Benjamin Bailey Comic Reviews

Of course, the star of the issue is Risso. His artwork is a sight to see, a true thing of beauty, even when it's depicting scenes of mutilation and violence. His trademark use of shadows and blacks is on full display here. Few artists can drop out detail and manage to ramp up suspense and intrigue at the same time. The aforementioned blindfold scene starts tense, goes from bad to worse, and ends in a brutal panel that's little more than an outline sprayed with a red hue. 100 Bullets: Brother Lono #1 is a showcase for two masters of the medium and it's a comic you need to read.

Eduardo Risso kills it in this issue. There's a whole lot of death in these pages, including a rather brutal fate for a small, yapping dog. His dark, fluid style is one that is instantly recognizable and comforting, even when it's showcasing death and mayhem. Few creative teams sync like Azzarello and Risso. 100 Bullets: Brother Lono is a testament to that; this is brutal comic book magic happening right before our very eyes.

The book looks amazing, which is no surprise since it is drawn by Stan Sakai. His careful cartoons tell this story perfectly. Obviously, there are no anthropomorphic animals here, but Sakai is a guy who can draw samurais. He knows the time period and it shows. There is a subtle level of detail in each panel that directs your eye and helps tell the story. 47 Ronin is a book to watch, without a doubt, even if you plan on just trade-waiting the thing.

Reading AD: After Death is a haunting and beautiful experience. Lemire's art often has a dream-like quality, floating like smoke through the page. During the books' extended flashback, Snyder and Lemire create an ethereal structure, a world that always seems a moment away from collapse. There's truly something personal about AD: After Death #1, and we can only hope that continues on through the other books in the series. There is simply nothing else like this on the shelf and that's a good thing.

The art in this issue is also plagued with a few missteps. Again, none of it is bad, but the inking duties are split between Daniel and Batt. These two have pretty different styles and it's obvious when one guy steps in and the other steps out. That's a minor problem when compared to the pacing and action, however. Many moments are unclear, like when Lex knees a guy in the nuts. It's just not put together as well as issue #19. Hopes were high for this new run, but it's looking like it might have peaked a month ago.

This issue is drawn by Francesco Francavilla, in case you need that extra push towards purchasing it. Francavilla is, without a doubt, one of the best artists working in comics today. He is also the perfect guy to drawn an Archie comic filled with homages to classic horror stories. Afterlife with Archie looks downright terrifying. It oozes darkness from every panel. Some scenes are actually unsettling; they'll make you uncomfortable. I for one never thought I'd get that sort of experience out of an Archie comic, but this one delivers, no doubt. It looks amazing, channels genuine horror and is the perfect comic to read before Halloween.

Francesco Francavilla does superb work in this issue. Page after page, you'll be stunned by his beautiful work. One page, in particular, features a half-eaten apple and a pool of blood in stunning juxtaposition. The dark mood and tone of this series is works largely in part because of Francavilla, a and the classic horror sensibilities he brings to page. Afterlife with Archie is crazy good, no doubt, but it also looks absolutely amazing. The art alone is worth the cover price.

At this point, what else can we say about Francesco Francavilla? This is the book he was born to draw, which feels weird but it's true. The opening page, with the words "Please don't.. Don't make me do this..." is enough to send a chill down your spine. Francavilla's unique style is what sells this comic. Even the flashbacks to happier times have a sinister glow to them. Afterlife with Archie looks better than nearly every other comic on the stands. It's genuinely scary and that is no small feat.

Where the book is lacking is a strong central character. Our narrator is not the most interesting writer to ever grace the page; far from it in fact. The rest of the resistance is filled with fun heroes, but nobody stands out as the one this series is all about. It's hard to really care if somebody lives or dies. Issue #2, like issue #1, is a story of a place and a time. It'd be nice to have a few people to care about, too. Hopefully by the time issue #3 rolls around we'll get someone we can grasp on to.

As usual, Roberto De La Torre is a superstar. His gritty style controls every page, letting the harshness of the world infect every panel. Plus, this issue comes with the added bonus of extreme violence. It's the at the level of a MAX issue, but for a book that is rated 12+, things sure do get bloody. Knives through throats, bullets through brains, Del La Torre draws all it splendidly. It's fantastic to look at, even though you might need to go fly a kite and eat a lollipop afterwards so that you remember life is worth living.

The problem this issue has is in its art. Roberto De La Torre is joined by Renato Arlem this time around, and the whole package suffers. There are panels that are so confusing, so oddly composed, that I still am not entirely sure what I was looking at. This becomes very problematic during the fight scene. Is that Weapon Omega or Beast? Is that Prophet or Horror Show? What the hell is going on? It's a major bummer, because De La Torre's art has been the high point of this series so far. To see it become such a mess is borderline heartbreaking.

The biggest change this issue is Davide Gianfelice taking over for Roberto De La Torre on art. Gianfelice is a certainly a capable artist and his pages look good, but he doesn't quite fit this series the way De La Torre did. The art is clearer, simpler as opposed the dark, gritty look the book had in the past four issues. Horror Show looks less horrifying, for instance. The world lacks that destroyed, futile feeling that used to haunt the pages. It's not that Gianfelice is doing a bad job, but his art just doesn't mesh with the mood and setting of this series the way previous artists have.

Renato Arlem returns to art duites in this issue and the series is better for it. His dark, detailed style is exactly what was missing from the previous issue. The world has that decayed, war-ravaged look again. The characters look beaten and battle weary. It's exactly the way the Age of Apocalypse universe should look. This issue also has a large focus on Deadeye and Arlem gives her a complexity and intensity that is truly beautiful.

Renato Arlem is really coming into his own on this series. You can see his work grow and improve with each issue. The good here far out ways the bad. Some scenes don't look quite as good as you might hope, like when Prophet throws down with a tyrannosaurus rex. Still, it's a solid looking issue and another fun chapter in a crazy, brutal version of the Marvel Universe.

Artist Roberto De La Torre makes a return here and it is a triumphant one. His dirty, scratchy style fits the world like a glove. Everything has a broken, desolate look. If anything, it's almost too bleak. It makes the scenes where characters do normal things, like go out to dinner, look strangely horrifying. Still, his beautifully rendered darkness has been sorely missed. Age of Apocalypse is a book worth reading, and one that doesn't require you to follow six other titles.

Pugh's art is solid, if slightly confusing at times. Some of the characters' poses look off, especially in the opening scene with Bucky. The fights are chaotic, as they should be, but there's just too many energy beams and too much fire flying around to accurately follow what is happening all the time. That said, Pugh draws an awesome looking Captain America and any page that features Steve Rogers looks fantastic. All-New Invaders has a way to go before it becomes a must-buy comic, but it's fun enough with some great looking Captain America pages, so it could be worse.

The only problem this book has is the use of darkness. Whether this is a result of Wade von Grawbadger's inks or Marte Gracia's colors isn't clear, but there is far too much black in this issue. Characters are shrouded in shadows, even when they are outside in broad daylight. This wasn't a problem in the first issue, which might mean it's a conscious decision. If that's the case, it's an odd one, because it certainly doesn't make the book look better.

Stuart Immonen's art is good, for the most part. There a few scenes where the action becomes a bit muddled, but the characters look great throughout the issue. It is a little weird when Emma Frost shows up in the middle of a field carrying an iPad, but maybe that's what Bendis wrote in the script? Either way, it's a somewhat odd moment. Still, Cyclops looks awesome, his powers look insane, and I swear Immonen draws the coolest-looking Magneto ever. He's like an evil, magnet wizard who's always drenched in shadow.

Stuart Immonen does his usual awesome stuff with these pages. His layouts are fantastic. Few artists handle the Bendis double-page spread as well as Immonen. You never get lost or confused. The characters look superb and the action looks even better. Immonen is a welcome addition to the X-Men universe, and hopefully the insane shipping schedule doesn't force him to duck out early.

Since this is a character driven book, it greatly helps that one of best character artists in the biz is drawing it. David Marquez draws people talking better than almost anybody. There's so much expression and emotion in every panel it brings a tear to my eye (figuratively). It's truly superb. I'd love to see him draw an Adventures of Young Iceman and Kitty Pride book (literally), because that scene absolutely steals the show. That said, his work isn't without a few missteps. Some of the action is a little confusing and we lose the background a bit too often. Still, you'd be hard pressed to find a better looking book than All-New X-Men #8 this week. It's slick, no doubt.

As usual, the biggest strength of the issue is the dialogue. Brian Bendis gives each character a distinct voice. Kitty Pride, Bobby, Jean Grey and Wolverine run this book and make it work. Cyclops, past and present, is less compelling, but he does serve the purpose of being the mutant you can love to hate. All-New X-Men #10 is a great reminder that the X portion of the Marvel Universe is firing on all cylinders right now.

Stuart Immonen dazzles here, even though the bulk of the time he is just drawing people yelling at each other in a field. Bendis does give him one particularly awesome page to draw, and even though it's just an illusion, it looks pretty freaking amazing. Credit must be given to colorist Rain Beredo, who really brings the confrontation in the field to life. It's a scene that takes place in the black of night, and the way he captures the lights of nearby aircrafts is a true thing of beauty. Even if you hate those talky Bendis comics, you'll have a hard time not giving this one a shot because it just looks so damn pretty.

Stuart Immonen does his best work of the series here. The very first page is breathtaking, a true "holy crap!" moment that'll make you power through the rest of the book to find out exactly what is going on. Some of the female face work is a bit off at times, but the action looks so very, very sweet that you'll hardly notice that you can't quite tell what emotion you are supposed to be reading on Madame Hydra's face. The best bits come in Immonen's layouts. Those Bendis double-page spreads have rarely looked so good. This is the best issue yet in an already stellar series.

The art this issue suffers a little, too. Lafuente has a drastically different style when compared to the artists that came before. He's good, but there is a severe lack of detail in this issue. For every great looking panel, there are eight that have no background whatsoever. It's hard to get a feel for where people are standing and how scenes are flowing. His characters, however, look fantastic. They are expressive and bold, showcasing great humor and emotion. They just seem to be expressing these emotions on an empty sound stage.

In the main feature, Moritat's art is solid, if varied. His work has been said to vary from month to month, but in this issue it seems to vary from page to page. Some of it is incredible and some of it feels half-finished. Sometimes, this happens on the same page. It can be a bit jarring, but none of it is even close to what I would call bad. It's all good, but you kind of wish it was all great. In the back-up story, Patrick Scherberger does an awesome job with the few pages he is given. His style is very detailed and controlled, with plenty of character. He's just another part of the awesome package that is All-Star Western.

The series co-creator, Bryan Hitch, is probably the perfect artist for this book. Hitch practically invented widescreen comics -- first on The Authority, later with The Ultimates -- so who better to give America's Got Power the big, exciting feel it needs? The action is epic; the panels feel like shots from a movie. Of course, as with all of Hitch's work, if photo referenced characters bother you, you're going to have a bone to pick with this book. I have always found Hitch to be one of the few artists that is able to make characters look like celebrities without making them feel stiff and unnatural. Some people can't get passed that sort of thing, but it's worth your time to try, because there is a great book waiting for you if you do.

Right?!

Bryan Hitch delivers his usual dynamic, detailed artwork. America's Got Powers might take a while to come out, but it looks quite nice once it arrives. His work has always had a realistic quality to it; a fine sense of space and perspective. There are a few moments in this issue where the characters look a bit stiff, with almost a mannequin like quality. For the most part though, everything looks good. Hitch draws superhero books as good, if not better, than any artist out there.

Where American Vampire Anthology #1 truly succeeds is in its art. We get work from Francesco Francavilla, Becky Cloonan, Gabriel Ba, Fabio Moon, and the always amazing Rafael Albuquerque in one freaking comic book. Obviously, this is one gorgeous looking comic. Every artist brings something different to the table while still managing to capture the look and feel of this world. Ba and Moon do this best, delivering a story that captures the soulful spirit of American Vampire while still finding something unique and exciting. Anthologies often get a bum rap these days, but this comic proves that when it's done right you can create something truly special. Plus, more American Vampire is never, ever a bad thing.

Rafael Albuquerque's stunning artwork is always a treat. He brings his usual flair for dark, gritty violence and scary-as-hell looking vampires to this issue. The opening is a little cold " both in setting and art " and doesn't quite pack the punch you get in the rest of the issue. The best scene involves Pearl standing, gun in hand, ready to defend her home from some would-be vampire hunters. It's beautiful stuff and great reminder as to why American Vampire is so highly regarded. We're glad you are back, boys.

Story aside, this thing is freaking gorgeous. Rafael Albuquerque does some beautiful work in these pages. His visual storytelling is is second to none. There are a few moments when the characters' faces don't look quite as good as we are used to, but it's a minor offense in a sea of beauty. Dave McCaig's colors are on another level, as well. There's a dynamic shift in tone that happens through the coloring as scenes change and the story grows darker. You aren't staying long, American Vampire, but it was great to have you back. You are always welcome here.

Pere Perez is so freaking good. His clean, smooth style is always a treat. This issue is one of his best looking in recent memory. The characters are expressive and dynamic. There's no real action to speak of, but Perez still manages to inject a sense of fluid grace into the entire issue. There's nota single wasted line here, not one out of place shadow. Any time you see Pere Perez's name on a comic, you know it's at least worth a look. The dude can draw, without a doubt.

If you are looking for some great superhero books outside of the usual tights and fights, then check out what Valiant is doing. Every book they have launched has been a great read. Archer & Armstrong is no different. It's fun, action-packed, and interesting, which is more than can be said about most superhero comics on the stand these days.

Of course, a huge part of the book's charm and humor comes from Clayton Henry's artwork. He handles the action well enough, but he really nails the smaller moments; the looks that Archer and Armstrong give to each other. This is a great looking comic book that deserves your attention. Plus, in this issue he draws some ninja nuns. If the idea of Archer and Armstrong throwing down with ninja nuns doesn't get you excited, then you are truly lost.

Since the first issue, Archer & Armstrong has looked amazing, too, and that is thanks to Clayton Henry. This time around he is assisted by Pere Perez, but fear not, the art doesn't miss a step. It's just as stunning as always. Henry's action looks awesome, but he truly knocks it out of the park when it comes to the humor. The looks on characters' faces; the expressions and the reactions. That's where this book really shines. If you aren't buying Archer & Armstrong, then use that extra money you save each month to buy a hammer and hit yourself in the head.

Emanuela Lupacchino does some killer pencil work in this issue, drawing everything from pirates to epic gun fights to a tea party with a monkey. Guillermo Ortego's inks and Matt Milla's colors add to the solid art package. Archer & Armstrong is a great looking comic book all around. The characters look fantastic, the action moves wonderfully, and the humor always hits home. Valiant knows what they are doing, folks. This is just good comic booking.

Emanuela Lupacchino does some great work here. Her style is vibrant and brings an energy to the page. When the action is front and center, the issue looks brilliant. She struggles a little in the quieter moments with the staging and perspective, but once people are driving cars through office buildings and spraying machine gun fire into villainous cults all is forgiven. The colors, by Matt Milla, feel little bizarre at times. There are florescent green tree lines and few too many neon backgrounds, but they don't drag the book down too much. Archer and Armstrong is just too good to let a little thing like overly bright coloring stop it.

Emanuela Lupacchino handles pencils this issue, with inks by Guillermo Ortego and colors courtesy of Matt Milla. Things look slick and everyone really seems to click. The art has a smooth, finished look that makes this an easy read. If there is one standout point, it's Milla's colors, which are simply stunning. Scene transitions work perfectly thanks to shifts in color and tone. Archer & Armstrong #8 is just a good comic book. Valiant knows how to do it and do it well.

This issue apparently had two artists, but I never noticed when one started and another stopped. Emanuela Lupacchino and Alvero Martinez divide up the issue seamlessly. Valiant is employing this whole multiple-artist-in-each-issue thing and the results can be varied. Here, it works just fine. Sometimes, it's a little hard to tell where the characters are positioned in a battle, but all in all things look great. Archer & Armstrong is, without a doubt, Valiant's best series. And that's sayin' something.

Artist Pere Perez steps in this issue and knocks it out of the park. He's the sole artist on the book and definitely nails the tone and feel right from the get-go. The characters look great, the action is frantic and fun, and the humor is spot on. Hopefully, Perez sticks around for a while because his style fits this series like a glove. Archer and Armstrong is the comic book we deserve, people. Give it all your monies.

Pere Perez's art looks as slick as ever. He's a fantastic storyteller that knows how to compose a kick ass page. Archer and Armstrong really gives him a chance to draw just about everything and he draws it all very, very well. The only hangup in this particular issue is the coloring. David Baron goes for an extremely bright palette that starts wear on the eyes. It does inject a sense of wonder and splendor into Faraway, but holy geez is that a bright green. It almost glows, which might not be the desired effect.

Khari Evans' art looks great. Some scenes feel a little crowded and some of the action a bit muddled, but overall the issue is awesome. Archer's dark, amusement park battle is a highlight, for sure. He gets to really cut loose here, drawing different factions of the sect that range from the cool (Sisters of Perpetual Darkness) to the incredibly bizarre (Black Bloc). There's a lot going on, but Evans is the right guy to draw it all. As usual, Archer and Armstrong is a must read.

Khari Evans is on art for this issue, with a little help from ChrisCross, and book looks good. Evans isn't a perfect fit for this series, but it doesn't drag the issue down at all. The characters look a little puffier than usual, but since they're drunk the whole time, it's forgivable, I suppose. Evans nails the comedic tone, and that's what is really important in a comic like this. The look on a henchman's face when he realizes a plan calls for his own death is priceless. There are tons of great moment like that throughout this issue, which makes for one great comic book.

Khari Evans and ChrisCross are on art, once again, and this issue looks pretty good. Evans does a fine job, although he's still not a great match for this series. As previously stated, this issue has tons of action, and both arts deliver on those scenes big time. Every other page features explosions, stabbings and other violent acts. There are times when the character look a little too puffy in the face, like everyone has had a too much to drink (maybe they have?) and many of the characters look incredibly similar. It's not bad, but you'll not all the Egyptians look like the same dude. Kinda weird.

Dennis Calero provides the art for this issue, and while his stuff is usually great, it feels like there's a bit of a disconnect here. His layouts are bold and frantic, but they page often feel empty. The characters look great, if somewhat stiff at times, but the setting and world are barren. There's a lack of backgrounds and texture, which only adds to the sparse feeling. Fortunately, he does provide a great sense of atmosphere and mood, which goes a long way. Ash and The Army of Darkness is still a fun ride, and a must read for fans of the films.

The art in this issue is a little off putting. Brandon Peterson and Mike Mayhem are both credited as artists here, although it doesn't say who draws what. The artist who drew the first scene kills it. Looks great. The bulk of the book, however, looks awkward and far too photo referenced. Is Wonder Man (hate you so much) pissed off or taking a dump? It just looks weird and staged. This is not a terribly exciting issue to begin with and then you add in strangely posed characters taking dumps while floating in in New York City? There are better Avengers books out there, people.

The art in this issue doesn't do much to help the situation. Adam Kubert is a legend in the comic industry and rightfully so, but this is not his best work. For every finely detailed panel there are several that look rushed and half finished. The characters' faces rarely display any kind of emotion, which renders the scenes stiff and boring. It just doesn't flow, and it doesn't grab you. Avengers was a book we were incredibly excited for and one that is slowly becoming a major letdown. Here's hoping it gets back on track and brings the pie.

Dustin Weaver steps in to the art shoes on this issue, and he does some really solid work. His storytelling is clear and nicely structured, serving Hickman's widescreen, epic script very well. There are times when his characters look a bit too stiff and posed, however; especially in the scenes featuring everyday folks. His superheroes, on the other hand, look fantastic. Hopefully we'll get some more Cap and Iron Man suiting up for action in coming issues, because they look ready badass and ready to rumble.

When it comes to the art, this issue is an utter mess. Tomm Coker is credited on the cover, but inside we have five artists listed. That's right, five! It's hard to say who is doing what, but in general the book looks very, very flat. It's stiff and lacks any movement. When the characters are just standing around talking, it looks fine, but once the action starts it becomes a disaster. The scenes are clunky and awkwardly staged. The colors are blocky and overdone. There are even a few moments where I swear the art is just copied and pasted from a previous panel. Avengers Assemble Annual #1 is an odd book and one that Avengers fans could, and should, probably skip.

Stefano Caselli absolutely rocks this book. It's incredible looking. The double spread that features Hulk and Iron Man could be a poster. In fact, it should be a poster. Get on that, Marvel. Of course, since the bulk of this issue is heroes talking, Caselli gets lots of opportunity to do some amazing character work. It all looks great. Unfortunately, he doesn't get to cut loose on too much action here, but that seems to be coming in the next issue, which means you should buy the next issue.

The art doesn't help things much, as Pete Woods' pencils devolve throughout the course of the issue. The book starts off looking pretty great and slowly becomes stiff and bland. The character anatomy doesn't look quite right (Spider-Woman's arm looks like it is stretching off the page at one point) and the emotion lacks any real punch. Woods does draw some awesome lizard monsters, but that's not enough to keep the story afloat. In general, there is a very underwhelming feeling that fills every page of this issue, which is a bummer when you remember how great the last arc was.

Where things really fall apart though is the art. This issue lists three artist, Pete Woods, Mark Bagley, and Scott Hanna. The first two pages look fantastic and then things quickly decline. Characters' heads look odd and misshapen, the action is muddled, and the backgrounds disappear every other panel. This issue just looks rushed, like it was hastily thrown together to meet a deadline. It's a real bummer, because the world needs a good, fun Avengers book.

Fortunately, Black Widow looks amazing thanks to the skillful line work of Butch Guice. He nails all the character moments, especially the opening scene. However, things get a bit choppy when the action hits and it's not always clear what's happening and who's getting hit. There was moment where I could have sworn Black Widow had her head blown off by an Ultron laser, which of course turned out not to be the case. Frank D'Armata provides some killer colors in this issue, really giving the aforementioned opening scene a sense of life and fun. Obviously, things don't stay fun for very long.

The art provided by Matteo Buffagni is not your typical superhero fare. His character work is exaggerated and fantastic. The Hulk is especially great since it appears his stance and movements were based off of a gorilla. There's a really sense of energy in these pages. Unfortunately, it's not all good. Some of the action is structured strangely and as a result is hard to follow. It took me multiple reads to figure out exactly how the Avengers beat the Brood and I'm still not 100% sure that I'm even right. It's confusing, to say the least.

Avengers: Rage of Ultron is worth your time and money. It's slick and alluring graphic novel that reads like the epic ending to a hard-fought trilogy. There's a lot to enjoy in these pages, and if you are fan of Remender's Marvel work, there's a lot to love. For our money, this how the Avengers should look and feel. Gigantic in scope, but overflowing with heart and unity, this is superhero action done right. Earth's Mightiest Heroes indeed.

Scott Hepburn handles art for this issue, and he gives us some really strong and detailed pages. Every page feels fully loaded, packed to the edges with gorgeous artwork. The action looks awesome and the dinosaurs (yes, there are dinosaurs) are a thing of beauty. There are a few hiccups, mostly in the character's faces, where things look a little off, but it's never bad enough to slow you down. This is a fun comic to read and a snazzy one to gaze upon. It might be unnecessary, but it's clear that DeConnick and Hepburn are giving it their all.

If you are a fan of Spider-Man, Captain America or just excellent comic booking, buy this issue. It's worth the inflated cover price.

If you have been enjoying Avenging Spider-Man so far, this issue will probably hit all the right notes. It doesn't quite reach the heights of previous issues, but it's still a fun read and sharp looking book.

Terry Dodson delivers some gorgeous pages in this issue. His art has a clean, finished style that fits a Spider-Man story like a glove. His Captain Marvel looks fantastic, too. This is a character driven issue that features lots of people pointing fingers at one and other and yelling. As far as action is concerned, there ain't much. Dodson makes it all look great and filled with energy. When you pair that up with some bright, eye-catching color work by Edgar Delgado you end up with one really, really pretty comic book.

Where the book falters is in the art department. Steve Dillon seems to phone this one in. Now, I'm a Dillon fan, so I don't say this lightly, but he really misses the mark in this issue. There is nothing dynamic or interesting about the characters, nothing to catch the eye. While this a book that focuses on two people standing in front of a grave, it doesn't mean every panel has to be a straight forward shot of them talking. Dillon is better than what he delivers here, which is a shame because the story is so strong.

Now, without a doubt, the most stunning thing about this issue is the artwork of Aaron Kuder. It's absolutely amazing. Since most of this issue takes place in a dream, Kuder really cuts loose. The absurdity of each and every page is brilliant. Other than Deadpool and Spider-Man, every character is bizarre and twisted creature. It looks fantastic. The panels are never boring;they shift perspective constantly. Shell casings fly towards you and broken teeth litter the page. And Deadpool looks pretty good in a skirt. Keep your eyes on Aaron Kuder, this guy is going to be a freaking superstar.

Now seems like as good of a time as any to start the campaign to get Aaron Kuder a regular Spider-Man gig. This guy goes with Spidey like peanut butter goes with jelly. From the very first page it's clear that you are in for a treat. Even if you hate Deadpool, hell even if you hate Spider-Man, you can still marvel at the incredible artwork in this book. It's quirky, fun and a perfect fit for everyone's favorite web crawler.

The art, like much of the writing, plays to Devil Dinosaur's strengths more than it does Spider-Man's. Gabriele Dell'Otto delivers in spades. This issue looks brilliant. If there isn't a petition yet for a Dell'Otto drawn Devil Dinosaur series, then let's get one going. This issue looks a lot darker than previous Avenging Spider-Man entries, and some of the fun is missing, but holy crap the dinosaurs look incredible. It's stellar stuff.

I'm just glad we live in a world where Axe Cop: President of the World exists.

Ethan Nicolle really goes big in this issue. The opening double-page spread looks massive and wonderful. He pulls things back in this issue, packing less panels into each page and letting the action really take the front seat (and there is a lot of action). He manages to draw everything that his little younger partner throws at him, including things like a scene where Junior Cobb punches things in space in order to propel himself back to Earth. It's insane and brilliant all at the same time. It's Axe Cop.

DC makes great use of the digital medium too, giving Case's artwork time to shine before a "POW!" pops across the screen, a la the old show. It's glorious stuff. The popup speech balloons aren't exactly needed, and there a few times where the colors and the artwork don't line up giving the book a "3D without glasses look" which is weird. Still, this is the best dollar you'll spend all week, it's amazeballs of the highest order.

Jeff Parker delivers again as well. Like the first issue, he ramps up the action and set pieces, giving us a story with big action, big laughs, and a really awkward moment between Batman and Dracula. What really makes the issue work is that Parker plays it straight. He embraces the camp and ridiculous nature of the series without poking fun at it. Without a doubt, Batman '66 is quickly giving the other Bat titles a run for their money. This just might be the best book DC is doing right now, in my opinion.

DC has been touting this issue a lot. Joker coming back certainly is a big deal, but when it comes down to it, this is just another fantastic issue in one of the best Batman runs in the history of the character. The fact that two of the biggest names in the industry are handling the return of the Joker is just icing on the cake. Welcome back, Mister J. Batman probably didn't miss you, but we sure did.

There is one area in this series that is starting to wear thin and that's the art. Jae Lee is a superstar, no doubt, but the lack of backgrounds is really starting to become a problem. On nearly every page he draws, the characters just stand in front of clouds or smoke. It's hard to tell where they are and what they are doing. The emptiness of these pages becomes even more apparent when Yildiray Cinar steps in for an extended flashback. The pages Cinar handles are rich and finely detailed, a fully realized world. The beauty of that sequence only showcases how sparse the main storyline is, which is really a bummer when you consider how good this comic should be.

Brett Booth does some of his best work in years here. This issue looks great. There's an energy to the pages; a sense of destruction and violence when Doomsday slams to the ground. The best bit comes during the previously mentioned fairytale section. Booth switches up his style and shows us something dynamic and exciting, a new side of his work that we haven't seen. Honestly, I thought for sure that section had been drawn by a different artist, it's that unique. This isn't a great Villains Month title, but it's a pretty fun read that looks fantastic. You could do worse.

Artist Jorge Lucas deserves some mega praise; he brings so much to these pages. The aforementioned sense of horror and dread is brought to life thanks to his dark, visceral artwork. His superb style grounds the issue and makes it feel more like a sinister crime story and less like an over the top supervillain tale. His Talons look brutal and violent, his Gotham is seedy and broken. This is a seriously killer issue and worth picking up even if Villains Month isn't your thing.

Jeremy Haun is a superb artist who tends to produce some exciting and dynamic panels. This isn't his best work, but it still looks pretty damn good. Unfortunately, John Rausch's colors don't click with Haun's art and the end result is a little off. Rausch's coloring is bright, slightly cartoony, and heavy on the shading. A lot of the time, it looks like it's sitting on top of the art instead of becoming a part of it. It's not all bad, there are a few panels that look great, but the overall package is not what you would hope.

Frazer Irving handles art for this issue, and it looks pretty great. The layouts and colors really shine, even when his characters feel a bit stiff. It's a pretty damn good looking book. The pages just pop. The only thing that seems to be missing are backgrounds. Irving drops a traditional background out in place of a wall of color and he does it a lot. At least once a page, sometimes more. This sort of maneuver can have a great effect, but not when it's do as frequently as it is in this issue. Backgrounds aside, this is one very handsome issue of Batman, Inc.

Chris Burnham's artwork is topnotch, as usual. In the last issue, he delivered panel after panel of action. Here, the action happens between the panels. We get the moments before and the scene after. It works brilliantly, and fits the narrative structure of this issue like a glove. Of course, Burnham's biggest strength has always been his character work, and that is in full display within these pages. When Talia give's a raised eyebrow and sly smirk to a would be kidnapper, he asks if she is trying to hypnotize him. Looking at Burnham's beautifully rendered panel, it's a pretty fair question.

Even if you hate Morrison's story and, at times, stiff dialogue, you can enjoy the flawless work of Chris Burnham. This issue, like the two before, looks freaking great. Every page is finely detailed, every character wonderfully expressive, and every horror is truly ghastly. The overall zany quality of this book is perfectly captured by Burnham's art. There's teeth being kicked out of heads, deformed monsters of men, slick new costumes and plenty of other inspired insanities. It all looks good. If nothing else, this is a beautiful book. Seriously, no matter what the story or who the character, if Burnham is drawing, it's worth your hard earned pennies.

Chris Burnham delivers the goods, as usual, here. His work seems little sketchier than usual, a bit more frantic and loose, which is not a bad thing given the issues level of action and movement. His panel layout in the first few pages is awesome stuff, adding to the desperate, chaotic feel of the scene. This is another entertaining and expertly drawn issue of Batman Incorporated.

As cool as the glimpse into a possible dark future is, the real hook of this book is the cliff hanger. The ending of this book is devastating. Say it ain't so, Morrison. Say it's all a clever ruse, that you are merely pulling our collective chain. So far, Batman Incorporated has pulled the rug out from under us more than once, so let's just hope that this one is another misdirect. Either way, Morrison is at least bring his Batman yarn to a close in epic fashion.

The art in this issue is good, if a bit inconsistent. The credits list Andres Guinaldo as providing additional art pages. It's not entirely clear what this means, but it's very obvious something changes during those pages. Chris Burnham's heavily detailed, scratchy art style suddenly becomes smooth. Maybe it's because Burnham didn't draw these pages at all or perhaps Guinaldo merely provided inks? Whatever the case, it's a bit odd that the look of the book suddenly shifts for about three pages and then returns to normal. It's not bad looking, but it's noticeable.

Where things have started to suffer the most in Batman Incorporated is in the art. This issue has the weakest work Burnham has delivered thus far. The perspective never seems quite right; the characters anatomy is awkward. Moments like when Hood suddenly switches sides look stiff and staged. Backgrounds all but disappear far too often. Burnham is a fantastic artist who has given us issue after issue of fantastic art, but Batman Incorporated #7 is a misstep and a lackluster time all around.

Once again, artist Chris Burnham is assisted by two other artists. Jason Masters and Andrei Bressan each take a few pages, presumably to ensure that Batman Incorporated comes out on a regular, monthly schedule. While that may be a noble cause, it's a bummer that Burnham couldn't be given the time he needed to complete a full issue. Masters and Bressan blend nicely with his style, but there is a noticeable shift when they jump in for a page or two. This close to the end, DC should really just let Burnham finish out the series himself.

Jorge Lucas steps in on art and much like the script, it's a mix of good and bad. Some pages -- like when the Batman of Japan makes his first costumed appearance -- look finely detailed and dynamic. Other pages are awkwardly staged and missing backgrounds. The whole package is a mixed bag. If, this close to the end, you are going to do a one-off story, it really needs give us a bit more than this issue does. Batman Inc. #11 just feels like filler and now is not the time for filler.

Chris Burnham gets to pencil the whole book this time around, which is an awesome change of pace from the divided artist duties we have had the past few issues. His action scenes are glorious, especially the aforementioned battle between Batman and a genetically-enhanced super Damian. There is, however, a sparse feeling to some of the pages. Too many missing backgrounds, too many empty looking panels. It gives the book a rushed look that hurts the overall package.

So that's it. Morrison's run is over and the story of Batman Incorporated is most likely finished, as well. There's little fanfare and not nearly enough excitement. The cowl has been passed to others and it's hard to see the new crop of writers and artists picking up these story threads. Maybe that's a good thing. Maybe it was time for this to end, but it's hard to not be a little bit sad. There were some good times, Grant. We'll miss ya, buddy.

Of course, every story, even the preachy "Batman Zombie," features beyond stellar artwork. Sean Murphy, Neal Adams, Michael Cho, Joe Quinones, and Chris Samnee all bring their A game, and A game from these folks is freaking unreal. Seriously, Batman: Black and White #1 is a visual masterpiece, you'd be lucky to hang any of these pages on your wall. My personal favorites were the Murphy and Samnee tales. Both of these guys would fit nicely into the world of Gotham and they prove it in a matter of a few pages. Wrap the whole package in a fantastic Marc Silvestri cover and you have one damn beautiful comic book.

The rest of the stories are fairly forgettable. Some have a nice story but confusing, poorly structured art and others have solid visuals but a lackluster story. The clunkiest of them is the story by Dan DiDio and J. G. Jones. Jones artwork is great, although slightly stiff at times, but DiDio's writing misses the mark and misses hard. It's heavy handed and completely out of character for Batman. It's certainly not a great way to start an issue, as it somewhat sours everything that comes after it.

The winners in Batman: Black and White #3 are Paul Dini, Stephanne Roux and Rina Hughes. Dini and Roux deliver a great, relatively straight forward Bat tale that will leave a smile on your face. Hughes, on the other hand, manages to produce one of the weirdest comic books I have ever read. Seriously, it's freaking bananas, which is what I love about it. I can't even describe it, but just know it has a line of dialogue that reads, "Retro really is the only way to defeat postmodernism."

Other than Nguyen's piece, everything else falls flat. Michael Allred's story needs color in a big, big way. Also, it features Batman letting a group of brain washed dudes die in an explosion. Nathan Edmondson's story ends in a cliffhanger. Sean Galloway and Derek Laufman's piece is really close to being good, but the art is hard to follow and the story is kinda generic. The point is, you might want to skip this issue of Batman: Black and White. It's a mess.

For reasons unknown, DC also decided to split this issue between two very different artists. It kills the flow of the issue. Mico Suayan and Juan Jose Ryp are both great artists, but their styles look absolutely nothing alike and do not mesh. When Juan Jose Ryp suddenly takes over, it feels like you are reading a different comic book. Sure, it's another nicely written and good looking comic book, but it still feels different. One of these guys should have done the whole issue. Splitting the issue up between to two of them makes about as much sense as retelling the story of Crime Alley. So, in a weird way, I guess it makes perfect sense that DC did this.

With so many other Batman books on the stand, it's hard to justify picking up this book. It's not good… at all. Can't Finch just draw variant covers for other series? That'd be a better use of ink and paper.

David Finch is a perfect Batman artist. He draws the character wonderfully and sets the mood in a way that few other artists can. It's refreshing that he is drawing a worthwhile story this time, because, let's be honest, this series has not been known for its writing. There are a few pages where the characters that aren't in a costume of some sort look a little awkward, but it's not much more than a small hiccup. Aside from that, the book looks fantastic. It's exactly what I hoped for when I heard David Finch was going to be drawing Batman. It just took a lot of issues to get to this point.

David Finch's art takes a slight dip in quality this month, too. There is a rushed, unfinished feel to the artwork. If you are a fan of Finch and have followed his career, you'll definitely notice that certain scenes seem to get more attention than others. Batman swinging through a car window to kick a punk in the face looks amazing. Damian and Bruce talking in the Batcave looks boring and awkward. It's a bummer, since you'd hope that Finch would bring his A game to Gregg Hurwitz's much-hyped debut. The issue doesn't look bad, but as a David Finch fan, I know it could have looked a lot better.

Finch has some great moments in this issue. His Scarecrow looks spectacular. He really takes the character to a whole new level of creepiness. Batman: The Dark Knight has always had a bit of a horror feel to it, and this issue really achieves that look. The darkness of this storyline is really playing to Finch's strengths. That said, let's just get this out in the open, David Finch cannot draw children. They look like creepy little people with adult faces. Hopefully, Hurwitz and Finch can find a groove together, because they are two creators that are capable of making a really good Batman book, not just an okay one.

The high point of this issue is the art. David Finch absolutely knocks it out of the park. The book looks dark and brutal, like there is horror and death dripping off of every page. He does some great tricks, too. Scarecrow casts a shadow that looks an awful lot like Bruce Wayne's murdered parents. A young Bruce looks in a mirror a sees a much darker, violent world. It's neat stuff. I'm a Finich fan, and I say with confidence that he is on top of his game here. Batman: The Dark Knight #12 might be a bit boring to read, but it is one awesome looking comic book.

The art matches the sinister writing very well. Finch draws horror splendidly, and there is plenty of horror in these pages. As usual, his pages featuring people in superhero costumes look much better than his pages featuring normal, everyday people. When he is not drawing ugly monsters and/or a drug induced Batman, Finch's art can look a little stiff. However, the good outweighs the bad in this issue, which is not something anybody usually says about Batman: The Dark Knight.

David Finch produces some of his best work here. The dark violence of this issue looks fantastic. The are a few stiff moments, like when Damian is nursing Bruce back to health, but anytime Scarecrow is on the page things are awesome. He's a bloody mess, like something out of a nightmare. Finch draws horror as well as anybody, so let's hope that's where this book keeps its focus.

The only good thing about the length of this story arc is that it gave David Finch lots of opportunities to draw the Scarecrow. Finch brings a sinister and dark feeling to the book. His art can be somewhat inconsistent, but he's firing on all cylinders here. The book looks good. There are a few moments when key story elements seem to happen off panel, but's hard to tell if that's a problem with Finch's story telling or Hurwitz's. Either way, let's hope the next arc improves and gives us something new and exciting.

The books looks pretty damn nice, at least. Van Sciver draws a mighty fine Batman and a super creepy Mad Hatter. The action looks great, even if it is slightly hard to follow at times. The only place the book doesn't look so hot is during a series of pages where the panels are modeled after piano keys. It's a neat idea that simply doesn't work very well. It feels like a minor scene is stretched for too many panels, like the structure is forcing Van Sciver to draw unnecessary stuff. If you are looking for a great Batman story, you might want to look somewhere else. Hey, you have plenty of other options.

As has been the case since day one, the main attraction to Batman: The Dark Knight is the art. Ethan Van Sciver does some killer work. His Mad Hatter looks almost too insane, which would be fine if this series embraced its sillier tone. There's a still a dark intensity in these pages, a sinister overtone that is ever so slowly disappearing from the scripts and story. Van Sciver draws a spectacular looking Batman, but if Hurwitz keeps making with the funny, a different artistic tone might be required.

Ethan Van Sciver does some nice work on the art in this issue. He struggles a bit with non-costumed characters, but when Batman or Mad Hatter get panel time, it looks great. Unfortunately, this issue also has a guest appearance from an incredibly strange looking Catwoman. Her poses, movement, and ability to mash her breasts into Batman without touching any other part of him are downright bizarre. Like the story itself, Catwoman's appearance is out of place and largely pointless.

Szymon Kudranzki steps into art duties on this issue and he has drastically different style than this series has carried in previous issues. Kudranzki has a penchant for character close-ups, tight shots on faces, and expressions. Backgrounds appear to be an afterthought if they are there at all. What this means is that Batman: The Dark Knight #19 does read or look like a Batman book at all. In fact, you could take the Caped Crusader out of this issue entirely and it wouldn't really change much. That's not a good thing.

Szymon Kudranski's art takes a major nosedive here, too. The layouts are funky and awkwardly staged. The characters stand in strange, inhuman-like poses. At times it is nearly impossible to tell what exactly is happening from panel to panel. Did she just scratch his face? I guess that's what happened? Maybe? The strangest moment comes towards the end when a character is just laid on top of the existing panels. It looks like an afterthought, which is quickly becoming par for the course in this series.

Ethan Van Sciver returns to art on this issue, and delivers some good Batman pages. Unfortunately, those good pages are also mixed with confusing action, direction, and scenery. It makes for a bizarre read, a jumbled tale that could have been " and should have been " better. Even those really good pages are wasted on a story that carries no weight, heft, or emotion. At least it's over and we can all move on.

Of course, what really makes Batman: The Dark Knight #23 worth your hard-earned dollars is Alex Maleev. His gritty, detailed style has always been a perfect fit for the underworld of Gotham, and it's nice to see him back in the saddle. You'd be fine just skipping the word balloons and narration captions, instead just marveling at the glorious work of a true master of the medium. The only hiccup, and it's a small one, is that the color work of Dave McCaig doesn't always gel with Maleev's art. There are times when it adds lines or shading to the art when it doesn't really need any. It's not bad, not at all, but it's noticeable.

Jason Masters art is pretty good. There are some anatomy and perspective issues in a few places, but nothing too jarring. The real disconnect is the look and feel of the art " and colors by Dave McCaig " in relation to the story. The book looks bright and almost fun, which is so off base from the dark, violent tone. Nobody is doing bad work, but it just doesn't line up. This is a comic that needed to feel cold and instead it just feels sorta blue.

Cliff Richards' art is mostly good, as well. In fact, the one thing that doesn't look good is Clayface. Richards' rendering of the character is supremely uninteresting. Everything else looks awesome. He never skimps on a panel, drawing full, detailed backgrounds and expressive characters. The action looks the best when Clayface gets pissed and starts messing everyone up. It's just the stuff in between that drags. This is a pretty good looking comic, Richards just isn't a good fit for Clayface.

The art by Georges Jeanty, Dexter Vines, and Michelle Madsen misses the mark, too. Maybe it's the less than inspiring setting, but there's just nothing to grab on to here. There's a major disconnect between the story and visuals; things just don't add up. Joker's Daughter is armed with a crescent tipped staff that she somehow uses to burn smiles onto people's faces. The angles don't line up and the action is confusing. The characters' anatomy looks bizarre at best. There are a few good visual moments in this issue when we glimpse life before madness, but those are few and far between.

Like the previous arc, the best stuff in this issue is courtesy of Alex Maleev. His style is perfect for Batman, which is way it's so damn pain that Batman isn't in this comic. The Clayface stuff looks great, and the flashbacks to the character's youth look even better. Maleev is seriously a master. Dave McCaig's colors are soft, and at times look odd when compared to Maleev's jagged line work. Again, the flashback scenes are the best, truly the moments where the creative team is really in sync. The story may not be very interesting, but Batman: The Dark Knight #24 is a damn fine looking comic book.

Unfortunately, Marcus To's art only contributes to the lack of excitement. The fight looks awkward and lacks any real punch. His artwork is certainly not bad, he does great work with characters and seems to excel in the quieter moments. Problem is, this is an issue about a deadly assassin attack, and that's where things don't look so hot. At one point, Batwing flies the Talon straight into a parked van, crushing the assassin against the side of the vehicle. Sounds cool? It's not, because the panel is so small and distanced, you can barely tell what is happening. It's a bummer, really.

The story does its job as well. J.H Williams III and W. Haden Blackman keep things moving at a brisk pace, which is a good thing. You get drawn in quickly, but there are times when scenes cut too fast or switch too often. The end result is that not much happens, just a fast paced series of conversations. There are certainly pivotal moments here, but they happen and then are quickly tossed aside as the scene jumps to another character and then back again. Of course, when a book looks this good, it's hard to be mad about much at all.

Where Bedlam truly excels is in its visuals. Riley Rossmo and colorist Jean-Paul Csuka just nail it. Madder Red looks amazing; the use of the color red through out the opening sequence is a true marvel. This is one attractive comic book. The artwork alone makes it a must buy. Even if you hate the story, or find it over-written or too familiar, you'll fall in love with the art. It's that good.

Riley Rossmo's art falls flat here to. Perhaps it's the lack of anything interesting to draw. Perhaps it's the uninspired color work. Or maybe it was just an off day. Whatever the case, the book looks bland. There are one or two pages that feature some cool imagery, but that's it. Most of the pages, like this book in general, just feel like a waste of time.

The good news is, Steve Rude draws the hell out of this issue. The life and times of Dollar Bill may not matter much, but at least they look fantastic. I couldn't care less about most of the events of this issue, but Rude manages to give every page some weight. His work is dynamic and classic, and way better than this tale deserves. Awesome coloring work by Glen Whitmore helps to make Before Watchmen: Dollar Bill one of the best looking comics that you should probably never read.

Ron Wimberly, Sal Buscema and JM Ringuet deliver the goods. Black Dynamite is beautiful and perfectly captures a long gone genre. Wimberly's pencils are fun and, at times, goofy. It's exaggerated stuff, dynamic and bold. The angles are insane and constantly shifting; this comic is never boring to look at. That said, the best thing about this issue by far is Ringuet's colors. It's his color work that makes comic feel so dated (in a good way). It's gorgeous stuff and a real showcase for the importance of a great colorists. Black Dynamite #1 works on every level and is definitely worth a read.

Not only is Black Science #1 a masterclass in storytelling, it's probably one of the best looking comics to grace the stands in a very long time. Artist Matteo Scalera and colorist Dean White are so perfectly in step it's incredible. This is a haunting book, a visual onslaught that matches the fast-paced story beat for beat, panel for panel. Every page is gorgeously detailed; the panels filled to the brim with the ugliness of an alien world we can't hope to understand. Without a doubt, this thing is a work of art, the kind of comic you just marvel at. Do yourself a favor and buy Black Science #1. Buy it and get lost in a world of anarchy, science and fantasy.

If you read the first issue, you know the real stars of this comic are Matteo Scalera and Dean White. These guys have crafted one of the most unique and beautiful looking comics on the market. Black Science may read like an extreme, pulpy throwback, but its art is in a league all its own. Scalera's scratchy, frantic line work should clash with White's smooth, painted colors, but it doesn't. The two styles gel and mix, creating stunning look that will leave you slack-jawed. This is a series to watch, folks. Two issues in and Black Science has already become required reading.

Matteo Scalera and Dean White area visual dream team. For three issues now, we have been singing their praise and for good reason. This is a stunning comic, visually unlike any other book out there and it's all because of the combination of these two dudes. Alone they are mighty, together they are unstoppable. I just want to taste each page of this comic; I want to cook it in a quesadilla and absorb its essence. It's that good.

The art provided by Wendell Cavalcanti is okay, but doesn't ever really grab you. He's a competent storyteller, and there is a nice flow to the book, but he doesn't get to tell enough story in this issue. Again, his strengths are not utilized in those first six pages which just feature images of people standing there. There is also not enough background detail in most panels, and that is incredibly noticeable in a book that is all about background and setting.

If nothing else, this issue looks fantastic. Lorimer brings a cinematic sense of scale to the comics he works on. He wonderfully lays out scenes, drawing you close to a character at just the right moment, pulling out for that wide shot in all the right places. Blackout #1 moves wonderfully. The best bits are during the lead character's haunting nightmares. Lorimer delivers truly horrific visions of broken characters and spilled guts. As long as he's drawing this series, I'll be reading it.

Chrisscross provides art in this issue and does a fantastic job. The characters and settings look great, but it's storytelling and layouts that really shine. The way the panels flow and shrink as a character is torn to pieces on the streets of a hostile foreign country. The way the eyes cut through any given scene, showing us just how dead inside these men are. The fabulous Moose Baumann does some slick color work in this issue, as well. Basically, Bloodshot has finally kicked into high gear.

Valiant is quickly becoming the publisher to beat and as long they keep putting out quality book like Bloodshot, it's likely to stay that way. Waiting thirty days for the next issue is going to be grueling. I'm ready for more ultra-violence and more Bloodshot.

Manuel Garcia and Arturo Lozzi handle pencil duties, and, for the most part, they do it well. While some pages look better than others, none of it looks bad. Bloodshot's expressions can be hard to read at times, but given the fact that he is confused as hell most of the book that's probably an intentional detail. This book looks best when it's firing on all cylinders and Bloodshot is tearing dudes to pieces, so I look forward to the next issue when we hopefully get to see more of that.

On art, Manuel Garcia and Arturo Lozzi do a mostly solid job. They excel when it comes to the darker stuff; the violence and the blood. Knives in heads and bullets tearing through bodies look awesome. The only place they lack is in some of the character work. The two female leads can be hard to tell apart. At times, it's hard to tell who is who and which one of them has super powers. But hey, it looks like Bloodshot is going to get really stabby and shooty next issue, so that should play right to their strengths. Unless Swierczynski is teasing us again. Stuff better hit the fan, dudes.

It's pretty clear that Duane Swierczynski is building towards a bigger story here. He's developing the character of Bloodshot, and that is definitely a good thing. However, we are eight issues in at this point and our title character is still roaming around with very little direction or purpose. The forthcoming Harbinger Wars looks to put our pale hero on a bit more of a path, but it'd be nice if he'd take a bit more charge in his own series. We are ready for Bloodshot to become the badass hero we know he can be.

Manuel Garcia does a fine job with the art in this issue. His action scenes " of which there are simply not enough of " have a nice dynamic energy to them. You can just feel the brutality as legs snap and heads crunch. Where things get loose is in the character work. Other than fat grandma and Bloodshot, a lot of the characters look pretty interchangeable, especially the females. It makes the quieter moments awkward, since there's an emotional punch missing. Hopefully the upcoming Harbinger Wars will return Bloodshot to its former, action-packed glory.

Adding Barry Kitson to this issue makes a huge difference, as well. Bloodshot has never looked bad, but it has never looked this good either. It's lacking in the background department, but that's about the only complaint that can be leveled at this beauty. Kitson draws the action and violence with a style and grace, it's truly a sight to see. The smaller scenes towards the end look good too, but it's hard to beat Bloodshot pulling out a machete that has just been cleaved into his body and then turning to face the guy who did it.

If nothing else, this issue at least looks a little different. Barry Kitson is a great storyteller, and the action here is a bit clearer than it was in Harbinger Wars. The gore and violence looks awesome, too. Month after month, Bloodshot continues to be the most brutal superhero book on the stands. Faces melt off, limbs break and Bloodshot gets run over by a tank. Business as usual here, and that's not a bad thing.

Barry Kitson delivers a stellar set of pages again. The book looks great, especially those aforementioned chainsaw and machete scenes. Kitson inks some of his pages himself and others are inked by Stefano Gaudiano does the others, which is a slight problem because the styles are wildly different. Some pages are heavy on lines and shadows, others are smooth and lighter. It's not that one looks better than the other so much as they just look stylistically different.

As great as the story and characters are, the absolute best thing about this comic is the pencil work of Emanuela Lupacchino. Her artwork is beautiful and absolutely engrossing. This is a character driven issue that's light on action and Lupacchino brings it to life with gorgeous detail and movement. Bloodshot looks better than ever, so let's hope that Valiant keeps Lupacchino around. If you dropped off this series a while back, now is the time to give it another shot. You won't be disappointed.

Emanuela Lupacchino does awesome work in this issue. She's a superstar in the making, for sure. Joseph Cooper joins her on pencils and his stuff looks slick, too. The only problem is that many of the characters are wearing costumes that look incredibly similar, making for some confusing pages. You'll have to take a moment and sort out who is who before you can really dig in, and that's not exactly a good thing. Still, the movement and energy on these pages is hard to dismiss; this is good stuff all the way through.

This issue is rough and it's main due to the art. Four artists jam into these pages and the results are muddled. Characters grow and shrink within the same page.

The biggest problem this issue has is its art. David Messina has clearly studied some Spider-Man books because the main character moves and leaps like everyone's favorite web spinner. That the good. Everything else around that character is not so good. It's never bad, far from it, but it's lacking anything dynamic. There's a lot of talking head pages that just look like, well, talking heads. The Bounce could be going somewhere interesting, but it'll need to get on track quickly if it wants anyone around to see it.

What the seals the deal though -- what really makes this a such a stunning debut -- is Dave Wachter's art. The washed out gray tone of the pages gives life to the world in way that you wouldn't think possible. It's dark, dirty, and vibrant, a look it achieves without a hint of color. The pages where a grandfather shares the secret of the Golem with his grandson are bathed in darkness, the characters barely breaking through the deep black of the shadows. Breath of Bones is set to be another stunning miniseries from the folks who do books like this better than anybody, Dark Horse Comics.

Dave Wachter is the main attraction in this series. His dark washed and moody artwork brings this story to brilliant life. From the characters to the landscape to the shadows of a barn that holds the town's last hope against the machine of war. It's stunning; every page, every panel. This is how comics should read. This is a thing of beauty in every sense of the word. The third issue of Breath of Bones can't get here fast enough.

Evan Shaner handles the art and the issue looks pretty enough most of the time. The majority of the humor revolves around dialogue, but the few scenes that are more physical in nature are some of the best bits. Buddy Cops is ridiculous, both in concept and execution, and Shaner delivers on that. There's a slight lack of detail on many pages, but given the breezy nature of this comic, that's no big offense.

While it may move a bit slow, Captain America and Iron Man is a great looking book. Barry Kitson puts together some truly inspired pages. His fight scene looks spectacular. The only place that the art trips up is with the character expressions. Everyone seems so emotionless for most of the issue. They just kind of stare with their mouths closed. But, since more than half of the issue features Cap and Iron Man chatting on the phone while walking through a convention, maybe they were just as bored as the rest of us.

Another issue of Captain America, another notch in Brubaker's epic. It's good, although it could do a bit more to justify its price point. Still, to some of us, Captain America drawn by Alan Davis is worth the price of admission alone.

Following Alan Davis is no small task, but Patrick Zircher manages to do a fine job. His style is dark and moody; it fits this new arc perfectly. If anything, he probably uses a bit too much black. The shadows and darkness are a bit overwhelming in the book, and while it might suit the mood of the issue, it feels heavy at times, like it is covering the artwork. Still, the issue looks great, the action moves well and The Scourge looks pretty menacing. It's a solid book, or piece of a book anyway. Like most of Brubaker's Cap run, we'll just have to wait and see how everything comes together.

That said, if there is a standout star of this book, it is Patrick Zircher. He was good last issue, but he absolutely kills it this issue. As good as the action looks, the best moments are when you see the look on Cap's face. You see how angry and driven he is. Last issue felt a bit too dark, but the darkness fits now. The tone is perfect. Zircher makes you believe that this is a man that will charge head first into a Hydra base and destroy everyone inside. It's fantastic.

Complimenting Zircher's art are the great colors courtesy of Paul Mounts. He keeps the palette dark and it looks wonderful. It feels like this entire story arc stakes place at nighttime, which is not a bad thing. It was jarring at first, coming off of the bright Alan Davis arc, but now that we are in the swing of things, it is pretty clear that Zircher and Mounts fit this story like a glove.

The only thing this issue has going for it is Scot Eaton's art. Some pages look better than others, but when they look good they look really good. His style is fun and vibrant. There action scenes look good, which only adds to the disappointment that Cap is fighting guys like Missile Magician. It'd be nice if Eaton got to draw something more compelling, with a bit more story and character. As it is, it feels like he's polishing a turd.

All that's left to say is "thank you." Thank you, Ed. Thanks for the Winter Solider. Thanks for Captain America Reborn. Thanks for all the good times. Thanks for making Captain America so freaking awesome for eight years. Thanks for giving your story a proper end with this issue. We salute you.

Captain America is a solid adventure book. Remender and Romita Jr. have stripped away all the calling cards of the previous run and left us with a science fiction story that feels like it was ripped straight out of the 70s. Plus, major bonus points to Remender for a well-placed Ernest Hemingway reference. You know the way to this reviewer's heart, good sir.

The art also has highs and lows. Like the script, the crazy science fiction stuff is fantastic and the streets of NYC stuff is less so. John Romita Jr. draws awesome monsters and mutants. Captain America looks badass. However, when he draws young kids fighting in an alley, it looks awkward and weak. Dean White and Lee Loughridge make great use of colors, which helps to give the two different worlds very different feels and tones, but Romita's pencils don't rise to the occasion. Hopefully, future issues will be spending more time with mutants and barbarians and less time with bullies in alleyways.

Rick Remender's bigger story clicks into place here, too. The old New York scenes finally seem like they have a natural place in the series and give weight to Cap's struggles in Dimension Z, as opposed to the tacked-on feeling that they had previously. There is a ton to love in this issue; the dialogue is great, the world is captivating, and Ian is finally an interesting character. Captain America is an awesome series and it doesn't come out on a weekly basis like most of the other Marvel books seem to, so we all should support the hell out of this thing, guys.

The art suffers slightly here, most likely to the missing Klaus Janson. Romita is inked by Tom Palmer & Scott Hanna this time around, and it feels like some of the heart has gone out of the issue. There's still plenty of awesome pages " Marvel needs to print the last page as a mini poster " but when the action really gets going everything becomes a jumbled mess. The character's anatomy is screwy at times, too. Overall, the issue still looks good, but there is a noticeable dip. Dean White's colors still look amazing though, so that's something.

The absolute best part of this issue is the coloring art by Dean White. Right from page one, it's clear he's bringing more than his fair share to this book.The muted darkness of Zola's Dimension Z is punctuated by the red, white, and blue of Cap's tattered costume and the bright green splatter of mutant blood. It's hard to imagine this comic looking as good as it does without White's masterful touch. Captain America #6 is a comic where the creative team just nails it.

Romita's art is severely hit and miss in this issue. The opening looks great, but things quickly fall apart. There are too many lines on some pages, not enough on others. For my money, Romita is one of the best in the industry, but this simply isn't his best stuff. There's a rushed quality to many of the pages. That said, when things are on, they are really, really on. The last three pages are damn near perfect in their composition and structure. The scene made me gasp and mutter "no way, no way" with each passing panel. And then, that last page, guys. What the heck are Remender and Romita trying to do to us?

John Romita does some great work in this issue, although credit has to be given to Klaus Janson, Tom Palmer, and Scott Hanna for providing the finishes. The end result is a little all over the place, with some pages filled with fine detail and others more loose and smooth. Fortunately, Dean White and Rachelle Rosenberg color Captain America #10 to perfection. Their masterful color art holds the whole thing together and helps bring the horrors of Dimension Z to a stunning close. Great issue in what looks to be a Cap run to remember.

Carlos Pacheco joins the stellar art team in this issue and he fits right in. His style is a little cleaner than Romita Jr's, but with Klaus Janson and Dean White still around, the series doesn't lose a step. What we get here fits perfectly with what came before and helps give the series a cohesive look and feel. Captain America #11 looks great on every page and in every panel. It'll be great to see these guys handle some action scenes, which are clearly on the horizon. If you have been waiting to read this series, wait no more. Jump on in.

Story problems aside, Captain America #12 looks really damn good. Carlos Pacheco and Klaus Janson just click and provide page after page of glorious artwork. The only part of this book that doesn't look great is the aforementioned Cap and Falcon scene. The emotional expressions on the characters' faces is way overdone. It makes an already silly scene even sillier. That said, the rest of the issue is amazing. Nuke's reign of violence is a beautiful dance of destruction. I can't wait to see him with clash with Captain America; you just know it's gonna be great.

Nic Klein comes onboard this issue and delivers some truly stunning pages. What we get here is more focused and clean than some of Klein's previous work. It's beautiful stuff, especially once Cap starts throwing down with Nuke. The fight, which stretches for several pages, looks glorious. There's sense of movement and grace, it never feels posed or stiff. The last panel of the issue is so menacing and dark, it's almost worth the cover price alone. Klein is on the road to superstardom, no doubt. Keep your eyes on this guy, or at least keep your eyes on his amazing artwork.

Carlos Pacheco's work is solid. The issue looks smooth and the storytelling is great. There are a few moments of strange anatomy -- like Nick Fury Jr's pose in the helicopter -- but for the most part this thing looks good. Pacheco's strength has always been his characters, and that shows here, especially on the last page. It's a ridiculous reveal, but one that looks all kinds of awesome. Captain America remains a very enjoyable comic book, even when it needs hurry up and tell its story.

Pascal Alxie steps in on art in this issue and it's a mixed bag. The world looks great as Alxie renders it in stunning detail. The evil characters look superb, as well. This issue has one of the best looking Red Skulls ever. There's so much menace and horror in the details, the evil practically oozes off the page. The problem is, the regular characters look just as menacing. Jet has too many lines on her face; she's often covered in scratchy shading. It also appears that Alxie drew Jet mostly nude and that Marvel decided to just color her in as if she were wearing tights. It's distracting, to say the least.

Artist Nic Klein is amazing. The man is gonna be superstar. His style is highly detailed and gritty, but with a cartoony edge. It looks beautiful, page after page. The man manages to make a guy armed with a candy cane look intimidating and confident. A candy cane! It's awesome stuff, for sure. Hopefully he sticks around for a while, because we haven't really seen Cap in action yet, and if Klein is drawing it, you know it's going to look awesome. A nice long run from Klein and Remender would be a real treat. Keep Dean White around, too, because that man is a coloring warlock. Good stuff all around.

Nic Klein does the same awesome stuff here that we have been praising for months now. He's a superstar in the making, a man who knows how to draw a superhero comic. This issue does look slightly more rushed than the others, but given Marvel's insane shipping schedule, it's pretty understandable. Dean White holds down the fort with his color magic, too. The art in this series is top notch, even when the story drags. Klein and White make a hell of a team.

Nic Klein does some awesome work here. He excels at action scenes and Remender gives him plenty. The end fight between Cap and the Iron Nail is by fair the best bit of the issue. For the rest of the book, chaos is the name of the game, and it has varying levels of success. We never really get a sense of the size and scariness of this new helicarrier. It never seems all that menacing, which sucks the intensity out of the opening pages. That said, it looks real awesome when everything starts blowing up, so that helps pad out those confusing moments.

It's also worth mentioning that the newly designed costume looks incredible. Ms. Marvel's old look was fine, I'm not ripping on that costume, but this one looks better. I can tell you this: I have a young daughter that has been carrying around a postcard that features the new Captain Marvel on it. She brings it to dinner and takes it to bed at night. If you ask her what is on the postcard, she'll tell you, "It's a superhero." She doesn't know anything about the who the character is, but she looks at that costume and sees the same thing she sees in Superman or Spider-Man. That's something Marvel should be proud of.

If Captain Marvel continues on this path, DeConnick and Soy will have created one awesome new title for Marvel. It's engaging, fun, beautiful and different. This is not your typical superhero book, and that's exactly what makes it so great. It's nice to see a different kind of monthly title from Marvel. I have never been a Carol Danvers fan, but as long as Kelly Sue DeConnick and Dexter Soy are handling her adventures, I'll be picking up every issue. Marvel needs to take more chances like this, because -- in the case of Captain Marvel, at least -- it has totally paid off.

Captain Marvel is one hell of an awesome series. Each issue solidifies it as one of Marvel's best new books. It's got more heart packed into it's pages than any superhero book has the right to, and that is a good thing. Hopefully it'll be around for a very long time, because if these first three issues are any indication, we are in for quite the treat.

This issue also uses two very different artist to great effect. Dexter Soy is up to his usual awesomeness in the the book's first half, and then, when time skips and the story shifts, Al Barrionuevo steps in on art duties. The story's structure makes the switch feel natural and smooth. The only problem is that Barrionuevo's art simply doesn't pack the same punch that Soy's does. The first half of Captain Marvel #4 feels fresh and original, the back half feels like business as usual. The writing is as sharp as ever but the art just can't keep up, which is a damn shame.

That said, the most amazing thing about this issue is the artwork. Emma Rios just kills it on every page. This thing thing is stunning, guys. Witness the glory of Helen Cobb, armed with brass knuckles, punching out a dude. Revel in the glory of that sly smile as she says "got 'em on the ropes now, kitten." Seriously, Captain Marvel #5 is a true work of art. Absolutely beautiful in every single way. If ever there was comic book that could make a person swoon, this is it.

Adding to the brilliance of this issue is Emma Rios. Holy crap, she is incredible here. Beautiful, in every sense of the word. Unlike the previous issue, there is lots of action here, and Rios just kills it. There is a fluid, graceful quality to every page, to every panel. Whether it's two characters talking in a hospital or two super powered females duking it out in the sky, it all looks stunning. This is one freaking fantastic looking comic book.

This is, without a doubt, the best looking issue that Dexter Soy has delivered. This dude needs to draw a Transformer book, stat. The giant robot looks absolutely stunning. Plus, the his layouts are second to none. The pages flow, at times without panel borders. Instead, the characters and the action divide panels and movement. This is Soy's last issue of Captain Marvel, so hopefully Marvel has plans to stick him on a book that features lots of giant robots. The guy seriously has a gift.

In addition to the fantastic writing, this series has featured a rotating team of unique and superb artists. That continues in this issue which sees Filipe Andrade hopping into art duties. It might take you a few pages to warm up to his kinetic style, but once you get into the meat of the book it really starts to soar. This thing just looks amazing. There is so much energy and life to every scene and every panel. Trust me, just flip to Captain Marvel's fight with two giant dinosaurs on the streets of New York. It's hypnotic and damn beautiful. This is the kind of comic that all superhero books should aspire to be.

Kelly Sue DeConnick is joined by Christopher Sebela on scripting duties this time around but the story doesn't suffer one bit. The dialogue is snappy and fun, as usual. Carol Danvers' little corner of the Marvel Universe is a fun one, filled with crazy characters and hilarious interactions. This is just a great issue from start to finish. I love this world, I love these characters. Hell, I'd read a book starring Wendy and Chewie the cat in a heartbeat.

Once again, the stupendous artwork of Filipe Andrade gives a kind of kinetic energy to the book. The scenes that feature Carol in hospital look nice and have just the right amount of emotion. But, the scenes were Carol is punching dudes in the face and jump from roof to roof in New York City? Frickin' amazing. Jordie Bellaire, who I believe currently colors 83% of the comic books on the market, does some gorgeous work in this issue, too. Captain Marvel's costume just pops and glows. Everything about this comic book looks great.

The story itself starts bringing things full circle, connecting people and places we saw back in the first arc to the current madness. It's good stuff, and a pretty clear indication that Kelly Sue DeConnick and Christopher Sebela make an excellent team. The dialogue is snappy and smart, too, which should be a given since it's basically become a staple of this series. Without a doubt, Captain Marvel is a killer series, even in its more lackluster issues, that Marvel fans should be reading and supporting.

At the very least, the issue looks good thanks to Victor Ibanez and Pere Perez. The story flows smoothly and is easy to read. There's no "wow" moment but that might be more of a scripting issue than an art problem. Too many action scenes are skimmed over and not given enough room for these guys to showcase what they can do. Captain Midnight is off to shaky start, but it's good enough that I'll be back for issue one when it launches.

Fernando Dagnino nails the action. His art is kinetic and exciting. The slower scenes look okay, but it's when the characters are flying across the page, jump kicking, snapping necks, or sliding in from helicopters that the book really soars. Captain Midnight isn't the best-looking character, as far as his design is concerned, but Dagnino makes him look great. I'm ready for more Captain Midnight. Ready for more Nazi punching action and more polar bears. Well, I don't need the polar bears... but it'd be nice.

Eduardo Francisco does some stellar work here, as well. The bulk of this issue doesn't feature any costumed, super heroics, and it looks fantastic. His character work is expressive and dynamic. He never skimps on a panel, always finely detailing the world and shifting the view to keep things fresh and interesting. Captain Midnight #4 is great looking, from start to finish. As a pleasant bonus, this issue also happens to be a perfect jumping on point, so get on board, it's worth it.

Jeske handles the art and it's as crazy as the story. Some scenes look amazing and surreal, others look a little muddled and confusing. The best bits come when things get really crazy and monsters creep onto the page. Casual conversations look okay, but when there's death and mutilation, the book soars. The good outweighs the bad, but it's a shame not every page rises to the occasion. As long as Change keeps the craziness and horrors ramped up, I'll buy every issue they put out.

The writing is solid, but it's the art that will grab most people. Ferreyra gives an unholy energy to the page. Nimble Jack seems to just float; he's captivating. Whatever sort of horrors he has in store, you'll want to see, because Ferreyra makes everything look so damn good. And seriously, guys, did you see his cover? The dude can draw and this book is a testament to that fact. Colder is a book worth reading and the kind of book that Dark Horse should be doing a lot more of.

The easiest selling point on Colder is the art. This book looks incredible. Juan Ferreyra does some of the most expressive, convincing character work I have ever seen in a comic book. Horror and darkness has never looked so damn pretty. Flip to the double-page spread of the theater filled with giant eyeball people. Stare at that and let its beauty sink into your skull. It'll haunt your dreams. And Nimble Jack? He's due for cult status any day now. Such a sinister character, both in design and execution. Read Colder. Do it. Stop what you are doing and read it.

The absolute best thing about Colder is the incredible art of Juan Ferreyra. It's amazing. At one point, Nimble Jack climbs out of a dude's mouth, splitting him in half in the process. It's so horrifically rendered by Ferreyra that you'll squeal in disgust and delight. Everything from the panel layout to the character design is spectacular. Colder looks as good as it reads. If you aren't buying Colder, then you must hate yourself. Stop hating yourself. You deserve to enjoy this comic.

As stated in previous reviews, Juan Ferreyra is a god amongst men who draws our darkest fears and uses his sorcery to haunt the dreams of the sane. It's crazy (get it) how good Colder looks. This issue starts a little slow, with Declan in a grocery store, but once you get to the realm of madness you'll drool and moan with admiration. The creatures, the buildings, Nimble Jack; all of it. It's truly horrifying. Ferreyra's art makes Colder a book you simply have to buy. You'd be crazy not to, because once Colder grabs you, it does not let go.

All this aforementioned horror and violence is rendered in terrible detail by Juan Ferreyra. It's absolutely insane how good this issue looks. There are stakes jamming through eyes, dogs tearing dudes apart and so much blood you feel like you are swimming in it. Ferreyra has superstar written all over him and the words are written in blood. Visually, this book is leaps and bounds above 99% of the other books on the stands. Whatever Ferreyra does next, buy it. Keep this man creating, he's too good to ever stop.

This issue looks good, too, thanks to Michael Walsh and Jordie Bellaire. Walsh is great storyteller, and it shows in his character work. Expressions and reactions mean a lot in this comic, and Walsh makes sure they carry the proper weight. At times, it can be a bit difficult to tell the characters apart, which is a bit of a problem, especially when we are talking about multiple versions of characters. The colors look amazing, because Bellaire is a wizard of some sort, traveled from time and space to come here and bestow glorious color work on our comic books.

The book looks fantastic, too. Michael Walsh sets the mood perfectly, giving us the nuances of the characters on the page. It doesn't feel staged and stiff; it flows and moves like an expertly shot film. Jordie Bellaire lays down some beautiful color work, as well. She doesn't over do it, using a simple palette that gives the book a dark feeling. Comeback #3 looks great and reads even better. Set your watches, folks.

Ariel Olivetti's artwork doesn't always gel with the superhero books he is working on, but Conan fits like a glove. His detailed, painted style looks fantastic and gives the world a hyper-fantasy look. As with some of his previous work, there is some overall stiffness to the characters, which drags down some of the faster paced scenes. Overall, the issue looks really good and unique. none of the Conan comics on the stands look anything alike, which is kinda cool. I'm onboard with this series and can't wait to read more.

Where this comic really suffers is in the art department. For whatever reason, Ariel Olivetti decides to draw nearly every character identically. The thieves, raiders, barbarians and kingdom folk all look exactly the same. Like, they are all the same dude who's facial changes slightly from panel to panel. The painting effect that Olivetti is known for also has a rushed quality to it. It's as if he simply didn't have as much time this issue to give the backgrounds and character details the time they required. Walls are just smudges of brown and grey. Character's hair becomes a mess of smeared color effects. It looks rough, especially when you consider how great that first issue looked.

Wood, however, continues to make this the Conan book to read. I've been a huge Conan fan for years and Wood is the first writer in a long time that has made the character feel fresh and exciting. As long as he is at the helm, this series is a must buy. Hopefully, the art will get back on track and this book will stop being good and start being great again.

The art doesn't help the situation much. Like the story, it's close to being good, but there are more than a few panels that just feel off. When scenes shift into different perspectives " downward angles and the such " it looks very, very strange. Artist Renato Guedes does nail a lot of the straight on character work, though. Constantine looks good, even if he seems to lack any sort of expressional range. Unfortunately, Marcelo Maiolo's colors miss the mark, too. There's nothing horribly offensive in this issue, but it really needs to kick things up a notch if it wants to stay on the ol' pull list.

Fabiano Neves' art doesn't help matters. At times, he gives some great emotion to the characters. However, when it comes to body language, things get screwy. Characters often have awkward and stiff poses. Also, there are far too many lines on Constantine's shirt, which gives him a puffy, stuffed look as opposed to a wrinkled, unkempt one. That said, Neves does deliver a high level of detail in nearly every panel. He never skimps on a background or a stitch of clothing. There are some truly great looking pages, we just aren't really given a reason to care about them.

As far as extras go, you get a crap load of them. There is an interview with Neil Gaiman. There is a feature on a cosplayer. There are some Best Of lists, a small essay/rant from each of the creators and lots more. It's not all good, but you would be hard pressed to not find at least one thing that you wanted to read in this issue. This is a magazine that earns its price tag; the Big Two could learn a thing or two from Creator-Owned Heroes. I sincerely hope these guys can keep this up, because we could really use more comic books like this.

The extras this time around are incredibly diverse. You'll find something worth reading within the pages of Creator-Owned Heroes, even if you don't enjoy all of it. Personally, I couldn't care less about an interview with a personal trainer, but I really enjoyed Palmiotti's tips to running a successful Kickstarter campaign. But, that's the real strength of Creator-Owned Heroes, they cover all the bases. No matter what you looking for, you'll probably find it in an issue of Creator-Owned Heroes. How many other comic books can say that?

Riley Rossmo and Colin Lorimer are two artists whose names you should know. Lorimer takes the lead here, drawing the bulk of the comic and doing a hell of a job with it. The man handles characters and expressions as well as any of the big guns in the industry, and that shows. The first few pages will sell you on the series, no doubt. Those first few pages have enough darkness and horror to carry the whole issue. It's brutal stuff. Rossmo handles a brief flashback, and it looks really good. As a huge Rossmo fan, it is not lightly that I say that his pages are the weakest of the comic. Not bad, but Lorimer is good, any time he steps out, it's just a damn shame.

After reading the first issue of Curse Words, we're hooked. Charles Soule and Ryan Browne have a winner on their hands, no doubt. Though some of the humor is a little dated already, as jokes about popular music poke fun at the early 2000s, these are minor complaints. We're onboard for the adventures of Wizord, his Koala Bear familiar, and his sweet, sweet beard. Harry Potter can suck it, Wizord is the magic user we need.

The biggest problem the book has is the art, which is surprising given Top Cow pedigree. Khoi Pham is an artist that can be really hit and miss, and he manages to do just that throughout this entire issue. Some panels look great, some look unfinished. For whatever reason, it seems like any time technology is drawn, which is often in a book titled Cyberforce, Pham just gives everything a scratchy quality. The overall effect is somewhat underwhelming. Still, there are more than a few great pages sprinkled through and hey, it was free. Hard to complain about free.

In this issue, Daredevil crosses paths with the ClanDestine. It's less than compelling and not the kind of story that deserves to be stretched out with an extra long annual issue. Again, it's not bad and certainly does entertain, but once it's over you'll close the book and forget all about it. There is nothing lasting within this issue. It's a bummer, because Daredevil is a character that has been on my mind ever since Waid's relaunch.

Chris Samnee's art goes with the story perfectly. He's the kind of artist that really delivers when it comes to characters and expressions, and since this is a book about a date and a law school flashback, he's perfect here. You only have to look at the first page to get a sense of how wonderfully he nails this story. Waid and Samnee just gel here, and they deliver one hell of an awesome funny book.

If you happen to be a long time Daredevil reader, you'll definitely notice how bright this issue is, too, especially in comparison to previous volumes of this series. The colors pop off the page and there is hardly a shadow to be found. It feels like some of the pages are practically glowing. This is not a bad thing; there are plenty of dark and gritty superhero books on the shelf. It's nice to have a fun comic book that reminds us what makes superheroes so great in the first place.

Chris Samnee once again dominates on art. His simple style fits Waid's back-to-basics storytelling perfectly. Samnee plays with light, dark and color here to great effect. As Daredevil struggles to "see" his surroundings, Samnee drops out the detail, letting only outlines come through. Of course, the really standout moment of the book is a fight on the rain-soaked rooftop of Dr. Doom's castle. It's beautiful, filled with the kind of comic book pages that you just stare at. Add in a surprise appearance from a popular Avenger and you one very good looking, fun to read comic book. Gorgeous stuff.

Chris Samnee has got to be the hardest working man in the comic industry. The rate at which he cranks out stunning artwork is mind boggling. This issue looks fantastic. The opening spread, which is a mixture of Ant-Man's origin and Daredevil's origin, is a true work of art. It has a classic feel, like something out of the golden age. It's hard to imagine a better superhero book out right now; that's probably because there isn't one.

I'm running out of adjectives to describe Chris Samnee's art work. Fantastic? Brilliant? Beautiful? It's all those things and more. He gives every issue he touches a classic feel, like something from Marvel's golden era long ago. He even draws in his own sound effects. And his books are never late. The man is a gift to the comic book medium. I don't say this lightly; I really, truly believe he is closest thing we have to a modern Jack Kirby. If we could figure out how to clone Chris Samnee, we just might be able to save the entire industry.

Chris Samnee is as amazing as ever. His art adds to the old-school feel, with hand-drawn sound effects and an emphasis on just the right points. For example, Hank Pym wearing a lab coat over his costume. Or Daredevil clipping a giant clothes pin on his nose to block out nasty smells. It's those kind of things that add to the fun tone of this book. If you aren't reading Daredevil, you are failing so hard.

Naturally, the issue looks a-freaking-mazing. Chris Samnee is a machine, delivering incredibly and gorgeous artwork at an inhuman pace. His classic line work and layout style suit Waid's storytelling like a glove. Plus, somehow, against all logic, he manages to make The Spot look terrifying. Coyote was creepy enough, but The Spot takes it to a whole new level. Samnee defines amazing and sets the standard to which all comic book artist should be judge. He's that good.

Chris Samnee is a robot. He has to be. There's no way a human could pump out fantastic art this quickly. He even does his own sound effects. It's not possible. Daredevil, issue after issue, looks amazing. Samnee nails the action scenes and delivers big time on the character moments. His awesome art is enhanced thanks to the killer coloring by Javier Rodriguez. This issue is a smooth ride that is easy on the eyes and fun to read. I'm not saying a new issue of Daredevil makes the world a better place, but I'm not saying it doesn't either.

Of course, I am required to do my customary gushing about the artwork of Chris Samnee. Sure, all the crazy super heroics look awesome. And yes, I want to wallpaper my house with that image of Daredevil standing atop a building and that amazing cover. But, where Samnee really nails it is in the last four pages. It's a quiet scene, filled with emotion and heart. The look on Matt Murdock's face was enough to bring a tear to my eye. No joke, guys, this one hits home. It's incredible.

So, back to Chris Samnee. Dude's incredible. His knack for storytelling is unparalleled in modern comics. The transitions are damn near flawless and each page is laid out with a crisp and clear precision. The use of shadows, of light and dark, gives a rich depth to setting and characters. And, man, the hand-drawn sound effects are just the best. Few comics have even half the heart of a typical Samnee drawn issue of Daredevil.

Topping off the sundae with whipped cream and a cherry of awesomeness is Chris Samnee. His stuff is always great; always top notch. Here? It's another level. It's in a new dimension where only amazing art lives and rules the land with an iron fist. The action just flows; it swims across the page. It really is a thing of beauty. Plus, killer coloring, slick lettering, and hand-freaking-drawn sound effects. Daredevil #25 is one for the books, you guys. Read this comic or die miserable and alone.

The craft of this issue is beyond stunning. Joe Caramagna's lettering is superb (that neat trick with the elevator door), Javier Rodriguez's vibrant color work, all of it. Every piece of this issue fits into place. There's even a backup that rivals the main feature. We get to see Foggy Nelson learn the importance of believing in something from a group of cancer-stricken children. It's moving, inspiring, and heartbreaking all at once. From cover to cover, Daredevil #26 delivers. This is what happens when everything clicks. This is why we love comics. This is what it is all about.

Of course, Waid's master stroke wouldn't have played out so perfectly if it wasn't for the superb work of Chris Samnee. In an issue that features brutal fights, chemical blindings, and tons of shadows, the one thing that you'll remember is the smiles. Subtle little smiles that shine through the darkness. This is a comic that uses shadows better than almost anything in recent memory and it's those sly little grins that break through. It plays with you and muddles your expectations in all the best ways. Here's hoping Waid and Samnee hang around the Man Without Fear for a very, very long time.

Waid continues with the threads he has established (Foggy's cancer, Matt's new advice-giving law practice) while still managing to make this feel like a new beginning. If you were waiting for time to jump into Daredevil, now is the time. You get everything you need here to enjoy one of the best comics in recent years. Seriously, you are out of excuses. Buy this book and dream such dreams as you never thought imaginable. Maybe that's over selling it? Probably not, it's pretty amazing.

Javier Rodriguez is on pencils and colors again, and things look awesome. His characters are expressive and dynamic. The action is superb. Solid inking from Alvardo Lopez completes the package and makes Daredevil #29 a damn fine looking comic book. There a few pages that have a noticeable lack of backgrounds, but Rodriguez makes it work by keeping the colors bright and having them switch with tone and movement. Daredevil continues to impress, but you already knew that.

Through all of this superhero madness, there's a heart. Foggy's cancer is at the back of your mind. Matt is struggling to rebuild his firm and his life. The moment that'll really get you though, the one that'll make your heart hurt, comes towards the end. It's a simple line told by a sentient lie (really) that cuts our hero to his core. The mostly-wordless final page is one of the best comic pages I have ever seen. This is the stuff of legends.

Of course, Waid and Samnee don't do Daredevil all by themselves and I'd be remiss if I didn't mention the awesome work of some of the other creators. Javier Rodriguez gives us a masterclass in coloring. His sold style fits in wonderfully with Samnee's art; it becomes a part of the story instead of sitting on top of it. Letterer Joe Caramagna does some magic here, as well. This is a dialogue heavy issue, but it never feels overdone or intrusive. Caramagna blends the balloons and words into the comic, giving it a fluid, smooth look. Daredevil #31 is how comic books should be done, in just about every aspect.

As usual, Chris Samnee delivers page after page of stunning artwork. Without a doubt, Samnee is a legend in the making, a guy that future comic artists will study. I've said it before, but he is the closest thing we have to a modern day Jack Kirby, and that's about as big of a compliment as I can pay someone. Javier Rodriguez's colors are as vibrate and beautiful as ever while Joe Caramagna reminds us that great lettering can make or break a comic (it makes Daredevil, for sure). Let's all cross our fingers that this team sticks around, because Daredevil is as good as it gets.

Jason Copland fills in on art in this issue, and he does a fine job. His style matches well with what came before, although his storytelling isn't quite as strong as some of the previous artists. He does deliver so really great, big moments that look freaking fantastic and help to carry the book overall. As usual, Javier Rodriguez does brilliant color work. His palette has really become the heart and soul of this book, tying together the many different artist who have stepped in over the years.

Javier Rodriguez is on pencils and colors this issue, and he nails them both. The page where Matt Murdock stands on top of a building and just looks over the city is worth the cover price alone. There's a fluid grace to the panels, a softer touch than we normally get in this series. Rodriguez gives this issue his own spin, but still manages to make Daredevil #34 feel completely inline with the stuff that came before. Listen, this series is just awesome. Every inch of it is amazing and you should be buying it every time a new issue hits the stands.

As you probably expected, this issue looks amazing, too. Samnee is in top form, delivering page after page of gorgeously detailed artwork. His Elektra is one of the best I have ever laid eyes on, and considering my love for Frank Miller, that is saying something. The colors are fabulous, as usual, thanks to color wizard Javier Rodriguez. If nothing else (and there is a lot of else) Daredevil is still the best looking superhero comic around. Thankfully, this team looks like they'll be on the title for a while, so we'll have beautiful Daredevil comics to look forward to for the conceivable future.

Samnee's art is top notch, as usual. One page in particular sells this whole comic. When Matt utters a certain phrase to a courtroom full of reporters and cameras, it become the climax of this whole run. The words become the book, literally shaping the panels and taking over. It's truly stunning and a perfect example as to why Daredevil is one of the most visually compelling comics in recent memory. Colorist Javier Rodriguez and letterer Joe Caramagna do great work, as well. This issue, like this series, is a cut above the rest. All superhero books should dream of being this good.

Even hardcore hornhead fans are better off just waiting for the next regular issue as opposed to paying the inflated cover price of this book.

When you take DD's other books into account, it's hard to think of a character that is being drawn better right now. Weeks just kills it. I'm not sure what he has been doing lately, but it's great to see him on a prominent Marvel book again.

What it may lack in the writing department, Weeks more than makes up for with his art. Daredevil: Dark Nights #2 looks superb. The storytelling is great, especially in the first few pages, in which he plays with expectations. Seriously, there is not a single bad looking panel in this book, every one of them knocks it out of the park. If nothing else, Daredevil: Dark Nights is worth your attention because it's so damn gorgeous.

The story is a good one too, although it gets a bit convoluted in this issue. The simplicity of the race to find a little girl's heart is buried in a snowfall of characters and motivation. The first issue focused heavily on Matt Murdock's head injury and this one seems to all but discard that event. Of course, over-plotting aside, that last page is absolutely magical. Daredevil: Dark Nights #3 most definitely ends on one hell of a high note.

The art for this issue really caught me off guard. I've been a big fan of Lapham's art since I first read Stray Bullets, but I never realized just how well this would fit in with the current look of Daredevil. Hell, if the main DD book needs a fill-in, Lapham would be the guy to call. He does some killer work here, delivering a range of stuff, everything from giant monsters to character drama to that pesky little gnome dude. The best parts are the smaller moments though and now I think I'd like to read a Daredevil romance book written and drawn by Lapham. Make that happen, Marvel.

Klaus Janson is a true legend in the world of comic book art. Add in finishes and paintings from Bill Sienkiewicz and Daredevil: End of Days quickly becomes a master class in comic storytelling. This issue is a true feast for the eyes. From the opening double-page spread to the final, tense confrontation, every single page nails it. Every page is a thing of beauty; each of them deserves to be hung in your dining room and the subject of awkward dinner conversations between friends and family. Daredevil: End of Days is so dark and bleak and heartbreakingly gorgeous that it'll make you want to throw up and cry with joy.

Adding to the rundown, broken feeling of the book is the art work of Klaus Janson and Bill Sienkiewicz. It's killer stuff. This doesn't look like the Marvel Universe we know, but rather a future version of it where things haven't advanced. We also get some painted spreads by David Mack that are unbelievable. This is kind of stuff you want to hang on your wall. The thought and care that have gone into this book is staggering. Sure, it could wear thin pretty quick, but so far it's pure gold.

Once again, Klaus Janson and Bill Sienkiewicz kill it on art duties. This thing just so freaking beautiful. From the opening double page spread to the brilliant final scene, this issue just delivers. Of the best moments comes when Urich pays a visit to everyone's favorite skull-clad vigilante. The tension is thick, and Janson and Sienkiewicz's art pulls you into the heart of it. It feels like slow zoom in a film, slowly bringing us into the character's eyes; slowly ramping up the intensity. As someone who has been a Daredevil fan for over 20 years, I can safely say this is one of the best books the character has ever had, even though he's dead in it.

Look, I'm running out of ways to praise the art in this thing. Klaus Janson and Bill Sienkiewicz are giving us a master class in comic book art with each and every issue. The storytelling is brilliant. There are less trademark Bendis double-page paneled spreads and the book is stronger for it. And folks, you can die happy once you see the two painted pages that Sienkiewicz delivers here. This comic book is truly a work of art; a thing of beauty. I never thought Marvel could kill off one of my favorite characters and I'd love it so very, very much. More Daredevil: End of Days, please.

When it comes to the art, well, it's still top notch. Klaus Janson and Bill Sienkiewicz kill it. They destroy it. This issue features an amazing page that is a tribute to the first appearance of another classic Marvel hero. It's stunning. The only hiccup, and it's a small one, is Alex Maleev's page. It's a little stiff and awkwardly staged. Not bad, but it doesn't reach the heights of the other brilliant pages in this issue. The thing that is truly bad about Daredevil: End of Days is know that it'll end, and end soon. That hurts, because I adore this series.

The story beats are magical, too, thanks to the glimmer twins known as Brian "Magic Foot" Bendis and David "Big Mac" Mack. The layered tale these guys have woven is a true work of brilliance. It's hard to accept that there is only one more issue of this series, but hot damn I can't wait to see how things turn out. We still don't even know what "Mapone" means! You double ship all your other books, Marvel! Give All-New X-Men a week off and get us the last issue of Daredevil: End of Days pronto!

Story aside, this thing shines when it comes to the art. Since the first issue, Klaus Janson and Bill Sienkiewicz have been delivering one of the best looking comics in recent memory. If nothing else, I'm sad to see this mini-series end because this unbelievable art bream won't be working together anymore. I'm extremely bummed to leave this world behind and that's largely because of the work of these two legends. David Mack also provides some gloriously painted flashback pages, which help reveal the beginnings of this story. All in all, Daredevil: End of Days #8 is great, if not the flawless ending we all hoped for.

When it comes down to it though, the best thing about this book is Bernard Chang's artwork. He draws and colors the issue, and it looks beyond amazing. His character's eyes say more than some artist's entire panels. His colors jump off the page " or screen, in my case " and add a layer of depth to the book. Chang is drawing two people sitting chairs and talking for the bulk of the issue and it still looks better than the majority of the comics out there. It's stunning, really.

Matteo Scalera has really become a superstar this year. This guy can deliver, that's for sure. Every page he draws has such intensity to it. The whole issue looks great, but the brief car chase in particular looks amazing. It feels like the cars are gonna drive off the page and roll you over (you probably deserve it). Scalera can draw action s well, if not better, than any other artist currently working, which should make you very excited for Dead Body Road. If the first issue is any indication, this series promises lots of action and that is something to be very pumped up for.

Chris Visions art is scratchy and all over the place, which is kinda the point. Some of the action is a little confusing and hard to follow, but overall this book looks supreme. The grit and darkness fills every panel, like the best mystery movie you've never seen. The violence is fast and brutal, even when it doesn't stick. Ruth Redmond provides some great colors, too. Visually, Dead Letters can be a little choppy, but that won't stop you from tearing through it. It's a great comic book, through and through.

Deadly Class is one kick ass comic book. Amazing art, lettering, coloring and story. This is the whole package, folks.

Wes Craig is unbelievably good. Deadly Class is laid out damn near perfectly. Within the first couple pages you see just how incredible this man is. Pages literally fall apart as a character nearly falls to his death. The panel cascade and crash down, enveloping the reader in the same sense of panic and chaos that the characters are experiencing. It's truly stunning work. Lee Loughridge's colors are brilliant, as well. Visually, Deadly Class #3 is as good, if not better, than anything else on the stands.

The highlight of this issue, as with previous issues, is Tony Moore's art. He gives every character an exaggerated, expressive nature. The humor of the book is elevated by Moore's handling of every scene. Of course, what Moore does best is draw people being torn to pieces, and there is tons of that in this issue. The violence looks over the top and ridiculous, which fits the tone of this series perfectly. Lincoln vs. Deadpool during a UFC match looks great. It's fun stuff, even if it doesn't have much weight to it.

Mike Hawthrone draws some great characters. His Crossbones looks fantastic and his Deadpool is even better. However, the world itself feels slightly empty. At times, the characters feel like they are on a sound stage, people and objects only appear when Deadpool or Crossbones are going to interact with them. Of course, you can forgive an empty looking page when the characters that populate it look so damn good. Deadpool is a pretty comic book, which seems like a really weird thing to say.

Scott Koblish and Val Staples commit to the throwback look of this book completely. The idea is that this is a lost issue of "Nick Fury and His Howling Commandos" and the art embraces that. The pages look worn and faded. The color bleeds at times and the whole comic has a tinge of yellow decay. It's gorgeous stuff. There are moments when the storytelling is a little choppy and it's hard to tell how one set of characters moved across the scene, but it's nothing that'll stop you from enjoying the issue. This comic is great, and I say that as someone who typically has no interest in the merc with a mouth.

Bringing all this awesomeness to life is Riley Rossmo. His art is a thing of beauty. The opening battle is so stunning, it's haunting. It's up there with the best animated action movies, like it roars and crashes to earth. He does magic with the scale, making the giant monsters feel truly gigantic. By the time it comes crashing into town you'll be ready to stand up and cheer. This is grand comic book making, kids. Drop one of those superhero books that you just buy out of habit and buy Debris. It's deserves a spot on your pull list.

Just like the first though, the real star of Debris is the artwork of Riley Rossmo. This book looks incredible. I could read a series that contained nothing but Maya fighting Debris monsters. You can feel the movement; the intensity. When Maya slides across the ground to grab her gun, it feels so cinematic, so perfect. He drops out the backgrounds at the perfect moments, so you can focus on the punch, stab, kick or shock. If nothing else, Debris is a visually stunning book that proves that Riley Rossmo is the real deal. This is what comic books are all about, guys.

The main reason this world works so well, that it feels so bleak and real, is the artwork of Riley Rossmo. His techniques as a storyteller are superb. The monsters he brings to life in this and every other issue of Debris are truly unique and awesome. The art is enhanced by Owen Gieni's coloring. The aforementioned flashback sequence is the only place that things fall a little flat. All in all, Debris #3 is a gorgeous comic book.

Sadly, I can't say the same for the art. It's not even second class. It's coach. Riley Rossmo's stunning visuals have been one of the books highlights. For reasons that I can't fathom, Rossmo merely provides breakdowns in this issue and has colorist Owen Gieni produce the finished art. The end result is a muddled, unfinished look that sucks the heart right out of the issue. The book really falls apart towards the end, when it should be at its strongest. The epic battle looks like a mess. It's a damn shame, because before this issue hit stands I had Debris pegged as one of the best series of the year.

If nothing else, the book looks damn good. Bernard Chang doesn't get to draw anything terribly exciting, but he makes the most of it. There is a brief rebellion in Hell, and it looks pretty great, but it doesn't last long.His character work is spectacular, and considering this book features a lot of people standing around talking, he is the perfect guy for the job. Ultimately, Chang is a fantastic artist that is sadly wasted on a somewhat pointless issue.

With the great setup given in issue #8, you are out of excuses for not buying this phenomenal series. It's time to jump on board and enjoy one the best offerings in DC's new title lineup.

The book looks good and ends with an awesome cliffhanger. Sea monsters and deals made in Hell? Come one, folks, buy this book. It's worth your time and money.

What can be said about Diogenes Neves that has not been already said? The guy's amazing. You only have to glance at the first 5 pages of this book to realize what a superstar Neves is. By the time you see Vandal Savage uppercut a sea serpent you'll be in full swoon, I promise. He also gets to draw giant monster animals and a zombie King Arthur in this issue, so it is safe to say this one is a win.

Diogenes Neves goes it alone on art this issue. He'sstill backed by some great inkers and colorists, but he's the sole penciller listed this time. His stuff looks great, as usual. There is a lot of magic in this issue, lots of energy and explosions that at times looks a bit confusing. Don't get me wrong, it still looks awesome, it's just frantic. At times it's hard to see where all the characters are and exactly what they are doing. Of course, that's to be expected when wizards, demons, immortals, and monsters do battle in a magic tower filled with an entire kingdom.

Bernard Chang is again on art duties and his fluid and graceful style is truly a complement to the series. The characters look fantastic and sinister. There's tons of emotion on every page and even a scene that's filled with dinosaurs and samurais. There's a battle brewing and with Chang drawing it you just know it'll be so freaking slick and beautiful. If nothing else, Cornell and Change are at least making sure this story arc goes out on one hell of a high note.

Where Galaxy For Hire really excels is in the art department. Artist Sherard Jackson and colorist Whitney Cook deliver some gorgeous pages, especially in the issues opening scene. The aforementioned giant dragon looks amazing. So good, in fact, that when the dragon isn't on the page everything else feels little lesser energized. There's still good stuff throughout, but Jackson clearly has a talent for drawing giant monsters. If nothing else, Galaxys For Hire is worth checking out just to see that awesome dragon scene. Did we mention it's free, guys? A free giant dragon, what else could you ask for?

On art duties, Denys Cowan does a fine job. The art style is sketchy and a bit frantic. There are times when the character's anatomy feels a bit off and the perspective feels a little compressed. There are some issues with movement too; it's hard to tell if we're looking at one werewolf moving along the outside of a house or three werewolves all just perched in different spots. All in all, the look fits the series very well, it'd just be nice if the script was a bit more cohesive and would give the art some breathing room, because it feels like the book could really shine if it did.

Denys Cowan is still great on art duties. His sketchy, detailed style might take some getting used to for certain readers, but it fits the series. He really shines in the close up moments, in his details. When things are pulled back a bit, his character work starts to lose focus. But, man, when he draws a character's face nice and close up, it is freaking glorious. Seriously beautiful stuff, in a horrify, voodoo, and werewolves kind of way.

Trevor Hairsine has done some incredible stuff for Valiant already, but this is his best work to date. He renders all the bloody violence with such fluid detail, it really is a sight to see. The gore barely takes a break as the issue barrels along. The action steals the show, but it's the smaller moments that he really nails. The subtle smile on the Eternal Warrior's face as the war rages around him. The look of pain on his face as loved ones die around him. It's beautiful stuff and the kind of thing that'll keep you coming back month after month.

Trevor Hairsine is joined by Clayton Crain this time around, but the division of art duties works. Typically, dividing a single issue between two such drastically different artists is a recipe for disaster. This issue avoids that pitfall by having each artist handle a different period in time. The flashbacks are Crain territory, and they look spectacular. The main story is all Hairsine, who is doing the best work of his career in this book. The colors, provided by Brian Reber, are as solid as ever. Eternal Warrior is complete package, a full course of awesomeness.

Artist Robert Gill does spectacular work in this issue, as well. He brings a stunning level of detail to this bleak future, drawing crazy robots, bloody sword fights and lush landscapes all with a superb level of skill. By the second page, you'll be in awe of this guy's art. I don't know where this comic is going and what this crazy future has in store for our lead character, but I know I want to read it and I want Gill to draw it. It's a thing of beauty and further proof that Valiant is publishing some of the best comics around.

Robert Gill does some amazing stuff in this issue. He draws excellent looking characters and you get a sense of the world through them. The boss of the newly discovered city instantly clues you into the kind of the place our heroes are walking into. Sometimes the background are a little sparse, and the action is a bit jumbled this time around, but this issue is on target a majority of the time. Eternal Warrior looks awesome and has a gut-punch of a story that'll leave you begging for more.

The best thing about Exiled #1 is the art. Carmine Di Giandomenico draws an insane amount of detail into every panel. I don't know if one of those three writers told him to draw a bridge made of eyeballs, but it looks awesome when he does. For a book that wasn't too fun to read, it sure was great to look at. Unfortunately, his art is buried by the story at times. Towards the end of the issue, as Asgardians, demons and mutants all face off, he is given a chance to spread out a bit and it looks great when he does.

For the most part, Mark Bagley's art is pretty solid. There are a few panels that look slightly rushed, leaving characters looking a little off. That said, it's hard to deny that Bagley is an expert storyteller. He gives the book a clean, classic look that fit this all-ages series like a glove. The aliens look great and the heroes look awesome (Reed Richards has one finely sculpted butt). The art and the story create a package that is big and daring, without being convoluted and inaccessible. Bagley and Fraction have taken the Fantastic Four back to their roots in all the best ways.

If nothing else, the issue looks pretty damn good. Andre Araujo does some killer work. He has a sketchy, European style that reads fantastically. The highlight is his Thing, who he injects with superb levels of detail and character. That said, there are a few moments where some of the other characters look a little odd, mainly in their facial expressions. Pupils are different sizes, heads seem misshapen. The colors also feel drab and flat, which doesn't help the slower scenes.

The art, on the other hand, is good, but doesn't quite excel like the writing. Mark Bagley, inked by Mark Farmer, does a serviceable job, and definitely nails a lot of the small moments, but the book still feels like it lacks a strong visual character. The storytelling is fine and the panel structure does its job, which is all fine and dandy. There's just no panel or page where you go "Wow! Look at that!" It'd be nice if the art matched the excitement and fun of the story, but it simply doesn't.

It's not all lollipops and sunshine though, because Mark Bagley's art has some huge dips in quality in this issue. The first page is awesome. The fight scene that dominates the back half of the book is superb. The scenes in between are considerably less awesome. The Richards kids look downright strange, with bizarre head shapes and facial expressions. Once the fists and energy blasts start flying, everything looks great, but those small moments are almost painful.

This issue also features the best Bagley work we have seen to date. Perhaps this has to do with new inker Andrew Hennessey or perhaps there's just more of a focus on the characters and anatomy. Either way, everything in this issue looks superb. Previously, the Richards children looked somewhat off, but that isn't the case here. Fantastic Four #7 looks fantastic and how could we hope for anything more?

Matt Fraction has a gift. He crafts these lines of dialogue that you can't help but repeat. You want to wear them to dress yourself in the conversation of superheroes. If you read Hawkeye, you know plenty of them. Well, "Yancy Street Don't Bend!" It's not just because it sounds great when you yell it, it's because it has weight. When Ben Grimm says it, it means something. There's an intensity in those words that you don't always find in superhero comics.

Matt Fraction is on fire, as usual. His structure and narrative are spot on, but it's the dialogue that really soars. He often gives each issue a signature line, something that sticks out and brands the story. "Yancy Street don't bend!' was the line we got in the previous issue. This time around, it's Doom's signature catchphrases, like "You dare?!" When you have fifteen Dooms all yelling out some variation of the same line, it's pretty hilarious. Fantastic Four is just plain ol' fun.

Fans of Brubaker and Phillips won't be disappointed with this issue. They have become one of those teams that are synonymous with great comic books. There is very little these guys touch that doesn't come out great. If you haven't been reading Fatale, don't start here. Go back and pick up the first three issues and then read the glory that is issue #4. You won't be disappointed.

The only problem this issue has, and it's a minor one, is a few art hiccups. Sean Philips is one of the best artist in the working in the medium today, but he's not one hundred percent on his game in this issue. The anatomy of some of the characters feels off, waists are too small, noses grow and shrink. It's still a great looking issue, but if you are used to Philips work, you'll no doubt notice that this isn't his best stuff.

Sean Phillips does his usual tricks here, and the results are awesomeness in its purest form. He brings the madness forth in every page while keeping a natural talent for storytelling front and center. Artists are as much of storytellers in the comic book medium as writers, and Sean Phillips is one of the best. The pages are smooth and graceful, even when the panels are filled with blood and chaos and death. You should be buying Fatale. It's that simple.

Sean Phillips delivers his normal level of quality artwork. His layouts are top notch and his skills as an artist and storyteller are in full effect. Fatale, as always, looks great. The big change this issue is the coloring by Elizabeth Breitweiser. Her style is a bit brighter and more layered than we have previously seen in this series, and it'll take some getting used to. Breitwesier is a master color artist, without a doubt, and any comic book would be lucky to have her, but she brings a different feeling to Fatale and I'm not totally sold on her style in conjunction with Phillips art. That might change if she sticks around for a few issues, but for now I can't help but miss Dave Stewart just a little.

Sean Phillips is amazing, as always. He draws the cracks of the world -- the rundown lowlifes of society -- better than anybody. Fatale looks lived in, like it's about to decay. There are no clean lines or dignified characters, just darkness and desolation. Elizabeth Breitweiser helps build the world with her subtle color work. There's a range of purples and pinks that give the issues a feeling of constant sunset, like darkness is always right around the corner, just a moment away. Issue #16 of Fatale is a thing of beauty.

Sean Phillips is a masterful storyteller. Fatale moves and reads like a dream, or a nightmare, rather. The beginning of the issue centers around an argument about what to do with the dead body of a friend. Phillips pulls you in and then suddenly, there's a hatchet in a head. The look of confusion and horror on the character's faces makes the whole scene. If you love horror, crime or just amazing comic books, you need to read Fatale. Brubaker and Phillips are doing some of their best work ever in this series.

Phillips and colorist Elizabeth Breitweiser deserve most of the credit for that aforementioned dread and tone. Fatale has a look all its own, from the lettering, to the washed colors to the blood spattered gore. Phillips and Breitweiser bring their A-game to every panel, never skimping on a scene. There's more detail in these pages than most comics manage in a whole year. Fatale is one of those comics that reminds you how great the medium can be. It's consistently fantastic.

Matt Fraction has really hit his stride with FF. In a lot of ways, this is an all-ages book, the kind of thing that many of us grew up reading. Fraction nails the characters and gives the series an huge, universe-spanning feel while still keeping things focused on the smaller moments (like a dessert bomb courtesy of the Yancy Street Gang). The dialogue is great and the story has finally started to separate itself from the main Fantastic Four story. Also, Doom the Annihilating Conqueror is pure gold.

Of course, what really sells the tone and heart of this book is the art. Michael Allred and Laura Allred make FF a slick treat. This is a character driven book and the Allreds solidify that each and every issue. Again, She-Hulk has so much personality and presence in these pages, and that is largely due to the art. There's times when a joke or a scene is accompanied with a mere look from a character; a sideways glance or a curled lip. These little nuances are a part of what make FF work so very, very well. You'd be hard pressed to find a more fun mainstream superhero book, and why would you want to? FF has everything we're looking for.

That said, there are a few scenes where the backgrounds disappear a bit too often and it can lead to some confusion. The store John Storm finds himself in seems strangely staged and barren. The FF building is also sparse and empty, but when your characters look this amazing, it's a forgivable offense.

As previously stated, Quinones nails the high-energy pop sensibilities that Allred imbued in this series. It helps a great deal, of course, that Laura Allred is still around to provided her gorgeous color work. FF #6, like the five issues before it, looks incredible. This is one of the comic books that you can just pop open and instantly understand. The writing and the art both convey that same sense of fun and humor. I'm going to start buying two copies of this book each month so that I can hand one out to a random person on the street and instantly make their world a little bit brighter.

Michael Allred kills it, as usual. Par for course, but this issue of FF is a beauty. The best bits in here are when the characters are talking things out and making big decisions; those are panels where Allred truly delivers. To be completely honest, the only thing keeping this issue from receiving a perfect 10 is a few scenes during the big fight where characters look a little stiff. Other than those small, small, flaws, this issue is stunning.

We've said this before, but wherever the line is for a Mike Allred illustrated She-Hulk series, we'd like to get in it. Allred draws strong women that stand and move with a purpose beyond sexy poses and broken backs. You can see She-Hulk's strength in the way she stands as opposed to insanely rendered muscle tone. The character work in this book, both in the art and the writing, is second to none. Of course, not everything is perfect: the action still looks a little stiff. The scene involving the kids dog piling in the halls of the Baxter Building is awkwardly staged, at best.

Weird creative choices aside, the issue at least looks fantastic. The bright pop sensibilities of Michael and Laura Allred are on full display, giving a vivid energy to a brief battle with a micro-tiger. The characters look great, as usual. FF #10 is big, bold, and beautiful. It's easy to get lost in this artwork, even when the story falls flat. Hopefully, Fraction and Allred won't be characters in upcoming issues so FF can get back to being the book we have loved so much in the past.

FF is also one of the coolest looking comics on the stands thanks to Michael and Laura Allred. Half the humor and heart of this comic wouldn't come through is it wasn't for the Allreds. The aforementioned time travel sequence will make you laugh out loud because of the characters' expressions. Then there's the casual appeal of The Impossible Man, who glances at his fingernails while asking the FF to take his son who is just entirely too possible. Yes, this book is beautiful and yes, you should be buying and worshipping it.

If you are starting a list of best comics of 2014, make sure you leave room for Flash Gordon #1.

Alberto Ponticelli has really honed his style, as it feels tighter and the panels feel more thought out. There are times when his anatomy feels a bit off, but considering this is a book where have the cast is literally sown together from spare appendages, it's a forgivable offense. His expressions are great, as is his scenery (Castle Frankenstein!) and he draws the action with just the right amount of chaos. Lemire and Ponticelli have just fit together superbly on this book. Sometimes, it's just fun to wallow in the insanity, and Frankenstein lets you do just that.

There are some great moments within this book, and a wonderfully heartfelt ending that showcases one of the things that makes this series so great. It's crazy and zany, sure, but it also has heart.

Alberto Ponticelli's art is as good, as usual. However, from issue to issue, even with that same inker on board, his line work seems to go from thick to light. Last issue had more weight, slightly heavier in the lines and shadows. This issue is lighter; sketchier. None of it looks poorly done, but I preferred his art last issue. His detail work, however, is as good as ever in this issue. The upside down city looks great, even if it is a little confusing at times.

The star of the show is Mr. Victor Santos. His inspired cartooning fills this comic with energy and life. The action scenes are a thing of wonder. Panels slip and slide across the page, it looks as if everything is falling apart before your very eyes (and, in a way, it is). It's frantic and kinetic, inserting you into the moment and making you feel the intensity. Furious #1 is visual treat, a debut filled to the brim with awesome artwork. Hopefully the story can keep up.

Strangely, the most uneven part of the book is Phil Noto's art. If you loved his clean, beautiful work in Creator-Owned Heroes, you'll find yourself scratching your head here. Some pages look great. Others look choppy with downright sloppy color work. The backgrounds are minimal and the layouts are as straightforward and uninteresting as possible. This could all add up to a terrible looking issue, if his characters didn't look so freaking fantastic. You can see what they are feeling just by looking at their eyes. It's stunning and it's mixed in with a bunch of ho-hum pages which results in a slightly confusing package. I love Noto's work, but what we get here is not his best stuff.

The art is even better in this issue. Phil Noto does his same simple line technique here, but the characters look more expressive. Maybe it's because there are better moments in this issue; better places for him to really shine. Whatever the reason, it looks impressive and sharp. The scene where a woman is being attacked with a shard of broken glass is equal parts horrifying and mesmerizing. DeConnick and Noto are doing great stuff here and Ghost looks to be one very interesting series. Count me in.

The thing really saves Ghost #1 from being just okay is the art by Ryan Sook. His pages are dynamic and energized. The action scenes look fantastic and the smaller, character scenes look even better. Sook draws some of the best faces in comics, conveying emotion and motives through something as simple as sideways glance. We simply don't get enough Ryan Sook art, so if he draws something it's definitely worth checking out. If nothing else, Ghost #1 is a very, very pretty comic book.

This issue also features a back-up by Tristan Jones, and it is a beauty. It has a dark and sinister feel, which is polar opposite to the story that proceeds it. The art is filled with detail and shadows, nothing at all like the cartoony look of the the main feature. It'll be interesting to see where it goes. Two Ghostbusters stories are better than one Ghostbuster story, I always say!

God Country #1 will be hitting comic shops in January 2017, but you can pre-order it now. Without a doubt, this will be one of next year's big times. It'll be the book that makes everyone say, "Whoa, where dd this come from?!" It's a truly stunning debut and we can't wait to read more.

Before you head to the theater to witness the return of the king, do yourself a favor and check out this graphic novel. It'll leave you even more pumped up than you already are for the flick. Hell, I'm more excited after reading this than I was before and I did not think that was humanly possible. It sure seems like the writers understand the source material, and because Max Borenstein also wrote the movie, it should give you confidence that Godzilla is in good hands.

Art aside, what really makes this book work is the way Stokoe tells his story. All of the IDW Godzilla books have been pretty good, but they have always focused on the bigger story; the story of several monsters tearing the world apart. Stokoe tells the story of one guy, Lieutenant Ota Murakami, and his battle to save the citizens of Tokyo from Godzilla's rampage. It's a story told from the street, from the view of a single tank commander. It's engaging, thrilling and beautiful. I can't stress this enough, folks, buy this book. It's a must read and a must own.

Naturally, the biggest draw of this book is Stokoe's highly detailed artwork. It's incredibly rendered stuff, almost mesmerizing. Stokoe changes the perspective in this issue, with the majority of our view coming from helicopters circling Godzilla as he plows through the countryside. It's not quite as intense as the previous issue's tank scenes, but it's beautiful none the less. The frantic attention to line work makes every page look like something you could hang on your wall. Godzilla: Half Century War is a truly wonderful comic book. You don't just read it, you experience it.

This issue also proves that Stokoe is one hell of a writer. It's a brilliant narrative cap, the kind of ending we rarely get in comic books. This series was less about Godzilla and more about the man who dedicated his life to stopping him. If you've been reading this from the beginning, the payoff is absolutely immense. The final encounter between these two is as good as it gets, seriously. Buy this book. Buy ten copies and hand them out to your friends and family. The world needs more comics like Godzilla: The Half-Century War.

Art duties are handled by Martin Morazzo and for the most part the book looks really good. He has nice, detailed style that suits the book and the characters. His color work really pops and gives the pages life. There are a few anatomy issues, a few scenes where the some characters look a little off, but nothing that'll stop you from enjoying the book. Great Pacific could be going someplace awesome, you'll just have to stick with it to see if it gets there.

The book really suffers in the art department. Freddie Wiliams II has a sketchy, frantic style that does not fit the tone or feel of this book. It looks weird, to be frank. Then there are the bizarre angles. Several times in the issue, Williams draws a profile shot of Queen, with another character perking halfway around his face. It's awkwardly staged and he does it more than once. Panels like this derail what little momentum this book has.

Andrea Sorrentino does the usual art magic here. This is a nice looking issue, especially the end fight scene that takes place in a total downpour. Seriously, rain has never looked so good in a comic book. The only place this comic is lacking in the visual department is the same place it has been since this new creative team took over: the coloring. Yes, there are heavy, stylistic risks being taken, but they just aren't working. The black and white panels just look unfinished; it looks like flats with no texture or life.

Sorrentino delivers some of his most competent storytelling in this issue, too. Maybe it's the absence of huge multi-paneled double-page spreads or frantic fight scenes, but there is a clearer sense of character and movement. There's a still a few moments when things look a bit stiff " a guy cuts an arrow in half mid-flight, for example " but overall this issue looks great. It also features the best use of their little color-dropping-out trick, drawing your attention perfectly instead of sticking out like a sore thumb.

Jeff Lemire is writing a bigger story in this issue, placing another piece on the board as Oliver tries to assemble the secrets of his father's past. Green Arrow as a character still isn't doing much to grab the audience. What really keeps things exciting is the sense of adventure, the brisk moving action scenes and the story that keeps our hero and his companions jumping from place to place. I may not exactly care where this story is going, but I'm enjoying the hell out of the ride.

Jeff Lemire deserves mega credit for doing something different, as well. He's transformed this little title into a huge mythological vision quest. It's the not tone or feeling we have come to expect in a Green Arrow title, but Lemire makes it work. There are deep family secrets, violent pasts, ancient orders, and powerful artifacts. It's big stuff, at times a bit too big, but it's interesting and engaging. Green Arrow deserves your support; DC needs to know this is the kind of book we want more of.

If you have been reading Green Arrow, you know what to expect from Sorrentino's art. He does the same great work in this issue, especially in the darker, more brutal moments. This issue is light on action, and the characters tend to look a little stiff and awkward when they are just talking. When people's heads start exploding and the such, it looks great, but there's not a ton of that here. Colorist Marcelo Maiolo does some fine work, as well, only briefly using the black and white panels this series has become known for.

Lemire does a great job of building this issue for new readers. As an entry point to the series, it's top notch. The only place the story falls a little flat is when Ollie finally confronts Count Vertigo. To say it's anticlimactic is probably being generous. The Count has been built into a great villain and the fact that Green Arrow essentially puts him out of commission with one punch is kind of a bummer. I can't be the only one hoping for something a little bigger, something a bit more epic.

Andrea Sorrentino can be hit and miss, but in this issue he's all hits. Maybe it's the big, sweeping set pieces or maybe he's just cramming it all in there and ditching the minimalist stuff that never really worked before. Whatever the reason, Green Arrow #26 looks stunning. The island is brilliantly detailed and the characters look better than ever. The stiffness that has haunted in this comic in the past is gone, leaving only fluid movement and superb storytelling. The flashback to Ollie's time on the island is some of the best stuff Sorrentino has ever done. So, great writing, awesome artwork, fun premise and looks of cool action? Yep, Green Arrow's got it all.

Sorrentino, as previously stated, does some amazing stuff in this issue. When it looks great, it looks unbelievable great. The storytelling it top notch and smooth as silk. Even in unrelenting chaos, Sorrentino choreographs things beautifully, letting the characters dance through the violence and mayhem. Colorist Marcelo Maiolo does some awesome stuff here, too. There are a few panels that have a strange yellowish background, but for the most part it looks great. Green Arrow is one of DC's better comics right now. Only a fool would skip this comic and you're not a fool, right?

[Full Disclosure: IGN Comics Editor Joey Esposito has a back-up story in this comic.]

Peterson's art, with colors by Nolan Woodard, completes the package. All that ridiculous violence and mayhem that De Campi writes is brought to bloody life in a spectacular fashion. Peterson draws the gore with just the right amount of detail, as characters a ripped to pieces and devoured. The stories heroine is so kick-ass, she leaves a trail of gorgeous destruction that will suck you into every panel. Seriously, blood bathes are rarely this much fun, so do yourself a solid and buy this comic book.

Artist Simon Fraser jumps onboard this issue, and does a bang up job. Right from the second page, which features a prison shower filled with naked women, it's clear Fraser can deliver the goods. You can't take the stuff you see in Grindhouse too seriously, and Fraser embraces that. Every scene features near nudity or blood or both. The most horrifying bit comes when an inmate gets treated to a acid hose down, and Fraser draws renders the scene with goofy gore that leaps off the page. Grindhouse: Doors Open at Midnight could be called mindless entertainment, but sometimes that's exactly what the soul needs.

Steve McNiven and Sara Pichelli split the penciling duties in this issue, but it manages to keep a consistent flow throughout. Anytime you see two pencilers and three inkers, there is some cause for concern, but here it proves to be unwarranted. Guardians of the Galaxy #3 looks good and avoids any jarring shifts in tone when one artist steps out and another steps in. The characters look great even when the action feels a little stiff and staged. The big shootout we get could be a bit more dynamic and exciting, but it ain't bad overall.

The issue looks slick, thanks to Sara Pichelli and the color art of Justin Ponsor. Pichelli does fantastic stuff with the characters, bringing forward all sorts of emotion and expression. There is a slight problem with backgrounds disappearing, at times for entire pages, but Gamora looks so amazing it's not a huge problem when there is nothing behind her. For whatever reason, she draws Pepper Pots extremely young looking, too. Potts looks like a teenager as opposed to Tony's right hand girl who often is running one of the biggest corporations on Earth.

Sara Pichelli delivers some stunning art in these pages, with her flare for characters and expressions really shining through. The awkward scene involving Tony Stark and Gamora is fantastic thanks to things like Gamora's subtle sneer of disgust. Pichelli isn't always the best when it comes to backgrounds, often leaving the areas behind characters blank, but colorist Justin Ponsor comes to the rescue by giving each page dramatic lighting and mood. All in all, Guardians of the Galaxy #5 looks great.

Brain Michael Bendis has these characters dialed in. There's some great dialogue in this issue for everyone expect Rocket Raccoon. For whatever reason, he seems to only say the same stuff over and over again. Seriously, some of his lines of dialogue are copy and pasted from early issues. "Human tech sucks," "I'll murder you," etc, etc. That said, Star-Lord and Abigail Brand have some exchanges during a a rescue attempt that pretty make the entire issue.

Francesco Francavilla is on art again, and this issue is slightly more successful than the past one. The colors pop a bit more the overwhelming sense of purple isn't present. The constant action looks great, although it is a bit easy to get lost at times. The stuff he handles best are the pulled back moments, the shots of space and the spaceships. The final scene, featuring the explosion of a space station, is the best looking set of pages in the whole issue. Francavilla is an amazing talent, but there are comics that showcase his work better than these issue of Guardians of Galaxy have.

Brian Bendis might have just been writing to the strength of his artist, but this is a bit reserved for him. You get lots of talking heads in the first few pages, but once the crap hits the fan he reels it back and lets Maguire do his thing. The dialogue we do get is snappy and to the point, without overdone attempts at humor and banter. This just might be the best series Bendis is writing right now, and considering how good the X-Men universe is right now, that's really saying something.

Sara Pichelli is kicking ass. Even if you have no investment in these characters, no interest in this story and no desire to read a Bendis book (you have a bad attitude, you know that?), then you will still find something to enjoy here thanks to Pichelli. She draws some of the most expressive looking characters in the comics biz. If you have to have a book where a bunch of people stand around and talk for most of the time, then you should probably have Sara Pichelli draw it. She's top notch, a superstar in the making.

Happy #1 is a great looking book that teeters on the brink of typical Morrison madness. If you like your violence graphic and your donkeys blue with wings and horns, then Happy is the book for you. It's hard to tell where exactly it is going, which probably exactly what Morrison and Robertson want. Still, where ever it is headed, it looks to be one hell of a trip.

Darick Robertson produces the same gritty, ugly world we have come to expect from him. His artwork is as detailed and smooth as ever. The violence looks graphic and bloody. Nick looks like an out-of-shape jerk. Happy looks like a flying donkey unicorn. This ugly little world Morrison has written looks amazing thanks to the work of Robertson. Who knew that the story of a friendly little imaginary friend could look so damn awful and dirty?

The best thing about Happy is Darick Robertson. His dirty, detailed art gives the world a sick and twisted feel. Happy the horse sticks out like a sore thumb against a backdrop of blood, vomit and lust. We know Robertson can draw this kind of stuff better than anybody, but he's bringing his A game here. This series has looked fantastic and this issue is no slouch either. One of the best moments comes when you get to see a younger version of Nick through a series of flashbacks. It's amazing to watch him transform from a bright-eyed young man into a fat, miserable drunk.

This issue has two artists, and the quality between the two of them varies greatly. Mico Suayan and Pere Perez split the book, with one of them drawing the present scenes and the other drawing the past. The stuff in the present looks okay; nothing spectacular. The stuff in Hiroshima, on the other hand, looks amazing. It's stunning and horrifying. I even googled images of the aftermath of Hiroshima after reading this because I had a hard time accepting the terrifying images I saw as the reality of the situation. The artist captured it perfectly. It's absolutely disgusting, as it should be.

This issue does suffer slightly do to the fact that four different artists tackle the pages. The jumps in time help to justify the new looks and tones, but it's hard not to notice just how different some sections look from the others. Considering how interesting the story is, it would have been nice if one artist could have handled the whole thing. Khari Evans, Mico Suayan, Stephen Segovia and Lewis LaRosa all dow fine work, but nobody sticks around long enough for you to really get into their stuff. Thankfully, Ian Hannin's colors help hold the issue together.

So far, with two titles under its belt, Valiant is doing a fantastic job of relaunching their line of comics. Harbinger #1 is a well written, well drawn comic book that is worth reading. It is going to have to prove itself very quickly though, because readers are not going to stick with it if they feel like they have seen all it has to offer before. Those of us that grew up with Harbinger know it still has a few tricks up its sleeves, let's just hope they bust them out soon.

Khari Evans' artwork is good stuff. He's assisted by two other artist here, and they all seem to gel. The book doesn't feel disjointed. If there is any complaint that can be leveled at the artwork, it's that all the characters seem to have a very similar facial structure. They all kind of look the same. Other than that, this is a solid looking book with an interesting story. It's worth reading.

The art in this issue is better than it has been the entire series. Khari Evans (with assists from Matthew Clark and Muniz) delivers big time. By the end of the issue, Pete looks so bloodied and broken that it almost hurts to read. The book just has a raw, visceral look that jumps off the page. There are so many cool moments in this issue, so many incredible panels to gaze at. All in all, Harbinger has become one hell of a kick ass series.

Lee Garbett's art looks slick in this issue. The action is smooth and the storytelling is spot on. He gives the book a more cartoony feel, but it's a welcome change that fits the energy of the story. After all, this is an issue that features a grown man with a shotgun wearing a bright yellow sundress. Moose Baumann's stellar color work gives the book a bright, fun feel, especially the pages involving Faith. All in all, Harbinger #8 is a great looking comic book with a fun, if not unique, story. Let's just leave the Jersey Shore out of it from now on, guys.

Pere Perez does some killer work in this issue. Harbinger #9 looks really nice, with clear action and stellar storytelling. It's a pleasure to read and easy on the eyes. The character's expressions are pitch perfect, with every worried glance and sly smile hitting their mark. Events in this series are coming to a head, and the big showdown between Peter and his band of misfits can't come soon enough. Harbinger delivers the goods, month after month.

Khari Evans and Trevor Hairsine continue the new Valiant tradition of having more than one artist draw an issue. These two provide a fairly smooth experience, though. Whoever drew the first few pages " it looks like Hairsine " does the best work in the issue, but they also have the advantage of drawing the coolest scene of the book. Harbinger #11, like the issues before it, looks great, but it would be nice if Valiant would let a full issue be drawn by a single artist. Doesn't seem like too much to ask for.

Khari Evans and Trevor Hairsine split art duties in this issue. It manages to be a nice meld thanks to a series of flashbacks that allow the book to be broken up into sections. One artist handles the past, the other the present. It'd be nice if one artist could handle the entire book so there would be a more cohesive experience, but what we get works well enough.

Barry Kitson is still on art for this issue, but he's joined by Mark Pennington and Brian Level this time around. Harbinger #16 looks really good, but it doesn't run as smooth as a Kitson solo issue. There's not bad a page in here, but there are some noticeable shifts when one artist takes center stage and another steps back. Still, there's some rad looking pages in here and anytime we get to see a heavy metal train it's a very good thing. Hell, I want more heavy metal trains and giant bats, there isn't nearly enough of them in this issue!

Clayton Henry steps into the art duties this issue, and his work is solid, as usual. His careful linework is clean and fluid, giving a the world a slick look. That's both good and bad. The comic looks great, for sure, but we are told over and over how tired Harada is, but he never looks it. There's no sense of the world being lived in, everything just looks a bit too perfect. That said, the scenes involving the cartoon projects of a young psionic are spectacular. I'm excited to see more of that stuff in upcoming issues.

Art this issue is provided by Barry Kitson, Brain Level and Riley Rossmo. The highlights are Rossmo's few bits, which are mostly dreamscape, flashback scenes. They look great, whatever they are. Kitson and Level's tuff looks great sometimes, and unfinished others. It's hard to know who did what, and nothing looks bad, per se, but it's clear that quality jumps from page to page. Backgrounds disappear often and it's hard to follow where characters are standing and what they are interacting with. Fortunately, Dave Sharpe's excellent letterering keeps the issue on track and moving at a brisk pace. Harbinger has been better, but it's still a pretty good comic book.

This is a great looking issue, too, thanks to Clayton Henry. He doesn't get to draw too much in this issue, just lot of Harada talking to people and planning, but it all runs smooth and is an easy read. As a storyteller, Henry is fantastic. He keeps the action close, rarly pulling out for long distance views. SWAT officers are right in your face, Harada's eyes are staring right at you. It's all front and center. It'd be nice to see him handle a bit more action, but given the events of this issue, that is coming and coming soon. Peter is gunning for Harada, and we know when those two throw down, things get out of control.

Clayton Henry is always good. He does some awesome work this issue, giving us some truly expressive characters. There's very little in the way of action this month, which is okay when you get such great character moments. You can feel the emotion on the page when Henry draws it, the looks of anger, disgust and love. It's all hits home. Even when the script falters and characters act strangely, Henry keeps the book running smoothly. His art carries this thing from start to finish.

There are three artists working on this issue, but it manages to never feel jarring or stitched together. Clayton Henry, Clayton Crain and the non-Clayton named Mico Suayan all have incredibly different styles, but Harbinger Wars is structured brilliantly and allows for each of these guys to do their thing without disrupting the flow or feel of the book. The trick is that the artists all handle different scenes, times, and settings. Crain does a violent flashback. Suayan renders a bizarre dream-type sequence. Henry gives us the here and now. Harbinger Wars features a lot of different threads coming together, and it accomplishes that daunting task with style and vigor. Issue #2 can't get here soon enough.

Clayton Henry kills it in this issue (literally). Bloodshot is a character known for taking a beating, but holy crap does it get insane in Harbinger Wars #2. It's almost sickening, in a good way. I don't believe we are meant to enjoy the sight of Bloodshot's face peeling off as he vomits blood and nanites at his enemies. But hey, feeling grossed out has never felt so good and looked so awesome. If Harbinger Wars can keep this momentum up, it'll be the superhero event of the year, no doubt.

Clayton Henry and Pere Perez work together on art and the result is a mighty fine package. Harbinger Wars #3 is slick, but there is one panel that kind of kills the momentum. It's this one panel that keeps this issue from being an "A" in the art department. The offending panel looks to feature a satellite image of Las Vegas and it sticks out horribly. It's a weird decision because everything else looks so damn great. Harbinger Wars is delivering on its promise and giving us an intense and violent intersection of the most compelling superhero universe on the stands.

What really makes Harvest amazing though, the thing that pushes it into "buy this freaking book now" territory, is the art. Colin Lorimer's detailed and dark style turns this comic book into a masterpiece. The cover alone should be enough to convince you that his stuff is the real deal. One scene in particular, featuring a strung out doctor operating on a car crash victim is so haunting and dreadful that it'll stick with long after you close the comic. Seriously, folks, buy Harvest. If you like crime, mystery, murder or just masterful storytelling, then this is a comic book for you.

Colin Lorimer kills it on art, just like he did in the first issue. This book doesn't have as many jaw-dropping pages as the last, but the ones that we do get are amazing. The first double page spread is bleak and cold. Dane's plan to get back at the people using him ends with a ghost, some gas tanks and a defibrillator. It's so cool looking that the rest of the book kinda pales in comparison. But hey, Harvest is a great looking, well written, indie book. We can always use more of those.

David Aja soars in this issue. This is a stunning book, a visual masterpiece. He structure is impeccable; the book just flows. It's beautiful stuff. The colors, courtesy of Matt Hollingsworth, give the book an overwhelming sense of purple. I know there were other colors in this book, but all I can remember is purple. Lots of purple. That is not a criticism. Aja's line work is enhanced by the simple color palette. These two guys click and the results are one of the best looking comic books on the stands.

David Aja and Matt Hollingsworth make sure that all that craziness look so damn fine. It's gorgeous stuff. There's something wonderful on every single page. The action moves perfectly, and the humor is so spot on it's ridiculous. The scene were Hawkeye has his nude battle has a moment that'll seriously make you laugh out loud. Hawkeye is such a good series that it makes me question what I had done with my life before I read it. Everything just seems so trivial and unimportant pre-Hawkeye.

Javier Pulido is on art duties again, and it's a somewhat mixed bag. It's better than last issue, and there are some really great moments, but it still feels a little off. His style works well for the series, he just doesn't quite click the way that David Aja did. It's not bad, but it is certainly not as good either. Some panels are just missing some attention to details. There's a lack of backgrounds, a lack of scenery and placement. This issue still looks good, just not as good as you would have hoped.

We get two artists this time around and they divide the issue equally. Instead of a jarring art change midway though, the story is cut in two and follows each of the characters as the deal with storm in separate areas. Steve Lieber and Jesse Hamm both bring a lot to the table, although they do so with very different styles. There's cartoony elements mixed with highly detailed action. Don't worry, the book keeps a cohesive feel throughout thanks to the always amazing Matt Hollingsworth who colors this thing to perfection. Once again, Hawkeye hits the bullseye (there's your cover quote, Marvel)!

Look, what it really comes down to is this issue is drawn and colored by Francesco Francavilla. If he draws something, you buy it. That's it. Pull your money out and buy it. Hawkeye #12 is a work of art, which is no surprise. Francavilla is firing on all cylinders, from his line work to the simple color palette. I'm not saying that if everyone looked at Francavilla art there would be no more wars in the world, but it's a possibility. Lay down your arms, pick up this comic book and hug somebody.

This is a fun book, but I'm ready for more He-Man, more Skeletor, more of the setting and characters that 5-year-old me loved so very, very much.

To go along with the great writing and story is some absolutely beautiful artwork. Ibrahim Moustafa gives just the right amount of life to these broken and beaten characters. The guy does everything here: pencils, inks, colors, and he's good at all of it. There are books coming out from major publishers that don't look or read half as good as High Crimes. This is a title to watch coming from the publisher that everyone should be watching. Seriously, this is what comic books are all about, folks.

The art isn't exactly awe inspiring either. Francesco Biagini does a fine job, but his attention to detail is somewhat lacking and leaves the book feeling a bit empty at times. At one point, a character kicks a would-be assassin off a cliff that I didn't even realize was there. I had no idea there was a steep drop off inches away from the characters. While hiccups like this are apparent throughout the issue, Biagini does draw one hell of a bear-skin mech suit. Hopefully, we'll get to see some more unique stuff like that from this series. This issue is only a buck, so it's an easy sell; we'll just have to see if the series as a whole will be worth picking up month to month once the price goes up.

Axel Medellin's art is pretty good. Most of the issue is just talking heads, but when he finally gets to draw a giant Sasquatch, it looks pretty freaking amazing. Hopefully, since this book is supposedly about monsters and cryptids, Medellin will get the opportunity to draw lots of them. Clearly, the guy has a real knack for monsters and I'm ready to see him handle some a few more of them.

Alex Medellin's art looks solid. Not every panel looks spectacular, but when he knocks it out of the park he reallymakes it count. The first few pages are stellar, there is a bit of a dip in quality after that, but it picks right back up once people start lighting their heads on fire. Of course, the best thing in this entire issue has got to be the last page. Medellin gets to draw a big, gross monster and it absolutely kicks ass. It's horrifying and amazing. If this series is going to give us more great moments like this, than it'll be a series worth picking up each month.

The art is the issue is pretty good, too. Axel Medellin really excels when it comes to monsters and death and destruction. Unfortunately, he doesn't get to draw nearly enough of that in this issue. He handles most of the character work fairly well, although things slip a bit during the extended flashback. It becomes a little tedious; almost boring. Things pick up again by the end and we get more monsters, mayhem, and that dude that is really a murder of crows wearing spacesuit. That's the kind of stuff that makes this book worth the cover price each and every month.

Adding to this issues awesomeness is Emilio Laiso. His art is simply magnificent. There characters have a slightly exaggerated, cartoon look to them at times which is in no way a bad thing. This book just has a style that was missing from the earlier issues. Mix in some inspired color work by Rosario Costanzo and you have one sweet looking package. Hoax Hunters needs to stay in this sort of territory, it's really given the series a whole new life.

This issue does struggle a bit in the art department. Axel Medellin opens really strong, but once the scene shifts to the convention, things fall apart slightly. It's not bad, but the pages feel a bit empty. The backgrounds drop out too often. Things don't get much better in an awkwardly staged dinner scene. However, once those murderous gnomes show up, the book looks great. The monsters look fantastic and the gore is great. The more monsters, the better.

This issue isn't without problems and the biggest one is the art. Axel Medellin starts off awesome and then completely falls apart. The beginning of this issue looks amazing; the structure of each page is exciting and engaging. The characters look slick and the world is rich and detailed. By the end, things start to look awkward and rushed. The exciting layouts become paneled pages of the characters just staring at you at eye level. It's a bummer, because the end of the book is when the story really starts to ramp up. Hopefully, Medellin can rally and pull it together for the next issue, because it seems like Hoax Hunters is headed into really interesting territory.

Artist T-Rex Jones makes a huge splash in Hoax Hunters, giving the series something it sorely needed: atmosphere. It's not that Hoax Hunters ever looked bad, it certainly didn't, but it always felt like something was missing and it turned out that something was T-Rex Jones. His dark, gritty style gives a look to this world that we haven't seen before. The tired and broken characters look tired and broken; Hoax Hunters looks lived in, like everyone is at the end of their rope. It's hauntingly and gorgeous, a truly unique looking comic.

Hoodlum #1 looks mighty fine as well. John Toledo delivers a vivid and detailed world. Every panel is filled to the brim, there's no wasted space. He uses a heavily inked look that lays shadows on extra thick, and that's not a bad thing in this bleak setting. The only problem is the absence of color. Black and white books are fine, but Toledo's heavy detail work sometimes is difficult to sort out, and color would definitely help clear up some of the bigger scenes. All in all, Hoodlum is a series worth checking out, especially if you like your worlds of the crazy town banana pant variety.

Now, if the book has a high point, it's the art. Not the whole time, though. Some pages are choppy and poorly structured, but when Mark Robinson draws a great page he really draws a great page.The gutters feel to big most of the time and the art seems too small, but what we do get is mostly easy on the eyes. The origin scene looks especially fantastic. Of course, with all the great Image titles out there, a few pretty pages aren't enough to justify a monthly buy. I Love Trouble needs to step up it's game.

As far as I am concerned, Leinil Yu draws the Hulk as good, if not better, than any artist who has ever handled the character. Waid writes the Hulk as larger than life and Yu draws him that way. When Maria Hill says that the Hulk is a WMD, you believe it. The green giant is bursting at his seems. His muscles and veins look like they are about to explode. Seriously, this is incredible stuff. Every page feels like it should be a poster. I just want to wallpaper my house with this book. It's freaking stunning.

As previously stated, Walter Simonson's name on the cover should be enough to sell this issue. Simonson drawing Thor just seals the deal. This issue is a thing of beauty, a paneled alter that we should all be worshipping at. Page after page, I found myself gently wiping drool from my chin. That's right, Indestructible Hulk #6 is so good it'll make you drool. There's your cover quote, Marvel. The only complaint I can levy at this thing is a small one: I kind wish Hulk's armor would have opened up, like it did in previous issues. Hulk just doesn't quite feel as big as I want him to feel in this issue. But really, other than that, this thing is damn near perfection.

Indestructible Hulk #7 is a blueprint for constructing the perfect superhero comic. Beautiful, fun, and brilliant.

Matteo Scalera steps into the artist seat in this issue. His dramatic, scratchy style makes for killer set pieces, like a high-speed cab ride through the streets of New York or a violent battle in a bar affectionately referred to as the "Anti-Cheers." There are a few a moments in the issue's opening that are little difficult to track, but since these moments take place during a frantic, claustrophobic fight inside a battleship, it's slightly understandable. All in all, this is a gorgeous issue and another superb adventure of everyone's favorite indestructible hero.

Matteo Scalera, once again, does some mighty fine work. His Hulk is imbued with a carnal rage that leaps off the page. Everything feels bigger than life, which is obviously a good thing for a Hulk book. There are few moments where movement becomes an issue, however. It'll take you a moment to figure out exactly what is happening. Did the subway train crash into Hulk or did he jump out of the way? You'll have to study the panel to put the pieces together. Still, the good far outweighs the bad in Indestructible Hulk #10. This is another good issue of a really great comic series.

Matteo Scalera is on art again and does some great work in this issue. His characters look great and there is a moody, frantic look to nearly every page. As with previous issues, some of the action can be a bit difficult to follow, but the good far outweighs the bad. The real champion in this issue is Val Staples, who produces some glorious color work. The first few pages are mesmerizing, and it's largely due to Staples' incredible coloring. Indestructible Hulk is one hell of a comic book series and something that fans of the big green brute should worship.

Matteo Scalera works some real sorcery in these pages. His scratchy style gives a sense of movement to every panel. This issue never slows down, and that's not a bad thing. As with previous issues, there are scenes that get a bit muddled and it can be difficult to tell exactly where characters are positioned, but overall this thing looks great. Plus, Hulk fights dinosaurs and it's awesome. Dinosaurs, guys! Val Staples lays down some killer color, as well, creating a superbly constructed comic.

Matteo Scalera is joined by Kim Jacinto in this issue, but you'll hardly notice when one jumps in and the other jumps out. They draw faces differently, but other than that they are a perfect match. Scalera still has some of those staging issues that can cause action to be a bit confusing, but it's better than it was. In fact, this might be his best looking issue yet and maybe that's because he really gets to cut loose and draw some crazy stuff. The double-page spread where we see the time displaced army is a thing of beauty, the sort of image that should be made into a poster. This is an all-around gorgeous issue.

The really problem Indestructible Hulk #14 has is its art. Mahmud Asrar handles the first fine pages and they look good. Kim Jacinto steps in for the rest of the issue and the results are bit more muddled. Jactino's drastically different style clashes with Asrar's first five pages and at times it becomes a scratchy mess. The Hulk looks good, but the human cast often resemble weird, deformed cartoons. Some pages are just a mess while others look frantic and exciting. Sadly, the bad outweighs the good here. Indestructible Hulk has certainly looked better.

Kim Jacinto's art only adds to the problems. There are some pages that look really great, while others a jumbled mess, with no clear point to draw your eye. It's frantic to the point of confusion. There are even a few coloring errors that cause even further distraction. That said, Jacinto's Hulk looks great, a true monster crashing through the pages and producing endless chaos.

Mahmud Asrar is a fine artist, but a bad fit for the Hulk. His pages lack and real punch and his Hulk almost devoid of energy. There's nothing bad on these pages, per se, but there's also nothing particularly exciting. It's almost boring, like the issue is just going through the motions. The biggest problem, again, is that none of characters look familiar. The whole world just looks different, which means any attachment we had to what was happening is gone. Hulk's even traded in his purple armor for purple armored shorts, which is pretty weird. Really weird, actually.

Even if you don't enjoy the bizarre nature of this book, you can't help but marvel at the art of Kevin Nowlan. Every page is a painted masterpiece. The introduction in the beginning of the book tells us that it took Nowlan a week to produce a single page and it shows. The Infernal Man-Thing is gorgeous; truly a work of art. In an age of slick, brightly colored artwork, Nowlan's work will make your jaw drop. It's a thing of beauty, the kind of work that the comic industry just doesn't do much of anymore, but one that is sorely missed. This is a comic book that looks and reads like a true labor of love, and we're lucky that it finally made it here.

As with the previous issue, regardless of where you stand on the extreme weirdness of this book, you can't help but marvel at the artwork of Kevin Nowlan. If the overwhelming sense of weird contained in this book turns you off (you guys get that I am saying this book is weird, right?), then do yourself a favor and still flip through it. It's truly a work of art, a painted comic book that deserves to be hung on a wall.

Where this issue excels is in its visuals. Nick Bradshaw is a hell of a talent, and he shows off in this comic big time. Todd Nauck also steps in for a few pages, and his stuff looks pretty great, too, although it's jarring change when one artist takes over for another. It certainly hurts the issue overall having two artist and four folks inking. On their own, the pages looks sharp, but in context with each other it's kind of a hard to read. Inhumanity #2 isn't a bad comic, not by a long shot, but it misses the mark often enough that you can't call it a good one either.

Overall, "Invincible Iron Man" #500 shows what a great creative team can do when it's given the room to stretch its legs. Fraction is also clearly laying some groundwork for future stories, but mostly, this is a self-contained, and very satisfying story about Tony Stark and the brain that's always getting him into trouble.

As enjoyable as the story is, the reason to buy this Iron Fist comic is the art. Andrews delivers some of his best work to date, designing and drawing the hell out of this thing. It looks unique, smooth and gorgeous. Every page feels like a work of art, perfectly designed to tell the story of that moment, that scene. This book looks incredible and is worth your hard earned bucks for its pretty, pretty pictures alone. Don't let another awesome Iron fist story slip passed you. Pick this up now.

Iron Man has quickly become one of Marvel's marquee characters, and this book could have been a great chance to grab some of those folks who loved the movies. Let's just hope that any would-be Iron Man fans don't pick up this comic, because it's likely that it will be that last one they ever read. With Iron Man 3 right around the corner, Marvel really needs to step up their game. Iron Man deserves better. We deserve better.

The issue looks good, at least. The smaller moments, like the ones featuring James and his father, don't look quite as sharp as the big, bombastic action scenes. Brown excels with technical detail; the backgrounds look fantastic. Iron Patriot is an awesome force on the page, flying through his enemies. Everything else in between just doesn't grab you the same way. The emotion isn't there. There' no weight to moments that should have really weight. Iron Patriot #1 is not a bad comic by any stretch of the imagination, but it won't exactly leave you clamoring for the next issue.

If anything, the only problem this comic has is that it doesn't really need to be a Hellboy comic. There are some nice jokes at little red's expense and a few funny character moments, but most of the charm and humor exists outside of the Hellboy mythos. It just plays like a comic about a a group of neighborhood kids. This won't hurt your enjoyment of the comic, but it is an odd choice. If you're going to do Hellboy, do Hellboy.

That said, the absolute best thing about this comic is the artwork. Ulises Farinas crams an insane amount of stuff onto every page. There's an indie feeling to this issue, the kind of look you don't often see in mainstream, licensed comics. Just gaze at the first spread that gives us a full view of Mega-City Two and you'll understand. The coloring is fantastic, too, thanks to Ryan Hill. Some of these pages practically glow, bathing you neon light. Mega-City Two is the opposite of Mega-City One in just about every way, but that's not gonna stop Dredd from unleashing some brutal justice.