Thanks so much for this. I was one of those people that was utterly fascinated by the final issues of Zero, but equally clueless as to what was actually happening. This helps a good deal!

Here's the best (or most interesting) stuff as far as I'm concerned:

Maybe moving to Italy has dulled Bermejo's ability to remember what American teens actually sound like.

Nah man, jump off that cliff and dive into Maggie the Mechanic…I found that embracing the weird elements of Jaime's world first gave me a deeper appreciation of what was to come. I kinda love that stuff is still sorta floating around in the background somewhere.

While I enjoy both Batman Year 100 and Red Son, the more obvious (and certainly more new-reader appropriate) picks would be Snyder and Capullo's Batman and All Star Superman. I'm not crazy about the former, but it's a great jumping on point for what's turning into a pretty important era for the character, and the…

There's that, but there were also issues with how Scott was presented throughout the film. Lots of notes of were passed down regarding turning Scott into a "family friendly" hero, and less of the type of slightly more rogueish type that is Wright's bread and butter.

I'd recommend Zero, which along with Prophet and Casanova are the only Image books that I feel actually break from the Big Two house-style that so many other titles seem mired in (Kot's Material seems to be headed that way as well). I also liked Pretty Deadly for similar reasons (it's the only DeConnick book I've…

Batman-wise: I'd definitely recommend Morrison and Snyder (which while I have some misgivings about his writing, I recognize that this is an important and very popular era for the character…it's been on average the top selling title in comics for a few years now since he took over). Rucka had a good take I'd say, and…

So few great runs? In terms of the comics? Ostrander Suicide Squad, Morrison Batman, Gaiman Sandman, Moore Swamp Thing, O'Neil+Adams Batman, Johns Green Lantern, Waid Flash, Truman Hawkman, Azzarello + Chiang Wonder Woman, Kirby's Fourth World, I mean I could go on and on really.

I passed up on Russian Olive to Red King while at HeroesCon, I'll try not to make the same mistake at SDCC.

So Grant Morrison has been announced as the new editor for Heavy Metal! Oh man…I'm all in.

Grayson is pretty darn funny at times. I also thought the most recent issue of Gotham Academy was pretty chuckle worthy in an endearing way. There's also Bat-Mite, though I'm not sure that actually counts as a Bat-family book.

But, in this case, it's not about the individual writers and their efforts so much as what a publisher's creative direction implies. Given the cultural conversation that has surfaced around the newly diverse audience that is discovering comics, particularly in recent years, this set of Marvel creatives strikes me as…

I like the idea of the book, but I just couldn't get with Bermejo's dialogue. It sounded like a middle aged man's impression of what teens talk like rather than anything natural to the characters.

Sure, and they all owe their success to Mark Waid's Daredevil, without which, we never would have gotten Fraction's take on Hawkeye…and Daredevil was Waid's Nightwing pitch. It's all very circular really when you think about it.

It looks like Squirrel Girl as a solo title is gone.

Good thing those three titles are mini-series at least.

Fair enough, I often forget about him. But compared to DC's line-up of non-white writers (David Walker, Gene Yang, Pak, Ming Doyle, Francis Manapul), which isn't much admittedly, but it makes Marvel's lack of effort look pretty sad in comparison.

Why is that a schtick? It's a solid point, especially for a publisher that gets lauded for their diversity, they should have used this opportunity to shake things up creatively and bring in new names. This is a case of "meet the new boss, same as the old boss".

I hate to say, that's probably the one I REALLY disliked.