential or particularly fun to read.

Overall, this book doesn't really come together for me as anything particularly super or heroic coming off of the recent "Drowned Earth" event.

DC’s 'Digital First' books have really been a mixed bag, and I think it’s because these books were never really intended for the platform. It’s not enough to just make a comic for print and toss it into a digital setting. The ways that people read are entirely different on a phone or tablet. That means that the content has to change to suit that. Otherwise, you’re trying to fit a square peg in a round hole and you’re leaving readers holding the bag with a poor reading experience. This issue is a clear example of that, leaving Aquaman: Deep Dives #3 is dead in the water.

This isn't the old Archer & Armstrong but Van Lente and Henry are definitely off to a good start. They've packed an impressive debut full of punches and punchlines that are sure to enthrall new readers and jog some old-timers' memories.

This comic is slow-moving but it's the kind of thing that makes you want to really dig into the world and see what it's about. This is a great debut for this unique mini-line.

The problem with Arkham Manor is that is doesn't have its own identity yet. Sure, the setting is unique but the story hasn't played out all that differently from any story that you might find in Batman or Detective Comics. I assumed that a book focused on Arkham would place more of an emphasis on the villains and we haven't really gotten there yet. Their presence is used more for color than anything of substance. But the art is really great and fans looking for the next big thing to come out of DC should be paying attention to Shawn Crystal's work. Hopefully as the book progresses, the writing will start to match the art in terms of quality.

I'm left wondering if Arkham Manor ever really had a chance. Duggan clearly had some farther-reaching ideas that we didn't get to see play out. But was the concept ever really strong to begin with? I think the world of story made for a ton of potential to see some interesting relationship dynamics amongst a bunch of characters that we know but maybe that hewed too close Arkham Asylum for DC's tastes. that said, the execution was still similar to that seminal work, in that Bruce shows up to Arkham and has to get to the bottom of everything. Despite a real lack of a hook, Shawn Crystal's art helped buoy the series and hopefully, this isn't the last we see of him. There is room for a lot of different kinds of books within the Batman/Gotham City dynamic, but Arkham Manor is further proof that you need an airtight concept to really succeed.

Noto is very rarely going to knock you out with his sequential work the way he can with his standalone illustrations and design, but he helps make this script s

There's a little bit for everyone here. Anthologies are great primers for new readers and Clevinger wisely crosses over into video game territory to maybe try and bridge that gap. Despite multiple artists, the different visual styles all suit the story at hand and more importantly the Atomic Robo universe. Three out of four solid entries isn't bad for this kind of book and I'm sure that time will prove the one outlier to be a quality addition to the Robo mythos as well.

Atomic Robo and the Flying She-Devils of the Pacific #1 is the beginning of what is sure to be another incredibly entertaining Atomic Robo epic. Clevinger and Wegener are a team in perfect sync with one another and it shows. Some readers might be disappointed in the overall lack of any really heavy sci-fi beyond jetpacks but there's still time for that. Remember, the beauty of Robo is the build-up, and this only the beginning.

Avengers is going big with its story while still maintaining the heart of Marvel Comics: the humanity of its characters. There’s a lot of fun to be had with something that feels this larger than life and is still told without changing what makes these characters great. Marvel would be wise to pay attention to what’s happening with this book the next time they plan a big event. You can have big, weird stories that take some effort to fully grasp if the characters within them are written well. Avengers is one of the better books in this post-Civil War II iteration of the Marvel U because it doesn’t force you to accept anything about the characters themselves that don’t hold true elsewhere, it only asks you to come along for a ride. That’s the whimsy that corporate comics are, sadly, usually missing.

If Marvel's constant stream of monthly events didn't win you over, don't expect their weekly ones to, either. Because as Avengers #677 demonstrates, they essentially have the same problem: pacing and framing.

This event is a mess.

Avengers #1 stumbles out of the gate because it tries to be everything all a once - an epic story, a course correction and an apology. In trying to be everything for every kind of reader, Marvel has delivered that, honestly, doesn't feel like much of one despite the implications of its final pages. This is by no means a death knell, but "boring and mishandled" is a bad place to start.

Avengers has been a disappointment so far. Aaron and McGuinness just can't get on track.

It may have taken a little while for Jason Aaron and the Avengers to gel, but they absolutely have.

"Getting the team together" issues can be a little hit or miss sometimes, and while Avengers #12 is light on action, Jason Aaron does a good job balancing a huge cast and helping readers understand why this motley crew of heroes can be useful to the Avengers.

If Iron Fist or high octane, kung fu comics are your jam, you're in for a treat with Avengers #13

Aaron and McGuinness definitely deliver some really enjoyable moments across the issue and Aaron's foreboding Silver Surfer is always a good turn for the character. But your mileage may vary on this issue if you aren't all-in on this Starbrand story that's been brewing. There's just not much else there.

If Marvel is trying to rope in lapsed Runaways readers with this mini-crossover, this is a good way to do it. It not only progresses the Avengers Academy story but the Runaways one, too. Even if this is all we get, this issue (and hopefully the next) will go down as one of the best issues in this run.

Avengers of the Wastelands won't blow you away, but it's a solid little adventure book.

Avengers Undercover #1 reads more like an epilogue to Avengers Arena than a debut issue of a new series. Considering Hopeless and Walker's good work with these characters in the past, it will be exciting to see them in a new setting but we haven't gotten to anything exciting just yet. Kev Walker remains a great fit for Hopeless' style and the tone of this book. A lesser artist wouldn't be able to keep a slow issue like this one afloat. Arena stumbled similarly at its debut until Hopeless really hit his stride and it became one of Marvel's most entertaining books. Here's hoping that's what we're in store for with Avengers Undercover.

If you're hankering to fill the void left by Young Avengers, this is a book to watch.

Superhero comics are frustrating sometimes because the characters never really change, but Hopeless is making sure that these characters have no choice but to, making Avengers Undercover one of the most fun reads in the Marvel Universe.

The writing is a bit saccharine and the conclusion is fueled by a pretty big deus ex machina, but Dennis Hopeless and Tigh Walker send Avengers Undercover off in style.

No Road Home is a story that is realizing its potential and it'll be interesting to see the effect it could have on the larger Marvel Universe when all is said and done.

Creating good all-ages comics is a difficult task but the Nicolle brothers make it look easy.

B.P.R.D. 1948 #1 is another great addition to the mythology of Hellboy and the B.P.R.D. Some origin stories feel shoehorned in after the fact but the Secret Origins trilogy has continued to build on an almost unparalleled mythology without alienating readers. The dynamic collaboration between Mignola, Arcudi and Fiumara is one that should be kept together even after this miniseries is finished.

Monkeybrain Comics has a lot going for it right from the outset. We expect quality work from quality creators. Tobin and Coover absolutely deliver here. Bandette is a reminder that all kinds of comics have the potential to be good even if they are far from what's generally out there. It's just a matter of strength of execution.

This is how you reinvent a character. By basically doing everything in contrast to the rest of the Bat-titles, DC has put together what is easily their best book and what is unequivocally the best take on Barbara Gordon since Batgirl: Year One.

The plotting may ultimately betray the characters and concept in this issue, but on the whole, it's not a bad effort. good writers can make bad decisions and hopefully, this is just a case of the team hitting an early bump in the road. (We are only three issues into their run, after all.) And for it's narrative flaws, Barbara Gordon is still a very strong character. I'm hoping that she'll start to come up against some bigger villains or at least more inventive ones (a la last issue's motorcycle ninjas). Despite this issue's flaws, Babs Tarr should be the real draw for most readers. She's continuing to make this book a great read for new and old fans alike.

It's hard to write effective endings in superhero comic books, and that's plenty evident in Batgirl #23.

Batgirl and the Birds of Prey is a good book, and one that lives up to the significance of its title. Both Batgirl and Birds of Prey have historically yielded great stories about women and, even more importantly, great stories coming from great female creators. It's clear that the Bensons are comfortable working together and their scenes flow together so well; this isn't a case of two different writing voices being mashed together. It's nice to see the Bat-family open up a little bit without involving Bruce Wayne or Dick Grayson right off the bat. The women in Birds of Prey are more than capable without leaning on A-listers to help sell the book. There is an obvious connection but these women are carving out their own niche in the DCU, and that's a very, very good thing.

If this doesn't win back lapsed readers exhausted by Zero Year, I don't know what will. Scott Snyder and Dustin Nguyen tease the future of Batman Eternal in this one and its got a little bit for everyone.

This has probably been my favorite of the "Zero Year" tie-ins. Scott Snyder brings his conflict to a head with the drama and tension of the superstorm juxtaposed with the infamous events of Crime Alley.

I hate to bring up "Year One," because comparing "Zero Year" directly to it is unfair to what Snyder and Capullo were assigned to do. But part of the reason that "Year One" worked so well as a prequel story was the efficiency in its storytelling. Everything you needed to know and wanted to know could be found in one place. "Zero Year" has been a sprawling mess of an event that's crossed over with too many titles and involved too many other creators of varying levels of talent. Snyder and Capullo can only control what happens in their book, and they've done all right on that front. But the scope and length of this event has robbed them both of the ability to imbue this arc with the stakes necessary to tell a great story. They were able to manufacture some in the first two acts of "Zero Year," but so far it hasn't carried through to the final act.

All around, this is an excellent issue that'll have fans foaming at the mouth for next month.

On its own, this issue doesn't stand up but as part of the whole story - it's probably a necessary cog in the machine, but that makes it hard to read (let alone enjoy) issues on an individual basis rather than as a collected whole. But even when writing for the trade, each single issue should gets you jazzed for the next issue, and that just doesn't happen here. The next issue of Batman will undoubtedly be better not because of anything we've seen, here but because that's what we've come to expect from this creative team. Here's to next month.

Greg Capullo's art is as strong as it's ever been, and he really gets to dig into a bunch more characters than usual. (His Clayface is a personal favorite of mine.) But a wholly dull script has me wondering if the insular nature of this Batman book is starting to hurt it.

"Superheavy" has felt like it was holding back until now, but if you dropped off the title because of Robo-Bunny Batman, now would be a good time to catch up and pretend you never left.

Overall, this is a strong showing and a great reminder of the abundance of stories that can be told with Batman at the center.

Despite the lack of an emotional payoff, this book is still pretty sound. The art is tight and it accomplishes its goals even if it meanders for a moment in the service of poetic license. But the ending feels like a non-event. It's cheap, and frankly it feels like the creative team isn't giving readers enough credit. They've built a rabid fanbase with this take on Batman. The tease is unnecessary, and I think it undercuts the effectiveness of the script. The big reveal plays like that episode of a TV show that knows it wasn't strong so they give you a glimpse of next week's guest star to get you to tune in. Stick the landing before getting back on the horse. I promise your audience will still be there.

My favorite part of any hero story is when the hero has to double down on their resolution to become a hero, because they realize that it's a lot harder than they thought. This is that moment for Batman. This is that moment in Scott Snyder's run. This is a creative team saying, "we've put this guy through hell, but even happiness itself can't stop him." And that's why people love Batman. Because against all odds, this guy, millionaire or not, ninja or not, gets up and decides to be a hero. And I think that's how most people want to view themselves. Snyder's Batman is a reflection of our innermost desires and our purest intentions. If you've ever tied a towel around your neck and snuck around in the shadows ready to leap to action at the first sign of injustice, this one is for you. Bruce Wayne is dead. Long live Batman.

There's a lot to like in this script. It's an origin story for Gotham and Gotham Girl but even more so it reminds readers why Batman is an inspiration to be a better version of themselves.

Regardless of how you feel about the Batman/Catwoman engagement, it's clear that Tom King has found some space to explore family dynamics in the Bat-titles that we haven't seen before.

This is truly a World's Finest story for the ages.

With a more compelling artist onboard and a more singular vision, I think it's possible that King could have communicated what he wanted to communicate to readers a little bit better.

"Cold Days" is an exciting return to form for Tom King that does a lot to breathe new life into the second half of his purported 100-issue run.

Right off the bat, it's easy to fall in love with Wagner's artwork. It's been a minute since the Mage creator took on the Dark Knight but he settles in quickly and Tom King gives him a few funny villains to render as well.

King's been able to do some interesting things with a close adherence to structure in the past, but forcing it into every issue just doesn't work. It's the kind of thing that you don't want to have come across as gimmicky, and unfortunately, it's getting to that territory.

While Tom King's Batman run has a larger game plan in mind, certain installments like this issue can feel a bit slight.

This is the comic book equivalent of writing a paper the night before it's due and increasing the font size and margins to hit a page count. It's empty, and it's not enough.

Frankly, it's all a bit anticlimactic and boring. Wake me up when this "Knightmare" ends.

Williamson's work differs so greatly in tone from King's that this almost doesn't feel like a Batman book. That's not so much a knock against Williamson as one against an odd editorial decision to set this before the "Knightmares" arc concludes, instead placing it directly in the middle.

This definitely a weird story, but it's a fun one and a nice reprieve from the usual Batman doom and gloom.

Bravo to Mikel Janin and Jorge Fornes for delivering a real page turner. This is probably the best that Janin's work has ever looked and even the transition from him to fornes' more David Mazzuchelli-inspired lines and inks works well for the book.

We still have some 30 odd issues of King’s Batman yet and it’s hard to know what that means. It’s hard to really know where we stand right now. And again, I think a lot of that is by design but King’s work leaves a lot to be desired in terms of execution and it relates to the larger mythology of these characters. I still don’t know what King is trying to say about himself or Batman or Bane or Gotham or any of it. And as Batman continues to be punished by his writer, it’s understandable that some readers have felt similarly about this run.

There are only 13 issues of Tom King's Batman left, and given the two big moments toward the end of this book, it's impossible to know where he's going to from here. On some level, it feels like he's got to have more to say than what he has so far. But it also feels like without his trademark nine-panel grids, King is still struggling to properly pace his work.

This is strange issue because it feels technically proficient but tonally transient " an odd mix for a writer as intentional as King.

Batman #82 is a decently crafted comic, but not one that speaks as directly to the approach of its writer's past work.

With the end of King's run in sight, Batman #83 should tug at your heartstrings, as we gear up for the Dark Knight's final confrontation with Thomas Wayne.

Batman #84 is fine. That seems like a lackluster assessment, but it really feels like a placeholder, biding time for whatever comes next while doing its best to stretch out the little bit of context that King wanted to give to Thomas Wayne's motivations.

It will be interesting to see what elements of this run remain a part of Batman’s legacy, but arguably King was at his best when he was trying to tell a good story rather than deliver on some master plan. (The date night with Lois and Clark stands out as a particular highlight.) Bruce’s last words this issue feel like King trying to psych himself up for what’s next: “Maybe he knows how to go down and how to come back up. Maybe that’s enough. Maybe that’s just enough.” Maybe. We’ll just have to wait and see.

From a technical standpoint, this is a well-told piece of comics. But it's hardly doing anything new. It's hardly doing anything exciting. Tynion delivers on a couple of solid emotional beats. Daniel gives us a couple of nice splashes. But this high floor, low ceiling storytelling - it's too safe to really be revelatory.

If DC was concerned that they had moved Batman too far away from his roots during Tom King's run, then a run like this one is necessary to ground the character in something familiar for fans who may have fallen off. I think that Tynion is too smart of a writer for this to be the story that he wants to tell with Batman, but it is definitely the one that will make his bosses and fans happy.

While Tom King's run may have leaned heavily into metaphor, it doesn't seem like Tynion has quite found his voice with this run yet, and the result is an adventure that feels like a boilerplate approach rather an essential one.

The hallmarks of a great James Tynion book just aren't there, as the writer seems to be forcing himself to write an answer to fans' expectation of what a Batman book should be, rather than deliver a title that feels uniquely his.

Batman #90 is a breath of fresh air for a run that feels like it's been dawdling to this point, formulaically biding its time while holding back on the meat of the story. And maybe that's by design (no pun intended) to ensure that we get multiple issues of Jimenez in a row. But you could just as well skip the issues leading to this point and have no problem jumping in Tynion still hasn't tapped into the heart that I think is the signature of his work but he's managed to remind us that he's no slouch when it comes to the design of a story.

I'm sure there are some folks out there that will love this book and despite flat writing and art, I'm sure Punchline has just become someone's favorite character. But this is an issue that was so poorly put together that it negatively affects the reading experience. It's certainly not of the quality expected from one of DC's flagship titles, and that poor execution makes it clear how much this arc is just treading water getting to a big reveal.

In a lot of ways, the beginning of 'The Joker War' feels like the beginning of the Tynion's first arc " it checks all the boxes for what you might be looking for in a Batman story. But the big difference here is that this already feels like the story that the writer really wants to tell rather than the necessary set-up for that story. Jimenez is a strong artistic collaborator for Tynion and should complement his work even more moving forward as they learn each other's quirks. Tynion is clearly interested in telling a really memorable story here, as the nods to Batman and Joker's history feel especially deliberate. While the title feels like one they just had lying around the DC offices, Tynion has proven himself to have some tricks up his sleeves in the past and he's laid out a compelling enough pledge here for fans to come back for more.

Some readers might take issue with the fact that Tynion is a very deliberate writer. There's a lot going on here, but not a lot happens, if that makes sense. For an arc called 'Joker War,' there's not even really an abundance of the Clown Prince of Crime just yet " but it's tough to ignore the good work here. Readers already recognize that Joker is a threat, but he's been foiled so many times before. Tynion and Jimenez have to show how this time is different, and that's the fun of this part of the ride.

This book reads like a writer unfortunately reined in and but really wanting to do the best job possible. Jorge Jimenez's work is the kind that helps readers gloss over the script's inadequacies because it's so easy on the eyes but even having the kind of consistently drilled into us month after month has a numbing effect.

I like what Tynion does with Bruce here because I think it reminds us of Batman's roots without beating us over the head with the same old tragic backstory. Batman has evolved since Crime Alley and more writers should be reminding us of that. Jimenez and Morey turn in a stunning bit of work in this issue and as we build to a hopefully big finale, it's going to be exciting to see how they push themselves further. So the Batman is back but 'The Joker War' still feels like it's missing something. I think a lack of the titular villain makes this something that will read slightly better in trade, but this is still a solid effort.

There's always the chance that the end of this arc pulls the rest of the arc into focus - Tynion is a good enough writer to do it. But maybe the problem is really the audience and the times we're living in. Superhero universes are never going to accurately reflect our world. But they can teach us lessons - many that stick with us our entire lives. But when we learn that good prevails over evil and fail to even a scrap of that in our everyday lives, what's the point of one more story about good versus evil?

Keep abreast of the latest Dark Knight stories with our ever-refreshing list of the new Batman comic books, graphic novels, and collections in 2020 and beyond.

The fight promised at the end of #1 is here in full force, and thanks to artist Dave Marquez it looks incredible.

Williamson will likely be able to pick things up next issue with some new antagonists, but this issue is about as close to non-essential as a book can get.

James Tynion, Ryan Ferrier and Freddie Williams turn in a really solid issue with Batman/Teenage Mutant Ninja Turtles II #3.

This is a solid fight comic through and through. The "boss battle" is coming up, and it looks like it'll be a doozy.

Cliff Richards's pencils are solid, if unspectacular. Unfortunately, they don't do enough to sell some of the emotional weight that is present in the script, causing the big moments to fall flat.?

I hope Patrick Gleason always draws Batman books. If there was ever a worthy successor to Greg Capullo on the mina book, Gleason is it.

Batman and... has been a good place to explore Bruce's relationships with many different characters, but here it only changes the setting, and the narrative falls flat as a result.

"Robin Rises" is off to a great start, and this issue is the complete package.

Peter J. Tomasi really nails the Bat family dynamic better than most writers at DC right and as Bruce embarks on this suicide mission to save Damian, he gives his family their own mission: keep Gotham safe.

Tomasi keeps going bigger and bigger with this story, never shying away from using his characters to their full potential. (You'll see what I mean during the Cyborg scenes.) That might be why Batman and Robin is the most consistently entertaining Batman book on the stands.

Patrick Gleason's art is sublime. He curates a perfect balance of action, comedy and dramatic tension that brings out the best in Tomasi's script. This team is truly one for the ages.

This book oozes emotion and it's a great addition to the web of Futures End.

Batman and Robin Eternal has started off nicely, but time will tell if it can tell a great story without retreading too much from the last Batman weekly series.

The curse of the weekly struck swiftly. After an exciting opening issue, Tim Seeley mires Batman & Robin: Eternal in dialogue. The plot moves at a snail's pace and the lack of action is alarming.

All right! Now we're getting somewhere! Some meaningful plot development shows up here and sets the stage for what's to come in this weekly series.

This weekly series has been a lot more even than DC's past attempts thus far. With the current Robins/sidekicks at the center of the story, it's fun to see them interact with the We Are Robin crew so early, and I think that's going to be a recurring part of the plot.

Weekly series always have a few clunker issues, but this is far from the worst of them.

All in all, this is a quick read because it's a fun one and that's what should be expected from a weekly series that's working.

The result is a fairly utilitarian chapter in the Eternal saga, but at least it's a quality one.

Batman and the Signal isn't going to set the world on fire, but it's a solid superhero story. It's the kind of book you might give someone who needs a little bit of a palate cleanser from capes with too many overarching plots or characters to keep track of it.

This is a Batman story unlike any other that explores a lot of the reasons why people love and relate to the character. Kurt Busiek and John Paul Leon are completely letting loose, telling a story that feels instantly timeless.

Sean Gordon Murphy can sure draw the hell out of Gotham City, but his writing in Batman: Curse of the White Knight leaves a lot to be desired.

Nazis are the kind of antagonist that always works, but having a character side with them even for a short time definitely muddies the waters a bit. And Murphy's clunky dialogue keeps this one from really reaching its true potential.

Coupled with missteps in the lettering stage, Batman: Damned feels like a misstep for DC's latest imprint, with this Black Label blotting out any originality in this overly bleak Elseworlds tale.

It's not a perfect comic, but two issues in, it might already be DC's most accessible Batman title.

This is the Batman title for everyone from longtime fans hoping to see their favorite parts of the Bat mythos come to life in the New 52 to new readers just getting acclimated to Gotham's rogues.

We are less than 10% through this series, but we're not seeing enough effective payoff yet. The World's Greatest Detective is really taking his time doing any detecting.

James Tynion IV handles scripting duties for this installation of Batman Eternal, which is proving to be an all-encompassing narrative but an unwieldy one

Trevor McCarthy turns in the best looking issue we've seen so far as James Tynion IV and Scott Snyder add Batwing, Doctor Phosphorus, Gentleman Ghost and Spectre to the fray.

This is comic books as a big-budget action thriller, a much-needed respite from more tedious world-building.

Batman Eternal might actually be a good story, but its weekly nature works against it. Not so much on the writing side, as the entire team are fairly capable. But the art really suffers by changing issue in and issue out. On some level, it limits what the artists can do because they don't have the opportunity to lay the same groundwork that they would on a monthly book. Readers are forced to readjust to a new style and different storytelling tendencies. That's great as a way to sample the line of Batman writers and artists that are currently working but it's not conducive to this story. There's more set-up in this issue but the plot is rolling forward. Since some issues thus far have felt rather plodding in terms of pacing, I'd call this one a net positive despite its artistic failings.

John Layman lays a good groundwork for future issues and the twist is actually surprising, something of a rarity in the modern age of Big Two comics.

John Layman is turning in the best scripts during Batman Eternal thus far. There's a lot packed into this issue but the pacing is stellar.

Where has DC been hiding Ian Bertram? A mix between Ramon Villalobos and Frank Quitely, Bertram's art is a welcome change of pace for Batman Eternal and that he gets a good script to draw is a bonus.

With Grayson right around the corner, this issue is a great showcase for an artist on the rise.

Eternal has rebounded from a few duller issues and is delivering solid story at an exciting clip.

James Tynion IV takes a step back in the latest installment of Eternal by beating his readers over the head with themes of natural order and cycles. But he does make strides with Lt. Bard that do a lot to change the dynamic of this book.

This issue reminds us of the pitfalls of the weekly format; sometimes you hit odd uneven patches after a stretch of good storytelling.

The key to these weekly issues has been the pacing and Fawkes doesn't nail it down here. While the supernatural elements dominate most of his script, his little check-ins with Lt. Bard and Red Robin are too short to really be impactful.

Eternal keeps adding pieces to this puzzle but it feels like we're no closer to any sort of resolution.

Eternal is at its best when the pacing is good. Unfortunately, not every writer is up to the task of balancing each story line every time out. Tim Seeley nail it in this one, though.

The gaggle of creators has definitely led to some inconsistency in this book but this one hits a sweet spot in terms of writing and art that definitely ups the ante.

This chapter almost feels extraneous, but it's not the worst this title has been.

Catwoman gets a big background reveal here that helps set up her upcoming solo adventures and Dustin Nguyen provides solid art, but there's something about Batman Eternal that consistently holds it back. I think it's that the incredibly expansive story is just too much for the weekly schedule.

There are definitely a few wonky expressions (par for the course when most artists have to draw children, sadly) but storytelling-wise, this is a solid, if unspectacular, issue.

R.M. Guera is a welcome sight in Gotham City. The artist, who made his name on his grim n' gritty collaboration with Jason Aaron Scalped, injects Eternal with the adrenaline it needs as Hush makes himself more known and the Bat family pulls together.

Javier Garron is the star of this installment, imbuing Batman Eternal with a certain measure of energy and (mostly) strong characters. He runs into some trouble when posing Catwoman but there's a certain Nick Bradshaw/Chris Bachalo tinge to his art that gives his characters a ton of presence in just about every panel.

This is another solid entry in this series, but I'm hoping that as we get closer to the end it starts to break through the glass ceiling it's constructed for itself.

This issue sets up Arkham Manor but does little to be a satisfying read.

The unlikely team-up of Bane and Alfred alone is worth the price of admission for this one.

Jason Fabok turns in a good outing in this issue. His art here is much grittier than what he's doing on Justice League, but obviously the darkness suits the tone of the story.

I love when the Eternal braintrust opts to let the same writer/artist duo do back-to-back issues. It helps some of the pacing problems that a weekly series can run into.

Things are really moving at a faster pace as we approach some kind of inevitable reveal. I think the fun of this issue is that James Tynion IV and the rest of the consulting team have injected some mystery back into the plot.

Another enthralling installment of Batman Eternal puts Lt. Bard a a crossroads, reminds us that Harper Row is a character and gives us another moment to reevaluate just how far-reaching the plot has been.

This is the worst I've seen Batman Eternal look in a while.

Davide Furno and Paolo Armitano's art really stands out here. There's a grittiness to it that tows the line between a regular capes book and a noir title that really works for the smaller machinations of the script.

A good script, great art and a bunch of fan-favorite characters place this issue of Eternal firmly in the win column.

Batman Eternal is trying to bring it all home and if it keeps up this level of quality, we're in for a great conclusion.

This one is a bad effort all-around that really shows the worst of the weekly comics format. It's repetitive, unnecessary and boring.

I suppose the big reveal could be a red herring but Fawkes and Fernandez do this chapter justice. Given all that we've seen in Batman Eternal and the Bat-books in general, I have a hard time believing that the overall creative team is really going to be able to stick the landing with the ending of this event. Fawkes and Fernandez fulfill their duties here and give us a few of the better character moments that we've seen in recent weeks. With such a scattershot approach to this title, sometimes that's the best you can ask for.

Each interesting concept that has been broached by the Batman Eternal creative team has (mostly) been marred by poor execution, and the plot is starting to feel more like a wild goose chase than a compelling narrative.

Just as it seemed that Batman Eternal was buckling under its own weight, the creative team turns in a strong installment mostly because of the gorgeous art of Juan Ferreyra.

Fernando Blanco's art works for this issue and by virtue of effectively telling the story, it's definitely ahead of many of the other artists that have worked on Batman Eternal. But for this issue, there's nothing to get particularly excited about - fatigue is definitely setting in.

All in all, Eternal has been the best of DC's weeklies, but it never breaks through to truly legendary status because of a lack of cohesive execution on a week-to-week basis.

Overwrought narration and a weak concept bring this one down. A Joker derivative as a villain will always be appealing in theory but the execution leaves this one lacking.

Kudos to DC for putting this selection together and choosing a bunch of creators who put together a good showing.

Gregg Hurwitz ends this Man-Bat story with a fittingly gray conclusion. Man-Bat might have been stopped but corporate greed is alive and well. Hurwitz is reaching for something bigger than this book ever was and the sentiment rings a bit hollow.

At this stage, it's hard to muster any real excitement about the pieces that Johns is putting in place. We're no closer to understanding the mystery. Johns has yet to really say anything about the themes that he seems to be playing with regarding how these characters relate to their trauma and legacies. Is there a more meta angle here? Does Johns consider himself to be Jason Todd in this story? Torn between the weight of his own legacy and criticism that he just stood on the shoulders of those that came before him? That might be a bit of a stretch but you can make a case for it. Three Jokers remains a perplexing entry in the DC canon and one that is hard to reckon with on a chapter-by-chapter basis.

The action is visceral and the characters are expressive. There's a lot to like here, so hopefully the story itself catches up to the artistry on display.

All in all, come for the art, and hope Murphy figures out the rest because there's a lot of potential here if the creator can decide what he actually wants to do here.

We've seen some cringey political commentary and some "current comics is bad" meta-commentary from Batman: White Knight, but the art has always been top-notch.

This might sound reductive but this book is exactly as advertised on the cover: Ellis, Hitch, Batman. 'Nuff said.

The creative team ties a bow on this book with a schmaltzy closing bit, but any good will for this title has long been spent already, and any attempts to salvage the emotional core of the title comes across like putting lipstick on a pig.

Andreyko proves himself completely capable to write Batwoman. I'm more excited to see what he does outside the "Zero Year" box. I'm also hoping that the art on this one is the exception and not the rule. It's rare for one story to bear the weight of so many artists without hurting the quality of the book. Batwoman #25 could be the start of a quality entry in the "Zero Year" saga but it definitely has its warts. Fixing those will be the difference between a memorable first arc that does Williams II/Blackman's work some justice and a disastrous one that only justifies the comics community's hemming and hawing over editorial interference.

After a forced tie-in to "Zero Year," writer Marc Andreyko finally gets to spread his wings in Batwoman #26. But the results are less than inspiring.

Batwoman is starting to read like a book on its last legs. Marc Andreyko moves into familiar territory with a hallucination sequence that recounts Kate Kane's struggles with being gay in the military. While that could have the potential to be very powerful, the delivery method is awkward and haphazard.

Time has given this creative team the opportunity to gel and Batwoman is better for it.

Marc Andreyko and Jeremy Haun deliver on the fight scene promised last month, and it's clear that Andreyko is really starting to get a handle on Kate Kane's voice.

Artist Jeremy Haun is really coming into his own on Batwoman. It seems that the longer he draws it, the stronger his work is getting. And we're finally seeing him really nail facial expressions and renderings, an aspect of his art that has been plagued by inconsistencies in the past.

Overall, you might be tearing up while you roll your eyes, but this one is ultimately a net positive.

Hopefully, DC will put this book out of its misery soon. We've already seen how Kate dies. I don't think that the character needs to be dragged through the mud any further. When Andreyko was announced on the book, I was hoping he'd be able to provide a unique perspective as one of the few openly gay writers in comics. Instead, he's stripped the book of everything that's made the book unique and traded bigger emotional stories for cheap thrills that, unfortunately, aren't all that thrilling.

Andreyko has shown flashes of competence during his run, but this book is overstuffed with characters and gaudy soap opera style relationship dynamics that are a total bore.

People were invested in Batwoman because she helped fill a need for diversity and the book was one of high quality. Now, she's a vampire, and the shift from critical darling to anonymous DC dreck is complete.

Bennett and Tynion don't do anything to make this story uniquely a Batwoman story. The plot feels interchangeable, like any hero could be slotted into a very similar situation. That's disappointing for a character who was previously one of the more exciting heroes on DC's roster.

This book is not shaping up at all. We're three issues into the Marguerite Bennett/James Tynion IV/Steve Epting run and we don't have much to show for it.

Batwoman is a book that's flying a little under the radar but it's still telling solid detective stories and further exploring Kate Kane.

This book already has a huge built-in audience that will surely be overjoyed to see Bee and PuppyCat in comic book form. But unlike something like Adventure Time, it hasn’t hit its stride in this medium yet, and that’s working against it garnering new fans who might be expecting something a little bit more polished. But Allegri’s trademark charm and unique worldview do shine through this work. Bee and Puppycat is a fun concept with a lot of room to grow. In a few months, it could be truly one to watch.

Fans of the original movie might be split on the comic. On one hand, we get the continuation of Jack Burton's story but on the other hand, was that something that we really wanted or needed? It's great that a new medium allows Carpenter and Powell to open up the mythology of the property and it's fun that they've gone for full-on camp. I'm not sure it will resonate with everyone, though. This is a different kind of goofy than the movie was, and it might not have the same appeal.

It's a sweet, heartwarming and human tale that should remind readers why representation is so important. This book exists now for a whole new generation of queer folks and people of color to see themselves in. It may not be perfect, but it's a whole lot better than the options those readers had before. It's a reminder that there is a place and an audience for every kind of story, as long as it is crafted with honesty and without pretense.

On the whole this one just sets the status quo as we launch into Gothtopia. There's nothing here you won't glean from the next issue's recap page.

Altogether, this is a great book that's taking a stand that many others might be afraid to.

Bitter Root is more than worthy of a place on your pull list.

Black has a really interesting premise, but work like this really dulls its shine.

Black Bolt #2 continues to be an interesting look at one of Marvel's most mysterious characters.

Hardcore Chaykin/Black Kiss fans will probably find something to love here, but casual readers should seek out the original.

A lot of people will point to the choice of character as a reason for the book's failings. But there is no such thing as a bad character (well, maybe Forearm, but I digress), only creative teams who fail to help them meet their potential. The fact is, we have decades of Black Knight stories of varying quality, but Tieri and Pizzari are unable to scratch this one into the win column.

Black Panther isn't for everyone yet. The book is knee-deep in its own world for now, and that might be off-putting for some readers that are hoping to jump into something a little bit less dense. But it does stand as a great way to take continuity and make it your own. Coates is unapologetic about the things he doesn't like about Black Panther, and so he sets out to change them. But he doesn't so that wholesale, making changes that run counter to the character or previous events - instead, he seeks to lead the narrative in a way that the changes he wants to see are part of a natural story progression. That's something we don't always see from writers. Stelfreeze continues to be one of the best and my nitpickings with the color work are minor compared to the wholly effective work that's present and the scale of this book. Black Panther's a winner that should be making it on to pull lists everywhere as soon as possible.

This is a tried and true Marvel formula at this point but Kibblesmith and the art team make this one is a win for Marvel.

Bloodshot #1 is fuled by cool factor and driven by "whoa!" moments. It's meant to shock you into reading on while still providing a few main plot points about Bloodshot's past and origins. But it's not enough. It feels like we've been down this road before with other series. If this book continues to be dragged down by inconsistent art and recycled plot points, it'll have a hard time getting its hooks in with the current comics market.

Decidedly average is probably the best way to describe this outing.

Blossoms 666 #1 is a great comic in its own right, but with the artistic depictions and theme-heavy plot, the devil is in the details.

Blue Beetle looked like it might be the kind of book that helped DC revitalize its lineup of teen heroes and give us a look in on the magical side of the DCU. Unfortunately, the creators at work here walk back on everything they did right in the debut issue. They end up stalling out on the same basic plot as the debut and in doing so, fail to move the narrative forward or enhance it by explaining some back story. Somehow they managed to tread water and we’re technically still at the beginning of an arc. Moving forward, Giffen and Kolins are going to have to try to recapture the energy of the Rebirth special if they really hope to get this bug off the ground.

Blue Beetle: Rebirth #1 is a very pleasant surprise. Giffen and Fajardo work together to remix the idea of a teen hero in the 2010s very well. It's too soon to call this DC's answer to a title like Ultimate Spider-Man, but it definitely has that feeling. When books are working this well, the powers that be would be remiss not to pay attention. The seamless integration of Doctor Fate makes this book one that holds keys to understanding the new limits of this DCU. But on a smaller scale, there's a really fun superhero book about a kid who just wants to get to school on time and happens to have some really bad luck along the way. DC has long lacked a human element, opting to present their characters (even the solidly human ones) as mythic, godlike figures. But with Blue Beetle, it seems like the times, they are a-changin'.

If you like cyberpunk street gangs, parkour and comic books without any semblance of a plot, then Bonehead might be the book for you.

Book of Death #1 is a rough beginning but maybe not one the creative team can't come back from. The lifeless and bland nature of the art is a letdown, considering this is supposed to be Valiant's main event for the summer, but there are a few bright spots for them to build on. Venditti's concept at the core of the title is one that can work in the Valiant Universe, it's just going to take a little bit more time for the individual pieces to gel. Die-hard Valiant fans will be excited by the premise but likely disappointed in the execution and new readers will just be a bit lost.Overall, there isn't too much for anyone here except the hope that it gets better.

Only time will tell if this iteration of Brain Boy will stick around longer that its Dell Comics predecessor. All the pieces are here to really build a world but it's unclear whether or not we'll see Brain Boy as a part of the larger Dark Horse superhero line. While Van Lente turns in a solid effort, it's really the art team that's firing on all cylinders. If they keep this up, Brain Boy could very well be a hit.

Yep. They defeat sexism and a banana is proud. If that last sentence seems like something you're into, you'll dig this book. It's fun and silly and a reminder that not everything has to be dark and brooding to be good.

The front cover of Buzzkill has a quote from Mark Waid saying, "God, I wish I'd thought of this." That's a hell of an endorsement and so far, it's kind of book that'll make you say that. The art is engaging and visually stimulating. The writing has kept everything pretty simple and straightforward while still allowing room for twists and some unanswered questions. Cates and company's first issue is a good reminder that sometimes less is more especially when remixing a genre that many believe has been done to death.

C.O.W.L. takes a step forward in the art department in Issue #2, but the narrative is still treading water. Kyle Higgins and Alec Siegel are building something big while trying to forge a new path in done-to-death cape comics. But the world-building is slowing the pace to a crawl. The writers are trying to flesh out a complex cast that will allow their story to really sing, but it’s not as easy was it might be with a television show that can rely on an actor to turn in a good performance.

Overall, everything in the story works together but it feels like a story with the pages that might inform the reader as to what is actually going on completely missing. This is not the best way to deliver a debut issue.

This a good start for a new creative team. We know we'll be visiting past eras of Cable's history and they'll be filtered through this new villain, but I'm excited to see what that really means.

Lonnie Nadler and Zac Thompson bring their Cable arc full circle this issue as they double down on the themes that make Cable one of the most compelling X-Men characters.

It’s a simple and straightforward story, and Tartakovsky doesn’t lean heavy into the era’s bad scripting habits (particularly with dialogue) that would make modern readers cringe. The art is expressive and outsized. The pacing comes at a good clip. The script has a couple of fun cameos. It might stand in stark contrast to the Cage we see on the small screen but Tartakovsky’s reverence for the character is clear. This is his love letter to an era of comics that he grew up reading and that’s why it works so well. It combines his unique sense of humor with the best parts of ‘70s Power Man, while leaving the more problematic bits by the wayside. Ya dig?

Calamity Kate is a book with a fairly simple and strong central premise that shows flashes of just how good it can be, but gets mired in some pacing issues and an art shift that doesn't serve the story as well.

Calexit is a triumph not just because the craft and the storytelling is good, but because by the end of it, it asks "so what are you gonna do?" Moments like this never last. Books like this don't either.

Armed with monstrous thrills and a killer new hook, Venom #1 is a big win for the returning antihero.

Fans of last year's Canto miniseries will likely be happy to see the little adventurer back in action before his sequel series. But there's very little appeal here for readers coming to this cold.

The final showdown with The Iron Nail is still to come but the stakes surrounding their confrontation aren't nearly as high as they should be. Remender has a lot of things falling into place and anyone would be a fool to believe he won't surprise us with the conclusion of this arc. However, this issue doesn't stand up. While the visuals do line up well with the message, it fails to provide more context for The Iron Nail's involvement and Nuke never seems like a credible threat. The added nuance of Captain America's public persona coming under fire is an interesting caveat but not necessarily a new one. We'll have to wait and see how this one shakes out.

This issue is essentially the action filler as Rick Remender and Nic Klein build to the main confrontation.

Last issue was an out and out fight comic. This one leans more toward exposition but is balanced with plenty of explosions. Remender returns to the theme of his run, "You always stand up" and it's clear that he's not done putting Steve through the wringer.

Rick Remender might be leaving it all out on the court over in Uncanny Avengers, but he's really slipping in Captain America. The conclusion to Iron Nail and the Gungnir's story is lifeless. Iron Nail proves to be an uninteresting, single-minded enemy and the implications of the ending are greater than the story that got us there.

It's a good mix of humor and exposition that brings this book back from the brink of falling off my pull list.

This issue feels a little light, but the more Rick Remender returns to his initial Dimension Z arc, the more we're seeing a return to form. Captain America might not always seems like a fit for weird sci-fi plots but taking the experimentation at the heart of his porigin and exaggerating it even further works well here.

Captain America is continuing to shine, even with only a shell of its main character.

We've seen the ending of this one coming for a while, but the epilogue was a nice surprise. It seems there's a fox in the hen house, and the Avengers don't see it coming. That's a pretty big challenge for a new Captain America, especially as Jet's loyalties are now in doubt. I have to say I'm looking forward to the new art team as well, in hopes that they'll be able to give Sam Wilson's Cap his own visual style. This big announcement issue is solid through and through. It's not going to change the world or be anyone's favorite comic that comes out this week. But it does it's job, even if it's somewhat unspectacular.

This is a fine story, but it hasn't set itself apart from the pack yet. Time will tell if Waid and Samnee can deliver the Captain America that we need right now.

The foundation is solid enough. But the vision leaves something to be desired. We'll see if Waid and Samnee can come though moving forward.

This could be top of the pile stuff - the potential of this team is clearly there - if the characterization just dug a bit deeper.

If Waid can find something to say with this arc, it'll be a win. But his work here is too timid to inspire confidence in that end.

This is a nice story and in a lot of ways, that's the most damning praise I can give it. It's not bad. It's just nice.

If you're looking for a clinic in visual storytelling, this is your book. But if you're looking for a good Captain America story, sadly, you'll have to look elsewhere.

This is a bold, new era for Captain America, one that is already boiling over with tension. Sam Wilson is an unpopular man in the Marvel Universe, because he's trying to fix something that you can't necessarily fix with punching and catchphrases. Nick Spencer's star is definitely rising at Marvel lately, after a few missteps early in his tenure. He really hit his stride with a comedic turn in Superior Foes of Spider-Man, but he's shooting for something much larger here. And hopefully, as the story gets bigger, Acuna's artwork will settle in and help shed light on what looks to be an emotional arc. Welcome to the court of public opinion, Mr. Wilson. Hope you survive the experience.

Nick Spencer digs into some of the legacy of the shield and that's the strongest part of this issue, though Daniel Acuna's artwork is as effective as it ever was.

This book isn't a sendup of extremism. It punches down at something that tries to help bring clarity and understanding to our world and, in doing so, empowers the rejection of any meaningful dialogue about these ideas. It might be small, but missteps like these make it harder for anyone to do the things that superheroes can't.

Captain America: Sam Wilson is one of the more challenging books in Marvel's line, and that's a good thing, even when the book's narrative and message find themselves at odds.

Captain America: White is by no means a perfect book. Loeb only really just introduced his thesis statement between this and the zero issue without giving much indication as to how this story will play out. There are a few different directions for it to go and what we have know is an exciting revisiting of some of Cap's WWII history; not only of his deeds there but the dynamic that he had with his partner and the other soldiers. Tim Sale is one of comic's greatest working artists and it's a treat to see him dig into a book like this. All the hallmarks of his style are here, ensuring that longtime fans won't be disappointed. Captain America: White is a solid start to what is hopefully another great entry in the partnership between two great creators.

Al Ewing and Alan Davis reimagine their little section of Battleworld as a Judge Dredd-esque dystopia. The problem might be that it's so short. In two issues, fans unfamiliar with some of these characters won't have much reason to root for them.

It's a love letter to Captain Marvel fans everywhere and proof that even big, corporate comics can come from a truly genuine place.

The writing provides a good balance between drama and humor. Carol Danvers feels like the kind of superhero that you could be best friends with, and coupled with David Lopez's incredible visuals, that's enough to best any stagnation with the plot.

Marcio Takara makes his debut in this issue, and it's a great example of his cartooning abilities.

Ann Nocenti's first issue of the "Race of Thieves" arc is as bland and antiseptic a superhero comic as they come.

But overall, coupled with Lee Loughridge's colors, Catwoman feels like a crime noir title and that's a good thing for a book that had little identity before.

Genevieve Valentine has managed to take the superheroics out of a superhero book and still make it compelling, which is no easy task. Catwoman might be more akin to The Sopranos, which allows it to carve out an interesting space in the Bat publishing line.

If art crime and espionage-flavored superheroing interests you, Catwoman should be right up your alley.

Cemetery Beach feels like a title that will reward fans for sticking with it, and given the track record of these two creators, a seven-issue miniseries doesn't seem like too tall an order.

Rush fans will likely be happy to see the band expanding into another medium and considering Clockwork Angels's previous success as a novel and an album, there is definitely an audience for it. But translating a work across mediums means that certain aspects are gained and lost. Obviously here, the art is a huge gain, showcasing a new artist with obvious chops. But what is lost? It might be the simple fact that in translating an album into a novel and then parsing it down to a six-issue comic book series, there's a certain amount of simplification that might rob the story of its uniqueness. Time will tell on that one. For now, Clockwork Angels is an interesting debut from an unlikely source thats worth a look from Rush fans and sci-fi enthusiasts alike.

Cluster #1 might be lacking in any real "wow" moments, but it is a well-told debut that provides a solid foundation moving forward.

Coda looks to be another hit for BOOM! Studios.

Christopher Sebela and Hayden Sherman's Cold War is exactly the punch in the mouth that comics needs right now.

For readers with a penchant for mystery and horror, this might be one to sink your teeth into but the interiors don't deliver on the creepiness promised on the cover. It's the first issue and the pacing is slow but the art is good enough to keep it afloat. Time will tell if pacing will freeze Colder in its tracks, but for now it has a vague premise with an intriguing amount of potential.

It was immediately clear that Jason Aaron was born to write Conan the Barbarian after the debut issue, but Aaron has definitely avoided a sophomore slump with the second entry in the series.

This isn't an issue you can afford to miss if you're a Hellblazer fan.

Forever Evil hasn't been kind to Constantine and what we get here is essentially a drawn out fight comic, bereft of the character's intrinsic charm.

This is a great debut for this creative team and this iteration of the character. It doesn't require any knowledge of Constantine before this point and it's a fun, self-contained story. Doyle and Tynion are clearly attuned to the charms of Hellblazer and put them on full display here. Rossmo is particularly talented at exploring John's corner of the DCU and rendering it in such a way that it looks like nothing else in any other DC book. This Constantine isn't as weathered as many readers are used to him being but this book is sure to satisfy new and old fans. You'll feel like there's real darkness and evil here but that Constantine can handle it with a one-liner, a shot of whiskey and a half-remembered incantation. This is the Hellblazer we know and love and have missed.

This creative team hasn't disappointed yet and they're showing no signs of stopping.

But after months of build-up, Convergence presents little more than a confused Superman running around punching stuff asking "Why?" I can't say that it's the start I hoped for - maybe it's not even a start at all. It feels like a haphazard attempt at Grant Morrison-esque meta-narrative, but without any of that writer's trademarks. A lot of people are heading into Convergence because they are excited to see their favorite eras of DC Comics represented, (I'm not the only one stoked for '90s Superboy, right?) but this issue doesn't really add to the hype at all. While an A-list artist elevates the book in terms of execution, at the end of the day, Convergence #0 is still a bizarre proof of concept that might actually fail entirely at setting up what comes next.

Better art can't save this issue, though. The plot is meandering. The villain might as well be made of cardboard, he's so two-dimensional. There are still no stakes, and it's easy to see why. This is filler through and through. Why else would the event's main title not carry A-list talent? Don't get me wrong - these creators are capable, but their names don't exactly carry the weight that a Geoff Johns or a Jeff Lemire or a Scott Snyder might. Convergence is a disappointment that doesn't seem too concerned with righting the ship. It's bad, but not bad enough, and in a few month's time, when the small publishing changes that come out of it are written away, we'll forget it ever happened.

This is probably the most entertaining issue of Convergence yet, due in part to Andy Kubert's artwork doing a lot of the heavy lifting. Jeff King's plot is still of questionable quality but at least the character dynamics at play are becoming fun to watch.

I think this event is finding some sort of footing but it has yet to really resonate with me in any meaningful way. Telos hasn't been a compelling character from the onset of this story so any development he has towards the end of the story doesn't really look to make us suddenly care. Great villains are usually born of great tragedy (in this case, Thanos specifically comes to mind) but Telos' great tragedy is so amorphous that we have no context for it. I'm glad that DC is putting some competent artists on these issues to at least make for something easily readable but there's no substance to this event/ And without that substance, how is it supposed to have a significant impact on the line moving forward?

Like many other Convergence artists, Manley's art exists mostly to be a vehicle for the narrative and not to be the real draw of the book. To that end, it succeeds.

For a tie-in that's so focused on its characters, Duursema can't seem to decide what they look like and that draws attention to other weaknesses in the art such as the lack of visual flow. These inconsistencies pile up and mar an otherwise inoffensive event tie-in.

Here's a prime example of a book that's definitely not as good as it's cover.

The issue is pretty light on any actual plot, opting to maintain the formula set by some of the other tie-ins, but we do get to see the effect the overarching event is having through a different lens.

This is about as satisfying an ending as you can get for a miniseries that really came out of nowhere.