Blair Marnell Comic Reviews

The Game of Thrones comic also appears to be less adult oriented than the HBO series. It's more of a teen reader friendly comic with only the occasional beheading and blade through the eye... and no outright nudity. This book isn't trying to ape the HBO series and its version of the characters and the threat beyond the Wall seem to be intentionally different for the most part. This comic may be best suited for people unwilling to read Martin's novel all the way through. I've no doubt that the comic will eventually cover the entirety of the first novel, but at this rate its going to be a very long time before readers of the comic catch up to what people have already seen on HBO.

I'd love to see Cornell recover from his missteps and pull off this story in the concluding chapters, but it doesn't seem likely at this point.

But there's no getting past how inconsequential this issue is. DC may be holding the line at $2.99, but these 20 pages pass so quickly that even that price seems steep.

The bulk of the pages are by Gimenez and he does a serviceable job. However, there are definitely pages that look rushed and sketchy. It's not that the main story could have been saved by the artwork alone, but it certainly would have helped if there was a single artist throughout the entire storyline who was at the top of his game. Great art can help you forgive a mediocre story. Average art will never have the same effect. When it comes to ending a story, Cornell seems to have a solid grasp on what's going to satisfy an audience. Unfortunately, the journey to get to that point wasn't as enjoyable as it should have been.

On its own, Action Comics #3 makes for a surprisingly dense and enjoyable read. I still don't buy that this is the same Man of Steel being portrayed five years later in Superman, but if you're only reading this book than it doesn't matter what happens anywhere else.

Stephen Segovia is also a very talented artist, but his style simply doesn't flow very well with Zircher's pages. By abruptly cutting from Segovia to Zircher on more than one occasion, this issue is less fun to read. But the story is fun and engaging, and that's the most important part of the equation.

It really feels like the Lana/Superwoman plot belongs in another book, but this was still an entertaining read. It's also a crossover story, which means that we'll only have to wait a week to see how that cliffhanger plays out.

It's not clear if the mystery villain can maintain that threat level for the entire story, but Dini and Churchill actually made him feel relevant for the first time in years

This isn't a perfect issue, but it's hard not to be happy with it. This is what I wanted from my Superman.

This is a really beautiful looking comic and Churchill has turned out to be the perfect artist for the back-to-basics Man of Steel that we have after Superman Reborn.

It's not bad, but it's also not very satisfying.

As part of a trade, it may be fine. It's just not as satisfying to read in this installment. But when the art is this good, I regret nothing.

Patch Zircher is proving himself to be one of the very best Superman artists. His Man of Steel simultaneously looks classic and modern, and his pages have a lot of life to them...even when depicting the undead.

The "Revenge Squad" arc has had its ups and downs, but the combination of Jurgens and Herbert has already demonstrated the ability to elevate this story to a much higher level. And I can't wait to see their next issue.

I wish the story had been stronger, but the art is about as close to perfection as it gets.

The cliffhanger has a lot of potential, but it feels like a lot of the momentum for this story hit a wall.

"Revenge" started out as a potentially classic Superman story, but it ultimately fell short of greatness.

There's a lot about the current Superman books that are very enjoyable, which is why it's so disappointing to see some of that goodwill get squandered.

As a fill-in issue, this was simply "okay."

There are far worse issues than this, but it is a little disappointing.

There may be some Doomsday Clock foreshadowing here, but as its own story, "The Oz Effect" is simply okay. Considering who Mr. Oz is supposed to be in relation to Superman, it deserves to be much better than that.

The jury is still out on whether it was a good idea to make Mr. Oz that particular character, but Viktor Bogdanovic stepped up with his best art in the story to date. That goes a long way towards making this a strong conclusion to a somewhat uneven arc.

This week's issue of Action Comics is a great example of what happens when an artist elevates a script to the next level. Will Conrad's art is phenomenal, and he makes these pages sing.

There are definitely worse issues, however this fell short of its trajectory.

In many ways, Action Comics #995 feels like a throwback to the way that comics were two decades ago. Dan Jurgens' approach to writing Superman and Booster Gold doesn't seem to have evolved too much in the last twenty years, although Superman is uncharacteristically angry with Booster.

Although the art managed to hold my interest throughout the book, the lead time travel story is already starting to feel stale.

This is starting to read like a comic from the '90s, which is a step back in quality from the heights of DC Rebirth.

It's amazing that Action Comics keeps playing up the consequences of Booster Gold's time travel decisions and yet feels completely inconsequential. That's why it doesn't seem meaningful when Booster actually does something selfless for the Man of Steel, because it's hard to believe that he's really going to pay a price for it.

That said, this was a very strong opening chapter to the next phase of the crossover. The Colonial Marines are far from out of the woods, and they've got more than just Xenomorphs to worry about.

This issue's biggest crime is that it doesn't let us read the story that pissed off Kamala in the first place: "Ms. Marvel and the Teenage Love Triangle from Space." We do get to see who wrote the offending tale, and now we really want to know what was in it! But that didn't detract too much from a very enjoyable issue.

This issue's biggest crime is that it doesn't let us read the story that pissed off Kamala in the first place: "Ms. Marvel and the Teenage Love Triangle from Space." We do get to see who wrote the offending tale, and now we really want to know what was in it! But that didn't detract too much from a very enjoyable issue.

This issue's biggest failing is that it builds towards a moment that would have been big for both the Guardians and for Secret Empire before pulling back and leaving only the team bonding intact. That's a frustrating way to end an issue that was close to being more than just a throwaway tale.

You can tell that the Bendis era is over when we've gone from a Guardians of the Galaxy comic that barely resembled the movie Guardians to a comic that resembles them a little bit too closely.

It may not be peak Guardians yet, but the foundation is getting stronger.

If the Guardians of the Galaxy have to ape their counterparts on the big screen, then it would be a great consolation prize if their ongoing adventures were always this good.

Overall, this was a very good issue, and even the humor seemed less forced than usual.

If you needed a reminder of how well this team can work in a comic, then this is definitely for you.

As a one-off issue, it's a very good interlude between arcs on this book. It kind of makes me want to see what Duggan could do with the team if he didn't have to force them to fit within the boundaries that someone else came up with.

As the conclusion of the first major All-New Guardians of the Galaxy storyline, this is a pretty disappointing letdown. Gerry Duggan and Aaron Kuder's run has actually been pretty strong up to this point, but the resolution really leaves a lot to be desired.

One of the things I really like about Gerry Duggan's run on this book is that, even with the title characters seemingly squashed into something that resembled their MCU counterparts, Duggan still manages to get in some deep dive Marvel Universe references.

On the whole, it's a good issue, but not great.

There's potentially a major change in the status quo at the end, but we'll see if Tom Taylor follows through on that promise. Overall, this was solid.

I still maintain that this is one of the better X-Men comics being published, but it makes a strong argument for reading All-New X-Men as a trade paperback instead picking up the monthly series.

Even with a few minor hiccups, All-Star Batman #1 is one of the few comics that feels like it's worth the $4.99 cover price. It's not perfect, but it is entertaining.

One of the more satisfying aspects ofAll-Star Batman #2 is that it's worth the $4.99 price tag. There's a lot to unpack in this issue, and it feels like a lot of bang for the buck. We do feel like the constant betrayals of Batman may be Synder's way of making this issue's primary story seem more important than it actually is. We're not fans of the old bait and switch, and frankly, we're starting to think that's where Synder is going with it. That does temper our impression of the book. But overall, it's beenvery enjoyable experience so far.

Snyder is also walking a fine line between cool and cheesy with Batman's very public appearance. But it's fun, and there is some nice misdirection late in the story.

Well, no one can say that Scott Snyder isn't having fun with one of his final issues on this book. But it's really a showcase for Rafael Albuquerque as an artist and a co-writer in the backup tale.

Surprisingly, the backup story has eclipsed the featured tale as the most entertaining part of All-Star Batman.

I have some mixed feelings about Scott Snyder's pending departure from this book. On one hand, it's really time to go when Alfred suddenly has a secret vigilante history and an enemy from his past who is out to kill both Alfred and Batman. But here's the thing that Snyder does so well: he keeps writing these emotional moments between Alfred and Bruce, and they all work.

Plus, now that Fear Itself is over, Alpha Flight is more of a standalone story than ever before. I wish we could get more comics like this. Alpha Flight may never set the sales charts on fire, but it is well worth your money.

Alpha Flight is one of those Marvel books that just doesn't work without the right creative team. In that regard, Pak, Van Lente and Eaglesham have done a terrific job of making these characters interesting again. It's a shame that the next issue may be the last time that they have their own title for the foreseeable future. But I'm eager to see how this story finally wraps up.

Just not with Alpha Flight.

On the story front, Slott is still delivering a pretty entertaining new chapter in the life of Spider-Man. I just wish that Ramos would move on to another book so I can enjoy the art again.

I really want to like Amazing Spider-Man # 3 more than I do, but I think that Slott hasn’t quite found his post-Superior Spider-Man rhythm yet. 

Tags amazing spider-man, dan slott, Dead no more, marvel, marvel comics, peter parker, Prowler, spider-man Related Posts What's New What's Trending Decoding The Clues of SPIDER-MAN: THE CLONE CONSPIRACY article

As comic artists go, Stuart Immonen is an international treasure. But that face is gonna take some getting used to. You'll know which one when you read the issue.

It seems like the Parker Industries era is coming to an end soon, and I'm going to miss it. But it's going out on top.

Given that Gerry Conway has been writing comic book stories since the '70s, it shouldn't be a surprise that this issue reads like a throwback to an earlier era. But it's fun, and it gets to the point fast.

Sometimes, this timeline is simply more compelling than the one Marvel is offering in its prime universe. This is one of those occasions.

Is it wrong to like the alternate world X-Men of Amazing Spider-Man: Renew Your Vows more than the stars of the current X-books? Not when this is the only book that has the real Wolverine, Jean Grey, and Cyclops... even if their dynamic has radically changed.

Whenever the marriage or family dynamics are in play, this book is gold. However, it falters a bit with the villains, particularly Normie Osborn. Asking the readers to take him seriously is simply a bridge too far.

Ryan Stegman is the regular artist and co-writer of this book, and this is his first issue that he's written alone. Unfortunately, it's a bit of a mixed bag.

Up until now, this has been a very fun title. I want it to be fun again.

This issue reads like it was intended to be the final Renew Your Vows story, since it goes out of its way to wrap up the lingering plotlines of the series.

This is a slow start for the new era, but there is some promise here.

There's still some real potential here, and it's nice to see the Lizard make his peace with the Spider-Man family. It was less thrilling to see the reveal of the mystery villain, but I'm willing to stick with this book for now to see where it goes from here.

Long time comic book readers are probably going to see the twist coming in this issue, but there's still something to be said about creating suspense for the fans.

In terms of story, there's not a lot happening here. But Dan Abnett takes the time to give Aquaman and his supporting cast some interesting beats, including a confession that Erika Watson shares with her high school crush.

This issue fulfilled the promise of DC Universe Rebirth, and I can't wait to see where the series goes from here.

So far, this has been a masterful way to turn this book into one of DC's finest superhero adventures.

It must have taken restraint for DC to put Stjepan Sejic on Aquaman rather than one of the bigger books like Superman, Batman, or Wonder Woman. Sejic clearly has what it takes to be a superstar artist, but Aquaman is the comic that needed him the most, and his pages have revitalized this series in a major way.

Aquaman is peaking at just the right time, and there's never been a better chance to see just how great this book can be.

Aquaman has been one of DC's best books ever since Stjepan Sejic joined the creative team, and his art once again elevates this issue to a higher level.

Aquaman has been DC's best-looking books ever since Stjepan Sejic joined the series, and that trend continues here. Dan Abnett's scripts have also been strong since Sejic arrived, and now the series is picking up momentum by reuniting Aquaman with his supporting cast and furthering the rebellion storyline.

This is still one of DC's best monthly books, and well worth your time and money.

It feels like this issue is a road-map for what will come after this, and it's got an intriguing role reversal for two of the book's leads. That's why this is still one of DC's best titles, month after month.

This book is still far better than it used to be. However, its quality might be coming back down to Earth.

But for now, McKone's art is still the best reason to check out this book.

Astonishing X-Men isn't required reading if you're an X-Men fan. But if you want a fun diversion from the angst of Uncanny X-Men and the bizarre art of Wolverine and the X-Men, then Astonishing X-Men may be the title for you.

This book is off to a pretty solid start, but I really want it to be the "great" X-Men title. It's not there yet.

This is definitely more decompressed, which makes parts of the book less than enjoyable. The rest of the issue is solid, but there could and should be more X-Men in this X-Men book.

Astonishing X-Men's rotating roster of artists keeps undermining the look of this series. Ramon Rosanas is a competent artist by anyone's standards, but Carlos Pacheco is a hard act to follow and their styles don't fit well together.

Credit where credit is due, Charles Soule pulled off a good twist in this issue. What's really impressive is that Soule clearly set this event in motion during the previous issues, but he didn't draw too much attention to it at the time. Just a few pages and panels, here and there. But it really works.

Of the three current ongoing X-Men titles, this is still by far the best one.

Astonishing X-Men almost always looks good, and Paulo Siqueira's guest stint as the artist is no exception.

The tale of the Astro-naut is truly affecting, and it's another instant classic issue from a series that's almost always great.

This isn't going to go down among the best Astro City stories, but as a single issue diversion, it's fairly solid.

The cliffhanger ending is a bit abrupt, but that's not enough to derail a very good issue.

Another intriguing aspect of the new Kang war, is that it was started by one of the Avengers themselves. That twist was built on something that happened during Waid's last Avengers series; which may be off-putting for anyone who missed that the first time. But it's also a welcome sign that Waid has long term stories in mind for this series, and there's even a one-page "trailer" for the next few issues. Minor problems aside, this was a very exciting read, and we're eager to see what's next for these Avengers.

Avengers #3.1 is unapologetically a throwback to earlier eras in comics. There are a lot of panels per page, random hero cameos, thought bubbles, and some very old school superhero action from the team of Mark Waid and Barry Kitson. I love it.

Avengers #4.1 is a relentless throwback to the way that superhero comics used to be... and I love it. Mark Waid and Barry Kitson get just about everything right in this issue.

The dynamic between Doom and Nadia has a lot of potential. There's also something here for readers of Waid's other Marvel series. But if you've been skipping that book then the conclusion of this issue may not make much sense. Regardless, this was a very entertaining issue.

If Jason Aaron wasn't so entrenched on Thor, Waid and del Mundo could take over that book without missing a step.

Mark Waid throws in some genuine surprises that feel in character for everyone, including Octopus' scheming, Scarlet Witch and Vision's alone time, and a character's decision to lie at a key moment in the battle. That makes one of the few heroic members of the team complicit in a pretty brutal atrocity, which could have some very interesting fallout.

This Avengers and Champions crossover has a very '80s vibe to it, which isn't too surprising, given Mark Waid's involvement. Waid can handle a variety of tones, but he seems to be set on old-school super-heroics for the clash with the High Evolutionary.

Most of this Avengers and Champions crossover story has been pretty forgettable. But isn't it amazing what great art can do for an issue? Jesus Saiz, welcome to the Avengers.

Pepe Larraz is definitely missed, although Kim Jacinto's art is also quite good. If that's what it takes to keep this weekly story going, then it's a relatively small price to pay.

The action was exciting and the story is still building up its momentum. That's not an easy thing to maintain for a weekly series, but it's working so far.

It's unfortunate that most of these characters are going to fall by the wayside when the next Avengers relaunch happens in a few months. But at least they're going out on a strong note.

It's just not a very compelling story and there aren't many reasons to keep following Bane through the next issue of this maxi-series.

This feels like an untold chapter of Bane's story from two or three reboots ago. Unfortunately, that has no place in DC Rebirth.

Batgirl # 7 is a very strange beast. Barbara Gordon finally arrives back in Burnside, and even she's calling it a "parallel Burnside" where the tech industry has started to force out the local shops and drive up the rents at a ridiculous rate. While that is a very modern problem, it's introduced in a very jarring way as Larson appears to write out the majority of Babs' supporting cast.

It's weird how a comic that came out this week can read like it escaped from the '70s. But that pretty much sums up the new issue of Batgirl.

This arc wasn't groundbreaking by any means, but it was one of the better Batgirl stories since DC Rebirth began.

There's really not enough here to make a judgment about the new Oracle as a villain, since we don't even have any suspects yet. In theory, a hacker who can outwit Barbara Gordon should be a formidable foe, but the Barbara Gordon Batgirl that we got in this issue was seriously off of her game. The Bensons had such a good take on Black Canary that it's curious that both Batgirl and Huntress came off poorly by comparison. For this revival book to work, all three leads have to be well-rounded characters and worthy heroines. Though they were not in this issue, we are hopeful that the series will develop each character individually.

There are certainly worse comic books than Batgirl and the Birds of Prey, but it's barely better than average.

All told, it's a very entertaining package.

This miniseries may not match the drama of Tynion's Detective Comics run, it's still a worthwhile crossover for fans of both franchises.

This book is thoroughly entertaining, and it makes me want to see Steve Orlando and Scott Snyder do a modern version of The Brave and the Bold, just as an excuse for more Batman and the Shadow team ups. This is a great, great comic.

One of the more effective aspects of the Batman/The Shadow miniseries is that it retroactively makes the Shadow an important part of Batman's history. And he may even be the architect of Batman's destiny. That could have been very annoying, yet Steve Orlando and Scott Snyder pull it off so well that it could fit into the backstory of almost any version of Bruce Wayne.

This tale could have ended with four issues, but I'm eager to see where Steve Orlando and Scott Snyder take us in the remaining two issues.

This has been an especially good crossover, and I'm already looking forward to the sequel.

This is a mess, but at least Cully Hamner's artwork makes it a good looking mess.

This is better than average, but not quite as good as it should be.

Bernard Chang's action sequences are well-staged, and his faces are impressive. However, Jurgens' script feels oddly paced and executed. It's the artwork that saves it this time.

This isn't essential reading, but it might be your Batman vacation from Batman, if you need a break from the marriage and Dark Nights: Metal events.

I suspect that The Drowned is going to inspire some very talented cosplayers to bring her to life. But as a character within her own book, a strong visual isn't enough to make her compelling. Fortunately, the art keeps this one-shot from sinking into the sea.

Batman: The Merciless follows the same path that the previous Dark Nights: Metal tie-ins used to introduce the various evil incarnations of Batman. But those books didn't have Francis Manapul as their artist, and that makes all of the difference here.

In this issue's favor, it does actually further the Dark Multiverse invasion by striking a pretty big blow against the heroes. So it's not a throwaway tale, but I was hoping for more.

This one-shot does a good job of establishing the Red Death as a pretty credible villain, and that's an accomplishment in of itself.

This Batwoman relaunch should have been a lot better, but on the strength of the creative team alone, we're willing to give it a few issues.

Peter David and Mark Bagley are two of the very best at their respective jobs, but this book is simply average.

This simply isn't one of the better efforts by either David or Bagley.

This is what it looks like when an event storyline completely upends a loosely affiliated series that just happens to share the same universe with it.

. I'm still not sure that we really need a Scarlet Spider book, but it's been much more entertaining series within the last few issues. Maybe that's all the justification that it needs.

Dusk's reunion with Ricochet is one of the best parts of the issue, but the highlight may have been the subversion of the heroic beat-down.

Overall, this is an uneven installment of a series that still hasn't yet been able to find its legs.

This book has largely become a Slingers revival over the last few issues, and oddly enough, that makes it feel more like a legitimate Spidey comic.

I actually don't mind if Ben and Kaine are going to be co-leads going forward, but their stories should at least be equally strong.

Assuming you know who Bettie Page is, or if you're familiar with her previous comic book series, then you may realize that the latest iteration of her comic doesn't quite do her justice.

When watching the Bill & Ted movies, it never occurred to me to ask whatever happened to their mothers. Bill & Ted Save the Universe not only deals with that idea, but the answer is wilder than anyone could have guessed.

But it's not ready for primetime just yet.

Saladin Ahmed has come up with a good idea for a comic book series, but it may not be a good fit for the king of the Inhumans.

For now, it's a very imperfect book.

The biggest issue is that this series gave Black Bolt his voice back, and he sounds just like anybody else.

All in all, the best issue of the series to date. Too bad it's not actually about Black Bolt.

Ahmed is still drawing the focus away from Black Bolt himself, and that feels like a questionable choice if we're meant to follow the title character beyond this opening story.

Black Bolt is never going to be my favorite character, but Ahmed has done an admirable job of turning him into someone who is worth reading about even when the Inhuman royal family isn't around.

Visually, this issue is not done in a style that I enjoy and it may be better off in the hands of another artist. The distorted faces and bodies are distracting, even though a few panels manage to capture the emotions of the widow.

This series has done a lot for Black Bolt himself in the last few issues, but I just can't fully recommend it with this art.

When it comes to the story itself, this issue was somewhat frustrating with its pacing. But it's a good-looking book and the story has potential.

That said, this was one of the more entertaining issues of the new 52 and one of the few that will remain on my reading list next month.

With a stronger script that wasn't taking its time to go somewhere, this could have been something special.

As presented here, Cable is just another time-traveling superhero, even if his mission is only vaguely defined at best. I really wanted more out of this title.

Cable's newest adversary introduces himself in this issue and he's every bad guy clich that you've ever seen. It's very disappointing, even if it is an intentional choice by the writer.

The first storyline in this revival series simply sputters out at the end without a satisfying turn or even a tale that needed to be told. I really want to like this book, but it is very unnecessary at this point. Great art can only carry it so far.

Welcome to the comic where the '90s never ended. But perhaps they should have, because this is an irredeemable mess.

As a stand alone issue, some fans may find it somewhat lacking. But if this is one of Sam's final appearances as Captain America then it needed to happen to complete Sam's journey.

The first thing that has to be said about Captain America #25 is that it has great art by Jesus Saiz and Joe Bennett. Their pages capture the best aspects of modern superheroes with nods to the past. Even if it didn't have a strong script, this issue would have been worth it for these pages alone.

The march to Secret Empire is getting more overt in Captain America: Steve Rogers. And regardless of anyone's feelings about Hydra Cap, this is a very good issue with incredible art by Jesus Saiz.

The latest issue of Captain America: Steve Rogers is a prime example of what can go wrong when using multiple artists whose styles don't compliment each other.

It's harder to justify this issue as a single purchase, but there is a chance that it will play better as part of the eventual trade paperback.

This is a disappointment, and Captain Marvel deserves better.

Catwoman #1 was the most thoroughly mediocre comic that I've read in a long time. It is so terrible, that I am instituting a new low water mark for the Crave Online Rating system.

But overall, it's a pretty strong beginning for one of the flagship titles of the Young Animal line. Cave Carson may finally be a star after this series takes off.

It's a shame, because until the clown and his captives showed up, this issue was really firing on all cylinders. It's still one of the best books out this week, it just betrayed one of its own central themes. The team that's trying to be more than just superheroes were quickly sucked into a pretty standard superhero plot. Given Waid's experience, we still feel that Champions has the potential to be a great book, but that's going to require Waid and Ramos to show us stories that we haven't seen many times before. So far, they haven't. That said, we're still very curious to see what they can do with these next gen heroes.

Waid really excels in creating the emotional stakes for the team, especially Miles Morales. He cares about his teammates, and he still has his compassion even when he's helping strangers. The downside of this issue is the rushed conclusion and Humberto Ramos' art.

One prominent comic book creator on Twitter recently argued that Marvel's heroes are no longer allowed to fail. Champions #11 makes that statement a lie. Because the heroes not only fail in this Secret Empire tie-in, they are broken by that failure.

I think this series would probably be better served if it had a different artist.

Instead of a pivotal turning point, this crossover has been largely forgettable so far.

The two words that come to mind with this issue are "anticlimactic melodrama."

There are some good character moments throughout, and I wasn't as annoyed by the art as I usually am. This book deserves the benefit of the doubt before the claws come out.

The interesting parts are at the beginning, when both "sisters" are paranoid about the other. Android Viv gives her counterpart very good reasons to fear her. But the whole thing is over so fast that there isn't any nuance to android Viv, and she just becomes one-dimensional.

Though we're disappointed by this first issue, we're willing to give Marvel the benefit of the doubt and seeing where the rest of the story goes, especially due to the terrific artwork. At this rate, though, we can pretty much guarantee that this is a story that won't be adapted for the big screen.

Civil War II #2 was stronger than the first issue, although the story itself remains the central weakness of the book. Stark may be having a mental breakdown, but what's everyone else's excuse for acting out of character?

Marquez does get a brief assist from artist Olivier Coipel for the flashback between Banner and Hawkeye, which gave the issue a foreboding undertone that the rest of the issue seemed to lack. Again, this is not the fault of Marquez. His artwork is easily the biggest draw for the book, aside from the shock value of seeing one of Marvel's biggest icons get murdered by another hero. Bendis wanted to get people talking about Civil War II, and he succeeded on that front.

We really want to like this series more than we actually do, but the way that Bendis writes the book and treats the characters constantly throws us out of the issue. Marquez and Ponsor are continuing to turn in stellar artwork, but it's not enough to balance out a lackluster story that doesn't feel true to the heart of the Marvel Universe.

This book might be worth checking out for the artwork alone. But if Daniel decides to leave this title, there won't be a lot left to recommend.

Chad Bowers and Chris Sims not only pay tribute to Darkhawk's past, they advance the story for his alter ego, Chris Powell, and it feels like a natural step forward.

Marc Andreyko and Jeff Parker have a pretty strong handle on these characters, and Steve Lieber's deceptively simple art style really compliments this tale. This issue is a quick and enjoyable read until it gets to the bizarre backup story with Top Cat and Batman.

Mark Russell's script isn't always as funny as it's trying to be, but some of the gags do land, especially when dealing with Booster's fellow time travelers.

This joke was worth telling; it just shouldn't have been a full-length story. If anything, this one should have been the backup tale to Snagglepuss

The biggest problem with Sam Humphries' script is that it's too self-aware and borderline parody even before Bugs shows up. It just isn't very funny, and that drags down the rest of the book. However, Grummett's artwork really does make up for almost all of the issue's shortcomings. It's that good.

This isn't a bad issue by any stretch, it's just not special enough to fully justify its existence.

Aaron Lopresti's art is a homerun on this issue, and he was well-chosen for this assignment. Lopresti is simply terrific throughout, and his storytelling skills make the book even more enjoyable.

Much like Lobo/Road Runner, Wonder Woman/Tasmanian Devil goes through all kinds of narrative hoops to explain how the Amazon superheroine can meet the famous Looney Tunes character.

This special is very skippable, unless you really want a reprint of that story where Batman sang Christmas carols with the GCPD. Not kidding, that's the bonus feature. And it's still not worth it.

It's enjoyable on its own terms, but this issue is only slightly above average.

In the end, Deadpool #27 does what any crossover tie-in issue was supposed to do. It gets us excited to see what's coming up next.

It's too soon to judge how the rest of this crossover will play out, but it's entertaining so far.

Believe it or not, this issue does have a tie-in with Secret Empire. But for the most part, it's a done-in-one adventure that's perfect for anyone who misses the old school Deadpool. He's back.

It's a great issue, and maybe Duggan and Lolli should have their own Marvel event book in the future. They've earned it.

None of the other Secret Empire tie-ins have come close to the quality of the Deadpool issues.

Deadpool is great. And I don't just mean the character. Gerry Duggan and Matteo Lolli have really hit their stride with these Secret Empire tie-ins.

This issue offers a few hints about Deadpool's next move, and it looks like it could have bigger ramifications for the event. But the most satisfying aspect of this series is just how devastating the entire thing has been for Deadpool himself.

Deadpool is peaking in quality at just the right time, and it deserves to be recognized as one of Marvel's top books.

Duggan and Lolli have clicked so well together that it seems likely they'll eventually be paired on an even more high-profile book. But for now, they've made their mark on Deadpool, big time.

As a chapter in a crossover, it doesn't really do much to advance the story. This series probably shouldn't have even been part of the crossover at all. It's more of a tie-in issue than an essential part of the saga. But it's very entertaining, and that's really all that matters.

It's a decent chapter in the crossover; it just fails to pass off the issue as a meaningful continuation of the Mercs' series. When they're guest stars in their own book then something has clearly gone wrong.

Dalibor Talaji's chameleon-like ability to mimic manga and a more kid friendly style is very impressive, and it also fits in perfectly with Deadpool's delusions.

Cullen Bunn has pulled off a delicate twist with the second issue of this series. He's made Deadpool's murderous rampage into a superhero tragedy, while giving the series comedic interludes that are genuinely funny.

Dalibor Talajic's art is gruesome and even grotesque where it has to be, while also charmingly insane when the events take place from Deadpool's perspective. Talajic's range as an artist is very impressive, and he deserves a bigger showcase after his performance in this miniseries.

Talajic captures the grindhouse feel and delivers on all of the action moments. It's just unfortunate that the final script didn't live up to his art.

It's not the instant comedy of the Spider-Man/Deadool comic, but there is definite potential here.

This issue strikes a very good balance between the comedic aspects and the action. I'm very curious to see if the final issue can neatly wrap it all up.

Of course the final issue of Deadpool vs. Punisher couldn't pass up the chance to mock Batman v Superman: Dawn of Justice. But I'm afraid that gag was stale a year ago, and it just isn't worth the attention that it gets in this issue.

There are some intriguing ideas at play here, but the artwork simply doesn't hold up its end of the bargain.

Death of X #1 was at its best during the brief fighting scenes, which allowed Lemire and Soule to let Kuder cut loose on the book. We can't fault Kuder on this one, but we expect more from talented writers like Lemire and Soule. Both of them need to remind us why we love the X-Men and why we should love the Inhumans. Because right now, it's a pretty one-sided conflict. If you've ever loved Marvel's mutants, chances are good that you're already rooting for them in this fight. Nothing the Inhumans did in this issue will change that.

However, this is the first relaunch title other than Action Comics or Batgirl that has me looking forward to the next issue.

Priest brought his A-game to this one, from the quiet moments between Kid Flash and Power Girl to Slade's hilarious attempt to con someone else into doing his killing for him.

The end of the issue sets up an intriguing fight between Deathstroke and one of the more recent additions to the DC Universe. Now that's something to look forward to, even though it's probably not the endgame for this arc.

More impressively, Priest manages to make Deathstroke #13 a satisfying read while still serving the larger "Twilight" storyline. It's a lost art, but that's why Priest is still one of the best writers in the industry.

Joe Bennett's performance in this issue is masterful. And I say performance because so much of what's happening between Tanya and Slade is conveyed in their faces and body language

It's still really good, but it falls just short of being great.

This crossover has been a little shaky in terms of story, but hopefully the final part will give it a powerful conclusion.

Slade is still a jerk even when he's trying to follow a more heroic path, but that's why he's so much fun to watch. So far, the Dark Titans are off to a very promising start.

There's a lot of potential here, even if this issue isn't quite as entertaining as the earlier issues in Priest's run.

I wonder how long Priest can keep the semi-heroic Deathstroke and his superhero team together. It's an intriguing turn for the title character, but not one that seems fully sustainable.

This is a very underrated book that is worthy of more attention than it's currently receiving.

This is a rare Christopher Priest script that doesn't quite come together, mostly because Deathstroke's Defiance team spend a little too much time navel-gazing in the early part of the issue.

There are good moments throughout, but the issue meanders and never quite reaches a fitting end point, even as just another chapter in this drawn-out story.

Priest hasn't lost his touch, and I want to see where he's going with this tale.

By the end of this issue, the straightforward Cable vs. Deadpool fight is no longer very straightforward at all. Things are only getting crazier, and I love it.

This is just a great book that rarely falters, and this creative team is on a roll.

This is still Marvel's most consistently great book, by far.

This issue may not have the same impact if you weren't reading Gerry Duggan's Uncanny Avengers run, but for those who have read it, this is a fitting conclusion to the connection shared by Deadpool and Rogue.

This issue might have the most brutal comic book fight in recent memory that also barely has any punching, stabbing, or shooting. Instead, the vendetta between Madcap and Deadpool reaches its conclusion with a few choice words that land harder than any hit.

This issue also has the most interaction that Deadpool has had with Colossus since the first movie came out, so it feels a little overdue to see their fight here.

But the biggest star of the issue is Ben Oliver, whose gorgeous painted artwork popped off of the page. Oliver simply does everything that you could possibly ask from a comic book artist, including interesting page layouts as well as expressive and distinct-looking characters. More of this, please.

The name on the comic may be Detective Comics, but this is more like the zero issue of the upcoming Batwoman series.

Month in and month out, Detective Comics has been one of DC's best ongoing series. It deserves to be on the pull list of every Batman fan.

Christian Duce's artwork is passable, but definitely not up to the standards set by Eddy Barrows and Ben Oliver on this title. Still, Duce does enough to hold up his end of the bargain, even if the script is far superior to the art.

The cliffhanger is something that we've seen many times before, but hopefully Tynion will put a fresh spin on this familiar face.

The overall issue is better than average and it's building the tension by keeping Batman's team apart. Not perfect by any means, but it's still very good.

This issue really belongs to Cassandra, and Tynion has proven that she can still carry a story largely by herself. Marcio Takara's art is still rougher than it needs to be; which is frustrating because he's quite capable of delivering more finished looking pages than he has here.

The characters are still the best part of this series, and it hasn't lost its charm yet.

It's not perfect, but Detective Comics is still very enjoyable.

The "Revenge Squad" arc has had its ups and downs, but the combination of Jurgens and Herbert has already demonstrated the ability to elevate this story to a much higher level. And I can't wait to see their next issue.

James Tynion's story is starting to get a bit convoluted. There are two competing narratives in this issue and they're not meshing well.

Overall, the issue falls short of the standards that it set for itself in the last year. Hopefully the conclusion of this arc will bring it back around.

Martinez's action scenes are also exciting, and his rendition of the last page should have some fans very excited to see what the next issue has in store for Batman's extended family.

Alvaro Martinez comes on strong in the final part of the "Intelligence" story arc, and it's a performance that really elevates a finale that would have been lackluster under another artist.

This book has gotten away from some of the team dynamic that made Tynion's early issues so enjoyable. I'd like to see this run recapture some of that sensation. It's still pretty good, but it used to be great.

This is the most uneven issue of Tynion's Detective Comics run. It basically zips through the Anarky and Spoiler story for a rushed confrontation with Batman that falls flat on the page.

This is a rare tie-in issue that feels like it's far more important than the main book.

This issue finally brings Tim Drake back into the orbit of his extended Bat-family, and that's just a joy to watch. It still doesn't make much sense to tie that into the ridiculous Mr. Oz storyline, but Tim's return makes the team feel more complete.

The ending is abrupt, and it may have been a little too easy to let things play out that way. But as a complete package, this was one of the best issues to come out this week.

It has to be said that Joe Bennett does an excellent job on this issue, particularly with the way that he makes his characters emote. The previously mentioned reunion is an artistic highlight that simply focuses on one young woman's face for an entire page...and it's great.

This isn't quite as strong as some of Tynion's previous arcs. Hopefully the final outcome will be worth the rebuilding phase that comes after this.

One of the big reasons that James Tynion IV's run on this title is so good is that he has really strong takes on the new team of Gotham City heroes. And that's why it's so disconcerting to see the characters seemingly acting well outside of the personas that Tynion has established.

The ending is abrupt, but powerful. This feels like the conclusion of everything that Tynion has been building towards since the beginning of DC Rebirth. We'll just have to wait and see if what comes next was worth tearing it all down.

It's still good, but it's not as satisfying as the earlier issues. I'm genuinely curious about what's going to happen next, but this run may have already peaked.

This issue takes its time getting us to the spoiler from Batwoman #1 last year, and it wasn't worth the ride.

For the uninitiated, Dishonored #1 does a good job of establishing Corvo and the city of Dunwall. Despite some solid action sequences, the artwork does need some work. Comics are a visual medium, and the visuals of this issue occasionally disrupted an otherwise enjoyable narrative.

Doctor Strange isn't the natural choice for a Secret Empire tie-in, especially considering that his current power level is very low. But this issue really places Strange in some tight situations because he doesn't have his usual mystic objects and because most of New York City is in a Darkforce bubble.

I didn't realize it until this issue, but this series has basically become a team-up between Doctor Strange and the Netflix Defenders. It's something that we probably won't see in live-action anytime soon, but it does offer some fun pairings, including Doctor Strange and the Kingpin.

If you're looking for an important chapter in Secret Empire, this definitely isn't it. But if you want a Doctor Strange vs. Baron Mordo with a side of the mystically empowered Kingpin and Ben Urich, as well as Spider-Woman with a ghost plane, then this might be for you.

I'm not necessarily sorry to see this book end, since it really feels like it has run its course. But it's good to know that the series has become more fully realized as it heads into its final issue.

This series didn't always find its way, but it went out on a high note.

Without giving away the issue's biggest surprise, it has to be said that Cornell and Jones have pulled a fast one us. The story that we're gonna get isn't what we expected, and that cliffhanger has us really excited to see who else might show up. It's one of those moments that would have been really difficult to pull off in live-action, but it's perfect for the comic book realm. Long time Doctor Who fans are gonna love this twist, and even fans who have only watched the modern series should pick this up. This is classic Who with a modern perspective.

Issue 11 may not be the best starting point for Dracula: The Company of Monsters. But this has been a consistently entertaining series and I'm eager to see how Busiek and Gregory wrap it up.

At the end, Evan is still alive and somewhat overwhelmed by that fact. I would have been a lot happier if this had been a definitive end to the story, but the larger issue of Dracula remains unsolved and now even Marta may be among Evan's enemies. The story didn't wrap up as much as it simply stops. It didn't hamper my enjoyment of the book too much, but I think that I would have liked to have seen what Evan would have done in the future.

I remain unsure about the Venomverse event, but this is mildly entertaining.

On his own, this version of Mr. Hyde could have become a fan favorite. But within the context of this tale, he's not enough to make people care about this Ghost Rider.

What's interesting here is that Elektra is really trying to be more heroic than she's been in the last few years. But she's failing on a spectacular level, and when she fails, Elektra is much more compelling.

It's admirable that this creative team is attempting to keep Elektra away from Daredevil and the Hand, and to give us something new. But it's not working very well.

Extraordinary X-Men # 18 is an Inhumans vs. X-Men tie-in that appears to take place shortly before the third issue. And while it doesn't advance that storyline, it does throw the spotlight on Forge, a character who has been underutilized for a long time.

This issue really doesn't have much of a point to make, and it can easily be avoided... assuming that you haven't already purchased it.

Jeff Lemire essentially puts most of the characters back into the shape they were in before his run, and it's probably the best thing for them.

I don't know what it would take to make Fantastic Four a top selling title again, but I'm really enjoying Robinson and Kirk's run so far. This comic is everything that the Fantastic Four should be.

But you can't miss this artwork. It really is something special.

"The Button" definitely has our attention, and hopefully it can maintain this level of quality. Because when DC finally does get around to officially reintroducing Doctor Manhattan, it had better be a great story. But this is definitely a good start.

Compared to the other recently released milestone issues for DC Universe Rebirth, The Flash finishes up far behind in this race. Not even The Flash can outrun a mediocre story.

This just isn't a very enjoyable issue.

Williamson's take on Barry Allen doesn't even live up to his own ideals, and it's impossible to forget what a moron Barry has been in this story. Aside from Pelletier's art, this was very unsatisfying.

I thought that the point of The New 52 was to revitalize these characters and tell new stories. So then, why is DC already lining up a remake of Crisis on Infinite Earths? That did slightly diminish my enjoyment of this issue. The rest of it was fairly solid. This isn't enough to get me back into the New 52, but it's a start.

This was a very pleasant surprise and this issue seems to prove that the modern take on Space Ghost deserves his own ongoing series from this creative team.

Just by using that name, this series is inviting comparisons to the original Generation X from the '90s... and it doesn't come off well.

Maybe Generation X's time has passed. It was a great book in the '90s, but the new series has failed to take hold in its first four issues.

This was one of the Generations one-shots that I had been looking forward to the most, since I'm fans of both versions of Captain Marvel. But Margaret Stohl's story really only delivers one of the title characters.

Its connections to the overall Generations event are negligible, but it is a very big story for Jean Grey, and that includes her younger self as well as the Phoenix. The issue kind of dances around a few continuity details, but it does actually fit into a moment of X-Men history without significantly changing anything.

How fitting. If you're looking for good comics, you shouldn't make any time for this book. It's just not worth it.

The annual itself is better than an average comic, but it's not anywhere near the creative heights that this series has reached during DC Rebirth.

It's no secret that Green Arrow has been one the best books of the DC Rebirth era, and that's still true in this issue. While there are some elements here that seem to be inspired by the Arrow TV show, it feels less like this is aping that series and more like it's just on the cusp of a classic Green Arrow run.

Benjamin Percy has done some great work on Green Arrow, and he's even made it one of DC's best books since the relaunch. But this take on Oliver Queen's first meeting with Roy Harper lands with a thud.

This is a step up after the last issue, but this book will probably be better off without Roy Harper.

If nothing else, this is a good-looking issue, but hopefully Benjamin Percy will tell a better story in the next arc now that this one is out of his system.

It's a great combination of writing and artwork that makes this one of DC's best books in the Rebirth era. And we're happy to say that this book is once again living up to that level of quality.

Ferreyra's action sequences are terrific and even the argument between Green Arrow and Black Canary really pops off the page thanks to the emotions depicted in their faces and bodies.

The main adversary is still a little too over-the-top to take seriously, but the visuals make it very easy to overlook the issue's shortcomings.

When they're together, Percy and Ferreyra are pure magic. And this issue feels like a new beginning for the series.

Depending upon how you feel about Benjamin Percy's work, this issue is either a jumping-on point or a place to stop reading it entirely. Because it looks like the Ninth Circle plot is going to keep on going into the next year. At this rate, it won't be over until Green Arrow #50, assuming the double shipping holds up.

If this opening chapter of this story hadn't had such a bland threat then this could have been really good. Instead, it's just slightly better than average.

As for the story, the ideas behind the Ninth Circle's strategy are interesting, but in execution, they're just another group of supervillains.

For a one-and-done chapter within the current storyline, this was a remarkably strong issue. If Percy and Ferreyra ever get tired of this series, they seem well-suited to bringing their A-game to one of the Superman series.

This is a very satisfying read that even sets up a potential game-changer for Oliver's legal status. I can't wait to see what's next for this title.

Schmidt's style seems at home both in the sewers of Star City and in the more sci-fi aspects of the issue. That versatility is going to take him a long way. Percy also demonstrates his talent for making the script relevant, with an opening page that's all too current with the state of the country.

I feel like I must have missed an issue of the Gotham Resistance crossover, because Green Arrow #32's script is really disorienting, and I had no idea why the heroes' costumes had changed so radically. This could have easily gone off the rails completely, but Juan Ferreyra's art once again proves to be the decisive factor in this book.

Green Arrow has had an embarrassment of riches when it comes to artists since the beginning of DC Rebirth. Jamal Campbell turns out to be a very strong addition to that artistic line up, and there's very little drop-off in quality.

Juan Ferreyra is just in a class of his own. But even the best art can't hide one of the weaker issues of this book's DC Rebirth era. Hopefully this title will bounce back quickly.

This is a great setup, and a great issue.

This issue is drawn by Juan Ferreyra, and that's really all you need to know about how terrific it is. But what makes this issue stand out is that Benjamin Percy delivers a script that's almost as great as Ferryra's art, and the result is one of the absolute best issues of their already stellar run on this book.

It seems like Juan Ferreyra can do no wrong on this book, and if Green Arrow hasn't established him as one of the best artists on DC's roster, then I don't know what will.

Green Lanterns # 16 is a comic with really terrific artwork by Neil Edwards. Every page in the issue looks great, and that's down to Edwards and inkers Jay Leisten and Keith Champagne, as well as Blond the colorist. However, this is also an issue that may cause you to ask unintended questions about tight continuity in shared comic book universes.

In fact, Pansica's art is easily the best part of the entire issue, as he gives the Lanterns a suitably epic presentation while making Doctor Polaris into a visually imposing force of nature. As for the other half of the creative team, Sam Humphries gives Doctor Polaris more humanity in his backstory, but he goes a little too over-the-top with his internal villainy.

Turns out it's not that hard after all.

This might be the run that finally makes the comic book Guardians live up to their cinematic counterparts.

Guardians of the Galaxy once again demonstrates Gerry Duggan's ability to use Marvel's continuity to his own advantage. Instead of ignoring the previous stories, Duggan is able to skillfully explain why Star-Lord didn't know Nova was alive.

The funny thing about Guardians of the Galaxy's current run is that there are things that I absolutely hate about it, like the revamped loser Nova Corps and the way that so much of the MCU Guardians' characteristics have been forced onto their comic book counterparts. And yet it's still one of the better Marvel comics on a month-to-month basis.

This is just a really fun issue that shows off what this title can and should be when it inevitably returns.

This is far from the best Guardians of the Galaxy story, but it is acceptable.

I'm conflicted by the new Hack/Slash revival. On one hand, I love the idea of Cassie Hack getting dragged out of her early retirement to be a camp counselor for kids training to be slasher hunters. That's a brilliant setup. And yet I can't fully embrace this for two very big reasons: I don't like the art and the writer's take on Cassie just doesn't seem like the same woman who headlined her own comic book series for years.

The newest issue of Hal Jordan and the Green Lantern Corps is part standalone story and part trailer for things to come. It's an interesting idea, even if the execution isn't entirely there.

It should surprise absolutely nobody that this issue has great artwork by Ethan Van Sciver. We've come to expect that from Van Sciver, and he almost always delivers. He was one of the architects of the Green Lantern revival over a decade ago, and he's extremely well-suited for this book. Whether the story lives up to the art is a little harder to pin down.

It's not a bad comic by any standard, but the inter-Corps brawl on Mogo is pretty pointless.

Overall, this is a solid issue, but it doesn't entirely click.

There are some interesting ideas and intriguing notions behind the ultimate enemy in this issue, but the latest installment of Hal Jordan and the Green Lantern Corps feels oddly lifeless.

It's always a pleasure to see Ethan Van Sciver back on the Green Lantern titles. His art elevates the entire series, and even an opening chapter of a new story feels like an epic thanks to the level of detail and craft in Van Sciver's work.

It's an intriguing setup, even if I don't necessarily like the creative direction that the book appears to be moving in.

This isn't a bad issue by any stretch of the imagination, but it is relatively disappointing.

Van Sciver gives this issue all of the epic visuals that anyone could ask for, but there's only so much an artist can do to salvage a story.

This isn't Venditti's strongest outing, as his leads have some very out-of-character moments while declaring their friendship for each other. It's very on-the-nose, and Venditti's take on one of the classic New Gods doesn't even seem like the character that we've seen before.

Once again, Rafa Sandoval proved to be an apt choice for this title. Sandoval is no Ethan Van Sciver, but this issue let him go big with his action sequences and some of his pages are really impressive. His art enhances the script, and it almost made sense out of the Metal tie-in. Almost.

I expect more from Venditti, and he usually delivers. But this time, Green Lantern's flight fell far short of what it should have been.

While the dialogue occasionally falters, the visuals are strong throughout.

This is a very strong issue, but it's still carried by the art. Because of that, Zircher is welcome to stay on this title for as long as we can have him.

This series tends to get the most out of Ethan Van Sciver and Rafa Sandoval on art, but Patrick Zircher has made a very strong showing for himself in the last two issues. Zircher's classic style suits Green Lantern well, and he draws a really terrific Superman as well.

This was a good chapter, but it narrowly missed greatness.

The first thing you that may notice about this issue is the phenomenal artwork by rising star Jack Herbert, with industry veteran Tom Derenick lending an assist on the layouts. Hal Jordan and the Green Lantern Corps has had the benefit of great artists since DC Rebirth began, and this simply continues the tradition.

So far, this story is not living up to the art.

I appreciate the callback to the '90s era of DC's cosmic books that occurs in the final pages, but this story just wasn't very compelling. Only the art kept it interesting.

This is one of Rafa Sandoval's best issues to date, and he gives the villains a real sense of danger and power that they've missed in their last few appearances.

Robert Venditti didn't have to try too hard to make the Kryptonians and their worshipers seem like they can actually take on the whole Corps. That gave this story a lot of potential places to go in the next chapter, and it's worth sticking around for.

Ethan Van Sciver's art is solid, if not as spectacular as it usually is. But if there was ever an issue that simply treaded water for twenty pages, this is it.

The ending does a lot to make up for the weaker parts of the issue, and the conclusion definitely seems to promise some fun times ahead.

This story would have probably been better suited for the classic Archie style, but it's been progressively more fun with each issue in the series.

Without the absolutely terrific backup story, this would have been a very pedestrian and forgettable issue.

I'm beginning to think that these classic Harley Quinn backup stories are just an excuse to keep running shorter installments with the bulk of the book. It's a trade-off that I'll take because Paul Dini, Jimmy Palmiotti and Brett Blevins have recaptured the spirit and tone of Batman: The Animated Series.

The backup tale is by far the best part of the book.

For the first time, the Paul Dini & Jimmy Palmiotti classic Harley Quinn story by Bret Blevins isn't the best part of the issue. It's still a very fun tale, but the primary tale is simply more compelling this week.

If it wasn't for the classic Harley backup, this issue wouldn't be on our reading list.

Chad Hardin's return to Harley Quinn means that the opening story of the comic finally looks as strong as the backup story. Hardin's excellent character work and visual humor make this issue, but it can't do too much with the lead feature.

The storyline may not hold up under much scrutiny, but Harley lives and dies by her personality, and she has that in full effect here.

A handful of fun moments just can't make up for an unexciting issue that may or may not have happened even within the world of the comic.

As much as I loved the "Harley Loves Joker" backup stories, the main Harley Quinn title has been improved since it no longer has to fight for space in its own book. Jimmy Palmiotti and Amanda Conner have been able to write full-length stories again, and the extended page count has helped the story feel less inconsequential.

The comedy bits are really good, but the ending means that we're probably in for something a little more traditional. That's not always this book's strength, but it was a better than average issue.

I think I've realized why it's time for a change on this book. Harley Quinn has become almost too unbeatable in her own title. When even her setbacks can be turned into victories, there aren't many reasons to care about the outcome.

Conner and Palmiotti have done an excellent job of making the readers care about Harley, and John Timms really delivers on that big moment. Timms' art has been easy to overlook, but his improvement has made the book even more enjoyable.

Harley Quinn's tone has taken a pretty dramatic turn in the last two issues. It's a very big departure from the majority of Palmiotti & Conner's run. So much so that adding this new layer of tragedy to Harley feels inconsistent with the comedic identity that this book had established.

Visually, the book is as great as ever. However, the inconsistent tone and jarring story beats make it less enjoyable than it should be.

On top of everything else, the new creative team has some pretty big boots to fill on this book, and they don't nail it this time out.

If this is what Harley Quinn's going to be like for the foreseeable future, then it might be time for a break from this title.

This week's regular issue of Harley Quinn was the last one by Amanda Conner & Jimmy Palmiotti, but this one-shot is a more fitting coda for their run with the character. This is just pure Harley insanity with great art by Conner, Chad Hardin, Otto Schmidt and Ben Caldwell.

It's not great, but it's a better than average issue.

It's hard not to appreciate a crossover that actually takes the time to mash up the mythologies of both franchises.

David and Goldfine have treated the story like an excuse to mash up characters from both franchises, and admittedly, some of their dialogue choices have not been great. But it's really a lot of fun to see Lion-O and He-Man fight side-by-side against their greatest enemies with the fate of the multiverse on the line.

I love a good surprise, and Imaginary Fiends is a great one.

This feels like an ideal setup for a long term series, and it may even have as many legs as Polly Peachpit herself.

Melba's plot still feels disconnected from the one that her FBI partner is investigating, but the ongoing mayhem is entertaining.

It just wasn't very exciting to read and nearly impossible to care about. In a way, this runs the risk of diminishing the power that Planet Hulk had. But that will depend upon where Pak and Land go with it in the remaining issues.

It's an interesting ride so far, but the art is what makes this issue feel complete.

This one-shot felt like the end of the last few years' worth of Inhumans stories. The former royal couple can't simply resume their relationship, but "forward" seems a great note to leave them on.

This is a very strong opening chapter, and it made the Inhumans feel compelling again for the first time in a long time.

This isn't just a great Inhumans comic, it's simply a great comic.

The ending is a little abrupt, but on the whole, this was the best Inhumans story in years. And if there's another Inhumans relaunch down the line, Priest and Noto should be the go-to team for that book.

Invincible Iron Man #593 has a lot of ground to cover to bring readers up to speed on Brian Michael Bendis' run, and for the most part, it succeeds. Although the double-page spread of Friday delivering an exposition bomb was perhaps not the most elegant solution in the early part of the issue.

This is good, but I want something great from this book. And I've been waiting a long time for that.

The strange thing is that it feels like co-writers Charles Soule and Jeff Lemire are holding back on us. This is a battle for the future of the Inhumans and mutants, and yet the intensity just isn't there. Hopefully the remaining issues will fix that. But for now, it's a problem.

It's rare that a crossover has so little intensity just after its midway point, but Inhumans vs. X-Men #4 is so oddly subdued that it's almost enough to forget that there are only two issues left in this mini-series.

This is a good issue, but I want more out of this title than "good."

It's strange reading an issue of Jean Grey after this week's Generations: Phoenix & Jean Grey #1, because that's a much better Jean Grey story than this one.

The general idea behind this book is solid, but the execution has been lacking.

This is one of the strongest issues of Jean Grey's solo series, thanks in no small part to the art of Victor Ibanez.

This series could have used more of that emotion earlier in its run, but better late than never.

We're admittedly quite curious to discover how Jessica blew up her life, considering how angry nearly everyone is at her. Bendis and Gaydos have torn her back down to a nearly pre-Alias state. But the fun will be seeing Jessica slowly crawl her way out of this hole that she's created for herself.