This creative team of Kurt Busiek, John Paul Leon, and Todd Klein put together a hauntingly beautiful comic about trauma and wonder, connecting on a visceral level to the comic book fan. This comic could very well have been a one-shot and I would be satiated. Our cup runneth over, though, as this creative team will bless us with a full miniseries. A comic like this is pure perfection and the standard by which I hold all others.

Leon's art is expertly executed. The bright, carefree undergrad environment; the dark garage buzzing with criminal activity; the meticulous office of Uncle Alfred. Every environment shows thoughtful design and amazing detail. This book continues to be a masterpiece, rivaling the best books out now. Pick this comic up and let Busiek and Leon sweep you up into this story.

This book is a creative masterpiece. Kurt Busiek continuously displays his storytelling expertise. John Paul Leon delivers a delightful, 80's aesthetic to the book. The character designs, landscapes, and action scenes continue to deliver a unique display of mastery unlike any other book I'm reading today. I've said it before and it continues to be true. This is the sort of book that sets the standard for top tier work.

I have no complaints about this book except for the face on the cover, but I don't fault the main creative team for that. I don't want this to end, but I fear Jessica Jones is best served in mini-series. One of my favorite characters of all time is well served in this creative team's hands.

This creative team has a wonderful handle on Jessica Jones. I couldn't have asked for a better story from the original creative team that put her on the map. My suspicions that the rest of the arc will be mostly light-hearted were absolutely dashed by the last page. I don't know what the pandemic means for the upcoming releases, but the damn coronavirus will have picked one hell of comic to interrupt.

I'm not familiar with Jason Shawn Alexander or the colorist, Luis NCT, but I couldn't ask for a better art style to accompany this story. The book is hazy, dark, and minimalistic yet appropriately detailed. Scrolling down the pages felt like watching a horror story. There's a pitfall some artists hit where the darkness feels like an excuse to not have to put as much work into the comic. This creative team uses the darkness expertly to capture the book's feel and showcase their skill. In the name of supporting black excellence, I will 100% be picking up this at the comic shop.

But if the gripping story isn't enough to pull you into this comic, then do it for the art. Will someone please think about the art?! Alexander's art is dark. It's detailed. It's intriguing. It's horrific. I am not a horror person and terrifying scenes of bloodshed do not do it for me. But I cannot deny beautiful art when I see it. And this book forces me into terror with the lure of gorgeous and genius depictions. I've been aloof with a lot of Image these past couple years but if this creative team is any indication, I might have to save a review spot for them every time.

The last issue ended with a group of children held up in a gymnasium surrounded by the undead victims of the Anti-Life Equation. They were being trained by some of the best villains, heroes, and in-betweens of the DC universe. Time passes and the bizarre mix of characters grow into a surprisingly touching family. The twisted normalcy comes to an end when their sanctuary is invaded by a zombified, reflective surface-jumping Mirror Master. Now the team has no choice but to fight their way through the zombie hoards towards an uncertain haven in Gotham.

In this comic, Oliver Queen has an air in between Batman's seriousness and complete comic relief. It promises a fun dynamic. All of this framed by Alex Meleev's iconic artistic style makes Event: Leviathan a must-read.

I think what makes this comic particularly impressive is the blend of the familiar and the foreign. I am a long time Bendis and Maleev fan and a long-standing Bat-Family fan. The Question is a character I have superficial knowledge of, but I've always been curious about. Lastly, loyally following the Leviathan story I am completely intrigued, especially with this take from the perspective of characters very different from Superman.

Bendis do what Bendis do in this book. I forgot how brightly he shines in a group discussion.

With only two issues of this book to go, I'm filled with the bittersweet anticipation of a great story reaching its crescendo. Permanent detective team book by Bendis and Maleev? Pretty please?

I'm enchanted by the creative destruction of existing systems, especially when the systems are rooted in white supremacy. A side effect of my political leanings is that I'm genuinely curious about what Leviathan's plan is. Sure, if he wants to brainwash and subvert everyone in classic villain fashion I'll be rooting for Superman to deliver a righteous and plot-foiling punch to the face. But I'm open to a New World Order and that makes this plot interesting because with the amount of inequality and injustice in the world millions of people are open to the kind of radical change Leviathan promises in the real world.

A couple of gems stood out. First, the interactions between Talia, Robin, and Batman were great; littered with jokes and reminders that Talia is Batman's baby mama. "Wait, are you really his mom?". My favorite block of awesomeness was the team using sign language to throw off Leviathan's surveillance. Lastly, I empathize with Leviathan. He was so sure that Superman would be on board with his plan that you can feel his pain, disappointment, and rage when it's clear that was never going to happen. He was so polite and reverent to Supe for this entire ordeal so when I read, "Well Fuck you, Superman" I was physically taken aback. The next chapter in this story in the new Action Comics hints at the abandonment of the carefully planned, slow-burn, detective-centered Event Leviathan. I think we might get some big brawls.

This team of Tynion and Williams has set up a hell of a story and I cannot wait to see where it goes.

Two books in and this comic continues to live up to the hype set by the first mini-series. If you love Batman and Teenage Mutant Ninja Turtles there's no reason you should have needed this review to tell you to pick it up so good for you!

I can never give Freddie Williams II enough praise for the amazing art he does in this book. The detail is just delightful. I venture to say this is one of the most visually beautiful books on my pull list right now. If the cover of next month's issue is any indication, we're going to want to keep an eye on Donatello.

This book glows in no small part because of Williams' art. I look forward to it every month. This fight-heavy issue really lets him fly off the handle with some dazzling action scenes. The gold star of this book is actually the unique use of panel boxes. Several of the panel outlines use a stylistic, non-symmetrical design akin to an ink-covered calligraphy brush. Choices like this make the book dynamic and a treasure to read. Who can be upset when there is an off panel stare-down between Batman and Bane among the chaos? This title continues to be one of the most fun books being created right now and I don't know if I'll survive an entire month before the next one.

My favorite time of the month has come. Batman / Teenage Mutant Ninja Turtles II came out this week! The talented creative team of James Tynion IV, Ryan Ferrier and Freddie Williams II continues to bring one of the most fun stories being published. The fifth installment of the "A Knight in New York" finds Donatello on a Venom-fueled rampage against the Foot Clan. Donnie has been struggling with feelings of inadequacy and inferiority this entire story. Against the warnings of Batman and the Turtles (minus Raphael), Donnie hopes Venom will be the key to defeating Bane, The Foot Clan, and his own weakness. Meanwhile, the team is reaching out to the rest of the Bat-Family in Gotham to potentially use another dangerous substance to save Master Splinter.

Bane quickly grabs control of the Foot Clan and boosts their power with his patented Venom. Donnie is so desperate to rectify his mistake he resorts to taking the Venom himself to launch a one-turtle assault on Bane's forces. Batman and Leonardo are able to break through Donnie's rage-fueled barrage of violence and monologuing with the power of a scientific formula (think of the science nerd's version of Lois Lane waking up Superman). Now we get to see the Purple Professor's master plan turned into action as the Turtles — backed up by the Bat-family — try to take New York back from Bane.

Ellis weaves an interesting comic showcasing Batman and Alfred's strategies to find their target. The panel of the comic was a page of four panels with Batman slowly walking down the street in broad daylight. This comic clearly picked the kind of story it wanted to be and performed well.

Recent technologies are sprinkled throughout the book as Vita and Charlotte get to know each other while simultaneously repelling murderous attacks. My favorite has to be the man in a self driving car with his feet up, just chillin'. We also get a fast food spot seemingly without any employees, only automated service and a smart screen imbedded in the table.

I want to pay special attention to the last few pages by Saladin Ahmed, Minkyu Jung and Juan Vlasco. The first two of them will be the creative team behind Ms. Marvel's main book. Their pages were delightfully narrated and softly colored, making for a warm and heartfelt conclusion to the book. I look forward to discovering what directions they decide to take this Magnificent character.

Kelly Thompson has proven herself a master wordsmith and the rest of the creative team have forged a visually stimulating work of art. There's a flashback scene with a particularly interesting style different from the rest of the book. I imagine that's where the multiple credited artists come in. I'm in this one for the long haul. Miss Thompson, please tell me this poor, fictional white lady is going to be ok.

A pox on my house if I don't mention Gerard's artwork. He easily has one of the most distinguishable styles in comics today. The panel where the ritual combat ends is intense in Strange's expression and the pages color. As if I needed to tell you to pick up a King/ Gerards book, this title is worth the read.

This book was beautiful, funny, and thoughtful. Even the Supergirl portion, who I am all but completely ignorant about was personally compelling. But Lois Lane was the MVP in this issue.

It's definitely nice to get a Claremont story worthy of his legacy as the most influential X-Men creator of all time. This story was tuned in directly to the veins of X-Men lore and current relevance in society. A favorite theme of Magneto that Claremont addresses is when his hatred for humans runs against homo sapiens who are innocent and even straight-up courageous.

Marco Checchetto does a damn good job with the art here. Cleanly lined characters popped in front of artistically hazy backgrounds. My favorite panels played with the light in Murdock's apartment. In one scene a shadow hits his eyes like a blindfold. The other uses shadows to create the illusion of prison bars, illustrating the figurative jail Murdock describes feeling. It looks like this team is with us at least for this first arc. If this issue is any preview of the continued quality of the book, I'm optimistic for Daredevil's future adventures.

This comic does everything right. The driving storyline has so much potential.

In the current level of accountability (current in that more people are actually paying attention to it) for police and their to the communities they serve, I sympathize with Cole. He doesn't get the god's eye view of Daredevil that a comic book reader does. There are times where even the reader should be weary of an unchecked Murdock " remember when he was possessed by the Beast? The debate danced in my head while reading this comic. By the end, another ethical conundrum is all but promised. This comic does perfectly what all art should. It simultaneously takes you out of the real world in a fantastical story, while reflecting upon societal realities.

Checchetto continues to murder this art. The amazing contrast between the cover and the last page alone is enough for me to recommend the hell out of this book. His crowning jewel is the apex of the Daredevil vs Punisher fight amidst the fire and fury of an explosion (one that may or may have not been caused by a stupid show of bravado by Murdock). Reading this book continues to be my religious experience for the month.

The scene between Daredevil and Spider-Man was the best part of this book. The interactions between the two tend to emphasize Spider-Man's goofiness and Daredevil's annoyance. This issue highlights how highly Daredevil thinks of Spider-Man, and how seriously Spider-Man takes superheroing. Between the intense dialogue and the beautifully intimidating shots of Spider-Man in the shadows, I'm closer than I've ever been to thinking Daredevil is done being a hero.

By the end of this comic I thought, "Zdarsky, don't hint at Black Girl Magic if you aren't ready to commit".

All in all, the story Zdarsky is telling continues to be impressive. Daredevil, Kingpin, Detective Cole and now Janet all have compelling stories that I can't wait to see intersect.

One thing I'll mention with no context to get you to read the comic: Murdock knocks the leg out from a chair and causes an old woman to fall and break her hip. That is all.

The story was just beautiful. Zdarsky really brings Daredevil to a familiar, yet exciting place.

The book had a delightfully old school vibe. There are panels that feel like they're from the 70's Bill Everett era and others that could've came from Frank Miller. I especially liked the panels with a blood red background and the scenes in the holding cell with a black background and red bars that look like Daredevil's billy club. I don't see this style being a new norm for this book, but it inspired some delightful nostalgia.

Zdarsky's seamless transition from a comedic to a dramatic writer is truly a work of art. Speaking of works of art, MARCO CHECCHETTO! His art is great but what I missed the most was his backgrounds. Some of his panels have an abstract, opaque backdrop that I adore. Marco, please don't leave us again.

Checchetto Brings the SmokeIt's a pleasure to have Checchetto back on this book, stylistic haze and all. My favorite panels had to be the rooftop fight. Murdock's makeshift costume, the Daredevil copycat (I'm serious about cosplaying it), and good 'ol Foggy; brawling with the Po Po. It was fantastic. And with the appearance of [SPOILER ALERT!] Elektra, I noticed the choice of making her hair curly. I thought "Yea, that makes sense". She's Greek and if My Big Fat Greek Wedding taught me anything is that they can have lovely curls. Now I'm wondering how often her hair is portrayed straight vs curly because I feel like it's straight most of the time. Most importantly though, the new issue promises a training montage!!!

Yes, it is the inevitable praise for Checchetto's consistently amazing work. Despite the bloody bathroom scenes and elegant sparring between Daredevil and Elektra my favorite page was more subtle. There's a four panel page of Wesley on the phone with Fisk, listening to him explain what he's done. All we're given is four different expressions on Wesley's face. It was expert storytelling and deserves all the props. Next issue a new artist joins the team alongside Checchetto. I'm tentatively excited to check out any addition in creative direction.

Can Matt Murdock Just Lock Down Elektra?The opening scene with Madame Natchios has been a delightful ongoing theme these past few issues. Murdock can't seem to get over the fact that she kills people, even though she's been graciously avoiding any killing while training him. Our protagonist is also feeling guilty from his recent involvement with a married woman. But, alas. His character's iconic Catholic guilt creates the idealistic stoicism that makes Murdock Daredevil. Both Elektra and I are probably both doomed to be frustrated by a character we're intrigued by.

A book heavy with conversation with an explosion of action creating a tense dialogue is where Bendis shines. Comically amusing when it needs to be and terrifyingly tense when necessary. This is what happens when a writer has the freedom that comes along with a world created from scratch. Gaydos explodes in this book. There is an admitted boredom seeing characters drawn as they're just talking. Gaydos overcomes this difficulty with a masterful capture of emotion in close up facials and a color scheme that is simply entrancing.

Whether this is metaphorical or something supernatural, I loved it, and I can't wait to see where the story goes.

Superman may end up being the perfect fit for relationship and conversation-prone writer like Bendis and an artist who knows their way around poster-quality action scenes.

The next book promises a lot of excitement in the form of multiple super-powered threats Clark's going to have to deal with. I'm curious if the dialogue will be toned down to focus on the action, however, I get the feeling the balance will be striking.

Ivan Reis and the rest of the creative team deserves so much love for the art in this comic. It's just beautiful. Given the opportunity to play around with Earthly backgrounds and Phantom Zone landscapes, the art does not disappoint in any regard. The colors, faces, and everything else all pop with a level of expertise that immerses you in the story. This book is just a glorious display of creative ability.

This book reads super smoothly. It's hard to explain the feeling when a book flows like a television show. Before you know it, you're on autopilot devouring the story and flipping the pages. Part of that is Bendis' impressive voice in Superman; an authoritative voice with a heroic modesty. Reis' art is the other half of the equation with a fantastic display of the chaos Earth is going through. I hope to the comic gods that we'll see Superman's plan unfurl next issue.

Clark and Lois are predictably flabbergasted by Superboy and we get a couple of touching moments of reunion. The visuals accompanying Jon's adventure are stunning; dynamic and appropriately colorful. My personal favorite is a tense and oddly philosophical faceoff between Jon and that bastich, Lobo. The comic also makes a powerful statement about Superman's importance with Lois' encounter with aliens while wearing his symbol. The comic rounds out with a solid cliff hanger around Superman's father. It's too soon to say whether Bendis will capitalize on his choice to age Superboy but as a post-reveal of a twist, this comic does it right.

There are some punch-happy, space laser-filled action scenes that just sing in their detail and dynamism.

There is beautiful terror in the visuals. The team does an uncanny job of being able to tell such a dialogue/monologue heavy story but seamlessly weave in stunning art. There is a panel with Ultraman grabbing Jon's head and screaming at him where the fury and terror radiates off the page. This recap only does this book so much justice. It's definitely a book you should read and read slow.

With the ending of this book promising an epic battle, I'm actually a lot more excited about where this leaves Jon in the DC universe (What's up Teen Titans? He's definitely old enough, now!).

Reis proves over and over that these outrageously detailed battles are a place where he thrives. The strength of this issue is how feelings in the characters faces are conveyed. There are a few pages where the faction leaders are clearly in awe of Superman when he stops the fighting. My favorite panel was a silent look Superman gives his father before they get a chance to talk that says, "Oh we will have words". This book proves to be an all-around powerhouse of design and worthy of DC's greatest hero.

Bendis and Reis do a great job conveying the action and love of the House of El (most of it, at least). This title continues to be at its best when following Superman's thought process mid-fight. Not a lot of characters allow for Bendis' tendency for the verbose during a fight while keeping realism in mind. Reis, as always, draws some amazing action shots. The creative team has designed a crisp, colorful, fun comic to behold. The MVP panel in this book is the post-fight shot of Superman, Superboy, Supergirl, and Krypto finally getting the chance to embrace warmly in an almost full-page spread. The accompanying panels capture Jor-El's isolation from the family and a contrasting sadness. It was easily the most compelling page. Despite not really being into the "Real Death of Krypton" they keep coming back to, this creative team excels in storytelling so this is a comic I always look forward to.

Brandon Peterson and Ivan Reis are both powerhouses.

My favorite part of this comic was definitely Superman and Zod fighting Rogol. Ivan Reis murdered those pages. I felt that double uppercut and the glare that they give Rogol is deliciously visceral. I had a flashback to the team-up fights with Naruto and Sasuke. It is refreshing to have a Bendis book driven primarily by the art. That's not to say I didn't enjoy Jor El continuously trying to be the voice of pragmatism just to be utterly ignored by Superman.

The book was just an all around delight to consume.

I haven't read Superboy and Robin interact in quite a while, but I don't remember enjoying them this much. Wayne was being his normal condescending self, and now I'm curious if they were this warm by the end of that series. The initial reunion was hilarious with Damian losing a point of pride, being a year older than John. I remember when he tried to give him shit about joining the Teen Titans because he wasn't technically a teen yet. After a tense beginning, the two patrol the Gotham night and catch up. It was delightfully reminiscent of catching up with a long distance buddy as a teenager. The two depart after John reveals the plan to spend time in the 31st century with the Legion of Superheroes. He says his final goodbye to his father before heading to check the future out.

We end with Superman about to reveal "The Truth" to his cousin, Supergirl. I wouldn't have known what it was except for stumbling across an article revealing it while setting this review up. I'm upset. Still, it was fantastic watching Zod and the House of El peacefully, if not tensely, interacting. And Supergirl's trust in immediately accepting whatever ordeal her cousin is going to lay at her doorstep was heartwarming. Trying to find any criticism was a fruitless endeavor and I'm glad for it. No Notes!

I'm not blown away by the direction Avengers #1 is going especially being part of the generation that grew up with Bendis' New Avengers #1. I'm old, crotchety, and hard to please. But if there's one thing I've learned in my decade and a half of comic reading, it's that if you see Jason Aaron and Ed McGuiness on a book, you give that book some time to develop.

Ed McGuinness' art tempered my cynicism into childish glee. The man draws a beautiful comic. Between the characters and the landscapes, the art in this book is God-tier. One particular highlight was Jennifer Walters aka She-Hulk glowing red from the fire of Ghost Rider's car; a subtle nod to the Red She-Hulk. For all the criticism that a "big-threat" cliche in these kinds of books gets, it undeniably allows talented artists to shine.

Ed McGuinness and his creative team give us some captivating visuals. The coloring and the line work just pop, especially with the pulsating action throughout the book. A beautiful team pose with a cityscape backdrop (albeit missing a key Avengers member) paralyzed me with awe. It also inspired an "aww" with poor Ghost Rider WAY in the back posted up on his car. The MVP scene in this book was when Thor decides to confront Odin in Asgard, bringing along one other member in case things get froggy. It makes me shake my head grimace just how absolutely sick this panel is.

I touched on it but I can't stress how beautiful this book is, visually. Ed McGuinness and his creative team have tapped into a style that is heroically colorful and expertly detailed. This is slowly but almost surely growing into my favorite Marvel book. Kudos, team.

This opens up a promise of an epic confrontation between the Avengers and the Dark Celestials. Aaron has a wonderful grasp on these characters. The more I read, the more these Avengers feel right. The cynicism of seeing them as "cash grab" choices because of the movies really fades before the quality writing of Jason Aaron.

The whole creative team put together this crisp, colorful visual journey worthy of the finale of the first Avengers arc since the Infinity War movie came out.

It was great to get a little taste of Sara Pichelli. She really got to play around with the medium in a story of dank caves, snowy tundras, and flaming mammoths. It was just amazing to look at. There's a fair amount a conversation between the hero and villain which worked out because Pichelli puts a lot of dynamism in the characters' faces. You can feel the tension of the scene and it makes the comic that much better. It's a shame she won't continue on the book in the upcoming arc but it was great while it lasted.

The heart of this book is definitely a social commentary about environmentalism, refugees, and diplomacy. Where the Dark Celestials were a simple, punchable threat Namor provides a problem needing a scalpel rather than a hammer (to be fair, though, Thor definitely tries to hit him with his hammer). The book parallels the tricky landscape of providing assistance to people from a country hostile to your aid for good reason. How the Avengers navigate this daunting task promises to challenge their and the readers global world view.

This book continues to dazzle not only due to the creators' uncanny storytelling ability but in the directions and focuses they're willing to go. Instead of going from adventure to Earth-shattering adventure there is a strong connective tissue, first in the flashbacks and references to the Avengers' ancient incarnations and now in the introduction of the Agents of Wakanda. I mean, who wouldn't be excited for a character they last saw in Warren Ellis' amazing Thunderbolts run or the widely acclaimed Immortal Iron Fist from Ed Brubaker and Matt Fraction. I'm seeing a swelling opportunity for the rest of Marvel Comics to pay close attention to what's going on in these pages. It has the potential to be a strong heart and guiding star for the whole 616.

Similar to the ancient Ghost Rider issue, these 1,000,000 BC books have a finer lining to them and soft colors in contrast to the bright and bold art style of the present day Avengers. I'm curious where the creators are leading with these looks into the prehistory, but for now we'll worry about next issue. . . VAMPIRE CIVIL WAR!!!

David Marquez is back on the book showcasing his artistic talents in a few exciting action shots and poses. Black Panther and Iron Man's double solar attack offered a dazzling scene that offset the darker aesthetic of most of the book. A fiery scene featuring Ghost Rider also served as a highlight, albeit a terrifying one. The newest Avengers book continues to be solid and dynamic take on Marvel's flagship team.

This issue was connective tissue for the arc, formally introducing the Legion of the Undead when Shadow Colonel gives a brainwashed Ghost Rider an orientation. I'll give props to the creativity of the Colonel having a "Boy-Thing" he grew from a piece of the Man-Thing in order to have an endless supply of wooden stakes. The only important mystery left is Dracula's plan after voluntarily surrendering himself into Russian custody. That part of the book was pretty dialogue-heavy and personally, I'm tired of anything regarding Iron Man's family. If you really want to impress me, regale me with stories of Sarge and his healthy, supportive Hellhound parents.

As always, Dave Marquez and the colorist, Erick Arciniega, craft clean and beautifully vibrant pages. Once again the mix of red hellfire and cold blue prison walls makes for amazing juxtaposition. I can't stress enough how bad you should be reading this and how I hope the rest of the Marvel Universe takes this book's lead and tie into it in the future.

Firstly, can we sit back and appreciate the amazing cover of this book? The inside doesn't disappoint as this is the team brawl we've been waiting for this arc to get to. Needless to say, Marquez tears this book up with amazing action shots of Wakandan lightsabers, vampire Optic Blasts, and exploding rats. Not to be outdone, Aaron looks like he's having a ball with the mid-combat barbs and Blade's inner monologue (seriously, he calls T'Challa the Black Pope!). My absolute favorite is the couple panels where Blood Baroness shouts off Nazi rants and Captain America essentially says, "Ya Basic". The book ends with a couple of open directions to go in the future. We'll get more vampires eventually and definitely more Ghost Rider (Yea, that one). But next arc looks like it features your favorite DC ripoffs. Enter the Squadron.

The issue begins rattling off the characters: Hyperion, Power Princess, Nighthawk, Whizzer and Doctor Spectrum are all summoned to handle an attack by Frost Giants by none other than Agent Coulson. A deeper look into their past shows some shady training by the U.S. government. The Squadron shows its loyalty is to the United States as they take a "not our problem" stance when the Giants are driven north to Canada.

I give Aaron a lot of credit for the web of characters, teams, and motivations that he's creating. The Winter Guard, the Legion of the Unliving, and especially the Agents of Wakanda have provided a variety of possibilities Aaron is looking to explore. I can only imagine that this book has been designed with years of plots in mind. I adore it when a minor character is focused on to move the story along. Let's not forget what a giant like Ed McGuinness can do with such a dynamic book. There are some great shots, including Luke Cage with a battle hammer and Carol Danvers flying alongside a flying boat. Depending on who's drawing the rest of the War of the Realms books, I may have to pick the series up.

This comic shines in its laying out the insecurities of the characters along with the external threats that are looming. At the same time, the dialogue is often light and hilarious. The tension between the two reminds me of Infinity War and Endgame. The dread is definitely there, but it's funny as hell.

Let's not forget that the subplot of the book leans into the idea of "Ancient Avengers.” I'm a big fan of the stage Jason Aaron has set in 22 issues. Between the Ancient Avengers, Ghost Rider: King of Hell, Dracula's gang, the Russians, Namor, and the Squadron Supreme, it's insane how he was able to do it. Caselli has proven to be a solid follow up to Ed McGuinness. This issue was an improvement on last month's. The characters were clean and crisp, even when the shots are panned out. The scenes with Ghost Rider's car spewing flames are dynamic and exciting. Stefano Caselli is with us through this Ghost Rider story so we'll be sure to get plenty more impressive art.

Now I don't know when Frank Castle got the Power Cosmic AND the Spirit of Vengeance but I won't lie. It sounds like the creation of a drunk Stan Lee and I am here for it. The book continues to impress with Aaron's pulling on several threads laid down in earlier issues. Here the Ghost Rider story intersects with the concept of the ancient Avengers whom we got a few stories about. The creme filling here is in Hell. Caselli's hellscape is beautifully terrifying. It had the unfortunate side effect of reminding me how much I prefer Ghost Rider's original design, especially in the hands of a capable artist. Keep this book in hell for as long as you guys need!

We're met at the onset by ages of former Ghost Riders. This opening spread is fantastic; littered with Spirits of Vengeance from various decades. There's 1950's Madmen Ghost Rider. Circus Ringleader Ghost Rider? Great Depression era newsboy with a baseball bat Ghost Rider. Oh shit! Is Ghost Rider wearing a turban? My only complaint with the hellish plethora is that each one of them has a traditional flaming skull and it reminds me how much I dislike the newest one's design.

Stefano gets the MVP in this book for these stunning action shots, or rather he shares it with the colorists. This might be the last Avenger comic in a while dominated by the orange and black of a hellscape. This was a comic I had to read fast to simulate the pacing of the book. I ended up reading it fast like, three times but it was worth it. The timing of the panels was absolutely clutch. One member of the Avengers has been noticeably absent this whole arc and it seems they are the center of the next one. Who's ready for caveman Tony Stark?

The art team demolished this one. Between the dinosaurs, a celestial and a Starbrand Hulk there were plenty of opportunities for impressive action shots. Not relying on action alone, the tranquil garden scene had elegance and grace. The emotion was beautifully conveyed on the two lovers' faces. This was the best kind of book; one that could stand alone with no context and still shine.

The strength in Aaron's storytelling here is his pacing. Even McGuinness' delightful layouts couldn't distract from the space adventure clich. Almost as soon as I thought, "this is moving a little slow isn't it?" Aaron fast forwards to right in the middle of the Avengers mission falling apart. It was almost comical. "Space, here we " " Captain's Log. Five days . . . since out mission went to hell".

With this book, if there is to be an epic fight it's a safe bet that Ed McGuinness is going to pop his head in to dazzle. This issue was full of energy blasts, colorful costumes, and close ups that allow McGuinness' genius to shine. I can't wait to see Avengers Mountain turn into cosmic nursery.

This comic was a fun read, as well as a solidly written and drawn piece of work.

Admittedly I am biased towards Bendis' style, so I enjoyed this book immensely. Counter-balanced with the cosmic-level action of the "Superman" title, "Action Comics" has a more reserved, subtle plot. It's a welcome change of pace for a powerhouse like Clark Kent.

The other creative talents on this book — led by Yanick Paquette — shine just as bright, especially through a handful of DC Easter eggs (half of which I probably would've missed if not for years listening to 40+ year-old comic fans). Otherwise, references like "Sugar and Spike" would be lost on me. My favorite pages would have to be Clark's episode. Feeling weak and sick, the panels are warped to simulate the imbalance the character experiences. I really appreciate the medium being played with like that, and continue to anticipate the next issue this team puts together.

And the art. The perfect god Cyclops, the art. OH THE ART! Sook takes Bendis' story and just makes magic. The lines are sharp. And the faces, OH THEN FACES; he captures expressions and the momentum of any given scene so well. Then, of course, he get a couple of action scenes where he gets to cut loose and excel. I have absolutely no complaints.

I'm back on comics, and Action Comics #1006 is a great place to come back to.

It speaks to the quality of the comic how entertained and downright moved at one point I was. I'm not surprised, since I'm definitely a Bendis fanboy. But I want to give some serious props to Steve Epting, especially in the dialogue with Lois and her father.

Bendis strikes again with the smooth voices he's found in these characters. This book was particularly fun to read because of all the different back and forths. Bones and Strange. Lois and Clark. Waller and Lane. They all had these different dynamics but that pithy Bendis wit was all there. Not to be outdone, Epting drew himself a badass comic. The lines are clean and kudos to Anderson for some dazzling colors. There's something to be said about a book where the shot with the most emotional weight centered on a skeleton in a suit.

All of this is to say that despite not knowing all the history of these characters, Bendis puts this comic together in expert fashion not to leave readers like me behind.

It's a credit to Bendis how many directions he's able to take this story and have it still feel coherent and compelling.

Is "Leviathan Rising" coming to fruition and an end? I have no idea. Bendis could keep this going for months, adding nostalgic figures from all over the DC universe. As long as Epting draws the hell out of this comic and Bendis keeps up the pithy dialogue, I'll likely enjoy it all the way up to the end.

For a comic with more development than action, it was one of the most exciting I've seen in this run.

This is a solid Super-Bendis book that I've become accustomed to. Kuoranski continues to prove himself a capable artist.

Another thing to note is how this book plays with the panels' borders. During Thorn's fight they used an appropriately themed border that they've done with her character before. During Superman's they used an unconventional one that added a bit of spice to the scene.

The book rounds out with some action towards the end and promises a confrontation between Naomi and a frequently appearing villain in Action Comics. The best part of the conclusion of this book is Superman throwing shade at the villain in "disappointed father"-ly form. Why can't you be more like Naomi, bad guy?

This creates shifts in tone that, instead of jarring distraction, serve as attention grabbing tension. Combined with the twisted visuals of Murdock's comic history, the dialogue was well crafted and made for a sickeningly satisfying read. If you're going to do this kind of book every so often it might as well be as creative and interesting as this one.

I mentioned last time that this is a regular part of the Daredevil ebb and flow. The journey from low point to fighting shape is a normal hero troupe but it is always the perfect time for a reflection on the core of the character. While long time readers can tire of this, I'm glad newer comic nerds inspired by the Netflix show get to experience it here. The highlight of this rendition is the same as last issue in the horrifying embodiment of Daredevil's fear. The low point is the artist's decision (bizarrely unlike the last issue) to make Foggy look exactly like the Netflix show's character. Creative choices aside, though, I enjoy taking the trip through this super hero journey's trough.

The expert storytelling was aided and amplified by the art of Coello. There have been quite a few different artists in this mini series and so far Coello has dominated the list. The style and clean detail were perfect for a Daredevil and the Defenders story. Most impressive was the intensity of emotion he was able to convey throughout the book, especially towards the end. If he could take the head of drawing these characters in the future I'd be ecstatic.

These two facts about these two characters collide in an ending that betrays the tranquil hospital setting. I enjoyed this so much that I'm concerned that MacKay couldn't possibly top it in next week's finale.

So Daredevil's back in action. February marks the re-release of the title series on the heels of this book. We already knew that this series was to be the return of Daredevil rather than his death but most of it was beautiful and compelling. Being the last issue, the cliche comes full circle so it's hard to be wow'd. This comic would be fine with its poetic montage if not for the distracting art. I know Matt has been down and out but in his recovery issue he shouldn't look like his subconscious pain and fear monsters. That said, the creative team won me over with a panel of Daredevil's rogue's gallery drawn in the style of the Last Supper painting. The only thing that'd fill me with more glee would be if Stilt-man was in Jesus' chair instead of Kingpin but a boy can dream.

This is a standard early super team book with a special charm because of how underutilized these characters are.

There's a bit of humor in this book in that the title character in this book isn't faced with any inner demons. The reason given is protection he receives from the Black Panther suit but I'm skeptical. It could have been for the sake of time, but my preferred theory is that it's hard to think of something a mature Black Panther would be convincingly shaken by. The conflict is resolved as all should be; energy blasts, hammers and eating. Next issue promises to utilize Broo and Gorilla Man so I'm all the way psyched.

I'd also like to give props to Medina's handling of Black Panther. We got a little insight to his emotional side when he accesses the spaceship. The verbal password? Ororo. I legit swooned in the bar I was at. In addition to the joy Broo brings I got a kick out of John Jameson, the Man-Wolf. I love werewolves in general and Jameson has this charming ineptitude. There's a tongue and cheek comment about making mid-fight scene jokes that's immediately followed by Jameson's much more realistic response; repeatedly swearing. This book is just all around enjoyable and Medina's art is on point. In a comic book world dominated by A-list heroes, it's great that more obscure characters can get some love from talented creators.

Jung captures the tone of the book expertly in the emotional reactions of the characters. I took note of Ms. Marvel's fight with Discord where I think it is the first time she enlarges to a Hulk-shape. I came to the realization that it must be fun for a good artist to draw Kamala. Jung utilizes are variety of Ms. Marvels abilities to shrink, grow, contort and the like during the comic. It makes for dynamic fight scenes that I'd love to see choreographed in animated form.

The book has the potential to be incredibly relevant to Western foreign policy, as Kamala finds herself in the middle of a conflict between a despotic ruler and a group of rebels with a name that reminds the reader of the "Free Syrian Army". I look forward to seeing this story fleshed out and watch where Ahmed takes us.

This comic did a fine job walking that line between talking about death realistically without being gratuitously macabre.

Ahmed and Jung continue to impress me as a creative team.

This book incorporates the anxieties, ideals, lore and realistic predictions that any American will identify with. Still, it manages to maintain a level of subtlety you wouldn't expect in a book with an "Air Wall".8.5 "Desert Sharks" out of 10

The first issue was heavy on the dialogue and lighter on the action. There is nothing wrong with this approach, especially when the back and forth is a well-written word tussle between Matt Murdock (Daredevil) and Mayor Wilson Fisk. Issue 596, though, explodes with excitement as Daredevil finds himself on the wrong side of the law in Fisk's New York City. We see Murdock and law enforcement in true crisis mode, trying to make sense of a peculiar set of orders regarding the Man Without Fear. As emergency orders demand, everyone has to act and react with no time to catch their breath. In real time, the comic can't be covering more than a ten minute time period and that pace is felt by the reader.

Dan Mora and Romulo Fajardo drew a great main cover: Murdock and Fisk in the foreground exchanging a handshake while their shadows are locked in fierce combat. The art teases what could have been an impressive, twenty-something pages. With a different artist scheduled to continue the next chapter of our tale I'm hopeful for a solid, all-around book in February.

This week brings us Daredevil #598 written by Charles Soule and drawn by Ron Garney. We continue the term of Mayor Wilson Fisk aka The Kingpin. The honorable mayor's plans to crack down on New York City's superheroes have been interrupted by the escaped super villain, Muse. The faceless dissident has taken to vandalizing government buildings with superhero-inspired art, opposing Mayor Fisk's hardline stance against them. Matt Murdock, the newly appointed deputy mayor and veteran hero known as Daredevil, has his work cut out for him. He has to utilize his legal expertise as well as his heroic gifts to push against Mayor Fisk's administration and Muse's dangerous presence.

Ron Garney's work compliments an art-centered story arc well. It has a painter's aesthetic and does amazing things with light, especially during the night scenes. I particularly like the way the light hits Daredevil and Blindspot's black costumes. The colors contribute substantially to the feel of this book. Matt Milla, the color artist on this book, deserves praise for the work he put into this book.

There is a special feeling when a book's writing and drawing are both on point and create a masterpiece worthy of a number like 600. This creative team is golden.

It's my favorite time of the month! Daredevil by Charles "Goddamn" Soule came out this week. Number 601 brings a new artist into the world of Matt Murdock — Mike Henderson. An obvious question for this book: the 600th issue milestone gave us a Defenders-plus roster of heroes and concluded the Mayor Fisk storyline. How do you follow that up? "Mayor Murdock" . . . OK, then. Daredevil #601 begins Matt Murdock's unexpected role as mayor of New York City. With Wilson Fisk incapacitated by means of ninja arrows, Murdock finds himself as the leader of the city during an invasion by The Hand.

This book continues to kick a blinding amount of ass, and I recommend it to any and all Daredevil fans.

We're getting to the crescendo of the Hand attack. You might be able to guess from the cover. I couldn't help but shudder from flashbacks of "Fear Itself". It was telegraphed REALLY big, too. When Murdock starts to dramatically monologue about how brave and resistant to fear New Yorkers are, there was only one direction the plot could go. I'm going to spend the next month praying to Jesus? Soule? (Hell, the Goddamn Beast if it works): that this story doesn't dissolve into a cliche salad.

This book continues to excite and impress me between the striking story directions Soule makes and the beautiful scenes Henderson and Milla craft. Next month promises to intrigue as readers say, "Oh yea, he WAS here all along!" See you then.

The glowing sword horseback sequence feels like the epic cumulation of the feel of this arc. I continue to have a ton of fun reading and looking at the book!

Phil Noto's style is impressive. The story's back and forth between mild-mannered conversation and dynamic action allows him a lot of opportunities to show his versatility. He does faces very well. Playing to his strength he throws in a lot of facial close-ups amongst full body action shots. All in all this book was a pleasure to behold and read.

The book opens with a history lesson of Mike Murdock, the fake twin brother created to convince people that Matt Murdock is not Daredevil. It's as ridiculous as it sounds but Soule does well to channel an acknowledgement of said ridiculousness through Daredevil's retelling the story. " . . . seems like everything was more elaborate back then", Daredevil muses.

The icing on the cake in this book comes at the end when a character from recent Marvel history enters the stage. None other than Parker Robbins a.k.a The Hood. All the play he got from a very formative time in my Marvel Comics reading made him the perfect choice to get me excited about the direction this weird story is going. So bring it on, Soule. Let's see what you got.

Phil Noto absolutely murders this book art-wise. The first page has Murdock and Nachos embracing, with a backdrop of the night's cityscape and an illuminated silhouette around them, and it sings. There's a deliberate blue and red hue throughout the scene permeated by Daredevil's radar. The rest of the book is also expertly done. Different color palettes are used in various scenes and the attention to detail is just glorious. More so than Daredevil's apparent death at the end of this series, I'm most terrified at the possibility of Phil Noto not drawing Daredevil.

Alex Meleev's unconventional art in this portion of the comic has been some of the most impressive and fun to look at in my entire pull list. Stefano Caselli has had a more traditional design in the main story and it is easy to overlook alongside Meleev but it is some clean, impressive work. I'm looking forward to these two stories to blend into something magical.

In all, let's enjoy the last months of Bendis' run of Iron Man, a title he's been so attached to for years.

The quippy dialogue between the Wrecking Crew is some of that classic Bendis writing. Bendis really shines when answering the question, "What do heroes and villains talk about between epic fights and adventures?". His answer is often hilarious and always entertaining. Tacked onto the glorious art of Alex Maleev makes this one of my favorite creative teams of all time.

All of the creators on this title have been doing delightful work for so long that it gets easier to nip pick and critique but we can't forget that we've gotten consistently solid comics out of them for quite a while now.

But nippicking aside, this book continues to be a pleasure to read and sets up for a potentially exciting finale to the Bendis era of Iron Man and the rest of Marvels

You don't direct the flow of the Marvel Universe for a decade without making bold and sometimes questionable decisions. This spirit is captured in the book's self aware narration. He concludes with an optimistic spirit, though. Bendis' world has been exciting and refreshing, disruptive and jarring. As this chapter of Marvel's history comes to an end I have no doubt that a generation of comic book readers will remember the Age of Bendis. Bravo.

This is only my second Amazing Spidey comic since Spencer took over. I'll keep an open mind but my interest is already waning.

brilliantly colored and created a painfully intense fight scene. I wasn't, and I'm still not blown away by the Hunted plot but in this issue, I was blown away by the structure of the opening three scenes. It began with Kraven, then Spider-Man, and finally Blackcat. They all had their respective introspections tied into the situation at hand. That artistic choice really impressed me and alongside Ramos' art made this a comic to remember.

I have no doubt in my mind that the lack of empathy so many people have for the incarcerated wouldn't allow many of then to endanger their lives for "worthy causes". In fact, we have a lot of history (much of it more recent than you'd think) in which that actually happened. In the same second I think "Have you no faith in humanity?" and "Yea, people = shit". Slipknot references aside, Spencer weaves together a compellingly structured story that's so good, that you can't even force yourself to knock it because of the depressing tone.

What Brian Michael Bendis did for the Armadillo and Tom King did for Kite Man (Hell yea) Spencer has accomplished with Gibbon.

Now, this story is solid. An interesting plot, a wide array of characters and the return of Spider-Man's black costume are doing it for me. That said, it doesn't feel big enough for the attention Marvel is giving it. It reads like a 4-book arc that's being extended 12 issues.

Nick Spencer is doing something wonderful in these .HU issues. The moving delves into the individual characters, in turn, fosters emotional investment in them during the main story. Not to be outdone by his work on Gibbon (Madame Web rest his soul) Lizard's fascinatingly tragic history is woven into his mission through inner monologue masterfully. Unlike many villains who embrace their lifestyle through justification, malice or denial Lizard is truly racked with guilt, self-loathing and dedication to redemption.

I won't lie, I'm getting into the game Kraven's trying to play. If he wants to push Spidey to violence, it makes sense that he keeps putting him in the black suit. Another thing that really carries this issue is the melancholy of Dr. Curt Connors and his son. It really shines as some of the most compelling work in this series. The incredible interaction between Curt Connors and Peter Parker cuts deep when the Lizards pulls out a "tell me about responsibility when you have a kid”. We'll see what a berserker Lizard with a history of filicide does to this story.

Humberto Ramos continues the theme of murder by just killing this art. This book's theme-appropriate darkness accentuates the villains' menace and also Spider-Man's in his black suit when he starts to beat Kraven's ass. There's a small panel that spoke to me for some reason that was solid white with Kraven punching Spidey in the face with "KRAK". I can't wait for the (presumably) last issue of this arc. I'm either going to be devastated or relieved but there will probably be tears.

Ottley definitely has a particular style. In his linework, Mary Jane with her red hair looks a lot like Eve from Invincible — while Kraven and his manly facial hair resembles Mark's dad from the same book. If nothing else, it made me nostalgic for the amazing book that has since ended. In terms of Spencer, he's left a lot of possible ways forward. We'll see what he has in store.

Among all the Spider-craziness, I really hope this theme of mid-life self-improvement and reflection remains a center in this Spider-Man saga.

I'm looking forward to following more of Boomerang. I've noticed that in Spider-Man comics there are is an occasional theme of reforming villains. Prowler comes to mind, as does that amazing work with Rhino some years back. When confronted by his sordid past, I'm curious whether Spencer will have him virtuously pull through, sink back into his old habits, or die. Pretty sure those are the only options.

The Six, of course, play the aggrieved women. They recall experiences of being underestimated and overlooked for job prospects. Boomerang plays the "Bro" well. He even mansplains mid-fight after the six make it clear that it his toxic masculinity is a big reason he's being hunted. Spider-Man fills the role of an "Ally". He does his best to seems to breath in facts and breaths out inclusivity. The result is a cringeworthy word salad that left me cringing. All in all, Spencer and Walker have found some great voices and faces.

8 " 'Nice', Disintegrating Repulsor-Wielding Girlfriends" Out of 10

Props to Francesco Manna. This book was fresh. A lot of the book was dialogue and the faces here were crisp. The colorist, Carlos Lopez deserves credit too. The beginning of the book is very bright colored as Spider-Man converses with Mary Jane and Aunt May. Later, when the villain is introduced the book switches to a dark hue and it creates a visual shift to go along with the tone. The book does have some action scenes that are nothing to scoff at. There's a full page back and forth between Spider-Man fighting A.I.M and Mary Jane waiting that was well mapped and cinematic. Next month, we get one of the most terrifying Spider-Man villains of all time.

Next up is a Steve Orlando story, "Puppets.” Nightwing must save the son of his parent's killer from Scarface and the Ventriloquist. The real focus, though, is in Grayson's head. Will he see the face of the source of his trauma when he sees him, or can he remove the burden of a father's sins from the son? It's a solid story but the runaway moment was an onomatopoeia. I read 'Ka-Kick' and laughed my ass off for a minute.

The story closely follows Misty Knight but Daredevil just pops up as a plot device throughout the story to move it along. It's fun when a title hero's book can be used to tell a story with the focus on a different character. This is actually the kind of classic move that can get readers interested in different characters. With the short livedFalcon run over and the glow of a potential Daughters of the Dragon focus in the next season of Iron Fist, I can smell the opportunity for a lot more Misty in upcoming comics.

This comic Waid and Saiz have weaved together took me through a wave of emotion. Excitement with the flashback introduction. Disappointment with the "Loss of Magic" plot device. Intrigue with the choice of space travel. Throughout it all, the art and dialogue are unmistakably impressive.

Waid proves himself a talented wordsmith, well matched with Saiz's art. The dialogue between Strange and his new cell mate, is quick and witty.

There are all sorts of feels to be had in Doctor Strange #3, this week. Mark Waid and Jesus Saiz continue the good doctor's intergalactic journey to rekindle his magical ability with his ally, Kanna. The book opens with a montage of the duo's explorations to a handful of worlds, followed by a scene where the two begin to share the details of their pasts. In four pages, the creative team propels the budding relationship between Strange and Kanna to a more intimate level.

Mark Waid treats it well having the interacting characters call him out on his questionable and damning choice in this issue. At the same time the door is open for Strange to expand his abilities even beyond what we're used to by asking the question, "What if Dr. Strange had access to Thor-level magical weapons?" This story continues to grip and keep the reader engaged.

Pina captures a little of the realism displayed in the first arc but brings more of a traditionally modern comic book style. That said, the precision and color are impressive. It's a good thing when a talented artist gets a book like Doctor Strange and is allowed to play with the fantasy genre. This second arc continues to draw me in and hold my emotional investment in Strange but also, more importantly, demons.

The only criticism I have is the side stories. I feel like Marvel wants to have its cake and eat it too. You can continue a character's ongoing title and celebrate landmark numbers like 400 but if you want to attract new readers with a #1 re-release you shouldn't get to. All the stories really did was distract and bring down my spirits that were so high after the main story.

Saiz's realism-driven comic style is welcome alongside the fun story. Simultaneously dark and colorful, the book is ominously dazzling. In a book full of demons and aliens (well, one alien) it is impressive how seamless such a realistic style works with the comic.

I am grateful, though, that the creative team took this task on. The comic itself was well done; introducing the team and ending with the foreseen antagonist. All the props to Segovia and Curiel. The art in this book is crisp. Wells is kind of wild with his Mr. Sinister. An asshole joke and a catcalling joke in one panel. I was amused at this “lovable jerk” Sinister dialed up to 11. If the latest X-Force was not violent enough for you, this series promises to be right up your alley.

The shining star of the book is (to no one's surprise) the artist, Ryan Sook. He took advantage of the multitude of chances for amazing action shots. The feel was wonderfully 70's Jack Kirby. I particularly liked the face-off between some massive Lantern energy and a huge torrent. The Legion must be a treat to draw and design with the flurry of unfamiliar characters speeding through space, dodging lasers, and blasting energy. I want to back track this series if for no other reason to see which characters are recurring and which are completely created for one or two comics.

The hero of this book, though, is Mike Perkins, the artist. He chose dark hues that work well with a cult ceremony/ brawl. He didn't use the darkness as an excuse to use less detail and put impressive energy and skill into the lighter parts of the pages. I particularly noticed the detail and light he put in the scenes outside the fight that were close ups of Lois Lane's face. I'll be checking out the back issues and see if the rest of the series is as impressive.

The decades long parallels to civil rights in the X-Men needed this updated critique and plan. Not to be absolutely cynical, Professor X lets them know that he hasn't given up on his dream of coexisting peacefully with humans. "Do you think I don't love you? Because I do. There's a part of me that will never stop believing in you." I'm interested to see how these X-Men stories play out with the Professor, Magneto, and Apocalypse all united in a peaceful plan instead of beating the hell out of each other. Hell, we should probably take notes in case we can find ourselves a black Krakoa.

One of my favorite X-Men books of all time was the Astonishing X-Men from 2004 where Armor is introduced. It's cool seeing her climbing the ranks as an established, high-level X-Man. To be honest, I still don't have a good grip on this newest iteration of the X-Men and that's probably the truest in this title. I'm content coasting through the books but there's one thing that irritates me. Resurrection technology? Really? These are comics and no one stays dead but at least pretend like death is a real threat. Ok, I'm done whining. On to praise. R. B. Silva is a beast. The inside of the Vault is gorgeously haunting. And the way to my heart is a well-drawn Cyclops with a glowing visor. The plot of this book has me curious and the art has me giddy. Can't wait to see what the equivalent of 537 years has done to our protagonists.

There is a lot to relate to and respect in this comic, although all of the social commentary in the world will never distract from Nightcrawler's epic goatee.

I just have to say it. If I wanted to introduce someone to the X-Men in 2018 it would be X-Men: Red. X-Men Red #6 by Tom Taylor and Carmen Carnero came out this week and I don't think I've ever read a story as analogous to the original themes of hatred and acceptance through such a modern lens. This issue finally has our team leader, the newly resurrected Jean Grey, confronting Cassandra Nova. Professor X's twin sister, I remember just how terrifying a psychic can be from New X-Men forever ago. Dedicated to wiping out all mutants and using people's existing fear and anxiety of the unknown to do it, Nova provides a dramatic counterweight to Jean Grey's quest to win over hearts and minds across the globe.

Jean Grey and her team counters this approach by coming to the immediate aide of Sub-Mariner and his city against the Hulk-level threat (Ok . . . maybe not quite Hulk-level). The best thing about this fight was the work that Nezhno Abidemi puts in. After his tragic backstory last issue, I'm really rooting for Gentle to overcome the mental block holding his power back as Jean Grey suggests. You better believe I was grinning after a one-two combo between Gentle and Storm saves the day.

Taylor and Carnero have a good dynamic of visuals and dialogue that tell a compelling story. There are a couple of insane spreads of Trinary and Storm's apexes of awesomeness. With an ending of Blue and Gold for the classic Uncanny X-Men and X-Men titles it is unclear whether this socially relevant flavor of X-Men will stay with us for long but I hope the hell it does.

Lastly, it wasn't lost on me that Lam gave this book an anime feel. An otaku at heart, I'm always ok with my American comics feeling like manga.

I need to take the first few seconds of your reading to address the cover of this comic. Wolverine hailed by a barrage of throwing stars, arrows, and shurikens in an unphased action pose. Deodato outdoes himself with this tribute to awesomeness. In all seriousness, the cover conveys much of what makes a "Wolverine vs. Ninjas" story impressive. Ninjas are plentiful throughout the Marvel universe (and the comic universe at large). There's doubtless fun watching Spider-Man contort himself between arrows or seeing Iron Fist skillfully dodge a series of sword strokes. Seeing a spear crumble against Luke Cage's body affords a certain satisfaction. Only with Wolverine can you get a fight that ends with the victorious hero a pincushion of ninja equipment. The cover of the latest Old Man Logan expresses that visceral feeling.

This story has been the equivalent of mixing everything good, pure and awesome from your childhood in a boiling cauldron, drop kicking it into a wall and allowing the crash to create a beautiful mural. Ed Brisson writes a solid story allowing for all those wonderful troupes. Samurai, Ninjas, Damsels in Distress, Drugs, Long Lost Loves. What more could you ask for?

All things considered, this is a fun book to read if you are a fan of Wolverine fighting ninjas and good artwork (so pretty much all of you).

The second half of the book wraps the story up in a clean, if not clich fashion reminiscent of "The Wolverine" story (so nothing special).

First, I must address the art. Despite Old Man Logan's watered down storytelling, the art has been glorious. Seeing Mike Deodato Jr.'s work on the cover compared to the work on the inside was a disappointing couple of opening pages. The art in this book was not impressive. The character drawing was middle of the road, which could be forgiven if the backgrounds were at all inspiring. A noticeable portion of the backgrounds were solid color with no dynamism. This can be a solid artistic choice in contrast to detailed, complex layouts alongside it but the more detailed scenes of this book were not what I've come to expect from a good comic book.

All in all, the connection to one of my favorite comics and a couple interesting villains weren't enough to save this comic. It has been dropped.

Things I like: Morally ambiguous reflections of well establish characters; An experienced character training fledglings; Glowing swords. Things I don't care for: Jason Todd's mystical kung fu past. I can handle the last one if I get a little of the first three. For the last few years, Red Hood and his merry amazon and Superclone have waxed and waned around my pull list. There was a point where Bizarro got super-intelligence, and I was like, "nah." Then, Red Hood was training supervillain kids, and I was like, "yea." Now, we have the kids and the team fitted with a Bizarro with appropriate cognition, and I'm like, "Sweet."

Reading Amazing Spider-Man: Wakanda Forever was the first time in a long while that I was surprised by the difference between the adaptation of a character in a show or movie vs the comic book. The last instance of this I remember was learning that the Venom Symbiote was not brought to earth on a space shuttle piloted by J. Jonah Jameson's son (Why would you lie to me, 90's Spider-Man cartoon?)

Being able to pause the murder-porn for a second and have a "I know you're both my mentor and my mentor's murderer so I need you to work with me to make this work" was the second most intense Cannonball action I've seen (The first, of course, being when he punched way up taking on Gladiator). Keep stuff like that coming and maybe bring Scott Summers into the action somehow and this book has the potential to scratch a much needed X-itch.

This was a foreseeable conclusion to a classic X-Force story. People torment mutants, X-Force kills them, enter a new challenger. Last week's issue had a touching moment with Kid Cable and Cannonball. This issue didn't have much except a rant from Domino about being honest with your team. We're going to delve more into Kid Cable's history in the next arc, "The Origin of Kid Cable". I'm really hoping for something fantastic because if you're going to kill off a badass like Cable, I'm going to need a little better than this.

Cable. A war. Stryfe. Apocalypse. Time travel. We've been here before. I can't help but feel offended. Did they think we wouldn't notice because Cable's young?

Now, even adjusting for my Joker exhaustion and low tolerance for memory-wiped Nightwing, this comic was 'meh'. It's a decent, ominous story with Joker lurking around. The art is ok at times and just not good at others. It has a John Romita Jr feel that I'm not impressed with. I'm appreciative enough that quarantine limits the number of comics that I can review, so ones that wouldn't normally get my attention do. Unfortunately, there's a chance you run into comics like this that make you wish for more.