The solutions to the explicit and implicit mysteries are the same and very quite ingenious on Ellis's part as the revelation both exposes the utter lack of depth in Raker and pushes him to grow beyond himself. "Aetheric Mechanics" may seem simple on the surface, but it is one of the best things Ellis has written in recent years, mixing a sentimentality not often seen with his obsession with emerging technology to a wonderful effect. He and Pagliarani create a world that is intricate, detailed, and not easily dismissed.

A strong end to a typically strong story that proves, yet again, that "Criminal" is one of the best comic books out there, both in its craft and its content. Brubaker and Phillips grab you from page one and don't let go, even after the final page, as that final panel will stay with you for a while.

Thuggish, brutal violence for 113 pages may not be for everyone and that's what "Prison Pit" Book Two. It's over-the-top, extreme, uncompromising, and very, very funny. It's the sort of book you can't put down even after you're done; you just keep jumping around and admiring the stark viciousness that jumps off the page.

An oversized hardcover clocking in at just over 300 pages, "The Art of Jim Starlin: A Life in Words and Pictures" is a gorgeous book showcasing the art of one of the somewhat overlooked masters of the last 40 years. Starlin defined and shaped the concept of 'cosmic comics' through his experimental and bold visuals. Despite most of the focus lying on the first half of his career, the second half shows that Starlin is still an artist interested in pushing the limits. Open this book to any page and you'll see something amazing.

Together, Wright and Campbell give us a window into the life and world of The Playwright, a man who creates great works of art, but doesn't actually participate in life. Despite the distance in the narration, there's a great emotional impact as the book progresses, underscored by Campbell's art. "The Playwright" is a touching and masterful work that is definitely one of the 'must own' graphic novels of 2010.

"Daytripper" slowly, somehow, continues to improve with each issue, revealing more of Brs' life, always ending with his death. Moon and B craft these small, touching, poetic comics that resonate with one another, building up emotions, and drawing the reader in more and more with each passing page, each passing panel. It shouldn't work, but it does. Boy, does it.

"Daytripper" is a comic that's surprised me. I knew that Moon and B working on a book together would be great, I just didn't expect this level of poetry and humanity, the sort of comic that can break my heart with its final words even if I see them coming. This is a masterpiece and we're all lucky to be here as it comes out one issue at a time, month after month.

Lapham's writing is so strong in this book that it's easy to overlook his art, but so much of the story is told there. Since Lapham writes and draws "Young Liars," he has the added advantage of conveying subtle character traits through the art. Simple panels just showing characters sitting around expose their personalities quicker and more effectively than words could. He uses a four-tied page layout effectively, playing within those boundaries and often shifting perspective panel to panel, making for an incredibly confident presentation. Lapham obviously knows exactly what he wants, both in his writing and art, and that's exactly what makes "Young Liars" so effective a book. Not many writers or artists are so sure of what they're doing and so willing to take risks, but Lapham is and it pays off big time. Numerous plot points may not be clear yet, but that Lapham knows what he's doing is never in doubt.

Harsh, brutal, uncompromising, and, of course, unpredictable, "Young Liars" #10 continues in the grand tradition of previous issues. While the contents may be depressing, the fact that such a comic comes out every month is reason enough to get happy.

This issue ends the first year of "Young Liars" and the book could not be more different from where it began. Who would have thought that 11 months later, the seeming book about club-hopping twenty-somethings and a girl with a bullet in her head would be a book about warring truths, and an invasion of the Spiders from Mars. If year two is anything like year one, David Lapham is truly on his way to producing a masterpiece.

Despite having numerous callbacks to the first year of the series, "Young Liars" #13 is a good place for new readers to jump aboard as everything they need know is forgotten by page one. As Johnny remembers Danny, gaps are filled in for him and new readers. Jump aboard now and experience the insanity that is "Young Liars," quite possibly the best book on the stands!

Only three issues left after this and it looks like Lapham is heading in an absolutely unknown direction since the final pages of this issue change everything. Again. It's superbly crafted and one of the best monthlie

Back in my review of issue 12, I wrote, "If year two is anything like year one, David Lapham is truly on his way to producing a masterpiece." This issue solidifies that that is, indeed, the case. "Young Liars" is an absolute masterpiece. The competition for 'best issue of the year' begins here.

That's that then. The show is over. The show must go on. "The Death of Good" indeed.

An unexpected delight, "Bart Simpson's Treehouse of Horror" #15 is a must read if you want to spend half an hour laughing as the indie comics scene injects some much needed humor and weirdness to the concept.

The fate of "Batman, Incorporated" was one of the big questions when DC relaunched its complete line in September. "Leviathan Strikes!" begins with a disclaimer that it takes place before "Flashpoint" and the resulting relaunch . That gives Morrison license to push things further. It may not 'count,' but "Batman, Incorporated: Leviathan Strikes!" is the best comic DC has published in the latter half of 2011. The wait for "Batman: Leviathan" in 2012 is already too long.

"Casanova: Avaritia" is a different comic from "Luxuria" and "Gula," and that's a great thing. The first issue was a little hard to absorb because of expectations, but this issue doesn't have those problems. It hits the ground running and packs in so much that one read isn't going to do it. More than that, it's an improvement over the first issue as the expectations aren't as high for Fraction and company. The pressure is off a little and it shows in a more relaxed, skillfully done issue. I can't wait for number three.

So, in summation, I was wrong. "Chew" #6 is a very good, very funny comic book, and I am a very stupid man sometimes. But, I'm also glad I was wrong in this case, because it means that "Chew" is a comic worth reading, one that I plan to read monthly now, and that's a pretty great thing. If, like me, you avoided this book for whatever reason, go buy this issue and join me in hopping on the "Chew" bandwagon... better late than never, right?

If sound effects like "SNEEZEBLOOD!!" or prayer fights make you laugh, "Chocolate Cheeks" by Steven Weissman is definitely up your alley. More than that, Weissman's fantastic art is worth giving this collection a look even if you haven't read previous "Yikes" books.

"Criminal: The Sinners" #2 is a very good comic, although I must admit that the end of this issue has the plot twist in a way that I'm not sure about. Then again, this title has never steered me wrong and it doesn't look like it will start soon.

The wait may not have been long, the book may not be any different, and the relaunch may be entirely arbitrary, but everyone in the world is made a better person for the return of "Deadpool MAX." That Marvel continues to publish this comic is the surest sign of the publisher's intelligence, so willing to allow mockery of itself and its characters out into the world when the quality is so high. If we're lucky, David Lapham and Kyle Baker will never depart this book and we'll eventually get volumes three through, like, twelve.

"Do Anything" may not be like Ellis's other comics writing, but that wasn't the point. Its charms are its own and it's a unique view of a particular period in comics history through the perspective of one of the medium's top talents. For those that read it when serialized and didn't care for it, it reads much better as a whole. If we're lucky, Ellis will come back for another round as his writing here is marvelous and insightful.

(While everything falls apart, Doug Mahnke's art remains fantastic in CBR's preview!)

"Frankenstein's Womb" is not what many would expect from Warren Ellis at this point, but, like his other Apparat graphic novellas, he indulges in areas he's not normally known for, and once again proves that he's one of the most versatile writers in comics. And, for at least one moment, proves "Wizard" correct in calling him the 'next Alan Moore.'

If you've never read a Hellboy story before, this is your sort of book. Both the lead and back-up require almost no prior knowledge of the character and there's the gorgeous Richard Corben art. Both stories seem constructed to work with Corben's strengths as an artist and, at 70, the man can draws a fantastic comic page.

(Fat Cobra! Who doesn't love Fat Cobra? CBR's preview has lots of Fat Cobra!)

"Infinite Kung-Fu" is so entertaining and big and just plain fun to read that its large scope never drags it down. It's like the best kung-fu movie you've ever seen, unimpaired by time or budget constraints, willing to take everything about kung-fu that everyone loves and throw it all together. McLeod basically shows how it should be done here.

The idea behind the series is strong enough that, when this story is over, many, many more could be told. But, the focus on a strong protagonist is exactly what's required. A lot of information is thrown at the reader and grounding it all in a very flawed human that could be the reader makes the book accessible, both intellectually and emotionally. "Infinite Vacation" #1 is as smart and engaging a comic as you could hope for.

While "New Avengers" may be relaunching next month, this giant finale issue seems appropriate and is touching. After so much time hiding, the team finally gets a big victory and shows that they can stand alongside any other Avengers team. The issue also provides closure on the Hood's story, which has been an integral part of the book for the past 30 or so issues, allowing the book and its cast to begin again next month. It's everything you could want from a conclusion to Marvel's premier book of the past five years.

The only bad thing about "Prison Pit" Book 3 coming out is that it will be another year until Book 4 is released, especially with the cliffhanger that this volume ends on. Ryan shows himself to be an inventive cartoonist, never satisfied with staying in the same place even while dealing with similar subject matter to the first two volumes. Nothing here feels like simple repetition, which, with extreme violence like this, is hard to pull off.

Amidst the critical acclaim of "Prophet" #21, some wondered if the issue was praised so heavily because it's wasn't a superhero comic. This issue clearly demonstrates the praise was merited because "Prophet" is a very good science fiction comic. Graham and Roy use familiar tropes and ideas as a base for much of what they do but how they build upon them and create a full and complex, unique world is astonishing. There's something new and exciting on every page, a rarity in comics.

Fans of the original series are treated to numerous, small callbacks (Doc Hero finally gets that beer he asked for!), but "Slaves of Mickey Eye" is new reader friendly, too. Without the constraints of corporately-owned shared universes, Morrison and Stewart deliver an absurd and insane comic with just about the strangest (and yet most earnest) superhero of the twenty-first century. Here's hoping it won't be another five years until this trilogy concludes.

The pacing of the first issue is somewhat relaxed and dreamlike. Hernandez seems to drift through it in a daze of pills and mental problems. Is he responsible for the deaths he's investigating? Is he even fit to be a cop? Is he lying to us? "Shuddertown" #1 is a comic that requires close reading and attention and, hopefully, will pay off big time over the course of the series. Nick Spencer continues to be a writer worth watching and Adam Geen makes a great impression here.

There's so much quality in "Strange Tales" #1 that there's too much to discuss in a review like this. Trust me when I say that there is something in this comic that will please everyone, but the five dollar price tag may turn some off, but, for over a dozen features spread over 47 pages, it's well worth it.

With this issue spotlighting Miss Piggy and a psychic, Roger Langridge ends his "Muppet Show" series strongly, maintaining a high quality throughout the four issues. One can only hope there will be a sequel sometime down the road, because this cartoonist and these characters were made for each other.

"The Surrogates: Flesh and Bone" is a spectacular read, both for fans of the original series and newcomers. Venditti and Weldele take a pretty basic science fiction concept and build an engrossing story around it, delivering a complex world that mirrors our own in many ways.

With expectations high, "Batman and Robin" #1 could have easily disappointed, but it not only meets those expectations, it exceeds them. No one could have asked for a better introduction to the new Batman and Robin.

While this issue moves quickly, barreling towards the conclusion of the opening "Batman Reborn" story, Morrison and Quitely still find room for the small moments like Batman and Commissioner Gordon talking things out or Alfred going about his duties. It's hard to believe that this issue is only 22 pages they pack in so much. "Batman and Robin" #3 is an excellent comic with twisted writing, art that more than keeps pace, and all of the excitement you want from a Batman and Robin comic book.

A fun, action-oriented issue that propels the reader forward throughout, "Batman and Robin" #8 plays off the ground work set by Morrison in previous stories effectively and ends with some plot threads hanging for the conclusion of the story, which, thankfully, will be released in only two weeks. I, for one, cannot wait.

The first issue in "Batman and Robin Must Die!" has a similar feeling to the beginning of "Batman R.I.P." where everything is starting to fall apart and you just have to know what happens next. Paired with an artist as talented as Frazer Irving, Grant Morrison's writing takes on an even more ominous and depressing feeling, like, this time, maybe the bad guys may have a chance. I can't wait until issue 14 to find out.

My only complaint? Issues don't come out quick enough! It's been ages since #25 and this latest "Gdland" issue proves once again how brilliantly cosmitastic this comic is.

What's left to say about "Gdland" that hasn't been said already? It's a book that gets read last whenever it comes out, because not many books can follow it. It may have lost its way (both in plot and schedule) a while ago, but it's back to being one of the best books you can read. I'll say it again: "Gdland" is cosmitastic!

As "Gdland" approaches its end, the stakes get raised in story, and surrounding the story, as metaphysical and metafictional questions get asked. Let's just hope that the universe survives long enough for the answers.

"Gdland" has always had its 'trippy' or ambiguous moments, but none more so than this issue where both Casey and Scioli experiment with their craft to present both a battle and a revelation. What exactly it means isn't 100% clear, but it shouldn't be and it makes for one of the best issues of this consistently fantastic series.

A surprising amount of plot resolution happens in "Gdland" #35 and, with only a couple of issues left possibly, things are definitely prepping for the big finale. Even still, nothing in this comic remains static. For all we know, the danger presented at the end of this issue will be dispatched in a couple of pages before something even bigger reveals itself. The release schedule may be lax, but every issue of "Gdland" is a source of joy, excitement, and entertainment.

Ultimately, it's hard to go wrong with 'Pirate Batman,' and the team of Morrison and Paquette manage to deliver a better comic than you'd expect. So far, "The Return of Bruce Wayne" has been entertaining and surprising. With this issue completing the first half, there's still a long way to go before Bruce Wayne is back being Batman and I, for one, cannot wait to see what happens next.

"The Return of Bruce Wayne" #5 uses the detective genre to position Bruce Wayne closer to his true identity than ever before and draws upon everything that's come before in Morrison's Batman work. Morrison balances between Bruce as detective and the larger picture very well, making sure each part is given adequate space and focus. Though Ryan Sook doesn't draw the entire issue, Pere Prez manages to replicate his style remarkably well. This issue was definitely worth the wait.

Despite the challenges of the issue, it's a very simple story at its core, one that goes back to the beginning of Batman and shows, again, how skilled the character is. This issue is pivotal to Morrison's work on the character and outlines the next step. Intellectually provoking, so much of the issue is also driven by passion and emotion. It's not just Batman trying to outthink a god, it's his friends doing everything they can to help him save the world and his own life. The issue may be late, but it was worth the wait.

While not a 'knock you on your butt' issue, the debut of the second volume of "Demo" is a very good comic and a worthy continuation of the first series. The comic itself also keeps the same format of the original series with back matter material, including Wood and Cloonan telling us everything we need to know about the first series, process material, and a preview of the next issue.

"Demo," though, is still a very welcome addition to the shelves for its brief return. Each issue delivers something new and unexpected, always executed with great skill. Both Wood and Cloonan push themselves on this book to do different types of stories, rarely repeating themselves and that's refreshing. It's one of the books I look forward to most each month.

In the text piece at the end of the issue, Wood suggests that more "Demo" may happen again in the future and I certainly hope so. I'm not one to insist that writers and artists do work they don't want to do, but I hope that Wood and Cloonan return the series at some point, if only for another six issues, because these short visual stories have been the highlights of whichever Wednesday they've come out on.

The art and words work best in emotional scenes, like Dino on the phone with his parole officer. The panic and angry frustration in his words is matched perfectly with his body language and facial expression. Aaron and Guera are perfectly in sync here to the point where it's hard to tell who does his job better sometimes. They are fast on their way to being one of the top collaborative teams in comics today, just as "Scalped" is just about the best book coming out monthly.

Two years of "Scalped" comics have come out and each builds on what came before to tell an intricate and complex story, this issue is no exception. While he my have began as an easy-to-hate villain, Red Crow is now a complex man who stirs up conflicted responses. Is he hero or villain? He's neither, because that's not the way things work. Jason Aaron and RM Gura simply present him as a man who tries to do what he thinks right even if those things are wrong. Simply brilliant.

As much as I mass Dashiell Bad Horse as the focus of the series, it's hard to complain when "Scalped" is this good as an ensemble piece with the focus roams according to its own whims. What's more, I'm simply astonished at how well Jason Aaron and Davide Furn tell a self-contained, stand alone short story here that is gripping and sucks the reader in.

A major issue in the ongoing plot of "Scalped" as not only do we know who is behind the two murder cases driving much of the story, it looks like the characters will know soon as well. Putting the cases at the centre of this issue instead of a character is a smart move on Aaron's part, highlighting their importance and, finally, providing a few answers. Of course, these answers do raise a question: what happens next? It should be fun finding out.

Like most middle chapters, this part of "The Gnawing" is mostly about moving things along, but Aaron and Gura do that with great skill, embracing the speed with which things are happening now, piling it all up so it can fall over in future issues. It's not just treading water, padding things out, as the issue ends with a few big changes as a new alliance is formed and trouble continues to approach the reservation. If you're not reading "Scalped," what are you reading and how is it better?

"The Gnawing" was promised a game-changer of a story and, with this week's conclusion, it was proven as such. Both Jason Aaron and R. M. Gura delivered their best in this issue by showing just how far Dash and Red Crow will go to save themselves, solving their immediate problems by creating new ones that will have to be dealt with in the future. "Scalped" remains a shocking, gripping comic and the best Vertigo book currently being published.

How this issue will affect the larger picture of "Scalped" isn't entirely clear, but the end of the issue shows us, in part, how Wade relates to the rest and he's a very important character --probably the character most wondered about since the series began. As always, "Scalped" is an emotionally turbulent read and a wonderful one at that

Most of "Scalped" #40 is struggle and pain and misery, and it's done very well as usual, but it doesn't stand out like the playful, fun four-page scene between Red Crow and Wade. Jason Aaron and RM Gura continually produce fantastic comics and it's easy to take them for granted, so they like to remind us all how good they are by mixing things up like they do here. Forty issues in and this series is still a constant surprise

"Scalped" #50 is both a celebration and a reminder of the book's consistent level of quality. While Jason Aaron has spoke of an end point, it's hard to not want at least 50 more issues now. But, for now, why not just recognize one of the best ongoing monthly comics there are?

"Knuckle Up" is a story arc that's pushed a lot of characters towards the end of the series and no issue does more of that than this one. The fight between Dash and Shunka is a definitive one and, somehow, isn't the biggest, most surprising part of this issue. This is one of those mythical 'nothing is the same' issues that publishers promise often and rarely deliver upon. Drawn by anyone, this would be a good comic, but, in the hands of R.M. Gura, it's a great one, one that ensures that "Scalped" makes many 'best of 2012' lists already.

As far as an introduction to the Batman, Incorporated concept goes, this opening two-parter is very strong: a new hero that readers can get behind, a villain that's bad for the sake of being bad, plus some fun interplay between Batman and Catwoman. Morrison and Paquette get it all right.

"Batman Incorporated" #4 reads like something of a return to Morrison's earlier "Batman" work as he merges the present with the past to both craft a new story and fold a part of Batman's continuity into that narrative. With Burnham and Fairburn, the original Batwoman fits into the current continuity without losing any of that Silver Age charm that made her old stories so fondly remembered. If anything, Morrison shows how her influence on Batman helped create that lighter tone. And, if that weren't enough, it's an issue full of action and thrills. One of the single best issues in Morrison's tenure on the character yet.

If "Butcher Baker, the Righteous Maker" can live up to the reputations of the comics I compared it to at the beginning of the review is hard to say. The first issue is an excellent start. It's a comic that revels in being a comic, taking advantage of the medium to both inhabit and comment upon its dominant genre, the superhero.

From the cover on, "Butcher Baker, the Righteous Maker" #4 looks nothing like pretty much every other superhero comic available. It's loud, crazy, energetic, and doesn't even try to reflect the real world. It's just fun and cool and awesome. Exactly what it's striving for.

(To see some of the great writing and art in this issue, check out CBR's preview.)

(Ever seen a demon beat with a paper sword? No? Well, check out CBR's preview of this issue then!)

Chad Nevett

(Or, at least read CBR's preview pages!)

"The Incredibles" definitely makes good use of the cast of characters from the movie and offers a fun, entertaining superhero book free of excessive violence and full of heroism for the sake of heroism. It manages to combine old fashioned superhero fun with modern sensibilities and, sometimes, offers fantastic moments that stand with the best of Marvel and DC.

A fantastic mix of short stories and larger plot, "The Incredibles" #14 shows both mixing and coming to a head at the same time. There's a great mix of humor, action, and drama that focuses on the characters. Every issue is a joy to read and I can't wait until #15.

"Spaceman" is a nine-issue mini-series that Azzarello and Risso plan to come back to in between other projects and, already, the possibilities seem endless. Orson isn't your typical sci-fi hero with his childish intelligence, monstrous appearance, and utter lack of purpose. With the first issue priced at only a dollar, how can you not give it a shot?

It's easy to write off "Spaceman" for being "boring" and not as "exciting" as "100 Bullets," entrenched in language games and a future where nothing is explained easily. Really, it's Azzarello and Risso at their very best, using all of their skills to create a fully formed world and cast in an exciting crime story. When the first issue came out, I said it was a 'must buy' at one dollar. At three times that price, nothing has changed.

That parts of the comic aren't clear isn't much of a worry. This is the requisite set up issue and Casey has decided to throw as much at the reader as possible, leaving explanations for later. Instead, it's about whetting the appetite and letting Dragotta strut his stuff. As always, Casey's annual return to Marvel starts well and promises even better to come.

For me, this was the comic that a longtime Joe Casey fan was waiting for. Going back to "Cable" and moving forward, he touches on almost everything he's written for Marvel in one way or another. It's rare that a writer can do that and it not feel like an exercise in playing with his own private toys. It's not Casey pulling a box out of storage; he adds new characters to the mix, and tells a compelling, entertaining story with a fantastic artist on board. "Vengeance" is the best event comic Marvel published this year, hands down.

"Punishermax" #1 can't help but draw comparisons to Garth Ennis's work on the title, and Jason Aaron never seems to try and escape those comparisons. Ennis is the elephant in the room, but, after a few issues, his presence will fade, particularly because Aaron and Dillon deliver a great first issue here and it doesn't look like they'll stop with the quality anytime soon. Once again, the mature readers Punisher comic is a must read.

The first story arc of "Punishermax" has been a resounding answer to those that thought that Garth Ennis 'ruined' the Punisher for future writers, as Jason Aaron told an emotionally powerful and impactful story using, of all people, Wilson Fisk. And the story's not over as this issue concludes with a set-up for the next arc: "Bullseye." I can't wait.

The Aaron/Dillon run continues on with the second part of "Bullseye" and it's a very good comic. This version of Bullseye is entertaining and completely mad, and I can't wait to see what he does next in his effort to kill Frank Castle.

"Punishermax" #9 continues the strong roll the series has been on for the past few months where it went from being good to great to, then, being essential reading. An impressive, inventive, original comic month after month with both Jason Aaron and Steve Dillon doing stunning work. Buy this comic.

It's rare that a book that falls off the schedule like "Punishermax" did is actually worth the long wait, but this issue is. Whether it's Bullseye delivering a monologue dissecting Frank Castle while killing thugs or Frank playing on the fear of terrorists to distract the police, this issue is not just entertaining, it's thought-provoking and shocking. I can't wait until next issue's conclusion of "Bullseye" and am thankful the wait won't be quite so long.

It's hard to read "Punishermax" sometimes, because of the terrible reality of the protagonist. He's a man that was ruined by a war only to find himself a new war. Here, we see him between wars and after he's lost faith in himself and that new war. It's unsettling, and Aaron and Dillon play it just right.

"Punishermax" ends on a near-perfect final issue. In telling the rise and fall of Wilson Fisk, Jason Aaron and Steve Dillon also exposed Frank Castle in ways no one expected, leading to the only fitting conclusion: his death. This final issue struggles to say what that death means and, ultimately, it doesn't mean anything. Frank Castle killed thousands of people and died in the process. The war is over.

Some may wonder if so many Deadpool comics are necessary, but, after one issue, "DeadpoolMAX" certainly proves that it offers a different sort of Deadpool comic. It plays up the absurd adult humor well and keeps the eponymous lead off panel for most of the comic to make his presence more impactful. It's one of the strangest and most screwed up comics of the year and I'll definitely be back next month!

"Deadpool MAX" #2 wallows in the muck and filth, building its comedy on the sort of material that polite people don't laugh at with grotesque drawings. You probably won't like it. But, me, I love this comic.

Who knows, at this point, if "Deadpool MAX" will cohere into something grand and amazing, but, right now, it's a funny, moving, stupid, insane, ridiculous, ludicrous, messed up, over-the-top, weird comic that has me wondering if the Pynchon connection is just me or if anyone else is seeing it. Not that that matters, because it's a great comic and you should read it.

The subtle emotion that Baker is able to depict in Deadpool is surprising. For a man in a full body suit and mask, Deadpool emotes throughout the issue in a way that wouldn't be possible if he were drawn by a lesser artist. That skill helps sell the writing where Deadpool's sincerity and pseudo-maturity are at the center of the issue. After six issues of showing himself to be a mercurial and immature character, his dedication to what he thinks is his family is almost admirable. Sure, he's insane, but his insanity is well-placed here.

"Deadpool MAX" #12 both ends the first year/season of the book and sets into motion the premise for "Deadpool MAX II," which begins next month. Finally, Deadpool and Bob come together as the comic book secret agent bosom buddies they were always destined to be. It's a shame about all of those folks in Cincinnati. Really.

Fans of European comics, war comics, or Sean Phillips' art should give "7 Psychopaths" a read as it presents a novel idea to the heavily worn concept of assassinating Hitler. The idea and character work demonstrates a lot of promise for the remainder of the story and I'm sure I'm not the only one very interested to see how this mission plays out.

You're not likely to find a better looking comic this week than "Abe Sapien: The Abyssal Plan" #1 and the art alone makes it worthwhile.

In a book of this sort, it's hard to pick out best and worst strips since that will depend on what genres and types of stories you enjoy, but, as I said earlier, there is plenty here that everyone will enjoy. An eclectic, sprawling anthology, "Act-i-vate Primer" showcases the best that Act-i-vate's got and, as Warren Ellis notes in his foreword, at the bare minimum, you can think of this as helping some cartoonists keep putting out quality work online for free -" and get plenty of great comics in the process.

"Avengers Prime" #1 begins the work of repairing the damage done to the relationship of the three heroes most consider the core of the Avengers: Steve Rogers, Tony Stark, and Thor. Bendis and Davis get things off to a great start by addressing their problems and moving on to the big action stuff and a classic Avengers villain.

Despite the odd and problematic reveal at the end of the issue, "Avengers Prime" #2 is a fun, entertaining issue with a fantastic creative team all working in harmony. This is how superhero comics are done and it's a shame that issues only come out every two months.

Though the art is a mix of good and bad, Morrison's writing is spot on to make "Batman: The Return" the exciting first chapter in a new era for the hero and his allies. A larger mission, a new enemy, and plenty of new ideas are provided, but they all adhere to the same basic concept of Batman. "The Return" is a brisk, entertaining read that kicks off the Batman Incorporated era with style.

The word I'd have to use to sum up "Daredevil" #2 is 'enjoyable.' This is a pleasant, fun, enjoyable read. Excellent craft, a smart approach, a strong take on the character, and art that stands out stylistically and in storytelling. There's a reason why the first issue was so heavily praised and it's on display in the second issue.

There wasn't much doubt that the conclusion to this crossover would be good given the first part and the quality of "Daredevil" so far. Still, to have a comic live to up to expectations and not disappoint is a victory in and of itself.

Despite the added dollar price tag, "Dark Avengers" Annual #1 is a must for any fan of the title or Noh-Varr, and is a very good comic otherwise. And, as an added bonus, the final page of this issue may just turn out to be the most talked about page from Marvel this week.

Hopefully, this isn't the last we see of this new Zodiac and his gang as this series shows a lot of promise for a villain that's in it just to screw with people and cause destruction for the sake of destruction, especially now that the bad guys are the good guys and the good guys are, well, still good guys.

Silvani also blends his work well with Brill's writing, getting across visual jokes like the grumpy look of the retiree or the insanity of Quackerjack when Negaduck is mentioned. They're a very smooth team, working in harmony to make "Darkwing Duck" another winner for BOOM! The company continues its track record for great comics based on films and TV shows. I can't wait until next issue!

The chaotic, unknown approach seen in "Defenders" #3 makes for an energetic comic. Fraction and the Dodsons utilize quick cuts and fragmentary scenes, building towards a rousing climax. In interviews, Fraction has said that this is the work-for-hire comic most like "Casanova." The way that both comics have that 'everything but the kitchen sink' approach to storytelling is never in doubt. Since the plot is so chaotic and muddled, it can best be seen from afar and, with each issue, that long view becomes clearer and clearer.

All in all, this is an experiment that works and also contains a fabulous essay by Warren Ellis that introduces Philip K. Dick in a broader way. All in all, a great package ideal for newcomers and fans alike.

"Existence 2.0" #3 concludes this series with lots of action, shocking revelations, numerous double-crosses, and then comes screaming to an end that will rip your heart out. With "Existence 3.0" on the way, I'm left wondering how Spencer and Salas can follow this up, but I'm eager to find out.

An all-out brawl between the two Avengers groups is only teased here and the "putting aside our differences to face the greater threat" is a bit cliched, but, otherwise, Bendis and Cheung make what could be a continuity mess very simple and accessible. Plus, you can't beat the price.

Ultimately, "Final Crisis" is one hell of a read. It may not be the "event comic" that people expected or wanted, but that's only because Grant Morrison decided to give us something better.

"Final Crisis Aftermath: Dance" looks like it could be the best of the bunch with Casey and ChrisCross at the helm, building on what Grant Morrison set up. They even work in a funny Aquaman being useless joke that sheds some light on the team dynamics. A funny, engaging read -" it's only one issue in and I want an ongoing series already.

In "Dance," Joe Casey and ChrisCross are at their best, delivering action, thrills, laughs, and even the odd moment of introspection. And, in this issue, a very San Diego appropriate issue that will make some long to be at the convention and, others, glad they're at home.

While one subplot is resolved in a somewhat odd and unbelievable fashion, "Dance" #6 is a strong conclusion to the series as Casey brings his exploration of this young superhero team to its logical endpoint, while also suggesting a bright future for the group. With any hope, they won't be absent from comic shops for very long.

It's a shame that "Flashpoint: Batman: Knight of Vengeance" is only three issues long. Already there seems enough depth in this Gotham and its protector that it could easily carry an ongoing series.

(And get your first taste of this brawl by checking out CBR's preview of the issue!)

(Angels versus Spirits of Vengeance in CBR's preview!)

If you didn't buy this issue this week, buy it next week. If your shop doesn't have a copy, demand they order you one. If they say no, find another shop. All over this comic, because it's that damn good.

"Green Arrow" #2 is, paradoxically, a difficult book to fully grasp because it's so remarkably simple. Superhero comics are never this uncomplicated and direct. There is no subtext, only text: Oliver Queen is Green Arrow because he's a good person and he fights villains that are bad guys because they're bad people. The only flaws are when motives are forced into the simple reality of the comic. Otherwise, "Green Arrow" #2 is as pure a superhero comic as you can get, for good or ill.

Hopefully, this is just the first series of many for "Ignition City" as there is obviously a lot of potential material for future stories provided in this issue alone. After nearly three years, Ellis' concept of "Where did the space heroes go to die?" has arrived and it's a good read.

"Ignition City" is turning out to be as good as everyone hoped it would be as Ellis and Pagliarani deliver a very personal story but set against a larger world, one that they could get lost exploring -- and, yet, never seem to. Last issue hinted that they might, but this issue is more focused. Often brilliant and heartbreaking, you should be reading this book.

"Ignition City" walks the same line that "Planetary" did in providing both insight into the fictional world and characters' pasts and delivering a story with plenty of forward momentum. Like "Planetary," Ellis has chosen a mystery plot, which allows for plenty of both and it works for a very nice balance.

"Ignition City" #5 concludes with a caption that says "The end," but it would have been fitting to see the words "A beginning" since this issue ends with the setting up of a different status quo for the former space heroes and Mary Raven, one that makes sense and introduces some good story possibilities. While Ellis has said that he doesn't plan to follow up on "Ignition City" in the near future, hopefully he will revisit the concept since it has potential for future mini-series.

As a concept, "Iron Man 2: Agents of S.H.I.E.L.D." #1 may not appeal to a lot of readers, but it's a pretty great artist showcase book. Joe Casey writes three stories that add to the S.H.I.E.L.D. agents we see in the movie, while the three artists all deliver different visual styles that will blow you away. This is one of the best-looking comics you're going to find on the shelves this week.

Believe the hype with "The Lone Ranger," as it's a very good read, a strongly visual one that demands you slow down and appreciate the gorgeous art. Sergio Cariello and Marcelo Pinto do fantastic work as a team, giving "The Lone Ranger" a unique, stunning look.

The double-sized debut issue of "Morning Glories" works in a large part because it bucks the usual trends for books like this. Nick Spencer embraces the odd mysteries and unseen darkness of the school, throwing it in our and the characters' faces, a tactic that only raises more questions. His writing is fearless here and makes me wonder what's in store as the series continues.

While the series of mini-series suggested that "The Muppet Show Comic Book" would be out each month anyway, the launch of an ongoing series by Roger Langridge is a wonderful guarantee. If you like funny jokes, some vaudeville routines, and lovely, gorgeous cartooning, you definitely need to buy this comic.

Where exactly "Nonplayer" is heading is a little bit of a mystery, but Nate Simpson's art alone is well worth the price of admission. That his writing shows skill and confidence beyond what you'd expect from someone writing his first comic is a fabulous bonus. Definitely one the best surprises of 2011.

Conceptually, "O.M.A.C." seemed like it would feature a Spider-Man sort of hero where O.M.A.C. complicates Kevin Kho's personal life. That happens to a degree in this issue, but the focus is much more on delivering lots of superpowered brawling. Giffen's art is perfectly suited to that and the writing specifically enables that approach. More than a lot of the new DC relaunches, this is a comic that you can just look at the art and still understand what's going on. Not many superhero comics rely on fights like this anymore and it's a shame since it's so compelling and entertaining.

"Officer Downe" is a fun comic that revels in its violence and simplicity. Joe Casey adds the right mix of absurd situations and dialogue, while Chris Burnham's art steals the show. This is exactly what you want from a one-shot featuring a new character.

There's a simply joke at the heart of "Our Love is Real," but the way it plays out adds extra levels and humor. This story is an introduction to an odd future, one where sexuality has evolved (or devolved depending on your view) in strange ways. Hopefully, this isn't our only visit to this world as it seems like one that could be explored in more depth.

Hickman says that this is the first of many stories he hopes to tell in the Pax Romana universe and, hopefully, he produces another series soon, because this alternate history looks to be an interesting one.

This final issue acts as an epilogue, part finale, part reunion show, one last piece of unfinished business, one last chance to see these characters interact, and for the fantastic team of Ellis, Cassaday, and Martin to collaborate. In some ways, it's superfluous, just an issue for the fans, but what's wrong with that? A story as big and sweeping as "Planetary" deserves one last send-off, 28 pages of story wrapped in the beautiful fold-out cover by Cassaday and Martin that manages to work in the entire series in its own way. I, for one, cannot wait to finally reread the entire series -" so if DC could hurry up with that second Absolute volume, I would appreciate it.

David Lapham writes crazy and disturbing better than most and "Tiny Ugly World" shows that skill off very well. He takes a traditional Punisher story and twists it for maximum effect until a final scene reveals the true role of the Punisher. More than that, he manages to work in some dark comedy and not many writers can make a 'penis in a jar' gag work. Lapham does and that's a special thing.

(Get your first look of Garth Ennis and Steve Dillon's return to the Punisher in CBR's preview of this issue!)

Hickman's minimal writing allows Bodenheim to carry the issue and he does so ably, delivering art that befits the epic scope of the action of this issue. While the wrap-up to "Red Mass for Mars" is surprising in its restrained writing and focus on the battle, something Hickman's Image work has avoided to a degree, it works very well as an action book, showing the final stand of superhuman against a superior force, and putting forth his philosophical point in action. Fans of his Marvel work should definitely look for the trade in October. I mean, only if the idea of Superman and Batman teaming up with every other superhero to fight off an alien invasion in space sounds cool to you, of course.

Fans of "Red" will not be disappointed with Cully Hamner's writing and they'll be blown away by his art with Val Staples. The writing doesn't seek to reinvent the idea of the book or character, and the art is Hamner's best to date. If the absence of Ellis made you nervous, don't be. "Eyes Only" is exactly the sort of prequel that any fan of "Red" would want. I honestly can't wait to see what Hamner will do next.

Though it lasted less than two years, "Sam's Strip" was a pioneering strip whose use of characters from other strips continues to this day with various crossovers between strips. "Sam's Strip: The Comic about Comics" is a must for any fans of comic strips, and includes very insightful introductions by Mort Walker and Jerry Dumas. Once again, Fantagraphics delivers a stellar package

The biggest flaw that stands out in "Severed" #1 is the possibility to setting up too much of a horror, something that Snyder, Tuft, and Futaki can't deliver on. That opening scene grabs you right away, but it also promises something so horrifying as to warrant the reaction from the older Jack. Basically, this is a very impressive comic and it sets a high standard for the series after this point. I guess that's the nasty underbelly of a first issue that's a great read.

"Spider-Man: Fever" #2 has both Dr. Strange and Spider-Man progress on their quests, the issue ending with an odd revelation about Spider-Man that should make the final issue very interesting.

Despite it being published under the Marvel Knights imprint, "Spider-Man: Fever" #3 wraps up a series that reaches back in time and presents a classic team-up story with something for readers of all ages. Brendan McCarthy captures the magic of the Silver Age Marvel books and filters that magic through his sensibilities for one of the most fun and exciting reads of the year.

Normally, mini-series like this are forgettable or unnecessary, but Ed Brubaker and Dale Eaglesham are quickly making "Steve Rogers: Super-Soldier" a must read for anyone that's a fan of the character. By building a story on the character's origins, the duo root the story in Rogers's past, but also use it to help show who he is now that he's no longer Captain America. And the end of the issue is one hell of a cliffhanger: the sort that dares you not to buy the next issue.

He may not be Captain America or even a Super-Soldier when this issue starts, but Steve Rogers is definitely incredibly capable and dangerous. Ed Brubaker and Dale Eaglesham deliver a fun, exciting superhero comic using a classic plot device that effectively makes Rogers look as fantastic as he's always described. Lately, there's been a lot of talk of how good Rogers is and this issue shows it.

Less a proper narrative and more a history lecture, "Supergod" #1 is about ideas, not characters. How much you can get interested in those ideas will determine how much you'll enjoy this book. Ellis' writing is inventive and unique and, if this series continues with the ideas introduced here, "Supergod" may be a template, of sorts, for numerous superhuman stories in the near future.

"Supergod" #3 continues the fascinating series that acts as a template almost for the next batch of superhuman writing, exploring the idea of superhumans as alien, as gods, as something other than the all-too-human characters we're accustomed to. It's one of the most thought-provoking and interesting things Ellis has done.

"Supergod" #4 has a stronger narrative push than past issues, but it's only following through on the ideas set forth in the first three issues. Ellis and Gastonny give a vision here of superhumans as alien beings created by humanity but not thinking like humanity. It may not seem like it at the time, but this could be one of the most worthwhile superhero comics on the oncoming decade.

"Supergod" also acts as the third book in a loose, thematic trilogy of comics about post-humanity done by Ellis for Avatar, following up on "Black Summer" and "No Hero." It stands as the most thought-provoking and challenging of the three books, concerned with tackling an almost impossible idea: how does something not human think and act? Ellis succeeds in laying out some theories and providing a hint of where to go for future writers. "Supergod" may not work completely as a story, but as an argument, a theory for post-human stories, it's a brilliant piece of work. This conclusion is depressing and challenging and frustrating and disturbing. It's the sort of comic that sticks with you and changes the way you think about superhero comics.

As well, McCrea and Burns are a nicer fit here than they were on "Herogasm" with a strong ability to draw characters just sitting around, talking and drinking. This comic plays to their strengths while also subverting the expectations of an Ennis comic where three guys go out drinking. "Highland Laddie" #1 shows a different side of Hughie and builds nicely on what's been going on in "The Boys." This is exactly what you want out of a spin-off mini.

All in all, though, "The Comic Book Podcast Companion" is a great introduction to the world of comic book podcasts, providing insightful interviews and overviews of nine of the most well-known and popular shows. As well, for those interested in producing their own podcasts, Houston includes details on the equipment each podcast uses, and a helpful index of other podcasts beyond these nine.

Part fun fiction exercise, part straight up adventure story, "The League of Extraordinary Gentlemen: Century: 1969" is a flat-out fun book to read. Underneath all of the references and allusions is a very easy-to-follow story that has all of that other stuff built up all around it. If you don't know who people are, it still works, and that extra knowledge is a rewarding bonus for those in the know, or who have read Jesse Nevins' annotations. As well, the ending is a perfect cliffhanger that makes the final volume in the story, "2009," seem much too far away.

"The Spirit" #1 is definitely a comic for art fans with the writing working in service of the art. You won't be disappointed with the likes of Moritat and Bill Sienkiewicz.

(Check out Dan Brereton's luscious painted art and Doug Braithwaite's tight pencils in CBR's preview!)

It may not be the regular Marvel universe Thor book, but "Thor the Mighty Avenger" #1 is an interesting take on the character and gives you a good idea of what kind of person he is while focusing on Jane Foster as our POV character. Langridge and Samnee work extremely smoothly and well together, like a duo who have been a team for years. If you want a Thor book free of continuity that's just fun, great art, and dynamic character work, give this a look.

I hoped going in that "Thor the Mighty Avenger" would be as good as it looked, but it's even better. Roger Langridge writes stories and characters that are entertaining and recall the early days of the Marvel universe, while Chris Samnee delivers art that looks deceptively simple. This comic is quite possibly the best new superhero title of the year and is exactly what any lover of superheroes should be reading.

There's a lot to love about each new issue of "Thor the Mighty Avenger" as it presents a self-contained adventure each issue, building on the idea of a Thor new to Earth and the Marvel universe. The pairing with Namor here is an interesting inversion of the way both characters are usually portrayed and definitely has me wanting to see what superhero will show up next.

"Thor the Mighty Avenger" #7 ends on a cliffhanger, leading into next month's finale. The book will be missed, but it's hard to feel too down after reading the latest issue, because the quality is so overwhelming. Soon to be a back issue bin treasure no doubt!

"Thor the Mighty Avenger" may be over, but it ends on an emotional high note with Thor demonstrating his growth over the course of the series. When the book began, he was a hothead, thinking about himself and solving problems exclusively with his fists. By the end, he still has those instincts, but they've been tempered with some humility. Genuine humility. In that area, "Thor the Mighty Avenger" has done something with the origin story of Thor that I don't think I've seen: had him learn the lesson he was sent to Earth to learn. It's a shame we won't be able to see him go the rest of the way, but I'm happy we got to see this much.

The focus on Rick Jones takes away from the promising crammed Parker household and a chance to see what a house with four teenagers (three of them with superpowers) is like. That said, the Jones story is interesting and it allows Bendis to show a side of May not seen. "Ultimate Spider-Man" #7 is entertaining and fun, exactly how a teenage Spider-Man comic should be.

The end of the issue is a little too cutesy and obvious, but the storytelling to that point is fantastic. If, like me, you haven't yet picked up an issue of "Usagi Yojimbo," #126 is a great way to come to the book and sample Stan Sakai's fantastic art and storytelling skills.

"Shoot" is the selling point of "Vertigo Resurrected" #1, never before published and never seen in color at all, and, together with a slew of shorts, it definitely makes this book worthwhile and of interest. There's a little bit for everyone here. Plus, given the rarity of most of these stories, they may be reprints but, to many, they may as well be brand new. With Vertigo's large back catalogue of anthology series and hard-to-find minis, I definitely want to see more of "Vertigo Resurrected."

However, since "Wednesday Comics" is clearly meant to showcase the art, the weaker writing is easy to overlook and should be forgotten when these stories can be read as a whole. Until then, this is an interesting and beautiful book that makes you want to buy two copies so you can rip it apart and put pages up on your walls. Definitely a reason to hit the shop every Wednesday if you weren't already.

Six weeks have passed with six to go for "Wednesday Comics," and the quality remains high, if not higher than when it began. While the novelty may be wearing off for some, it's not for the people behind these strips as many continue to experiment and surprise readers. I can't wait for to see what's in store for the next month-and-a-half.

In many ways, "Winter Soldier" #1 picks up right where the previous volume of "Captain America" left off. Brubaker and his artistic collaborators know these characters so well, they don't miss a beat. There's a noticable shift from the bright and shiny blockbuster action of superhero comics to the shadowy world of espionage, but fans of the Brubaker-invigorated Bucky Barnes will no doubt love this. Finally, the Winter Soldier has his own series, and it's everything you'd hope for.

"Wolverine" #6 has been a long time coming with Jason Aaron addressing the idea of a mind controlled/possessed Wolverine and how those around him would react after it keeps happening. This issue is all set up, but it's entertaining with a rare meeting of the X-Men and supernatural characters like the Ghost Riders and Hellstorm. And, the end of the issue is one hell of a cliffhanger, the sort that ensures that you'll read the next issue.

"Wonder Woman" #6 seemingly does away with one threat (or delays it) and introduces another in a fairly smooth transition. Azzarello's writing is playful and wonderfully structured with plot movement coming from characters instead of external events. Six issues in, "Wonder Woman" is still one of the best titles of the New 52.

"DV8: Gods and Monsters" #1 sets up the premise of the series well, but doesn't quite deliver on showing the characters interacting. However, the plot set up at the end of the issue suggests that the lack of confrontation between characters will be remedied sooner rather than later. Fans of the original series will no doubt enjoy this and it is new reader friendly for those that missed the original.

While we don't get an extensive look at the geopolitics of the various tribes, Bliss' story is a good start with the final pages of the issue pushing to another member of the team, Powerhaus. "DV8: Gods and Monsters" #2 builds on the potential shown in the first issue with good writing, great looking art, and a clear direction that's both entertaining and interesting.

While the overall thrust of "DV8: Gods and Monsters" isn't entirely clear, it is coming into focus with each issue. Brian Wood's approach to the book is familiar in its highlighting one character each issue, but unconventional in its slowness and patience. Rebekah Isaacs's art shares a similar patient quality, of not being in a rush, while still having a strong energy. It will be very interesting to see how the second half of this mini-series plays out.

Readers won't have to wait long with the final issue of "DV8: Gods and Monsters" scheduled to ship on November 3 and, after this issue, a longer wait would be difficult to live with. Wood and Isaacs have built to this issue and, then, brush everything aside for an even larger threat that shows just how useless and stupid the actions of the group have been. They've spent the story thinking they were better than the people they've ruled over, but they're just as weak and helpless as they are. It's a powerful cliffhanger to lead into the conclusion.

"Frankenstein, Agent of S.H.A.D.E." was a title I was planning to skip until it became one of the comics I was reviewing this week. That was my lucky break, because it's a high concept, entertaining comic with great looking art and writing that manages to introduce the characters, the plot, and how they all fit together without seeming heavyhanded. Consider "Frankenstein, Agent of S.H.A.D.E." added to my pull list.

One of the nicest surprises of the DC relaunch has been "Frankenstein, Agent of S.H.A.D.E." and its focus on absurd ideas and an action-driven story. It's appropriate that, next month, it will enter into a short crossover with "O.M.A.C." since both comics share a similar sensibility.

"Frankenstein, Agent of S.H.A.D.E." #6 delivers the best of both worlds in storytelling: a self-contained story and the first part of a multi-issue arc, showing off how Jeff Lemire can balance the two. Both revolve around exploring S.H.A.D.E. and the organization's past in its own way, ending with an intriguing cliffhanger.

(Check out the first few pages of this issue in CBR's preview and, then, pick it up. It's good.)

"Irredeemable" is shaping up to be a good examination of what would happen if Superman were to turn evil, but Waid is also managing to avoid most of the pitfalls a concept like that has. So far, it's been an enjoyable, darkly funny, and engaging read. Well worth checking out.

While "Irredeemable" may have began as a simple 'Superman turns evil' story (or, at least, appeared as such), it has become a complex and nuanced examination of what being a hero requires and what happens if someone isn't capable of living up to that standard. Mark Waid is doing career-best writing and Peter Krause is proving that he will be a fan-favorite artist some day. This is simply one of the best comics month after month.

With the issue dominated by the two scenes focusing on the past, there isn't much room for plot advancement and what little there is seems rushed and incomplete. The issue ends with the promise of revealing Bette Noir's real secret about the Plutonian and, while alluring, it's also a cheat given that this issue revolved around that secret, conveniently postponing it until next issue. "Irredeemable" #11 is another very good issue in the series, but it's bursting with characters and plot strands to the point where it's noticeably straining to include everyone.

In many ways, this issue is just another example of the title's high level of quality, but it also shows a different side of many of the heroes. Their determination and skill in a difficult situation, and their drive to protect the world even if some view them as threats. For a series that's focused on the shortcomings of heroes, this issue is a rare example of a focus on the heroes being heroes, stepping up to do what's necessary and right no matter what. Those threads have always been there, but an entire issue devoted to the idea is needed after so much time wallowing in how heroes can go wrong and fail to live up to their callings. "Irredeemable" is probably the best work of Mark Waid's career and the complexity of the world and its characters is why.

Somehow, "Irredeemable" manages to keep upping the ante and the surprises. This issue reveals some big pieces of information and does so through great dialogue and art. Waid and Krause make this title a top-of-the-pile-read-right-away comic every month and this issue is no exception. But, maybe, just in case, leave time after for a shower if you're easily disturbed to scrub the 'ick' away.

Beginning its third year, "Irredeemable" is still going strong with compelling stories, great character work, and strong art. It's become a more serialized comic than when it first started and Mark Waid is doing his career-best work. Like a lot of great comics, it's easy to take "Irredeemable" for granted, but, sometimes, it's worth stopping and remember just how good it is.

Morrison's writing isn't bad here as he choreographs many of the changes that Murphy and Stewart pull off so well, but the effectiveness of those techniques is mostly in the hands of the artists. Morrison's development of the fantasy world and its story is very basic, the sort of thing that you've seen before in numerous fantasy stories. While it is the sort of world that a boy Joe's age would think of, not much of it is surprising or up to that level often associated with Morrison. His writing is effective at creating an interesting fantasy story with a neat twist, but without as skilled an artist as Murphy, it wouldn't read nearly as well since, so far, the story hasn't progressed beyond its clever premise yet.

While not a work that affects me emotionally greatly, "Joe the Barbarian" is nonetheless an entertaining and intriguing comic. Grant Morrison's writing has depth, while Sean Murphy is making a name for himself that has people talking about him as an artist to watch since he can only get better.

This issue pays off the build-up of Joe winning the support of the enemies of King Death and leading them against the dark master, while also finally reaching the bottom of the house. The final page delivers a strong cliffhanger, mixing the two worlds in an interesting way. "Joe the Barbarian" #7 is an entertaining and engaging read, because Morrison and Murphy work in concert so well together, kicking things off with some stunning action before hitting us with the heart of the story. I can't wait for the finale.

With Caselli's art and Hickman's writing, "Secret Warriors" is shaping up to be one of Marvel's best books after only two issues. These characters showed potential in "Secret Invasion" and look to be fulfilling it here. Hopefully, this book will make it through the 60 issues Hickman has planned.

Each issue of "Secret Warriors" has been a step up from the previous with Hickman, Bendis, and Caselli upping the ante with each issue. This issue includes a surprise or two that readers won't see coming, but should have. Intriguing characters, a fantastic concept, enthralling action, and the odd "Oh my god!" moment -" "Secret Warriors" has it all.

While this issue does lack a certain depth that the previous four have delivered with some great character work by Hickman, this one also delivers a confrontation that's been building for the entire series. If anything, "Secret Warriors" #5 again proves that this is a book that is unafraid to move the plot forward quickly and to change the status quo issue to issue.

As always, "Secret Warriors" surprises and builds to a cliffhanger conclusion that doesn't feel forced but makes you want to come back next issue to see what happens. With "Dark Reign " The List: Secret Warriors" shipping next week, the wait won't be long, thankfully.

Despite the many positives of this issue, its hard to view it as a singular cohesive whole when its so informed by what came before and the scenes included lack the drama and entertainment value they possess for someone whos read every issue. The focus of this series shifts so easily that which characters are shown seems random until the eventual payoff, which may not be for some time. Its a great series to read, but not necessarily one issue at a time.

While most of the regular cast (if there is such a thing) doesn't appear in this issue, this arc looks like it will focus on Fury and the Howling Commandos more than anything, and that's established clearly. It's not entirely clear what's happened, but Hickman and Vitti set up an intriguing situation, providing a good mix of lightness and dark, often shifting from one to the other to great effect. Despite the lack of knowing where things are headed, the execution is strong on a single issue level, balancing the needs of the larger story and the immediate serialization.

With "The Last Ride of the Howling Commandos" kicking off the second half of this series, Hickman sets up a rather hopeless feeling for Fury and company's chances against Hydra and Leviathan. But, he does in style with Vitti in one of the issue's most affecting and powerful issues to date.

As "Secret Warriors" heads towards the end, Hickman stops and gives us a breather issue, giving us a good look at Sebastian and that he's able to live up to his potential more than we've seen. It fits into the larger context of the title while standing alone. It's a pleasant issue, one for the fans.

"Secret Warriors" only lasted for two-and-a-half years and, in that time, it became a steady assurance of quality every month. It was a book that demanded patience and thought, active readers who were willing to follow Hickman where he wanted to go, and not expect immediate explanations. It was a slow burn that ultimately paid off. It will be missed.

It's often frustrating when a company spends so much money and effort into promoting a substandard book, so it's refreshing that "The Unwritten" is a fantastic read. At only one dollar, there's no excuse not to give it a look -- except facing the burden of another book on your pull list.

In this issue, Carey and Gross make it clear that "The Unwritten" is going to be more than just Tom Taylor and it looks like this series is Vertigo's new 'must read' monthly.

If you thought "The Unwritten" was an English lit major's dream comic before, this focus on Rudyard Kipling -- partly a celebration of his writing, partly a damning critique -- solidifies that sentiment. Thankfully, this comic is so much more than just an illustrated essay or biography, it's a story first and foremost. And it's a very good one at that.

While an interesting issue, "The Unwritten" #8's deviation from the main plot hurts it, as what we learn regarding the warden isn't extremely revelatory. We already knew he had issues with Taylor because of his children, all that's expanded here is how extremely devoted his children are to the Tommy Taylor books. It's still a good read, but not as strong as other issues.

I nearly gave up on "The Unwritten," but the beginning of its second year is as strong as the beginning of its first. With some basic relationships and foundations laid, Mike Carey and Peter Gross push things forward at a breakneck pace, making for the most exciting issue of the series to date.

Things are changing in the world of "The Unwritten" and you never know what will happen on any given page. Carey and Gross have created a world that's malleable to instant changes where they have the freedom to suddenly shift gears and throw a major curveball. Two issues into the second year, they've really begun to use that tool to make this book a genuinely exciting and surprising read.

"The Unwritten" #17 is an ambitious comic, but it never achieves that ambition by abandoning the concept behind the issue partway through, leaving most of the story to be read like a linear, regular story, only with a lot of flipping back and forth throughout the comic. Still, the issue is a fun one that sheds light on Lizzie and furthers her story. Numerous variations on her past are provided, giving a broad view of the character and leaving it all in the readers' hands as to what 'counts' and what doesn't. Ultimately, it's a comic that's more interesting in theory than execution.

The character moments in this issue are good, but it feels like this is 'getting towards the end' issue with Tom questing after the white whale. The ending is very promising, especially for us literature geeks. Still, "The Unwritten" is one of Vertigo's most consistently entertaining and thoughtful titles.

After a big expository arc and a one-off self-contained story, "The Unwritten" getting back its core characters together and telling a straightforward story is a bit refreshing. There's a hint that the book is gaining some clear direction and, if so, that's what it's been missing so far. Still, this is the sort of issue that reminds you why you like a comic so much.

"On to Genesis" provided a window into Wilson Taylor's past that also shines some light on Tom, especially if he has an older brother who shares the same relationship with fiction that he does. The end of the issue sets up the big story that begins next month when the title begins shipping twice a month, but it will have a hard time topping this story.

It would help to have read Hickman's contributions to "Ultimate Fallout" before "The Ultimates" #1, though not essential. The comic is still exciting and sets up a large story that, right now, seems like it could easily end with the destruction of the team. A first issue that starts with its foot on the gas is exactly what's called for.

Normally, you read a comic where the heroes are up against a force so dominant and you're sure that the good guys will pull out a win somehow. In "The Ultimates," there is no guarantee of that happening since the status quo is able to change so freely. Hickman is taking advantage of the freedom given on a book like this. Best jump aboard "The Ultimates" now, because, the way this story is going, the team may not be around much longer.

Since relaunching "Ultimate Comics Ultimates," Jonathan Hickman, Esad Ribic and Dean White have produced one of the best comics at Marvel. Free of continuity concerns, it's been a comic where boundaries are pushed and the unexpected happens every issue. Issue #7 begins a conflict between two advanced groups, both with abilities and resources that dwarf S.H.I.E.L.D. and the Ultimates. The Children killed the Asgardians, while the People toppled a nation and installed themselves as rulers in the span of a month. Now, they begin a war to kill one another. You're a fool if you're not reading this comic.

"Reborn" easily could have turned off new readers since it stems so heavily from the pages of "Captain America" and the four-year story Ed Brubaker has been telling there, but everything you need to know is here in this first issue -- and it's a good one!

This series has been building to the return of Steve Rogers and this issue takes things one step closer. It's more mechanical than previous issues, but it's still a great read and the Hitch/Guice art is simply gorgeous as you can see in the preview pages. If only most event books were as good as "Reborn"...

"Dark Reign: The List " Wolverine" isn't essential reading for those following "Dark Reign," but it is a fun and entertaining read as Jason Aaron and Esad Ribic team up two of Grant Morrison's Marvel creations and just let them go wild. It is definitely worth picking up.

The end of the issue is a little hokey, but still satisfying as Slott manages to keep things from getting too out of hand. Also included is a reprint of "The Pulse" #5, which featured Norman Osborn's public outing as the Green Goblin in a confrontation between Spider-Man and Luke Cage. The juxtaposition of Osborn then and now is fun to see as it's only been a few years since then. Overall, this is a strong conclusion to the "Dark Reign: The List" one-shots and teases Osborn's downfall in "Siege" well, showing the first big chink in his armor since "Dark Reign" began a year ago.

"Dust to Dust" #1 doesn't do anything dramatically different or wild with the world of "Do Androids Dream of Electric Sheep?" but it introduces some key elements of the world and a similar plot of hunting down rogue androids. The hunters, though, are definitely unique and provide a window into the world that hasn't been seen yet. Fans of Dick's work should enjoy this expansion of the novel.

I wasn't expecting to like "Dust to Dust" since prequel comic series for novels, TV shows, and movies tend to be pretty bad, but this series has started off strong. Roberson's decision to have the android hunters be an android and an empath give that plot a unique feel, while Robert Adler's art jumps off the page, demanding to be poured over. Fans of Dick's work should read this series.

"Dust to Dust" is a surprising treat in the way it takes some of the basic ideas of "Do Androids Dream of Electric Sheep?" and "Blade Runner" and plays with them, twisting them. Roberson latches onto the idea of emotions, how they affect humans and how androids function without them, and is getting a lot of mileage out of it. Throw in some action, compelling, unique narration from the three main characters, and great art, and you've got a comic worth reading each month.

Fans of Dick's novel should definitely track down "Dust to Dust," a story that fits into that world perfectly and delivers a strong, surprising conclusion with this issue. Personally, I'd like to see Roberson return to the surviving characters, especially Reed, that's how much I liked this series.

The identity of the suspect and what happens when Preston Stoker interferes will have possibly grave consequences for the good Doktor, and has Singer confronting the reality of what it means to be a cop in Heavenside. Warren Ellis and Ivan Rodriguez are doing strong work on "Doktor Sleepless" and people should start paying attention.

While some dismissed "Doktor Sleepless" as a pale imitation of "Transmetropolitan" and the ideas and themes Ellis explored there, it's since established its own space, differentiating itself from his other work. There are obvious overlaps, but this book is its own beast, and it's a damn fine read. Don't be surprised if, years from now, people are talking about how great this book was and you find yourself playing catch-up via trades.

"Gravel" #6 acts as a slight breather after five-and-a-half issues of Gravel fighting magicians, and as a chance to focus on who he is. It's almost comical to see a man who is not surprised by undead horsemen coming to kill him squirm under the idea of "inheriting" wealth and social class.

This issue is a great jumping-on point for readers, with a new story that recaps and builds on the previous one, and the return of co-writer Mike Wolfer on art. "Gravel" continues to be a surprising, witty, and fun read " "Hellblazer" were an action story and all John Constantine wanted was beer money.

Ending the second story arc of the series, "Gravel" #14 does a good job of putting what came before behind it while also building on it for the next story. This book has brought the character a long way from simple SAS officer who moonlighted as a combat magician for beer money and the next arc looks like it will be even more surprising.

I'm sad that "Gravel" is ending as this large story has been some of Ellis's most engaging writing of the last few years. A basic quest story with obvious obstacles, how Gravel has overcome them provided a lot of entertainment. More than that, the book has been a continuation of some of the ideas about England that Ellis has approached elsewhere, most notably in his short run on "Hellblazer." "Gravel" was rooted in England and its culture with old grudges based on location raised, and the lead always looked down upon by his 'betters.' Even if the character never returns, the ending here is a fitting one and, to be honest, where do you go after King of English Magicians?

The ending of the plot is a little predictable and quick, but saved with cute and funny dialogue. It may be my first issue of "Madman Atomic Comics," but it certainly won't be my last.

(Play spot the musicians game on the first page of CBR's preview of this issue!)

Mostly an introduction to Corporal Joe Rock and his new mission, "Men of War" #1 does a great job of making sure we know exactly who Rock is and what kind of man he is. It also makes sure to give lots of combat, while raising the question of what effect superhumans have on combat zones. Judging from this issue, it could prove to be one of the more interesting books in the DC relaunch.

With the departure of Ivan Brandon, "Men of War" will stagger on for two additional issues, but this feels like the true conclusion of the series. The confrontation of Rock with the face of endless war calls back to the first issue perfectly. "Men of War" was one of the best titles of the 'New 52' and it will be missed.

While more "Rasl" would be a great thing, Smith's slower pace of three 30-page issues each year is producing some spectacular work.

While the main plot progresses a small amount, the strong focus on Tesla does make this issue feel slighter. Smith's art continues to be top-notch, but, hopefully, March's issue moves things forward more with the background material remaining more in the background.

It's sad to see that "S.W.O.R.D." won't be given much of a chance to find its feet or an audience as it has improved with each successive issue. Kieron Gillen and Steven Sanders work very well together and this is the most entertaining that Hank McCoy has been since Grant Morrison was writing him.

Though it's run was brief, "S.W.O.R.D." told a very entertaining story with the space version of S.H.I.E.L.D., firmly establishing the group within the Marvel Universe and setting up future appearances. The end of this issue features the perfect callback to the first issue and concludes the story (and series) on a sweet moment. If you haven't, you should pick up the complete series at your first chance.

(James Barnes fights the Man with No Face in the past and present in CBR's preview!)

(Steve Epting is back and CBR has http://www.comicbookresources.com/?page=preview&id=1915&disp=table" target="_blank">the preview art to prove it!)

With great art, lots of action, and solid character work, "Captain America" #48 continues the series' unbelievably consistent and fantastic run. Brubaker and a trio of artists finish up James Barnes' first big adventure since establishing himself as Captain America and it's quite the success.

While it doesn't tie into the current "Reborn" story, this 'lost annual' does feature Steve Rogers as Captain America again, which seems fitting. And, after the celebration of Captain America's history in issue #600, Gene Colan illustrating the book also seems fitting. His art really overpowers the writing and makes this a must buy.

"Captain America" #604 is another very good issue of the series that builds on what came before without being beholden to it. The story is interesting and I can't wait to see the conclusion after the final page reveal of 1950s Captain America's plan. It's big and crazy in that classic supervillain kind of way and works perfectly.

"Captain America" #606 doesn't change too much from its usual routine, but the addition of Butch Guice to the art gives it a fresh feeling. His blending of different styles and elements make for a visually interesting and compelling comic, while Ed Brubaker's character work is, as always, stellar on this title.

As "No Escape" moves towards its conclusion next issue, Ed Brubaker writes a great confrontation between Captain America and Baron Zemo. Zemo is your typical confident, five-steps-ahead-villain, while James shows he's not as adept at being a superhero as he thought. This story arc has been a definitive one for James and this issue keeps up the quality.

"Captain America" #611 finally deals with issues that the book has danced around since Barnes returned as the Winter Soldier and, then, took up the mantle of Captain America. No easy answers are given, but the contrast of how problems like this are usually handled with how Barnes is treated here is very interesting. Despite this story being a longtime coming, nothing about this issue felt predictable or obvious. A great start to this story!

"Captain America" #615 is a disappointing end to "The Trial of Captain America" story arc with a courtroom scene meant to be both moving and surprising and, instead, has uncharacteristic swerves and theatrics that fall flat. While the final page provides potential for future stories, the means by which the series gets there is the first major misstep it has had in a long time.

"Captain America" #619 falls short in a few ways and is a weak ending for both "Gulag" and the Bucky-as-Cap era of the title. Still, Brubaker writes some nice character moments and clearly has the makings for a good story, it's just one that doesn't quite fit into this comic. Where the characters go from here will be interesting as, next month, the title splits in two with a new "Captain America" #1 and "Captain America and Bucky" #620. It's a shame that this issue doesn't provide a clearer ending and idea of what's coming next.

What makes this comic necessary as an ongoing series instead of a mini isn't clear yet. What is clear is that the character work and art are both top notch, making that question moot to a degree. As far as 'soft launches' go, only one issue in, I think we can consider "Captain America and Bucky" a success.

2012 brings a new "Winter Soldier" series, leaving questions about "Captain America & Bucky" and the purpose it could serve. Originally, it seemed to provide a series for James Barnes now that Steve Rogers is Captain America and, with his return in "Winter Soldier," that left this title looking like the odd one out. If this issue is any indication, "Captain America & Bucky" could just be the best Captain America comic available, exploring new territory both in the past and present with one of the best artists in comics on board. In a week of three Captain America comics, this is the one that's a 'must buy.'

The rest of the team keeps itself busy with various tasks, none of which add up to much yet, but suggest payoffs in future issues. This is one of the slighter issues of "The Boys" with so much of it taken up with Hughie and G-Whiz, but there are also a few funny moments, including the final page where G-Whiz arrive at the G-Men's mansion to find them at the door posing in a ridiculous fashion. Again, Robertson's art is the perfect match for Ennis's writing as he poses the G-Men in some of the most cliche and absurd poses. The Boys is a joy to read if only because of the creative cohesion between Ennis and Robertson, and this issue is no exception.

(He may not but Darick Robertson, but John Higgins is the next best thing in this issue of "The Boys," which http://www.comicbookresources.com/?page=preview&id=1823" target="_blank">CBR has a preview of!)

(Robertson is back and CBR's preview proves it!)

Primarily the fight between the Boys and Stormfront, "The Boys" #34 is brutal and nasty and a great read. Ennis also introduces some interesting elements into the ongoing subplots involving the Seven and Vought-American. "The Self-Preservation Society" concludes having accomplished the goal of kicking the story into high gear and setting the characters down harsher, darker paths. Plus, it's got 'Nazi Superman' getting wailed on -" and who doesn't love that?

After a long string of serious stories with a joke thrown in here or there, "The Boys" #37 a good break issue where the Frenchman tells Hughie a possibly true, possibly false story of his past that is sweet, sad, and very funny. It plays to the comedic strengths of both Ennis and Robertson, giving a full-on showing of how funny they can be, which we've gotten tastes of throughout the series, but, finally, a full issue devoted to it.

"The Innocents" has been a mostly jokey arc with Super-Duper as the team of nave superheroes that are fun to laugh at, but it also highlights the heart of "The Boys" in Hughie, a sweet, caring guy that isn't out to hurt superheroes, but is really out to punish those that aren't doing the job they're supposed to. As the series progresses, it's clear that Hughie is Ennis's ideal of a superhero: someone who does the right thing no matter what. It happens to be mine as well.

Some may groan at Ennis coming back to the idea of religion, but the topic is only introduced here with it taking a backseat, for now, to the ongoing subplots of the title. It's some of Ennis's best character writing on the series to date, while Russ Braun joins the book confidently and looking like he's been drawing it all along. And, most of all, the final panel of the comic is the sort that makes you curse and scream that the next issue isn't out for another month.

It's hard to read the second half of "The Boys" #47, because Ennis writes the scene with just as much emotion and pain and cruelty as the eventual confrontation between Hughie and Annie always implied. Their relationship has been a grounding part of the comic, something to draw the readers in and make them care. And, as expected (and dreaded), it all breaks apart, showing that "The Boys" is much more than superhero jokes and extreme violence. It's a comic that can break your heart, even when you can see it coming a mile away.

"Proper Preparation and Planning" is the turning point story arc of the series it appears with this finale living up to the title as both sides begin to work behind the scenes for the inevitable conflict between the Boys and the Seven. Other superheroes may come and go, but it's all about the Seven for Butcher " and for Vought-American. That Ennis has V-A executives begin to admit that there is a time coming when they'll be willing to take the Seven off the board is a big shift, one that changes the rules of the conflict. If V-A decides to simply end the conflict by having both sides exterminate one another, what happens then? I can't wait to find out.

More than most issues of "The Boys," this will be a hit or miss one. Some will call it boring, others will be entranced by Mallory's story, and I fall somewhere in the middle. Parts of it work well and Ennis is great at writing these sort of moral characters that make bad choices because of their morality or the influence of or simply because they're too dumb to see reality. That doesn't make the entire tale well-written or engaging. It drags far too often. But, at the end of the day, it is a necessary issue and one not to be missed by faithful readers of the series.

Nothing much about "The Boys" #58 will make you uncomfortable in its usual way. The underlying emotions and cruelty on display may; the unexpected turn towards the end of the issue is the big surprise, beginning the push towards the end of the title. It's not a typical issue of "The Boys" despite beginning, on the surface, in a manner that people would expect from the title. But, look a little deeper and the truth of the situation is apparent. The time for snickering at superheroes looks to be at end; now the real business can begin.

Where exactly "The Boys" will go after the current story ends next issue is anyone's guess, but it's doubtful superheroes and mockery of them will play a large role. The series has been moving towards a larger exploration of power, the morality of a group like the Boys and brilliant character work. It's been one hell of a ride and if the remaining issues are as good as this one, it will be a shame to see it end.

"Escape" #2 is a difficult to sum up since so much of what makes it great is in how its executed, not what actually happens. What happens is unclear and part of the ongoing mystery, but the manner in which Ivan Brandon and Marco Rudy tell it is marvelous and far different what you normally find in superhero comics. It's not for everyone, but good on DC for trying something new and different.

Of all of the books to spin out of "Final Crisis," "Escape" is the most experimental and, in many ways, truest to Morrison's sense of storytelling, clearly drawing on elements of his non-superhero work like "The Filth" and "Invisibles" here. Whether or not Ivan Brandon and Marco Rudy can stick the landing is what we'll have to see, but, halfway through, this book is very impressive and one that demands multiple reads to fully appreciate.

While the conclusion of this series doesn't live up to its potential, there are still plenty of intriguing concepts and ideas that suggest that the Global Peace Agency and Tom Tresser will play a big role in the DCU's future, and that both Ivan Brandon and Cliff Richards are creators that should be watched.

"Guardians of the Galaxy" continues to be one of Marvel's top titles, consistently delivering quality stories and characters, and this issue is no exception. When Jack Flag yells, "Swear to god, I hate cosmic stuff!" here, you can't help but disagree because Abnett and Lanning are writing one hell of a book.

"Guardians of the Galaxy" is the book you want to be reading if you want action, excitement, drama, and a sense that anything can happen. Two issues ago, half of the team died and, in this issue, it looks like another death may not be far off. This title is consistently one of the best superhero comics Marvel produces.

"Guardians of the Galaxy" has set a high standard over its two years and this issue falls short a little, but still maintains the entertaining charm that's made it such a joy to read.

(Who doesn't love Sean Phillips's art? Well, check out a whole bunch of it in CBR's preview!)

"Incognito" is a compelling story with some of the best art you're going to see this month. Brubaker and Phillips, as always, work in perfect harmony.

While Brubaker and Phillips are returning to "Criminal" next, "Incognito" #6 sets up future stories very well and puts Zack in an interesting place for them. It's hard to say where the two will take these characters next, but, based on this opening story, wherever that is, count me in.

The end of the issue points to the series speeding things up a little, but even the leisurely pace here isn't a big problem. Ellis and Ryp aren't just telling a story here. They're working to create a world that's believable, and are doing a good job at it.

"No Hero" continues, though, to move at a glacial pace and doesn't read as well in single issues as it no doubt will as a whole. After all, it is billed as "a serialised graphic novel," but even in issue-format, it's gripping and entertaining. The comedic moments in this issue really help it from going too overboard into melodrama, and help break the tension a bit. It's better to laugh at the guy with no skin than to cry for him, right?

The second part of Ellis's superhero trilogy of works for Avatar, "No Hero" concludes in a disturbing combination of violence and horrible consequences.

While only an introduction to the players of this story, "The Marvels Project" #1 already demonstrates that the hype on this project may also be the reality. Not to be missed.

Still in the early stages, "The Marvels Project" #2 may read too scattershot, but it's clear that Brubaker is building to something and, with Epting on art, it's hard not to give him the time he needs.

That said, as a single unit, "The Marvels Project" #6 is a stunning array of dynamic, gorgeous visuals, and interesting narration and character work. As well, the final sequence at the end of the issue is very good and, hopefully, provides some guidance as to where the final two issues of the series will be heading.

The end of the issue offers some hint of future stories springing out of this series and I look forward to that. The best parts of "The Marvels Project" have been when Brubaker has used the bare bones of these characters to craft new stories. Overall, this issue is a solid conclusion to a solid, entertaining series.

Two issues in, "Incorruptible" is setting itself apart from the book it has spun out of by taking a more ground-level approach to the world, focusing on the effects of the Plutonian's rampage on a human level. The plot set in motion at the end of the issue is an engaging cliffhanger/teaser for next issue.

While the 'villain becoming a hero' concept is an inversion of "Irredeemable," Waid also inverts the focus by sticking with Max here while revealing him in a similar manner to the way the Plutonian's true nature has been revealed. It's not a simple case of a bad guy seeing the light, but his selfish desires being directed toward a different goal. This book is an interesting case where the change of character is possibly only superficial, making it a great complement to "Irredeemable."

More than that, there isn't a clear direction in the book. Max Damage becoming a hero is so vague that even the character doesn't quite know what to do. Already, the book suffers from not being entirely sure what to do next, or so it appears. Hopefully, this is just a planned bit of uncertainty as Max finds a narrower focus as there is a lot of potential in this book as the first arc showed.

With its third arc, "Incorruptible" comes closer to "Irredeemable" again and shows a glimpse of Max the villain. The contrast between Max then and now is stark, but not as great as you'd think, putting the past eight issues into a different light. While this isn't the first time we've seen the old Max, it hits harder. And, Waid shows some of his twisted side with the issue-ending cliffhanger that surprised the hell out of me.

It took a while for "Incorruptible" to completely find its footing and it's nice to see that it has. Waid and Takara make a great team and are able to keep the book's identity firm despite featuring characters from "Irredeemable" heavily. It never feels like an additional issue of "Irredeemable," always its own thing.

Some might see the advertising that says this is "the king of masked hero mayhem that only Avatar can deliver" and assume it's all swearing, nudity, and graphic violence, but this issue stays away from being too explicit. Of course, the sort of events that it would take to drive Dusk into this sort of dark territory would be horrifying and not for squeamish readers, but Gage and Viacava do well to keep most of it off-panel. A great introduction to what, hopefully, turns out to be a great series.

"Absolution" has a lot of promise and may very well turn out to be a great examination of the effects that being a superhero can have on a character over an extended period of time. The ideas are there, but the execution just doesn't match them yet.

The second half of the comic isn't just a let down because of the art, as the writing falls short there as well. While the initial discussion between John and Chris is powerful and some of the best work I've read of Christos Gage, the complexity and reality of the situation is pushed aside for a far more simple and open-ended conclusion. Not entirely a failure, the final pages certainly lack the maturity and fearlessness of the opening pages. Unfortunately, those final impressions are what the reader is left with of "Absolution," a book that came close to being great but settled for being good.

The main story of "Age of X" doesn't get going in "Alpha," but this different world is established, as are some of the different takes on familiar characters. The first and final stories are the most effective, and the framing sequence packs in a lot of information. Think of this issue as a primer for when the story kicks off next month in "X-Men Legacy" #245 and a good one at that.

This five-issue series already has a sequel in the works and its ending is another allusion to an Ellis work: "The Authority" #4 where the question of right and wrong is measured in a body count. Were more people saved than died? The Authority were content with the answer while, here, we get a different answer, a more heroic one. Saving the day may be all that matters, but that doesn't mean you can't do it better next time. A wonderfully optimistic message if I've ever seen one.

If the first series and this issue are any indication, "Anna Mercury 2" will be action-packed with some witty dialogue and thoughtful scientific and sociological concepts. High-concept blockbuster movie comics at their best.

"Atlas" #3 is a good superhero comic where the art outshines the writing a little. Parker crafts an interesting, entertaining story, but his dialogue is flat. It's easy, though, to see why so many love the book.

"Avengers 1959" #1 delivers on everything that fans of Howard Chaykin would want: a simple, straight forward story with fantastic storytelling and line work. When the 1959 Avengers team showed up in "New Avengers," the idea was too good to let rest and, thankfully, Marvel thought so, too.

Halfway in, "Avengers: X-Sanction" is proving an entertaining read. Cable taking down the Avengers one by one has had some nice surprises and the storytelling's directness and clarity is refreshing. Jeph Loeb's previous experience writing Cable is one of the reasons why the writing is so sincere and direct. He knows the character and doesn't need to work his way into his head or get to know him as he writes the story. This series was sold as Cable vs. the Avengers and, so far, it's living up to that hype.

A fun, campy story, "Follow the Money" is worth checking out for 44 pages of Howard Chaykin art and a gloriously fun and stupid story centering on a gloriously fun and stupid villain. Not grim, not gritty, just entertaining and skillfully done.

The story of the past and the strong character work in the present keep "Batman: Gates of Gotham" #3 lively and entertaining. Explorations of the past can be dry or seem irrelevant and that's hardly the case here. The various elements come together and enhance one another. I can't wait to see what happens next.

"Bullet to the Head" #1 has the first 26 pages of "Du Plomb dans la Tete" with the main focus on the killing that sets the story into motion. It's an entertaining issue that stops at a somewhat random place and, will no doubt, read better in collection since that's its original form. But, fans of crime comics like "Criminal" should give this a look as it's a looser, more relaxed story so far with a brief spurt of violence carried mostly by two characters just talking about shoes and women.

"Bullet to the Head" #4 reenergizes the story to a degree after it came dangerously close to slipping into complex obscurity with too many characters with too many connections. Last issue and this one clear the decks somewhat to provide a renewed focus and easier to handle cast. You don't often see stories switch gears like that in the middle, but it works very well here.

Ending the year with "Captain America" #5 is an appropriate choice. The story that ends here isn't a hard ending since it sets up the story that begins (or continues) in issue six, raising ideological questions for Steve Rogers that will no doubt drive much of what happens in 2012. The familiarity of the territory for the title and character is offset by Ed Brubaker's approach to it. Rooting the story in Rogers' past so deeply is both a liability and strength where the skill of execution gives the latter the edge over the former.

"Captain America" #6 manages to follow up on the previous story and begin a new one in an entertaining and lively manner. The questions about the state of America take the back burner to Rogers's concerns over his powers and Brubaker smartly calls back to the "Steve Rogers: Super-Soldier" mini-series he last year to add on the tension. There's a strong sense of direction in this issue and Alan Davis joining the book on art is gravy.

(Check out the art in this book! It's some good-looking stuff!)

"Conan the Cimmerian" #20 is a solid issue that continues to tell one of the most popular Conan stories: his greed and pride leading to his downfall. However, with some gorgeous art and Truman's capable writing, it's still entertaining and, even, surprising in places.

With so many characters and three months of build-up, "Exodus" could easily have imploded under its own weight, but Matt Fraction and his trio of artists don't just pull it, they surpass expectations. "Utopia" may have been slow-moving at times, but the conclusion is strong and leaves both the X-Men and the Dark Avengers in different, unexpected places than they were when the story began.

(Judge the art for yourself in CBR's preview!)

"Dark X-Men" is a good comic, but the slow pace makes it drag a little. However, Cornell and Kirk's strong character work nearly makes the slower pace worth it as we get to spend more time with this diverse cast and get inside their heads a bit

Youre not likely to find a better looking superhero comic on the stands than Detective Comics #855 with J.H. Williams III and Cully Hamner delivering career-best work in already stunning careers. That is, until issue 856 comes out next month.

"Detective Comics" #857 continues to thrill with bold, inventive art from both the main team of Williams and Stewart, and the second feature team of Hamner and McCaig. Rucka writing both gives the issue a uniformity, but the artists are the stars here.

While the main story is questionable and unsatisfying despite the good art, the second feature of "Detective Comics" #862 picks up the slack with humor and action.

That said, this issue of "Detective Comics" follows up on a logical point with Jeremiah Arkham as the Black Mask, exploring how to reconcile that idea with the Arkham that's been a feature in the Bat-titles for years. It's a solid issue with some clever writing in places.

"Detective Comics" #871 begins Scott Snyder's tenure as writing of the title strongly with an intriguing mystery and very good character work, putting Dick Grayson and Jim Gordon at the center of the book. With Jock, David Baron, and Francesco Francavilla on art, the comic is absolutely gorgeous. If you want a Batman comic with the emphasis on the detective and a classic Bat-comic feel, Snyder and company deliver the issue for you.

Its hard to pinpoint what doomed this relaunch of Exiles to a quick death, but it certainly isnt the quality of work by Parker and Espin; This is the best issue of the series Ive read since Judd Winick was on the book. Its a shame that its the final issue. Maybe in a few years, people will be ready for the concept again. If Jeff Parker is on board then, I know I will be, too.

(Federico Dallocchio's unique art is almost worth the price of the comic alone, so give it a look in CBR's preview!)

When you add in the comparison to the regular DC Universe, the humor becomes more apparent. Instead of a tragic turn for the worse, what happens here seems more like one of those issues of "What If...?" where the goal was to explore the 'darker' side of the Marvel Universe and wound up, many times, delivering over the top comedies. It may not be intended, but "Flashpoint: Project Superman" #2 delivered more laughs than any comic this week.

The first extended view of the Outsider is an intriguing one. We've seen him go about his business and get into a big superhero-y fight. What remains to be seen is how much depth there is to the character and if he has legs beyond "Flashpoint." If this issue is any indication, he does.

"Forgetless" continues to surprise, particularly with the twist at the end of lead story in this issue. It's never quite what I expect it to be, and the contrast between the two stories in each issue is interesting. Definitely worth checking out.

"The Green Hornet: Year One" is shaping up to be a better read than Dynamite's pumping out of Green Hornet titles would suggest. Matt Wagner is treading similar ground to his excellent work on "Sandman Mystery Theater," while Aaron Campbell has raised his art to a whole new level.

"Groom Lake" is a funny, cynical book that may tell a story we've all read before, but in a different way thanks to Chris Ryall and Ben Templesmith's off-beat sensibilities.

Going into this issue, I'd heard a lot of great things about "Hawkeye & Mockingbird" and they're all true. McCann is writing a fun, character-driven book that throws in some great action scenes by the Lopez Brothers.

"City of Demons" #1 is an entertaining beginning to a spin-off mini. If there's one character that can carry the occasional mini-series or one-shot outside of his ongoing series, it's John Constantine. Si Spencer and Sean Murphy set a good example and the conclusion of this issue shows a promising premise for the remaining four issues.

"Hotwire: Requiem for the Dead" #1 is a very engaging read with a lot of wit and action. Steve Pugh builds on Warren Ellis's concepts in the best way and illustrates them in a striking and energetic style with unique coloring. Definitely worth checking out.

Highly entertaining, "Hotwire: Requiem for the Dead" mixes horror and sci-fi concepts well, and also contains a compelling mystery. Pugh's work here will certainly turn heads.

You won't gain any new insight into the Mad Hatter in this one shot, but it provides everything you do need to know about him. By focusing on what makes him such a madman, Walker gives an easy reference point for the character, and the combination of Giffen and Sienkiewicz on the art reflects the writing perfectly.

"Memoir" #1 doesn't hit the ground running with a quick plot, preferring to take its time, an approach that has its advantages and disadvantages. The biggest disadvantage is that, by the end of the first issue, not much is new for anyone who was aware of the comic before picking it up. But, that's a negative in the short term. On the whole, it's an engrossing read that sets the stage well. Hell, I want to know what happened in Lowesville and isn't that the point?

"Nemesis" #3 contains a wonderfully violent action sequence from Steve McNiven that ranks among his best work before he does the 'quiet' scenes with great skill. Like many blockbusters, the writing and story are almost beside the point with the visuals and spectacle taking over. What will remain with you is Nemesis hunched over a dead body and bathed in blood, not the plot details.

"Nemesis: The Imposters" is shaping up to be a strong sequel to "Escape" with both Ivan Brandon and Cliff Richards delivering great writing and art. Paranoia in the heart of the DCU makes for an interesting read and the final page manages to turn everything upside down once again.

With a lot of questions remaining, "Nemesis: The Imposters" #3 sets up the finale well, but, if "Final Crisis Aftermath: Escape" was any indication, not everything will get answered. But, that's okay, because Brandon's writing is bold and confident, unafraid to leave parts of the comic to the reader to fill in. Maybe just asking the question is enough. We'll see.

(Dean Kotz and Digikore Studios do some very nice work here as you can see in CBR's preview!)

While new readers may come to this book expecting lots of police action, this issue breaks from that element of the series for much of it, delivering old school superhero action that's very well done. Too much of the issue is given over to that without much actual payoff, but it's still quite entertaining. And the issue ends with a fantastic cliffhanger.

The character work on the Fighting Yank, in contrast to that of the Revolutionary, is strong, this issue acting more as a spotlight for him than the Revolutionary. Along with Jim Krueger and Doug Klauba's two-page origin story at the end of the issue, the Fighting Yank's past and character are explained very well. With him set up so well and the Revolutionary just introduced, this issue reads more like the first issue of a longer story. Hopefully, that story will be told sooner than later as it has the potential to be a great read.

"Punisher Noir" provides a few surprises and does a good job of differentiating itself from the regular Punisher story. However, there isn't much in this issue except for set-up, which is done very well, but doesn't take the place of a good plot, something we only see a brief glimpse of.

(Andy MacDonald's Punisher looks pretty stupid with his big gun on Christmas in CBR's preview!)

The return of "The Question" for this "Blackest Night" tie-in is an entertaining and clever read, but can't escape the formulaic pattern of every other tie-in issue. Taken alone, it reads much better than when put in context with the event. For fans of the Question (either one), it will surely entertain.

"Robin" may be over, but this issue clearly tells the readers that Tim Drake has a long and exciting future ahead of him in the Bat-books, and that he's definitely grown-up over the past 183 issues.

Despite being BERG's first comic, they deliver great production values and some interesting extra like a foreword by William Gibson and essays by Jamais Cascio and Paul Gravett. Even the ads included are fun and make use of the UV ink. "SVK" delivers an entertaining story with a cool gimmick that done about as well as anyone else is likely to. When BERG get more in stock, give "SVK" a look.

Exactly what is happening in "Sacrifice" #1 is not entirely clear. Has Hector travelled back in time? Is it all in his head? Either way, what it all means is unknown and is an intriguing and gripping mystery. Where it will go is anyone's guess, but the confident storytelling on display here by Humphries and Rose makes it easy to trust that they have a plan and it will pay off.

While it doesn't provide the best story ever told like everyone no doubt hopes it will, "Secret Invasion" #8 does conclude the story well and sets up the next stage in the Marvel universe in an appropriately surprising and compelling manner, choosing to focus more on character than big plot movements " which is how it should be when you think about it.

(A hooded villain obsessed with bricks who uses a crutch? Check out that oddball in CBR's preview!)

"Sparta, U.S.A." won't be for everyone as it requires patience and a little effort on the reader's part to understand. However, if Lapham's previous work is any indication, that patience and effort will pay off big time by the time the series is done.

"Sparta, U.S.A." continues to be a comic that pushes things, combining fantasy elements with social commentary with gossipy intrigue. It's unpredictable and confident in its presentation, an entertaining and insane read.

The concepts of "Sparta, U.S.A." are strong and interesting, especially the basis for the underground where the Spartans have been raised in subterfuge since birth, but the execution of this issue is scattered and rushed with individually strong scenes not fitting together as a cohesive unit. I'm very interested in seeing how it plays out in next month's finale.

That's a problem, too, because the end of the issue doesn't feel like a conclusion, it's more an open ending for future stories, and I would have liked to see something a little more definitive, but there are only 22 pages. That does mean that "Sparta, U.S.A." doesn't end as well as previous issues suggested, but it's still a good ending. With any luck, Lapham and Timmons will get a chance to follow-up on the promise of that final page.

Fans of "Captain Britain and MI:13" will no doubt delight at this issue, but it functions well as a solo (or team-up) story for Spitfire with Cornell and Casagrande doing a great job of making the story all about her. New readers shouldn't have any problems jumping in and having fun with Lady Jacqueline as she and Blade hunt down a vampire traitor in New York.

Like Marvel's other Stephen King adaptations, the creators involved are top notch and that skill translates here. Horror is a very tough genre to do effectively in comics and this issue falters in places because of the static nature of the medium, but Guggenheim and Maleev create tension through N.'s words and how he reacts to what he encounters to get across the frightening elements of the story. It's a great use of a character to stand in for the reader and allow him or her to experience the events of a comic through said character.

With "Young Liars" ended, it is nice to see that Vertigo has introduced another book driven by a singular creative vision and Jeff Lemire's work is strong and confident, and not exactly what you'd expect from Vertigo, in a good way.

Lemire's art is attractive and rough with angular lines and a bold use of inks. He's malleable enough to allow his line work to shift from character to character, letting his art give cues to the type of people the characters are. This issue is light on plot, but the mood is compelling and stark. It's a comic that I kept coming back to throughout the week to flip through and look at, and that says something.

However, as I said already, the execution of that journey is strong and worthwhile. Future issues will really determine how different and original this series is now that we've been told Toshiro's origin, but if the storytelling is as good as it is here, it will be worth it no matter what.

With a better artist, perhaps one that had handled these characters before, "The Thanos Imperative" #1 would have gotten off to a stronger start. The writing of Abnett and Lanning is bold and confident, but hampered by the muddled, cluttered art.

The weakest issue of the series so far, "The Thanos Imperative" #3 still has some very good positives as the two groups of heroes prepare to strike against the Cancerverse forces. While the explanation of how the Cancerverse came to be is a smart idea, the execution is lacking and doesn't delve into how Mar-Vell could turn so easily enough. Otherwise, a solid, quiet issue before the coming storm.

This issue kicks things up a notch by raising the stakes and the heroes' hopes. "The Thanos Imperative" continues to be an inventive and imagination series that is an example of how to do an event book right.

With the shocking-but-not-surprising final page cliffhanger, what happens next is anyone's guess. In this issue, DnA manage to deliver some payoff after months of build-up by centering on the characters that have driven the cosmic books for years. I've said it before, but it still stands: this is what an event comic should be.

As Hester writes at the end of the comic, "The Anchor" was originally pitched as a graphic novel or six-issue mini-series, so it ending its attempt as an ongoing book at issue eight doesn't deviate from his plans much. As it stands, "The Anchor" was an entertaining action series with some intriguing mysteries -" and it ends well. Hopefully, it will return again in the future since there's definitely potential in the characters for future stories.

Top Cow has a certain artistic reputation and, while justified in many ways, "The Art of Top Cow" demonstrates that the company is far more than many think. For lovers of art, this gorgeous hardcover coffee table book is sure to earn a spot on your shelf.

As a special treat, Dixon provides a fantastic essay on the Spaghetti Western that looks at the subgenre, going beyond Leone, and plenty of film suggestions. He obviously knows his stuff, is paired with a great artist, and has delivered a solid first issue that seems to be leading somewhere interesting. I can't wait for the second.

I was skeptical about Dynamite's second attempt at adapting/creating new stories with Leone's characters after the first series turned me off so much, but Chuck Dixon and Esteve Polls are doing very good work with this series.

(Ladies and gentlemen, CBR's preview of Esteve Polls' art!)

It's not too late to jump on board "The Killer" since this issue is easy to follow. You may not know the details of what happened in the past, but Matz and Jacamon make sure you know enough and are entertained along the way. An entertaining thriller that's sure to lead to a bloody conclusion in issue ten.

"The Last Days of American Crime" #1 is a good first issue that sets up the world and the crime at hand well. If you enjoy "Criminal" and other crimes books, you'll probably get a kick out of this.

The second issue of "The Red Wing" is a good follow-up to the first, grounding the story in the characters a bit more, and ending with a fantastic revelation. The final three pages make for one of those cliffhangers that dare you not to pick up the next issue. And, like most Hickman books, it's hard to tell where this is going or what the final scope will be. Right now, it's just a fun ride.

Beginning with some cheesy wordplay and imagery about time, "The Traveler" #1 picks up the pace, delivering a lot of action and not much else. It's a breezy, entertaining read and provides a lot of hints that Waid and Lee have some big plans, but not enough information about the eponymous hero is given to make us care. That said, the all-action, no slowing down approach is an effective one and has me wanting to see what happens next.

I won't comment on the preview to next week's issue of "Thor," leaving that to whoever reviews it, but Kieron Gillen and Billy Tan have their work cut out for them, as Straczynski leaves the book he relaunched in the top ten and does so with class in an issue that acts as a reminder of the quality of his run.

(Check out some of http://www.comicbookresources.com/?page=preview&id=1444" target="_blank">the gorgeous art in CBR's preview!)

Marvel's string of "Thor" one-shots showing the character in the times before he became the superhero most are familiar with provide an interesting subtext to the character, focusing on his harsher roots. Milligan writes that version of the character well, delivering a sequel book with Mico Suayan that manages to outdo the first by quite a bit.

"Last Stand of the Wreckers" #1 is a good start as Roche jumps between harsh, decadent, violent scenes and lighter, comedic ones that culminate in the two tones meeting head-on by the end. Longtime fans will be both surprised and happy with the final page of this issue, which is handled with enough skill to win over new readers as well. If the rest of the series follows through on the potential glimpsed here, "Last Stand of the Wreckers" may turn out to be a class Transformers story.

(See a vision of a possible future by checking out CBR's preview of "Transhuman" #4!)

While the plot is a little light and typical, Weston's character work and art are superb. "Spearhead" makes for a nice treat to make the wait for more issues of "The Twelve" a little less difficult.

While the idea of redoing this Iron Man story again may not appeal to some, the writing of Warren Ellis should assuage doubts. His writing of Tony Stark is top-notch and he introduces the plot well, assisted by Steve Kurth's realistic art. This series looks to be an entertaining read.

"Ultimate Comics Armor Wars" #2 shows the beginning of Tony Stark's quest to retrieve his stolen technology and, as such, is more a plot function than entertaining story piece, but Warren Ellis' writing is sharp and witty enough to carry the issue through the more subdued plot.

"Ultimate Comics Armor Wars" was a fun story and it ends as such. Ellis' Ultimate Tony Stark is a wonderfully entertaining character, one that I could read about every month.

While some purists may complain about the relaunch of "Uncanny X-Men," this issue makes a strong argument for the new direction of the title and deftly illustrates what sets it apart from the previous volume. Cyclops and the X-Men look to be changing mutants' role in the world in a manner different from Xavier's vision, and as such, the break makes sense. This first issue sets up the new status quo well before diving into the plot, resulting in an entertaining, action-packed, smart comic.

That said, it's hard to complain too much when Gillen writes these characters so well. In fact, if every issue was simply Gillen writing characters having conversations with one another, "Uncanny X-Men" would be one of my favorite comics.

Some might accuse Gillen of decompressed storytelling and dragging this story out. Normally, the events of this issue would be crammed into a few pages; by giving them the room to breathe, Gillen shows a different side of the team and allows the characters to reveal more of themselves.

While not as engaging as the first issue, "Underground" continues to be a very good read as the issue ends on a cliffhanger and the art knocks my socks off.

Waid ends this mystery and case in this, but seems more interested in the larger story of Catherine's obsession than providing a definitive conclusion, leaving some questions unanswered as the final page teases a return to one of the settings of the first series. Getting there, he does show a spark of cruelty by explaining how Catherine, a woman supposedly with only six months to live, has lived over a year now. It's a harsh fate for the world's greatest detective and is the driving point of the next series. In trying to both wrap up "The Devil Made Flesh" and lead into the next series, Waid divides himself and the issue too much, weakening the conclusion, but also ending on a strong teaser that should ensure readers will come back for the next installment of "The Unknown."

"Unthinkable" #1 does what a first issue should: it makes you want to see what happens next. Sadly, it also reads more like a briskly-paced prologue than the proper start of this story, rushing through events to get to those final pages where things really get going. That said, it's an entertaining debut and shows a lot of potential.

The conclusion of "Unthinkable" #5 leaves the door open for future stories in a chilling fashion. Hopefully, this isn't the last we see of Mark Sable and Julian Totino Tedesco's creation as this series has been surprising, fast-paced, inventive, and brilliantly executed. A smarter, more chilling version of "24."

The final pages are chilling, but also deliver exactly what a "What If?" story should: shocking change that makes you question if what "really happened" was the better story choice. That is the second crucial element, because if the reader isn't wondering that, what was the point? Thankfully, Steven Grant comes through here and provokes that question. I'm not sure what the answer is, but I do want to see a "What If? Spider-Man Back in Black" #2.

Instead, the personalities of the two are shown through their interactions, Jon more carefree than Jake. The issue doesn't slow down too much, always on the move with action and thrills. It reads very quickly, but leaves you wanting more. Honestly, I picked it at my shop because I was reviewing it. That won't be the case with issue two. I'll be buying it because the first issue left me wanting to know what happens next.

As the end to a high-energy thriller, "Who is Jake Ellis?" #5 succeeds. The answer to the title's question isn't one that will blow you away; it makes sense and facilitates character work, which is exactly what you want. If you didn't buy the series, give the trade a look.

Both of these stories are perfectly fine Wolverine stories, not too good, not too bad, pretty entertaining. Tapping Way and Aaron, and pairing them up with artists of Edwards and Kubert's caliber is the perfect way to conclude this series before it morphs into "Dark Wolverine" and shifts focus next month.

The biggest flaw in "X-Men: Prelude to Schism" #1 is that nothing really happens. A threat is heading straight towards Utopia, but we don't know what it is and Cyclops doesn't make a decision about it in this comic. Still, that adds to the anticipation and the depressed, hopeless mood. By heightening the emotional context, Jenkins could be providing a stronger lead-in to "Schism" than by simply setting up the plot in ways that may or may not line up with what Jason Aaron has planned.

"Avengers" #1 does exactly what it needs to: heralds the beginning of "The Heroic Age" with the reformation of the Avengers. Bendis's writing has the appropriate weight to it and Romita on art helps a great deal in getting the epic feeling across. This is the title that some fans have been clamoring for ever since Bendis wrote "Avengers Disassembled" and it's a fantastic debut.

"Avengers" #4 manages to up the ante after three issues of action. Bendis and Romita are going all out in this arc to create a larger than life time travel story for the Avengers and, so far, they're knocking it out of the park. And, if the final scene is any indication, issue five should be another winner.

"Avengers" #6 a fitting and smart ending to a very strong opening story for the relaunched "Avengers." If Brian Michael Bendis hadn't already cemented himself as one of the title's top writers, his work here with John Romita, Jr. definitely does the job. I can't imagine a better way to kick off this book or the "Heroic Age."

"Avengers" #9 finally exposes the Illuminati and reveals how the Hood began his quest for the Infinity Gems. It's an issue driven by characters, something that Bendis and Romita both excel at. For some, like me, this issue has been a long time coming, and it delivers.

The first five issues of this story didn't quite blow the doors off, but "Avengers" #12 finishes things well. Not everything works, especially the first scene, and, yet, it's satisfying. The art is great-looking and the final pages are smart.

"Avengers" #14 does what a good event tie-in should: it tells a story unique to the title that manages to expand upon the main story of the event. A whole issue of the newly Worthy Thing and the Red Hulk fighting in Manhattan fits the bill.