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Dark Nights: Metal is one of the most high-concepts superhero comics that DC has put out in years, but it’s also one of the most accessible and welcoming superhero events in recent memory. It’s a hard tightrope to walk, but the creative team manages it with ease by making sure that above all else, the comic is fun. There’s a bit of comics advice that roughly goes along the lines of “Something exciting should happen each page,” and even at its most expository as Lady Blackhawk is explaining the concept of the Dark Multiverse to the Justice League, and by extension us the readers, Dark Nights: Metal has a pace and kineticism that makes it a captivating read. As an event, Dark Nights: Metal seems daunting at first. It’s spinning out of very specific events of Scott Snyder and Greg Capullo’s Batman run, it has all these long-lost DC characters that newer readers might not know. Even the heavy use of the word “Dark” in the titles and promotional material could lead readers to think this

The first issue of Superb sets a cast of believable characters into an interesting and oppressive environment, but lacks the spark to truly ignite the plot into something explosive or unpredictable. The third release from Lion Forge’s burgeoning “Catalyst Prime” superhero universe, Superb is told by writers David F. Walker and Sheena C. Howard from the perspective of high-schoolers who are still dealing with the aftermath of the Catalyst event itself, which, one year ago, changed their world forever and made it possible for people to develop superpowers. To the book’s benefit, it only touches lightly on the shared universe it fully inhabits, instead ensuring at every turn that the feeling of inter-connectivity never becomes a burden or distraction from the new characters and themes being introduced through the course of the story. RELATED: Catalyst Prime Creators Explain Why This Superhero Universe is Unique The comic aims at a younger readership, but without speaking down to them

Years’ worth of hard work and effort yields a powerful and satisfying payoff in Congressman John Lewis, Andrew Aydin and Nate Powell’s “March: Book Three,” both in the literary and social sense. This third and final volume continues the story of Congressman Lewis’ historic involvement in the Civil Rights Movement, culminating with his iconic march in Selma, Alabama over a half-century ago — a moment widely seen as a turning point in 20th Century American history. Congressman Lewis’ story is legendary enough to have made it into the history books, but — as chronicled by Powell and Aydin (who’s also a director and advisor on the Congressman’s staff) — it becomes outright captivating and poignant. These passionate storytellers not only understand his message, but are able to convey that message to readers and instill its importance. Following the progression of real-life events, “March: Book Three” captures the evolution of Congressman Lewis’ efforts, which grew from small sit-ins to mu

“Aquaman” #1 looked as though it was taking the title down a familiar, almost cliched path, at least so far as Aquaman and Black Manta are concerned. We’d seen this pattern before: just as the hero claims his victory, a longtime enemy arrives and tears it all down in some horrific way; vengeance is vowed, and the cycle starts all over again. But that’s why Dan Abnett, Scot Eaton and Wayne Faucher’s “Aquaman” #2 ultimately stands out: it takes the start of that trope, then points the story in a very different direction. RELATED: Abnett & Walker Talk “Aquaman: Rebirth’s” ‘Endless’ World, an Integrated DCU When “Aquaman” #1 wrapped up, Abnett left his protagonist in that tried and true situation. Black Manta had attacked the brand-new Atlantean embassy Spindrift Station, killed an Atlantean guard and wounded Mera and Aquaman. When issue #2 kicks off, we zoom down this traditional route as Aquaman and Black Manta fight while new arrival Lieutenant Joanna Stubbs witnesses it all, and

Joe Hill and Gabriel Rodriguez’s “Tales From the Darkside” #1 kicks off a new horror anthology series with a story titled “Sleepwalker,” which revolves around themes of guilt, fate and atonement. Lead character Ziggy may be “sleepwalking” through life, but Hill beats the reader over the head with the symbolism. The first three pages are heavy on exposition and captions, but the big information dump is digestible because Hill immediately establishes Ziggy’s inner voice. Ziggy glosses over his mistakes and he comes across as a careless slacker even in the rhythms of his speech. Rodriguez’s clever page and panel compositions also add interest by giving the reader more details than Ziggy’s narration reveals. The shape of the gutters mimics water and also reinforces the impression of Ziggy’s fluid, aimless day-to-day life, where one day of partying blends into another, with no sleep to divide day from night. Ryan Hill’s pale, dank palette reinforces the atmosphere, even in the sunlit scen

“Totally Awesome Hulk” #6 gives us a quick conclusion to the storyline that began last month as the Hulk and Maddy wrap up their time with the Enchantress and Thor. While it’s not a bad ending, it does feel a bit rushed and misses an opportunity to delve a bit deeper. Pak’s storyline doesn’t belabor anything; we get in and out in a startlingly fast manner. Having been confronted by the new Thor at the end of the previous issue, Hulk and Maddy have to quickly gain her trust, find out what the Hulk did during his blackout, defeat the Enchantress and start plumbing the depths of Amadeus’ guilt. That’s a lot to unpack in one issue. The problem is with whipping through all of this at a breakneck pace is that there are moments that could have used a little more space. Amadeus’ guilt over the death of his parents feels almost brushed to the side as quickly as it’s brought up. While we might see more of it down the line, this feels like too big a deal — not only for Amadeus himself, but als

Set during the Spanish Inquisition, Luciano Saracino and Ariel Olivetti’s “Brutal Nature” #1 takes a beautiful but fairly straightforward oppressors-vs.-victims approach. Olivetti’s always-gorgeous visuals are the ideal choice for the scenic setting of Saracino’s story, but it’s a story that relies on too many oft-used motifs, which get a little too redundant. As is fair to expect, the first issue is mostly setup. To start, though, the reader’s breath will be taken away as soon as they open the issue, as they’re treated to Olivetti’s stunningly photorealistic rendering of a pristine Amazon rainforest, the main setting for Saracino’s opening. Saracino’s poetic narration further paints a tranquil setting, but one that’s interrupted by an intrusive, albeit well-placed sound effect by letterer Chris Mowry. A turn of the page highlights another of Olivetti’s strengths: beautifully textured characters and backgrounds, as witnessed by the issue’s would-be victim and her pursuers. While the

“Totally Awesome Hulk” #2 will remind some readers in incredibly short order how much fun the Hercules and Amadeus Cho comics were back in the day. Amadeus was a perfect foil for Hercules, and the character in general was a real delight to read. Now that he’s the Hulk? Well, let’s just say Greg Pak and Frank Cho know exactly what they’re doing on that front by keeping that strong sense of fun. “Totally Awesome Hulk” #2 continues everything we saw in the first issue: Hulk fighting monsters, Hulk fighting strong muscled women, Hulk verbally fighting with his sister Maddy and Hulk having perhaps just a touch less control than he thinks he does. We learn a little more about Lady Hellbender and why she’s monster-hunting, even as a classic Marvel monster bursts onto the scene. All the while, we get another tiny flashback to just what happened to remove Bruce Banner from the scene and firmly plant Amadeus Cho into the Hulk role. Pak’s script is as witty and sharp as ever. With Amadeus bein

I grew up with Peter David’s “Incredible Hulk” run. I was upset and really angry a lot back then, so I identified with Banner’s struggles over who he was and the demons he had inside him — as much, I suppose, as a teenager can identify with a depressed adult man with violent mood swings struggling to keep any type of family around him while threatening to tear himself apart. As I read the final issue of his run, “The Lone and Level Sands,” and David said goodbye over some of the best art Adam Kubert has ever put on paper, I teared up. There have been good runs since then, but no Hulk story come close to that moment for me. Now that “Totally Awesome Hulk” is here, we could miss Bruce Banner, but I don’t think he’s needed in the Marvel Universe anymore. Over the course of an almost flawless first issue, Greg Pak, Frank Cho and Sonia Oback create a new direction for the character, full of fun, hope, action and some of the most gorgeous art any “Hulk” series has had since Dale Keown put

“Postal” #1 is a solid, if unevenly plotted, introduction to Eden, Wyoming, a town populated with ex-convicts who have an as-yet undisclosed deal with the United States to exist as an independent province governed by its own regulations. Matt Hawkins, co-writer and creator of the book, fills the town with colorful personalities and unique voices. There aren’t many good people in town and even the ones that could fall on the side of the angels are graded on a curve. Isaac Goodhart provides very straightforward page layouts which both help and hurt the story in certain places. The one law in the town is that there is no crime allowed, and the punishment is severe for breaking that one rule. It’s a lesson taught in the first issue when Mark Shiffron, a postal worker with Asperger Syndrome, tries to determine why a man on his route has red mud on his tires. The inquiry leads him to the discovery of illegal business being done in town, which elicits a public condemnation by the zealot-lik