Rick Austin Comic Reviews

As with so many of the Civil War II crossovers, it's hard to know which ones to really go for. However, A-Force #9 is more than worthwhile and hopefully it'll bring in some new regular readers too, because this series deserves it. It stands head and shoulders above the competition in every way and has earned its place there.

Diverse characters like MAC do deserve to be out there alongside the legends, but sadly America #1 doesn't prove why.

As a book, America has its problems and, hopefully, they'll fix them. The same could be said for other series, and for Marvel in general. It's fine for both sides to disagree on the politics, but tolerance has always been Marvel's message for everyone. Any fan who knows their history should understand and accept that. The message at the heart of America #2 is one the company itself should heed. Being true to itself is what counts, whether that means returning some classic characters to their rightful places or allowing newer, more diverse ones to flourish. Once they learn that lesson, Marvel comics overall will be a better read for everyone on all sides

It's another solid issue in what's been a standout series so far, telling stories which reflect the current state of the world without making them seem preachy in any way.

It's been a few months now since the Rebirth kicked in, and many of the titles have misfired. The potential of a new, hopeful future for DC has looked increasingly bleak. They say that the best leaders lead by example, and Aquaman, both as a character and a series, is doing that. He may be the unlikeliest of flagship heroes, but Aquaman continues to lead the way with its bright, optimistic tone.

It's understandable that some may criticise the pacing of this. After all, Aquaman has put the action on the back burner for several issues now, and the main character has barely even seen a fight outside of the initial one with Black Manta. But this is still solid writing, and a breath of fresh air in a market which has been over-saturated with mindless action at the expense of good plotting. The stakes continue to rise with every issue and the constant message of fighting for peace is always welcome.

There are little side moments included, from Black Manta meeting the head of N.E.M.O. to the Royal Navy's Joanna Stubbs making a brief return, but basically the whole issue consists of Aquaman and Mera beating the tar out of the army. Mera is typically aggressive, while Aquaman insists that they don't actually kill anybody, which leads to some debate between them about their relationship… but basically it's all about the action here.

Brad Walker's art looks more than fine and with a panel layout which flows smoothly, and he's done his job admirably. It's just a shame that his skills have been wasted on a story which doesn't go anywhere.

If you're a fan of Ash, the Evil Dead, Army of Darkness or just good bloody fun, Ash Vs. The Army Of Darkness is exactly what you've been waiting for.

Hope Larson and Rafael Albuquerque manage to deliver on a very tough job. This may not be the comic everybody wants to read or the version of Barbara Gordon some fans would prefer, but they know their target audience and hit all the right notes.

In short, this issue feels like a missed opportunity. For every good moment there seems to be one which lets the story down. Instead of investigating Kai and the assassin more thoroughly and doing actual detective work, she spends her time in a relationship crisis. After an interesting introduction to the problems plaguing MMA in Singapore, the relevance of it fades. It's problems like this which let it down. While the writing and art are both fine, the issue itself comes across as weak.

While this is possibly the most satisfying issue of the series so far, it still has a long way to go before it hits the levels of greatness which Batgirl deserves.

It's things like this which bring this issue to a grinding halt at all the wrong moments. It's still telling a relatively cohesive story, but that story isn't particularly good. It looks okay on the surface, but the suspension of disbelief has crashed down with a dull thud. Because of that, at the end of the day the only thing keeping readers from ditching this series is a love of Batgirl as a character. But, as stated, there's no reason to care about her here.

The Birds of Prey can be great and should be great. But right now, it's less than average.

However, all the problems this time seem a little less obvious because of the faster pace. Which isn't to say they aren't still there, it's just that the suspension of disbelief is a little better this time around. The art is an improvement too, although there's still a lack of flow and the placing of characters during the action sequences makes no sense.

So… Batgirl and the Birds of Prey #3 is an improvement in some ways. Unfortunately, it also has huge flaws which need to be urgently addressed. As such, I still can't recommend this title and it's looking like a dud from DC.

Whatever the reason, Batgirl and the Birds of Prey #4 is a decent " if uninspiring " way to pass a few minutes of reading time. It isn't a classic in any way, nor is it worth adding to your collection. However, in terms of complete average-ness, it crushes it.

Batgirl and the Birds of Prey deserves better than this. Sadly, the creative team seem incapable of making that happen.

Batgirl And The Birds of Prey #6 is bad, and the cumulative effect of this series is worse. Which is sad, since this series should be good and used to be good. It may have been created with the best of intentions, but the handling of it is so inept that just reading it hurts. It's a pathetic finale to a dismal story, and there's nothing about it which can be recommended.

There are more problems here, so many more, but be smart and avoid buying Batgirl and the Birds of Prey #9 so you don't have to read them. It's a waste of time and money.

Ignoring the problem doesn't make it go away, or get the message across that this is a title which desperately needs to be fixed. Criticism, as Winston Churchill once said, is necessary because it calls attention to an unhealthy state of things. I'm not criticising this to be mean, I'm doing it because I really want this to be a great comic book. Maybe at some point, someone will listen.

In this series, everyone is an idiot. They say stupid things and do stupid things. Why? Presumably, because the writers think it's cute and funny. It isn't. It's annoying as all hell. There may be some who appreciate this as a check-your-brain-at-the-door kind of series, but Batgirl And The Birds Of Prey deserve better.

Like I said, this isn't a bad issue of Batgirl And The Birds Of Prey, especially if you're after an easy read which doesn't tax your brain in any way. Just don't think for a second that this is good. It isn't.

Batgirl And The Birds Of Prey #14 is a slight step in the right direction, although it should be taking great strides. This series has got a long, long way to go before it becomes an actual must-read comic book but, as a quick diversion, it's adequate.

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If you're after a brief and harmless distraction, then the join-the-dots style Mission: Impossible narrative may suit your tastes. However, if you're hoping for a proper Birds of Prey adventure which shows the characters at their best, you'll have to look elsewhere. Yes, there's that one solitary moment of genius in Batgirl And The Birds Of Prey #18, but sadly it's buried under all the mediocrity of the rest of it.

While not worth the asking price, let alone your time and attention, it may offer Batgirl And The Birds Of Prey's long-suffering fans a slight glimmer of hope.

Unless there's drastic improvement quickly (and let's be honest, it's hard to imagine this getting worse) this series is doomed.

It would be easy to say that this is amazing, but that would be lying. There are probably plenty of people out there who'll say that Batman #21 is a brilliant issue and, on the surface, it does seem like it's delivering. However, the lack of depth to the plot and the weak dialogue drag it down almost from the beginning.

Strictly speaking, Bill & Ted Save The Universe #1 is one for the fans. If you love the films, you'll love this. Now be excellent to each other" and party on, dudes!

There's still real promise here and fans should still enjoy this issue regardless, but sadly it isn't quite Bill & Ted at their best.

In short, as issues go, Bill & Ted Save The Universe #3 truly is excellent.

So put aside your Trinitys and your Justice Leagues and give this a whirl rather. It's definitely better, well worth your time, and should keep you coming back for more.

I have to confess that initially I found this issue a little difficult to get in to, yet the rewards made it more than worthwhile. Anybody who's ever had to deal with a crazy ex or a passive-aggressive current romantic interest will instantly be able to relate to this. Blur's love/hate flirtation with Jaime builds to new heights on every page as he tries to distance himself from her, and it's a guilty pleasure that I kept wanting more.

Up until now, the Rebirth of Blue Beetle hasn't been a must-read series when compared with the higher profile DC titles. While this series still has some way to go to reach those levels, Blue Beetle #8 offers genuine hope for readers and fans.

The writing flows, and while the art may not be the slickest it's a style which still works. Creating a vibe more of an independent comic book than just another cookie cutter title from DC, it makes this series seem like an underdog " which, technically, it is anyway.

The superhuman homicidal hitman has been gone for a while, but he's back in Bullseye #1 and determined to prove he's still got what it takes.

If you want a modern homage starring Cage set in that time period, you'd be far better off reading the hilarious True Believers: The Groovy Deadpool. If you want authenticity, read the classic 1972 Luke Cage " Hero For Hire. If you're a fan of Luke Cage in any way, read anything else.

While some might be annoyed at the lack of quick-fix action or be appalled at the storyline, it's still an incredible issue. The politics of it may be a bitter pill for some to swallow, but Steve Rogers: Captain America #17 is a topical, socially relevant tale and is highly recommended.

The best comic book movie out there isn't on the big screen, it's here in these Cinema Purgatorio pages. Right where it belongs.

Cinema Purgatorio is clearly one which rewards the reader's patience, although it can be frustrating at times too. But what about the patience of the creators? In reading this, you have to wonder how many issues are to come and whether there will be time enough for each story to reach its conclusion given the pace some of them are moving at. Let's just hope that they all achieve their goals before someone decides to turn the lights off and shut off the projector.

If you've been along for the ride so far, then you'll love this latest installment in Cinema Purgatorio. If you haven't, then you're missing out on one of the coolest, sleekest, most amusingly anarchic comic books available today.

Civil War II has come in for a little flak since it started, with some arguing that it's just a cash-in on the latest Captain America film's popularity and could be a weak sequel to one of the biggest stories in Marvel Comics history. Whilst it's hard to argue against those points, this is still an intriguing story with potential. However, is it worthy of being a Civil War event? Right now, no.

Now go and read Civil War II #3, because keeping quiet about what happened to SPOILER is killing me…

This won't be for everyone. There's little action, and it's more of a thinker than a doer. But what it does, it does incredibly well. If you're looking for a solid piece of storytelling, look no further.

On its own, this isn't a bad issue. It isn't great, but it certainly isn't bad either. In terms of it being a future classic, that probably won't happen. In terms of it being a stepping stone in this story though, it's necessary. So if you're following this series then enjoy it, and if not then this probably won't sell you on the whole thing.

If you're following this series, buy it. There's still a lot to enjoy here and Brian Michael Bendis and David Marquez are doing a solid job regardless. If you aren't following this series then it's not necessary in any way. You don't need precognitive powers to see that.

So Civil War II: The Accused #1 is the best and worst of crossover titles. It's a well-told Daredevil story, but as a Civil War II story it isn't essential reading.

But until they return, this sets up some promising storylines and it'll be interesting to see how they play out.

If you're looking for a break from the grim-and-gritty Civil War II titles, Civil War II: Kingpin #1 is just what's needed. It's great to see that not every installment in a major crossover has to be serious, and Marvel has to be credited for that. Is it for everyone? No. But it's still a great read!

This isn't a Kingpin who needs a Daredevil to make the stories worthwhile, this is Wilson Fisk commanding his story with power and style. For years he's been considered as Marvel's Lex Luthor, and with good reason, but here that comparison is an insult; instead Fisk is Marvel's Al Capone, and deserves " no, demands " your respect. Forget the capes and masks for a while and all hail the Kingpin.

If this storyline wraps up as seems to be indicated so far, the next issue could be incredible. However, despite any plot that this particular installment of this series may be setting up, it's a weak addition which probably could have been handled better.

In four short issues we've seen him rise from the ashes and rebuild his legacy and his empire, and this is the culmination of that. We've been reminded of what an incredible character he is, both a complex villain at worst and antihero at best, with an indomitable will and the intelligence to make the most of it. It's a solid end to a solid series, and based on this his ongoing series in 2017 will be one worth keeping an eye on too.

Ultimately Civil War II " X-Men #1 felt like a mixed bag. You get a glimpse of the best of the master of magnetism and his current mindset, but very little of anything else.

Likewise, the new addition of Vic using his nanites to create an artificial skin to make him look more "normal" feels weak. While one can only hope that it's to further the storyline, it takes away from one of the most important parts of what made Cyborg a fan-favourite: his struggle to fit into society and feel normal, that insecurity of feeling like a freak in a crowd who everyone is staring at. He was always one of DC's best tragic figures for that reason. But now… well, he can look however he wants to look, even if it does take him some effort.

So you've got a stupid villain who whines, fighting a boring hero who whines, in a badly-written issue which has nothing to do with the actual current story arc. I pity the artists. Cyborg #11 isn't just the worst issue of the series so far, it's one of the worst issues of any comic book ever.

If you aren't a fan of Cyborg already then this probably won't change your mind. Whether it's going to be a series worth following, only time will tell. Yet it's still one of the better books in the Rebirth list, even if it doesn't stand out.

Dark Night: A True Batman Story isn't a happy tale, or even necessarily an uplifting one. It's shocking, touching, sad" and one of the finest genuine graphic novels DC " or any company, for that matter " has released.

It really is that good and that entertaining, and nothing should be allowed to bring it down. Booster Gold/The Flintstones Special #1 lives up to its title completely, because it truly is special.Booster Gold

It's easily the best of these crossovers and the only one worth buying. Laugh-out-loud funny, Legion of Super-Heroes/Bugs Bunny Special #1 is essential for fans.

Lobo/Road Runner Special #1 could have been brilliant and, in its own way, it really is. But if you're looking for a comic that delivers what you're hoping for, prepare for a big disappointment.

Because, sadly, Deadpool #15 really isn't very good at all. When Deadpool's done right he can be truly amazing. But when he's done wrong, like he is here, he stinks worse than that steaming dump he left in the Ultimates bathroom.

Now, in a break from the usual format, something has to be said about the promo for issue 35. It's funny, and yeah, it's totally going to be how Secret Empire ends. For sure, 100 percent, bigly yes. Would Deadpool ever lie to us?!

Plus, there's that special guest star, who shall remain nameless because it's a complete surprise when they enter the story.

On the surface of it, Deadpool the Duck #2 seems like it could be a great issue. So why isn't this as great as that first one?

Okay, so this series may not appeal to you. Maybe you'll find it too goofy or not heavy enough on plot or violence. But Deadpool The Duck #3 more than makes amends for the last one, and is more than reason enough for continuing with it. If you aren't reading it then you should be.

If you were hoping Deadpool The Duck #4 would be a gut-busting laugh-riot, you'll walk away disappointed. It's a reasonably slow issue with some rather average action in the middle just to keep things moving.

Deadpool the Duck may not have been for everyone. Some might even say that it's the proof of the over-saturation of Deadpool since the movie spiked his popularity to the stratosphere. It's understandable, with so many titles lately all trying to squeeze Deadpool's square peg into their round holes (you know he'd joke about that). Yet this feels right. It's exactly what both Deadpool and Howard the Duck are: snarky, irreverent, and most of all it's a whole lot of fun.

In short, unless you're a die-hard Deathstroke fan, Deathstroke: Rebirth #1 won't appeal to you and it isn't likely to win over too many new readers.

It's hard to quite know where the story will go because just having so many Doctors in this first issue means more time is dedicated to them than the problem at hand. But on every level, Doctor Who: The Lost Dimension #1: Alpha is a joy for Doctor Who fans because it's everything they've ever wanted to see on TV.

For me though, I wasn't impressed and that's my opinion. I'm marching to the beat of my own drummer on that, so maybe I'm a Dangerous Human too in not liking this. But I don't need them to tell me who or what I am, or to tell me that this issue's writing simply wasn't all that great. The evidence speaks for itself.

If you want something properly DP-flavoured, rather read the latest Squirrel Girl or Cinema Purgatorio. In the former you have a human brain in a robot body battling a hive villain composed of lots of tiny people, while in the latter's Code Pru you'll find a quirky EMT (with a cat, too! What a coincidence!) who deals with extremely bizarre scenarios. Both are more entertaining and far better written than this pale imitation of what the Doom Patrol used to be.

To make matters worse is the diatribe from Gerard Way at the back of the book, about how brilliant the Young Animal line is. He congratulates himself and his team on being oh-so-clever by having a recurring theme in all their comic books (which was coincidental, so obviously it's a stroke of genius). It's one of the most pretentious pieces of waffle to hit the printed page in years, and an additional slap in the face after such a dreary issue.

Doom Patrol #4 is a slight improvement over previous issues in some ways, as it goes through the basics a little more successfully. In fact, Larry's brief moment to shine in this issue is almost done well and Danny's flashback is pretty decent. There are even one or two jokes which aren't too bad.

For anybody calling this series a future classic, or for anybody writing it off completely as a pathetic quick cash-grab from DC, they're all idiots. We'll only know those things at the end of this. All anybody can say for now is what they thought of Doomsday Clock #1. And what I'm saying, again, is that Doomsday Clock #1 is okay. Take from that what you will.

Doomsday Clock #2 won't be for everybody and, on the whole, it does have some flaws, but it's a solid issue which just about manages to live up to the hype and reader expectations" although it's still got a long way to go.

It's impossible to truly recommend Doomsday Clock #3 as it stands, and only in time will anybody be able to tell if this is the moment where this whole series succeeds or fails.

Doomsday Clock #4 isn't greatness. It's mediocrity imitating greatness.

There's a little more good than bad going on here, even if Doomsday Clock #5 is an unsatisfying and uneven read.

A solid issue, but the whole series drags it down.

A cluttered issue that loses the plot.

The best issue of the series so far.

A spectacular fight scene, but limited plot development.

If you're a die-hard fan of DC, then Doomsday Clock #10 may be just what you wanted.

If you like long-winded, overstuffed exposition, then you'll love this!

A fantastic finale that should have quit while it was ahead.

Even if Elektra isn't one of your favourite characters, this title has the potential to elevate her status. Hopefully, the rest of this series will keep up the wonderful storytelling, and suddenly I find myself wishing that the next issue was already here"

Elektra #2 isn't the worst issue out there, but it's a disappointment after this series got off to such a fantastic beginning. Hopefully, things will pick up soon. If they can fix these small problems then they could still be on to a winner.

So, basically, in good conscience, I really can't recommend buying Elektra #3. That first issue held some promise, but three issues in and it's time to start asking for a refund.

So, which Hulk is the strongest? Which is the best? That's up for readers to decide for themselves. Will Generations: Banner Hulk & The Totally Awesome Hulk #1 help them make up their minds? Possibly. It's a good read, even if it isn't a great one, and if you've got the cash to spare it's worth adding to your collection.

I know, each artist has their style, but Pyston Nitro's establishing shot makes her look like Rob Liefeld's Captain America. I get that she's supposed to be all about fitness, but this character had thighs like Schwarzenegger back in his Mister Olympia days. That isn't pumping iron, that's pumping unbelievability.

What you've got in Harley's Little Black Book #6 is a tasty peanut butter and chocolate combo when it should have been Rocky Road, if that makes any sense. It's exactly right in ways which are surprising, but it isn't quite the taste you're craving. It's good, better than many other Harley stories on the shelves right now, but neither she nor Lobo benefits from sharing a book with the other.

Artist Jason Masters continues on this series and hopefully will for a long time. With a solid grasp of the characters and settings, the story moves smoothly from panel to panel. However, when the action starts, that's when his artwork truly excels. Every punch and kick seems to land with true force, and every motion links together to create fight scenes which flow seamlessly.

The mission into Box Tunnel allows artist Jason Masters a chance to do what he does best, with Bond's actions flowing smoothly like progressive frames in a film as he moves onward. The ensuing firefight is a joy to behold, in particular Bond's turn-drop-and-fire motion in a single panel. Masters has proven before that his understanding of fluid body motions in fight scenes is impressive, and here the same level of detail is in play regarding gunfights. It's an area which more creators should pay attention to, and this stands as a great lesson.

That being said, the writing and dialogue is once again on form and the art continues to impress, especially during the action sequences, with movements that seem to flow naturally.

It's exactly the sort of story which the fans have been demanding too, showing Jessica's personal life in turmoil whilst handling an intriguing and sly mystery. Given all the confusion and mayhem within the Marvel Universe lately, it's wonderful to see it not only acknowledged but to point at it and say "WTF is even going on anymore?" Appearances by other famous Marvel characters, so often used gratuitously in other series, are once more treated with an absolute lack of celebration and unceremoniously given the finger. And in this series, that's the very best way to show them.

While this won't be for everyone (much like every Jessica Jones series, in fact), it should satisfy just about every fan of the character. Plus she drops some trademark insults, so remember that this is for mature readers only…

Yet a secret meeting and a visit to the police station are about to turn things upside-down, and if you think you know what's coming next then you're wrong…

The pacing on this series, and indeed this series itself, may not be to everyone's tastes. But once again Jessica Jones is proving that this series marches to the beat of its own drummer, and doesn't need to apologise for that. Jessica Jones #5 is dark, intriguing and intense, and well worth picking up.

It's impossible to recommend Jessica Jones #6 to everybody. It doesn't work that way. But if you're looking for the pulse of the real Marvel U, you'll find it here.

It's pretentious to say that it's like a fine wine which should be savoured. It's also wrong. Instead, it's like downing a shot of Jack Daniels: it goes down fast, but it kicks like a mule and the aftertaste lingers.

While there are still some great moments on offer, Jessica Jones #9 is still an unfortunate step down from its usual standard.

Jessica Jones #10 is a solid issue, and certainly one of the best of this series so far. It's crude, funny, mysterious and entertaining. You'll just wish there were more of it.

In short, Jessica Jones #11 is a disappointment. It isn't bad, it's just nowhere near as good as it could " and should " have been.

With solid writing and art as always, Jessica Jones #12 is one of the better ones in the current run and should more than satisfy fans. In the tragic story of Jessica Jones, this case may be over but her troubles are just beginning.

Kingpin #1 is a fantastic beginning to the series and one which is highly recommended. If you're a Daredevil fan or simply appreciate villains being given increasingly textured stories, then this is definitely for you.

What we've got here is an exceptional piece of work. From the stylised art to the emotional storytelling, it's exactly what it needs to be.

Kingpin #3 is doing everything right by telling a personal tale, all seen from the perspective of an outsider. It may not be the Daredevil or Kingpin series that some fans would want, but it's absolutely the one which is needed. It's definitely worth reading.

This is a title which may have slipped under most people's radars, but if you aren't reading it then you're missing out.

For whatever flaws exist with Kingpin #5, the end result is still a haunting one and the entire series has been more than worth it. This final instalment may not quite be what some had been hoping for, but it still packs a punch " even if it's a sucker punch.

KISS are back in comics, and it's time to rock and roll all night (and party every day) once more.

This should appeal not only to fans of the band but to fans of YA sci-fi, readers who are looking for something different… hell, it should appeal to anyone who simply wants to read a great comic book.

Seriously, there are few books on the shelves which look this good, and while the plot may be a simple one there's a lot to be said for sheer creativity and solid writing.

KISS, while not being for everyone and lacking depth in some areas, continues to be full of surprises and offers a startling amount of beauty. Like the band itself, it's awe-inspiring and totally entertaining.

So far this is more like Scream 3 as opposed to Evil Dead II or the original Saw: A little gore and mystery, but it's nowhere near a blood-flood yet.

One of the finest Superman stories of all time.

This may not be the special everyone would want, but if you're looking for an all-round entertaining read which truly honours The King, then Manhunter Oversize Special #1 is it.

There's something for everyone here, especially long-time fans.

So, as tie-ins go, Tsum Tsum #1 really isn't bad. For that matter, especially for younger readers, this is a whole lot of fun and is worth the read.

The kids come across so naturally that they're easily relatable to fans of any age, without ever feeling forced. The Looter fittingly steals every scene he's in, while Ant-Man makes for one of the coolest cameos in years. As for the Tsum Tsums themselves, they're fun and chaotic in a style almost reminiscent of Gremlins.

Then there's The Collector, who possibly gives one of the finest comedic performances in Marvel comics in years. Every facial expression is a gem, every line of dialogue offers a laugh, and he even offers a Howard the Duck reference just for added impact.

While James Patterson's Max Ride " Final Flight #1 didn't blow me away, I felt that it certainly held its own against some of the big-name titles out there and it was a welcome change of pace. That being the case, I suspect it'll mean even more to those who are already fans and odds are that they'll enjoy it a lot.

A mixed bag in terms of quality, with a few highlights.

Given Kirby's enormous contributions to the field of comics, it's great to see the spirit of that being followed through with the other creators of the other two stories doing double-duty as both writer and artist of their tales. While the end result of New Gods Special #1 may be somewhat disappointing due to the lack of space to tell the stories properly, it's still a worthwhile buy and proof that the memory of Kirby will never be forgotten by fans.

This is easily the weakest of all the New Talent Showcase #1 stories, and shows a lack of knowledge of the DCU. It may be fun seeing Harley do what Harley does, but there's no reason for the Penguin to be there and even less for the Riddler to take orders from her, and the inmates manage to obtain high explosives and razor blades out of thin air. As for the art, it's unimpressive and some more attention should be paid to Harley's hands, since she seems to have two left ones…

Nightwing: Rebirth #1 is a disappointing issue, telling a tale as flat as the paper it's printed on. Hopefully, it'll improve.

It isn't like Odyssey Of The Amazons #1 is bad, it's more a case of being its own worst enemy. The art is good, and if the writing had a lighter touch then it would have flowed better. Unfortunately, it results in an issue which feels more like an unrewarding effort to read, as opposed to an enjoyable saga.

There are flaws in Odyssey Of The Amazons #2, but there's also some clear hope that they can be overcome. This may not be the best of the Amazons and never will be, but it's improving and may just stand tall at the end.

A story about the Amazons is something which DC really needed to do after all these years. So why can't they tell a good one? The Amazons have a rich history and deserve a time to shine, but this isn't it. There's no reason to care about them here, and certainly no reason to follow them on this adventure.

The Amazons deserve greatness. Odyssey Of The Amazons #4 isn't it, but at least it's now trying.

At times there have been brief glimmers of hope for this title, a chance that the tail-end of it may redeem the whole thing. With Odyssey Of The Amazons #5 that hope has been snuffed out. It's bad, almost laughably so, and all we can do is be thankful that there's only one issue left to go in the series.

The problems with this series have been there since the first issue, and they're still there at the end in Odyssey Of The Amazons #6. This series had so much potential but has been a constant let-down, and the only good thing about it is that it's now over.

And if you don't remember that fact, then maybe you've forgotten more about comic books than you realised.

It's hard to know what else to say other than to recommend it, and the whole series. It captures the spirit of the original run perfectly while still updating it so it's modern and fresh. If it continues at this pace, you may just find Power Man & Iron Fist becoming your new favourite heroes.

There's little more which can be said about The Punisher Annual #1. It's an exceptional piece of work and one which any Punisher fan can be proud to add to their collection. Buy it.

Those problems are mostly minor though, and it's clear that there's going to be further development in all those areas soon, so don't count this book out. Not by a long shot. Raven #2 is a solid read, and is certainly worth taking a look at.

If this first issue is any indication, Robotech looks set to be everything fans could want.

Those flaws aside, the story does progress smoothly and it's still an entertaining read. It may not quite live up to the hype and the expectations of fans, but it's an exciting instalment in the Robotech saga regardless and should please many readers.

Clearly there's a long-term plan here; if a comic like Archie can successfully shake up its style then so can Scooby-Doo. The question is whether they've gone too far with this. It looks great and the writing really helps to lay the foundations of the series impressively. Still, whether it's Scooby-Doo at heart or not remains to be seen, and it's hard to tell if it'll catch on with audiences. These points aside, it's well worth a read even if only to satisfy your curiosity. But be warned, this is something new so it'll take time to get to grips with it.

Rebooting something is easy. Keeping momentum after that first issue is hard. After laying so much groundwork in that first issue, Scooby Apocalypse #2: Apocalypse Right Now! is an improvement where you see it paying off already.

I know these guys can make a great quality comic book, so it breaks my heart to give a negative review to anything they work on. But this isn't a great issue, and this series " already a risky prospect " needs to do better if it hopes to keep its readers.

This pickle milkshake on a rollercoaster disagrees with me. Other people have different tastes though, so it may be just what they want. But personally, the sum of its individual parts are definitely greater than the whole. I won't stop liking the ingredients, but this recipe is one for disaster.

I'll continue to read this, and to be honest it's one of the titles I look forward to each month because I desperately hope it gets things right. But until this series makes some big moves forward, I can't keep doing this. When that happens I'll be happy to review it again, and I hope that those who are enjoying it continue with it.

Scooby Apocalypse #6 is a wonderful issue and, no matter the fate of this series, this story stands out as one of the most fascinating representations of Velma Dinkley's history in any version.

Hey, don't knock it until you've tried it.

Maybe Scooby Apocalypse is like Petrillo and Mitchell too; It certainly isn't famous and it may not be topping the bill at DC, but it's a class act which just keeps getting better.

Be warned: Scooby Apocalypse #9 isn't for children or the squeamish; but for those who read it, the rewards are huge.

The elements of the mystery have been laid out, the plot has followed a clear path, and now the time for the final stand is upon us. Which, if nothing else, should keep readers eagerly awaiting the next issue.

It sucks you into its world, and you don't just read it, you experience it.

Scooby Apocalypse #12 is another solid issue blending great art and storytelling, contributing to a bigger picture which is looking better all the time.

This is a series which has not only hit its stride but keeps pushing to be even better. Impressive writing and incredible art combine, and the whole of Scooby Apocalypse #13 is even greater than the sum of its parts.

The art - once more divided up into a group effort - may not be as impressive as in previous issues but it's still better than many other titles on the shelves right now. When combined with the overlapping plot lines, strong dialogue and compelling characters, it's another winner of an issue.

It's another great issue, and it certainly won't disappoint the fans.

All in all, this is another impressive issue of what could be DC's most overlooked cult hit series, Scooby Apocalypse.

With all the talk of this being the start of a whole new Marvel Universe coming (or a return to the old one), it's easy to see why. Secret Empire #0 is a great issue, and exactly what was needed from the House of Ideas. Now the real question is whether there will even be a Marvel Universe after this. Only one thing's for sure: It's going to be a hell of a ride finding out.

The writing is intelligent and totally on point, while the great art conveys every moment impressively. No, this isn't Watchmen and never will be. But it isn't trying to be and it doesn't have to be. It just has to be a smart, compelling comic book. And Secret Empire #1 is.

The knee-jerk reaction from some to instantly despise Secret Empire is proving to be increasingly unfounded and short-sighted with each issue. This is a class act all around, a genuine must-read series. Comic books don't get much better than this.

Strangely though, for all the twists and turns, this issue isn't quite satisfying. It does a great job of setting things up, but it's mostly sizzle and no steak. The sizzle is great, don't get me wrong, and the writing on it is very good" but it needed just a little extra oomph. However, It's another solid (and vital) issue.

On the whole, Secret Empire #6 is another solid issue with moments of brilliance. But there are flaws which drag it down too, so just be warned.

This series has become one that readers either love or hate. If you're loving it so far, then you'll love Secret Empire #7. If you hate it, then this won't do anything to change your mind. Take from that what you want.

So what's the future of the Marvel Universe looking like at this point? If it keeps going in this direction, it could be very bright indeed.

It's a political, sociological and philosophical debate, grim and humourless, and offers almost no action. Because of all those factors, it's certainly not for everyone. It isn't fun at all. But with intelligent writing that has something serious to say, paired with impressive, striking artistic visuals, Secret Empire: Omega #1 is one of the smartest comic books you'll find on the shelves and is highly recommended.

If you're sick of the usual superhero fare and are searching for something different, this could be just what you're looking for"

There are a few homages, the mystery continues to unfold in intriguing ways, and the next issue is set up with a great cliffhanger. I hate to play favourites here but I have to. Deadpool in his own comics lately has been stale and dull, but if you're after him at his best then read this. Likewise, if you're a fan of the web-head then this one's for you too. Individually they're great, but together they're amazing.

Based on Suicide Squad: Rebirth #1 it's hard to feel enthusiastic about the new series. Maybe it'll get better, but it's got a long way to go if this is any indication. It's like a party balloon: it might entertain a few people but it's still full of hot air, bloated and hollow.

Suicide Squad has been saturating the market lately, enough to turn some readers off, but if you're looking for a return to top form then this is it. Now, with some luck, we'll get more stories like Suicide Squad: War Crimes.

The new theory is that "all ages" means it has to look like a kid drew it because it's skewed towards kids, and it has to have writing so weak that the most intense emotional moment is Lara saying "Oh dear!" when it turns out Brainiac has been a bad boy. Seriously. Just think about that for a second.

Super Sons #1 is a decent, if unspectacular, first issue but this could be a series worth keeping an eye on. It has a few too many moments where you'll probably roll your eyes at the writing, but there's real hope for the future. And after all, isn't that what we want from kids too?

Supergirl #1 isn't the best of starts for the series, although clearly there's an understanding of what target market DC is hoping to appeal to. If you fall into that bracket then you may enjoy this, but for others it may take a little while or it may not happen at all.

Give this a whirl and you may enjoy it. There's a lot to like, but there are some flaws too. So be warned, and make up your own minds as to whether this is one worth following.

If this series is doing what it appears to be doing, it's going to be a cornerstone of DC's current plans. Or maybe not. Time will tell. But if you know your comic book history, are aware of what's been happening in the DCU lately, and have a grasp of the characters, this might just pique your curiosity. Until then, if this really isn't a part of the big picture, then at least this series will help to build Captain Atom's legacy and give him some much-deserved time to shine.

There's been little fanfare for this title so far, but don't let that dissuade you. The Fall and Rise of Captain Atom #2 is great.

It's a well-told personal tale, and a credit to DC's current line-up.

If you can see beyond what's expected, you'll get the most out of The Fall and Rise of Captain Atom #4. It's slow but steady, creating depth by taking the time to establish the characters in creative ways and building up the tension. It's hard to know where this series is going, but it's a great journey getting there.

When the story does focus on Captain Atom, it shines" but again, with so much attention being paid to SuperMax you'll wish there were more space dedicated to the real "A" storyline which made such an impact in the series so far. As for the traditional climactic showdown, it starts out with lots of promise but ultimately fizzles.

The Fall And Rise Of Captain Atom #6 does succeed in wrapping up the current storyline, and opens up some new paths for the future of Captain Atom. Unfortunately, though, it's a disappointing conclusion to a promising series.

There's a real emergency going on, and one which can't be solved by punching villains or switching off the TV. We review The Mighty Captain Marvel #1.

The creative team are doing a wonderful job, but they need to get past this problem and I hope they do. This series deserves to be the best, and it isn't that far off from getting there.

The Shadow may not appeal to all, but for those with a taste for nostalgia and hardboiled crime noir stories it keeps delivering the goods in new and exciting ways.

I could ramble on about how amazingly funny and intelligent Ryan North's writing is, or how Erica Henderson's art is such a perfect fit for this book, but nothing I can say would be good enough. This isn't sycophantic praise being heaped on pretentious twaddle, their work is truly astounding while still being completely entertaining. Together, these two have created the best of what comic books can be.

So what do you want, a written invitation? There's a great book out there and it's waiting for you to read it! There's no need to stand on formality! Go out and buy your copy today!

Once again the Squirrel Girl team do a fine job, and if anybody out there isn't reading this then they're missing out.

In a world of so many comic books, The Unbeatable Squirrel Girl towers above the rest, flying its freak flag proudly, and The Unbeatable Squirrel Girl V2 #17 is proof that it deserves to.

Squirrel Girl may or may not be unbeatable, but her comic is absolutely worth reading.

With even more attention focused on Squirrel Girl now that the casting of her in the live-action New Warriors show has been announced, it's important to remember just what makes her so special: The Unbeatable Squirrel Girl v2 #22! This issue makes her so special! And so does every other issue of this series!

Titans Annual #1 doesn't quite live up to being worthy of an annual. Fans should expect something truly special from them. However, if viewed as a regular issue, it's a solid read with great art and once again shows what makes the Titans so special.

Are there any flaws with it? Other than yacht being spelled as yatch, none which I could see!

Still, as DC titles currently stand, this is one of the best and certainly worth looking at. Now let's look forward to the next issue!

Whatever it is, it's a slight step down. Don't get me wrong though, this is still one of the better titles from DC out there. If you're after a solid read with a pre-New52 vibe then Titans #4 is definitely a must.

If you're a Flash fan, a fan of Wally West, a fan of the Titans and the Teen Titans, a fan of DC, a fan of comic books in general, or even just a fan of great storytelling then read this issue. It's worth every cent.

And that's what this is. The plot is bland and boring, and because of that the artwork feels like it's wasting space. The characters may be the three big guns of DC, but Trinity #1 is firing blanks.

I wish I could wake up and say that reading Trinity #2 was all just a dream, but sadly it can't. It's reality, and I'm stuck with it.

It's a wonderful start to what promises to be a very compelling mini-series. Just don't expect The Twilight Zone: The Shadow to go easy on you.

There's lots of potential here, and the assortment of characters is reminiscent of Exiles or Runaways, allowing for fun, excitement and hard-hitting drama. Unfortunately, that's also one of the problems here, because it isn't made clear what the actual tone of this series is. It seems lighthearted, which is always welcome, but there's a strangely uneven tone to it.

The problem here isn't with the writing or the art, since both work well enough and it's great seeing a story covering a topical issue with diverse characters. Unfortunately, the story itself is formulaic, right down to the completely predictable ending. Add to that how just a handful of extra pages more than usual is now considered an annual, and it becomes questionable whether it's worth buying this issue. Annuals used to be something special, a bumper bonus for the fans, and this really isn't. Which is a shame, because as a regular comic it's pretty good.

Wow. Uh. Okay. I feel like I've just been hit in the head with a frying pan. That's because I just read the latest updated Hanna-Barbera comic book Wacky Raceland. All the old characters (and their turbocharged vehicles) from the '60s TV series are there, from Penelope Pitstop and Dick Dastardly to Professor Pat Pending and the Ant Hill Mob, and the format of the race is the same as it ever was: cross the finish line first, no matter what. And that's where the similarity ends.

It's a virtuoso performance, not just from Dick Dastardly but from writer Ken Pontac too. With some deft touches, Pontac not only turns Dastardly into a tortured hero but creates one of the most haunting pieces of storytelling in recent years. It's truly astonishing.

Leonardo Manco's art is once again on form, and still carries a sense of fast-paced anarchic energy which has been one of the series' strengths. While the general offensiveness of this title is still there, here it seems more justified and this book definitely has its own identity. It's hard to tell if the sudden acceleration in plot is due to low sales, critical disapproval, or maybe even the title getting canceled, but the storytelling here is a real step forward.

If there's any justice at all then this series will pick up a cult following, because the team behind it were given an impossible task and created something simultaneously offensive and beautiful. It had its flaws but it was also something original and, as any creator knows, that's the hardest thing to succeed with. It did something different, and I can respect that.

For the first time in a long time, the qualities which have made her an icon are properly on display. If this trend continues, this new series of Wonder Woman could go down as one of the most defining high points of her comic book history. It's been a while since I've been so excited to read the next issue of a DC title, but Wonder Woman #1 has successfully done it.

Wonder Woman continues to impress as one of DC's best titles overall, and it's a great display of how this character can be done right. Now the question is if it's worth buying issue #4, or skipping that and buying issue #5 for the next part of this storyline…

While the merits of having revolving storylines are still questionable, it's good to know that they're both equally impressive. It's another winner for Team WW and DC. You may know Wonder Woman's origin, but it's even better reading it here.

Yes, Wonder Woman #5 is another great issue and deserves praise. By this stage that may sound hollow, but it isn't. While it's a little dull to keep writing about how good this series is, the comic book itself isn't dull in any way. I wouldn't have it any other way and I'd hate to see this level of quality drop, just to give this hack reviewer something else to write about.

In short Wonder Woman #6 is another great issue, and there's still a lot to looks forward to. If you aren't reading Wonder Woman then you're missing out.

The writing isn't just good, it's great. It's intelligent and well-paced, while the ending is quite possibly the smartest way to defeat a villain which completely symbolizes everything which Wonder Woman stands for, not just as a character but as an ideal. While this storyline may have been accused by some of moving a little slowly throughout this arc, the payoff here makes it all worthwhile.

Wonder Woman #11 continues to impress, and with the plot constantly unfolding in new, creative ways it deserves all the attention and praise it gets. And so do those working on it.

The writing throughout is solid, and it's hard to pick out any one favourite story but fans will be pleased to see the legendary names of Jill Thompson and Gail Simone included. However, the interview she gives is arguably the most defining due to how personal it is. Anybody who's ever suffered from depression of felt isolated in a crowd should be able to relate to Wonder Woman when reading this. The art is slightly more of a mixed bag, with styles ranging from elegant to cartoonish… and one story, sadly, making Wonder Woman look rather mannish. Still, the brevity of each tale means that any slight dip is instantly followed by a high again.

On the whole, it's entertaining at times and looks good, but at the end of the day Wonder Woman: Steve Trevor Special #1 simply isn't special enough.

On the whole it's a clean win for WWE #1, and good enough to make readers want to tap out for more.

This is a series with a difference. WWE superstars are larger than life on television, and comic books take things one step further. The tale of Seth Rollins continues to impress and is a must-have for WWE fans and general readers alike.

On the whole, if you're a wrestling fan then WWE #7 is definitely worth your time and money. If anything, it may even be better than what's on TV right now"

This series has constantly proven to be a surprise, as it blurs the lines between wrestling storylines and reality in some incredibly creative ways. Unfortunately though, WWE #8 is a drop in quality. Like another recent Money In The Bank contract holder, it cashes in" but comes up short.