All-Star Superman is at the very least one of the best comic book series in decades, and at the very most one of the best Superman comics of all time, period. (Sorry, but I figured it'd be appropriate to end with such a bold, gushy statement.) I'm already counting down the days until the next installment ships.

Buy this book. Read it twice in a row. Then put it on your bookshelf right next to The Killing Joke, Grant Morrison's prose issue and your bootleg DVD of The Dark Knight, and try to sleep well tonight.

Crown's Score: 9.8

Jesse's Score 8.7

Matt Sturges should send a gigantic "thank you" fruit-basket to Bill Willingham, and thank his lucky stars that his writing partner had to drop this miniseries, because Salvation Run just might end up launching Sturges into the upper-stratosphere of DC's writing talent.

What a fitting and near perfect swan song for this creative team (I'd be remiss if I didn't mention inker J. Bone and colorist Dave Stewart, who have been vital to the stunning look of this series). I love Sergio Argones, Mark Evanier and Mike Ploog, but I just can't imagine any creative team simultaneously distilling Eisner's Spirit down to its essence while also putting their own unique stamp on the property as well as Cooke and company have done in these previous twelve issues. You can bet your behind that I'll be snatching this oversized hardcover up as soon as DC releases it.

Too many times in mainstream comics, fans are told that "Nothing Will Ever Be The Same Again," when in fact, things are likely to be exactly the same in the course of a few issues. With The Walking Dead, it appears that we're witnessing one of the few times when a series takes a turn for completely unseen and unfamiliar territory. Robert Kirkman and Charlie Adlard's zombie opus has entered into its next phase, and if history counts for anything, we're in for one hell of a ride.

I'd hate to end on that negative note, so let me reiterate that as far as this reviewer is concerned, the conclusion of Y: The Last Man is as close to a perfect ending as you're likely to see anywhere in the history of comics.

Morrison's Batman is a conglomeration of some of the best takes on the character of all time, specifically that of Denny O'Neil and Steve Englehart. There's an unmistakable classic feel to his take on the character, one underlined by Morrison's trademark brand of weirdness. It's a phenomenal combination, and artist Tony Daniel is a suitable choice for providing visuals that have both a classic and modern feel. At times, Daniel displays the iconic imagery of a Jim Lee, and at others, he seems cut from the same cloth as classic comic book realist (and legendary Batman artist) Neal Adams. Either way, he brilliantly captures the feel and tone of Morrison's hauntingly dark tale, and it's good to know he'll be on board for the rest of this "novel." I haven't been this excited about Batman in ages.

To summarize, it looks like one summer series that boasts the "nothing will ever be the same" tagline might actually deliver on that promise in a big, big way.

Sean Phillips artwork is as strong and atmospheric as ever, underlining Brubaker's narration with unmistakable emotion. I can't think of two creators more perfectly suited for one another. Still my favorite comic currently being published, and I don't see that changing anytime soon.

Much has been said up until this point, both in interviews and in previous installments of this storyline, about the upcoming "Blackest Night" storyline, the third part of Johns, Van Sciver, and Reis's epic Green Lantern trilogy. This final issue lays out the "Blackest Night" event in two segments drawn expertly by Van Sciver, the first of which details the prophecy in a rather haunting fashion, and the second of which shows the events of the Sinestro Corp War ushering in this dreaded new conflict. Without revealing any spoilers, let me just say that Johns and company look like they have an even more impressive story arc up their sleeves for Summer 2009, which is saying quite a lot really when you consider how damn near perfect the "Sinestro Corp War" truly was.

Finally, I think I'm almost about ready to declare this series the best looking superhero book on the stands. Ivan Reis has made tremendous leaps and bounds with each issue on this title, and dare I say that he just might have leapt beyond the abilities of all but the best artists in the industry. Reis here shows a completely different side to the bombastic, action-packed work he did on the Sinestro Corp War, demonstrating an ability to nail each character's emotions that's on par with his ability to deliver stunning visuals. His work here is absolutely breath taking, and just another reason why any fan of the genre should be reading this book.

Well done, Mr. Kirkman. You're a sick, sick man.

The art of Gary Frank elevates Johns' already fantastic story to entirely new heights, and I'm very close to calling this the finest work Frank has shown in his long career. Frank's ability to capture creepy and unsettling images is perfectly suited for a Brainiac story, and his action scenes are explosively dynamic. He does fall into the regular trap of drawing Supergirl like a porn star, and I'd still prefer if he didn't draw Superman exactly like Christopher Reeve, but hot damn this is a beautiful comic book. Between Frank and Ivan Reis, Johns has nearly cornered the market of comics' most talented pencillers. And between Green Lantern and now Action Comics, he also has two of the very best superhero comics on the stands to his credit.

And then there's Gary Frank's art, which is truly breathtaking, and quite possibly the most impressive work of his career. Frank not only supplies some stunning visuals, he also captures the appropriate emotions and desperation of each and every scene, making this whole story feel as important as Johns no doubt intends it to be. Johns and Frank keep upping their game with each issue, and as a result, this arc just keeps getting better and better. This is a Superman story for the ages, one that no fan can afford to miss.

It's that weird sense of fourth-wall crossing self-awareness that makes Batman RIP – and much of Morrison work – so utterly unique. As in the case of Final Crisis, this arc will no doubt find a number of critics who hate the fact that they're being kept on the outside of Morrison's grand plans. I, for one, love inching closer and closer to the dark truth behind this story, and can't wait to find out what other horrors Morrison has in store for the Dark Knight.

Much of the issue's power is due to the art of Frazer Irving, who's the best thing to happen to this title since Frank Quitely departed after issue #3. Irving makes each unsettling image even creepier, and each turn of events all the more powerful. His storytelling is impeccable, and the haunting atmosphere he brings to each panel is invaluable in helping the story cast its spell. Batman fans, beware: with Irving at his side, already it looks like Morrison is ready to unleash his greatest Batman story yet.

If you've been following Morrison's Batman run as eagerly and as intently as I have, Batman and Robin #15 won't disappoint. Not only is it another instance of all the jigsaw pieces falling into place in a jaw-dropping manner; it also features that unabashed surrealist style that has made so much of this run so memorable and groundbreaking.

The Return of Bruce Wayne #6 marks the end of one the most creative, exciting and original eras in the history of Batman comics and, hopefully, the start of a new one. By the time Bruce Wayne rises from the his perilous journey and let's face it, in the end the fact that we all expected Bruce to return and then had those expectations prematurely confirmed in B&R #16 and The Road Home has very little impact on this story the doors have been blown open to all the rich possibilities of Batman Inc. Let's hope that series is every bit as challenging, rewarding and inventive as Morrison's work with the character has been thus far.

Chew is a great comic book the type that grabs you by the ears, takes a bite out of your nose, spits it in your face and still leaves you laughing and hungry for more. After only one issue, it might be my favorite book on the stands.

If you're not buying Criminal, I don't know what to tell you. It's the best series on the stands, period.

Next month sees the last issue of Criminal hit before the book goes on hiatus while Brubaker and Phillips churn out Incognito, their second creator-owned series for Marvel's Icon imprint. This issue includes a preview of that new series, and while it looks as fantastic as any of Bru and Phillips' collaborations, it's going to be painful to say goodbye to this series for six months. I know I wont be alone in counting down the days until Criminal surfaces again.

"Whatever Happened to the Caped Crusader?" is a marvelous love-letter to the Batman character and a meditation on what makes him so fascinating to so many generations of readers. Even if it isn't the last Bruce Wayne/Batman story ever told – and surely it wont be – it will still stand as one of the definitive Batman tales of all time. If you're a Batman fan, you'll want to reread it multiple times to re-experience its magic.

As noted before, everything is now in place for a fantastic, totally fulfilling final chapter. Though I'm heartbroken to see this series draw to a close, I can't wait to see how Vaughan and Harris tie the final chapter back to their bold debut issue, completing the engrossing circle they began spinning fifty issues ago. One thing I won't miss about the series? Trying to find new ways to praise its greatness.

As was the case with Y: The Last Man #60, there will be readers who decry Ex Machina #50's incredibly downbeat mood and lack of literal answers, but I'd say those people were probably reading the wrong series – and the wrong writer – all along. In my eyes this finale delivers everything the series promised and more, closing the book on Vaughan's greatest work to date with the confidence and nuance of a master. This series will be missed, but only until I inevitably go back and read the whole thing over again. And again.

Final Crisis #3 was one of the finest superhero comics I've read in some time, and trumps most other attempts at ambitious big event comics you'll find from past or present. This is reality shaking, good vs. evil, heart-pounding storytelling at its finest. I wouldn't call the series close to perfect just yet, but it's an absolutely engrossing read that kept me glued to every page. I know I can't wait for issue #4, that's for sure.

If Geoff Johns had to use Infinite Crisis to learn how to write a sweeping space epic of the Sinestro Corp War's power and magnitude, then I'm more than happy to forgive him for that infinitely disappointing miniseries event. Yes, this story is that good.

I've long believed that in order for a superhero origin story to succeed on a fundamental level, there has to be a believable moment where the character first realizes his power. And here, Hal's reaction to his rings' capabilities is damn near perfect, the best example of such a scene since the equally fantastic origin sequence from the first Spiderman film. That Johns was able to set this scene up by establishing Hal's desire to fly again makes it even more poignant. By the time Johns unleashes a jolting reveal on the issue's last page, we're already eating out of the palm of his hand.

Oh, and did I forget to mention this is one gorgeous comic, and John Cassaday can draw a breathtaking splash page like none other? Right, that much goes without saying.

Like Chew #1, S.H.I.E.L.D. #1 is in many ways a perfect debut. It accomplishes nearly everything a first issue should, providing readers with a strong hook, a sense of its characters and an idea of what sort of craziness is to come. The issue sucks you into its world on the very first page and doesn't let go until the last. It's not quite as complete as Chew #1 was, but then again not many debut comics are. The only real problem I have with it is that its protagonist is the least developed and intriguing of all its characters. Regardless, after only one issue I'm already comfortable calling S.H.I.E.L.D. the boldest, most creative and exciting Marvel comic on the stands.

One of the best arcs to date from one of Marvel's best titles.

As hard as it is for me to say enough about JMS' talents as a writer, I also can't praise Jesus Saiz's contribution to this book nearly enough. Saiz's greatest strength is his ability to craft montages around JMS' narrative threads. We saw it in the haunting last moments of the Flash/Blackhawks issue, and we see this strength demonstrated wonderfully again in this issue's critical opening and closing sequences. In addition to being a masterful nuts and bolts storyteller, Saiz is also capable of crafting stunning individual moments that are as gorgeous as they are emotionally charged. As long as this creative team is on this book, it'll be the first thing I read when I get home from the store.

Now that I'm done rubbing it in, I can actually talk about the issue. With the possible exception of Brian K. Vaughan, Kirkman has developed an unparalleled ability to use the various unique advantages of serialized storytelling - most notably the cliffhanger - as a means to toy with his reader's expectations. After ending last issue with a reveal that seemed to promise the onset of the massive conflict we've been awaiting to see for months now, Kirkman pulls the rug out from under us this month and gives us an entire issue detailing how this series' most vile and repugnant villain lived to torment Rick and the gang another day. Even though he's on the cover of this issue, I'll hold off on mentioning his name as an apologetic gesture to you trade-waiters, but suffice it to say, Kirkman manages to make this character even more wonderfully demented than before. With the way this series is headed, it's a damn good time to be a monthly Walking Dead reader.

The Walking Dead is in a more exciting and thoughtful place than it's been in a long time, and maybe even ever. This series is consistently one of the best on the stands, and it only looks to get better as Kirkman and Adlard futher refine their craft. So come on, people, catch up on the trades and come along for the ride, already.

As a reward to his fans, Kirkman has also included an awesomely over-the-top, fully-colored back-up feature drawn by Ryan Ottley, a What If?-style story that imagines what the series might have read like had Kirkman stuck to his original (perhaps facetious) promise to eventually include aliens in this tale. The result is gorgeously drawn by Ottley, and will leave you simultaneously amused and thankful Kirkman had the audacity to keep his story focused firmly on human drama. 75 issues in and The Walking Dead keeps getting better and better. As excited as I am for the new television series, I'm more excited for issue #76.

Thor #615 is a seriously impressive debut by Fraction and Ferry for a lot of reasons, many stated above. However, what's perhaps most impressive about the book is that after laying down so much information, atmosphere and character work in a mere 29 pages, the duo uses the last to deliver a punch line reminiscent of the last panel of a newspaper comic strip – one that gets a big laugh without downplaying the seriousness of the threat bearing down on Asgard. I wish more comics ended on a similar note.

Hyperbole is pretty easy to come by in most comic book reviews, and there's really only so much you can say about a great new series in order to get people to give it a try. All I'll say is that if I have any sort of worthwhile reputation whatsoever around these parts, I'd stake it all on recommending Unknown Soldier.

Unknown Soldier works on so many levels its bafflingly impressive. On the most superficial level, it's a classic revenge power fantasy like so many other comics on the stands today. Dig a little deeper, though, and you'll find an extremely moving meditation on war, genocide, insanity, and the human capacity for hope in the face of atrocious situations. Again, it's the most powerful, daring book on the stands. It also very well might be the best.

Let me make one thing completely clear to anyone reading this review before reading the issue: it's not for the squeamish. Graphic violence and disturbing imagery permeate nearly every page of this book. It's why the book is as powerful as it is. Morrison means to shock, unnerve, horrify and convince you of this story's importance all at the same time. And in this reviewer's opinion, he succeeds at all of those things and then some.

One central question remains – can this series continue to deliver the same high quality of cloak and dagger stories without Rucka involved? With the superb Queen and Country series already on his long list of credits, it's obvious that few writers have the same knack for meticulously plotted and intelligently characterized spy dramas that Rucka is known for, so I wouldn't be at all surprised to see this series stumble when Bruce Jones takes over next month. Then again, Rucka (and later, Trauttman) did such a fine job establishing these characters and this world that I can just as easily see this book continue to succeed for years to come. Either way, it's a shame to see Rucka leave. Together, these first twenty-five issues make up one of the best creative runs of the last decade.

Above all else, Criminal also remains one expertly crafted product. Between the brilliant main story, the sleek, glossy pages, Brubaker's regular letter to fans and the bonus article (this week sees Mark Rahner sit down with iconoclastic crime writer Andrew Vachss for a fantastic interview/article) there's plenty of material in here to justify the $3.50 cover price. Hell, Criminal is the one book that I wouldn't mind paying more for. I'm going to severely miss this book while it's gone on hiatus.

And then there's the work of Ivan Reis, which stands head and shoulders above 98 percent of any work you'll find in current mainstream superhero comics. As incredible as Reis' work was on The Sinestro Corp, this issue is perhaps even more impressive, as its wide range of locales showcases his ridiculous versatility. Reis moves from emotionally fueled earth-bound scenes to sweeping outer space set pieces without missing a beat. I know I'll be counting down the issues until he returns to this book.

When you combine the interplay between Hal and Sinestro, Atrocitus' latest eerie prophecy, the appearance of the Blue Lanterns, the clash between the Sinestro Corp and the Red Lanterns, and the sheer number of plot twists Johns includes in this issue, what you're left with is a book that'll leave you gasping for air. And with Ivan Reis back on art full-time, it should go without saying that you'll find yourself admiring most of these pages with a slack-jawed look on your face. Let's hope this creative team can somehow continue to churn out the hits – and in a timely fashion.

Like I said in my review of part one of this special - I don't know how this book came about, but I applaud whatever DC editor had the idea or courage to make this killer project a reality.

With Action Comics languishing in the mediocrity of "New Krypton," Morrison's Batman run finished and new Green Lantern issues coming few and far between, Secret Six is now the DC book I look forward to the most. Dare I say it, but it very well might be the best DC book on the stands.

Unknown Soldier marks the arrival of an important and distinct new voice in comic book writing in Dysart. And in Ponticelli, he's found an artist capable of carrying out his haunting vision every step of the way. Go buy this book.

To summarize, I think this is the type of material we were all expecting when Morrison signed on to takeover Batman.

The reveal of the Black Glove's true identity is sure to send the Internet buzzing, and while I won't get into spoilers, I will say this: as it stands now, we still have no clear understanding of the Black Glove's motivations for destroying Batman. With just two issues left, Morrison has his work cut out for him convincing us that this character would act in such an extreme way. Because so much of this tale has clearly been planned and blueprinted since the beginning of Morrison's run, I have faith in his ability to do so. Still, Morrison has bit off quite a hunk of meat with this direction, and we'll find out if he can really chew it all with RIP's final two issues.

Though plenty of fans will be disappointed to see Quitely leave after only three issues, it's hard to be disappointed with the quality of work he and his longtime collaborator have delivered here. Plus, he'll be back in less than a year (hopefully), and he's bringing the Joker with him...

We're two issues into DC's latest event, and it looks like fans might be in store for the type of project they all too rarely see – one that actually lives up to all the hype.

I said it before, and I'll say it again – Will Pfeifer's and David Lopez' Catwoman is one of the best superheroes series currently being published by either Marvel or DC, and it deserves a heck of a bigger audience than it currently enjoys. Hopefully, by thoroughly outshining the very megaevent/miniseries it is supposed to compliment, this tie-in issue (and the proceeding installments of this Salvation Run arc) will attract more readers to the wonderful work being done by Pfeifer and Lopez.

As always, Criminal's plot is only a vehicle to explore very tragic and complex characters, and from what we see of the troubled but very human protagonist in this first issue, we're in for possibly the series' best arc yet.

Every issue of Criminal finds new ways to remind me it's my favoite comic currently being published.

With a lead-feature that'll have fans talking for years to come and a back-up that promises to add considerable value to an already precious read, Detective Comics #854 is worth every penny of its $3.99 cover price. Go buy it.

Scott Kolins' art hasn't always been my cup of tea, but I'm happy to say I've loved the look of this series. It may be because Kolins has upped his game considerably, or because of colorist Dave McCaig's vibrant work, but each and every one of these pages is soaked with lush visuals that really make it a feast for the eyes. Kudos to both of them, and kudos to Johns for once again reminding us why the Rogues are awesome.

So there you have it another glowing Hellboy review that heaps praise on the work of Mignola and his collaborators while still struggling to pinpoint its genius. Is there anything more familiar in the world of comic book criticism? If more people could more easily define what makes this series, and a book like Hellboy in Mexico, so magical, there'd be more books like it on the stands. If only that were the case

Stop screwing around and pick up Manhunter, already. You wont regret it.

As for all the naysayers who cried that the Shaggy Man is far too powerful a character to be controlled by an exploding chip in the brain, I think Ostrander answers your concerns quite effectively with this finale. As far as I'm concerned, there's nothing about Ostrander's portrayal of either the characters' personality or the limits of his powers that doesn't jive with his origin in Grant Morrison's JLA. And as for those fans that were worried where Ostrander would take Rick Flagg following the recent revelations of his past, the ending here should be enough to convince any fan that there's plenty of gas left in this wonderful character's tank.

Superman #681 is a very promising, expertly crafted kick-start to the New Krypton story, a beginning that stands head and shoulders above the hodgepodge of snapshots glimpsed in last week's New Krypton Special. That book was certainly entertaining and promising in its own right, but nowhere near the level of craft and consistency seen in these pages. Again, both issues are mostly set-up, but this time, it's masterful set-up. If each installment of New Krypton is as strong as this one, we're in for one hell of a crossover.

The Brave and the Bold #28 is first and foremost a great comic. Secondly, it's a welcome reprieve from all the event-driven craziness currently sweeping the industry. For those reasons, it should be at the top of any superhero fan's pull list.

With one wave of their magic wands, Kirkman and Adlard have revitalized a series that was already firing on all cylinders, making one of the industry's most daring and exciting books even more wonderfully unpredictable. It's a good time to be a Walking Dead fan, and a bad time to be one of Kirkman's characters.

Those of you who prefer it when The Walking Dead delivers high-octane, action packed arcs might not enjoy this current storyline as much as others, as it seems concerned primarily with focusing on Rick and Carl's emotional reactions to recent events. Those of us who love The Walking Dead primarily for its intimate attention to character, however, are likely in for one of the most powerful arcs yet.

What else is there to say about this phenomenal series, other than the characters continue to fascinate, the plot continues to shock and surprise, and the quality of storytelling continues to mature to profound new heights. This is one of the best comic book series to come around in a long, long time. If you're not reading it by now, I don't know what else to tell you...

The Walking Dead continues to somehow blow me away with the complexity and power of its human drama. At this point, I think we all know this series has always been about way more than stupid zombies, but what amazes me is how Kirkman keeps finding new and shockingly honest ways to prod profound realizations out of his characters. This is powerful stuff, and I really wish every comic I read was informed by such precise human insight.

Unknown Soldier is an extremely difficult book to read. It's meant to be. Alberto Pnticelli's visuals are horrifying, and the questions asked by Dysart are not ones most of us enjoy contemplating. I'd nevertheless implore you to give this book a shot, because it's one that needs to be read. It's that good, impressive and important. If you haven't been following along, hunt down the trade the minute it hits the stands.

Get ready Superman fans, Action Comics looks like it's about to take off in a big way.

I can't guarantee you'll be cooler if you read this comic... but it certainly can't hurt.

It's only two issues in, but Bad Dog is already one of the most original and inspired books I've come across in a while. It's full of not only piss and vinegar, but also vibrant life and personality. Each character sings in their own uniquely demented voice, and it makes for quite the hysterical symphony of crude noise. And above all else, it truly looks like it's headed some place special.

The issue is a phenomenally entertaining, fast-paced read until the critical last few pages, when, as he's been wont to do lately, Morrison pulls the rug out from underneath his entire story – and quite possibly, his entire run. Depending on your tastes, it's here that Morrison will either suck you further into his psychological epic or drive you away with more elusive questions. I for one cannot wait to see where this is going. I mark this one down in my scorebook as another massive success for the Scottish scribe.

And that's just one three-page sequence in this enthralling conclusion. The rest of the issue delivers all the haunting and somewhat disturbing character exploration we've come to expect from this story. And again, you'll be pleasantly surprised to find out just how Tomasi manages to close the book on a few lingering plot threads from 52. As far as Black Adam has come since his time as one of the stars of Geoff Johns' run on the previous JSA series (which was edited by Tomasi – surprise, surprise), he comes even further as a character thanks to this miniseries. His final fate is so tragic, it's nothing short of Shakespearean.

If there's one area where I think "The Death of Captain America" has fallen short at times, it's been in the cliffhanger department. That's not the case this issue, which wallops us over the head with a huge development in the plot and leave us drooling for more. Though it shouldn't be possible, "The Death of Captain America" is as exciting and entertaining as it's ever been.

One last note before I leave (and I hate to end on such a sour note, but deal with it…): Is anyone else completely taken out of this story (albeit temporarily) whenever Brubaker reminds us that Falcon has the ability to communicate with his bird?

It's another near perfect outing for Brubaker and Phillips, two creators that seem so in sync it's downright scary.

The book also includes a cover gallery that features drawing by the likes of Joe Quesada, David Mack and Brian Bendis, among others. Finally, it reprints a classic Frank Miller Daredevil tale that remains every bit as powerful as the first time I read it. As a whole, though, these back-ups don't quite measure up to the outstanding supporting material found it Amazing #600. Luckily, Brubaker's main feature alone makes this issue well worth the $4.99 cover price.

Readers might be interested to note I was late to the party when it came to this series, and had been reading in trades until recently catching up with the floppies. This is the first installment I've read as it's been released, and I can say without any doubt that the series reads just as well as a serial as it does in big, heaping servings. Ex Machina is the type of comic that's so damn good it's intimidating.

With only two issues left, I'm simultaneously ecstatic to see how the series ends and depressed to see it go. Kind of like how I was with Y: The Last Man. If Ex Machina concludes half as magically as Y did, we're in for one hell of a treat. If it meets Y's conclusion in terms of both quality and satisfaction, it will undoubtedly go down as Vaughan's strongest, most fully realized work to date. Which, you know, is saying a lot.

Rogues Revenge is another homerun for Johns, Kolins, the Rogues and the greater Final Crisis event. I suppose now it's time to start counting down the days to Rebirth and Final Crisis #4.

With one post-Sinestro Corp War issue in the can, I think it's safe to say that Geoff Johns has turned Green Lantern into the best DC Universe book on the stands. I can't wait for more.

One final note: Mike McKone's a fine artist and all, but he's no Ivan Reis or Ethan Van Sciver when it comes to drawing Green Lantern. I mean, few artists are, which is why any issue without one of the two involved is bound to dissapoint when it comes to the art. And this issue, as visually impressive as it is, certainly dissapoints.

This installment concludes the dire battle for Mogo, the living Green Lantern planet, with the struggle between Kilowog's GL soldiers and their Sinestro Corp counterparts reaching a frantic, heart-pounding conclusion when the Guardians desperately enact a new law into the book of Oa. It's a pivotal turning point in this epic story, and it is handled with the perfect amount of gravity and foreboding. Like I said, casual Green Lantern readers can get by without reading this issue, but I have no idea why the hell someone would want to miss out on something this fantastic. The "Sinestro Corp War" continues to do so much more than live up to its much-deserved hype. This is superhero comics at its best. Get it while it's hot.

Part 4 of "Sins of the Star Sapphire" is the strongest installment of the arc, one that's driven by Gleason's awe-inspiring visuals, Tomasi's trademark humor and characterization, several "holy crap" moments and a few that will warm your heart as well. If I have one complaint, it's that I wasn't quite ready for a certain big bad to return as soon as he did. I adore these characters, and I'd love nothing more than to see them have time lick their wounds before the coming storm.

Much has been said about the way Secret Invasion has been structured, and I think most comic fans by now know they should – no; they have to – read both Avengers books in conjunction with the main series. Seeing that this isn't going to change anytime soon, I guess it's time to just accept that the interesting moments of this ongoing story will play out outside of the main mini-series. And as much as I can't understand Bendis and Marvel's rationale in structuring the event in this way, I will say that I've loved nearly every one of these Avengers tie-ins. The problem is, I've loved them far more than the actual series itself. As long as they are this good, though, I guess I'll keep the complaining to a minimum.

For the forth time (and almost certainly not the last): you need to read this book.

There's no other way to say it: if you're not reading Secret Six, you're likely as backwards and misguided as the book's main characters. This is one of, if not the, most entertaining superhero books on the stands. If you're strapped for cash and suspect your pull list is getting a little too bloated, go ahead and replace two of the five mediocre superhero titles you're buying with Secret Six. You won't regret it.

With most of the issue being taken up by the battle, there are few story developments or character interactions to comment on. Kirkman does however throw in his trademark cliffhanger, and this issue's particularly suspenseful end might be one of the best we've seen from this series. All in all, this showdown was well worth the wait, and Kirkman is paying off the last, relatively uneventful arc in spades. It's a good time to be a Walking Dead fan, but the same can't be said of the main characters in this book. It looks like more than a few of them will be meeting a grisly end when the Governor's through unleashing hell on the prison.

That gripe aside, The Walking Dead is currently firing on all cylinders, and Kirkman and Adlard are definitely providing one of the most exciting arcs in the series' history. I can't wait for next month.

Like Brian K. Vaughan and similar masters of the cliffhanger, Kirkman takes pride in utilizing jaw-dropping last page reveals. Even with all the shocking deaths and developments seen in the last few arcs, I'm confident calling this issue's the most scintillating cliffhanger in some time. You'll be left with your snout once again buried firmly in Kirkman's hand, desperate to know where he'll lead us next.

The Walking Dead #66 is among the series' best issues and some of the finest work Kirkman and Adlard have ever done together. With so many stories under its belt and no end in sight, this title still keeps getting better. And really, that might be the scariest thing about it.

Though the art continues to be one of this series' greatest strengths, I have to admit I'm a bit sad to see Olivier Coipel hand the reins over to Marko Djurdjevic. Coipel's art had a certain Kirby-esque energy and flare to it that really took this series to another level, and while Djurdjevic's work is gorgeous in its own right, it lacks some the life that Coipel brought to these pages. Nevertheless, Thor is still a beautiful comic to behold, and I don't imagine that changing anytime soon. And as long as JMS is at the helm, I can't imagine it losing its title as the best Marvel comic on the stands, either. If only it came out a little more frequently...

There's not much else to say about Thor #602 other than it's another smash hit from JMS and his collaborators. This series never ceases to amaze, and as long as JMS is at the helm, I don't see that changing anytime soon.

I've used the term roller-coaster twice in this review to describe the experience of reading this series, simply because there's no other way I can think to describe it. Unknown Soldier pulls you from one unnerving scene to the next, to the point where your head is spinning and you're more than a little queasy. And if you're not paying attention through all the fireworks, it's almost easy to forget you're reading brililant, meticulously constructed human drama.

We're only seven issues into Unknown Soldier, but I'm already running out of ways to praise this series and convince readers to give it a try. It really is one of the most special new comic series I've ever encountered, and I'm convinced we'll be talking about this series for years if not decades to come. I wouldn't be surprised if those that check out the first arc in trade form find themselves desperate to follow along on a monthly basis.

The two make for a phenomenal team. If you liked Aaron's work in the Dark Reign- The List one-shot, you'll devour it here. Once again, he's proven to be just as comfortable with insane, high-concept-driven plots as he his hard-boiled ones. Pairing him with an artist as talented as Kubert on a vehicle that allows him to show that different side to his writing, on a book that stars Marvel's two most popular characters, was a masterstroke on the publisher's part. Let's reward them by making this series the best-seller it deserves to be.

The real star of this show, however, is JH Williams, who seamlessly mixes a variety of styles in order to capture the schizophrenic tone of the mystery. Whether employing the granulated four-color panels of the silver age in flashback sequences or choosing a visually stunning panel layout in order to capture the grim nature of a scene, Williams rarely takes a false step. This is top-notch comic book storytelling, and I can't wait to have the collection on my bookshelf.

And then there's Doug Mahnke's art, which works in tandem with Tomasi's script in a way that can only be found from the very best of creative teams. Mahnke is one of the best in the business at delivering dark and disturbing imagery, and Tomasi has certainly provided him with plenty such images to draw. DC should waste no time and just give these two a Black Adam ongoing right now. Seriously. Now.

But really, what's most important is that Blackest Night remains one hell of a fun superhero story, with the immense talents of its two creative architects ensuring that this event goes down as one for the ages. So far, they're well on their way.

As far as the art is concerned, it's nice to see artist Joe Bennett settle into a regular role on this series after the title suffered at the hands of pedestrian fill-in artists. Bennett is perfectly suited to capture the necessary emotion in these dialogue driven scenes. Let's hope he sticks around for the long haul.

Chew is a creative homerun all the way, and it deserves the level of runaway success it's currently enjoying. If you haven't gotten your hands on a copy yet, you aren't nagging your retailer enough.

Above all else, Detective Comics #858 proves that JH Williams is one of the most versatile, complete artists in comics. In addition to his flair for stunning page layouts and evocative designs, he's also a ridiculously talented nuts-and-bolts storyteller. Because he and Rucka are doing such stellar work with Batwoman in this series, I have a tough time being too hard on the lackluster Question back-ups, which remain oddly paced and unfulfilling each week.

But what really elevates Hickman's Fantastic Four is that wild, unbound creativity I mentioned earlier. There's a sense of wonder present in these pages that's been missing from this title for quite some time. More importantly, Hickman is still able to ground his story with logic and heart, giving readers an entry point into these high concepts. On art, Dale Eaglesham proves a capable collaborator, transitioning effortlessly from family oriented scenes of dialogue to bombastic sci-fi set pieces. This is definitely one creative team worth keeping an eye on.

Thanks to Hickman and Eaglesham, Fantastic Four is now once again Marvel's most exciting ongoing. And they're clearly just getting started.

A comic such as Green Lantern #52 is hard to discuss without succumbing to a simplistic plot description that doesn't begin to do the story justice. Let's avoid that, shall we? Instead, just take my word for it – if you've been digging Blackest Night to this point, this issue will leave your jaw on the floor and your mouth salivating for Blackest Night #8. In that regard, it's a complete success.

Tomasi and Gleason pepper this central story with more tangential material about the Sinestro Corps quest to cripple the morale of the GL Corps, and all this leads to a huge development for this franchise. Between Tomasi' fantastic dialogue and Gleason's otherworldly pencils, the book zooms along with the slickness of a star cruiser. This issue is a must read for any fan of Green Lantern, and an exciting development on the road to Blackest Night.

But you know what? Even with it's cast of C-list cast-offs, Secret Six deserves to be considered one of DC's top tier books, because it's one of the company's best. This series deserves a large readership, and Simone and Scott deserve all the praise and attention that comes with one. Pick up this book. You won't regret it.

and thank me later.

Even though they both rose to prominence working together on crime comics, it's been a while now since Rucka and Brubaker have been mentioned in the same breath for the quality of their most recent work. I have no doubt Stumptown will change that. Watch out Criminal – there's a new player in town.

Overall, the comic book medium is a better place with The Boys around to lampoon the superhero genre's more ridiculous elements. The series also happens to tell a damn fine story as well.

So for the thousandth time: you should be reading Unknown Soldier. Find out for yourself what compelled us to give it Best Series of 2009. At the very least, in Dry Season, you'll find a murder mystery unlike any other you've ever encountered.

What a wonderful penultimate issue to this series. It's going to be tough to say goodbye in two months.

The Superman books desperately needed a shot in the arm following the seemingly never-ending monotony of the New Krypton saga. Whether or not JMS' philosophical "Grounded" storyline in Superman will provide that is still very much in question. The same can't be said about Cornell and Wood's Action Comics, even at this early stage in the game. This is exactly the type of influx of creativity, energy and talent the Superman franchise needed.

The issue also includes the second installment of Nick Spencer and RB Silva's Jimmy Olsen back-up, and like the debut chapter this one offers a fun modernization of the wacky Jimmy Olsen tales of the Silver Age that accomplishes a lot in a scant number of pages. Although DC's back-ups will soon be a thing of the past, the pairing of Cornell's Luthor run and Spencer's Olsen serial looks to be a fun one while it lasts.

(One final note: degenerate gamblers like myself who happen to live in New York will get a kick out of seeing Yonkers Raceway Casino brought to life on the page as the battleground for the issue's action. I think I almost spotted my favorite pocket of video poker machines.)

Regardless of that last criticism, Amazing Spider-Man #625 is a great comic. What Kelly and Fiumara have achieved with Rhino is nothing short of remarkable. This issue deserves to be collected right alongside issue #617 in the inevitable collection, if only to serve as an example of how to revamp a villain the right way.

And throughout it all, there's the art of Albuquerque, which becomes all the more impressive with each passing issue. To read American Vampire on a monthly basis is to watch an artist transform into a visual master before your very eyes. Whether he's evoking the images and atmosphere of the story's two eras in American history, bathing his vampire characters in menacing shadow, punctuating the gruesome violence of a scene or orchestrating kinetic action in a way that would make even Jack Kirby proud, Albuquerque proves invaluable to the success of this book. Together with Snyder and King, he's accomplishing the impossible, which is making the vampire mythology seem fresh, scary and cool again for the first time in years.

Batman and Robin #16 marks the end of one of the most exciting eras in Batman history and the beginning of an entirely new direction, as Morrison and the Bat-books gear up to explore the unchartered waters of Batman Incorporated. It's a fantastic finish to a wildly entertaining ride that's been at all times challenging, unsettling, amusing, inventive, iconic and epic. Bring on Return of Bruce Wayne #6 and Batman Inc.

The fact that Return of Bruce Wayne is so clearly and purposefully a continuation of Final Crisis will no doubt bother many who found that event to be impenetrable and nonsensical. However, that shouldn't keep the open minded from kicking back and enjoying the visceral thrill of seeing Bruce Wayne assert his considerable skills amidst Pirates, Witch Hunters and Cavemen. And for the rest of us who loved every panel of Final Crisis, the Mad Scotsman couldn't have come up with a crazier, wilder and more entertaining follow up to his seminal DCU event.

As elusive and implicit as Morrison has been while telling this story over the past few years, it's absolutely thrilling to see him begin to pull everything together in a way that answers critical questions while still leaving plenty of room for interpretation. I'm not sure where exactly we'll encounter his big climax – Return of Bruce Wayne #6 or Batman and Robin #16, both or someplace else entirely? – But that's part of the fun.

To wrap things up, let me get back to what I said earlier about wondering what might have been had this series focused on Selina as a villain all along. As evidenced by this issue, the idea of focusing solely on one rogue definitely has some legs to it, and could make for a truly incredible series. One of these days, DC will figure that out, and give us an ongoing starring a classic bad guy with no heroic twist to it. Until then, I suppose we'll have to settle for one more issue of Catwoman.

The majority of the issue follows Tony's first case, which involves a severed finger found in a fast food burger and all the horrific complications that come with such a mystery. There aren't that many laugh-out-loud moments this time out as last issue, but there's still plenty of material to keep you giggling and cringing at the same time. That's the magic of Chew - you don't know whether to crack up or throw up.

The series' first arc has immediately made it one of my favorite books on the stands. I'm already starving for the second.

The issue begins by informing us the issue's pages got shuffled out of sequence, and that page one is actually page eighteen. As he's done so many times throughout this series, Layman then dovetails back to show us just how Tony Chu wound up in this latest pickle, all culminating in a violent blowout that's drawn with wicked zeal by Guillory. The opening sequence, which parallels one of Poyo's cockfighting triumphs with a vicious beat-down of a hood, is the issue's best. All in all, it's another hysterical homerun for the funniest comic on the stands.

With this finale, The Sinners lands right alongside Bad Night, Coward and Lawless as the best crime comics of all time. If that wasn't enough, Brubaker outdid himself with this series' back-up features, which have included some of the most insightful and entertaining essays on the genre to date. Criminal is my favorite book on the stands. Learning that Sean Phillips is off to work on the Dark Tower, and another Incognito series with Brubaker after that, almost brought me to tears.

By now most have heard that Ed Brubaker is handling over the reins of this book to Andy Diggle. From the looks of it, he's getting ready to deliver his craziest story yet. If I had to guess, we're about to see a story every bit as brilliant as "Devil in Cell Block D."

In the end, "Heart of Hush" turned into a strong and very fun Batman story. Thankfully, it also turned out to have very little to do with RIP.

Detective Comics #871 is one hell of a debut. Again, no Bat-fan should miss the opportunity to get in on the ground floor of what proves to be a memorable run.

As you can tell by this glowing review, the issue is another stellar performance by Hickman. Sadly, Dale Eaglesham's art is not present, presumably as a result of him taking on the Steve Rogers: Super Soldier mini with Ed Brubaker. Neil Edwards draws the issue instead, and his more conventional approach comes as a jarring shift after Eagleham's heavily stylized work in preceding installments. I can only hope that at some point Eaglehsam returns to see this epic through, even if Edwards does prove if he can draw one hell of a action sequence with the aforementioned kiddie kung fu match.

When it comes down to it, though, as I look at the closed copy of Final Crisis #6 that sits on my desk as I write this, the first thing that comes to mind is a book that blew me away with its high level of entertainment and overwhelming scope. The issue is significantly flawed, yes, and it's difficult not to suspect we were meant to read this installment after the few remaining tie-ins had hit. Still, I can't help but think back to how much fun, excitement and awe I experienced while reading the book. In that regard, I'd say the issue delivered and then some.

Final Crisis Aftermath: Dance is a spectacularly fun comic. With Casey, Chriscross and their coconspirators at the helm, it looks like the Super Young Team is in great hands. With any luck, they'll stick around the DCU for a long, long time. This team is just too much fun to dissapear into the ether of forgotten characters.

Legion of 3 Worlds is a great comic. Regardless of how it might or might not fit into the tapestry of Final Crisis proper, it is clearly a story that has great significance to the past, present and future of the DCU. For fans of DCU cosmic epics, and Johns' work in particular, it's an absolute must read. Don't let this one pass you by simply because Final Crisis is over, or you didn't quite like what Grant Morrison did in his main story. Believe me - you'll be glad you stuck with it through all the annoying delays.

Once again, Philip Tan proves an invaluable contributor to this story, heightening the haunting and foreboding tone of the plot with an appropriately unsettling atmosphere. Tan's level of detail seems to waver inexplicably from page to page and panel to panel for the first time in this miniseres, but again, he captures the appropriate aura of this dark story and makes us buy into its biblical importance.

Blackest Night #1 is now right around the corner, and anticipation for DC's next summer event is at a boiling point. As is often the case when ridiculously hyped projects peer just over the horizon, many fans are mixing a healthy dose of caution with their excitement. While I'm as cautiously optimistic as the next reader, the strength of Green Lantern Corps is reason alone to believe this event might actually stand a chance of living up to our lofty expectations.

Save for a few storytelling hiccups and odd facial expressions I've come to expect from his art, Salvador Larocca even manages to reach new heights and impress with his work on this issue. Together, he and Fraction proudly reclaim this series' title as one of the most exciting, innovative superhero books on the stands.

Morrison and Murphy are taking on a very difficult task with this story. On the surface, Joe the Barbarian is about a diabetic kid who hallucinates while trying to get downstairs before he dies of shock. In another creative team's hands, that could seem like a pretty thin plot to build an eight issue mini-series around. Thankfully, Morrison and Murphy make it impossible not to get completely immersed and lost in this rich tale, where samurai rats, fiery demons and sci-fi pirates all tickle the imagination and suggest there's far more going on in this boy's perilous journey.

This is a great issue, and not just because of Cooke's art. Palmiotti and Gray have crafted a tremendously entertaining and rich little one and done story, enough to convince me to come back to the series even if Cooke won't be around for another issue. Mission accomplished. I'm sold.

After DeConnick and artist Emma Rios, who brings energetic life and atmosphere to the issue's many dialogue-driven scenes, Warren Ellis stops by to flesh out one of the murderous inhabitats of the aforementioned maximum security wing. In this back-up, titled "The Prime of Miss June Covington," Ellis and artist Jamie McKelvie bring the same wicked sense of evil the cantankerous English scribe brought to his Thunderbolts work. Seeing as how much wit and vigor DeConnick brings to the main story it's tough to say Ellis steals the show with his brief back up. But he comes close.

There are a few hiccups along the way. A brief reference to Twilight unnecessarily dates the comic and places an otherwise ambiguous setting a little too close to our own world. It's also a bit odd and aesthetically unpleasing to see the character's dialogue enclosed in rectangular "balloons"; a device which is presumably meant to highlight the different mental state of the character following her transformation, but presented out of context as it is at first simply seems awkward. But those are minor complaints in what is an extraordinarily powerful debut issue, one which should convince even the loudest Bendis detractors to eagerly come back for more.

Regardless of its parallels to a cheesy Nicholas Cage movie, the Secret Six is a delightfully refreshing book, and one not to be missed. The team of Simone and artist Nicolas Scott is one of the best creative dynamics in comics, and Scott once again doesn't disappoint with her depictions of humorous situations and beautiful yet realistic female characters. Here, she also shows herself to be quite comfortable diving into the blood and guts of life as a super-villain. This looks like it's going to be one hell of a ride. Long live the Secret Six!

With Simone and Scott at the helm, Secret Six keeps getting better and better, to the point where it's now scary good. If you're reading this series, you're witnessing one of the greatest collaborations currently at work in comics. And if you're not, I don't know what you're waiting for.

My only real problem with the issue concerns the motivations of its chief antagonist, which we learn here are inspired by someone other than Catman. As a result, Blake is revealed to be a pawn in a way that neither he nor we ever fully understood until the last minute. Although it will undoubtedly be seen as a clever twist by some, I thought the execution of the swerve felt a tad cheap considering how late in the game Simone laid her cards on the table. All things considered, though, it's a rather small complaint about a phenomenal tale that ranks among the best things Simone has ever written.

The issue offers a chance to see Scandal Savage as sheriff, Bane her deputy, Deadshot a hired gunman, Catman a wandering Man With No Name, Ragdoll the town fool and Jeanette a prostitute. When Junior, in this reality a rich trapper with eyes on the town's silver mine, hires Slade Wilson – most dangerous gun in the west – to lead a full on assault on the town, this ragtag group of miscreants is forced to band together to save themselves and the town. Sounds like a blast, right? It is. The issue's only real weak spot is the storytelling of Jim Calafiore, who stumbles from time to time transitioning between scenes and actions. Still, this one's well worth the cover price, even if I'm sure some will decry the lack of explanation.

And finally, it'd be impossible for me to review an issue of this series without gushing over the work of Stefano Caselli. Caselli's approach to action is lush and energetic enough to recall the best of Ed McGuinness, and his knack for capturing the emotional subtleties of a scene gives him a strength McGuinness lacks. He's without a doubt a superstar in the making, and I can only hope he sticks around this title for a good long time before he's moved to one of Marvel's flagship books.

In addition to Hickman's top-notch scripting, the book also remains a showcase for one of the brightest young stars in the industry in Stegano Caselli. Caselli's work continues to remind me of a more grounded Ed McGuiness, and his choreography and storytelling chops are extremely impressive. My one complaint about this issue's visuals is that colorist Daniel Rudoni opts for a muted palette throughout, making the high-octane issue look unnecessarily dull.

By taking the time to catch readers up to speed, Hickman manages to right this ship and turn it back into one of Marvel's most riveting ongoing series. There's still a ridiculously number of plot threads and characters buzzing around these pages, but at least we now have a better idea of a few of them. Let's hope he stays diligent about laying things out clearly from here on out, and that Caselli continues to churn out such beautiful, expressive work.

The book is entertaining on several levels. The reunion scenes, filled with razor sharp dialogue and old stories of Captain America and the Commandoes in World War II, are captivating enough to warrant their own miniseries. Same goes for the battle sequences. Even Dum Dum's testimony makes for riveting theatre, as Hickman does wonders playing Dugan as the self-righteous, grizzled old veteran. The way Hickman and artist Alessandro Vitti weave these three threads together makes them all considerably stronger and more powerful, resulting in another top-notch outing for Marvel's top title.

Fans have been wondering what Brubaker has in store for Rogers now that he's passed the mantel of Captain America over to his former protg. The first issue of Steve Rogers: Super Soldier proves there's plenty of great stories to be told around the character even if he's no longer wearing his iconic costume. The only real problem I have with the issue is that its back-up, a reprinting of Joe Simon and Jack Kirby's first Captain America story, does little if anything to justify the issue's $3.99 cover price.

Brubaker has a lot of fun slipping into Steve's head in this tale and providing the sort of terse narration he pulls off so wonderfully in books like Criminal. Watching the mystery villain so easily manipulate the former Cap's emotions makes for great, almost tragic theatre. And then that final twist comes and blows the doors open to a ton of intriguing possibilities. Has this ever been done before? I'm not sure if it has, but I know I love watching Brubaker boldly take off down this direction. And with Dale Eaglesham along for the ride providing bold, iconic imagery, Steve Rogers: Super Soldier is quickly becoming one of the best Cap stories on Brubaker's long, celebrated resume.

Finally, I can't really say enough about Gary Frank's art. Frank is using this project to establish himself as the definite Superman artist of our time, blending together all the iconic imagery from the classic films, television shows and comic book runs. Yes, I do wish he would ease back on depicting Superman in Christopher Reeve's image, but I'm not going to begrudge him and Johns that worthy tribute. This is bold, incredibly iconic stuff, driven by the fluent visual language of a master storyteller. Whether or not all of Johns' changes stick past the next time DC sees fit to tweak the Superman mythos, this miniseries will surely go down in history for Frank's work if nothing else.

A rift begins to grow between the couple over a variety of subjects – Jor-El's obsession with his failure to save Krypton, Kal-El's upbringing, Lara's celebrity status – as the story begins to incorporate familiar elements and characters from traditional Superman canon. At that point, Bates hits you with his biggest surprise, blowing open the doors to a ton of storytelling possibilities. With top-notch writing that keeps you entertained and curious throughout and evocative, moody art from Arlem, The Last Family of Krypton is a triumphant return for the Elseworlds line.

Superman: The Last Family of Krypton is a phenomenal and riveting Superman story that's a must read for fans of the Man of Steel. Bates, applying his veteran chops at every turn, constantly comes up with new ways to delight and surprise on his road to the story's third act, and artist Renato Arlem turns in evocative, emotionally vibrant art fueled by rock solid storytelling. A glorious return for the Elseworlds imprint.

What matters is that Sweet Tooth #1 is a tremendous debut, and I have a hard time believing anyone who reads it won't be convinced to come back next issue. Both fans of Lemire's work and curious newcomers will find plenty of surprises in these twenty-two pages.

As has been the case in previous issues, Lemire's influences pop up in exciting, unexpected ways, and it's fun to see elements of films like The Road Warrior reflected through this world's twisted, funhouse mirror. When a lesser artist tries his hand at the familiar tropes of the post-apocalyptic genre, the results can often come off as uninspired and trite. That's not at all the case with this series and this issue, though, as Lemire takes the familiar idea of a band of bloodthirsty apocalypse survivors and makes it wholly new and terrifying all over again. And with Dr. Singh strengthened by a scary new resolve and Gus's predicament as heartbreaking as ever, Sweet Tooth remains one of the most fascinating books on the stands

This is a great new series told with flair, style and heart. Get in on the ground floor now before you find yourself wondering why so many critics are singing its praises.

The issue itself will either move The Walking Dead slowly down an entirely different path than we've seen before, or it will mark a powerful and moving moment in one character's journey. Either way, it's an absolutely engrossing read that's emotionally resonant in more ways than one. Kudos to Kirkman and Adlard for another wonderful issue.

So in the end, I suppose I was just as impressed with this issue as I've been with most installments of this series. Every so often, though, you can notice a chink in the armor of Kirkman's storytelling, and I often can't help but shove my face in it and wonder aloud why it's there.

I honestly have no idea where Kirkman is going to take this latest plot, even if I think I have an idea what he's trying to say about these characters and this world. This is the magic of The Walking Dead – a book that, beyond all high expectations, somehow keeps getting better

With the much anticipated AMC television adaptation getting ready to simultaneously introduce new fans to the genius of this series and remind old ones why they fell in love with it in the first place, it's great to see the source material still reaching new emotional and action-packed heights. It sounds cliché saying this month in and month out, but this series really does keep getting better and better as it goes. This issue is just another example of how richly developed this simple story has become in the brilliant hands of Kirkman and Charlie Adlard.

Together, Gillen and Tan have done what very few creators have been able to in the past – take over for a legendary creative team and manage to mostly maintain the same level of excellence and excitement created by that team. It's a pretty damn impressive accomplishment.

Thunderbolts #128 is a damn good comic. It's packed with smart, biting lines of dialogue, interesting developments, a small but satisfying dosage of Diggle's brand of action, and a central conflict that's as compelling as any I've read in a long time. I always knew Diggle was capable of writing pulse-pounding action. This issue proves he's also capable of extremely intelligent character work and richly layered plot progression. With the dynamic but uneven Robert De La Torre showing significant signs of improvement with each issue, Thunderbolts promises to remain a must read for a long, long time.

Rich Veitch, himself no stranger to intensely powerful Vertigo series, steps in as the issue's guest artist, providing a very different look for the series that's nevertheless true to Alberto Ponticelli's harrowing vision. The issue had me breathless all the way up till its final pages, when its tangential meditation on the AK-47 unexpectedly pushed Moses Lwanga's story forward in a significant way. God, I'm going to miss this book when it's gone.

Dysart does manage to have some fun toying with fan expectations for a premature conclusion, hinting at a saccharine sweet hapy ending before ripping away that false reality and exposing a much more tragic and gut-wrenching finale. He then finishes this seminal series by reminding us that a frightening amount of this series has been firmly based in reality, and the horrors that haunt the African continent exist to this day. Unknown Soldier might have suffered a premature death due to lagging sales, but it's without a doubt one of the most powerful and moving works Vertigo has ever published.

Which brings me to my final point. The issue is a little deceptive in it size. Though the story comes in at 32 pages, that still leaves twenty-plus pages for sketches and a cover gallery. This type of bonus material is welcome in a trade, but for a $4.99 comic, I'd prefer if more of those pages had been used on story content. Still, considering the sheer entertainment value of the main feature, I consider the comic worth the cover price in the end.

Without revealing too much, let me just say that this book takes off into some very surprising ground, and left me desperate to learn where this is all going. Simone has established a firm grip on all of her lead characters, specifically her primary one. The writer's trademark brand of humor is present from start to finish. This comic was a real treat to read, and I can't wait for more like it.

That small complaint aside, I remain in love with this book. Along with Image's other dementedly hilarious series, Chew, the publisher is churning out two phenomenal books tailor-made for those of us with a twisted sense of humor.

Crown's Score: 7.5

Booster Gold is one of the most unique superhero titles on the stands, one that shouldn't be missed by anyone who might be growing weary of the self-importance and seriousness of modern superhero comics. It's one-and-done structure (it does have an ongoing story arc, but that overall plot is used to frame each stand-alone adventure) ensures each issue will be accessible to new readers, so stop making excuses and give this book a try.

Artist Patrick Gleason continues to play a vital role in the appeal of Green Lantern Corps, providing a unique sense of personality and movement in each of his panels and characterizations. It's been easy to overlook Gleason's stellar contribution to this book each month in the wake of the mind-blowing work being done by Ivan Reis on the Green Lantern series, but Gleason is a true treasure of an artist – one that deserves far more praise than he currently receives. With this artistic talent and Tomasi at the helm, it doesn't look like Green Lantern Corps will dip in quality any time soon. On the contrary. (Well, as long as they don't run out of old Alan Moore stories to mine…. I kid, I kid)

One more thought on the art before we wrap things up: if Ethan Van Sciver wasn't immediately placed alongside the biggest artistic names in mainstream comics following the Sinestro Corp War special, than I think it's safe to do so after his equally phenomenal work in this issue. McDuffie's script doesn't give Van Sciver any of the same types of bombastic, high-octane scenes that made up the majority of the Sinestro Corp War, but by focusing squarely on the Flash, the artist is able to nonetheless make this book a visual feast from start to finish. Bravo.

And am I the only one who suddenly has an appetite for a Ka-Zar series written by Bendis and drawn by Billy Tan?

In every one of my reviews of The Marvels Project I've remarked how difficult it is to judge this series on an issue by issue basis. It was created to sit as a whole on fans' shelves and stand as the definitive history of the Marvel Universe for the next generation. And judged by that standard, it's not at all difficult to come up with the words to describe Brubaker and Epting's accomplishment – a complete success.

I absolutely loved this story arc, regardless of my problems with this last issue. When collected, this will read as one of the best Superman stories in decades, and perhaps my problems with its conclusion won't be quite as pronounced.

In weaving Thara Ak-Var and Christopher Kent's back-story together with the history of Krypton, Rucka takes his story to the next level, transforming it into a sweeping and often romantic adventure that's head and shoulders above the work currently being done in the other Superman books. The art, by Pere Perez, isn't quite as dynamic and eye-popping as Eddy Barrows' recent work on this title, but it is impressive in its own right. His work in the Phantom Zone sequences in particular hit all the right notes of terror, isolation and otherworldliness. By the time the issue is through, you'll be convinced you've just read one of the strongest Superman issues in a long time.

Between the issue's lush artwork and Waid's ability to mix moments of levity with an overriding feeling of desperation, this book soaked me up from the very first page and didn't let go until it was all over. Like I said in my first paragraph, there's nothing startlingly original here. There is, however, tons of personality, an immensely high level of craft on display and enough action and excitement to make you believe you're experiencing an entirely new classic unfold before your eyes.

Like most of Morrison's work, these twenty-two pages are stuffed with dynamic and engaging visuals (Tony Daniel provides two panels that more than recall Miller's Dark Knight Returns), provocative ideas and themes, and one hell of a fast paced story. The challenge rests in your ability to give yourself up to Morrison, stop trying to figure out precisely what is going on and just enjoy the thrilling ride. If you can do that, you'll love this issue. If you prefer immediate answers in your superhero funny books, you might find yourself a bit frustrated. I for one fall in the former category.

Finally, it's worth pointing out that although it only really uses Battle for the Cowl as a launching point, this one-shot manages to fit in with Batman RIP better than most other tie-ins that have attempted to. In the end, though, I'd say its greatest accomplishment is that it made me want to reread Arkham Asylum.

What else is there to say about this issue that can't be said of this series as a whole? Brubaker's Captain America remains one of the strongest superhero comics on the stands, and with Bucky proving to be such a wonderful protagonist, it doesn't look like that will change anytime soon.

Sprinkled throughout Brubaker's psychological exploration of Sharon are scenes detailing the Falcon's search for the deranged 1950's Captain America, and when the two threads converge at the end, we're reminded that there are still some extremely important questions that have yet to be answered regarding Steve Rogers' murder. As much as Bucky Barnes might be getting used to his new role as Rogers' successor, this issue makes it abundantly clear that Brubaker is still very much in the midst of the extended story he started way back with issue #1. If nothing else, it's evidence that Brubaker's Captain America and 'excellence' will continue to be synonymous for the foreseeable future.

Though it doesn't fit all that naturally alongside Brubaker's recent Captain America work, issue #601 is still an excellent read and a stunning accomplishment by Colan. It'll make you want to dig through your collection for his past work, or run to the store for the black-and-white Tomb of Dracula reprintings.

I wasn't the biggest fan of this series' first issue, but it's slowly won me over more and more with each installment. Again, it's that level of craft at work that I mentioned earlier that's truly made this series more than the sum of its parts. And you have to admit, even if you see it coming a mile away, this issue's ending is pretty damn cool.

On a final note, kudos to artist David Lopez for taking a script with almost no action and turning it into a riveting page-turner. Lopez makes each of these conversational scenes as engaging as any superhero slugfest, providing twenty-two pages of the finest kind of emotionally charged storytelling. With these two creators clicking so effortlessly and consistently churning out top-notch work, it's a damn fine time to be a Catwoman fan. And from the looks of it, it's only going to get better.

If the issue misses the mark in one area, it's its ending. Are those last two pages intended to be an ironic punch-line, or an important plot development? Layman and Guillory don't quite pull the scene off as either, and the issue kind of limps to the finish line as a result. Still, seeing as how entertaining the preceding twenty pages were, I won't hold that against them too much.

As for the Matt Sturges-penned Eclipso section – well, it basically fills in Eclipso's story from Countdown. While it's certainly not as bad as other Countdown tie-ins, it's not even worth mentioning in comparison to Gerber's standalone serial. Pick up Countdown to Mystery. You might like the Eclipso stuff. And if you don't, it'll still be worth it.

All in all, I'd say this new creative team is off to an auspicious start. Their new status quo is rich with promise, and they seem to have a strong grasp on the characters without being overly reverent. I'm ready for another exciting ride.

With a Question back-up that furthers Rene's story in interesting ways even if it continues to struggle with the form, Detective Comics remains one of the best comics on the stands. When all is said and done, this run might stand as the finest work of Rucka's career.

Again, it finally feels like the same old book I fell in love with a year ago, and when I hand out this series' trades to my next unsuspecting victim, I'll be sure to leave out the one that collects the last ten months or so worth of issues.

The issue sees artist Mike Allred return for another fill-in stint, and although I'm a fan of his work, I don't think it really fits in this issue. Allred's depiction of certain characters, Pinocchio in particular, is so markedly different from the way Mark Buckingham draws him, that he almost seems like a different personality altogether. It's distracting, to say the least, and the dull color scheme makes the issue a bit boring visually.

One final note, which I'll shoehorn into the end of this review only because it seems an appropriate way to address this particular subject: Hickman's brief one-page text afterwards are some of the strangest oddities I've encountered in a mainstream superhero comic. I've yet to see what they manage bring to the table, except to suggest that Hickman isn't yet able to convey all of his wild ideas in the actual comic itself. The sooner these things go away, the better.

Outside of Johns and Perez, I can't think of any other pair of creators that could possibly have made a book like Legion of Three Worlds work on any level, which is a testament to its worthiness as well as the intimacy of every one of these Final Crisis tie-ins. How much this book succeeds might depend on your level of adoration for the Legion. At the very least, though, it will inspire awe and wonder like very few books you're likely to come across anytime soon.

On art, Doug Mahnke continues to prove himself as the perfect fit for the Green Lantern franchise. Mahnke has always been known for his brilliant mix of the horrific with more iconic superhero imagery, and that sensibility works wonderfully on this franchise and this story in particular. The fact that Mahnke is easily talented enough to handle the core Blackest Night book should tell you a lot about the caliber of talent involved in this event, and Green Lantern's importance to it.

In general, Tomasi has developed a deep comfort and confidence with the world of the Green Lantern Corps, from Kyle and Guy's new bar, to the training grounds of Oa, to the prison science cells that house the captured Sinestro Corps members. He has likewise developed an ability to seamlessly slip in and out of the individual voices of his large and eclectic cast, making the book feel intimidate even when its dealing with a number of very different personalities. This issue's art, provided by guest penciller Luke Ross, is also top notch, and reminded me of Kevin MacGuire at times, specifically his ability to draw expressive faces. It's another wonderful issue of one of the most consistently entertaining books on the stands.

In the time since the Sinestro Corps War debuted, Green Lantern Corps has become so much more than a complementary book. Even more so than Johns' Green Lantern proper, this is the book that truly captures the epic scope of the Green Lantern franchise. It's gotten to the point where Tomasi and Gleason are no longer merely in the business of supporting Johns' series, but are actually in the habit of one-upping it.

It all makes for another immensely entertaining and momentous comic from this creative pair, with Patrick Gleason once again dialing up the energy to deliver a truly strange looking comic that's also extremely dynamic. For months many of Green Lantern Corps' fans have been proudly calling this book the best Green Lantern series on the stands. This issue is the perfect example why.

The art is handled by Andy Clarke, who's no stranger to the Harvey Dent character after drawing "Face to Face," the "One Year Later" story that brought the character back to his roots as Two-Face. Hunt's relatively simple, straight-to-the-point approach works well throughout most of the issue, but falls far short when it comes to depicting the Joker. Unlike most artists who have fun giving Mr. J an almost alien appearance, Clarke draws the character as almost a normal, good-looking man with white skin and green hair, and the result is far less menacing than it should be.

All in all, I'd say this one-shot special is worth every penny of its $3.99 cover price, and is a can't miss for Alex Ross enthusiasts.

Who knows? What's important is that we finally got a substantial JLA story that feels like McDuffie's, and McDuffie's alone.

If you're wondering what all the hoopla about this series has been about, check out this issue. You should be able to figure out why it's so highly regarded in the space of a few pages. Go buy this comic, so us Manhunter fans wont have to scream to the high heavens when they try to cancel it again.

Not to beat a dead horse or anything, but it's worth pointing out one more time just how superior these Avengers tie-ins have been to the main Secret Invasion mini. By using his Avengers books to detail all the intimate, character-driven moments of his plot, Bendis has sucked a lot of the complexity out of his main title. On the other hand, he's made the two Avengers books the most entertaining superhero comics on the stands. I'm not sure whether this is good or bad.

On art, the rotating team of Rags Morales and Don Kramer has proven a fitting match for Tomasi's vision. Both talents share many of the same sensibilities and qualities, and the shift from Morales (last issue) to Kramer (this issue) was practically seamless. Together, these three creators have put Nightwing back on the map, and this series is now truly one of the best DC currently has to offer. Let's hope they stick around for a long run.

The rest of the issue proceeds with Nightwing attempting to save the DA in his typical swashbuckling manner, and while the issue definitely builds in excitement and suspense, it only reaches such astounding heights in quality thanks to that early Nightwing/Two-Face scene. From there and until the end of the issue, we enjoy the fireworks and wait patiently until their paths inevitably cross once again.

With the question of human slavery playing such a central role in the book, this arc promises to be significantly darker and more serious than past Secret Six stories. That's not at all a bad thing. Simone has proven she can find humor in any situation, but more importantly, this plot promises to shine a spotlight on the complex morality of this team. It's been proven time and again that these characters don't share the same conceptions of right and wrong, and "Depths" looks like it will widen those moral rifts in a fascinating way. And let's face it - if you're enjoying this series as much as I am, you're also probably convinced that Simone and Scott can do no wrong with this team.

With regular penciller Nicola Scott off busy on Blackest Night-related matters, Peter Nguyen stops by to handle the issue's art, capturing the story's various tones wonderfully while providing some exciting action. If Scott for whatever unfortunate reason doesn't find her way back to this book, Nguyen could make for a suitable replacement - even if he'll be in the thankless position of taking over for a star.

But this latest story arc has been completely driven by Simone's fascinating, incredibly dark take on Catman, and in that regard Secret Six #21 is no different. Ever since she first got her hands on the character back during Infinite Crisis, Simone has been elevating Thomas Blake from a Z-list joke to an A-list heavy and beyond. And if "Cats in the Cradle" is any indication, she has no plans to stop adding to the character any time soon.

But even with all its considerable strengths, the way the issue progresses the story so fast after spending previous issues harping on the familiar almost feels like too little too late. It seems like I've spent every one of my past reviews of Superman: Secret Origin in some way asking if we really need another Superman origin story. Although this penultimate issue definitely suggests we do, it still doesn't manage to redeem the story's at times lackluster first two acts. Let's hope Johns and Frank can pull off the considerable feat of tying this entire project together into something more than a simple retelling with their final issue.

As amusing as this fight scene is, the highlight of the issue comes with a conversation between Willy and Butcher, one that demonstrates not only the two characters' differing philosophies on life and their brutal job, but also how such diametrically opposed men could realistically call themselves friends. In typical Ennis fashion, the scene is as funny and crude as it is strangely heart-warming, a balancing act that only Ennis can pull off consistently.

One final note about the issue's art: Marko Djurdjevic continues to prove himself a capable successor to Olivier Copiel, with one notable exception: Djurdjevic fairs far better drawing scenes set in Latveria than those set in Oklahoma, which fall flat and seem under realized.

Vertigo looks like it has yet another hit in the making with Unknown Soldier. Next time you're in your comic book shop, make sure to pick it up and see for yourself.

With the extended set-up of New Krypton out of the way, the training wheels have finally come off the Superman titles. And as much as I enjoyed James Robinson's first post-New Krypton Superman issue and parts of Rucka and Robinson's Superman: World of New Krypton, it's easy for me to say that Action Comics has definitely burst out of the gates as the most lively and entertaining Superman book on the stands. Credit Rucka and Barrows – a creative team that's clearly firing on all cylinders, and can make even the most familiar and simple story seem fresh and exciting.

With another enjoyable Legion of Superheroes back-up exploring the matter of the Legionairres still lost in the 21st century, the issue delivers plenty in terms of entertainment. Still, considering the strength of the Conner material, I can't help but wish this series would focus solely on Superboy.

Regardless, "American Son" is the best Amazing Spider-Man has been since the start of Brand New Day. Hell, you'd have to go back a hell of a long way before Brand New Day to remember when any Spidey title has been this good.

The issue doesn't stop with its delightful main feature, though, delivering a lengthy back-up written by acclaimed television scribe Greg Wiseman of Gargoyles and Spectacular Spider-Man fame, with art by Luke Ross. The issue deals with Flash Thompson's struggle with the five stages of grief, which in his case are experienced in reverse order. The most interesting aspect of Wiseman's script is his decision to invert Thompson's journey, but the rest of it plays out in a rather expected and conventional, albeit appropriately touching, manner. This story probably wouldn't be able to hold up on its own, but fortunately it doesn't need to. Next to Van Lente and Quinnones' awesome lead, Wiseman and Ross' tale makes for a nice little bonus. Together, they make Amazing Spider-Man #622 well worth the cover price.

So yes, American Vampire now has me fully on board, and Stephen King is now only part of the reason.

But again, even with a name as big Stephen King involved, Rafael Albuquerque still manages to steal the show. The artist brings a great sense of atmosphere and mood to each scene, with him and colorist Dave McCaig altering their style ever so slightly to give the two strips their own distinct visual feel. Albuquerque accentuates the unique iconic imagery of both periods, in such a way as to further accentuate the idea that this series is just as much about Americana as it is blood-suckers a quality that has already managed to make the series far more memorable than other vampire comics I've read in the recent year.

I enjoyed Xenogenesis so much, I almost forgot about Ellis' less successful Astonishing X-Men stories. And if he and Andrews can deliver more issues like this one, I'll gladly give him a complete pass on those earlier books.

Fresh off his run with Geoff Johns on Teen Titans, artist Tony Daniel provides some strong - albeit conventional - pencil work, taking a rather straightforward approach to Batman in particular that gives this story a somewhat iconic feel. While not dazzling by any stretch of the imagination, Daniel seems like an appropriate artist to take over for Andy Kubert. And seeing that Daniel is most likely capable of finishing more than a half-dozen issues a year, I'm fairly pleased with DC's decision to have him join Morrison on this book.

Finally, it's worth noting that Daniel's storytelling is vastly improved from his work in Battle for the Cowl, mostly avoiding the awkward panel transitions and page layouts that made Cowl a headache to read at times. His pages are appropriately atmospheric and dark, which makes his flair for dynamic action all the more aesthetically pleasing. Combine his strong art with solid character work and the return of several classic Batman villains, and you have the makings of an extremely promising debut issue.

That one complaint aside, Blackest Night continues to offer a ton of grizzly entertainment and an extremely high level of craft. The Geoff Johns at work in this event is a far more confident and concise storyteller than the writer behind Infinite Crisis, and he's joined by one of mainstream comics' brightest artistic stars in Ivan Reis. Reis continues to outdo himself with each page of this series, masterfully capturing the horrific tone of the story while delivering tons of detail, emotion and dynamic action. With these two creators locked onto each other like they are, this mini-series promises to keep on delivering the thrills.

I've said it before and I'll say it again – Captain America is the rock of my pull list. Ed Brubaker consistently delivers the goods on this title, and somehow, Bucky Barnes continues to become more and more interesting with each passing issue.

All in all, despite an ending that's a little too saccharine for my tastes, Captain America #50 is another excellent installment of one of the most consistently great runs in decades. And with issue #600 on the horizon, it looks like things will only get better for this brilliant series.

The issue's last image, another one of Guillory's gorgeous splash page mosaics, ensures International Flavor has plenty more surprises and exciting turns to offer. In short, I don't foresee my love for this series dissipating any time soon.

Crime Bible seems poised to become just the latest addition to Rucka's already fabulous resume, and even though the Batwoman (sigh) is certain to play into this title, I'm still confident that this miniseries can deliver the same type of high quality goods as Rucka's Checkmate.

My concern about accessibility did manage to pop up towards the end of an issue with the appearance of a Daredevil villain that I assume I was supposed to recognize, but didn't know from Adam. Still, I'm willing to chalk that up to my ignorance of anything outside Miller and Bendis' Daredevil. For now, I'm too busy enjoying watching Brubaker, Rucka and Lark rekindle their creative fire to complain about anything.

The issue involves some exciting twists, as it becomes clear that Murdock is way in over his head thinking he can control the Hand. Between the introduction of Bakuto, multiple conspiracy plots, Murdock's dark new modus operandi, and the construction of the Shadowland, Diggle is offering plenty of reasons for me to believe Daredevil will remain one of my favorite books on the stands.

On the art side of things, Dustin Nguyen – Detective Comics' newest "regular" penciller – does a more than competent job capturing the raw emotion of Ra's and Batman's showdown while delivering an exciting sense of dynamism. If there's one problem I have with Nguyen taking over this book, however, it's that I can't stand the way he draws Batman's cowl. It's been a pet peeve of mine since his first issue on Superman/Batman with Alan Burnett, but I suppose I'll just have to get used to it.

On art, Dustin Nguyen continues to prove he's the perfect match for Dini's brand of storytelling. In an issue mostly void of action, Nguyen manages to provide plenty of interesting visuals to hold your attention, and along with inker Derek Dridolfs and colorist John Kalisz, does a tremendous job of capturing the different atmospheres of each of the issue's exotic locales. The issue speeds along smoothly from the very first page onward, and it all leads to a cliffhanger that left me desperate to read part two. Here's hoping Dini and Nguyen return for another lengthy run on Detective Comics following Battle for the Cowl.

Those complaints aside, Final Crisis #1 is an engrossing read and an absolutely stunning visual experience. With this issue, Jones steps right alongside Frank Quitely and J.H. Williams as the only artists capable of going step for step and perhaps even surpass Morrison's endlessly manic imagination. At the very least, this is one of the best-looking mainstream comic books you're likely to encounter.

Jesse's Score: 8.4

To summarize, Final Crisis: Resist is another top notch tie-in to Final Crisis proper, a book that contributes significantly to Grant Morrison's story while also succeeding on its own terms. Fans of Rucka and Trautman's work on Checkmate in particular can't afford to miss this issue, as it's the powerful last installment we've been waiting for ever since the two unceremoniously left the ongoing series.

With Revelations drawing to a close next issue, I'm eager to see how this epic confrontation ends, and what it will mean to Morrison's main story. Greg Rucka has asked some fascinating questions in this series, and I can't wait to hear the answers.

Jonah Hex is far more than a welcome reprieve from the typical superhero fare; it's an expertly written western vehicle that also happens to showcase some of the best artists around. Add it to your pull list. You won't regret it.

In addition to the visual and narrative delight described above, the issue also includes a hilarious introduction in which Rip Hunter tells readers to stop worrying about what Earth the following stories take place on and just enjoy the show. There's also a Cooke-penned and David Bullock-drawn story that has the spirit of the original novel, but isn't quite up to par. Finally, there's a somewhat humorous Wonder-Woman/Black Canary short drawn by J. Bone.

Besides the exciting Green Lantern wrinkle, so much of what made Levitz's Legion work so beloved by so many is present in these pages. The characters are all introduced and voiced in a concise, instantly relatable manner, then given strong dilemmas with which to deal. Levitz also announces himself back onto the scene by taking a sledgehammer to an important corner of the Legion property, ushering in the type of bold change the series is known for. With vibrant, crisp Yildiray Cinar art that takes more than a few cues from Gary Frank's work with the characters, this is one Legion book any fan new or old can sink their teeth into.

I've made no secret of my distaste for Leinil Yu'sketchy style of art, so you can imagine how pleased I was to see Jimmy Cheung's crisp, clearly defined work between these covers. Cheung's art perfectly captures the evolution of the Skrulls from goofy little green men to physically imposing badasses, and there is never a moment where you'll find yourself giggling at the sheer silliness of the Skrull characters, which cant be said of most of the stories in which they appear.

Secret Six is one of my favorite DC books on the stands, and it's good to see its first arc finish on such a high note. If you need me, I'll be counting down the days until the second one kicks off, and the gang once again gets themselves in some insane predicament.

On art, Stefano Caselli proves why he's one of the fastest rising stars in comics. By adding a cartoonish flair to an otherwise realistic approach, Caselli is able to convey a wide range of emotions with his facial expressions. His action sequences are energetic and dynamic, and his visual style in general just oozes personality. With a stellar writing team stoking his engines, Caselli promises to become one of the biggest names in the industry once this book takes off. And it will.

On a completely unrelated note, isn't it nice to have a high quality series that now has little to do with Norman Osborn or any of the Avengers teams?

If Superman Annual #14 is any indication, Robinson is just as capable and as individualistic a writer as ever. If the upcoming third issue of Cry for Justice didn't have part of me cringing in anticipation, I might even be comfortable claiming that the talent behind Starman was officially back in action.

But for fans of Johns' work, Superman: Secret Origin #1 shouldn't' come as too much of a surprise. Once again, Johns does a tremendous job of tinkering with a property in a way that simultaneously injects new life into it and reminds readers why they fell in love in the first place. Gary Frank's artwork is as gorgeous and iconic as ever, and comes as further proof that he was born to draw Superman and his world. Ultimately, though, I suspect much of this series' success will hinge on whether or not Johns can convince readers it was necessary to bring the Superboy concept back into Superman's origin. So far, I'm not entirely convinced.

Artist Pete Woods even shows signs of improvement despite the presence of many of his usual shortcomings. Though I still can't stand the way Woods lays out a page – his use of vertical panels achieves the exact opposite of the intended effect, and only makes each panel and page feel claustrophobic instead of giving the images room to breathe – there's an energy and emotional resonance in these pages that Woods' recent Superman work has lacked. Coupled with Rucka and Robinson's decision to finally kick their story into gear, Woods' improved pencil-work makes World of New Krypton #3 the first truly promising installment of this series. I look forward to reading more.

I said it before, and I'll say it again – those of you who trade wait on this series are missing out on the joy and thrills of following The Walking Dead in serialized form. Get caught up and jump on board with us monthly readers, already.

Ever since the conclusion of "New Ways to Die," Amazing Spider-Man has been firing on all cylinders. First, there was the burst of fresh air that was Joe Kelly and Chris Bachalo's two-part story, then Zeb Wells and Paolo Rivera's enjoyable one-shot, and now, we get this visual gem from Martin and Waid. Let's hope the Amazing team continues to roll out the hits, and keeps their eyes wisely planted on the promising road ahead, as opposed to the rocky path behind.

For fans worried about how Blackest Night tie-ins will work moving forward, Blackest Night: Batman should go along way towards easing many concerns. If the rest of the event's tie-ins turn out to be this strong and worthwhile, fans are in for a hell of a ride.

Finally, it's impossible to read this issue and not at some point think of the future of this series without Rucka or Trautman. During the few calm moments in this issue, I more than once shuddered at the name Bruce Jones, DC's inexplicable choice to take over this book. Checkmate fans would do well to savor this issue as well as next month's (Rucka and Trautman's last, I believe), because it's impossible to tell what this series will be like without its original mastermind involved.

Jesse's Score: 7.6

Final Crisis: Revelations is not only a gorgeous and moving site to behold, it's a also testament to how diverse this DC event really is. I personally commend the publisher for sidestepping the usual tie-in fodder and instead linking their top creators' most personal projects to Morrison's epic. It might not be so accessible to new readers, but I'm loving it.

The only baffling aspect of this issue is the involvement of artist Carlos Magno, who splits artistic chores with regular penciller Patrick Gleason. One of the reasons Countdown has seen an upswing in quality has been Magno's recent lack of involvement on that title, which makes his role on one of DC's most popular recent books quite confusing. Are the editors trying to humble GL Corps and bring it back down to Earth (no pun intended) by assigning the sloppy and disjointed Magno to supply pages? That's what it seems like. This is one book that I'd rather see delayed than ruined by horrible art. It's a good thing Gleason was there to temporarily save the show this time out.

Secret Six is very much a brainchild of its core creative team of Gail Simone and Nicola Scott. Whenever a book that dependent on and synonymous with the vision of its creators takes time for a fill-in issue, the results can be disastrously boring. That this issue works as well as it does in the context of the series' greater narrative makes it even more remarkable.

All gripes about pacing aside, Secret Warriors remains an excellent young series with one of the most exciting creative teams to come along in quite some time. I adore Stefano Caselli's art, and Hickman's dialogue continues to impress. Together, they're crafting one hell of a debut story arc. Now if we could just get the plot moving a little faster…

But even though the issue surpassed my expectations and eased my worries about the Thunderbolts crossover derailing this title, I'm still not thrilled to see Norman Osborn and Dark Reign playing such a big role in this book. I much preferred when Fury and his warriors were battling the likes of H.Y.D.R.A. and uncovering the depths of S.H.I.E.L.D. corruption, and I sincerely hope Hickman pushes the series back into that territory.

It looks like this series is about to pick up some serious steam, and I suggest that every fan of Suicide Squad and Checkmate jump on board.

And shame on anyone who thinks "fun" and "worthy comic" are mutually exclusive.

All in all, I'd call this another stellar outing for this consistently great series. Unfortunately, it's just not the explosion of mayhem I quite expected from the debut of this arc.

As someone who enjoys Wolverine despite his ridiculous over-exposure, it's refreshing to be able to call one of the character's many books one of Marvel's best. Aaron is by no means re-inventing the wheel with his work on this title, but he is applying all his wonderful sensibilities as a writer – dark sense of humor, brilliant character work, and a relentless ability to up a story's stakes – to the telling of a great Wolverine tale that feels as fresh as it does classic. And with the razor-sharp Garney handling the art, there's not much to dislike about his work on this arc, or this series as a whole.

Which brings me back to my first point: I don't think I'll ever understand why Simone chose to forgo the type of intense final confrontation she spent so much time building towards in favor of a birthday party with the Justice League. It really boggles the mind. Oh well. I guess it's just best to shake your head in disbelief and thank the heavens that Wonder Woman is at least headed in the right direction.

But like I said, Amazing Spider-Man #600 mostly rises above criticism thanks to its bulk of enjoyable material. Even at $4.99, it's a real bargain for any Spider-Man fan, and I'd call it the strongest of Marvel's recent over-sized #600 issues.

With this two-art arc, Van Lente and Pulido have definitively established themselves as two of the brightest voices in the new Spidey Braintrust/creative pool. Anytime you can read a Spider-Man story from two creators that feels simultaneously timeless and wholly new, you know they're doing something right. Amazing Spider-Man just keeps churning out quality stories. And as a reviewer, I can't help but feel a tad worried…

The issue also features a pair of back-up tales that help justify the $3.99 cover price. The first sees J.M. DeMatteis, the writer who made Kraven one of Spider-Man's greatest villains in Kraven's Last Hunt, return to the character for a new serial revealing why and how Kraven set his sights on Spider-Man back in the day. The second is the first of a new two-page serial that will run for the next twelve issues, written by Stan Lee and drawn by Marcos Martin. To say this goofy, high concept, gag-driven story clashes with the preceding two would be a grave understatement. Still, it's Stan freaking Lee and Marcos Martin, so it's worth it even with the jarring tonal shift. All in all, the three features combine to make Amazing Spider-Man #634 a winner.

Aaron seems to revel in the inherent insanity of this premise, and never holds back from pushing the craziness of his concepts to the limit. This is a comic in which the power of the Phoenix Force can be channeled into a single bullet, where a new Devil Dinosaur parades the ruins of New York City while Spider-Man and Wolverine bicker about how to stop a mechanical asteroid possessed by the consciousness of Victor Von Doom from destroying the world. And with a talent like Kubert along to bring all of these over-the-top images to life, that makes for a fantastically entertaining read. This second issue isn't quite as much fun as issue one, and gets a little too wordy when it comes to Spider-Man's narration, but it's still a blast.

Astonishing: Spider-Man and Wolverine is an insanely fun, incredibly daring comic from two of the industries top talents. Though it's not without its flaws, the book is still well worth its $3.99 cover price even without any worthwhile bonus material or pages, if only for the chance to see two brilliant creators shoot for the stars.

Children's Crusade #2 is another fantastic outing from the creative duo that first put the Young Avengers on the map. It's comics like this that make me tolerate long delays, and even wish publishers would more often allow a creative team the time and authority to take a group of company-owned characters on an extended journey.

Although Grant Morrison's run on Batman garnered most of the acclaim and attention (and hate) over the past year or so, Dini and Nyugen deserve a ton of credit for delivering consistently top-notch material during their time together on Detective Comics. This issue marks their last outing together before Battle for the Cowl puts the rest of the Batman franchise on hold. I can only hope that when all is said and done and a new Batman is crowned, Dini and Nyugen reunite to tell more stories.

Batman in Barcelona is first and foremost an entertaining, extremely well-crafted comic. That it also happens to come along at a time when Batman is in the midst of a controversial extended storyline makes it even more worthwhile. Whether your loving the current Batman line or hating it, this comic offers a nice reprieve from all the hype and insanity. It's just a fun, accessible Bruce Wayne Batman comic told with a lot of energy and enthusiasm by a couple of talented professionals. As far as I'm concnered, there can never be too many comics like this on the stands.

But those few complaints aside, Batman, Inc. #1 is a wonderful start to this new series, providing a fast-paced, funny, energetic start to Batman's new path. Not only does the issue mark another exciting new stylistic approach to the Dark Knight by Morrison, but the issue's actual story is also chock full of fun surprises and cool twists. It looks like we're in for another inspired, rollicking ride along the lines of the first Batman and Robin arc.

Clearly Batwoman is in great hands moving forward as Williams and Blackman gear up for the character's ongoing, which hits stores in February. The only real complaint I have about this issue is that it didn't deliver enough story pages. It's hard to look at a four-page preview of Batwoman #1 and seven-page preview of Detective Comics #871 as much added value, even if the 16 pages of story does manage to justify the $2.99 cover price.

Black Lightning Year One is a must read for anyone with even the slightest interest in the Black Lightning character. Van Meter, Hamner and Martin are crafting a truly fantastic superhero book, and when all is said and done, it very well might stand as the best Black Lightning story to date.

In the end, Blackest Night: The Flash succeeds largely because it offers the chance to see Johns and Kolins once again have demented fun with the Rogues. Kolins' dynamic pencils and lush visuals are always a perfect fit for the Flash's colorful cast of villains, and he's virtually unparalleled when it comes depicting super speed in action. Am I alone in wanting to see a Johns/Kolins Rogues series far more than any Barry Allen solo book?

What can I say? Booster Gold has grown into an excellent superhero series that no fan of the genre or DC can afford to miss. With Johns and Katz firing on all cylinders and Dan Jurgens providing the crisp, clear and iconic artwork he's known for, this series is almost a sure bet to entertain month in and month out. And from the looks of it, things are only going to get better, crazier and funnier from here.

But just as the issue's creative energy reminded me of 52, so to did its frustrating pace. Certain threads are left completely unaddressed while others are merely nudged forward. Once again, Aquaman and Mera, two characters fans expect to see shine brightly (pun intended) in this series, are given nothing interesting to do. The issue doesn't even try to transition from one scene to the next with any fluidity or stylistic device, simply jumping forward after a scene has achieved its intended narrative goals. For that matter, as was the case with so many issues of 52, there's little uniting the different stories save for the fact that they're all collected under one cover and title. Again, none of this turned out to be much of a problem once 52 was completed and then read as whole, but they were qualities that made the weekly journey jarring and at times unsatisfying. Let's hope Brightest Day can do a better job providing a fulfilling read week in and week out. Infusing the series with t

Like I said, Captain America is the rock of my pull list.

One final note: either by publishing gaffe or editorial oversight, it appears like the second page of a double-page title spread was replaced by a Honda ad. Come on Marvel - get on the ball.

That is, of course, until Bruce Jones comes on board.

So Chew is back, and I couldn't be happier. The first issue of "Just Desserts" might not jump out of the gates as well as the debut chapter sof the previous two arcs did, but it did put a demented smile on my face while leaving me hungry for more. It's good to have you back, my sick, twisted friend.

DC Universe zero is a strange little beast of a comic. At times, it seems like it means to be a reward to long-time readers, but then rarely delivers anything we don't already know (with the obvious exception of the last page). At others, it seems like it means to be an access point for new readers, but then never goes out of its way to explain itself. Other than Morrison and Johns' voice, there's really only one consistent aspect of this book, and that's its ability to build excitement for future stories. In that regard, DC Universe Zero is wildly successful, considering I'm now more stoked than ever for Final Crisis, Blackest Night, Batman RIP, and yes, even the upcoming Wonder Woman tale (though I'm curious as to how DC plans on avoiding a law suit from Dark Horse and Frank Miller).

The issue's final eight-page sequence is by far its best and most powerful. It's there that Hickman uses the school for gifted youths Reed set up last issue to introduce one of his most exciting plot developments yet. I won't describe it with any detail for fear of ruining the impact of the scene, but suffice it to say it involves the children successfully solving a problem that's plagued Reed for years – one that hits very close to home for the team. There are a ton of wonderful emotional moments in this scene, but its last page definitely packs the most punch. Once again, it reminds us that this title is in the best hands it's been in for years…maybe decades.

As its cover suggests, Fantastic Four #584 focuses on Ben's struggle to decide whether to use the temporary cure concocted by Reed's class of child geniuses. Once again, Hickman proves as adept at injecting heart into his FF writing as he is shooting for the stars with crazy high concepts. The Thing sequences will strike an emotional chord with any fan of the character, and leave you off guard for the issue's surprising cliffhanger. Hickman's FF hasn't been told in the most conventional manner – the pacing is a little unusual and whole story threads seem to fall by the wayside for issues at a time as a result – but it's still damn enjoyable. Now with Epting on board, it appears the book is ready to kick into a new, higher gear.

Francis Manapul's art continues to be the book's biggest strength, and once again the artist has a lot of fun depicting the title character in super-fast motion. One sequence in particular, in which the Flash raises along the twirling blades of a crashing helicopter to save its pilots, is beautifully staged and rendered. Thanks to Manapul's gorgeous, kinetic art and a script from Johns that finally kicks this story into gear, Flash #4 is undoubtedly a winner and the strongest issue of the series to date.

My qualms about the art aside, Flash: Rebirth #3 stands as a pivotal chapter in this miniseries and Barry's return. The mystery is heightened, the characters sharpened, and the stakes upped significantly. I can't wait to see where the ride takes us next.

All in all, Green Lantern offers up more stellar work, even if it's not as ground-breaking as recent arcs. At least not yet.

All in all, Green Lantern #45 is an action-packed read that'll leave you gasping for air. Even if it doesn't leave me with much confidence that there will be a rhyme and reason to the way Blackest Night plays out across Green Lantern and Green Lantern Corps, it still delivered a hell of a fun time.

Johns also has a blast with this material, and revels in the chance to handle Lobo's depraved sense of humor. There are a number of very funny lines dropped by The Main Man in the course of the issue, making for a humorous change of pace from the deathly serious tone that dominated much of Blackest Night. More importantly, Johns finally grants the series some much needed direction for the first time since his mega-event wrapped, at last giving this latest arc a more substantial hook than "the White Lantern is here, and it's mysterious!" Throw in a back-up feature detailing the origins of everyone's favorite blood thirty kitty cat, and you have a return to form for this lynchpin series.

Plus, it's Larfleeze in Las Vegas, people.

Between the central philosophical rift between Hal and Barry, the gradual, unnerving revelation about the Indigo Lanterns and a surprise appearance by the most infamous of the various colored entities, Johns is able to effectively suggest Hal still has a lot to prove to both his superhero allies and the Guardians of the Galaxy even after his universe-saving turn in Blackest Night. That's undoubtedly a good thing, as these new complications help invigorate this book and this franchise at a time when most other GL books are spreading the line's core storyline thin. Other than some unsuitably sloppy and rushed work from Doug Mahnke early in the book, Green Lantern #59 is one of the best GL book to hit in months. It's enough to remind you why this book was the best DC title on the stands for so long.

With the main Green Lantern title on an unfortunate hiatus due to some delays in the "Red Lantern" arc, Green Lantern Corps has been left to do much of the heavy lifting in terms of maintaining the excitement surrounding the franchise. Thankfully for GL fans everywhere, the book and its creators seem more than up to the task.

If the issue has one shortcoming, it's in the art department. Gleason is inked by three different inkers, each of whom brings a slightly different texture and depth to his pencils. It's not too much of a problem, but it's disappointing not to see a level of visual consistency in these dynamic, gut-wrenching battle scenes. I'll give Gleason and company a pass this time around, only because that cover, and its play on words, is one of the coolest things I've seen in a while.

And then there's the issue's killer cliffhanger, which definitely had me clamoring to read issue #2. If that wasn't enough, the book also includes an eight-page prose Heroes for Hire saga identical to the ones Marvel usually publishes before one of these relaunches. Coupled with the book's high quality main story, this back-up makes this issue well worth the $3.99 price page, especially to those new to the property.

In the end, the conclusion to Stark: Disassembled works largely because Fraction allows the plot to progress in a more fulfilling manner than he has in past installments. Finally, the story concludes with a rather brilliant and promising device to give Stark a new outlook on his actions over the past few years, putting the character in a fascinating place moving forward. For that, I'm almost willing to forgive the story's fundamental flaws.

Iron Man/Thor didn't grab my attention right off the bat, but by the time the issue was through it had me hook, line and sinker. DnA are working with a seriously awesome high concept, one that's perfectly tailored for a Iron Man/Thor team-up. And with Eaton along for the ride providing some of his best work to date, this series immediately bursts out of the gates as a project no Marvel fan can afford to miss.

The issue accomplishes a hell of a lot in the span of twenty-two pages, fleshing out Captain Atom's personality while providing him motivation to put a stop to Lord once and for all. More importantly, the look into this possible apocalyptic future is an extremely fun, weird and ultimately scary one, making for a great stand alone tale that also manages to service the series' ongoing plot. Fernando Dagnino steps in this week to pencil over Keith Giffen's breakdowns, and once again the series provides a far more aesthetically consistent (not to mention pleasing) visual experience than Brightest Day does. The series' art and inspired issues like this one are two big reasons why fans are calling Generation Lost the better of DC's two bi-weekly series.

Generation Lost #7 sees the newly formed Justice League International attempt a full on assault of Checkmate's headquarters in their hunt for Maxwell Lord, who begins the book by experiencing an epiphany regarding his reason for returning from the dead. The JLI's attempted siege is of course wrought with missteps and unexpected gaffs, the funniest of which come courtesy of the new Rocket Red – one of the best new additions to the DCU in years. Joe Bennett handles the art capably without the help of Keith Giffen's breakdowns, which means Giffen's grid like structure is absent for the first time. Not a problem. Bennet's storytelling is as crisp and concise as ever, and Winick's script provides him plenty of big action sequences to draw while keeping the laughs coming at a fast clip. While my expectations for Brightest Day are dropping with each passing issue, the opposite is true with this series.

Other than the Gog material and the previously alluded to development that I should have seen coming, Johns briefly visits with Power Girl on Earth-2 and alludes to some greater connection between her story, Gog's and Magog's. Where this is going, I have no clue. But I am interested and even excited, which I couldn't really say until good ol' Gog showed up to crash the party.

With only its finale left, "One World, Under God" and the greater JSA/KC storyline are both in a very interesting place, and seem poised to deliver a very satisfying and entertaining total package. For those of us who at times grew weary of this project, that's a pleasant feeling to have after all this time.

There's no doubt about it – between the amusing gags, the richly detailed setting and the fun, over-the-top plot, this is definitely the strongest issue to date.

Regardless, I seriously doubt Rouleau has meant for his work to be studied as closely as something like Grant Morrison's Invisibles, and would much rather you dig through each fantastic set piece with the eagerness that a five year-old digs through Christmas his or her presents. And that's precisely what you will do if you find this charmingly manic work as addictive as I did.

I have no doubt that this arc will serve as a fitting and powerful conclusion to Garth Ennis opus. I just wish he didn't waste so much damn time and space doing everything but advancing the central drama of this story.

If you put aside Aaron and Dillon's current run as its own entity, this is the best Punisher MAX comic I've read in a long time. Williams and Campbell don't reinvent the wheel or even offer anything remarkably fresh, but they didn't need to.

Listen to me, going on and on about the series faults. I've barely found time to heap the proper amount of praise on Sturges' brilliant grasp of most of these characters and his penchant for comfortably slipping into their insane personas. If there's one area of Salvation Run that's damned near impossible to complain about, it's characterization. Sturges knows these nut-jobs all too well, and is more than eager to give such insights as why and how the Joker is able to put up with all those beat-downs at the hands of Batman, why Heat Wave likes burning things, and how Vandal Savage's cunning has been sharpened to a point over the past thousand years. It's these moments that make Salvation Run a hell of a lot of fun and well worth the cover price, even if, in the end, it's likely to have little or no impact on the greater scheme of the DCU other than, you know, "Villains enter stage left."

As much fun as it is to see Brubaker bring his main concept/character to life, the highlight of the issue for me was the chance to see Steve Rogers dress down the real Fury. It's been a while now since we've seen the Marvel U's Chief Spy not in complete control of a situation, and Brubaker gets his money's worth showing the character in the unfamiliar position of being defensive, vulnerable and apologetic all in the same scene. The art, by the stellar team of Michael Lark, David Aja and Stefano Gaudiano, brings an appropriate noir atmosphere to this spy-on-the-run tale, and is a nice change of pace from regular series penciller Mike Deodato. For those slightly disappointed by the title's first arc, this is the comic you've been waiting for.

McCarthy's writing isn't quite as precise as his visionary cartooning. An early gag involving a gangbanger's angry reaction to Spider-Man and the Vulture bringing the cops to his door fell kind of flat and stuck out like a sore thumb amidst the more inspired set pieces. And because he's able to draw you so effortlessly into this world through his images alone, McCarthy's writing in the hallucinatory sequences consists mostly of the demon characters repeating the same annoying and ambiguous phrase over and over. But again, the real draw here is the art, and the chance to see such a remarkable talent pay homage to the legendary Ditko. In those regards, it's worth every penny of its cover price.

That being said, you should be able to overlook the odd timing of the story's narrative set-ups as long as you're willing to accept Superman: Secret Origins at face value as a passionately crafted modern retelling of the Man of Steel's beginnings. Johns once again showcases his ability to cut to the heart of iconic characters, ideas and mythologies, and Gary Frank again proves why he's the definitive Superman artist of the post-Infinite Crisis age. It's Frank's art above all else that makes Superman: Secret Origin a worthy addition to Superman lore, and the main reason I'll spring for the inevitable hardcover despite owning the individual issues.

And as with all great fiction, and particularly great genre fiction, it's tough to hone in on why Sweeth Tooth works as much as it does. Lemire's stylistic art, and the marriage of his strange visuals with his strange ideas, is surely a large part of why the series works more than other formulaic post-apocalyptic stories. But there's more to it than that. It's the entirety of Lemire's nightmarish vision that really makes this title sing. The best testament I can give to the book is that I knew Jeppard would eventually head back to save Gus in this story arc, but still didn't find it any less rewarding and powerful when he started in that direction.

Lemire structures the story in a way I've never seen before. The upper 4/5ths of each page detail Gus' time in confinement while the lower 1/5 tells the story of the plague's outbreak, with the doctor's narration – printed on the lower margin of each page – serving as the issue's only text. The juxtaposition between Gus' silent, nightmarish struggle and the Doctor's historical account is a powerful one, ultimately working you into a weird trance until the final page leaves you with a frightening question. This is the perfect jumping on point for new readers – not only in that it summarizes the series' plot in an accessible, bare-bones manner, but also in the way it introduces readers to Lemire's weird, effective and wholly original style.

T.H.U.N.D.E.R. Agents #1 covers all the major requirements of a successful debut issue. Although it takes a little too long getting to its central hook, it manages to keep your attention long enough before sinking its premise deep into your skin. And although Spencer is perhaps a little too clever for his own good using bells and whistles to add weight to his story, those bells and whistles are actually a hell of a lot of fun when you stop to listen to them. My one major criticism of the issue is that by spending so much time announcing his unique style and voice, Spencer never really gets around to defining his characters in any detail. Still, I'm definitely eager to get my hands on issue #2.

JMS is joined on art by Jesus Saiz, who matches the writer's high level of craft every step of the way. It was disappointing to see JMS accompanied by second-tier artists on the Red Circle books, but Saiz definitely proves himself an equal. He's another reason I'll be coming back to The Brave and The Bold with high expectations.

And yes, it turns out Aquaman is pretty damn cool after all.

As always, the artwork is absolutely fantastic, even if Cooke's decision to frame certain panels as YouTube clips isn't as interesting as past inventive visual devices. It's going to be tough to see this brilliant creator walk away from arguably his most personal creative outlet to date (although it was certainly reassuring to hear Sergio Argones named as his heir).

With Rick still refusing to let his guard down and trust Douglas and his followers, Kirkman escalates the tension in an unexpected way, with an unexpected character as the catalyst. Like so many issues of this series, the book's last page is its best, but there are still plenty of great moments along the way to make the issue a complete, satisfying read from start to finish. Another winner from one of the most consistently engrossing and entertaining books on the stands.

The Walking Dead #77 is the climax to the slow boil Kirkman set into motion when he first brought the story's two groups together several months back. The death of one of the colonists challenges the group's power structure ever so slightly before an old grudge returns to violently threaten their fragile alliance. The way Rick and Douglas deal with said threat is both a "Hell yea!" moment and another chilling example of the types of choices these characters are forced to make to survive. And after Kirkman and Adlard are through driving the power of the climactic scene home, they use the last two pages to point out that the last several months' calm before the storm is very clearly over.

Though Fraction's plot has yet to kick into a second gear, when it does, it promises to be one hell of a ride.

In the end, what we're left with is a fitting conclusion to this latest chapter of the Thunderbolts, and an entertaining transition into whatever twisted road lay ahead for Norman Osborn's team of psychopaths.

With those minor scruples out of the way (I'm not even going to get into the question of how the hell Simone's Paradise Island fits in with the one currently occupied by Granny Goodness in Countdown), it pleases me to say that Simone finally has the Wonder Woman franchise back on track, and her re-imagining of Diana's origin promises to add some much-needed depth to this iconic character's mythology.

After three installments, I'm confident calling "Superman and the Legion of Superheroes" another fantastic outing from Johns and a strong Action Comics debut from Gary Frank. In the end, I think these creators will manage to not only tell a riveting Superman story, but also find a way to fit the Silver Age Legion firmly back into the Superman mythos.

In addition to Kelly's numerous comedic set pieces, the issue also includes a creepy prologue involving Madame Web that builds upon a sequence from Amazing #600. How this scene fits in with the return of Black Mask, I have no idea. All I know is that this title is buzzing along marvelously. And with creators like Kelly, Fred Van Lente, and Mike McKone – who delivers Kelly's jokes with precision, and captures the sexiness of Black Cat without resorting to cheesecake – involved, it doesn't look like that will change anytime soon.

The plot develops at a slow boil, with Batman crossing paths with Savage multiple times in the course of his investigation of the murder of a corrupt Gotham socialite. Azzarello's razor sharp dialogue propels the story forward even as the plot leans back, and as always it's a pleasure to take in the rhythm and style of his writing. On art, Phil Noto captures the world and atmosphere of the story well, even if his images sometimes lack the definition and depth you'd expect from a typical interior artist. By the time the issue was through, I was fully immersed in this reality despite the fact that Azzarello never went through great pains to introduce it outside the core world-views of his two heroes. I'm now ready to jump into the First Wave.

On-again, off-again Cap penciller Luke Ross once again handles the art, and his work here is yet another reminder that this series' rotating team of pencillers all somehow manage to channel the same visual feel. As a result, the book maintains a strong artistic consistency, and when you add that to Brubaker ever-impressive scripting, you get one hell of a reliable source of entertainment. "The Death of Captain America" might be over, but Captain America remains one of the strongest books on the stands.

Whether you're an avid Criminal reader or a newcomer jumping on with this issue #1, it should take a lot more than a great-but-not-quite-brilliant issue like this one to dissuade you from viewing this title as one of the best venues for crime fiction around. Still, I know I for one am looking forward to when Brubaker returns to telling multipart tales as opposed to short stories. And at the very least, I'll never look at the Undertow's bartender the same way again.

But what happened to all those cops Daredevil and crew took down in the beginning of the issue? That question lingers throughout, and recalls the earlier question of how far Diggle is willing to go with this new direction. Yet even if it's not as far as I'd like, I suspect his run will remain an entertaining ride as long as he can push the envelope enough to make this story seem every bit as exciting as those of his acclaimed predecessors.

The issue's final five-page sequence introduces the three races of the underwater city, and then pushes Sue Storm to the forefront in a way we haven't seen in Hickman's run. There's a lot of potential to the concepts and ideas introduced here, and I'm looking forward to revisiting them once Hickman and Eaglesham are done introducing the other two realms. In the end, though, the way they tell this story is far more interesting than the story itself. Which is fine by me.

If you like fun, intelligent, off-beat superhero comics, you'll like Final Crisis Aftermath: Dance. In a comics market filled with generic superhero vehicles, this series is a breath of fresh air. There's really nothing else quite like it on the stands.

Because it's essentially a direct sequel to Infinite Crisis, many of that series' weak points spill over to this book as well. For starters, Superboy Prime remains an endlessly boring and one-note villain who's far more bearable when he's punching things than when he's spouting painful lines of dialogue. Johns is also a little too reliant on random character deaths that are meant to grant the story weight, but instead feel unnecessary and forced. By the time the issue got around to its earth-shattering reveal, however, I had accepted the series for what it is: a geek-tastic superhero slugfest meant to put a smile on the face of DCU fanboys everywhere. In that regard, the best thing I can say about this issue is that I found myself smiling more often than not while reading through these pages.

And of course, Ivan Reis continues to outdo himself with his work on this series and this arc in particular, proving that his flair for drawing deeply human drama is right on par with his knack for crafting bombastic space operas. His depiction of the battle between Hal, Sinestro and Atrocitus (thought wrapped up a bit too quickly by Johns) was breathtakingly gorgeous and exciting, and brought to mind memories of the Sinestro Corps War. As happy as I'll be to see this arc finish up with next issue, it'll be a shame to see Ries step away from the book for a much deserved breather.

It's hard to discuss a book like Green Lantern Corps #44, in which two or three gigantic, insanely imaginative set-pieces constitute the majority of the book's thrills, without spoiling the sheer spectacle for others. Suffice it to say that the issue provides the type of pages you'll want to tear out of the book and tack on your wall, and they're about the furthest thing from the typical comic book splash page you can imagine. And at the very least, credit Tomasi for challenging Gleason to draw the type of images we expect to see in a GLC book, and then allowing him to space to defy our expectations.

But as is often the case with Invincible Iron Man, the issue realizes greatness whenever Tony steps into the frame. Fraction's deconstruction of the character ranks up there with the best Iron Man stories of all time, and I could watch Tony struggle with his fading genius for another twelve issues if Fraction chose to go that route. One of my biggest complaints about this title is that I always have to wait another month to read the next the installment.

All in all, I'd call this issue, and this arc, a very entertaining Justice League story that will hopefully push this title, and this team, into a new era of prosperity.

Like the best ongoing titles, JSA once again consists of a number of threads that all point in relatively promising directions, and will all likely converge for some serious fireworks. The book has returned its main focus back to its characters by facing them with some seriously difficult questions. JSA is once again wearing its heart and brain on its sleeve, which wasn't exactly true during the first half of this KC crossover. With regular artist Dale Eaglesham apparently back in the groove, and longtime Earth 2 penciller Jerry Ordway lending a hand for the Power Girl scenes, it's also one of the sharpest looking book on the stands. For the first time in a while, I'm genuinely excited for the next issue of Justice Society of America.

For a narrative that was dragged out longer than it needed to be, the finale to this story had a lot to live up to. When you think about it that way, that the story ended up living up to those expectations without exceeding them isn't too much of a negative. In an age in which so many comic book story arcs end up disappointing, seeing such an extended epic deliver despite all its flaws is actually refreshing.

While Tomasi's writing is without a doubt one of the comic's greatest strengths, it's Adam Kubert's art that truly makes this issue extraordinary. Kubert experiments with a two-page layout style that utilizes horizontal story progression more than your typical comic, and the issue flows wonderfully as a result. Kubert's interior work has only shown up sporadically during his exclusive contract with DC, but when it has, it's almost always been a special treat. His work here might even be more impressive than his stellar performance on the early installments of "Last Son," which is saying quite a lot. Dare I say it, but Kubert's exceptional art, coupled with Tomasi's inspired scripting, has me excited for Batman and the Outsiders for the first time in... well, ever. Here's hoping incoming artist Lee Garbett is up for the challenge.

My problems with these prose segments aside, the third part of "Valley Forge, Valley Forge" is an intense and exciting read, as Frank derives some very inventive ways to take down the Special Forces squad without using lethal force. Frank's frightening capabilities are on full display here, and Ennis underlines his phantom-like presence by placing us in the perspective of the soldiers trying to apprehend him. The conspiracy involving the Generals who now sit at the very top of Frank's hit list also develops further, as the soldiers begin to wonder if they're carrying out a mission or a work-for-hire hit. It all carries us to the final page, which brings Frank one step closer to his most important vendetta yet. And as much as I can't wait to see what happens next, it'll be a shame to see Ennis' run come to a close.

Things really get interesting in the issue's back half. It's there that Simone dusts off a former staple of the team before dropping one of the series' best, cleverest cliff hangers to date. The development is classic Secret Six, and it promises to offer every bit of the double-crossing insanity that the series' debut arc delivered. Jim Calafiore again proves himself to a fine replacement for Nicola Scott, one capable of handling this book's wonderful mixture of violence, depravity and humor. With him on board, it looks like Simone's gearing up for another wild ride.

All in all, a fantastic read, with some dynamic visual storytelling by Rick Leonardi (the outer-space scenes, while not quite up to the level of Ethan Van Sciver, Ivan Reis or Brendan Gleason, are still awesome).

In the end, Burnett and Nguyen have crafted the first enjoyable Superman/Batman arc in quite some time, and this story will definitely make for one trade paper back worth picking up.

The issue isn't as tightly wound or intricately constructed as some of JMS' earlier efforts, but is just as impressive in a lot of other ways. As long as Barbara Gordon has been entrenched in her Oracle persona, not many artists have really probed into the emotional ramifications of her defining incident. The issue does that beautifully, and tops it off with a devastating call back to The Killing Joke that'll sock you in the gut. It's not JMS' best work on the series, but it is quite good.

The Marvels Project might not be the toast of comic book fandom in this current event-dominated climate, but it's more than likely to go down, not only as the definitive origin of the Marvel Universe, but as one of Brubaker and Eptings strongest collaborations. Considering the strength of their past efforts, that's saying a lot.

But alas, I have a feeling some horror-buffs and zombie-lovers might feel differently about the aforementioned complaints. My main point is that The Walking Dead works best when it is first and foremost a human drama. When Kirkman pushes his increasingly disturbed lead characters out from under the microscope to take a closer look at zombies, this series becomes decidedly less stirring. I suppose it's a good sign that recent teasers imply the survivors will soon find themselves up against more human antagonists.

As far as major comic book transitions go, this one actually went over fairly smooth, or at least as smoothly as it could. Thor remains an entertaining, well crafted book, and that should be good news to fans who expected the wheels to immediately fall off the cart after JMS' departure. That's definitely a good thing, even if Gillen is faced with the same unfortunate predicament of not controlling the fate of Asgard until Siege is over. And who knows, by that time he may not even by on the book any longer.

The issue, and this series, is the perfect example of style over substance, but because Aaron is the one dishing out the style, that's not at all a bad thing. Alongside artist Ron Garney, who delivers all the requisite atmosphere and brutal action, Aaron is able to make this story so cool you'll forgive it for being somewhat derivative. There aren't many creators that could do so much with so little. Aaron and Garney are two of them.

One last thing: I don't care what anybody says, I love Diana's new friends from Gorilla City.

Action Comics #875 is a promising start to what has the potential to be a great yearlong story. More importantly, the book also takes the time to entertain in the here and now while setting up what's to come. And for those of us who have been twiddling our thumbs waiting for the Superman books to cut to the chase already, that's a welcome sight indeed.

However, based on the strength of the lead feature's set-up and the high quality of Manapul's art, Adventure Comics has enough going for it to make any Superman fan happy. At least for now, it looks like DC has yet another new hit on their hands.

So to bring things back to where we started, Johns and Gates have managed to provide a worthwhile, substantial and entertaining tie-in. Thank their willingness to shoot for the stars with big, imaginative high concepts. And if you're so inclined, thank Morrison for opening up the doors for them.

This issue oozes style from start to finish, and editors Tom Brevoort and Steve Wacker would do well to note how fantastically these two creators work together. As far as plot goes, there's also a ton to like about this issue. Kelly surely and confidently ties his disparate threads together, leading up to a climactic cliffhanger that leavess us excited for more. This new version of Hammerhead packs a serious punch both literally and figuratively as a character, and Kelly gets a lot of mileage out of the "laughable villain turned badass" motif. All in all, it's a tremendously entertaining Spider-Man comic that's as fun to read as it is to look at.

Pulido's art was probably my favorite aspect of the issue. In my eyes Pulido's work on this title is second only to Marcos Martin. The two share the same timeless feel and expressive, animated style. I loved little flairs like Spider-Man's scarf, earmuffs and socks, his webbed parachute, and the otherworldliness of Sandman's stronghold. By the time he and Van Lente dropped the issue's big cliffhanger, I was ready and eager to dive into part two.

There are a few missteps along the way, to be sure. For starters Aunt May's new attitude continues to come across as more awkward than dramatic, regardless of the explanation for it. On a similar note, I continue to have a tough time caring whenever the Kravens and Madame Web appear on the page, even if they are the guiding forces for this entire Gauntlet storyline. Nevertheless, the issue sets up the long-awaited return of the Lizard in an entertaining manner while providing some nice development in Peter's ongoing romantic soap opera, and for that it's well worth the price of admission.

But above all else, the issue succeeds in large part because it's such a genuine thrill to see this story's grandiose ideas start to gel. As always Morrison is working with some incredible high concepts that are awesome to behold even if the dialogue doesn't always live up to the big ideas. Andy Clarke's art isn't as impressive or experimental as Quitely's or Stewart's, but unlike Philip Tan's it is effective in conveying the story clearly. That being said, the issue's final seven pages bring this mystery together in such an exciting fashion as to suggest Morrison and Clarke won't need any visual center pieces to make this tale a riveting read.

If you're not reading Birds of Prey, now's a good time to start. Not only is it the only place you'll find an all-female superhero team, it's also one of the most consistently entertaining superhero books on the stands. Get on board and see what all the fuss is about.

Despite my problems with the way this finale played out, it's still impossible not to recognize what Brubaker has accomplished with this epic, particularly what he accomplished with the Bucky Barnes character. With this story, Brubaker has made Bucky just as complex as Steve Rogers ever was while making him an entirely different sort of Captain America. Thanks to this story, the Marvel Universe now has a new A-list hero with a ton of dramatic depth and potential. It just would have been nice to see a more satisfying conclusion to his first adventure.

I can't begin to describe how disappointed I am to hear this book is on its last legs. Thanks to Pfeifer and Lopez, Selina Kyle has remained one of the richest, most complex characters in comics, and her solo series was one of the most consistently rewarding, well crafted superhero vehicles on the stands. I guess all us Catwoman fans can do is hope and pray that the character lands in a decent series and that Pfeifer and Lopez both inherit a title worthy of their incredible talents.

With that rant out of the way, allow me to reiterate how much I'm enjoying this Dr. Fate tale. I know you might not want to spring for the extra cover price, but it really is great.

I was more than a bit skeptical of this project before it began, but Starlin has completely won me over with this third issue. Watching Starlin pull every concept and character out of the Fourth World toy box, play with the ones that interest him and then throw the ones that don't into oblivion is truly a sight to behold. Those unfamiliar or impartial to the New Gods might completely disagree with my opinion, but this miniseries is turning out to be a real gem of a comic book story.

Deatlok: The Demolisher isn't the most original story I've ever read, but it's definitely a ton of wicked fun. I love the freedom Marvel has given Huston and Medina in this re-imagining, and I'll definitely be coming back eagerly for seconds.

To wrap things up, this is a strong debut of a mini-series that is certain to be celebrated by some fans and derided as inaccessible by others.

Certain colors have played a huge role in the Green Lantern books recently, and it's worth noting that this issue is gorgeously dominated by greens, bloody reds and vibrant purples. This unique mix of horrific gore and strange beauty dominates each and every page, making the entire issue an immensely powerful visual experience. The confusing stage direction problems suffered in last issue are thankfully absent in this installment, and I'm glad to report that the chaos is now visually coherent. Credit is likewise due to new-coming inker Drew Geraci, who lends some much needed definition and clarity to these proceedings while employing a strong use of shadows and blacks. Let's hope this creative team gets the chance to stay together for an extended run, because I could certainly go for a few more issues like this one.

If you're looking for pitch-perfect dialogue in a superhero comic, look no further than Nightwing #152.

It's unfortunately all too rare these days to approach a comic with extremely low expectations and walk away pleasantly surprised. Nomad #1 is without a doubt one of those rare comics. I'll definitely coming back for more next month - only this time, I'll be doing it eagerly.

The Secret Six isn't the most daring, inventive, or well-crafted superhero book on the stands, but it very well might be the most fun.

But my biggest criticism of this issue is that I read it in about four minutes flat. That's mostly due to all the pretty splash pages supplied by Vitti, which means there's less time for Hickman's subtle brilliance. Still, a disappointing issue of Secret Warriors is still far better than most books on the stands.

On art, Matt Camp proves a capable replacement to series regular Jamal Igle, offering a very similar style, crisp storytelling and the ability to capture the emotion in these scenes. The quality of this series' artwork has always been one of its biggest draws, but that won't necessarily be the case much longer if Gates keeps churning out issues like this one. Let's hope he's given the freedom to do so.

Bryan's Score: 8.8

Those criticisms aside, Daniel's first two issues on Batman have me excited and hopeful about his tenure on this title. It's clear Daniel has a firm idea of where he wants to take this story and the confidence to take it there, even if he might stumble a bit along the way. That, and his art is as atmospheric, bold and dynamic as it was on Batman RIP, even if he retains some of the awkward tendencies found in that story. All in all, it's an exciting time to be a Batman fan, and Daniel is a large reason why.

Liek a runaway train, Birds of Prey just keeps on chugging along.

Overall, it's still an engaging and enjoyable read, and the Black Adam/Hawkman throw-down delivers some serious thrills, with Mahnke's violently graphic style underscoring the battle with the perfect amount of desperation and rage. The sudden introduction of Talia Al Ghul and the League of Assassins also managed to raise my eyebrows and leave me greatly anticipating the next installment, a sense of anticipation that was further heightened by the issue's shocking cliff-hanger ending. All in all, I'm comfortable calling this installment a necessary reprieve in this series' unrelentingly enthralling sense of gloom and doom, and I'm confident that this miniseries will continue to deliver on a high level.

If you've ever had the slightest interest in the Black Lightning character, then definitely give this mini-series a try. You'll be happy you did.

If there was ever a property that was meant for the sitcom treatment, it's Dr. Magnus' metal maniacs. And judging from this first installment, this title might be worth the cover price if only for its back-up. Thankfully, the main feature is also pretty damn good, too.

One minor complaint about the issue and the arc as a whole: if I had my choice, Willingam would let up on the use of back-up features, at least in the course of extended arcs. I would much rather have seen Willingham tell the "Dark Ages" in four parts as opposed to five, and then tell the Mowgli back-up serial in a one-shot. I think spreading the two stories out alongside each other lessens the effectiveness and disrupts the pacing of both. Other than that, Fables continue to impressively captivate me in the early goings of its second major era.

Fantastic Four #573 begins as an amusing little diversion and ends as a promising start to another high stakes adventure. Fans of the series will enjoy it for what it is, but fans of Hickman's work might leave every bit as disappointed as they are eager to see where this goes.

Again, I implore those of you following Green Lantern but not Green Lantern Corps to give this series a try with this issue. You can thank me later.

Rereading what I've written thus far in this review, I'm guessing it will be easy for people to assume I didn't enjoy this issue, and don't care for Incognito as a whole. That's not the case, and I should point out that this book definitely is a worthwhile read. It's just not Criminal, and as unfair as that may be, it's reality. I for one yearn for the day Brubaker and Phillips fulfill whatever creative itch led them to this series and get back to exploring the world of Tracy Lawless, Leo Patterson and Frank Capra, P.I.

Even if I was once again late to the party, I'm thrilled I discovered Jonah Hex. There's always room on my pull list for masterfully crafted, smart, genre series that offer one-and-done stories.

I suppose it's a good day when you can say the main plotline of a comic was fast-paced and character-driven yet not quite riveting, and that the same comic boasted some very engrossing subplots. I suppose it's also a good day anytime you can hear Marc Andreyko's punchy dialogue sing in rhythm with artist Michael Gaydos' expressive art. Manhunter is just one of those rare books that somehow manages to be exceptional and entertaining even when it's firing on most but not all cylinders.

For those who enjoyed Escape for all its weirdness, have no fear: Brandon doesn't abandon everything that made that series unique. There are still some very unusual questions hovering above this drama, and the book's title alone seems to suggest all is not what it appears. But like I said, it's a huge improvement in every way, including the art. Cliff Richards provides sharp, clean pencils that compensate for a lack of detail with vibrant personality. All in all, this is a thoroughly entertaining read, and I'm glad I picked it up.

The issue is essentially all set-up, but that doesn't stop it from being very entertaining. My one complaint is that, as was the case with last issue, it's tough to figure out exactly what is happening in the cliffhanger scene that's supposed to set up the team's upcoming antagonist. And of course, there's the annoying Origins and Omens back-up, which at least serves as an informative roll call for new readers. Finally, I won't fault Lee Garbett for falling short of the masterful work presented by Adam Kubert in last week's one-shot. Garbett's a talented artist, and I'm happy he's on board for the foreseeable future.

But all that doesn't change the fact that Winick's take on Ra's and Talia is alone worth the price of admission. There's something powerful about the way the two react to the news of Jason's death, and then stumble about in different ways to deal with his resurrection. If you're a fan of the characters, definitely give this book a try.

That being said, the issue features Rucka, O'Neil and Cowan all returning to the world of the Question, so it shouldn't be too much of a surprise to learn it's well worth the cover price. If anything, check it out for no other reason than the chance to see three brilliant veterans operating in their respective wheelhouses.

On the artistic side of things, Chris Batista contributes more of his solid artwork, even if his action scenes fall on the rigid side of things. Like Don Kramer, Batista is a clear, crisp artist that's more adept at capturing emotions than he is a dynamic fight scene. Still, his art is hardly a weakness here, even if it's far from impressive.

The issue's biggest disappointment is its art. Regular penciller Stefano Caselli steps aside for fill-in artist Gianluca Gugliotta, who tries valiantly to mimic Caselli's unique style but ultimately fails to hide his own obvious quirks. I'm not familiar with Gugliotta's past work, but I couldn't shake the feeling his art would have shined more if he let his own style, clearly influenced by manga, run wild. The one sequence where he seems to do precisely that, the big Leviathan vs. HYDRA showdown, is the issue's best in terms of dynamics and storytelling. All in all, though, the artist does a commendable job on the interiors, and combined with Hickman is able to make it another success for this consistently great series.

Again, this issue reads as a perfect companion to Rucka's Checkmate, which shouldn't be surprising when you consider it was Ostrander who first introduced many of the players and themes that Rucka modernized and ran with in his brilliant new series. With the new Squad ready to deploy on its first target, and just the right amount of under-the-table deals and double -rosses waiting around the corner to make their upcoming mission seem truly suicidal, this miniseries is finally living up to its lofty name and reputation. I can only hope there's more in store for this fantastic property when this miniseries is said and done. All the more reason to get on board now.

To sum things up, out of all the Superman creative teams, I think Robinson and Guedes are doing the most effective job of both progressing New Krypton and making it entertaining. This is most likely do in some part to the random way this story has been broken down, but this writer/artist duo still deserves credit for being the most in sync of the New Krypton creative teams.

When all is said and done, The Marvels Project will very likely accomplish exactly what it set out to: tell the definitive tale of how the Marvel Universe took shape against the backdrop of World War II. It's a compelling, expertly crafted read, even if it's not the most exciting. And perhaps more tellingly, it's one that can sit very comfortably next to all the other phenomenal works Brubaker and Epting have crafted around Captain America.

Again, it's a tough book to review, especially without revealing too much. I can say that there is a few of those expected and obligatory zombie killing scenes that we all love, and that Rick and Carl's relationship continues to progress into some interesting areas. The true point of the issue, however, is for the series' story to take a few sharp turns, and get us eagerly anticipating what awaits our heroes at the next set of turns. And in that regard, it succeeds wonderfully.

Wolverine: Weapon X is shaping up to be one hell of a fun series. It's not the most cerebral, mind-blowingly original comic you'll come across, but that's fine; it doesn't need to be.

"Tomorrrow Dies Today" is shaping up to be another great arc from the team that brought Wolverine's title (well, at least one of them) back to the top of Marvel's output in terms of quality. Although it might have peaked last issue, I still hold out hopes for the remaining installments. At the very least I'm fully confident Aaron and Garney will keep me entertained along the way.

All in all, a strong start to this arc, even if it does have a few major flaws.

On art, Joe Prado steps in for Gary Frank and does a suitable job in his place. Either by design or coincidence, there's really not much in terms of action for Prado to tackle, and he's at least able to competently render these characters in various heated conversations.

In the end, Johns and Merino leave us with a villain who is far more interesting than he's been in quite some time and the return of a longtime supporting character that hasn't been seen in almost as long. Action Comics continues to deliver the goods every month, and for that, Superman fans have reason to rejoice.

Again, it's not a bad outing by any means, it's just that Morrison has set the bar so high with his work on this title that anything less than brilliant is bound to disappoint on some level, no matter how small. The biggest problem here is the work of Benjamin, whose sketchy style comes off a bit rushed at times, even if he hits the final sequence out of the ballpark.

But unfortunately, all the flash and style in the world can't make the idea of a resurrected Earth-2 Superman and Lois Lane seem more significant or emotionally resonant, and that's ultimately what keeps this issue from realizing the same heights as Blackest Night or Blackest Night: Batman. The brief appearance of a third Black Lantern promises to change that for the better, but I still won't get my hopes up. Instead, I'm hoping that Robinson and Barrows can at the very least keep on delivering the horror in heavy doses. That alone should help go a long way towards making sure this is one tie-in worth reading.

While a little muddy and nondescript at times, Diego Olmos' art in this issue fits the dark, noirish tone of this series quite nicely, and the whole thing makes for a riveting read, particular for those invested in this miniseries' themes and characters. With only one issue left, I'm ready for a Question ongoing - as long as Rucka's at the helm, of course.

As in any great Ra's tale, Dini showcases the grand scope of this story, taking us from secluded, cavernous hideouts to snowcapped mountains; he even puts Batman in chain mail and armor to underline the dire circumstances of this quest. It's a fantastic read from start to finish, one that underlined my suspicion that the Robin and Nightwing issues of this crossover will be spent on less important fodder. Considering the issues of Detective and Batman are so clearly more important to this crossover, it really makes you wonder why DC assigned a lesser talent like Benjamin to this installment's art chores. Benjamin's artwork is an obvious weakness, but again, even his lackluster effort can't change the fact that this issue is immensely enjoyable.

I just wish Tomasi would have left that one skeleton in the closet, or in this case, that one woman in the refrigerator.

Like any great writer, Shooter is first introducing us to his characters and their many flaws before tossing them into the fire, and it's why I've found his return to Legion to be so compulsively readable. Shooter's understated approach is even more remarkable when you realize he has such an action-oriented artist as Francis Manapul at his disposal. Whenever such a talent as Manapul is assigned to a book, a think the writer is tempted to provide them with dynamic action scenes, even when such scenes do their overall plot a disservice. To Manapul's credit, his art is just as beautiful to look at it when he's drawing a heated argument or quiet exchange as it is when he's drawing a superhero slugfest (well, almost). Either way, since both creators have come aboard, it's tough not to get the feeling that there are some great things in store for the Legion, both from a drama and excitement perspective.

On a final note, I think DC should go ahead and adopt a policy of only allowing writer/artists to handle the Metal Men. If there's one thing that Rouleau proves with this series, it's that only someone who is both writing and drawing the Metal Men can truly capture their individual metallic personalities with the right amount of flair and pizzazz.

On the art side of things, Chris Batista's straightforward and crisp pencils fit Dixon's brand of storytelling quite well, even if his depiction of action scenes are sometimes a bit too stiff and rigid. Again, because I haven't been reading Robin in recent years, I can't fairly claim that the title is now back on the right track, but it is darn good to see Dixon return to the character and series he helped build from the ground up.

Like the Tales of the Sinestro Corps Presents: Parallax special from a few weeks back, this issue also transitions from the origin story to the greater struggle currently taking place in the main Green Lantern title, with the second half of the special providing the first glimpse of the Sinestro Corps War as it spills into Earth's atmosphere. For that reason as well as the important character work mentioned earlier, this one-shot is the perfect companion to the main Sinestro Corps War event and another testament to how to handle such crossover tie-ins the right way; it's simultaneously noteworthy and substantial for those who can't get enough of this storyline while also not essential for the casual reader. Patrick Blaine's art, while not as strong as Ethan Van Sciver or Ivan Reis' fantastic work, is nevertheless perfectly competent, with strong, crisp line-work and an energetic feel to the large-scale action sequences.

As for the new team of Thunderbolts that are at last fully introduced in this issue, all I can say is that I'm unfamiliar with all of them except Robert Kirkman's Ant Man, yet I remain as intrigued with this series as ever. I think that says a lot of about Diggle's handle on this property. Have no fear, T-Bolts fans - it doesn't look like this book will lose its evil crown any day soon.

I love the weekly comics form, and it's good to see that Trinity is well on its way to redeeming its reputation in the wake of the greatly disastrous Countdown. (Sorry, I couldn't help myself.)

Once again, Gary Frank's art is top-notch from the first page to the last. Frank's adult redesigns of the Legionnaires have been the best visual aspect of this arc, but his rendering of this book's high-octane action isn't anything to slouch at either. If I have one word of advice for Mr. Frank, it's to move away from drawing Superman as an almost exact portrait of Christopher Reeve. In early issues, Frank seemed to strike the perfect balance between Reeve's Superman and John Byrne's, but the later influence seems to have fallen by the wayside as this arc progressed. It's pretty distracting in some places, and I'd hate for it to remain a problem for the rest of his run.

This week, at least, Nick Spencer and RB Silva's Jimmy Olsen back-up is the star of the show, and I continue to have a blast reading their take on the goofy, light-hearted Silver Age Olsen tales. There's a playfulness and wit to this ongoing co-feature that's rarely seen these days in comics (well, at least outside of Cornell and Spencer's work on this book), which is why I hope it finds a place once DC eliminates these back-ups. Why is it that just as two books, Detective and Action Comics, convince me back-ups can be worthwhile, DC gets rid of them?