Thor #1 is going to be a challenging issue for some readers. It's the opening chapter in three mysteries (with more probably to follow) that withholds a little too much from the audience. The intrigue of discovering the identity of the new Thor is present, but it's undercut somewhat by all of the many other question marks the story leaves out there.

*This last is a little bit of a stretch on my part. But the concept is of creating test realities to help characters get over their psychological crises is shared here as well as in Will Peter Blattys The Ninth Configuration.

The actual mechanics of the heist are pretty clever and interesting, and Rorys ultimate means of getting away with the money is well-thought out. Its just that, I dont know, by the time the ending arrived I was sort of worn out on the story. Perhaps it has to do with the protracted way the story was released (the last issue came out in April), or the actual length of the story, which took time for detours and complications that didnt really seem to impact the main story in any real way (especially Kevins visit to his father last issue). As a result, the book feels slighter than it should . Which is a shame because its got a hell of a premise.

The remaining entries are solid to good, with Moores The Shrike and the Toad working as a charming little joke at the expense of the title animals while Worley and the Mink stays with the reader a bit longer after the initial experience thanks, in large part, to greater definition to the proceedings and characters. Perhaps neither story resonated as well with me because their visual styles didnt have as great a contrast from Petersens as did Potential. Still, solid to good, plus one excellent tale is a fine combination for an anthology such as this.

This is my third exposure to Arcudis work, the first being his Superman strip for Wednesday Comics whose incredibly deliberate pacing and dour/miserable tone were ill fit to a story about the Man of Steel. Later, I read an issue of his Alien mini which zipped along in the manner of the typical story featuring those monsters but held such an interesting twist at the end that I was excited to see what came next. I think the ending of this book has more in common with the latter as the body of the work has more in common with the former. The grey, deliberate tone is, I think right for this character and for the kind of story being told here, so Im hooked until next months issue.

Nothing about this calls to me as a reader or makes me want to dig into it to learn more. Whit and Wisty are incredibly bland characters, drawn by artist Victor Santos in the style of Darwyn Cooke but minus the understanding of anatomy or staging of action. The characters do a lot of running and talking, there's a magic hellhound, and ghost children, and still it feels completely non-essential. What's on display here has completely dissuaded me from exploring any further issues, and I'd advise you to save your valuable reading time for something else.

If I was duly impressed with Buzzard I had almost no time or interest in the other story that shares space with this volume, Billy The Kids Old Timey Oddities & The Pit of Horrors. I think it was going for something of the horror-comedic tone of The Goon but none of it really landed with me. It felt too civilized for a book featuring Eric Powells take on Billy the Kid. It opens up a mystery for the next issue but I just wasnt much interested in Billy and his odd Scooby gang that includes a Brit, a tattooed seer, a plucky kid, and some kind of gator man. It felt like a mash-up that hadnt quite found the right beat.

Still, its a minor complaint. The bulk of the book is excellent, gripping even. Should the remaining installments of the series maintain this high level of quality, we could be looking at a contender for book of the year come awards season.

Theres not a single objectionable element to the book, but theres also not a single one to compel me to read further. Emily seems a sweet character and her adventures move along cleanly and quickly. Still, the language is perhaps a bit too playful for me (the word anyhoodle pops up and my attention kind of blinkers), but again, this isnt a book written for me.

Hester says that this isnt necessarily the end of The Anchor, that flagging sales just doomed the book to end its regular run. I do hope that he revisits the characters world in a mini or a one-shot. Its one Id definitely like to revisit.

Gunnerkrigg Court is a series that I wasnt aware existed until I got this volume in my hands, but now I feel like I have to search it out and savor it from the beginning.

Well its readable, and it throws in the occasional big idea. Most importantly, it shows me a couple of things that I havent seen in a comic before. If you can get past some of the clunky characterization and the feeling that its seconds from Ellis, then youll have some fun with it.

The illustrations are the redeeming feature of the entire thing, with Caracuzzo drawing the hell out of it. Im blanking on names right now, but the influence of Euro horror comics is strong in this one (check out the leads who look like the main characters from a violent Italian detective comic rather than grungy, struggling comic artists from New York). Id love to see Caracuzzos future work, perhaps in service to a book that has a bit more clarity to it.

I see from the solicitation in the back of the book that the final issue wont arrive until July. Its unfortunate that theres another such large gap in between issues. Ill be looking forward to it but Im certain itll require another read through of the first two issues just to know whats going on.

It's a solid issue (re)introducing a much-loved character, but there's not a whole lot else to say about it.

I'm not really sure what it's about but it seems to hum along just fine.

Half of a very good issue of the current season marred by some inconsistent art and a bit of uncertainty about whats happening in the final story beat.

Maybe you should just check out another book.

So yeah, dont buy this book.

The art by Luc Jacamon is often very good but occasionally falters in its use of CG backgrounds that give the story an excessively artificial look. This artificiality is aided by colors that are sometimes a bit too garish and have a tendency to render all of the characters in a uniform brown (to the extent that its difficult at times to discern the ethnicities of some of the characters). Still, Jacamon nails the most important quality and thats fine actors for the script to use, carrying the storys emotion and action in equal measure.

Essentially some Utopia housecleaning, the lead characters fail to make an interesting case for their existence in this very rote plot.

A very good conclusion to an intriguing mini it's a shame the series didn't have more time to delve into all the weird Inhuman-Kree politicking.

A solid mid-arc issue, Brubaker makes a compelling case for keeping Bucky in the Cap costume a bit longer.

While it takes some getting used to a revised/evolving voice for the lead character, it's a good read this week.

I like the plot but not so much the throwback style of writing. It's definitely worth the look for a dose of Celestial insanity.

[Note: Shon C. Bury is a frequent and esteemed contributor here at the Comics Bulletin. I have not allowed my personal respect for Mr. Bury and his work for Comics Bulletin to influence my professional and objective evaluation of the book being reviewed today. I sincerely wish Mr. Bury and his artist Allan Goldman the best of luck with their future endeavors.]

Just as I get used to Steven Sanders' version of Hank McCoy, Marvel goes and cancels this excellent series.

A story that doesn't feel plugged in emotionally, Punisher Max: Butterfly fails to justify its existence.

Although Alex Maleev's painfully photorealistic art doesn't quite fit, Stephen King's N. nonetheless delivers with some tight plotting and an intriguing concept.

Druids reminds me of the 1986 film, The Name of the Rose, starring Sean Connery and based on the novel by Umberto Eco. That movie featured two monks solving a medieval mystery involving sex and madness. You can check out the trailer here:

Also, there's a backup featuring the new generic superhero version of Grant Morrison's Marvel Boy with the added complication of time travel. This is another character who's lost anything in the way of an interesting voice. I'm curious as to where his bland new stories will appear next.

I have no idea what's going on in this book. At the very least it's interesting to look at and it moves along briskly enough.

Im sure future issues will further flesh out the characters motivations but, as it stands, theres not much here to make me want to come back next month. The visuals by animation studio Madhouse (Paprika and Ninja Scroll) are very good, but theyre above-par visual concepts in service to a narrative that really has none.

Minus the endless, irritating caption boxes, this is a decent enough issue that moves the "Fall of the Hulks" storyline forward incrementally.

The collected Ignition City will be available on March 10, 2010.

Not quite what I was expecting, but it takes itself just seriously enough to make the reader do the same. Also: Marvel sure knows how to hire artists lately.

An unexpected ending to one of the better recent miniseries. Let's hope Marvel gets on the follow-up ASAP.

There are some interesting elements to the world of Basil and Moebius worth exploring. Unfortunately, none of them was covered in this initial volume. Should Hama and Schifrin choose to revisit the world of this story, I hope they decide to draw it out in greater detail.

Kind of sort of unnecessary, but funny in bits (hey, it's Jeff Parker).

Kick-Ass is what happens when you make Unbreakable and totally rethink it so that it's brain dead and tone deaf, and maybe, just maybe, a little racist.

Taking a twist into decidedly surprising territory, this final installment of the second mini-series opens up more intriguing questions than it answers.

While I'm still dubious about the ramp up to the "Fall of the Hulks" storyline, there's some cleverness on display in the moment that shouldn't be discounted by the reader.

An arc that went on a little longer than it should, "Insane in the Brain" was still an interesting, nasty little piece.

Theres a backup which I read but cant for the life of me recall what it was about or why the authors decided to include it in this book. I think perhaps were supposed to recognize the demon thats beating the crap out of some underworld baddies but by the end I no longer cared.

It's Punisher-as-usual under Jason Aaron in another issue that feels right at home in the Ennis era of the book.

Enlivened by snappy humor and gripping stakes, the latest issue of S.W.O.R.D. is a great bridge between the main Marvel U. and its cosmic goings-on.

In writing this book as a rejection of a certain type of comic memoir, Rall has inadvertently stumbled into another unfortunate type of memoir: The story of a life unexamined by its author and a narrative with little to connect itself to the reader.

While Williams has the voice and tone of the lead down, he doesn't seem to know what to do with him in this ultimately thin revenge story in Brit-crime drag.

On Tocchini--the work he does here is beyond impressive, but it's slightly undercut by some dodgy digital coloring that sometimes feels a bit too garish and over-lit for the content. Still, its an infrequent concern and one that hardly hurts the work on display.

Gage and artist Sandoval throw a welcome spotlight on a compelling character in this well-crafted issue leading up to Siege.

Not bad but hopefully you're only reading this because you didn't get your Gillen fix fixed in SWORD.

Glacial pacing and a downright esoteric final page make this issue a misfire.

As the story heads into the final stretch, Waid provides answers along with some tantalizing questions heres hoping the book gets the ending it deserves with the next issue.

Can a decent book be harmed by many bad ones preceding it? Apparently so.

Writer Nick Spencer fails to play to his strengths with this first issue, but Im willing to give the next a go in the hopes that hell drop the pathos.

Despite all the complaints Ive aimed its way, I didnt hate this book. In fact, I think there is an audience that would be clamoring for it if the concepts were refined and the creator thought up a through line for the whole thing. As it stands Cemetarians is too much of a jumble of ideas thrown through a popular aesthetics to really work.

Unless you're looking for some throwback-style writing about a fairly unused character in a dull story, keep moving along.

The dramatic shift in tone is a little jarring but Remender gamely attempts to sell the story and Moore's art makes it easy to ignore its ludicrousness.

An enjoyable start to the revamp on its own merits, I just hope that Aaron allows his own authorial voice to come through sometime soon.

Not bad but it lacks some of the momentum of the earlier minis. Here's hoping it gets stronger in the coming months.

For the second issue in a row Waid and Oosterveer have delivered a compelling story and I look forward to what they have to show for themselves next month.

Combined with the sanitized language (characters are obviously dropping f-bombs in the original script), the book has the sense of having gone through too much tinkering to smooth out the rough edges. Still, the glossy finish that remains is appealing and worth checking out.

In a word: excellent. Abnett and Lanning combine cosmic adventure with gritty combat and a dash of comedy into a wonderful package.

An excellent cap on several years of storylines but only come aboard if you've been following the book.

I really enjoyed this book. Id advise anyone interested in a character-based comedy/fantasy to check it out.

I'm very curious where this issue's last page will take the story next month. I just hope Bendis gets around to fleshing out his story a bit more and trimming back some of the fact.

Please make Dark Reign end already.

Its interesting if only for the throwback classic horror comic style but the very limited plot leaves a lot to be desired.

The book feels like several superficial ideas on the nature of nihilism that never really cohere into any sort of position and feels further constrained by flashy but hard to follow art.

Marvel has outdone themselves with this book but as an aside I would love it if they scaled back Deadpool's exposure a bit so that we can savor the character instead of having to go through what will be the eventual backlash.

This book has no reason to exist and doesn't really challenge or excite the reader.

As for John Cassaday's work, it is excellent--but nothing here explains the extensive delay of three years between issues. Taking a step back, the gap between issues has been inexcusable for a professional artist in a field where others would kill for the opportunities he's had. Having editorialized on that score it's just nice to finally have the whole thing completed.

If only Ellis had gotten assigned the last year of FF stories instead of Millar.

Another solid issue but the dreaded crossover fatigue has settled in a made this storyline a little less fun.

Beside some odd pacing issues this is a very good start to an extremely intriguing story. And it has the benefit of great art.

I disliked this book immensely, and I have a difficult time believing that anyone involved with its production was truly satisfied with the final product. It might not be the worst comic I've read this year, but it's in the running.

A very good checking-in issue. But readers should be forewarned that Kirkman will be hitting you with a lot of expository text.

To put it in perspective, Harker is more Murder She Wrote than it is Law & Order, and that means it should appeal to different audiences. It's an affable book, and I would like to know where the story goes next month.

Bendis's pacing and problematic verbal tics as well as some odd visual non-sequiturs hurt what feels could have been an interesting start to this new series.

Pretty, bloody, and completely, totally empty and I actually love Millar's Enemy of the State.

Overlong and emotionally thin, this felt like a poor use of the Annual format and worse a poor use of the title character.

Good for its creator in trying to get his message out but bad for me for having to read it.

Deeply unlikeable, broad, and unpleasant I hope the forthcoming movie has more in the way or personality than this mess.

A solid effort although I hope this means the X-Men franchise will be able to get along for a while without an overarching crossover.

While the genre shift in the main story is intriguing, we learn very little about the titular Bride making this issue feel like more of an exercise than the expose of the last issue.

It should have been dirtier.

On art, Quitely delivers a smashing issue before Phillip Tan takes over next month. If I could sum of the visuals of this book in one word (and I will) it would be balletic. Characters twirl, move, leap, and literally dance in this issue. At one point, Pyg says he loves hot disco. However, I would say this issue was more dance rock that keeps you moving (from left to right, top to bottom).

I also described the book as interesting. Yes, in that its got one very odd omission: any reference to Romulus, the super wolf-mutant (or whatever) that has supposedly been stalking Wolverine for years--shaping him into some monstrous weapon. It makes me curious how much the greater Marvel U will deal with or reflect upon Romulus once Origins reaches its endgame. For a book that even includes a reference to a David Lapham short from a few years back, the omission of Romulus seems like a conscious attempt to scrub the character from Wolverines history--and, of course, Marvel would most likely have had the right of editorial oversight of this book that Simon & Schuster published.

Ending on an oddly poignant note, this is another excellent issue of Deadpool in a long line of Way-penned issues.

Hickman has a solid start out of the gate although the story is held back a bit by Eaglesham's off-model character designs.

For more information on this film, visit the Dig Comics website.

A work that amazingly works as a tribute to and extension of its televised counterpart.

Not actually a poor showing this issue just bent a little from the weight of a nearly endless massive crossover.

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As the book ends its first year, more of you should be reading it, telling DC that youre interested in deeper characterization and darkly funny stories and violence that actually has relevance to the plot (as opposed to violence as a plot generator).

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Charles Webb: I mentioned in my review for Green Lantern #43 about how absolutely metal that issue was. Apparently, Geoff Johns can get even more metal, more violent, and even further out into the shallow waters of the emotional spectrum. Just when I think Johns has crossed the line of emotional manipulation and super violence for which he's known, he gives us the heart-ripping opening salvo of Blackest Night in the middle of a worldwide day of mourning for the super-powered dead.

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Theres not a lot to get excited about here. No real curveballs are thrown into the Joe mythos and it all feels like a protracted, by-the-numbers prequel.

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An effective opening salvo in the Hood's first real direct assault on the Punisher, the issue is only hindered by the (relative) lack of face time with the resurrected villains. This is a minor issue I'm sure will be resolved in the coming months.

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Again, everything about the book is charming and familiar. I look forward to later issues to see if this team can keep the charm and move away from the familiarity.

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