Alex Sanchez's art is a somewhat mixed bag as well. The first issue had some stellar pages that gave a fluid grace to the book. This issue is stiff and severely lacking in the dynamic department. Even the fun, sketchy quality of the first issue disappears as Sanchez is joined by inker Claude St. Aubin this time around. There's really not much to love in this issue. All in all, Katana is a clunky package that doesn't do much to justify its existence.

However, where this issue suffers the most is in the art. Cliff Richards takes over pencil duties, but his line work isn't really the problem. The problem is that there are four different inkers on this book. All four of these inkers bring something to the table and the end result is that every few pages there is a drastically different visual aesthetic. It only adds to the stuttering narrative and wonky structure. It comes down to this: Katana has a long climb to become the series many of us hoped it would be. A long, long climb.

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 art is better than the script, fortunately. Aaron Lopresti does a fine, if some what forgettable, job. There is nothing exciting or dynamic in these pages. His art looks good, but it lacks that punch that holds you on a page for a moment. Sadly, this is the kind of comic that you just read, close, and forget. Justice League International doesn't leave a lasting impression. It is guilty of the worst and most heinous of all comic book crimes: it is boring.

The art doesn't help, as Tom Mandrake produces some messy, cluttered pages. The characters look drastically different from page to page and faces become distorted messes when a few shadows come into play. The action is confusing and poorly staged. There are whole pages in this comic where I have no idea what happened. Mandrake is a fantastic artist, but this is not his best work by a long shot. If you hate superheroes and want to read something to kicks them into the dirt, there are way better comic books to read.

It's not unusual for two artists to split up a book. Usually it's because one of the artists simply cannot finish their pages before deadline. It is unusual for two artist to split a first issue. In fact, The Hypernaturals has a total of four people credited with the art of the book. Brad Walker and Andres Guinaldo are given top billing, with Walker taking the first six pages and Guinaldo handling the rest of the issue. Guinaldo also has two other artists listed as assisting him. The end result is that the book looks weird. Not bad, but weird. The fact that this all happened in the first issue is even weirder. This series really needs to figure out what it is doing and fast, or they won't have very many readers showing up for future issues.

The art for Hypernaturals only adds to the whole yawn factor. Like the writing, it's not all that bad. It just feels stale, like we've seen this book before. There is nothing exciting or eye-catching about it. Just as the first issue this book features multiple artists, Brad Walker handles the first six pages of issue #2 and Tom Derenick draws the rest. There is not a huge difference in either of their styles; nothing that really lets you know that a new artist is jumping in. They both do an okay job, but it's still got that aforementioned bore factor. Really, it's pretty bizarre that after two issues this series has to feature something like five different artists. Maybe there is a good reason for it, but like the book itself, I just can't figure it out.

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.

The one positive thing about this is issue the art. Brett Booth's pencils, Norm Rapmund's inks and Andrew Dalhouse's colors all do their job very well. It still feels a bit overblown at times, but it gets the point across. Booth has done a great job on this series and definitely adds some dynamics to the story that the words do not. It's a shame that Lobdell doesn't trust him more to let the art convey the message. Kid Flash's head hurts? Yeah, we can see that, we don't need dialogue telling us that too.

Somebody needs to save the Teen Titans, and I don't mean the team -- I mean the book. It's bad and getting worse and they deserve so much more than this. It's sad to see characters I really enjoy end up like this, because we're eight issues in now and this series is still not worth reading.

On art, Ig Guara is okay, but this is not his best work. You only have to look at Superboy's face on the second page to get an idea of how awkward this issue is at points. Now, this isn't entirely Guara's fault. Most of the issue takes place in a featureless landscape populated by characters wearing identical costumes. It's boring to look at, but I don't know that we can blame Guara for that. In reality, this event, right from the very beginning, has been pretty boring. Perhaps we are to blame for hoping the ending would be somewhat exciting.

Brett Booth's art is solid, if slightly overdone here. The pages feel crowded, filled with too much detail instead of focusing on the characters. Perhaps he just really loves dinosaurs, but the man manages to squeeze one into nearly every panel of this comic. They are everywhere and they are doing nothing, just standing there watching people talk. Maybe it's because I was raised on Jurassic Park, but if you are going to put raptors into a comic book, then they better be doing something awesome. Instead, these raptors just stand around and watch Red Robin, Superboy and Bunker swim. Awkward.

This issue also has a short back-up feature by Fabian Nicieza and Jorge Jimenez. It's about five pages long and better than the entire comic that proceeds it. DC, I think you have found your new Teen Titans creative team.

This issue is not Brett Booth's best. It has some slick double page spreads and a few nice moments, but the action is seriously muddled. The characters fly across the page constantly and it never looks very good. The intense fight between Wonder Girl, Superboy, and Red Robin is anything but. It's awkward. Really, the only good thing in this book is the coloring work by Andrew Dalhouse. He brings a sense light and energy that this comic does not deserve. Don't spend your money on Teen Titans.Spend it on something more worth while, like paying somebody to punch you in the face.

The best thing about Teen Titans #13 is art. Ale Garza draws this book exactly how it should have always been drawn. It's fun. It feels youthful and filled with energy. This is a gorgeous looking book! Garza just kills it on every single page.That's right, Teen Titans was well-written and beautifully drawn this month. Does anybody else feel like their world has been turned upside down? Everything is different now.

What is good is the art. Mark Texeira delivers some killer pages here. It has a completely different look and feel than his previous run on the Punisher (the one that took place in space). There's a dirty, gritty feel to every page. It's truly awesome stuff that is unfortunately covered in text half the time. Add in some the inspired color work of Frank D'Armata, and you have one sweet looking comic book. If nothing else, I'll be picking up the next issue to see some more of this gorgeous art work.

Like the previous issue, the only real saving grace of Punisher: Nightmare is Mark Texeria's art and Frank D'Armata's colors. However, even those two can't save this awful issue. Texeria delivers some pretty pages, but more than a few turn into a muddled mess. The brief scenes of action we get lack any sort of punch or excitement. An okay art package coupled with trite writing makes for one crappy comic book.

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.

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.

Iban Coello and RB Silva fortunately manage to draw a beautiful looking book. Their character work is pretty great although at times the perspective feels a bit off. Superboy kicking Grunge in the neck looks especially strange. Still, Superboy is, in general, a good looking comic book. The colors are perfect. The inking is smooth and clean. It's nice to look at. Unfortunately, comic books should be nice to look at and fun to read. Superboy feels more like a chore when it comes to the latter.

If the writing has taken a small step forward, the art has unfortunately taken a step back. Rob Lean and Iban Coello can't be totally blamed for the way this book looks; they have to draw a ton of characters all in similar " and pretty boring " costumes fighting in a somewhat featureless arena. There is not much to be excited about. A lot of the fighting looks awkward; there is a severe lack of intensity in the battle and everyone just seems posed with their hands up. It doesn't feel like a huge fight between two super-powered groups; it's a little bit boring.

Almost everything positive I have to say about this issue is because of Sebastian Fiumara. Folks, he is fantastic. There is a brushy, almost chalky quality to his work that is gorgeous. His killer style is wasted on a title like Superboy, although Lobdell at least had the good sense to give him a T-Rex to draw. Somebody pull this guy off Superboy and get him on a Jurassic Park book.

If you were excited for this new series, you have reason to be concerned. On paper, the idea of a new Team 7 book written by Justin Jordan and drawn by Jesus Merino sounds like something cool and exciting. In execution, it's a rather tired comic that feels like it came out fifteen years (or five years, I guess) too late.

Jesus Merino's art is all over the place in this issue. Some panels are finely detailed and look great. Others look rushed and lacking a polish. Overall, it gives the book a lackluster feel. The biggest art problem, however, is the overall design and look of the book. The characters look silly; the furthest thing from cool. Everything is battle armor and pouches. Seriously, if you didn't know better, you could easily mistake this book for a lousy title from the 90s. It has the all bad hallmarks, but none of the over-the-top fun. None of the heart. In short, the only thing that Team 7 has revealed about the history of the New 52 is that it's a time that is better off forgotten.

Mass Effect: Homeworlds is not off to a very good start. It's generic, boring and doesn't seem to have a real reason to even exist. Hopefully, as the series progresses, we'll get to that whole "Hell on Earth!" thing, because that sounds like it'd be fun. Or maybe James and his dad could wear president caricature masks, rob banks and go surfing. Just throwing that out there.

A lot of us had high hopes for Dwayne McDuffie's creation in this new series. There was hope that Static would have a monthly series that did him justice and that he'd find his proper place in the new DC Universe. Sadly, we're left with eight issues of mediocrity. Things never really got off the ground, and this final issue does what it can, but it's not much. Hopefully, one day, Static will be tackled by a new creative team that really gets what makes the character so great, because this series clearly never had a firm grasp on it.

So, it comes down to this: Marvel NOW! features tons of great books with more launching every week. Thunderbolts has launched with an okay first issue that is nothing to get excited about. Against all those other books, it's hard to argue Thunderbolts deserves a place on your pull list. Maybe it'll get better and the second issue will blow us out of the water? We'll have to wait and see.

The positive thing about this issue is Steve Dillon's art and even that is a mismatched mess at times. The scene with the Punisher and Venom looks awesome, but the scene with Deadpool and Elektra is awkward and boring. Dillon can draw street level violence and horror as well as anybody, but graceful ninjas and extra large superheroes are not his specialty. They should just turn this book into a Venom and Punisher series. It'd make more sense and look a hell of a lot better.

As with the previous two issues, the art is also a real problem. This is not the book for Steve Dillon. It's not entirely his fault, because as stated in the second act of sucking, nothing happens. He just draws people talking pretty much the whole time. There's little to no detail in nearly every panel, even when there's high-tech weaponry involved. The whole thing just looks bland, which fits in with the nice sandwich of suck that is this book. These characters deserve better. These creators can do better (they have done better). We, the fans, deserve better. Thunderbolts sucks. That is all.

Carlo Barberi draws some gorgeous pages here. The characters look unbelievably fantastic. As previously stated, a lot of this issue features the cast just talking things out, and Barberi makes it beautiful. The hellish landscape feels little empty a lot of the time and there are more than a few panels of characters just standing against a blank background, but it's nothing offensive. All in all, Thunderbolts #21 looks superb and reads like a dream.

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.

The Ravagers is off to a decent start. The characters and set up is enough to warrant the purchase of a few more issues, if nothing else. Hopefully, this creative team can take these kids to some interesting places and scenarios, away from remnants of The Culling, because it seems like there are cool stories that could be told. Some new costumes would probably help, too.

On art, Ian Churchill does a solid job. The book looks good, at least. He does his best work on Caitlin, I think, and maybe that is because she is the least ridiculous looking of these characters. And she is not covered in those stupid Tron suits that the characters are still wearing. The best part of the book is when we get a peek at some of Churchill's designs for a new villain that is to be featured next issue. It's not Harvest, so it has got to be a step in the right direction.

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.

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.

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.

New Warriors is a little rough around the edges. It's got a long way to go before it justifies a spot on your pull list, but it's not all bad. If the creative team an manage to make every page as compelling as the Scarlet Spider pages, this could become a pretty great book. Also, more Nova is always a good thing. There's not enough Nova in here.

Ryan Kelly's art doesn't feel quite as sharp this issue. Nothing pops or looks especially great; it just kind of comes and goes. Add in some poor coloring choices that make some of the male characters look way too similar and you have an all together ho-hum package. Hopefully, things will pick up and Saucer Country will start to become the book that the first issue promised it to be.

David Liss does a fine job with the script. Most of the characters are fine and the dialogue is good. The problem is, The Spider just isn't very interesting. As a character, he is kind of boring. He's a rich playboy that also works a consultant for the police and midnights as a superhero. He hates the crime and filth that have infected the city. That's it. There you go, that's The Spider. If we are going to keep with this series, we need more than that.

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 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.

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.

Heubert Khan Michael kills it on that first page. Things get rougher as the issue continues. There's some solid moments when the costumes are on and the action is ramped up, but when the scene moves into a police station, the book falls apart. The anatomy of the characters looks off and the angles are all wrong. The Owl never looks terrible, but it's certainly not great. Maybe they should just keep the look of that first page, because holy crap, that thing looks great.

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.

I am really enjoying this series, and hopefully it'll all come together by the time issue #9 rolls around. Right now, it's just starting to wear a bit thin. It feels like we're being pulled along and that is not a good feeling. Let's just hope that Azzarello and Risso can pull everything together.

The main reason that this book stays on my pull list is the inspired cartooning of Eduardo Risso. He masterfully plays with shadows and darkness in Spaceman. His characters look so good that you hardly notice that there is no background half of the time. When Risso's artwork and Azzarello's writing groove, you end up with masterpieces like 100 Bullets. When the art looks great but the story sags, you end up with Spaceman.

The one saving grace of Spaceman is Eduardo Risso. His art is always great and it looks even better than usual here. His style of cartooning gives every character a sene of emotion and expression. His use of shadows is nothing short of incredible. It's a shame he is not drawing a book that is particularly worth reading right now.

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.

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 issue looks nice, thanks to Jeff Johnson's pencils and Andy Smith's inks. Superman #23.1: Bizarro has a light feel, an almost cartoon tone which would fit a Bizarro story perfectly. It would have been nice to let these guys cut loose on more time with the lumbering grey dude, but them's the breaks. Adding to the slick art package is some great colors by Javier Mena and the mighty Jordie Bellaire. Yes, this issue is easy on the eyes, it just doesn't go anywhere or tell much of a story.

Ed Benes's art is the best thing about this issue. His highly-detailed style fills every page and panel with flying debris, fire and muscle. Parasite looks fantastic, a giant purple hulk that dominates every scene. That said, there is a bit too much black, a heavy-inked look that overshadows many otherwise great moments. Peter Pantazis colors are bright and poppy, so it would be nice if that ink was scaled back some, if the colors had more room. Regardless, Superman #27 is a handsome comic book, it's just a shame so much of that art is covered by excess narration and monologues.

As previously stated, there is still lots of good stuff going here. Cassaday's art was worth the wait, as this issue looks absolutely fantastic. Laura Martin's colors are as strong as ever, so if nothing else Uncanny Avengers #4 is a visually very pleasing comic book. There's a great page that apes the classic Days of Future Past cover that is worth the cover price alone. And say what you will about Remender's writing in this issue, those last two pages are a thing of beauty. Uncanny Avengers is an okay series that needs to find its voice and then scale back on it. Show, not tell!.

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.

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.

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.

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.

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 art is nothing spectacular. Richard Elson does a serviceable job, but there's nothing that'll wow you in these pages. It looks and reads like every other standard superhero book on the stands. It's not bad, not by a long shot, but it's nothing to get excited about either. The color work by Antonio Fabela adds to the overall generic feeling of the book. When you have a comic starring a C-list character, you really need to come out of the gates strong and give the reader something unexpected. This first issue of Morbius doesn't do that, at least in the art department.

The art, provided by Ronan Cliquet, is mostly pretty great. Some of the action is as jumbled as the script, but in general this is a smooth ride from start to finish. Really, the biggest problem is that Black Bat never looks as cool as he does on all those covers Dynamite provides. Far from it, in fact. In the comic he just kinda looks like a dude in coat and a mask. But man, look at Marcos Martin's cover and try telling us this isn't a bad mother of a character. Hopefully the comic will kick it up a notch and match those gorgeous covers.

Nick Spencer is a fine writer for this series and he is obviously writing for the bigger picture -- the story as a whole -- not the individual issue. If Ultimate Comics X-Men #10 is an issue all about a single action, a single call to arms – and it is – then Spencer does a great job of making that moment count. When it happens, it hits you hard. This is clearly not the X-Men of the standard 616 Universe and Spencer makes sure to give us the kind of moments that you can only get in an Ultimate comic. It'd just be nice if it averaged more than one moment per issue, especially given the book's hefty price tag.

Paco Medina does solid work once again, although he still manages to draw around all the good stuff. We get a lot of people talking in a room, then a double page spread that I guess is supposed to show us the horrors taking place all over the country, but it's so pulled back and removed that it just looks like there are some fires burning. I don't know about you, but when I read someone saying that the Southwestern portion of the United States has been "laid to waste," I expect a bit more than a few fires.

Paco Medina is great, as usual. His pages are clean and defined. There is no action whatsoever in this issue, and Medina handles it with ease. The characters all look great and there is plenty of detail when it's necessary. Medina knows when to drop the background out and when to draw every single pad in a padded room; he gives the book a flow that is sorely needed. If the writing could rise to the level of his artwork, this would be one awesome comic book.

Ultimate Comics X-Men #13 feels like a new beginning for the series. Brian Wood is a writer to watch these days, and his work in this issue reminds us why. It's filled with great character moments, tons of heart and people standing up for what they believe in, no matter what the cost. Really, isn't that what the X-Men are all about?

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.

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.

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.

Skyman is off to an okay start, and it has a ways to go before it becomes a must-read title, but it certainly has potential. There is some cool stuff in this issue, and maybe once the fat is trimmed and the art gets dialed in, we'll have a really great comic book. Captain Midnight has become a superb comic series, there is no reason Skyman couldn't join him. The creative team is strong, and they have the chops to make this comic book soar.

After eight issues, Supergirl still hasn't found its voice. It's not terrible, but, with 51 other options, it's getting hard to justify picking up this book each month. At least in this reviewer's opinion.

The issue does look great though. Mahmud Asrar does a stellar job with the action and this is a book that has plenty of it. There is a raw intensity to his panels, giving the action a frantic, violent feel. His characters are great, especially his Black Banshee who looks sinister as hell. Asrar has been fantastic this entire series, and it's awesome to see him back and kicking butt.

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.

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 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.

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

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.

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.

Magdalena is a great comic that is worth a read if you have never checked it out before. Unfortunately, the art " or lack of art " in this issue doesn't do the best job of representing this stellar series. I mean, if there is one issue that you should draw the hell out of, it is the one that features your hero facing off against a dragon.

Matt Kindt is certainly the writer of the moment, popping up all over the place. Seems like he's writing books for nearly every major company, and he's writing them well. This issue isn't his best work, though. He never really finds Spidey's voice. None of that stops this issue from being good, but it doesn't exactly make it a "must buy" either. The story structure is interesting and I'm curious to see where it's going, but Spider-Man should really sound like Spider-Man. There are enough books out there where he sounds like somebody else (because he is!).

Jorge Coelho produces some killer looking pages in this issue, but nothing quite as strong as we saw in the previous issues. Largely, that is due to the fact that he excels at character work and cityscapes, but not so much at large scale superhero battles. The fights look choppy and odd, lacking the flow and energy needed to give them any sense of excitement. Again, like the story itself, there is nothing bad here, but Polarity #4 doesn't deliver on the promise of what came before. It's a good ending, but hardly a great one.

The Punisher brings our favorite skull-wearing vigilante back into the spotlight in a storm of bullets, violence and death. There's nothing new here, but any time Frank comes back is a good time indeed. Glad to have you back, Mr. Castle.

The real reason to check out this book is Mitch Gerads. His art is fantastic and wonderfully gritty. He brightens up Punisher's world with his colors, which match the tone and feel of Edmondson's script. He draws a great California Frank Castle, complete with a Hawkeye t-shirt and lush, wavy hair. The issue looks great, even when the action is a little muddled and confusing. Some of the tech looks a little strange, too, but it's nothing that'll stop you from enjoying the comic.

Mitch Gerads carries a lot of the weight in this comic. It's his art that makes this thing worth reading. The opening pages of this issue are the best; watching Frank get tortured is truly brutal and intense. Some of the shooting that follows is a little odd, thanks to strange staging and movement. Frank seems to be constantly in a half turned around position and it looks stiff and awkward. Other than that, this issue looks spectacular. The story isn;t all that engaging, but the art will keep you coming back month after month.

Overall, "Scarlet" is a very different kind of comic than Bendis and Maleev's previous work together. Ostensibly it might be seen as a comic with a "message" (though its anti-establishment"ness is a bit too cartoonish to be taken seriously), these are two creators who excel at depicting the most human aspects of drama. Regardless of where her story takes her, Scarlet will always be an interesting character to watch.

Jim Lee's art is exactly what you'd expect from him, although his style hurts this tale a bit. Lee tend to draw everything with a futuristic edge, giving every city a high tech look and slick shine. That's fine, but when a large part of the story is focused on tech terrorists, it sorta loses that wow factor. The terrorists in question use big robot to act cities, but it seems like everybody has big robots. Hell, Lex Luthor built one out of a model in his jail cell. It's hard to really understand the tone of the book, because Lee's art never gives you a clear sense of the world.

But it is not all good. There are a few art pieces that look unfinished. There's some heavy handed commentary that adds little to the conversation of the Occupy Movement. There's several pages of J.M. DeMatteis talking to you. Literally, they just draw him talking to you and sometimes pausing cause he's sad or thinking. He says some interesting things, but the presentation is so bizarre.

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.

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.

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.

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.

On a positive note, Carmine Di Giandomencio delivers some of the series' best art here. If you haven't been a fan of the way previous issues have looked, this one isn't going to change your mind, but for those of us that have enjoyed the exaggerated style, you'll get a real treat here. One of the best looking moments comes when Captain America and Wolverine have a brief and tense conversation in a bar. It's subtle but well done. The characters look great and the scene really pops. If nothing else, Punisher: War Zone is getting better as it goes on, but since there is only one issue left, that might not be saying much.

Carmine Di Giandomenico's art is as fluid and graceful as ever. When Punisher: War Zone #5 looks good, it really looks good. There are times when the line work can feel a bit muddled and incomplete, but gorgeous coloring by Matt Hollingsworth helps smooth out the rougher moments. Still, the best coloring in the word can't save some of the action scenes at the issue's end, which have strange and confusing flow. This issue is a solid end to an amazing run, but still not quite the heights we expected.

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.

John McCrea is an artist that simply is not around enough these days. His detailed style of cartooning is a great fit for this series. Martian attacks have never looked so good. There is a visceral, raw nature to his art that lends it self wonderfully to thing like giant robots attacking cities or a martian getting an American flag jammed through the side of his head. Every page looks awesome, even if the script is just throwing out random scene after random scene. Mars Attacks is an expertly drawn book that looks way better than it has any right to.

Any comic book that John McCrea draws is a comic book worth buying. In this issue, he gets to draw page after page of giant insects tearing people to pieces. It's gory and horrific and all kinds of awesome. While the story " or lack there of " won't leave much of an impression on you, McCrea's art surely will. Every page is a work of art, the kind of thing you'd hang on your wall, assuming you don't mind having images of giant ants eating people hanging on your wall. Maybe there are people out there that don't enjoy seeing giant scorpions attacking a city, but I don't know them, and frankly, I don't want to.

Braithwaite's art is pretty good, for the most part. The issue could benefit from some solid inking, since most of it looks like the colors were just added to the pencil work. This gives everything a soft look and the effect is not the greatest. It's not bad, but stronger lines could definitely help bring the pages to life. Still, the world looks good. The aliens look great. The universe looks lived in. If you're a fan of science-fiction, check out Storm Dogs.

The Shadow is off to a solid start. If you are a fan of Ennis, you'll enjoy this book, no doubt. It's the perfect character for his dark mentality and it looks like it's going to be one hell of a ride. If you're a fan of The Shadow, then you'll be happy to know that the character is in great hands. Ennis obviously loves him as much as we do.

Aaron Campbell's art looks little cleaner this time around. He still plays heavily with shadows, but it doesn't confuse any of the characters like it did in the first issue. He gets a chance to draw another scene where The Shadow appears behind a bunch of baddies and wastes them in a hail of bullets. Seriously, there could be one of these pages in each issue and it wouldn't get old. It looks freaking fantastic. The only place Campbell really falters is when it comes to a fight between two female characters. It looks awkward and lacks any feeling of movement. Stiffness aside, it's a good looking book with plenty of darkness, both in the art and the storytelling.

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.

Simon Coleby's art ranges from awesome to stiff throughout this issue. There's a gorgeous level of detail on nearly every page that helps to breathe life into the dark and crazy world of Judge Dredd. Dredd himself looks fantastic, but many of the other characters look awkward and posed. Lots of panels look photo referenced to the point that they have a mannequin like quality. It's a bummer, because when this comic looks good it looks really, really good.

Simon Coleby's art also shows improvement from the first issue. The characters don't look as stiff and staged. The gritty, run-down look of the world is fantastic. Coleby can draw the hell out of Judges and he does that page after page here. The only time things feel slightly off is when he draws kids. The younger crowd just doesn't look right; their anatomy is just a little off. Heads are too big, arms too short. It's a minor offense though, especially when you consider how good the overall look of Judge Dredd: Year One is.

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.

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.

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.

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.

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!

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.

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.

Visually, the issue is nice, too. Santacruz doesn't skimp on detail, rendering every page to the max. When we get to the costumed action towards the end, the book really soars. It looks dynamic and exciting, big and bold. The only problems occur at the beginning, were the story drags a bit. The characters tend to look staged and stiff, their expressions never quite selling their emotion. It's not bad, but it certainly doesn't live up to the back half of the comic. That half looks fantastic.

The book mainly suffers in the art department. This is a book that is heavy on emotional moments, and that is not Eddy Barrows' strong suit. He handles action and movement wonderfully. Human expression? Not so much. Characters often look like mannequins, with broad smiles and wide eyes. It makes sincere moments look a little creepy. Fortunately, once Bruce and Dick are fighting side by side, the book looks great. When there are backflips and roundhouse kicks, Barrows kills it.

We can only hope that the Night of the Owls continues to be this awesome. So far it looks to be a great event for all the characters in Gotham City, not just Batman.

Kyle Higgins, Eddy Barrows and Andres Guinaldo are on fire this issue. It hooks you early and never lets go. The art, the story, the dialogue; all of it is top notch. There is one double-page spread early on that is practically perfect. Night of the Owls is the event to beat this year, but this issue of Nightwing has assured that it isn't some frantic cash grab; it is an important part of the Dick Grayson's mythos now and, in a way, feels like it always has been.

The script, by Kyle Higgins, is solid if unmemorable. There is a good balance between action and story, but most of the action doesn't seem to carry much weight. Perhaps it's still the lingering from Night of the Owls, but Nightwing doesn't seem to have much at stake here. Large parts of the book seem to be retreads of common comic book moments. The villain just set a large piece of debris hurdling towards the street! The hero saves the people and stops the villain! It feels like filler. Well-written filler, but filler none the less. I'm ready for the gray son of Gotham to step up his game and stop fighting with nobodies like Paragon.

Look, the reason I slapped my hard earned dollars down on the (metaphorical) counter for these issues was Joe freaking Madureira. Without a doubt, Savage Wolverine has been some of his best work ever. It's stunning. This issue is the weakest of the three, relying heavily on silhouettes and smokey environments, but it still looks amazing. Not as amazing as the two issues that came before, but amazing nonetheless. The panel where Wolverine finally loses it and gives into his animal side alone is worth the price of admission. Madureira delivers the goods in Savage Wolverine and I, for one, couldn't be happier.

The landscape problem could be a metaphor for the issue itself, which also feels pretty empty. There's simply not much happening here. Fans of Jock's art will love this issue, but if you are looking for a Wolverine story you can really dig into, this isn't it. Yet. Wolverine lands on a planet and then a little kid shows up and shows him a needle. That's pretty much the story. Of course, we are only one issue in, so things could change, but for now just know that not much happens in this first issue.

Unfortunately, the great art is dragged down by a sparse, clunky story. Things move at a snails pace most of the time, which means we get things like a 10 second countdown that takes up five page. The dialogue is empty and shallow, certainly not carrying enough weight for how little there is. At this price point, the only reason to buy this book is if you absolutely adore Jock's art. The story isn't worth the price of admission, that's for sure. I love Jock, so I bought it, but I was definitely hoping for more.

This is not to say that Skullkickers #13 is not worth your time and money, because it absolutely is. It's a fun book that is worth a read if you have never given the series a chance in the past. It's easy to get sucked into and there is plenty to enjoy in this issue. At the very least you'll like looking at all the pretty pictures, which is not such a bad thing.

Everything else aside, the strongest part of any given issue of Skullkickers is the artwork of Edwin Huang and Misty Coats. Skullkickers #16 is a great looking comic book. Towards the end of the book, the ship that the characters are on hits a heavy storm and begins to be tossed about in the waves. As this happens, the panels in the book begin to sway back in forth. They tilt sideways and send the characters sliding across the page. Then it tilts back and sends them the other way. It's a cool effect and a great reminder that the art in Skullkickers is always topnotch. Even if the bad jokes rub you the wrong way, give Skullkickers a chance. It's a really pretty book.

When it comes down to it, the reason you bought this comic is right there on the cover: the gory, dirty detail of Geof Darrow. The man can draw, to say the least. Most of this issue takes place in a barren desert and he still fills it with an unparalleled amount of detail. There's some chainsaw on zombie action, with a promise of more to come. There's a car full of dudes whose jerkiness jumps right off the page. My favorite image though, the one that really sells this comic, is the one of a giant satellite. It's beautiful in its ugliness, which kind of sums up this entire comic.

Okay, if you are still here, still reading this, I'll assume you, like me, love Shaolin Cowboy. If you do, the endless carnage of this issue is a treat. Yes, it's certainly not the best Shaolin Cowboys, it is certainly missing that trademark humor and wit, but holy crap is it pretty. You'll get lost in it. It sucks you in because you simply can't believe how long it's going on for. Some much death, some much blood and guts. It's a whirlwind of violence that you simply can't look away from.

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.

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.

What really makes this is issue great, though, is the art. Revel's art " with colors from Christine Peter " is fantastic. There's a almost dirty quality to some of the pages, a sense of scattered shadows and rotting wood. Given the story's location, it fits like a glove. Marvel Knights: X-Men doesn't look like any other X-Men book around. This is a great comic book and a superb start to a what looks to be a kick-butt series. More like this please, Marvel.

The art takes a slight dip in quality, but it's still fantastic. Some scene look more rushed than others, but overall Revel's style gels perfectly with this small town, backwoods tale. The best bits involve Wolverine slicing his way through several (possibly imaginary) dudes. Hell, if Revel wanted to do a Wolverine book, Marvel would be smart to let him. There's a darkness and grit to his art that really make this book tick. Doesn't matter what corner of the Marvel Universe you dig into, the X-Men books are all really good right now, and Marvel Knights: X-Men #2 is no exception.

The subpar art is a real bummer, because the story is actually quite good. The small town setting, with the prophet-like bad guy who is high on mutant juice is intriguing. It's cool, down to earth stuff, which you don't always get in an X-Men comic. It offers something unique when compared to all the other X-titles on the stands. It's heartbreaking that the art is slowly making the story less engaging, because I want to see where this thing goes.

Marc Guggenheim is a guy who knows a thing or two about courtroom dramas, so he's a natural fit for this tale. His Punisher is a more classic version of the character, heavy on internal monologue. There are a few moments where it feels a bit overdone, but the majority issue runs smoothly. Guggenheim definitely has a lock on the character's voice, which makes it bummer that this thing is only two issues long. These guys do a bang up job here, it'd be nice if they did a longer run. We Punisher fans need our fix.

Mico Suayan steps into the art duties and does a bang up job. It's a little strange to have two different artists for a series that only had two issues, but Suayan is a great match for the look and tone established in the first issue. The big spreads look amazing, especially a flashback sequence featuring Punisher and Daredevil battling it out on the rooftops. Still, there are a few disconnects; nothing too jarring, small stuff really. For example, the first page opens with the line "The courtroom's packed" but the art makes the place rather sparse and empty. It's kinda weird.

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.

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.

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.

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.

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.

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.

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.

The black, icky feeling that fills these pages is largely due to the art. As is becoming the norm for Valiant, there's a whole lot of artists jammed into this issue. There's four listed, although it seems like Robert De La Torre and Mico Suayan do the bulk of it. Regardless, the absolutely brilliant color work of David Baron ties this thing together in a bleak and ghastly package. Shadowman #0 looks incredible and stands on its own as a fantastic piece of comic book storytelling.

Shadowman is another awesome notch in the belt of Valiant. If you've enjoyed the rebirth of Valiant, you are going to love this book. If you haven't picked up any Valiant comics yet (what's wrong with you?) then this is as good as place as any to start. It's bleak and gross. Buy Shadowman and let it haunt your nightmares. You'll be happy you did.

The high point of this series is still Zircher's stunning artwork. Few comic books look as good as Shadowman, and that's because Zircher is an incredible artist and storyteller. You never get confused with the action or lost in scene. It's smooth and gorgeous. And, man, there is so much blood. So much. It's practically dripping off the page. Also, in this issue, he draws a giant demon getting fitted for a suit! That happens!

Zircher's art is brilliant, as usual. The scenes in the Deadside look especially great, thanks in part to some expert color work by Brian Reber. The dead glow and jump off the page, bringing an awesome sense of horror to the pages. Zircher's art has a photo realistic quality, but none of the stiffness that normally comes with that art style. Valiant did the right thing in scooping Zircher up, as he brings a lot to this book and the Valiant Universe as a whole. Shadowman simply looks incredible.

I cannot stress enough how amazing this book looks. It's heavy, filled with shadow (weird, I know) and some of the best character work you'll find anywhere. There are so many epic panels; so many gorgeous moments. Zircher just draws the hell out of every page. Enhancing this whole thing is the color art provided by Brain Reber. It's absolutely incredible. It's amazing how such a dark and sinister book can look so bright. It almost glows. When it comes down to it, Shadowman is the prettiest belle at the ball.

Justin Jordan and Patrick Zircher still deliver the same high quality writing that has also been a hallmark of this young series. The legacy of Shadowman is as compelling as ever, and it'll make you anxious for the next issue. The best bit comes in the beginning, which features a scene that plays out like a finely crafted action movie. It's stuff like this that should give Shadowman a well-deserved spot on your pull list. Trust me, you are buying books that are half as good as this. Ditch 'em, and give Shadowman a chance. You won't regret it.

As previously mentioned, having three artists working on a single issue is really starting to kill this title's momentum. In this issue we get Patrick Zircher, Lee Garbett, and Neil Edwards. They all do fine work, although it does feel like all the backgrounds suddenly disappear about half way through and some sections look way better than others. The real problem is these three guys have wildly different styles and the book is not structured to complement shifting art tones. You just turn the page and things look crazy different. It gives Shadowman #6 a clunky, oddly-paced feeling. This title used to be my favorite Valiant series, but it has slipped a bit the past two issues.

Shadowman's biggest problem is its art. Neil Edwards is not a bad artist by any stretch of the imagination, but his straightforward style doesn't fit with this series. It's too cartoony and lacks the gritty detail that this horror tale needs. The scenes that take place on the Deadside look better than the world of the living, but they still aren't a match made in heaven. Edwards has a great style and look, it just isn't gelling with Shadowman.

Again, the issue is split between three different artists. Robert De La Torre, Neil Edwards and Lewis LaRosa all do great work, but De La Torre is the one who truly brings a unique spirit to this book. His pages stand high above the others, which only serves to give the whole thing an uneven feeling. That said, those pages are worth the price of admission alone, giving a creeping horror and eeriness to the comic. If only he could do the whole book.

Art isn't the only problem, as the ending of this arc is a confusing one. Justin Jordan brings everything together in this issue, but how and why events fit together isn't clear. Even after reading the book twice, I'm still not sure how Shadowman defeated Master Darque. He used Darque's own magic to suck Darque into a magic tower that then exploded? I think? Maybe. Anyway, there are some cool scenes here, but they get lost in a convoluted ending that tries too hard to bring everything together.

Unfortunately, once again, Shadowman suffers in the art department. This issue is drawn by Diego Bernard, Andrea Cuneo, Mico Suayan, Lewis La Rosa and Carmen Nunez. It's inked by Alejandro Sicat, Stefano Gaudiano, Brian Level and Carmen Nunez with colors by David Baron and Matt Milla. As you can imagine, that many artist results in some dramatic shifts in tones throughout the issue. Some pages look great, some look okay. Some are dark and brooding, some aren't. Nobody does bad work here, but this series could really benefit from a stable art team. Or at least maybe just like only two artists and two inkers? Shoot for that first and go from there.

The art doesn't help much either. Miguel Sepulveda's characters always look awkwardly staged and posed. His Shadowman actually looks pretty good, and he draws some great looking demons, but since nearly every scene is played for laughs, there is a big disconnect. Zub and Sepulveda are working on two different books, apparently, never quite getting on the same page. Sahdowman is in a sad state, which hopefully will turn around when the new creative team jumps in. In the meantime, you might want to check out some of Valiant's other titles, 'cause those are great. This one? Not so much.

This issue looks incredible too, thanks to Roberto de la Torre. His gritty, scratchy artwork is perfect for this series. It helps that he has the book all to himself now, instead of only handling a few pages while other artists divide up the rest. Roberto de la Torre brings a unified and bleak look to this title, a sense of despair and darkness. This is the Shadowman we saw glimpses of over a year ago, maybe even better. Let's hope these guys stick around for a while, they seem to be telling a story worth reading.

But, what we all came to see was the blood and guts, and Tradd Moore delivers that in spades. His art style is unique and instantly recognizable. There's movement to every page, a frantic, bustling energy that you just feel. And buckets of blood. Blood everywhere. If Marvel ever decides to do a Hulk MAX series where the Hulk just crushes people, they had better call Tradd Moore to draw it. I'm hard pressed to think of anybody that draws this level of violence and intensity better.

Of course, you can come for the story, but we all stay for Tradd Moore. His hyper, kinetic art gives the book a fierce, violent energy that few other artists can match. Luther looks so freaking sinister and tough. You can see his power and feel his speed on every page. The Legend of Luther Strode is a damn fine looking comic. If dudes have to get their heads punched off, then let Tradd Moore be the man who draws it.

Guiu Vilanova provides the artwork, and it mostly looks good. There area few moments that feel incredibly stiff, and the artwork leans heavily on the colors provided by Vinicius Andrade, but the overall package does its job. There's nothing too fantastical here, just a lot of business guys talking about business stuff, and Vilanova manages to keep it engaging. There's nothing that'll blow you away, but the story moves briskly and the art keeps up nicely. This is a fine start to what looks to be a fun series.

The real reason to buy this comic is Ryan Stegman. His art is beyond unbelievable. The very first page should be enough to sell you on this book; it's insanely cool stuff. Stegman's art seems to pop off the page, there's so much energy to every page and panel. Even if you aren't a Wolverine fan, this book offers tons of great visuals that make it worth the cover price. Superb inking by Mark Morales and awesome colors from David Ciriel help make Wolverine #1 one of the prettiest damn comics on the stands. The story has got some catching up to do, but this title seems like it's going to be a good one.

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.

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?

Artist Daniel Indro does awesome work in these pages. His style is dark and detailed, which fits the pulp tone and setting wonderfully. He really excels with the characters; he bring tons of emotion and grit to their expressions. The one hang up is his over use of stray lines and scratches that often times surround characters. They seem out of place and pointless, at times making it appear as though everyone is standing up against a beat up wall. Aside from that, the book looks great and seems like it's gonna be a series worth reading.

Simon Coleby's art in the book's opening pages are freaking beautiful. They are filled with detailed and grit, truly capturing " at least what we imagine " a bombing raid looked like. It's horrific, but you can't take your eyes off of it. Things take a slight dip after that, and the extended flashback scene has some stiff moments, especially during a large party. Those stiff panels can't bring down that opening though, and the promise they show. Royals is off to a really good start and it's worth checking out. I'll be back next month, for sure.

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.

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?

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.

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.

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.

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.

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.

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.

Janet Lee forgoes her normal painted style here and the results work very well for this book. Her art is colored by Chris Sotomayor and it gives Lost Vegas a distinctly more "comic book" feel (as opposed to the storybook nature of her previous works). Regardless as to whether the story of Lost Vegas catches your fancy, you'll no doubt enjoy the art. Lee has a unique style that allows for some very graceful and fluid storytelling. Lost Vegas #1 is a good looking comic book.

Overall, though, "Morning Glories" is a miraculous title. In a world where so many works across all mediums have tried to capture the same feeling that "Lost" had, Nick Spencer has found the perfect balance between mystery and character and delivers a riveting comic that also has believable characters with realistic motivations. These are the sorts of things that add weight to the intrigue and keep you interested, not just following bread crumbtrails of clues. This issue focused mostly on Zoe. Hopefully it's the first in a series of closer looks at each character. It would be the only thing in this book that wouldn't surprise me.

Now, this is all fine and dandy, but Nova will really need to find its own voice very quickly. I can forgive these familiar story beats in a character's origin, but once the ball is rolling we'll need more. I don't want to read a well-done retread forever. Nova is a character that many people have a lot of love for (myself included), so here's hoping that its creative team can give us something fresh to grasp onto.

Ed McGuinness' art shines, as usual. With inks by Dexter Vines and colors by Marte Gracia, Nova #2 is a slick looking comic book that has tons of visual character. The art is barely contained by the panels most of the time, especially once Sam puts on the helmet for the first time. He flies through the pages, jumping through borders and gutters. The reader can feel that energy and magic, which is exactly how they should feel when they read a comic book.

This is also the best looking issue so far. Ed McGuinness and Dexter Vines produce some smooth and pretty pages . Space looks good; damn good. There's an openness to this book; a sense of a huge universe and that's not an easy thing to capture. Then there's the excitement on Sam's face when he returns from his first major flight which is almost infectious. It's also insane how often McGuiness breaks the panel borders. Every bit of action leaps of the page and comes flying towards you. It crackles with energy and life. Nova is getting there and it'll be fun to see where it goes.

Once again, Ed McGuinness works his awesome magic in this issue. The book has a widescreen feel, with pages often having no more than 4 panels. There's lots of room for the artwork to breathe and the art team takes advantage of that. This format really clicks with McGuinness' style and makes for a face paced, breezy read. The action is rarely confined to the panels, with characters often breaking free, giving an added layer of depth to the pages. It's really, really well done. It won't take you long to read this issue, but it's a nice ride while you're on it.

This sounds like a backhanded compliment, but Ed McGuinness draws the emptiness of space perfectly. Seriously. His pages give a feeling of the wide open worlds beyond; a vast infinity. The characters move and soar through the stars in way that feels cinematic and epic. If Marvel were smart, this would be their next big film or TV franchise. It's superhero science fiction for the whole family, something that film audiences would eat up. But hey, when Loeb is involved, you'd have to expect that was kind of the intention, right?

Paco Medina's pencils look good, even though there are times when the character's expressions seem off. The costumed characters look the best; it's clear that Medina knows how to draw superheroes. However, the real star of the art team is colorist David Curiel, who makes this issue glow. There's shine and a brightness to the world, a sense of adventure that radiates in through the colors. Coupled with solid ink work from Juan Vlasco, Nova #7 is a mighty good looking comic book.

Paco Medina's work is a little varied here. Some of the page layouts are choppy and confusing. The characters are too often standing in front of blank backgrounds and there is some strangely staged action. That said, the man draws some fantastic looking superheroes. Beta Ray Bill is creepy and menacing. Nova has a sense of energy and movement as soon as he puts the helmet on. When things are exciting, Medina delivers. It's not always good, but when it is good, it's really, really good.

Korkut Oztekin is an inspired choice for art, as his work feels like something out of the era this work is trying to capture. Few modern comics look and move like RoboCop:Last Stand #1, which is probably a good thing. The RoboCopseries has always been a run down alternative future, and the art of this issue captures that. There's a lot of setup in this issue, but the few moments of action we get are pretty damn awesome, so it's fair to say that hopes are high for the future of this series. I thought about inserting an "I'd buy that for a dollar!" joke at the end here, but that's just too obvious, right?

Korkut Oztekin does some stellar work on these pages. He renders Robocop's world with gory detail, showing every eyeball that is punched from a head, every splash of brain matter on a wall. There's a real sense of energy and movement to these pages. Some of the action gets a little muddled at times, and you'll have to study panels to figure out who is who. The pages that look awesome outweigh the bad ones, but the bad ones are there and can't be ignored.

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.

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.

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.

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.

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.

The visuals are nice, too. Piotr Kowalski's art coupled with Brad Simpson's colors makes for one pretty package. There's a washed out tinge to the pages, like the brights are no longer quite as bright. It's a great example of the art fitting perfectly into the storytelling. The only problem with Sex is the lettering. I applaud Rus Wooton for taking a risk and doing something unique looking, but it really feels like it's not working. It's harder to read than it should be and messes with the flow of the story.

This is not to say this issue is bad, because it certainly is not. There's a fairly tale like quality to it, a whimsical, song structure that breezes you from one scene to the next. You might have to read it twice just to grasp what exactly is happening, and even then it seems like the only thing we can say about it is "it looks amazing!" Who are these characters and why should we care? You won't get that, not in these pages. It's incredibly well written, but if you are looking for that feeling you had when you read the first issue of the original Sandman series, you won't find it here.

J.H. Williams III is the star of the this series, no doubt. His gorgeous layouts are unlike anything else being published in mainstream comics, and that's a good thing. There are pages in this issue that are downright nightmare inducing, big, haunting visions of things best left unspoken. As usual, he works primarily in double-page spreads, which look fantastic. However, if you read this digitally (like I did) the scale of the book can be hurt a bit. You can't read this thing panel to panel, you have to take in a whole page, or two pages as it were, at once. Hopefully we don't have to wait so long for the next issue of this series, because art this stunning needs to be on the shelves as often as possible.

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.

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.

Nate Bellegarde provides the art, and while it looks good, it is not without its faults. The characters look good, and since this is a character driven book, that is a very good thing. However, everything that surrounds the characters lacks definition. The backgrounds are boring to non-existent, often leaving the characters standing in front of plain, colored boxes. Buildings lack features. Everything just has a sense of plainness. Now, the gem encrusted gorilla? Totally awesome. More of that and we'll be fine.

Of course, it helps that this issue looks amazing, too. Nate Bellegarde draws this character driven issue splendidly. His clean, solid style fits the story like a glove. It never looks stiff or posed; the art just flows, from start to finish. It helps that the always incredible Jordie Bellaire is on board, weaving her color magic into an already great looking story. If this issue is any indication of the quality we can expect from Nowhere Men from now on, then you need to add this book to your pull list, pronto.

Geovani's art is solid. The characters and world look great. There are times when the action seems to lack energy, which is a bummer since this is an action heavy book. Those bad moments are far outweighed by the good moments, of which there are many. Red Sonja herself has rarely looked so good; she's sexy, but powerful and dangerous. All in all, this is a great comic book and it deserves your attention.

Lemire's art in this issue is some of the best he has ever produced. The separate stories make for dynamically different landscapes, both of which Lemire renders in glorious detail. He has a knack for producing characters who carry their struggles on their face. You can see it in their eyes, the horror, the broken search for something more. This is an exciting and original work that deserves your attention and your dollars. Buy Trillium.

Lemire's art is as strong as ever. This issue doesn't have as many big, soaring visuals as the the ones that came before it, but it's beautiful nonetheless. The best stuff comes at the end, where the upside-down story finally collides with the future in a magnificent double page spread. That page in particular really showcases how great the watercolor styling of this series is. Trillium has look all its own, which is something that should be celebrated in the current comic book market.

Lemire's art is great, as usual. He draws awesome characters and awesome worlds, we know this. The biggest problem this comic has is its constant need to flip panels and pages upside down. What was once a neat little trick is now a chore, especially if you are reading digitally. It adds nothing to the story and just kills the momentum of the comic. It was cool in the first issue, but it's something that should have stopped a long time ago. Trillium is the kind of comic that you want to love, but it feels like it's working against you sometimes.

So, if you are worried whether or not Valiant can pull this off , then fear not, because things are looking good. X-O Manowar is a solid start to the rebirth of a universe that many of us loved. If you have never read a Valiant comic, then hold on to your butts, because this is a world worth jumping into. I, for one, couldn't be more happy to see Valiant comics back on the shelf. Let's just hope they keep this momentum going.

Cary Nord is a great fit for this book. His art is fantastic and his characters look magnificent. We know from the last issue that his real strength is the action scenes, which we do not get a ton of in this issue. I'm eager to see Nord handle the armor and some epic alien tech fights. Fortunately, the ending of this book will leave you ready for issue #3 and there is no way that thing isn't going to be filled with action. I just wish it would hurry up and get there already.

Cary Nord's art looks great, if not quite as polished, in this issue. His character work is fantastic. The action looks awesome, but not as big as it did in the first issue. It's not bad, but the backgrounds drop away more often and the line detail is missing at times. Still, Aric versus an alien in a giant mechsuit is crazy cool, and we finally get some brief laser sword action. The best panels though are the ones that show the anger and intensity in Aric's face. The very last page is one of those moments where you go, "This is not going to end well." I'm ready for the next issue, Valiant.

Cary Nord once again delivers some killer looking pages. His talent is slightly wasted during the talking heads intro, but once things get rocking they really get rocking. Things look especially great once our hero takes to the skies and starts duking it out with some jets. The action looks fantastic and you can practically hear the explosions as Aric blasts through one jet after another. It's cool stuff and the kind of thing that makes this series a must read each month. If you weren't onboard with the summer of Vailant, you better change that in the fall.

Stepping in for Cary Nord is Lee Garbett and he doesn't miss a beat. The book looks fan-freaking-tastic. The battle between a speical forces group and Aric in the jungle is so ridiculous and violent. At one point, Aric punches a grenade through a guys ribcage. Yeah. Garbett draws the hell out of all of it. Also, he gets to draw Ninjak and that makes the man a true hero. Ninjak is back!

Once again, Lee Garbett draws some awesome looking stuff. This issue looks great, although not quite as good as the previous issue. There's a little less polish here, a little less attention to detail. Still, the fight scenes look awesome and considering the fact that a large portion of this book is a fight scene, that's a very good thing. X-O Manowar is not just one of Valiant's best books, it's one of the best books being published right now, period.

Lee Garbett does some stellar work in this issue. There's a few panels that feel like they could use a bit more detail, but once the action gets rolling, the book looks fantastic. One page in particular is just panel after panel of Ninjak and X-O cutting guys to pieces. And man, I'll tell you, when X-O bursts out of the water in front of a bunch of baddies, that is what comic books are all about. It's cool as cool can be.

Trevor Hairsine handles art in this issue along with colors by Brian Reber. Overall, the issue looks pretty good. The aforementioned aliens getting cut in half looks amazing. Any time the armor is on and Aric is throwing down, things look great. That said, there are more than a few moments where the characters' faces don't look right. Eyes don't line up. Face shape seems off. It's minor, but you'll notice it. Fortunately, it doesn't completely bog down this issue. X-O Manowar still kicks butt. Bring on Planet Death.

Trevor Hairsine does a fine job here, although there are a few hiccups throughout. The characters can still look a little off at times (especially in their eyes), but once the fists start flying and lasers start shooting, all is forgiven. Hairsine does a great job with action, although I'm still not a 100% sure what exactly happened when the armor blew up the enemy fleet. This is not the best looking issue of X-O Manowar, but it's still a good comic and does a fine job of earning your attention.

Unfortunately, the art in this issue isn't quite as epic as the story. Cary Nord does some brilliant work with the panels on the first few pages, but then things get a little clunky. The inking lines are hard and thick, giving the book a brushy, sketched look. This makes for a lack of detail and a general unfinished feeling. That said, the page where X-O first lands on the Vine's home world? Holy cow, it looks freaking amazing; it's beautiful in its menacing glory.

Sadly, Cary Nord's artwork slips even further in this issue. It's brushier and more sparse, giving the issue an almost empty feeling. There's a rushed quality to many of the pages, as if the finishing detail work was simply left out. Some of the smaller scenes, involving Aric and a slave woman look fantastic and detailed, which only makes the book feel more disjointed. Hopefully, since it looks like death is right around the corner, Nord can rally and bring that level of detail to every page.

Cary Nord nails things here, as well. The brushy, rushed look of previous issues is gone and we get clear, defined characters and action. This issue isn't all brutal violence, and Nord delivers on the smaller scenes, too. Aric's anger as looks over the pyres of fallen humans is visceral, you can just see it in his face, in his clench fists. X-O Manowar #11 is just good, people.

Lee Garbett returns to the series and deserves a hero's welcome. His detailed character work is perfect for an issue that features lots of contemplation and concern. You can see the anger and confusion that Aric carries with him. He's not the bad guy, just a man acting the only way he knows how. Garbett delivers in every panel, especially towards the end as tension ramps up during a confrontation between X-O and the Eternal Warrior.

Lee Garbett has become the artist on this series that all others should be judged against. No offense to the other very talented hands that have handled this world, but Garbett is just the bee's knees. He renders the past and present with equal care, letting the story shift seamlessly from ancient battle ground to modern day. And, you know, there's the lightning swords... you can't forget about the lightning swords. X-O Manowar #16 looks and reads great.

Lee Garbett does some of his best work in this issue. There's not a ton of big, alien-powered action in this issue, but all those smaller character moments look incredible. Just look at the expressions, the body language, and tone Garbett renders into every page. X-O Manowar #17 looks damn fine, probably one of Valiant's best looking books to date. Hopefully, Garbett will still be around when the crap hits the fan because it'll be nice to see him handle all that violent, bloody action, too.

For this issue, Cary Nord provides all the art, colors and everything. It's a cool look, for sure, but when compared to the other issues in this series it looks unfinished. I applaud Valiant for putting out an issue that looks unlike any other superhero comic on the stands; they took a risk and that's not something you often see in mainstream comics. Nothing in X-O Manowar #19 looks bad, far from it, but it feels incomplete. In truth, a colorist probably would have been the way to go. There are stunning pages here that would have been served well by the hand of a professional color artist. Still, you never know until you try, right?

Cary Nord provides layouts for this issue and Vicente Cifuentes handles the finishes. It certainly looks better than the last issue, which had a seriously unfinished look. X-O Manowar #20 looks, for the most part, awesome. The backgrounds drop out a little too often, but the characters look fantastic so it's an offense you can get over fairly quickly. The best scene is a massive double-page spread of a crashing spaceship that really showcase the line work and the spectacular colors provided by Ulises Arreloa. It's a high point of the issue and it comes rather early. There's nothing bad after it, but nothing that quite looks as amazing.

Diego Bernard joins the Valiant Universe in this issue and his stuff is pretty impressive. The smaller moments look okay, but once X-O is in space things look freaking superb. The double-page spread that features X-O flying away from the Earth is breath taking. The action looks awesome, which is awesome sign of things to come. Alejandro Sicat inks this issue and he's not the best fit with Bernard's art. The book looks great, but some of Bernard's detail seems to be lost.

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.

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.

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.

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.

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.

If there is one thing some readers might have a problem with it is the book's art style. The artwork looks and feels like an independent comic book, which totally and completely okay with this reviewer. However, if you only buy books with glossy pages, sleek digital coloring and big splash pages, this might not be the comic for you. Kindt's art is cartoony, sketchy and finished off with water colors. Personally, I think it looks great, but not all comic book readers will enjoy it. It'll turn some people off, which is a shame because this is shaping up to be a great series.

Kindt's sparse, water-colored style really shines this issue. The pages that feature the visions of an old man look especially stunning. They are bigger and grander than anything we have seen in this series so far. Even the look in the old man's eye as he watches Meru walk away is stunning. Kindt knows when to breeze over a scene and when to bring it close for detail. The effect is superb.

The biggest problem with this issue, and it's a problem that has plagued this whole series, is that it feels like it was written for the impending collection. Moon Knight #11 doesn't feel like an issue that can really be enjoyed unless you've read the previous ten. This is clearly not a great jumping on point for new readers and it's not meant to be. Those readers that have been following this new series will get plenty out of this issue, but if you're new to the character or to this particular take on him, then it'll leave you wondering why Wolverine keeps popping up and how Moon Knight came to be armed with Captain America's shield.

It's been a hell of a ride, and I'm glad Bendis and Maleev got to see their story through to the end. Fans of this series couldn't have asked for a better wrap up; it really hits all the right notes. Moon Knight deserves to be treated this well all the time; he's a great character with plenty to offer the Marvel Universe.

If you are a fan of Hickman's work, you won't be disappointed here. Secret will sink its teeth into you and drag you along for the ride. Let's just hope it takes us somewhere we want to go.

You cannot talk about this issue with out talking about the opening scene. The first six or so pages of this comic might be the best opening sequence of any comic in recent memory. Hickman draws it out perfectly and Bodenheim draws the hell out of the thing. Again, like the rest of the book, you might not know all the details of what is happening, but you know enough to be horrified. It's brutal and brilliant all at the same time. I can't imagine anybody reading those opening pages and not wanting to read the rest of this series. Give it a shot, you'll be hooked.

All that violence looks awful pretty too, thanks to Drew Zucker. His art has a clean and crisp quality that gives Skybreaker a smooth feel. The best bits are also the most violent, when axes hit heads or brains get splattered. It's good stuff. The only thing really missing is color. Skybreaker is a black and white book, but Zucker's art is just begging for some colors. He does some grayscale work here and there, which looks nice, but there are plenty of panels that feel sparse due to the lack of color. Skybreaker is a mighty fine comic book and further proves that Monkeybrain is the publisher to watch these days.

On the story end, Haspiel has help from Mark Waid, who might know from every awesome comic book on the stand. Haspiel plots and paces the issue, and he does it well. There's a slight drag in the beginning, but once things get going they really get going. Waid's dialogue is awesome, for the most part. There are a few too many pop culture references, but the ones that hit really hit (like a well place Man of Steel dig). Like the art, The Fox's story feels like a classic, a story from 50 years ago that you just happened to miss. Expect for that Justin Bieber reference.

This is a great looking comic, as well. Haspiel's cartooning is bold and frantic, perfectly suited for the silliness that fills these pages. He manages to plug so much character into the Fox's simple design, often with just the subtlest tweak of the ears. It's the art that really sells this thing, no doubt. Haspiel packs each page with tons of stuff, never wasting a page or panel. As previously stated, The Fox feels thick, there's just a lot going on in here, a lot to dig into. As long as Haspiel and Waid are on this book, it's worth your time and money, especially if you're a fan of big, dumb fun. It's great stuff, really.

Boy, that Sean Murphy can draw. The best moments in this book are the quieter ones, when characters talk into a small screen while trap on the bottom of the ocean, surrounded by darkness. Those are the scenes that feel truly horrifying. It's easy to get lost during some of the more frantic action scenes, which does dampen the excitement some. Fortunately, the confusing pages are few and far between. Overall, The Wake reads and looks great. It's a bummer we have to wait so long for more.

Peter Hogan, who wrote Strong's last mini-series in 2010, returns and jumps right back into the zany world of these characters without missing a beat. In fact, if there is a problem with this issue, it's that it plays to longtime fans and not new readers. It's a slow start for a Tom Strong book, something this character is not known for. Since the issue is graced with a "#1" it probably could have showcased some more of the larger than life adventures that we have come to know and love. Again, that is no doubt coming up, and this issue starts things off just fine, but new readers are missing out on that Tom Strong magic.

Jordie Bellaire and Todd Klein add a ton to this book, as well. Bellaire's colors are masterful; borderline perfect. She never overdoes it, never buries the artwork. Everything clicks into place and adds to the visual feast for your eyes. Klein works his usual lettering splendor here. The bold, large font of Strong's balloons, the subtle flames on Val's. It's the little things that make Tom Strong so great and unique. Tom Strong just gets it, this is a comic book for people who love comic books. Great stuff, through and through.

Chris Sprouse is great, as usual. He doesn't get to draw much other than a bunch of science heroes standing around talking, but he makes it look good. You can tell these characters are heroes just by looking at them, and not because of their fancy costumes. They have square jaws, broad shoulders and perfect hair. Sprouse is one of the greats, no doubt, but Tom Strong and the Planet of Peril doesn't give him much to do, so it's hard to get excited. Hopefully this series will pick up steam and start moving again, the world desperately could use some more good ol' fashion Tom Strong adventures.

Adding to that awesomeness is the supreme art being known as Doug Braithwaite. Unity #1 is freaking gorgeous. His sketchy, detailed style fills every panel to the brim. He never skimps on detail, finely crafting every building, tree and jet. The characters look fantastic and the action, oh the action. Put it this way - at one point X-o Manowar punches a dudes head off, and the head lights on fire and flies through a second dude. It's insane, but the kind of insanity that you can't help but love.

As with the previous issues, the really star of the show here is Doug Braithwaite. The dude can draw, to say the least. Unity is crammed with detail, every panel is worth a second or third glance. The action is top notch, you can practically swim in it. Braithwaite's style is soft and smooth, it never feels jagged or rushed. Unity is a great example of two creators just nailing it. It's crazy, beautiful and filled to the brim with action. You can't help but fall in love with this kind of superhero comic; great stuff from start to finish.

Matt Kindt is everywhere these days, and Unity might not be his best book, but it's still a hell of a comic. He writes each issue like this is the only series in the Valiant Universe, giving attention to every character, fleshing out every scene. The stakes are high, with battles at the bottom of the ocean dictating impending nuclear warfare and it's all handled with fluid grace. More than any other book in this company's line, Unity is a superhero comic and it's big one at that. When compared to the superhero books coming out of some of the other companies out there, it's easy to see why Unity is pretty great. Amazing art, solid story and lots of cool characters.

Unity still looks great, at least. Doug Braithwaite's art feels a bit more rushed in this issue, but that doesn't the strong and smooth storytelling from coming through. Braithwaite is a master and even on his off days, he's producing gorgeous looking art that is filled with a fluid grace. Colorist Brian Reber does a great work this month, as well. This may not be the best issue of Unity, but it's still a quality comic that rivals most of the stuff being put out by the bigger superhero companies.

CAFU joins the series this issue, and things look great. We're sad to see Braithwaite go, but CAFU eases our pain with some gorgeous looking pages. His style is detailed, but smooth. Even X-O blowing a dudes head to pieces looks graceful. The only stuff that drags in the art department is Brian Reber's colors. Reber is normally fantastic, but this issue has some strange gradients that leave characters looking computer generated. The first page looks especially odd. It won't stop you from enjoying the comic, but you'll notice it, for sure.

CAFU's art is superb. There's one page in particular, which features the male members of the team bursting into action, that Valiant should consider making a poster. It's beautiful stuff. Of course, the not every page looks as great as that one, but highs are so high they more than make up for some of the stiffer moments. Unity has some nice action set pieces and it looks like there are more to come, which is great news because CAFU excels at movement and action. Brian Reber's colors are bright and intense, as usual. If nothing else, this issue of Unity looks freaking great.

Butch Guice is his usual dark, scratchy self. There are moments when the action can be a bit confusing, especially since it at times features Doctor Doom versus a Doom Bot. A scene where somebody steals a gun from another person's holster requires some careful studying to figure out exactly what just occurred. That said, Guice absolutely kills it when delivering the mood and atmosphere. It feels like the Marvel Universe, but it feels like Brubaker's own corner of the Marvel Universe and that is largely thanks to the talents of guys like Guice who constantly give these issues a look and feel beyond the standard superhero book.

The same goes for Butch Guice's art. It's exactly what you would expect at this point, but nothing in this issue rises above expectations. His fights are still a little stiff and confusing, but the overall look of the book is fantastic. His Black Widow looks great, too. There is plenty to enjoy in this series, but it's time for it to kick things up a notch and become that amazing book we know it can be.

As good as those guys are, the standout star of this issue is colorist Bettie Breitweiser. There are flashback pages that are so gorgeously colored in this book that you will want to hang them on your wall. Her use of red and yellow draws your eye perfectly, giving the pages a stunning and balanced look. Without a doubt, this an amazing looking comic and that is largely in part because of Breitweiser. I'm getting to a point where I would buy a book just because she colored it, regardless of who writes and draws the thing.

Michael Lark is on fire in these issues. He's been delivering great stuff since joining the series, but he really knocks it out of the park here. The action is staged beautifully. There is an intensity to every punch and every kick. His strongest work, however, might be in the characters themselves. The anger on Bucky's face as he looks for those responsible for Black Widow's kidnapping is palpable. Couple this with Bettie Breitweiser's out-of-this-world coloring, and you have a gorgeous looking comic book.

Michael Lark delivers another gorgeous issue here. Bucky's angst is rendered perfectly and the action looks frantic and brutal. HIs dirty, gritty style fits the Winter Soldier mythos. Once again, he is complimented by the incredible color work of Bettie Breitweiser and the results are stunning. Whatever happens after Brubaker leaves, hopefully Marvel will keep these two paired up some where, because Lark and Breitweiser are one hell of an art team.

Butch Guice steps in on pencils this issue. His layouts are fantastic, using a bending, disorienting layout for the flashbacks. It works well, giving a sense of chaos as the Black Widow pummels her way to freedom. It's not perfect -- Steve Rodgers looks a little off, for instance " but it's a damn fine looking issue. It's also worth noting that Marvel has started listing Bettie Breitweiser as providing "Color Art" instead of being credited as a colorist. I couldn't agree more, because what Breitweiser does is absolutely stunning. It is art and it's simply beautiful.

Butch Guice does his usual magic with his pencil work. There's a dark, muddy quality to the book, like this is corner of the Marvel Universe where few superheroes would dare to tread. The killer look of this issue is enhance by the awesome talent of Bettie Breitweiser. Her color art is seriously mind blowing. The reds and oranges look like fire, burning up the darkness on every page. And yet, the book still feels dark, like it's drenched in shadows. Everything about the Winter Soldier is brilliant. This series is so freaking good, it'll make you weep.