This book won't be for everyone, but I found it to be a wonderfully artistic and mysterious story, told well.

Layman and Guillory have expanded the core of the book without losing focus. They're not afraid to turn the series on a dime and branch off in new directions. It has served the book well for 30 issues, and here's hoping the next 30 are just as impactful and memorable.

"Clone" delivers on the promises it makes. Right now, it's racing through an action thriller. If you've bought into the series, you'll enjoy the frantic pace of this issue. If you're new, this is a good issue to look forward to reading. It might not be literary high art, but "Clone" continues to be the kind of non-stop action comic that more should aspire to.

"Comeback" is another all-too-silent winner from Image. If next month's ending can reset the story in an interesting way, the mini will have succeeding in telling a focused time travel story with a corporate twist that entertains without confusing. I'll take more of those.

Ultimately, "Comeback" is a pleasant surprise. It arrived on the scene without much fanfare, but told a compelling story with a high concept that delivered. Brisson is a writer to look out for in the future, and Michael Walsh is a star artist with a bright future. He's already been tapped to draw the upcoming "X-Files" book at IDW. Catch up on this book now and you can say you knew them when.

"Debris" does not feel like a story created to set up a new franchise or to create marketable intellectual property. It is, instead, a concise short story with a lead female warrior character you can root for. It's beautifully illustrated with moments that will make you stop to stare at the images. Good story combined with strong art: what more do you want from your comics?

While this is definitely outside the mold of the classic Barks mold, it's nevertheless an entertaining tale that works hard to stand up on its own, and not be just another James Bond spoof. The art and colors are great to look at, but I just hope Donald gets to do more in the next chapter of the tale, due out no doubt in another four weeks.

"Drumhellar" is a bit of a missed first effort. There's potential in it, though, and that'll be enough to bring me back for more next month. I want to see evidence of a game plan and some kind of focus in that issue to convince me to stick with it.

"Epic Kill" continues to be a beautiful book that trades in heavy action scenes drawn spectacularly. Ienco's story is only beginning with this issue, but there's enough on the page to bring you back for issue #7. As we get further down the road, we'll be able to see if there's a greater story here or just a flimsy excuse to show nifty action scenes. If Ienco can pull off a surprising or deep story, the stars in follow-up reviews can only go up.

There are still two issues left. If this pace continues, I can't imagine what kind of insanity we'll wind up with, but I wouldn't miss it for the world. Suspend your disbelief at the door and give "Epic Kill" a shot.

"Epic Kill" has been Image's most audacious comic for the last year. It'll be missed on the stands, but it holds together well and stayed consistent. The final issue is a little more questionable, but a lot of that depends on how the individual reader will handle the choices Ienco makes for ending this mythology. It was not what I was expecting, but I appreciate Ienco's ability to put a capstone on the story and give us a complete story in ten issues and -- eventually, one hopes -- two trade paperbacks.

For long-time "Fraggle Rock" fans, this book is a no-brainer. It can't be missed. For someone new to the universe, it might take a little longer to warm up to it, but there's some seriously good cartooning and comic book storytelling in the book. It's rare to find an anthology with three stories as strong as this one.

I like Radical's 44-story page format for $5, along with a healthy preview in the back and a creator interview. But the book could use a little more story along the way, and what it does tell should be shown more. "FVZA" shows promise, but we won't see it until the next issue, at least.

"Ghosted" #5 is a strong ending to a story with lots of interesting pieces. It works well on is own, but the characters are interesting enough to make you want to learn more about them. I don't know how many of them will show up in the next storyline, but they're all welcome. I have a feeling there's a lot more to learn about them.

"Glory" #32 might not be the most exciting issue of the run so far, but Keatinge's script and his variety of artists give us a book that feels right. The characters are the stars and they act in ways we've come to expect. This issue is a charming one, and a welcomed relief between issues of brutally violent fights and wars of words.

"Glory" wraps up its run next month with another bonus-sized issue. It'll be a very different issue from all that's come before, just because half the cast is now dead. The impact that has on the lives of the survivors is the interesting thing now. "Glory" #33 is the issue that sells the series as a whole. Will #34 be the one to close it on a high note? Let's hope so.

Overall, though, "Green Hornet" #1 is an enjoyable popcorn movie read, especially for someone with no familiarity with the character. It has a nice ending before its beginning, some decent eye candy, and a light-hearted moment or three. It doesn't feel like an adapted work, because it fits into the comic book format wonderfully. I hope the issues adapting the second act of the movie do as well. That will be the test of this series.

There's great potential in this series. In the text page at the end of the book, Robert Kirkman discusses how each issue will shine the spotlight on a different character. That's a great idea, but I hope the focus is even tighter than in this first issue. It might create some potential new fan favorites while expanding the scope of the "Invincible" universe. As the creative team finds its rhythm and masters its techniques, the qualms expressed in this review should be easy to overcome.

The issue bounces around a bit, but fills in a lot of necessary gaps. It might not be the issue that's remembered in specific detail a few years from now, but it's one that shows off some of the skills of the creators involved that don't always get remembered. "Invincible" has a large cast, and keeping up with as many of them as the title does will require issues like this, to close some doors and set some scenes up in the near future. Long-term readers will enjoy the more personal moments, though readers looking for the big bloody violence of recent issues will come up short.

"Invincible" #102 is a strong done-in-one issue. Taken away from the on-going battle arcs and plot lines, it stands nicely. Maybe it falls a bit too close to the usual style of the series, but it's a good formula to stick to. As with any good story, the issue leads to more questions than answers and will keep bringing readers back to the series every month to find more answers.

"Invincible" #120 may not be the most important issue of the series or even of the current story arc, but it delivers many satisfying moments out of things that lesser titles would plow through to get out of the way. Kirkman's script and Ottley's art combine to make the book greater than the sum of its parts. Can't ask for too much more than that!

"Invincible Universe" is a much different book from its previous incarnation than we might have expected, but if it continues to tell solid stories with strong art like this, it has a good chance to be around for a long time.

"Near Death" has a great premise to hang a series on. The art is getting stronger as things progress, but the endings need to be more challenging before the series can take off.

Overall, the book carries on the overall story of these New Avengers well, offering enough little moments to satisfy. New readers shouldn't be lost or confused. Bendis doesn't drop much exposition, but a quick read of the opening text page should fill a new reader in on everything they need to know. Acuna's art is a little disappointing, and that whole storyline is fairly standard, if entertaining, stuff. The rest of the issue lives up to everything you'd expect in the series.

"Powers" comes back to life with a fresh start (and 30 pages of story!), easily accessible to any reader who'd take the time to open it up. For long time readers, the new status quo is an interesting one, and the hints from Bendis that Deanna Pilgrim isn't gone for long certainly casts a shadow over the opening storyline that'll be fun to watch play out. Bendis, Oeming, et. al. haven't missed a beat. While "Powers" was absent from the scene in recent months, it's great to have it back, hopefully freed from some of the production issues that plagued it on the last go-around.

"Red Team" has its shortcomings for the format it's being presented in, but the story at the heart of it is a compelling one. This is the most action-packed issue so far, and Ennis and Cermak rise to that occasion.

There are two issues left in the series. It'll be very interesting to see where things go from here. I think issue #5 will prove to be the turning point that brings the rest of the series crashing down upon its characters. I'd hate to see it end, but I'm glad there's a limited scope to this story and that we'll have an actual ending. "Red Team" #5 is a strong turning point for a series that's rarely even had the chance to rest.

"The Savage Dragon" has felt more focused in the last year than it has in a while. The slow takeover of the title by the original Dragon's son is now complete, and it allows Larsen to pursue a new line of stories. This issue is a great example of that, and will hopefully be enough to persuade a few new readers to come along for the ride.

"Savage Dragon" #177 will be an eye-catching book on the stands this week, behind its retro-colored cover and giant Bin Laden caricature, but the contents inside back it up. The final result for the issue is a fun one-off supervillain fight surrounded by the on-going subplots and character bits being pushed forward. You won't get a big "Ah-Ha!" moment in here, but there's still lots to enjoy.

"Scatterlands" is a blast of beautiful artwork and storytelling, done for a tale that's a little obtuse. For the price, though, you can't complain. Reading it all in one sitting certainly helps pull the world together for you more than reading it five times a week for months.

"Sex" #3 feels like the turning point for the series. Casey has put all his soldiers on the field, and they seem to be marching together. The introductions are over, and the plot is more than just a series of question marks. You can feel the momentum building, which is very exciting.

"The Activity" has a cool look and feel to it. It's too early to tell for me if the characterization is strong enough to carry the series, or if it lives by the action and suspense of its military maneuvers, but that's something I want to read more to find out. In that way, this single issue did its job well. It left me wanting more. Reading more of the back issues will likely give me better context for the story, and I'm looking forward to catching up on those, as well.

This Dark Horse publication is in hardcover for a relatively cheap $15.95 for 104 black and white pages. Published in April 2009, it has a similar size to Geary's "Treasure of Victorian Murders" series, and so will sit neatly next to that on your bookshelf.

"The Eternal Conflicts of the Cosmic Warrior" might prove to be a great series in the future. For now, this one shot offers too much of a tease without giving the reader enough information to feel anything for these characters. It's all so mechanical. But, then, Paul Grist's mechanics are very sound. Grist is planning a five issue mini-series in 2010 for the character; let's hope that gives him a chance to dig in and explain things better for us all.

"Mark Waid's Green Hornet" is a classic period political crime thriller. It's not complicated or terribly deep, but it explains itself well and gives all the actions in the story credence. You believe the characters are acting the way they are given what you've seen happen to them and how they respond. And just when you think everything is explained or that the characters are about to see the light, the plot twists another way and the characters run in a new direction. That's makes for fun comics.

"The Manhattan Projects" comes to a natural resting point with this issue, but with enough energy to propel it to the next crazy idea that might pop into Hickman's head. This issue gave us the creepy characters doing their creepiest stuff, delivered with gusto and flair. This is a series that's been consistently strong every month since it starts, and an issue like this renews your faith that Hickman hasn't worn out his welcome with merely kooky characters.

As an introduction to the landscape of the Oppenheimer mind, it's effective, but leaves me anxious for what might come next. Pitarra's art is missed, though Browne is a solid fill-in fit, with the regular team of Bellaire and letterer Rus Wooton handling the rest of the final book's look and feel.

"The Walking Dead" is at a great crossroads now. There's a new cast to be lined up as well as a new location. And we can't even be sure that the star of the book for the last 50 issues will be around for any of it. At a time of great unease, Kirkman does a great job in creating a smaller and very personal story that gives a reader plenty of reasons to keep turning the page and waiting for the next issue.

On top of all of that, there's a nicely-timed cliffhanger on the last page that, while almost inevitable at this point, still provides an "Oh, no" moment to drag you back next month.

So, if you can put aside one plot point -- and you had better, or the series might be lost on you forever, sadly -- this issue is an entertaining story beat, filled with dialogue scenes that do more than just explain things and zombie scenes that tease more than shock.

But that's "The Walking Dead," the very definition of a roller coaster ride. This is one of those issues that will fit in well with a collection down the ride. As a singular monthly issue, it's complete but not spectacular. But it's still the single monthly series I look forward to the most.

But all of that is nit-picking on an issue that's important to lead the series in a new direction, in a manner that includes some action and a reminder that everyone is suspect and nerves are still strung tight. Now, finally, we have our first hints that they are not as alone as they had thought they were, and perhaps a new world order is coming. Or not. But it's that tension that continues to drive the series, 92 issues later.

"The Walking Dead" is well on its new course now with a direction as unguessable as issues that have come before it. Kirkman and Company aren't yet afraid to mix things up before letting things settle down, which is the book's real strength.

"The Walking Dead" #100 is only two issues away, but its creators aren't coasting on their way there. The snowball, instead, is building up as it rolls down the hill. This issue is another successful installment in getting the series to that marker without wasting a page or stalling. It's a step along the way and not the end point, but it's still gripping reading for series fans.

"The Walking Dead" #99 can be judged as either a part of the whole or as a single thing. The art carries it nicely either way, but your ultimate enjoyment will depend on which angle you take. I have to choose the latter, and grade the book as highly as I do based on the art and the smaller moments/revelations that we do get.

For an issue many expected to be an ending or a major turning point in the overall story, "The Walking Dead" #100 leaves me feeling more anxious for the next issue rather than satisfied at the conclusion of a movement. But it's still a heck of an issue, with a pivotal scene that many long-time readers will have stuck in their minds for a while to come.

So far, this bi-weekly event is living up to its name and expectations.

The conclusion to "All Out War" may not be the most exciting and tense issue of the storyline, but it serves the purpose well. What Kirkman, Adlard, Gaudiano, Rathburn, Wooton, et. al. have up their sleeves next is the big question, but that doesn't mean there isn't plenty to enjoy in this issue first.

This issue proves that "The Walking Dead" can be a tense and emotional book even without surprise killings, mass attacks or wild character turns. Good storytelling is good storytelling; for structuring this story so soundly without compromising the characters, this issue does a great job. After a few issues of mostly internal drama, the series has a new direction to expand into, and it's one rife with possibilities.

This issue raises a lot of fascinating questions. While I hope Kirkman avoids taking the easy solutions with them and doesn't dodge with all-too-clever plot mechanics, there are still a lot of players on the board who can change everything. "The Walking Dead" is still a series with loads of opportunities and plenty of examples of events that aren't afraid to change things in a major way. The large cast and evolving plot line that builds on itself so easily are the strengths of the series, and this issue is a prime example of that in motion. The larger events will still come, but Kirkman continues to play up to it to ensure its dramatic importance. "The Walking Dead" #150 is a great value as well as a great issue.

"The Wonderful Wizard of Oz" beat a lot of my preconceptions to become one of my favorite comics of 2009. You can thank Shanower's faithful storytelling and bits of art direction, along with Skottie Young's career-best artwork for that. The world of comics needs more books like this one, and I'm thrilled that a second mini-series is being published right now. Perhaps we'll return to talk about that hardcover collection at this time next year.

"Thief of Thieves" is off to a good start, setting things up nicely without feeling like 'just' a set-up issue. There's a good story in the issue, but it's also one that leaves you with just enough of a hangover to want to come back next issue.

Nit-pick aside, "Thief of Thieves" #2 is a strong outing for a new series that's starting to establish itself and its goal. The end result is a comic I look forward to reading more of, which is a good sign in a serialized story like this.

"Todd the Ugliest Kid on Earth" shows a lot of potential with its first issue. It's a matter now of seeing how it plays out in the coming issues. Will it make a play for cheap jokes and ugly characters? Or will a bigger storyline emerge with a cast of characters that so far are either held stationary or are caricatures of real personalities? Will the worst of the worst pay for their "crimes"? Either way, I hope the art holds up, because it's the highlight of the book right now, a bouncy blend of comic strip style characters and animation-inspired motion. "Todd" has a lot of potential upside; let's see if it lives up to it in the next three issues of this mini-series.

Let's all hope "True Story" sticks around for a good long while now, because this type of comic -- well cartooned, honestly told, and with a sense of humor -- is sorely needed on store shelves today.

In the end, this is a book that's completely non-threatening and would be an easy gift for the younger reader in your life. It might not challenge them or capture their imagination the way some of the better "Uncle Scrooge" stories can, but it'll probably hold their attention and give them some affordable reading material to read again and again.

That's the bad news. The good news is that "Usagi Yojimbo" is still a modern classic with a strong narrative that deserves an even bigger audience. It's just advisable to start with an issue other than this one. Check the rack at your comic shop this Free Comic Book Day and pull out the previous issue to flip through, instead

The "Wall-E" comic is telling a simple story that fits in well with the overall legend of the movie. This second part of the story arc does a much better job than the first in putting things into motion, though I would like to see faster progress made and maybe an extra panel here and there to solidify the storytelling. Still, the art captures a great feeling in the story, and the whole package is well put together.

"Witch Doctor: Mal Practice" is a good entry point for the series. Knowing more of the back story will let you appreciate the twist in the middle and better understand what's going on, but it's open enough to invite new readers in. It'll get you both coming and going. Even if the subject matter isn't to your normal liking, give Ketner's art a try. It will jump out at you.

"Witch Doctor: Mal Practice" solves the case ably, using up its entire cast in a way that satisfyingly ends the mini-series in a clever way while still giving the reader plenty to chew on. Seifert and Ketner tell their tale in a way that never loses the reader, but welcomes them in and gives them a sharp dose of craziness and character. It can be a tough sell if you're not into the horror genre, but it's worth a try. There's a lot to recommend this comic for, above and beyond the genre it starts in.