Actually, there is one redeemable thing about this comic: Howard Chaykin's cover. Give it a look and then move on, I say. "Bang! Tango" #4 has set the standard for "worst comic book of 2009." Needless to say, I won't be picking up issue five.

If comic companies want people to stop mocking and dismissing event tie-in books, they need to stop publishing muddled, sloppy, awful comics like "Flashpoint: The Canterbury Cricket" #1. It's a complete waste of time, money, and paper.

"Astonishing Thor" #1 is astonishingly bad. There's barely a story, groan-inducing dialogue, stiff art, faux-painted colors, and it makes for an unimpressive start. While not tying directly into current continuity, this comic does rely on Marvel continuity heavily and is meant to be the Thor of the Marvel universe, but doesn't sound or even act like him. Of the current crop of Thor titles, this is, by far, the worst.

What makes "Fear Itself" #7.2 feel so empty and lacking in story is that its sole function is to introduce plot points that, should you pick up "The Mighty Thor" #8 or "Journey into Mystery" #631, will no doubt be recapped. The manner in which they're introduced here are not more interesting or entertaining than reading a two-sentence recap of what happened. That's the biggest failure of this comic: it's nothing more than 20 pages of epilogue that's really a two-sentence prologue for another story. "Stories end. Stories begin." None are actually told here.

(John Romita Jr.'s art is great to look at, but just don't read Mark Millar's words in CBR's preview of "Kick-Ass" #5.)

"Magog" #4 offers little entertainment value since it is devoid of character development, a plot that engages, and aesthetically-pleasing or technically competent art. When this series was announced, many wondered why oh why DC would publish a Magog comic series. After reading this issue the only answer I can offer is because they can.

There was an accusation when Marvel released a slate of Thor comics that Marvel was flooding the market, one that I always argued against, finding most of the comics quite good. Had this one come out then, I wouldn't have argued so fiercely. Uninspired with grotesque, laughable art, "Thor: Heaven & Earth" #1 is a tedious, unnecessary comic. No new ground is covered, no new insights, no entertainment, and no point.

Have you read "Brat Pack" or "The Boys"? Then you've read "Caped," except with more wit and entertainment value. The high concept here has promise, but the execution is nothing new and very bland.

It seems that the only way for stories to 'mean' anything or for heroes to gain 'meaning' is for a death to happen. Well, here it is, and it's an empty, calculated death that carries no emotional weight whatsoever. You'd think we would be done with pointless, obvious deaths of secondary characters that exist only to die, but I guess we're not.

Much like the first issue's 'shocking' cliffhanger, this issue ends on a moment that will surely get people talking. And, much like last issue's end, it comes off as cheap and something meant for the moment but will be forgotten quickly. "Detective Comics" #2 doesn't deliver a Batman comic that's engaging and entertaining, it's too mired in sickness and grime without cleverness.

Given the proper focus or time, the plots in "Green Arrow" #4 could possibly be engaging and interesting, but neither are given the chance. They're fragments of nonsense where even the characters shrug and wonder what just happened before walking away, content that the mystery will solve itself some day. Not the best way to create interest or interesting, good comics.

The concept of a one dollar preview book is a good one as many publishers have shown, especially balancing the book between comic and bonus materials. "Kirby: Genesis" #0 fails on execution, providing little hint of what the series will actually be about besides 'throw Kirby characters together and see what happens.' Not much of a concept and not much of a comic. If Kirby's name wasn't in the title and his concept art wasn't in the back, I wouldn't know this had anything to do with him.

Pilot Season books tend to go for high concepts and twists on the familiar. "Forever" doesn't deliver a twist, it just delivers the familiar and does so without anything new or interesting. Definitely the most disappointing and forgettable first issue of this Pilot Season.

"The Last Phantom" is a bad comic, so bad that one can't help but hope that the title is also a promise.

(Check out CBR's preview of the issue and see if it makes more sense to you!)

Turning "Deadpool" into a darker book was a choice that made a lot of sense considering his job as an assassin but, instead of gallows humor, Daniel Way opts for gratuity and senseless violence. The opening three pages actually show some promise of wit, but the remaining 19 pages reveal them as nothing more than an aberration.

Given the high standard set by Joe Kelly and Eric Canete four months ago, a return meeting of Deadpool and Spider-Man no doubt has some fans excited and this issue is a let down with a lame plot and even lamer jokes.

Nothing in this issue seems substantial enough to carry it, not even the supposedly epic Synnar origin, which is a familiar Lucifer-esque story with no fresh insights. Like the rest of this series, there are some interesting ideas, but nothing to really carry the book.

I would say that the best thing about this issue is that this series is over, but with "Strange Adventures" on the horizon, neither DC nor Starlin have gotten the message that it's not that no one cares, it's that anyone who did care has simply stopped.

Ultimately, "Age of X Universe" didn't add much to the larger story and comes off like an extraneous project added on after the actual story was fully formed. Within that framework, some interesting things could have been done, but what happens here is a clichd 'change of conscience' that doesn't work really.

(Hey, look, in CBR's preview it's Legion of Su "- the Silver Age Guardians of the Galaxy!)

Since this story is obviously art-driven, it's disheartening to see what little Finch does with what's here. The Scarecrow is a melon-headed comedy act and Batman cowers most of the issue until he becomes a mass of muscles attacking Superman awkwardly. For Batman's hallucinations, Finch draws simple montages of villains and allies, nothing that seems particularly scary, even knowing the inner workings of Batman. Like or dislike Finch's art, it's rarely boring to look at it, and that's what it is here. It seems like someone going through the motions of both a Scarecrow story and a Superman/Batman fight. There's nothing new or exciting.

A go nowhere plot predicated upon a nonsensical problem wouldn't be so bad if not for the horrible character work. Were it not for the art of Renato Arlem, this would be a candidate for the first comic series to receives two zero star ratings in two consecutive issues. Here's hoping he returns for issue three or it may be a 'return to form' next month.

"Dead Run" reads like an unproduced film treatment -" one that was unproduced for a reason. The concept is uninspired, the characters vague and lacking depth, but the art is well done.

When "Merc with a Mouth" was announced, various online commentators remarked on how unnecessary a second Deadpool title is and this debut issue does nothing to quell those opinions.

A disappointing debut, "Die Hard: Year One" #1 falls victim to overwritten captions that slow the issue down, while the plot doesn't actually get going until the final pages. There's, honestly, not a lot here that says that the second issue is a must read. Worst of all, the tone here doesn't match up with that of the "Die Hard" movies, and isn't that the point of this comic?

In a line of books that's been very hit or miss, it's not too surprising that "First Wave Special" #1 is a miss. It is surprising that Starr and Winslade are the team that lead to one. Not up to the standard either has set in their previous First Wave works, the special is a disappointing read with a baffling conflict at its core.

It's hard not to view "Flashpoint: Deadman and the Flying Graysons" #1 as a textbook example of an event tie-in book that exists because this event needs some tie-in books. The plot is nonexistent and only two characters get any real sense of characterization. The comic does end with a cliffhanger and an indication that a plot will commence next issue, but that's not good enough. It's insulting that this is a comic that's nothing more than 'Boston Brand is self-centered and Dick Grayson loves his family while the troupe is stuck in Europe.' Well worth the $2.99 cover price.

"Green Hornet" #3 is just another issue in this story that will see Britt Reid, Jr. step into his father's shoes and take up the mantle of the Hornet, his father's death the requisite tragedy to make it happen. It's a little clucky and clichd, but the art is dynamic in places and the issue ends on a cute joke.

So much is left undefined in "Grifter" #1 that it doesn't function well as an introduction to the character and has changed so much about the character that those familiar with him will be left scratching their heads over who he is at this point. With a big mystery at the center of the book, questions over who exactly the protagonist is are not needed.

All in all, "Human Target" #1 seems like an attempt at DC to cater to the TV show's fanbase, but the execution doesn't replicate anything that makes the show interesting or worth watching. Wein's writing is plodding and slow, especially the narration, and lacks much of the wit and charm without the show's three stars.

"Iron Man/Thor" #1 is a bland, mediocre comic that only strengthens the argument that movies mean a flood of forgettable comics that don't warrant reading. What little story is here isn't compelling or interesting; Everything is held back for the 'shocking' final page that isn't much of a cliffhanger. It's disappointing work from everyone involved. Thankfully, I probably won't remember this comic at all by tomorrow.

After three issues, it's not too hard to see that "Jennifer Blood" isn't working. Tonally, it can't find a place that works and the way that the idea of a vigilante housewife out for revenge is handled is so by-the-numbers and obvious that nothing surprises. Ennis is usually a 'must buy' writer; not this time.

From a plot and structure standpoint, "Justice League of America" #57 is solid. The Justice League regroups while Eclipso advances his plans to destroy Earth, giving off a sense that everyone is screwed while balancing the two halves of the issue well. The execution falls down with cluttered pages that seem to do everything they can to make the reader lose interest and look away. There's potential here, but it's not reached.

I hope "Malignant Man" can escape the set course it's on, because that's what drags this first issue down. Take out the specific cancer-based elements and you have dozens of other stories almost beat-for-beat. The hook this series has is good, but even it can't overcome the general sense of 'been there, read that' that this comic inspires.

"Age of X" began well and with a lot of promise, but the second half of the story has been a big letdown thanks to a less-than-stellar reveal in the fifth part, and, here, a finale that spends so much time on something that doesn't matter before delivering an obvious finish.

If the idea of a kid Deadpool amuses you, this is the comic for you. Gischler doesn't really take advantage of the different world to any strong degree aside from his very good use of Xavier. The writing isn't bad, but the art is such a mismatch for the characters that it drags the comic down a lot.

What should be an illuminating issue of "Red Hood and the Outlaws" is more of a turn-off issue. It's clear what Scott Lobdell is going for and the way he writes the comic makes this a lackluster issue. In an issue that should make readers understand the protagonists more and make us want to root for them, he accomplishes the opposite.

Clocking in at an expanded 30 pages of story, "Siege" #4 feels like it needed more pages at the end to really bring the event and the events of the past five years to a stronger conclusion. Bendis provides some nice feel good moments, but nothing firmly final. That's been his problem with these event books in the past and it continues here, sadly.

The veracity of Veitch's arguments isn't my concern; that they're presented in a comedic fashion, however unintentionally, does both add and detract to this comic. If it were a dry argumentative piece, it would be boring, but the farcical nature of the book undermines all of the arguments made. It's a catch-22 that makes "The Big Lie" unsuccessful at its goal. The ideas raised here deserve more consideration than many will give them because they seem ludicrous on the surface and the presentation here doesn't give them much weight.

(Dough Braithwaite's art is breathtaking and a very good reason to see CBR's preview of this issue!)

So far, Straczynski's "The Brave and the Bold" run has been one misfire issue after another as he writes patronizing stories that offer little entertainment or insight. If this is meant to be a modern spin on mismatched superhero team-ups that also instill morals in kids, maybe he is right and we should long for the '60s.

The writing is adequate, but the lack of visual flair and style really hampers this comic since Sergio Leone's images define much of what people love about this world, and it looks like there wasn't even an attempt to live up to that challenge.

If you're planning on picking up "The Annihilators" in March, "Devastation" seems utterly inessential unless you absolutely have to see Cosmo gather the team. It's not worth an entire issue and comes off as filler between the end of "The Thanos Imperative" and the beginning of "The Annihilators." It's excessive and indulgent and simply not worth it.

(Eric Battle's art fails to impress on numerous levels, but check out CBR's preview and see for yourself!)

"WWE Heroes" #3 continues to the ridiculous story involving ancient immortal brothers, a hostage situation, and wrestlers fighting to the death, but it does revel in the insanity at times, allowing for some enjoyment. The final page of the comic is a perfect example of a purely dumb, ridiculous moment that can't help but make you laugh since it is so over the top.

If you try to take "Weekly World News" #1 on its own terms, it doesn't succeed as it doesn't seem to know what it wants to be. By tying together various elements of the tabloid paper, it lacks a central story and reads like a comic version of stupid comedies like "Date Movie" or "Epic Movie" where the point is to cram in as many parody jokes as possible, screw the story or... well, the jokes. It's disappointing because Ryall has shown that he can write weird, funny comics in the past and this isn't up to those standards. Though, the offering of two versions (color or black and white newsprint) and the additional backmatter material do help.

Where this story leads to will surprise no one since that's been advertised since day one and, if the journey to that endpoint were more interesting, it wouldn't be a problem. However, nothing indicates that the goal here was anything other than reaching the end, even if getting there was a boring trip.

"Deadpool Team-Up" #892 doesn't wow, but it's got a solid premise with some good gags throughout. The biggest problem is that none of them are followed through entirely with Deadpool acting a little too one-note. But, it's an entertaining issue nonetheless.

Given that much of the appeal of both Deadpool and FrankenCastle is the big stupid violence that each gets into, the lack of that here is questionable. The joke that the issue ends on should come at the midway point, because what it suggests next would be entertaining to read. This comic, not so much.

Fans of Deadpool will find something to enjoy in this comic (namely, Deadpool) and, perhaps, fans of Ghost Rider will as well but, for anyone else, this is nothing more than a mundane team-up book that fails to reach the expectations set by the quick, one-sentence summary of "Deadpool and the Ghost Riders fight a demonically possessed

(Give Edgar Salazar's art and the great John Romita Sr. variant cover a look in CBR's preview!)

Actually, I figured out what this book has that no other comic does: a superhero wielding a boomerang. So, if that is something you're hankering for, why, you'd be stupid not to pick up "The Death-Defying 'Devil" #2. As for everyone else, you'll probably have an enjoyable yet forgettable reading experience.

If the goal of "The Death-Defying 'Devil" was to give readers a glimpse into who this character is, then it was a failure. With an opaque protagonist and no real insight, only unanswered questions, this series really comes down to one question: what was the point?

(For the first three pages of each story, check out CBR's preview!)

"Dark X-Men: The Beginning" #3 is the best issue of the series, but it's still not great. The format and structure of the book limits what the creators can do and takes a lot of the surprise out of their stories. Maybe if this series led up to the revelation of the Dark X-Men, but watching Osborn recruit people when you know what's going to happen next is tedious. Also, a minor complaint, but the solicitations promised Humberto Ramos artwork, which doesn't appear here at all, which is a let down.

This isn't exactly an auspicious debut of the DiDio/Tan era on "Outsiders." The writing is dull and bad, while the art is inconsistent and puzzling. The big reveal at the end shows some promise of redemption as it's an interesting idea that could cause further dissension in the group, but considering the state of the Superman books, one has to wonder if the timing is right -- a question that's disheartening considering that the writer of this comic is DC's executive editor.

If "The Outsiders" #39 had more space or a more specific focus, it would be a stronger comic. So much is going on that nothing gets enough space or attention with numerous plots ended before they have a chance to begin it seems. Since the book is ending next month, the rush to wrap everything up is surely a factor and that's a shame, because there was potential here for the sort of simple, entertaining superhero comic book that you don't see too much these days.

It's understandable why this issue kicks off with the destruction of Paradise Island, but since that's a known factor, the specifics don't matter as much. What does matter is who this version of Diana is and what kind of person she is, and we barely get a glimpse of that. This issue is somewhat of a letdown and a surprise considering that Straczynski normally places a strong emphasis on getting across his view of the character and that doesn't happen here. But, the execution otherwise is solid on the issue and suggests that there's a good, thought-out plan in place for future issues.

"Wonder Woman" #603 is a disappointing issue that provides a pointless detour from the main story, one that detracts so much that it questions the necessity of this change in the status quo. Why bother if this is the sort of story Straczynski wants to tell? The final pages are strong in the lead-in to next issue and that just reinforces how much a waste the preceding pages were.

While the idea behind "5 Days to Die" is interesting, Schmidt is in such a rush to get the story going that it loses a lot of its impact because of a lack of context. Maybe future issues will fill in the gaps more, but, right here, it's hard to properly connect with the protagonist or get the main idea behind the series without it being spelled out in a text piece.

What "Age of Heroes" #4 boils down to is an 11-page Black Panther story that fans of the character would, understandably, be hesitant to pay four dollars for, a fun quasi-Captain America story, and then two teaser 'stories' for low-interest characters. Again, I'm not sure who the target audience for this comic is. On an individual level, most of the stories are well done and offer something for those interested, but there's no overriding theme or idea that ties them together, making this comic work as a whole.

As far as first issues go, "Alpha Flight" #1 is unremarkable. The fight is serviceable and does its job, but it's hard to say you'll remember anything about it a couple of days later. So much is going on that none of it gets a chance to make an impact except for the odd thing. The issue does end on a strong, interesting note and that may be its one saving grace. That cliffhanger is a hard one to not want to follow up on.

"Ani-Max" #1 has its charms, but the concept is blatantly unoriginal (doubly so if you consider Animal Man), not just in the powers the character has, but in the way he obtains them. If you ignore what came before, this is an entertaining comic, though the art has some noticeable rough patches and the origin story seems crammed in. It will be interesting to see if this continues as a comic series and how the story develops since a pilot/origin is limiting to a degree.

"Batman: Battle for the Cowl: Commissioner Gordon" isn't a bad story and does an able job of demonstrating the police's role in a Gotham without Batman. It's also worth it to see Gordon in action, a role he isn't provided nearly enough. Though, it is odd to see the police act so helpless without Batman considering this isn't the first time he's disappeared. After all, he was gone for an entire year during the run of "52." Ignoring that, this issue might have been better served as a back-up story or splitting the duties with a story focusing on another cop like Bullock. Otherwise, a decent read.

The only reason to buy this comic is if you're already buying every issue relating to "Battle for the Cowl" and, in that case, this one won't disappoint, because there's that big "Battle for the Cowl" logo on the cover and a pointless plot that fits in perfectly with the main book. Mystery solved.

"Berserker" #0 offers an interesting preview of the series, but at $2.99 for eight pages, it's really not worth it. When other publishers offer similar previews in far more cost effective manners, there's no excuse for such a giant rip-off from Top Cow. Not to mention that the majority of this comic is promotional material for non-"Berserker" comics, which results in the one "Berserker"-related promo interview being truncated, while an interview for the "Witchblade/Darkness" crossover is given more space. All in all, a decent preview packaged in a horrible manner.

"Berserker" still hasn't shown all that it can do, but the hook here is strong, and the juxtaposition between former soldier Farris and high school student Aaron could lead to some interesting situations should they meet. Hopefully, next issue will begin fleshing out these characters a bit more now that the groundwork has been laid.

If this were a tie-in issue to "Blackest Night," I would be kinder since it is a generally competent, inoffensive comic, but as the fourth issue in the main series, it lacks drama and a genuine feeling of importance until the final pages. "Cool, right?" Not really, no.

"Buck Rogers" #3 presents some interesting and engaging ideas with a fantastic set up initially, but, as the issue progresses, it's hard to maintain interest as nothing seems dangerous or to matter a great deal. Beatty seems to be attempting to capture the awe and wonder of past Buck Rogers stories, while also grounding it in 21st century sensibilities of realism, and the two clash heavily, creating a mishmash of storytelling.

There are suggestions of an interesting hook for "Captain Atom" except it's buried under a typical, average superhero comic. The art points to something unique about the character and his relationship to the world, while the writing only mentions that in a long expository scene about his powers. Maybe this comic will become more of a stand-out as it progresses; unfortunately, that possibility isn't certain and isn't presented in this issue.

Concerned more with plot mechanics than character, "Daken: Dark Wolverine" #7 downplays the title's strength: Daken's character. Ever since "Wolverine" became "Dark Wolverine," Daken's mercurial personality has been the appeal of the title and pushing him to a background player in his own title takes away the best part of it. All that remains is empty posturing and bad melodrama.

Maybe "Daken: Dark Wolverine" #10 will be a better 'jumping on point' with it actually beginning the new stage of Daken's life. This issue is nothing more here than him saying "I'm not going to copy my father anymore; I'm moving to Los Angeles." See how easy that was to express? Lingering on the point only produces a hollow, unsatisfying

The opening scene of "Daken: Dark Wolverine" #10 seems like a battle cry, a declaration that this series will do crazy things and not worry about spoon-feeding everything. And, then, the issue decides to spoon-feed everything. The explanation of how Daken got to wearing a Captain America mask and using a bazooka is far less interesting than him doing that. Hopefully, Williams realizes where his strengths lie, because they're not in the second half of this comic.

What could be a promising idea, a staunch skeptic of superheroes becoming one himself in a crime-ridden city, is lost in an unoriginal plot and awful coloring. Wallace does manage to raise some interesting points on the downside of being a superhero and how becoming one doesn't happen overnight, so hopefully things will improve as he has a chance to explore those ideas.

If "Hell Yeah" #1 spent less time worrying about telling us about the past and more time telling us the story, it would be a much more entertaining and engaging read. Instead, it begins well, drags in the middle and spends the rest trying to play catch up. It's an all-too-typical first issue offering enough glimmers of potential to warrant coming back for a second.

The art problems are unavoidable, but the writing is what lets this comic down most. Spencer shows he can handle James Rhodes when he's talking to Tony Stark, and then the book loses any sense of individuality when Stark disappears. It literally reads like "Iron Man 2.0" in the sense that this could just be a second Iron Man title, no War Machine necessary. That may change, of course, but there not being a compelling reason for a new War Machine coming in the first issue of his new comic is a pretty big strike against the series.

If you're curious about what happens between the two Iron Man movies, give this comic a look. The plot has potential and the characters' voices are spot-on with the movie versions. While the lack of likenesses to the actors is a little off-putting, the art also suffers from inconsistency, but the storytelling is strong. It's a solid comic that's overwhelmed by small problems.

The concept of "Knight and Squire" #2 is solid, but, after a promising, smart opening scene, the issue becomes a boring, flat read. The wit and energy of the characters displayed in their appearances in "Batman" and "Batman and Robin" is replaced with passive action that leans heavily on British cultural references. Except, all that's here are the references, something Cornell accomplished much more effectively in "Captain Britain and MI:13" by balancing those references with lots of excitement and bold storytelling. No, this comic left me completely cold and wondering what the point is besides having a British superhero book for the sake of having a British superhero book.

"Magneto: Not a Hero" #1 is an okay first issue. The plot is obvious and facilitates the necessary conflict to showcase Magneto as both an X-Man and as someone with his own agenda. Scottie Young has Magneto's voice down and Clay Mann draws him well. The reveal at the end of the issue is a logical one and provides for an interesting antagonist going forward.

"Nation X" #2 is a mixed bag anthology issue that should deliver for longtime X-fans, but lacks the space to really deliver on the promise of some of the stories.

Fans of the first series and three minis will, no doubt, enjoy this issue, which picks up right where those stories left off. Everyone else may have a bit of work ahead of them, but the core ideas here are solid and may lead somewhere interesting.

If cheap, gratuitous violence with hints of equally cheap sex is your thing, then "Naked Kill" is definitely your book of the week. If not, well, the art alone makes this book worth checking out.

"Scarlet" is a bold comic, one that stinks of effort to be that way. In the pursuit of pushing the envelope, convenient storytelling shortcuts are taken: Scarlet is much better at this than an amateur should be, Brandon hops on board without any argument, and, so far, everything is far too easy. But, it's only three issues in and these problems may not seem so bad in a larger context. Right now, though, it's a hard book to take seriously.

"Scarlet" #5 concludes the first book of the series and, rather than a strong conclusion to the title's opening chapter, it reads like a set-up for the next. The plot moves characters mechanically into place, ready for issue six to pick them up and put them into new motions. The final three pages, though, contain some very strong writing by Bendis that shows this is a book that's about more than just the broad plot. There are characters here and it's a shame they didn't come out much in this issue.

The number of plots intertwined in this comic is rather large, which works against it somewhat, overcomplicating things too much. It seems that every aspect of both Peter Parker and Spider-Man's lives relate, somehow, to the experiments of Dr. Octavius on African Americans, too large a coincidence to dismiss. Both his personal and professional lives are caught up in this plot through various links like Robbie Robertson or the underground club he happens to bust being a storage facility for the heinous acts.

"Superboy" #2 shows that the book has potential, but it doesn't seem to know what it wants to be yet. Is it about the redemption of a superpowered clone as he learns to be human? Or is it a dark comedy about an evil bastard clone that likes to kill folks? Either approach would be fine, the book simply needs to settle on one.

Too much of the book is taken up with dramatic veering between history lessons and light readings of comics that offer only the most cursory of critical interpretation. The loose four-age structure is a good starting place for providing order, but neither Morrison or his editor went far enough. Looking at the subtitle "What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us about Being Human," I'm left wondering exactly what they can teach us about being human. Was this book meant to be an argument? A history? A critical reading? An autobiography? It seemingly tries to be everything and winds up doing very little of it as well as it could.

"Thor" annual #1 fills in an unexplored area of Thor's psyche after killing his grandfather and provides the return of Seth, both great ideas, but they're executed in the bland, boring fashion that one would expect from an annual. Ultimately, this issue is forgettable.

The ending, as well, is very rushed. While the story, as a whole, feels drawn out and too long, the ending is very abrupt, although, as I said, the final page is great. Compared to last year's string of Thor one-shots, this just can't compare. If Milligan ever wants to write a "CSI: Asgard" book, I would give it a look, I must admit.

From a plot and conceptual standpoint, "Total Recall" #1 is in a good place. It picks up where the film left off very naturally and creates new stories that flow from there. The actual dialoguing and art, though, are so workmanlike and to the point that the comic isn't entertaining, it's functional.

"Vengeance of the Moon Knight" #7 has the right elements to be a great comic, but the focus is skewed so that the boring, clichd parts get the emphasis, while the interesting ones are obscured. Instead of using Deadpool to highlight the fractured psyche of Moon Knight and his inner conflict, Deadpool is merely a comedic foil to Marvel's answer to Batman. Well, guess what, there are already Batman comics if people want to read them; This issue shows potential to be something different and good, but isn't. And that's a shame.

Coming on the heels of the strong Sandman story in "Amazing Spider-Man," this one is a disappointment as it doesn't deliver anything new or different -- except for Juan Jose Ryp, of course. His art translates well to the Marvel style as he's always shown himself very able at detailed characters and backgrounds, and strong action scenes. Hopefully, his talents get put to better use soon.

(Leonardo Manco's art is beautiful and, thanks to CBR's preview, everyone can see it!)

Fans of Daredevil should enjoy "What If? Daredevil vs. Elektra" #1 as it provides a stark contrast to what actually happened and throws in a lot of Easter eggs for the knowledgeable reader. It also happens to be a pretty good read.

Overall, the first of this year's batch of "What If?" titles is disappointing in its focus on Norman Osborn, a character who was only important at the end of "Secret Invasion," it lack of imagination, and its generic, dull art.

"What If? Spider-Man: House of M" looked to be one of the strongest books in this year's crop of "What If?" titles with a strong emotional hook that wasn't explored before, but, in the first story, it's shunted to the side in favor of a reality-in-peril tale that isn't specific to these characters and, in the second, is rushed to the point of being nonsensical. Do yourself a favor and don't buy this comic.

"What If? Dark Reign" #1 is another in a month of disappointing "What If?" issues that have shown a surprising lack of imagination and scope. Given the broad question of "What if Clint Barton killed Norman Osborn?" Jason Henderson delivers just about the least interesting answer possible with a clichd 'man on the run' story mixed with some bad political commentary and a puzzling ending.

"Demon in an Armor" has a strong hook, but the approach taken by Michelinie and Layton is unimaginative and doesn't seem to use the characters we're familiar with as its starting place. Neither Von Doom nor Stark truly resemble their Marvel universe selves. While that's partly the point of "What If?" stories, the departure here is so far that it's hard to understand why Marvel went with this concept. A truly disappointing way to begin this year's batch of "What If?" titles.

But, it's hard to look past the writing in "What If? Spider-Man" #1, where Peter Parker crosses a line and quickly decides that, since he's already past it, may as well go hog-wild. It's a lazy, intellectually devoid path to take in a story like this, one that's been done to death, and offers nothing new but ill-conceived clichs. With any luck, this is the last time such a story will see the light of day, but I doubt it.

"What If?" #200 may have been preceded by some clunkers of issues, but it ends the month strongly with a twisted lead story, a fun back-up strip, and some fantastic bonus features. If you're a fan of "What If?" this issue is a fitting celebration of the title's sporadic 33-year history.

Stuart Moore and C.P. Smith both try to raise "Wolverine Noir" above the absurd exercise in combining two genres for no reason other than 'just because.' Fans of Wolverine won't get anything here that they can't get elsewhere -" and the same goes for fans of noir. "Wolverine Noir" is a case where the end product is less than the sum of its parts. Do yourself a favor and just go read "The Maltese Falcon" since this pale imitation with elements of "Origin" thrown in isn't worth it.

I'm not sure what the logic behind this comic is, but it's definitely one meant for fans of Deadpool, not anyone looking for a bunch of their favorite heroes Hulked out and smashing things. It's still entertaining in a chaotic, stupid way, but has little to do with "World War Hulks" and doesn't deliver on its promise.

"X-Men Forever" is clearly for a specialized audience and it hits the right beats. It doesn't match up with Claremont's best "X-Men" work, but very little does. The freedom Claremont exercises here gives the book a feeling that anything can happen, allowing the cliffhanger to come out of nowhere and work well. A fine, solid read for those that miss comics like they used to be.

"X-Men Forever" offers up limitless possibilities, but still manages to feel out of touch and restrained while having a hint of insanity below the surface. With a more energetic artist and a restrained writing style, Claremont could be crafting some ballsy comics each month that would blow readers' minds. Instead, he writes comics that are a chore to read and offer nonsensical plot twists.

Since Daken is still relatively unknown to readers and characters, Way and Liu use that to their advantage, keeping both groups off balance here, no one quite sure what Daken is really up to. However, he is turning out to be a far more interesting character that the title "Dark Wolverine" would lead you to believe.

After a very good first story arc, "Dark Wolverine" looked like this year's front runner for the 'best comic that looked like a lame cash grab but is actually rather good' award, but this arc is drawn by a terrible amateur who hasn't come close to mastering the basics and features a story that has no clear purpose or point. What happened?

By building on a lingering idea from a previous Thor story, the "Siege" tie-in arc of "Dark Wolverine" looks like it will work tangentially to the event, existing mostly on its own, expanding on Daken's appearances in "Siege," but also telling its own story. As far as tie-ins go, it's a smart approach that works quite well, especially with Giuseppe Camuncoli on art.

"Dark Wolverine" is at its best when Daken and the story have a purpose. When it languishes in these pointless interludes and one-off stories, it descends into pseudo-poetic storytelling that never amounts to anything entertaining or meaningful.

From a conceptual point of view, "X-Men Legacy" #240 has a lot going for it: a threat powerful enough to take down two powerful mutants and a young mutant needing to prove himself to save them. Then, it gets derailed by stock characters and a roadblock that's absurdly cheesy.

"Age of X" gets off to good start with "X-Men Legacy" #245 with Carey both establishing the status quo of this alternate reality and beginning the main plot, which seems to revolve around the nature of this world. Some hints and clues appear about things not being right, and it's impressive that he's able to pack so much in without it feeling dogged down by details.

Barring an amazing turnaround in "New Mutants" #24, the "Age of X" looks like a bit of a bust given this issue's revelations. Part of the problem is sheer number of moving parts that Carey uses to make this story work and how not everything adds up. Definitely a disappointment after four very strong issues.

Conceptually, "Annihilators: Earthfall" #2 is smart, playing the Annihilators and Avengers against one another in a manner that makes sense and would seem out of place if it didn't happen. The art doesn't carry its share of the load for the fight scenes, though, which is disappointing. An entire issue of the Avengers fighting the Annihilators could have been a visual feast and, instead, it's merely a good comic.

"Annihilators: Earthfall" was a big enough story to warrant more than four issues, something that was apparent early on and no more so than in this final issue where rushing to the finish undercuts the entire story. Everything continues along at the same pace it always has and, then, it's suddenly done. With no new Annihilators comics or any cosmic books from Abnett and Lanning on the horizon, it's a disappointing way for their time on the cosmic books at Marvel to seemingly end.

It's hard to do insightful when the message of the book is forget intelligence and embrace big stupid fighting and your artist is known for pin-ups not storytelling. Perhaps if there were a stronger case presented here for why Samson takes this ill-advised turn, this issue would be more tolerable, but it comes across as undoing much of the work done by previous writers and striping the character of the elements that make him interesting. Then again, if "Hulk" was lacking anything, it was angry, stupid guys who just want to fight.

"Hulk" #30.1 manages to not only deliver a strong jumping-on point by establishing clearly who the Red Hulk is and introducing a new adversary, it also provides a major turning point in the title. It's an issue obviously designed to hook new readers and impress old ones.

(Lee Weeks on art? Yes please! Check out his wonderful flashback scene in CBR's preview!)

"Mighty Avengers" #34 offers the conclusion to a long-running subplot in the book, but it's rushed and not executed strongly. Loki's presence is required in "Siege" and that story takes precedence, understandably. The issue ends with a big cliffhanger that offers hope for future issues, but this issue is sloppy and a let down.

"Red Robin" #4 concludes the opening story arc of Tim's search for proof that Bruce Wayne is somehow still alive for no reason other than he thinks it must be so. In other hands, the concept could be executed in a manner that explores the effects of death and the huge events that superheroes, even the urban vigilante types, must deal with on a day-to-day basis, but, here, it's tedious and presented poorly.

"Red Robin" #19 is an entertaining comic when looked at on a scene-by-scene basis, though some scenes are weighed down with exposition. As a whole comic, it never feels consequential. Part of that seems to be the plot, and the rest is execution. If this plot is supposed to matter, it should come across as such. Still, if you like light, action-based superhero comics with a little bit of silly fun thrown in, this makes for a good read.

Six issues of this story may be too much for some, but this issue suggests that they may not be enough to allow this story to be told at a smoother pace. This issue feels like the story is on fast-forward as Mackie and DeFalco try to cram it all in. Ironically, the first Spider-Clone Saga went too long and "Spider-Man: The Clone Saga" looks like it will be too short.

While not as satisfying as the concept claimed, "Spider-Man: The Clone Saga" has acted as a nice trip down memory lane (albeit in an altered form) by revising Ben Reilly, Kaine, and the other elements of the original Clone Saga. The final issue delivers a new, different overarching plot explanation and doesn't end completely satisfying, but it is an interesting issue full of action.

Maybe now that this issue is out, we'll find out what "The Big Noise" is, but, until then, this comic is a bit of a mystery -" and not a compelling one.

The comic ends on a high note with an action scene that sets up the next issue well. Hopefully, the story will pick up and continue to only relate to "Our Worlds at War" peripherally. This hasn't been the best way to begin a new run on a title, but it has the promise to deliver a strong story in the long run.

Three issues in, the plot of "The Big Noise" is finally picking up as Casey sets up an interesting story with Superman and Batman on one side and an alien shapeshifter on the other. How it plays out should be interesting.

"Superman/Batman" #71 brings the "Our Worlds at War" tie-in story, "The Big Noise," to a conclusion with nary a hint of "Our Worlds at War" and a generally inconsistent, sloppy issue. The characters don't seem like themselves, while the plot ends weakly, and the art is messy and increasingly bad as the issue progresses. It's a shame to see a story arc that had a nice, slow build end with such a crash.

"Superman/Batman" #79 returns to the 853rd century and puts that version of the World's Finest up against a villain that runs circles around them. Epoch is treated again like a major threat, using his time travel knowledge and time-based powers in clever and logical ways. The issue is smart and energetic, and definitely worth checking out.

"Superman/Batman" #80 is a fun, entertaining comic, and one that has me convinced that Roberson's "Superman" is worth a look. He demonstrates a clear handle not just on the characters, but their broader ideals and shows an affection for them that comes through, making the comic better.

There's a lot of potential in "The Best There Is" #1 to set itself apart from regular Wolverine comics the way "Deadpool MAX" has set itself apart from regular Deadpool comics, but there's a hesitancy to pull the trigger and really let Huston and Ryp loose to create an over-the-top comic that's legitimately not for kids. If the book could settle on a tone, it would be much more successful and entertaining. As it is, it's a slightly above average beginning with a strong cliffhanger.

Reading "Wolverine: The Best There Is" #3 is like reading a checklist of the superficial elements of Garth Ennis's bibliography, but none of the depth or wit that manages to hold together the stupid bits. The idea of an over-the-top Wolverine comic drawn by Juan Jose Ryp was enough to keep me on board for a few issues, but Huston's overwrought writing kills any sense of entertainment this comic has.

"Strange Adventures" is an odd book, lacking in direction and purpose, and, seemingly, demand. Why does this book exist? Is it just to feed some of our Starlin addiction or is there more? Sadly, this first issue doesn't answer those questions.

After a rough start with its first issue, "Strange Adventures" is living up to its name with weird plots that show the goofier, creative side of Jim Starlin. Each issue is an improvement on the last and the addition of Rafael Albuquerque on the Bizarro story's art is a great move by DC.

Those who've stuck with Starlin through "Mystery in Space," "Rann-Thanagar Holy War," and, now, "Strange Adventures" receive little payoff as the story is left in limbo for a possible return in the future or for some other writer to pick up.

"After Dark" #1 does somewhat feel like a movie pitch with its clich plot and ensemble cast, but Peter Milligan throws in some nice, dark touches that make it worth giving a look if a 50-page comic about a post-apocalyptic world appeals to you. With Leonardo Manco scheduled to do the art for the second issue, things should be more consistent on that end in two months.

As a follow-up to last issue's attempt to bring in new readers, I'm not sure how successful "Air" #8 is, as it attempts to drive home that what's happening is Very Important without accomplishing that goal. It's really a forgettable comic, neither bad nor good, it lies somewhere in the middle.

There are a couple of interesting asides that give the book some value: the idea that Ehret is deliberately underachieving, by only going after regular, unpowered villains; the fact that she's a superheroine who is also a mother; the look at her time spent with The Initiative; and the application of her training, with the question of whether it's really adequate. Any of these things could have been turned into a strong center for a Jackpot series, but instead it's a fairly generic story in the Spider-Man format, and a bit of a wasted opportunity for it.

There are some good moments peppered throughout "Avengers Academy" #15 that try to rise above the melodrama and clichs inherent to the premise of young superheroes 'going off to war.' It's an entirely appropriate plot for a "Fear Itself" tie-in, but Gage's writing can't escape the inherent limitations. Like I said at the beginning of this review: competent yet unremarkable.

A solid superhero book, on the surface "Azrael" #8 doesn't look like it can stand up to a lot of other books on the shelves, but, upon a closer reading, it's compelling and interesting. Plus, the ending is absolutely wonderful. One of the best final pages I've read all year.

While the ideas are fantastic in "Azrael" #9, the execution falls down as the story is cut short. I would have loved to see a longer, more complete presentation of the idea of faith as the eighth deadly sin and Azrael as its embodiment.

Ennis and Palmiotti do get things right in making "Back to Brooklyn" #2 very new-reader friendly and explains everything someone who missed the first issue would need to know to follow along. Sadly, the plot isn't likely to keep said new reader engaged, or make him or her want to read issue three.

"Batgirl" #2 has many of the right components for a quality book: interesting characters with unique perspectives and motives, a solid art team, and a great overlying concept. But, the pacing of the issue makes it hard to find an entrance point and leads to confusing, jumbled scenes. If Miller would slow down a little, I'm sure this could be one of DC's better books.

I've spoken of the "third issue slump" before and how it seems that comic series' third chapters tend to be the weakest, when the teases of the villain have grown weary and it's too early to fully reveal what's going on, leaving only necessary plot moments devoid of life and energy. Unfortunately, that's what "Batman" #3 amounts to. It handles many of those necessary plot points competently, but doesn't make them memorable or turn them into anything more than scenes to get through. The issue does end on a clever revelation regarding the Court of Owls, with Snyder managing to tie together several threads of the story inventively, showing promise for the future of the story. Otherwise, it's Batman does things you've seen a thousand times before, and that's fine, I guess.

Included after the story are sketches by Rags Morales for "First Wave" with descriptions by Azzarello and, honestly, these do more to entice than the comic itself. It's hard to judge how "First Wave" will read with the full, larger cast, but if this special is any indication, expect mediocrity.

"Captain Britain and MI:13" Annual #1 doesn't match up to the brilliance of the main book, but it does shed some light on some important events, including leading into the next chapter of "Vampire State."

People looking for some insight into "Cerebus" will be left wanting, but, otherwise, "Cerebus Archive" is a solid beginning to Sim's career in comics, showcasing some of his earliest work. With "glamourpuss," Sim seems very interested in the history of comics, both his own "- as a result, some real insight into independent Canadian comics in the '70s -" and others, and, for those with a similar interest, this is just what you've been waiting for.

Sadly, Casey just can't make this simple story work with his off-the-wall bits of dialogue and not-so-subtle pop culture references. Five issues in and there's no sign of improvement.

This issue finished the first season of "Charlatan Ball," so who knows when the next issue will come out " but Casey promises it will. Hopefully, when it does, things will tighten up a bit and Casey will find a way to inject a little wit and characterization into the fun.

Given Robertson's lack of writing experience, a more minimalist approach to the narration would have worked better than what's done in "The Weight of the Crown" where the only scenes that really rise above the level of mediocre tedium are the battles.

The issue is closed out with a very short story about werewolves that's easy to overlook and the reprint story, which is interesting in the question it raises: why would a man so against killing make a disintegration gun? The ending somewhat answers the question, but not really. But, it's a serviceable story in a serviceable issue. Fans of horror comics should find something here, but it's not a comic worth seeking out otherwise.

Diggles writing doesnt keep up. His scene to scene work is good, but the plotting in this issue is mechanical and clichd. Hopefully, he plans to go somewhere interesting in the future and subvert the story conventions hes falling prey to and this issue will take on new meaning in retrospect, but, taken on its own merits, its not good plotting.

Fans of Dr. Doom may want to check out this issue since Maberry does a nice job with the character and sets up an interesting tension for the rest of the story surrounding him, but that's only part of this issue. The remainder is nothing new and reveals little about the characters. Not a bad read, but somewhat dull.

"Electric Ant" #1 is an interesting comic, especially for fans of Philip K. Dick like myself who can compare it to the story and debate over which changes work and which ones don't, but it doesn't offer anything new or different. The story of a man who discovers he's an android is one that people are familiar with; The draw of this story is how Dick plays with that later in the story, so the opening chapter is sure to be the weakest. I'm curious to see how Mack and Alixe handle the rest of the story and think people should stick with it since it should get much more interesting.

The action in this issue really works, mostly because of Eric Nguyen's wonderful art and the ideas presented showing a lot of promise. But the Naufs' execution falls flat, leading to boredom and a wandering mind. Because, really, what is up with those space shuttles? It's really bugging me.

All of the characters act consistently with previous portrayals, and the plot is interesting, and, no doubt, many readers will walk away satisfied, but the lacking energy or indefinable quality that elevates a book from workmanlike to great or brilliant is missing. Guillem March draws his ass off, but even that can't save this issue from being completely forgettable once that final page has been read.

"Grim Furry Tales: Seeds" is a little too unfocused and random, relying on existing fairy tales to provide some of the more entertaining stories. Future installments of "Grim Furry Tales" are planned and, hopefully, Brandt provides clearer direction and purpose in those volumes, because there is promise here, it's just intermittent and far too infrequent.

"Hack/Slash: My First Maniac" #3 is a fun horror comic and it's easy to see why the "Hack/Slash" series has such a strong following. Tim Seeley writes Cassie very well and makes it easy to root for her, while creating an entertaining case for her to deal with. This issue bridges the gap between her coming to town and next issue's conclusion to the story. While underdeveloped in places, it's definitely worth giving a look if you like horror, if you haven't already.

"Heroes for Hire" #7 is an entertaining comic on the whole and has a good dynamic. Spider-Man's inclusion seems somewhat random when there are plenty of others heroes who could fill a similar role. But, contrasting him with Paladin works for the point that Abnett and Lanning are trying to make. Disposable fun that would have been at home as an issue of "Web of Spider-Man."

"Bad Influences" #1 is a skillfully constructed comic, but it's lacking a pulse. I wouldn't go so far as it say it's like Brubaker and Phillips are going through the motions, but, by the end, it's clear that the real heart of the story lies ahead and this is simply the necessary exposition that's required. The new status quo is really the old status quo without the charm. The end of the issue holds promise and Brubaker and Phillips have earned some leeway, so this series is worth continuing with, just not based on the strength of this issue necessarily.

The art and the writing are a match in "Nova" #33, both very inoffensive, competent, and safe. No new ground is broken, not even much character development of Nova or Darkhawk is advanced, but a lack of originality and stylistic flair are the only faults this book has. It's a perfectly enjoyable, mundane superhero comic, though that's something that Abnett and Lanning haven't produced many of lately. That's what makes this one somewhat disappointing.

That actually sums up this issue of "Nova" well: no style. It's a mediocre, generic superhero book that lacks the flair of other DnA-penned books. The ending of the issue is the only place where the comic has any real sense of drama and embraces the imaginative skills of the duo. The rest is solid and good, but not anything special.

"Pale Horse" would have benefited from a larger, more expansive story, but there's an appeal in focusing specifically on Cole's quest for revenge. The price is that the larger story of a plot to overthrow the Union and its failure doesn't cohere into the main narrative. However, the art is strong and suggests that Christian Dibari is a name to watch for in the future.

"Crosshair" #1 is a promising issue with lots of potential. The complex conspiracy at its heart is a little underdeveloped for what could be the only issue of the series we'll ever see, while the art is very inconsistent between two different but solid styles. Despite these problems, the creators did accomplish one important thing: I want to know what happens next.

Despite its historical setting, "Hawks of Outremer" isn't a large departure from other Robert E. Howard properties like Conan, Solomon Kane, or Krull. The hero at the center is a violent man of action with somewhat heroic motives, surrounded by cowards and decadent rulers. If the entire issue was like the second half, this would be a much stronger read, but the slow start really hampers things.

"Siege: Embedded" #1 provides two plots for future issues to follow up on, both of which show potential. This issue, unfortunately, presents neither well. The Urich plot is fuelled by coincidence and a sense of unavoidability, while the Keller plot doesn't have a chance to get going. Hopefully, as "Siege" moves forward, the possibilities presented here will be exploited.

Honestly, this issue is mostly mediocre storytelling from the writers and artist aside from any use of Odo who seems to be the only character anyone involved truly understands and can use to good effect. Perhaps, when this is over, the creative team should just work on an Odo solo story since that's where their strengths lie. Until then, "Fool's Gold" is fairly average, but does have an intriguing mystery to be solved.

On the whole, "Ghosts" #1 isn't an inspiring beginning since it reads like the first act of a fairly forgettable episode, but it does show some potential and very well could turn out to be a classic "Next Generation" story.

However, Carvalho's small flaws aren't what hold "Station" back from being great. His art and Stokes' writing are both competent and not very ambitious. Not that there's anything wrong with that, as it does make for an entertaining albeit forgettable read.

"The Authority: The Lost Year" #3 is, as I said earlier, not a bad comic, it's a mediocre one that would normally fade into the background with the rest of the mediocre comics that litter the racks had it not such a storied history and the potential of an unrealized alternate run to compete with. Perhaps the series will recover as time goes on and it distances itself from what might have been, and Keith Giffen distances himself from direct comparisons to Grant Morrison, but this issue doesn't inspire confidence.

As with last issue, Darick Robertson's art is butchered by the sketchy, rough, heavyhanded, ugly inks of Trevor Scott. The shark on the first page of the issue is, sadly, the best-looking drawing in the entire comic as even the basic compositions of most characters and scenes look rushed by Robertson. That incomplete look of the art matches the writing well since it means that everything about this comic screams wanting to just get this story done with, which is a shame, because this was a story with lots of potential. At least, it had potential when Grant Morrison and Gene Ha left it at the end of issue two. Maybe now that the initial story arc is done, Giffen can further escape Morrison's shadow and influence and tell the stories he wants to.

All in all, not a bad start, but a generic one. Where this story goes is anyone's guess, but the opening issue doesn't promise much beyond some solid entertainment.

"Thunderstrike" #1 manages to continue on from where the original left off and merge with the current Marvel universe. Kevin's personality isn't what you'd immediately expect, but makes for a good conflict, especially with the surprise end to the issue. If you've seen the previews that show Thunderstrike returning, he does, just not the way you think. It's a strong cliffhanger that will have me back next issue to see what DeFalco, Frenz, and Buscema do with it.

The idea behind "Ultimate Captain America" is a good one and there are some good scenes, like Danvers purposefully putting Rogers into a position where he will go rogue in the final scene of the comic. Jason Aaron doesn't seem to have as much of a handle on Ultimate Captain America, or least enough of one to actually have him come across as someone worth rooting for. Then again, was he ever?

"Warriors Three" #1 shows promise and Bill Willingham has a great grasp of the eponymous trio, but doesn't use them nearly enough. Sadly, he spends too much time on plot details that don't involve the Asgardians and the comic suffers for it.

"Witchblade: Due Process" has a really great hook, but the need to bring in supernatural elements bury the point somewhat and detract from the emotional core. As well, not enough is done with Pezzini and her truly confronting her mistake. She never really gets past the 'I'm so sorry' stage and truly trying to make amends. If anything, "Due Process" seems like it should be a much larger story that's constrained by genre conventions and format restrictions.

So far, "Second Coming" has mostly been an action-driven story and it's succeeded as such. There's been a nice build as each side has its little victories, but this issue looks to offer Bastion's forces a pretty big win and it doesn't seem earned " for him or the story. It will be interesting to see where the story goes from here with two thirds of it left.

"X-Men: Second Coming" #1 is a good comic taken alone, but, as the beginning of an event crossover, it lacks a necessary flair and feeling of something big happening. Yost and Kyle clearly know these characters and write them well, but the plot is lacking. Hopefully, it's a case of saving the best for later and not indicative of how the story will play out over the next few months.

"Young Allies" has a lot of potential, but it's just not there yet. This issue is so focused on the Bastards of Evil that the book's stars get lost a little in the shuffle. What the book lacks is a clear purpose and identity, especially given the other young heroes team books Marvel is putting out right now.

"Youngblood" #7 has all the ingredients for a fun and compelling comic, but something doesn't click. I honestly don't know what that something is. I've spent far more mental effort into figuring it out than I care to admit and now all I want is for the cursor to stop blinking.

It's a shame that just when Casey and Donovan were hitting their stride, Liefeld has returned to make the book return to its early '90s roots. The lack of explanation for readers as to the two differing versions of the characters or the future of the book is disheartening, but not surprising. But, hey, there is an Obama cover, so who cares what's inside the comic, right?

While "Matanzas" doesn't exactly fit together with the ongoing "Zorro" comic stylistically, it makes a good introduction to the characters. The writing just needs a lighter touch and to get to the plot a little quicker.

And if that didn't convince you to pick up this issue, maybe CBR's seven-page preview will.

All in all, neither the writing nor art make me want to continue reading this series despite the cliffhanger ending. You can't say I didn't give "Invincible Iron Man" a fair shot, though.

The centerpiece of this issue, Iron Man versus Namor, plays out pretty much how you would expect it to in this "parade of enemies" story, but Fraction throws in a few curve balls in the other plots. Fans of the comic will no doubt dig this issue since it isn't all that different from what came before, which is a shame, because the series has shown small bursts of brilliance, even one or two in this very issue. Just not many.

In one respect, "Invincible Iron Man" #500.1 is a strong character study of Tony Stark with an emphasis on Matt Fraction's mastery of his voice and Salvador Larroca showing off his cartoony skills. In other, it's an obtuse and vague comic that doesn't seem to relate to the current title or offer much reason to pick up the next issue, which is supposed to be the reason for these '.1' issues from Marvel. It's a fine self-contained story, just not an arresting comic that demands you come back next month.

The role of tie-in books during events is a tricky one. Some are left with large gaps that can be filled, while others are constrained by the mechanics of the event. What's sadder is when there's the potential in a comic to fill some of those big gaps and, instead, it spends an issue mostly treading water, running out the clock until it's able to pull the trigger on a 'big moment.'

While the issue ends well and almost makes me want to read what happens next, the same can't be said for everything leading up to it. Fans of Holmes will surely disagree, loving the adherence to the format of Doyle, but what works in prose doesn't always work in comics, and this issue is a clear example.

In individual issues, "Sherlock Holmes" reads slowly with unnecessarily long and entirely unrelated scenes. Not only that, but scenes that do contain vital information are crammed into pages with six or more panels, while those unnecessary scenes are given large, open, four-panels-or-less pages. It's a sort of baffling storytelling that, hopefully, makes sense by the end of this series " but, for the moment, is the true mystery.

"Sherlock Holmes" #5 wraps up "The Trial of Sherlock Holmes," bringing together all of the loose threads and ending in a typical Holmesean fashion. An entertaining and interesting read.

While there isn't a lot going on here beyond variations on the same joke, "Herogasm" #1 is a brisk and entertaining read. Hopefully the amount of time spent on mining "superpeople having lewd sex" here means the plot will pick up next issue.

Though an improvement over the first issue, the second issue of "The Boys: Herogasm" is still so mired in sex and drug jokes that aren't funny or were at one point until beaten into the ground that it still seems a lesser addition, a watered-down version of the monthly book. The plot does pick up the pace a bit here and, hopefully, it will continue in that direction.

If "Herogasm" had been four issues, it would have been much stronger and this conclusion wouldn't come off as weak and anti-climactic as it does. But, for a six-issue story, it needs to end on high note, on something that leaves things changed, and that doesn't happen. A throwaway fun "Boys" story is great, just not six issues great.

(You can check out CBR's preview of the issue, but the comic is only a buck, so just go buy it instead!)

While a good issue, it's disappointing that, after five issues and one story arc, what "Greek Street" is all about and where it is going isn't entirely clear. The ambition of the book is laudable, but without interesting, complete stories along the way, that ambition may not get realized.

Those that have stuck with "Greek Street," hoping that the patience would pay off are rewarded in this issue and the last as the series is coming together. While a true sense of direction isn't readily apparent, enough of a connection with the characters has been established that Milligan can play with expectations and their actions carry weight. It's rare that you can say that a comic improves with each issue, but this one does.

What stands out most about "Greek Street" #12 is the refreshing nature of the book stepping outside its regular cast to show another person reliving Greek stories. Whether or not Alex will tie into the larger story or if any other of the familiar cast will show up is unknown, but it definitely makes for a nice change of pace.

While I will be disappointed when "Greek Street" ends in two issues, this issue doesn't present much of an argument for the series continuing. This issue is a downturn for an otherwise solid story arc and definitely fits in with some of the early issues of the series.

"Greek Street" comes to an end next issue and its final story arc looks like a half-hearted attempt to wrap things up quickly and cram in part of the larger, long term plans for the book. It's not successful, especially as a follow-up to a three-issue departure arc that left almost every character from the book off-panel. It's a jarring read and a pretty good argument for why the book should end, no matter what the sales chart says.

"Greek Street" may be a lost masterpiece, done in before its time, but the 16 issues released don't suggest that. Instead, they present an ambitious comic that was too lost in its intellectual games to deliver compelling and engrossing characters and stories. It wandered, looking for something to latch onto, always promising an endgame that would make it all worthwhile, and that final point never came. Instead, there's another convention, another intellectual game... "A winged bloody chariot."

"Breaking into Comics the Marvel Way" #1 offers a look at six artists that may be drawing your favorite books in the coming years and while not all of them look ready for that just yet, all show potential.

Like the first issue, this one is hit-or-miss, but with a little more miss. Though, the good stories and artists make it worth looking at because some of these artists look like they'll have bright futures.

That "'Breed" is finally being collected and concluded is good closure on one of Jim Starlin's lesser known works, but the debut issue of the third series is not a strong one. The structure Starlin uses, having the lead character tell a story instead of simply presenting it while it happens, hampers things and sucks all of the energy out of the comic. Artistically, Starlin's compositions are as good as always, but the line work and colors leave a lot to be desired.

"'Breed III" ends on a high note with Starlin's best art in years and a smart use of his hero. After such a hard-fought battle, the ending itself is slightly anticlimactic and the 'lie' that the issue is titled after isn't shocking (or even surprising) in the least. Starlin leaves the door open to revisit Stoner as he embarks on a new-but-related mission. With this series, he's seemed to have gotten his groove back and, hopefully, it won't be too long before Starlin graces us with some more creator-owned work.

While the goofy and comedic "Punisher War Journal" didn't quite work, "Punisher" succeeds with a more serious tone akin to "Daredevil" or the MAX book. Remember, Opena and Brown are a great team (see "Fear Agent"), working harmoniously, but the book suffers from the lack of its strong protagonist with the Punisher presented more as a thug-for-hire than the driven vigilante we're used to.

Ultimately, this issue of "The Punisher" highlights why Frank Castle doesn't really work in the Marvel universe as much anymore: the only villains he gets to kill are losers, which makes killing them meaningless and the Punisher a bit of a joke. We're supposed to think that the Punisher is a force to be reckoned with and these nobodies are the cream of the crop when it comes to his superpowered victims? Call me when he kills someone whose name I'll remember in two weeks.

(Michael Lacombe draws pretty pictures in CBR's preview! Check it out!)

I hate to continue the Ennis comparisons, but this plot seems so much like the sort that he would come up with that it's impossible to ignore. Gischler clearly has talent and he's paired with a great artist, but he needs to take a page out of Ennis' book and make with the funny a little. The MAX Punisher title has been trying to escape Ennis' shadows since he left the book and doing a story clearly influenced by him isn't the best way to do that, so why not embrace Ennis? There's a reason why his run was a classic -" and this story could be, too.

With the popularity of "Planet Hulk" and "World War Hulk," this "Planet Skaar" storyline should attract some new readers who want to see the Hulk and his son destroy everything around themselves to get at one another, and this issue seems to cater to that by setting Skaar up in a similar manner as the Hulk. The big surprise, though, is the art of Dan Panosian whose drawing is reminiscent of John Romita, Jr.'s art, and acts as a visual callback to "World War Hulk," which is a lovely touch.

While not a strong issue on the whole, the scene between Hiro-Kala and Galactus makes this issue much better and makes the appeal of the upcoming "Realm of Kings: Son of Hulk" series more apparent. Most readers may not know much about Hiro-Kala, but this issue clearly shows that he will be making an impact over the coming months and will be a fine addition to Marvel's cosmic characters.

"Soldier Zero" #2 is an improvement on the first issue, getting into the meat of the story, but it's also very exposition heavy. Cornell's character work is good and grounds the story in some semblance of reality. Sadly, after two issues, it's still too early to tell if this book will be worth reading on a regular basis. Two issues in and the story is barely going.

"Soldier Zero" #5 may welcome a new writing team, but there's no big change in tone or focus. DnA make an effort to continue on what Paul Cornell started, for both good and bad. For new readers, there's everything you need to know and, for old ones, there's a lot of rehashing and repetition with Application Nine.

From odd editorial decisions to a vague mandate, "Stormwatch" #1 isn't exactly the best introduction to the team, its role in the new DCU, or its members. Despite some clever ideas, like one of the new characters, the Projectionist, and Sepulveda's art, Cornell's writing doesn't get past imitating Warren Ellis and actually giving readers a reason to care about this book. Why read it over any other random superhero team book besides a lingering fondness for Wildstorm characters that aren't the same anymore? I don't know, and that's a question this comic should have answered.

Not a fantastic comic yet, "Stormwatch" continues to improve since its first issue. The shift in how Cornell writes the characters helps a lot and Sepulveda shows moments of visual brilliance, though most of his art is buried under horrible computer effects. At this rate, this may become the premier big budget superhero action team book.

Instead of helping Norman Osborn move past his checkered past, all this issue does is point out, quite blatantly, how insane he is and that no one in the story seems to notice is conspicuous and baffling. It's hard to remember how great this book was just one year ago.

Fights, chases, secrets, double-crosses, and one hell of a final page, "Thunderbolts" #135 is a fun, exhilarating read. Andy Diggle keeps you guessing throughout and it seems a new twist is always just a page-turn away.

While a clever idea fuels this initial "Siege" tie-in issue and manages to play to the Thunderbolts concept well, too much time is spent on these unlikable characters talking as the vast majority of the issue is spent that way. A small taste of their antagonistic banter is great, but Jeff Parker pushes it too far here and, by the end, it's simply annoying.

"Thunderbolts" #151 reveals an origin for the Ghost that explains a lot about why he acts as he does, but does take away a little bit from the character's innate mystique. By basing his former life in something so mundane and executed in a somewhat clichd fashion, it does detract in a small way. On the whole, though, it's a story that livens up the Ghost and the aura he projects.

"Ultimate Comics Avengers 3" gets off to a quicker start than the last arc with Millar introducing both Blade and the new Daredevil in this issue while setting up the premise of the arc with an unexpected twist at the end of the issue. This series of series continues to be fun and bold with Millar on his game.

Despite these positives, this is a pretty slight issue. The premise is established, a couple of scenes are delivered, and it's over. That slow, sparse pacing has been a flaw with "Ultimate Comics Avengers" in previous stories and last issue looked like it had that problem out of the way for this story, but apparently not. What's here is well done by everyone, aside from a very lame joke involving Millar himself, but it goes by so quickly that it doesn't feel like a complete comic. It should be a great thing when everyone involved hits their stride, if that happens.

"Ultimate Comics Avengers 3" #5 doesn't leave much hope for next issue's finale with much to accomplish and so little having occurred to date. Millar's decompressed storytelling and misdirections are self-parody at this point.

"Ultimate Comics Avengers 3" never came together as a story. The vampire threat never paid off and the ending feels abrupt. Part of the problem is the mixing of a story and artist that don't fit, another is that it was paced so horribly that the final conflict was pushed so far back that the only ending that could happen would be an abrupt, unsatisfying one. It's the sort of writing that led to "The Ultimates" series getting extra pages and added issues, except here we have one issue with 22 pages.

As a single comic, "Ultimate Fallout" #1 feels incomplete and ill-suited to the format it has been placed in. Nonetheless, what happens in this issue is some strong character work and storytelling as those that loved and knew Peter Parker react to his death. Thankfully, we won't have to wait long for the rest of this story with issue two shipping next week.

Looking back on the series as a whole, it remains a puzzling offering from Marvel, so inconsistent in quality and content that, unless you were already sold on the new Ultimate books and wanted to get a taste of what's to come, you weren't buying this. For those looking for closure to "Ultimate Spider-Man" before the Miles Morales era begins, "Ultimate Fallout" #6 offers some of that. It doesn't do a whole lot else.

It's too early to call Adams' return to Batman a success or failure, obviously, but this first issue isn't the 'knock it out of the park' return to the character that many fans were clamoring for. Adams' art isn't as clear as it once was and the writing is fairly mediocre, but there's something compelling about this issue that will have me buying the second.

Whether the farcical and comedic elements of "Batman: Odyssey" #2 are intended, they're hard to miss. Adams's storytelling is downright silly and absurd at times, while the story seems intended to be serious. It's a fun comic that won't be to everyone's taste, but looks like Adams is having fun creating. It's pretty fun to read, I must admit.

Not the Batman readers are used to now, it's easy to see why Neal Adams' "Batman: Odyssey" would turn off some readers. It's very hit or miss at times, especially with the plot, but the messiness of the emotions and art give the comic a powerfully compelling energy. Sometimes, it's laughable, but "Batman: Odyssey" is infinitely readable.

Despite assurances otherwise, "Batman: Odyssey" #6 continues the thrown together feeling of the series and that's a big part of its charm. Neal Adams seeming tosses out any idea that comes to him, ignoring logic for energy and cool things to draw. For some, it is no doubt a torturous read; for me, it's a wildly entertaining and joyous read.

While the "Justice, Inc." second feature outpaces the lead story, "Doc Savage" #1 is a thrilling ride of an issue that doesn't slow down. It follows up on the promise of the "Doc Savage/Batman" special and "First Wave" #1 nicely.

The news that Brian Azzarello and Ivan Brandon would be writing the second arc of "Doc Savage" was enough to warrant giving the book another chance, but with artist Nic Klein, they've produced a comic that grabs you from panel one and doesn't let go. It's quick, disarming, creepy, and utterly compelling. Definitely a comic worth checking out and adding to your pull list for the foreseeable future.

"Doc Savage" #6 heralded a strong, new run on the book and this issue doesn't follow-up as well as it could. The beginning is a little too confusing, but it does begin to recover through the second half and ends on a high note. Maybe it's a case of an issue that will read much better as part of the whole story, but, taken alone, it's a let down unfortunately.

As far as 'time out' issues go, this is one of the better ones I've read. Stopping the story mid-arc to tell a related interlude is risky, but Brandon and Winslade make it work by focusing on telling an entertaining action story, and highlighting the relationship between Savage and MacKenna. These scenes easily could have been flashbacks interspersed in a regular issue, but, by putting them all together as a single story, there's more cohesion and impact.

After a strong arc by Ivan Brandon, Brian Azzarello, and Nic Klein, "Doc Savage" #13 is a big step down. Jones gets the details right, but not the feeling, while Qing Ping Mui's art is a messy of lines and distorted perspectives and figures.

Bianchi's art lives up to expectations and is a great match for the characters and world, while Robert Rodi sets up an intriguing story. There's a strong sense of how wrong things have gone in the world, culminating with the scene involving Thor and his hammer that is somewhat shocking. If you like your Thor with a healthy dose of fantasy influence, "For Asgard" is your book.

"Thor: For Asgard" is surprising in its dark tone and how much that tone works. It doesn't come off as dark and brooding for the sake of it, but is rooted in an integral piece of the Asgardian story. Rodi and Bianchi continue to present the decay and collapse of Asgard as Thor watches helplessly, unsure how to turn things around.

It's not unusual for the fourth issue of six-issue minis to be less compelling than what came before; Rodi tries to work against that problem, but provides more of the same. Instead of raising the stakes, most of the issue maintains the same general level of threat to Asgard. The final page does take things to another level, following up on an idea introduced in a previous issue, suggesting that issue five will get things back on track and pushing strongly to the conclusion.

The final issue of "Thor: For Asgard" is a disappointing conclusion, because it lacks one. An attempt is made to present a different sort of victory for Thor, but it's one that doesn't obscure that little has changed since the first issue. Maybe if a sequel series is released, this issue will seem less of a disappointment. Still, even that would hardly justify this lack of conclusion. It's a final issue that undermines the entire series, retroactively taking away from what came before.

For the first time in a long time, Superman is a vibrant, engaging character thanks to "Action Comics." His core values haven't been lost, merely shifted to different targets than traditional for the character, harkening back to when the character debuted in "Action Comics" in the late '30s. It's a bold reworking of the character and, so far, it's made for some highly entertaining comics.

In the end, "Action Comics" #4 is necessary to the story that Grant Morrison is telling, but that doesn't make it as lively or energetic as the first three issues. The action is determined by an external force rather than the characters themselves, and that sucks a lot of the drive out of the issue. Things happen because they happen and Morrison doesn't seem to find that any more interesting than we do. Hopefully, this issue is just a hiccup in an otherwise strong run.

David Hahn begins "All Nighter" #1 incredibly well and can't quite live up to that first page. The rest of the comic is entertaining, bolstered by the protagonist and his strong art, but it never gets going completely. Right now, it meanders from scene to scene, looking for direction. There's enough promise in this first issue that the second warrants a look, though, and, hopefully, with the introductory stage over, the plot can get moving then.

Not only does "The Anchor" #5 mark the beginning of the second story arc, it also ships on the same day as the first trade, which collects the first four issues of the series. It may be somewhat stagnate for the beginning of a new story arc, but that also makes this issue a great jumping on point for new readers.

"Annihilators" continues to be a great value with two full-length stories for $4.99, and the second issue is an improvement over the first. Still, the Rocket Raccoon and Groot feature holds the comic back as it flails about for direction and finds none. The Annihilators' story definitely picks up and, hopefully, the direction that both stories get in this issue will mean that next issue will be another improvement.

Not everything works in "Annihilators" #4 and it's the weakest cosmic title from Abnett and Lanning in a while. After "The Thanos Initiative," this feels like a breather more than anything. A light romp lacking in cosmic consequences. That's a smart approach, but one that does hold the comic back to a degree. With "Earthfall" on the horizon, hopefully this was just a bump in the road instead of an indicator of a larger problem.

It may not be a strong story, but "Artifacts" #0 does introduce the centerpieces of the upcoming Top Cow event and gives readers the necessary information to pick up the first issue. As well, by giving information on all 13 artifacts, there is a mix of known objects and new ones for Top Cow fans to learn about here. All in all, a solid issue to lead into the event.

"Avengers Annual" #1 raises some interesting points and seems to be a part of a larger story Bendis is telling about the public turning on the Avengers. Wonder Man's argument against the Avengers has some merit and doesn't get the follow-through it warrants, especially in the response from the Avengers. Hopefully, Bendis will return to the ideas raised here and develop them further.

If you've never read the story of Thor, "Avengers Origins: Thor" is an entertaining and coherent read until the final scenes. Kathryn Immonen writes the characters with depth and Al Barrionuevo matches her on art. Unfortunately, this story isn't simply an old one that's been told numerous times, it's been told numerous times recently in numerous mini-series and one-shots from Marvel. With a plethora of recent Thor stories about his youth, this comic stands out amongst the "Avengers Origins" books as the one that seems unnecessary.

Fans of the original "Infinity Gauntlet" may miss the cosmic characters or the stronger focus on Thanos, but "Avengers & the Infinity Gauntlet" #1 sets up the premise well with a focus on the Marvel heroes that a wider range of readers would be familiar with. Some of the choices Clevinger and Black make may raise some eyebrows, but it's clear that they're telling their version of the story and have a plan. Plus, Churilla drawing Thanos! I cannot stress that last point enough.

It's hard to say if this book is aimed just at continuity nerds or it's meant to be a window into the Avengers' past for newer readers brought in over the past few years by Brian Michael Bendis, but it's a good issue either way. Both Casey and Noto have a flair for combining the bombastic elements of these old stories with modern styles and trappings. There are a few things that don't work, but it's an entertaining read that gives the story of the Avengers' formation a little bit more room to breathe.

Some may consider books like "Avengers: The Origin" a waste of time, paper, and talent, but Joe Casey and Phil Noto bring a strong level of craft to the material and manage to introduce a few moments that make it rise above the 'expanding on a story everyone knows' level. Casey's Ant-Man or Noto's Asgard are great things that wouldn't happen were it not for this project. I can't wait to see what other intriguing or stunning moments that come out of the two remaining issues.

The idea of a small German unit with depleted supplies fighting against larger forces through skill and superior weaponry is an interesting one, but it's only introduced in this issue. Otherwise, this is a fairly typical Garth Ennis war comic, which is still pretty good, just not up to the standards that he's set.

"The Tankies" may be on the lower end of Ennis' war comics, but it's still a good, entertaining read. The subject of tanks in war isn't one often explored and Ennis demonstrates that tanks can lead to as many mistakes and horrible situations as anything else.

"Bring the Thunder" #1 is a solid beginning to the Alex Ross-created comic about a US soldier in Afghanistan turned into a superhuman. So much of the issue happens without a proper context, though, that it's hard to get too hook yet. The art is strong and Ross and Nitz make an effort to write the lead as a unique character. If the larger context is entertaining and works, this series could turn out to be a pretty good comic worth checking out every month.

"CLiNT" #1 is definitely a Mark Millar production with a tone that matches his work, both in the articles and the other comics, and that most of the issue is comics content is a good sign. Not everything lands and not everything is new, but the magazine is still a slick periodical with a lot to offer.

(Check CBR's preview of the issue, too. )

(Go see Sean Chen's preview pages to judge his work for yourself! I mean, I could be wrong, right?)

There's potential in "Dracula: The Company of Monsters," especially if the end of the issue indicates that Vlad will be used to help run the company, so it can crush its competitors. Shifting his skills from the field of battle and the monarchy to the board room could be very entertaining. Where a character like Evan fits in isn't clear, though. If anything, he seems redundant and a distraction right now. He brings the reader into the story, but loses his function after that's accomplished. All in all, this is a solid book with plenty of potential. Hopefully, that potential will be realized.

(Check out CBR's preview and see just how easy it is to hop on board this book!)

With the strong immediate hook of the first series, "Existence 3.0" #1 gets off to a slow, less engaging start. Ron Salas's art is still very fluid in conveying action, and he does a fantastic job with the opening, but after the two-page spread that completes the sequence, the issue sinks. Hopefully, things pick up since the concept is good and these creators delivered last time. It would be a shame for this to turn out to be the bad sequel that shouldn't have been made.

If you were excited for "Fear Itself," "Book of the Skull" won't dampen that excitement, but it certainly won't increase it. It's an entertaining superhero story that follows a plot that has been done many times before, both in Ed Brubaker's "Captain America" and elsewhere. Both the art and writing feel inessential to "Fear Itself," nothing that can't be covered in a line of explanation.

I'm not sure that "Flashpoint: Secret Seven" #1 holds together completely and is little more than a series of crazed moments that entertain in the moment. Those moments, though, are very entertaining. More than anything, this is an interesting comic that you wouldn't see DC publish normally and using "Flashpoint" as the chance to try something a little out there is great to see.

(Roland Boschi and Dan Brown do good work. See for yourself in CBR's preview.)

For fans of the current "Green Hornet" series, this Annual adds an interesting and necessary part of the story, showing what happened between some of the scenes of issue three. Anyone thinking that this is a chance to give the book a try, though, may want to look elsewhere.

"Halcyon" has a strong, interesting idea behind it, but this first issue spends far too much time getting there. It's all world building, but doesn't come off as essential world building. Only a few characters get any memorable panel time and the final pages are the most engaging and exciting. Like I said at the beginning, this issue feels more like a teaser than a strong debut. Instead of leading with the book's most interesting idea, it postpones it. I'm interested to see what the second issue does with it.

Overall, "Halcyon" #2 is a much more intriguing and compelling issue than the first, but it's still too soon into the story to get a solid read on the title. It has the potential to be a unique, imaginative story that explores a very fascinating post-superhero world, but it could also turn into just another supervillain plot that needs to be foiled. I'm hoping for the former and, so far, "Halcyon" hasn't disappointed.

"Halcyon" was an ambitious series, one loaded with potential, and it never reached it. The idea was so big that five issues couldn't do it justice and the shift to a much more personal story gives the series a lopsided imbalance. What actually happens in this issue is clever and makes for a strong ending " of Sabre's story. But, this wasn't never just Sabre's story and that's the problem.

As I said at the beginning of this review, if this book appeals to you because you're a fan of McFarlane and his work, you'll probably enjoy "Haunt" #1. If you're not, you'll most likely find this a pointless comic that never really offers anything new and feels like a bad joke.

In "Haunt" #19, Joe Casey and Nathan Fox make an effort to please both existing readers of the title and newcomers, succeeding for the most part. The art is gorgeous and is worth poring over again and again to see exactly what Fox is doing. Casey glosses over a lot, but also provides a clear direction of where the book will wind up soon. The end of the issue is pure insane violence and leaves things in a very interesting place.

"Haunt" ends 2011 with a pair of strong, entertaining issue from Joe Casey and Nathan Fox. The new direction is surprising and entertaining. At this rate, "Haunt" may be one of the best comics of 2012.

The majority of "Indomitable Iron Man" #1 features gorgeous, stunning art by Will Rosado and Howard Chaykin that's well worth the price of admission. After seeing how well the character lends itself to that visual style, you may wonder if Iron Man even needs the reds and golds he's so often associated with.

The debut of the new "Journey into Mystery" is definitely the sort of comic that Thor fans will love. Gillen writes a fantastic Loki and sets the book on a smart course for the future. A title starring Loki may not be the first book that springs to mind as a logical spin-off from "Thor," but is proves in one issue that it should be.

The best 'point one' issues have been the ones that manage to introduce the concept while also offering something new for regular readers of the comic. With an unnecessary 'between the panels' story from an earlier issue by people who don't do the comic regularly, "Journey into Mystery" #626.1 ranks among the worst. It embodies all of the possible negatives in the 'point one' comics in its redundancy, questionable choice of creators, and hasty production values.

Overall, "Journey into Mystery" #630 is an amusing, entertaining comic that begins the follow-up to "Fear Itself." Volstagg's role in the event is surprising, and his reaction lends itself to a fun comic. The only problem is that the writing and art don't go far enough to make Volstagg's story a fantastic tall tale, walking some middle ground that leaves you wanting more.

Christmas issues in superhero comics don't often work. They're too sappy (or cheesy) or seem like a fill-in that doesn't matter; "Journey into Mystery" #632 avoids those problems. There's heart to this story, but not so much that you want to throw up, and it genuinely feels like the 'next issue' of the series, not one where the holiday theme has been forced upon it, derailing it for a month. If Christmas comics were reread every year like TV specials are rerun, this issue may be a candidate for earning a permanent spot in that rotation.

It seems unfair to praise a comic for its boldness and willingness to subvert conventions before condemning it as a dead end issue for the series. But, that's exactly what "Justice League Dark" #5 is. Any sort of follow-up will seem disappointing after a finish like this, like a surrender of principles set out here against the entire concept of the comic. A natural jumping off point.

The small character moments in this issue make up for the lackluster, cliched plot, although the two-page history of the multiverse by Starman stops the issue dead. The look on Mr. Terrific's face upon seeing his wife alive, the problems between Huntress and Robin, and both Power Girls' attempts to find out where they belong are just a few of the parts that make this comic better than its whole.

"Kato Origins" #1 is a good beginning to the series and offers a clear, confident take on the character. The art works best when taken one panel at a time and the narration doesn't come together at the end, but it's engaging and shows promise for the series as a whole.

"Magnus, Robot Fighter" #2 is a comic that pulls in a couple of directions, but is entertaining nonetheless. The approach is somewhat antiquated and that separates it from most other comics. There's a simplicity to the comic that makes it fun to read.

"Pilot Season: Murderer" #1 has a strong hook, but doesn't develop the protagonist enough, nor does it depict his power to hear/see thoughts effectively. However, it does make me want to see more as the concept is good and I'm curious what a series about Jason would be like.

A solid, intriguing issue that simply lacks an original plot to really make it shine. Working with the limitations and clichd nature of the story, Gray, Palmiotti, and Connor get as much entertainment and humor out of it that they can, but it's not as much as they're obviously capable of. But, the issue ends on a strong cliffhanger, so I'll make sure to be back next month and all of you should join me.

This is a fun, entertaining issue of "Power Girl" that reminds me of a Spider-Man comic if you ignore Kara's lack of romantic problems. Her personal life is a mess and her superhero life isn't much better. To anyone who claims to hate the overly violent and darker superhero comics out there: this is the book for you.

The joy of "Power Girl" was its light tone that managed to humanize Kara, while still presenting her as a competent hero worth rooting for. None of that is apparently in this issue where she's presented as somewhat stupid and presented with a lazily 'serious' and 'dark' plot that's uninteresting as it is overdone.

"Predators" #1 is a slight, but interesting debut to the prequel mini-series for the upcoming movie. The lead story is a series of violent deaths one after another, while the back-up is more character based, but still containing brutality. It will be interesting to see how both stories play out and tie in to the movie, but it is off to a solid start.

If you liked the movie, this comic is such a natural outcropping that it will feel like a lost fourth act. Lapham picks up on a natural conflict between Royce, Izzy, and the Predators and plays it out exactly as you'd expect.

If it weren't for Ryp's art, much of this issue would fall flat, but he makes the uninspired plot much livelier and funnier than it has any right to be. Milligan's writing does pick up in the third act as he delivers an unexpected ending, making for a solid overall issue.

One of the biggest strengths of this issue is Abnett and Lanning's ability to find small character moments, giving the series its own, albeit limited, sense of wholeness. Beyond that, it's an action comic that progresses the larger story of the Marvel cosmic universe as it heads towards "The Thanos Imperative," meeting up with one of the subplots in "Guardians of the Galaxy" by the end. As far as perfunctory books go, though, it's pretty good and definitely worth it for that cosmic fan that doesn't mind spending a little extra cash to get a view of the bigger picture.

This is a good conclusion to this mini-series, one that sets up events seen in "Guardians of the Galaxy" and puts the Inhumans and Kree in the right place for "The Thanos Imperative." The end of the issue is especially strong, as Abnett and Lanning move past the somewhat clichd morality debates and emphasize Medusa's role as leader.

"S.H.I.E.L.D." remains an interesting book with enough quality to warrant reading every issue; it simply hasn't lived up to the pre-release hype or the potential exhibited at its best. Too often, a brilliant page will be next to a lackluster one. This issue offered a little consistency thanks to its simple, direct plot, and that still wasn't enough.

The plot doesn't advance a great deal in this issue, which is a little disappointing after an issue-long fight last issue. However, that's balanced out to a degree in how things happen here. This isn't a straight linear, cause and effect comic, and the storytelling reflects that. It applies some smart concepts to how it tells the story and, with three distinct timelines in this issue, what happens next is anyone's guess.

"S.H.I.E.L.D." isn't like any other comic on the stands, but that isn't just a good thing. There's almost appalling lack of plot or consistent character work, focusing more on hints and allusions to a larger picture. It drifts in and out of events, and delivers powerful and affecting scenes when it focuses like the discussion between Stark and Richards here. But, do those fragments add up to anything? That remains to be seen. For now, this is another piece of a puzzle that's beginning to not seem worth the effort.

"Spider-Man 1602" #5 wraps up this fun and light series strongly with a lot of action and adventure, though the final pages push the 'cutesy' envelope a bit far. Otherwise, if you just want an entertaining adventure comic to read, this book does the job ably.

For a debut issue, "SpongeBob Comics" is effective at capturing the tone of the show and allowing the creators to present their own takes on the characters at times. It suffers sometimes from not being able to rely on the strengths of animation and, hopefully, will take advantage of the things that comics can do that animation can't, adapting its style to this medium more. Me, I'm just wondering what sort of look I'm going to get when I add it to my pull list on Wednesday.

(Give Wagner Reis's art a look in CBR's preview.)

"Grounded" gets off to a somewhat mixed start, but leaning in the positive direction. Eddy Barrows shows the right instinct to make sure the emotional aspect of the comic is apparent in the art, but overdoes it, while Straczynski alternates between great and cornball dialogue, especially with Superman. There's also the question of how well this sort of story will work as it progresses since one issue of Superman cleaning storerooms and reminding people not to run red lights is fine, but could easily become tedious after a few more.

"The Darkness: Shadows & Flame" takes advantage of the dynastic nature of the Darkness character to tell an interesting and entertaining horror story. While obvious in places, it is nonetheless a well-crafted issue and something for horror fans to keep their eyes out for.

Fans of great art will find "The Unexpected" a treat even if the stories are mostly obvious twists and poorly constructed.

Only the introduction to the story, "X-Files/30 Days of Night" #1 sets up the presence of vampires and the reason for Mulder and Scully to be around. With five issues left, both sets of fans should be pleased when the two parties cross paths.

"Thor: Wolves of the North" #1 is the sort of comic that fans of the character will enjoy. It's hurt to a degree by the plethora of Thor material available now where it becomes 'just another Thor' release instead of having a chance to stand out as something different from the ongoing series. Mike Perkins and Dan Brown kill on art, and it's fun to see Perkins return to the Marvel universe, if only briefly.

"Ultimate Wolverine vs. Hulk" is a lot of stupid fun, always in danger of going too far, but never quite. Lindelof's over-the-top writing is clearly the work of a man normally restrained but, here, free to do as he pleases for good or ill. It's hard to take this book too seriously, because no one involved seems to -" and that's a good thing.

"Velocity" #2 showcases the eponymous heroine's abilities and problem-solving abilities as she's left with the task of saving herself and her Cyberforce teammates from a deadly virus in under an hour. It's a fun, breezy read with gorgeous art.

"X-Factor" #207 is a little too busy in the plots it's juggling, but the execution is good nonetheless. Some of the moments between characters are a little too cute, like the use of Layla, and the reveal of the true identity of the man who took Hela's necklace comes out of left field, this is an entertaining issue.

(But, hey, maybe you'll disagree... Check out CBR's preview and see for yourself!)

(Artist Brian Denham's storytelling is strong, but what's up with the distorted faces? See for yourself in CBR's preview.)

Marv Wolfman's writing is improvement over that of the first two issues and he's matched by a continually growing Brian Denham on art. Fans of the series will no doubt enjoy this issue.

Next issue will begin the third and final story of this series with only artist Brian Denham as the constant throughout. His work was improving, but this issue is his weakest art since the first issue. It's a real shame, too, because, last issue, he really delivered and, this issue, his art drags down an otherwise solid issue. Though, I'm sure my girlfriend won't complain.

"X-Files" continues to be a very solid and enjoyable book, kept consistent by Brian Denham's art through three different writers. Fans of the eerie, dark "X-Files" type of story will love the shift from the first two stories here. With any luck, next issue's final issue will end strong and leave readers wanting more -" and Wildstorm has proven they can deliver.

"The X-Files" six-issue mini series has been a well-executed book with this issue ending things well. The use of three writers doing two-issue stories with one artist is a great format for a licensed book like this, and, if anything, is an idea that should be stolen by others. This issue also had a very impressive few pages by Brian Denham where he broke from the typical look of "The X-Files" to use a technique that the TV series never could, and, in the process, hinted that a future series could take advantage of the medium more than this one did. I hope it gets the chance.

"Zatanna" #7 may not be the next issue in Paul Dini's run on the book, but Adam Beechen and Chad Hardin provide an entertaining fill-in story. The story is light, the characterization is spot-on, and it's definitely worth a look.

As far as artist showcases go, "Zombies vs. Robots Aventure" #4 is a very solid one with good writing from Chris Ryall that allows each artist to show off his skills best, and each doing so ably. All three artists have a lot of potential and I look forward to seeing their work again in the future.

You can't go wrong with a one dollar first issue and "I, Zombie" #1 isn't one to grab your right away, but with art from the Allreds and a few interesting moments, this issue shows that the series has potential.

Ultimately, reading "iZombie" #5, I'm left with one question: why should I care? The comic never answers that or gives me a good reason to come back next issue aside from some good dialogue and great art. But, without a solid emotional core or intriguing plot, those positives just hang there and don't seem as appealing. On the surface, this is a pretty good comic, but it's lacking something underneath.

Together, Bendis and Deodato are doing good work on "Dark Avengers" with the occasional great scene like the one between Norman Osborn and the Sentry that begins the issue. If future issues continue the dark, psychological interplay between these deranged characters, then "Dark Avengers" will be a must read each month.

(Mike Deodato draws some pretty pictures in CBR's preview of this issue!)

(Norman Osborn versus Namor in CBR's preview!)

Matt Fraction is proving his A-list chops in "Utopia," writing a compelling crossover that seems almost too full of characters and ideas rather than needlessly drawn out. He's taken what could be a lame, redundant concept in the Dark X-Men and made it interesting, and not simply a copy of the Dark Avengers. With "Utopia" half done, the second half is sure to be equally impressive.

Despite the various problems of this issue, the second half does show improvement and the ending is very promising -" and in a way that Bendis has to follow-up on next month. "Dark Avengers" has been a solid, above average book so one lackluster issue isn't something to get too worried about, but this one is a misfire.

Ultimately, Deodato's success can't cover up Bendis' failure to provide strong new insights into the Sentry or his past. The technique of structuring stories so that one or two issues are devoted to filling in the blanks from previous stories is one that Bendis has used several times in the past and it has one big weakness: by the time you reveal the solution to the big mystery, expectations are high and the payoff better be great. It's not here, as most of the time is spent recounting known parts of the Sentry's past and the new revelation is the sort that will make many wonder exactly what Bendis is thinking.

Acting as a supplement and explanation, of sorts, for the Sentry's behavior in "Siege" #3, "Dark Avengers" #15 works to a degree. It continues Bendis' storytelling pattern of dropping hints and presenting incomplete scenes that are answered and filled in later, but this issue doesn't provide enough oomph to really give a payoff.

Everyone knew "Dark Avengers" wouldn't last forever and it goes out strongly with nearly every character getting his or her moment, and Bendis contributing a final goodbye essay to close things out. For fans of the book, this issue is satisfying and the right way to close the book on Norman Osborn's Avengers.

(Olivier Coipel draws a mysterious, frightening and alluring Hela in CBR's preview!)

Beyond the comedy, Straczynski lays on a few more surprises for the characters as Balder makes the decision regarding Asgard's future and Thor finally learns why Sif didn't appear along with the other Asgardians. It's great to see that Straczynski's new status quo continues to work just as well as the previous one. Now, all it needs to do is get back on something approximating a monthly schedule.

(See Marko Djurdjevic's interior pencils for yourself at CBR's preview!)

Straczynski and Djurdjevic deliver a solid, good issue of "Thor" as it approaches the end of Straczynski's tenure on the book. Loki's intricate plot move towards killing Thor once and for all, and the issue ends with a cliffhanger that gives hope that all is not lost yet.

The final pages, in particular, read like Gillen is working too hard to set up other stories and not ending this one in its proper place. A less than satisfying ending, though, cant cover for the strong beginning and resolution to the Asgardians fight with Doom. I cant wait to see how Gillen handles these characters over the next three issues during Siege.

With Gillen expanding his run to accommodate the delay in the new creative team's run, there was a worry that this storyarc would be nothing but filler, but it comes out of "Siege" effortlessly, acting as an epilogue to the events there. Gillen's shown a great ability to take ideas from previous stories and use them in new and interesting ways, building on what J. Michael Straczynski did on the title and, now, building on his own work. So far, it makes for a nice little run that I'll be sad to see end.

After a strong finish to last issue, the lack of action isn't just a disappointment in and of itself, it makes this issue feel somewhat disconnected from the previous. They don't flow well with this issue seeming like a shift in tone. Some of the elements work well like Gillen's character work or Braithwaite's Disir, but, overall, this is one of the weaker issues of Gillen's run so far.

I have to admit that I'll miss Kieron Gillen on this book. He took a bridging fill-in stint on the title and crafted a solid, entertaining 13-issue run (if you include "Siege: Loki" #1 and "New Mutants" #11). He definitely made the most of his time on the book and characters, and this issue ends the run strongly.

"Thor" #615 has been a longtime coming and it meets expectations. Fraction introduces the key ideas for the initial story arc, while Ferry and Hollingsworth establish a strong visual look for the run. There's a tension in the comic as it pushes into new directions, while honoring the past and what came before, creating an issue that will win over new readers and satisfy the longtime fans.

Though not yet living up to the promise of the opening issue of the run, "Thor" #618 shows that the book is moving in the right direction and beginning to find its feet. The threat of the World Eaters seems more urgent and the Asgardians are beginning to come out of their holes. That the book is reverting to a previous form instead of moving forward is a concern, but, hopefully, the larger plan will pan out. This issue may be the turnaround that the book needs.

So far, "Thor" hasn't managed to live up to the promise of Fraction, Ferry, and Hollingsworth's first issue, but it's definitely on the right track, recovering from issues of stagnation. The World-Eaters are here and they look to present a serious threat to the Aesir, while Thor's decision to bring back Odin already seems like a bad one. It may have taken some time, but "Thor" is entertaining and engrossing.

"Thor" #620.1 is a fine self-contained comic, but a 'jumping-on point' that falls between issues 620 and 621 of "Thor" it is not. Within that context, this issue is a baffling choice by Marvel in an initiative that has had a few stumpers already.

Taken alone or as part of the whole, "Thor" #621 is a disappointing and baffling end to the Matt Fraction/Pasqual Ferry run. After a huge build-up, the conclusion to the story is anti-climactic and simplistic, relying on the convenient storytelling trick of 'it happens, because it happens' rather than actual logic or reasoning. Hopefully, now that everything seems to be where Fraction wants it, "The Mighty Thor" can deliver on the promise he showed in his "Ages of Thunder" one-shots and the "Secret Invasion: Thor" mini-series.

A very solid issue of "Uncanny X-Men" that has me thinking that, maybe, I should be picking this series up every month. It's not groundbreaking, but it is the best "X-Men" comic I've read since Morrison left the titles.

Extended storyarcs always feel a little empty in the middle, but "Utopia" in particular offers up little actual substance in its fourth chapter beyond promissory notes that payoffs are coming, so come back next time. The small scenes between characters are handled nicely and read well, but this issue is lacking a singular moment or focal point to tie things together, and actively make readers want to pick up the next issue with confidence that they'll receive something more than a 'maybe something will happen in the next part!'

On the whole, this issue makes Scott Summers look more impressive and able than ever, while also establishing Magneto as an equally capable ally. Definitely one of the strongest issues of Fraction's run that I've read.

Where the issue ends is exactly where you think it will, although with a twist or two to keep things interesting, and that's fine. The journey there has some nice moments, but becomes a little too focused on making that ending happen no matter what and is hampered by art that doesn't match up to the writing, particularly at the end of the issue.

Kieron Gillen makes an impressive debut as writer of "Uncanny X-Men" with strong character work on Magneto, but is hampered by generic, mundane art that leaves little impression beyond a whirl of sickly glowing neon lights. If Gillen continues to have a good handle on the characters like he displays here, "Uncanny X-Men" looks to be in good hands.

As I said before, McKone's art is at its best here. His Spider-Man is almost always shown in motion, giving the character a real dynamic feel not always gotten across. This is a fast-paced issue and the art more than keeps up. Waid and McKone seem perfectly in sync, working to make the other seem stronger. Together, they've produced a fun, thrilling comic book "- pretty much what "Amazing Spider-Man" should be.

As a fan of Ben Reilly and the Clone Saga, I had high hopes for "Who is Ben Reilly?" but it's a go-nowhere story that collapses under its own overly complicated plot, much like the original Clone Saga. Marc Guggenheim has done some good work on "Amazing Spider-Man" over the past 20 months and it's a shame that this is how he leaves the book.

Not the train wreck comic that people thought it would be based on "One More Day," the first part of "One Moment in Time" blends the classic story of Peter and Mary Jane's wedding with new events to show how history was changed. It's a small, subtle change and the shifting art styles is a little distracting, but the overall package is good. This issue is a good sign for the rest of the story.

So far, "One Moment in Time" has surpassed expectations with Quesada sticking to strong character work and Rivera's gorgeous pages. The explanation for Mary Jane and Peter never marrying but remaining a couple is a serviceable one and plays rather well thanks to the raw emotion on the page. It should be interesting to see how the next two issues explain the events surrounding "One More Day."

It's still not entirely clear why this story is necessary, but Quesada and Rivera are certainly making it an interesting read. This issue sags more than the previous two, because the idea of a loved one of Spider-Man being targeted once he reveals his identity has been so built up and discussed that actually seeing it happen is tedious. And, there's an element of this story that simply feels like Quesada is checking off the boxes of plot points instigated by "One More Day." The identity becomes secret again, and Mary Jane and Peter break up? Check back next issue.

There's a symmetry to how "One Moment in Time" ends after it began by using and adding to "Amazing Spider-Man" annual #19 with this issue rewriting scenes from "Amazing Spider-Man" #545, the finale of "One More Day." Joe Quesada shows off a bit with dialogue that uses the same phrasing with small changes and it's effective enough, though lacking in an organic flow at times. "One Moment in Time" does answer all of the questions it promised to address and Paolo Rivera's art has been fantastic throughout. Still, in the end, the story can't help but feel like it exists just to answer questions that didn't necessarily need to be asked ever again. Nothing presented here makes the Spider-Man universe a more interesting place.

As an introduction to the new Venom, "Amazing Spider-Man" #654.1 is a fine comic. The plot is generic and allows for Flash to be both suave and an action hero, playing upon his lost legs and his double-life especially well. While this may not be the fantastic new 'jumping on point' for "Amazing Spider-Man," it is an effective way to sell the new "Venom" series to readers.

For fans of "Daredevil," this crossover is almost like getting two issues this month, while regular readers of "Amazing Spider-Man" get a taste of what makes "Daredevil" such a great comic. The plot here is one that allows Waid and Rios to focus on the characters, which isn't often the case with crossovers. Usually, the plot drives things to the point where characters get lost; it's refreshing that that isn't the case here. This comic shows that Waid knows what the coolest parts of crossovers and team-ups are: seeing your favorite characters interacting. Frankly, after this issue, I'd be happy to read a Spider-Man/Daredevil team-up book every month.

The end of the issue is a bit of a surprise and sets up the Marquis as a real threat and, hopefully, Millar and Hitch can follow through on the promise the character holds.

The finale of the Millar/Hitch run ends with neither on the book completely, but I don't think that would have helped this mediocre, convoluted story since Millar still plotted it and Hitch is replaced by an artist very much his equal. It's a shame that this 16-issue run couldn't end with more of a bang, but it does have some rather good moments.

With this done-in-one issue of "Fantastic Four," Jonathan Hickman blends big ideas and smart character work to deliver a great read that takes a somewhat boring concept like Nu-Earth and adds a twist to it that sets it up as another unique and alien location in the Marvel universe.

I do wish that the series began with Barock and Zoe already married and the details of how they met given in flashbacks or even saved for later in the series. The concept for this book is so intriguing that starting off slowly instead of in medias res seems an odd choice, and maybe not the best.

It seems wrong to fault this book, because it isn't what I expected, but since those expectations were built by the creators, I don't know what else to do. With any hope, the book will kick it into high gear and move past the clich god war, and to the domestic comedy promised. But, make no mistake, this is still a fun, good read, one that Brunswick and McDaid should be proud of.

Each issue of "Jersey Gods" sees Brunswick and McDaid grow in confidence and skill. While not quite a 'must read' yet, it's well on its way.