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.

Crown's Score: 9.8

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.

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.

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.

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

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.

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.

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.

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

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.

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

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.

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

I can definitely appreciate Dysart and Vertigo's efforts to enlist an African artist to work on this series while regular penciller Alberto Ponticelli took a break, and I love the authenticity and style Masioni brings to the table. I just wish Dysart had given him a more substantial and less elusive story with which to work. Perhaps I'll be able to appreciate it more in context as the series goes on.

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.

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.

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.

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.

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.

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.

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.

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'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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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 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.

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...

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.

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.

Which brings me back to my initial point. More so than any other series out there, there seems to be an ongoing debate over whether The Walking Dead reads better periodically or in trade form. I for one count myself proudly amongst those who enjoy following Robert Kirman's saga on a monthly basis. When I read in issue like this one, though, I can see where the other side of the argument might have a point. An issue such as The Walking Dead #59 might add a lot to the series' greater story, but it doesn't quite satisfy completely on its own.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

Like each of the series' four installments, the issue utilizes the imagery, ideas and themes of its central time period without completely submerging Morrison's greater story and larger ideas in them. In other words, more than a case of Bruce Wayne playing dress-up in the Wild West, the story manages to enrich many of the mysteries at the heart of the story Morrison has been telling since he Omega-Beamed Bruce into the past in Final Crisis. Artist Georges Jeanty has a lot of fun riffing on the imagery of the Western genre, but also makes sure to bathe each panel in a dark, haunting atmosphere more akin to a supernatural horror film. It's not the best issue of the four, but it is damn good.

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.

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.

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.

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.

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.

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.

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.

If I had to guess by the way the first unexceptional issue ended with a twist and then led into the inspired second installment, I'd say that next month's issue should offer up some juicy new details of Hal's first year on the corps, particularly as it pertains to Sinestro.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

I ended up enjoying Blackest Night #7 quite a bit when all was said and done. Reis' art is gorgeous and insanely dynamic despite its numerous storytelling problems. The story includes many of the elements that have made Johns' Green Lantern so enjoyable all along. It's a fun ride. That doesn't change the fact that the issue and this event both have their significant flaws – shortcomings that are unlikely to be redeemed by the concluding episode no matter what Johns and Reis pull out of their sleeves.

In the end, as Final Crisis and Rogues Revenge dovetail in a more meaningful and recognizable manner, all of my questions and concerns might very well be addressed sufficiently. As it stands right now, however, I'm still in the dark as to why all this matters.

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.

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.

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.

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.

Hickman is playing a dangerous game with his work on SHIELD. All it takes is one look at any message board thread regarding the recent work of Grant Morrison to know that plenty of comic book readers resent books that mix an over-abundance of weirdness with a lack of accessibility, and Hickman is out-doing even the Mad Scotsmen with this series. Even those like myself who love high concept, insanely imaginative books will find themselves scratching their heads when reading this book. That is, of course, part of the fun if you're willing to have some patience and give Hickman the benefit of the doubt to trust more answers and entry points will be provided in the near future. If you're willing to do that, SHIELD #2 is more than worth its cover price, if for no other reasons than the way its images and ideas will leave your jaw on the floor and your mind racing.

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!

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 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.

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

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.

With all that said, there is a lot to like about the issue, no matter how disjointed and abbreviated it is. Simone could write these characters playing checkers and I'd find it entertaining, so there are of course a number of awesome character moments and laugh out loud exchanges in these pages. The difference between this issue and previous installments is that Simone never really puts all the pieces together, so what we're left with is an entertaining but disappointing reel of juicy moments starring the coolest team of characters in comics. It's still a worthwhile experience, just not one that meets the standards set previously by Simone and Scott.

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.

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 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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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 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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

Even with all the faults and problems I've pointed out, I think Final Crisis deserves praise for one reason: it's completely different than any one of these big event books we've ever seen. Morrison can be accused of a lot of things, but a lack of innovation and risk taking is not one of them. Rather than try and entertain us with a lot of big fight scenes and bells and whistles (see the main Secret Invasion series), he's chosen to try something completely different, one that fits right alongside some of his most challenging work. For that, I'm thankful. I just hope all of Final Crisis' grand plans will pay off in the end, because its not clear that they will.

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.

Jesse's Score: 8.4

Jesse's Score: 7.6

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Seeing as how Legion of Three Worlds #5 hits stands just a week after the first issue of Johns' and Ivan Reis' Blackest Night #1, it's impossible not to compare the writer's work on the two very different takes on a DCU event. I'd definitely say that Johns' more organic, internally-driven storytelling approach in Blackest Night is far more satisfying than the gimmicky, externally-driven take on Crisis on Infinite Earths and Infinite Crisis found in Legion of Three Worlds, but again, I think it says a lot about Johns' talent and versatility as a writer that he can now successfully pull off both.

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.

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.

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.

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.

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

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.

The bottom line is that this issue is a stark improvement on recent Secret Invasion tie-ins. It includes clever nods to long time Marvel readers, and manages to add to the current event as well. For any fan like myself who was losing patience with this event, it comes as a breath of fresh air.

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.

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.

Even with Gary Frank's gorgeous rendering of Superman, his world and supporting cast, the issue just doesn't accomplish enough to feel truly worthwhile. Do we need another comic to tell us that Lois Lane is a feisty reporter, the one journalist in Metropolis with the gumption to take Lex Luthor to task? Did we really need to be reminded that Lex Luthor hates the very idea of Superman? In the end, what purpose will Superman: Secret Origin really serve, except to act as a well-crafted origin story that doesn't require a series of footnotes explaining the latest changes to DC continuity? The jury is still out on that one.

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.

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.

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.

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.

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.

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.

By the time Gillen got around to introducing a complication that presumably will guide this arc moving forward, part of me had already checked out. I'd rather be reading Siege, and I don't even like that book. Don't get me wrong, there are some strong moments here, I just can't help but think Gillen's second story arc would have been better served by taking place either before Siege (like his first) or after it. Anyone who's ever played sports knows sitting on the sidelines is rarely any fun.

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.

The issue's last page development is an exciting one, and implies Fraction has a lot more up his sleeves than a simple invasion of Asgard and Earth by dangerous, evil forces. Still, compared to last issue's ridiculously tight and inspired structure, this chapter's conventional approach to storytelling was a little disappointing. But again, that's mostly a reflection of the narrative requirements of any second installment of a greater story than an actual complaint. It's hard to think of many second issues that lived up to the wonder and energy of a great debut. What's important is that all signs still point to Fraction and Perry embarking on a run for the ages.

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

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.

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.

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.

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

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.

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.

Crown's Score: 7.5

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.

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.

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.

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.

Jesse's Score 8.7

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.

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 #690 isn't an awful comic, but it's not a good one, either. Forced writing, middle-of-the-road art and a paper-thin story all combine with an ending that's more absurd than exciting to make this issue feel even less substantial than it is. Bring on Tony Daniel.

The issue's one saving grace is that it ends on a genuinely enticing cliffhanger that promises exactly the sort of story that should be told with Dick Grayson behind the cowl. With Winick departing the book in favor of Tony Daniel, I don't know whether I should be thrilled that he wont be around to follow up on this twist, or worried that Daniel might abandon it for more Battle for the Cowl-related plot threads.

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.

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.

Thankfully, the sheer spectacle of this tale, the quality of the art, the intrigue of its central mysteries and Daniel's stylistic flair together outweigh the story's significant flaws. Again, for the first time in a long time this series seems to be pointed in an exciting direction by a creator confident and capable enough to carry his plan into fruition. For all of Paul Dini's strengths as a writer, even he has been unable to grant his Batman work the distinct authorial voice so vital to any great superhero run. Daniel apparently is, and as a result Batman and Robin is no longer the only Bat-book truly worth reading.

The finale to Daniel's first arc is sure to be a doozy, as Batman and Black Mask's rematch promises to provide some much needed answers in addition to more teeth-rattling action. If only this penultimate chapter did a better job of ratcheting up the tension, suspense and high stakes in the clearest manner possible.

All in all, Batman #698 is a competent follow-up to Daniel's first arc on Batman, one that reaffirms his talents as a writer even if it underlines some of his faults. At the very least, it appears he more than capable of weaving many of the subplots he set into motion last arc together with this latest whodunit, which suggests his run on this title will retain that authorial voice that made his debut such a treat.

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.

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?

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).

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.

In the end, I suppose it was nice to see one of my favorite writing duos of all time reunite for a brief stopover into the genre they do best, even if the final product was far below their work on Gotham Central.

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."

Rereading what I've written so far, it'd be easy to get the impression that I didn't enjoy the issue at all. That's not the case. The idea of Kingpin and Daredevil teaming up for one last rumble with the Hand is immensely exciting, and even if the two never share a panel in this issue, the prospect of their pairing is enough to make even this quiet issue seem somewhat eventful. Likewise, Brubaker's handle on Kingpin is pitch-perfect, and I'd glady read a scene of Fisk eating a sandwhich if Brubaker wrote it. My biggest problem with this issue goes back to my distaste for the way Brubaker has structured most of his arcs on this book, with all the juicy stuff coming at the beginning and end, and the middle resigned for quieter issues like this. This creative team doesn't have too many issues left before they hand the reins over to Andy Diggle. Obviously, I'd prefer each one to be as riveting as possible.

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.

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.

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 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.

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.

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 goal of any first issue is to draw readers in to the story and convince them to come back for more. Thanks to Sean Murphy's gorgeous art and a haunting atmosphere that hinted atmagical possibilities, Joe the Barbarian #1 definitely drew me in. For that, I'll call it a success, even if it's difficult to call it great without the context of future issues. That said, I have a feeling I'll be thankful that Morrison and Murphy took the time and space to walk us through this boy's house.

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.

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.

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.

and thank me later.

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.

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…

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.

Again, I can't say I'm happy at the direction Secret Warriors takes with this issue, but I suppose it was only a matter of time before Dark Reign seeped into these pages. The issue did convince me to return to Thunderbolts after abandoning that series during its crossover with Deadpool, so I suppose in that regard it did its job. And with Hickman and Bendis at the helm, there's no reason to believe this series will suffer any significant dip in quality.

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.

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.

I think the issue fails most noticeably towards the end, when Fury gathers up his forces to reveal the next stage of his plan. These last few pages could have been used to wrap some sort of a bow on the preceding scenes. Instead, they were used to vaguely push the story in yet another new direction. In the end, the story's fragmented feel, coupled with some Stefano Casseli art that's far less polished and impressive than the artist's first go-around on this title, makes it difficult to call this issue anything but a disappointment.

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.

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?

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.

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.

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

It's difficult to discuss Secret Warriors #20, and my utter disappointment with the issue, without repeatedly coming back to Colak's art. A better artist might have managed to make Hickman's story feel more substantial and less rushed. But because Colak's panels fail to command attention, because most can be appreciated with little more than a quick glimpse (the exception being the panels that are difficult to understand), the book speeds along rapidly until the underwhelming final panel. This is not the grand send-off I expected from Hickman's espionage opus. How disappointing.

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.

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.

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.

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.

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.

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.

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.

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.

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...

The haunting Red Hood/Scarlett scene is preceded by another two-page sequence that stood out above the rest. The scene introduced another creepy new player named the Grave Digger, an English author decked out in an unusual mask and costume, and although I have no idea how this character fits into the story, I definitely want to see more of him. With any luck, we'll see more scenes like the pair of previously mentioned gems next issue than we will more shots of antiheroes offing rogues.

Luckily, this arc does have a few strengths that partly balance out its many flaws. I continue to thoroughly enjoy Morrison's exploration of Dick and Damian's chemistry, and his take on Damian in particular brought a smile to my face on a quite a few occasions. It's also clear that there's a greater mystery at work beneath the surface of this story in the form of the Domino Killer. Again, if he and the aforementioned Gravedigger and Flamingo can make their presence felt sooner rather than later, this story might just turn into something worthwhile in the end. As of now, though, I'm still counting down the days until Cameron Stewart takes over the book and the next story arc gets underway.

What saved this issue – and in many ways, this entire story arc – for me was the books' final three pages. There we see the subplot involving El Penitente and Oberon Sexton finally step into the forefront, and Dick Grayson utter three magic syllables that promise to shake this story to its very core. It was enough to make me remember how much I love this ongoing saga, and almost enough to make me forget how disappointing this arc has been.

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.

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.

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.

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.

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.

Other than those few instances where it felt like Heinberg was either bending pre-established ground rules, resorting to gross hyperbole or both, Avengers: The Children's Crusade was another enjoyable albeit predictable read. Very few writers today are capable of telling a story that feels timeless and new at the same time, and even fewer are able to build on past continuity while still keeping their stories accessible. Heinberg is one of them, and his stories are often must-reads as a result. Even when they're slightly flawed.

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?

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.

Once again, in Luke Ross, editor Tom Brevoort managed to find yet another artist capable of stepping in and maintaining the visual consistency established by Steve Epting. Like Butch Guise and Mike Perkins, Ross' style is similar enough to Epting's to make you momentarily forget about the latter's absence. Alongside Brubaker's decision to return this series to familiar territory, Ross' art enhances the feel that this issue really is the 43rd part of the story that kicked off with the very first issue of this series.

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.

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.

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

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.

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.

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.

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.

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.

Mitch Breitweiser steps in to handle the pencils this issue, and although his style is grittier and looser than that of Steve Epting, Luke Ross or Butch Guise, it still manages to feel at home next to the work of the series' usual team of rotating artists. There's a dynamic energy at the heart of Breitweiser's storytelling, and thanks to colorists Dean White and Elizabeth Dismang, there's also a rich atmosphere to every panel. So yes – Captain America remains as expertly crafted, entertaining and impressive as ever. Oh, and the Nomad-centric back-up tale from Sean McKeever and David Baldeon still isn't doing a damn thing to justify the book's price hike.

The issue does have a few flaws. For starters, the opening fight sequence, as insanely kinetic as it is, goes on for far too long considering it only really sets the table for far more intriguing and important scenes. More problematic is the presence of multiple inkers and colorists, greatly changing the way Guice's stellar pencils come to life from page to page. At times, the visuals have a smooth, glossed-over slickness to them; at others, they're rough and more grizzled. Still, Guice's pencils always shine no matter how they're finished, and it's fun to see him pay homage to masters like Sal Buscema and Jack Kirby. All in all, it's another great Cap issue, and – more significantly – a game changer for this latest arc.

Oh, and the Nomad back-up still exists.

Sean McKeever and Filipe Andrade's Nomad back-up serial, "Welcome Home," also concludes this issue. And while I appreciate Marvel's attempt to provide additional value to compensate for the book's $3.99 cover price, my disinterest in the lead character makes it difficult to feel like I'm getting extra bang for my buck. I'd much prefer the book lose its back-up and return to its $2.99 price tag, yet I won't hold my breath waiting for that to happen.

The issue's one saving grace is Brubaker's very creepy take on a new alliance between Master Man and Sin, which made my skin crawl – in a good way. Clearly this story needs much more than the boring dramatic theatre of a public trial to keep it interesting, and these two villains promise to add some desperately needed complications to this plot. The same goes for the involvement of Dr. Faustus as the defense's key expert on mind control. These villainous characters need to step into the forefront sooner rather than later, because even an artist as talented as Butch Guice isn't capable of making talking heads visually interesting no matter how much grit, personality and atmosphere he brings to the book.

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.

At the very least, Countdown to Mystery is worth picking up for the awesome Gerber Dr. Fate series alone, but Sturges' serial has also made this $3.99 cover price well worth it.

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.

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.

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

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.

Manhunter is still a well-written book with great characters and excellent, expressive art by Michael Gaydos. It just isn't firing on all cylinders at the moment, and that's disappointing.

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.

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.

When it comes down to it, those lingering questions and the familiarity of the premise keep Scarlet #3, and the series as a whole, from exploding into fully formed life. As of now, the series reads more like an interesting experiment than an actual worthwhile story. As a whole, the book is most captivating when Bendis and Maleev go furthest outside the box with innovative storytelling devices. As for the story, the character's descent into a full blown, sociopathic revolutionary isn't' quite pulling as much weight as Bendis and Maleev's experimentation. That can change, however, as long as there's more to Bendis' metatextual plans than currently meets the eye.

At this stage in the game Mike Deodato remains the books main draw – no pun intended. With Brubaker still fleshing out his story and settling into the rhythms of writing an over-the-top Avengers book, it's Deodato who seems most at home with this material. Although his striking visuals deliver the goods in each and every panel, his work on two sequences – the book's opening flashback and a gorgeous double-page spread revealing the story's galactic scope – really hit home as the work of a master. As soon as Brubaker's writing rises to the level of Deodato's art – a feat the scribe is more than capable of achieving – this book will undoubtedly become the best Avengers book on the stands. Heck, some would say it already is.

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.

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.

In many ways this final issue lays all of the project's faults bare. If it wasn't made abundantly clear last issue, this concluding chapter definitely makes it obvious that Brubaker had no intention of truly exploring the ramifications of a villain recreating the super-soldier forum until later stories. What we're left with is a rather thin, action-dominated story in which Steve Rogers takes on the Machinesmith, a villain who isn't really capable of supporting a story on his own. Luckily Brubaker does do action-driven stories well, he again captures Rogers' voice capably and even throws in an interesting albeit brief exploration into the concept of artificial intelligence. But all those redeeming qualities don't make this issue, and this story, anything greater than it is on the surface: a thin, ultimately disappointing set-up for what's to come.

Black Lightning: Year One is a well-crafted comic and a pleasant surprised, and it deserves to be read by anyone who has even the slightest interest in the character.

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.

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.

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.

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.

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.

The centerpiece of the issue involves Tony and War Machine being duped into a PR fiasco by Justine and Sasha Hammer, a rather contrived development that doesn't really feel as devastating, or as inventive, for that matter, as Fraction intends it to be. We've seen Tony confronted with the negative consequences of his inventions plenty of times in the past, and this sequence does nothing new in that regard. Still, there are moments, such as a concise but revealing argument between Tony and Maria Hill that recalls Fraction's best work on this book. The issue also manages to end on a note that builds up this latest threat in an enticing way. Despite its flaws, and despite the fact that it involves Salvador Larroca rendering un-armored people in his awkward way for long stretches (never a good thing), the issue performs well enough to call it another winner.

The plot sees Pepper Potts regain her chest repulsor and Rescue armor before she and Tony attend a Stark Industries gala alongside the Hammer women. There's a great moment when Fraction reveals a clever, almost ironic twist to Pepper and Tony's relationship, one I won't spoil except to say the development makes the on-again, off-again romance a hell of a lot more complicated. It's likewise amusing to see Tony nervous before setting off to shmooze potential investors, something the old Stark wouldn't have ever broken a sweat over. But again, the art is clumsy enough, and the plot slow and uneventful enough, that the issue never really springs to life. It also ends on a rather flat note, ultimately leaving me with the impression the issue didn't accomplish as much as it actually did.

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.

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.

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.

Nevertheless, Deathlok: The Demolisher has a ton to offer fans of satirical, darkly comic and at times disturbing science fiction. Huston and Medina are attempting a lot with this story, and that they don't accomplish everything they set out to shouldn't be held against them too much. This is a fun mini-series, even if it has its considerable faults.

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.

The few segments of this issue that aren't taken up by the Sodam/Prime brawl are spent on a flashback to Sodam Yat's youth and origin story, and these segments are by far the best parts of the issue. I have no idea whether or not Sodam Yat's origin story has already been told (I only started reading GL Corps once this event started), but I thoroughly enjoyed learning how this Daxamite came to join the Green Lantern Corps, and I specifically enjoyed seeing how this character is essentially Mon-El with a power ring. Still, my enjoyment of the flashback portions of this issue doesn't change the fact that they'd probably fit better outside the confines of the Sinestro Corps War story, which again, tells me this issue was slapped together to buy time for the finale. In the end, my heart still raced and my eyes still widened while I followed the action, but I wasn't nearly as thrilled as I was by every previous installment of this fantastic story.

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.

I sincerely hope no new GL Corps readers drop the title due to DC's miscalculation. Tomasi and Gleason's run deserves better.

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)

Green Lantern Corps works best as a title when we get a sense of the vast scope of the DC Universe through the lens of GL Corps' everyday procedures, and even though this issue focuses heavily on the Guy Gardner/Kyle Rayner-led strike team on Mongul's planet, it cuts away to other GL Corps happenings just enough to drive home the vast scope that makes this series such a great sci-fi vehicle. This title is in competent, sure hands; I just hope Gleason figures out a better way to balance his out-of-this-world visuals with solid storytelling.

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.

Mongul sends the GL Corps his favorite flower arrangement.

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.

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.

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.

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.

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.

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.

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.

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.

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.

The best thing I can say about this issue, other than to once again praise the art of Patrick Gleason (his work in the Guy-as-Red-Lantern sequence is quite stunning), is to say that even in the midst of a crossover as big as Blackest Night, this series continues to feel like it's own story first and foremost. Developments, as cheesy and unfortunate as they are, reach back far before Blackest Night began. And more so than its sister title, Green Lantern proper, Green Lantern Corps has managed to maintain an identity throughout this event. In this latest case, it just isn't a very favorable one.

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.

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

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.

You can do a heck of a lot worse than Incognito while searching for entertaining comics at your local store. You can also do a heck of a lot better, starting with Brubaker and Phillips' past work. I'm not recommending anyone who's enjoyed those projects skip this one. I'm just hoping this incredible creative team gets this story out of their system so they can move onto something else, namely more Criminal. That might seem unfair, but it's the truth.

As a fan of that source material, however, I'm tempted to say screw you new fans, because this is precisely the type of book us Suicide Squad fanatics have been waiting for all these years. Since the issue focuses on Flagg and his arch nemesis Rustam's struggle to escape the Island that Time Forgot (made famous in Darwyn Cooke's New Frontier), this particular installments lacks much of the political intrigue that makes the Squad and Rucka's Checkmate so enjoyable. Still, there's plenty of dinosaur action as well as just enough flashbacks and references to the original series to make these twenty-two pages a surefire hit for those few of us who were heartbroken to learn DC had cancelled their plans to publish a Showcase collection of Ostrander's initial run on this title.

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.

Bryan's Score: 8.8

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.

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.

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.

But taken as a whole and in the context of this greater story, these problems aren't nearly as significant as they may sound. Despite this issue's more bewildering segments, "Tomorrow Dies Today" remains an exciting, very entertaining marriage of Days of Future Past and The Terminator, with Aaron's dark, character-driven vision leading the way and Garney's kinetic, razor sharp storytelling chops doing the heavy lifting. Despite my concerns with this issue, I remain a fan of this arc, and enthusiastic about seeing how the pair will follow up on the promise of the issue's last page.

Like all of Aaron's work, there are some great, very interesting ideas at work in this issue, in particular the idea of a benevolent cybernetic computer program that overrides the murderous mind of its deceased human host. If only that idea had been set-up earlier in the arc, and didn't seem to spring out of nowhere at the tail end of a superhero vs. cyborg slugfest, maybe "Tomorrow Dies Today" would have felt more like one organic story. It doesn't, and that's mostly because Aaron couldn't find a way to rein in his ambition and unify his ideas under one coherent plot.

David Hine is a master of the macabre, and the world of Arkham Asylum is a perfect match for his bent for the horrific. If you're interested in Arkham, this is definitely one mini-series you shouldn't miss.

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.

Artist Jesus Saiz's art won't blow you away, but his pacing fits right in groove with Rucka's plodding (in a good way) script, and colorist David Baron captures the dark mood of this disturbing little yarn. The Crime Bible is turning into yet another fantastic 52 spin-off, and I can't wait for more. I just hope we can keep Batwoman out of the mix. Now there's a walking stereotype that bloggers should be mad about.

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.

I know, I know. Keep dreaming...

You'd be hard pressed to find someone with a more dubious outlook on the whole Secret Invasion storyline than mine, so my sudden enthusiasm for this series should tell you a lot about what Wells and artist Clay Mann are able to accomplish in this first issue. There's not a whole lot of substance at work in these pages, but there is a ton of style, and just enough dramatic meat to make you hungry for more.

Fabrizio Fiorentino's work in Ink is gorgeous. Moody, atmospheric, haunting and brutal when it needs to be, Fiorentino's painted visuals are the biggest reason to give this series a try. The scenes of the Tattooed Man's ink coming to live to serve up violent justice are exquisite to behold, and you won't find another book on the stands that looks quite like this. Even if Wallace falls flat on his face with this story (and I don't believe he will), the series will be worth it just for Fiorentino's art. Give it a try and see for yourself.

In all fairness, the main plot of Flash #2, and "Dastardly Death of the Rogues", isn't poorly told; it's just dull and familiar. I'm sure Johns has plenty suprises up his sleeves when it comes to this story, and you can already sense him making Barry's unique perspective as a forensics scientist inform the style of storytelling. For now, though, I'm more entertained by all the juicy stuff he and Manipul are piling on top of the main story.

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.

But man, do I wish Brightest Day hadn't unnecessarily reared its ugly head just as this story was getting good.

But at its heart, Incognito: Bad Influences succeeds largely because Brubaker and Phillips again compliment each other so wonderfully. This is one of the best creative teams currently working in comics, and it's a pleasure to watch them enrich each other's work even if the story doesn't quite sing as loudly or as beautifully as past collaborations. Besides the central appear of seeing the writer and artist together again after a brief time apart, there are plenty of other strengths to the project to make it more than worthwhile, including another prose back-up from Jess Nevins detailing the history of a forgotten pulp character.

As it stands now, this Kingdom Come storyline has been extremely unfocused and uneven, but has neverthless managed to entertain for the most part. In the end, this Magog one-shot continues that trend.

On art, Fernando Pasarin once again turns in a quality performance on one of these one-shots, and proves he's more than worthy of contributing to the JSA ongoing if Dale Eaglesam can't handle the load. Pasarin's work here is crisp, clear and dynamic, and he's able to seamlessly shift in and out of a number of different moods and atmospheres. Pasarin's work here, coupled with the way this issue pushes the Gog storyline to the breaking point, just manages to make up for the insufferable emo-Damage character.

With the main Justice League series languishing in mediocrity and James Robinson's Cry for Justice doing little to make fans think things will get better when he and Mark Bagley take over next month, this 80-Page Giant stands as one of the single best JLA comics to come along in years. This is the type of story the JLA property demands, and I'd rather see DC hand the book over to any one of these up and coming writers than read anything in the vein of Cry for Justice.

So that's the issue in a nutshell. It's mostly set-up, but mostly good set-up at that. DC, Giffen and Winick are clearly hell-bent on re-establishing Lord as one of the DCU's biggest heavies, and despite a dubious claim made by Superman in this issue that Lord came closest out of anyone to defeating the heroes of the DCU, they start the character off on the right foot back to big-time villainous status. Aaron Lopresti brings the same steady, crisp brand of art he brought to Wonder Woman for an extended run, and having Giffen back handling breakdowns 52-style means the storytelling buzzes along without a hitch. If you're digging Brightest Day, dug the lead-up to Infinite Crisis, and/or have an affinity for any of the lead characters, this is definitely a bi-weekly series worth following.

Despite its flaws, Generation Lost still has a lot of potential. If Giffen and Winick can somehow make this familiar story seem fresh while delivering more in terms of humor, surprises and plot twists, Generation Lost has the ability to stand right alongside Brightest Day in terms of quality and entertainment. As of now, though, the writers have their work cut out for them.

This fifth installment turns the story on its head and reveals a new facet to Max Lord's motivations, mirroring the JLI's debut story in a fun and surprising way. Scripter Judd Winick continues to wonderfully capture Booster Gold's voice, and here makes the most of the opportunity to delve back into the character's origins. His take on the rest of the cast is equally as enjoyable, with the new Rocket Red stealing a lot of the issue's funnier moments. I'm not entirely sure where Winick and co-writer Keith Giffen are going with this story, but that's part of the fun. And with a talented ensemble of artists that includes a rock solid penciller like Aaron Lopestri along for the ride, I foresee mostly good things for this series moving forward. I wish Brightest Day was this consistent.

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.

Generation Lost has long been much more than just a string of neat ideas, and Winick here adds to the fantastic characterization he's brought to this cast of characters since the series began. I love the way Booster Gold, over the course of the series, is slowly stepping into a leadership role, and the way the he dresses down a blood-thirsty Captain Atom in this issue was a great touch, one that added legitimacy to Booster without ignoring the character's core sense of humor. Add in some solid art from Joe Bennett and a shocking last page twist, and you get another very entertaining installment of DC's best biweekly book.

The issue's self-contained plot suggests this miniseries might stick to episodic stories, which is fine considering how foreign this world will be to many of us readers. Telling thinly connected stories set in this world seems like a fine way to get us acquainted to it. I just hope Cornell does a better job balancing effective storytelling with his crazy world-building.

While there's certainly something to be said about a comic that effectively transfers you to a wholly unique, totally vibrant place, Cornell's episodic style of storytelling in this mini feels a little watered down. Although I never think it's fair to compare a writer to Grant Morrison, it's impossible not to compare this series to Morrison's work with the same characters in "Blackest Knight." That story boasted the same bursting-with-life sense of place and culture as Cornell's Knight and Squire, yet did so while still managing to deliver a rollicking, fast paced adventure. Don't get me wrong – this mini-series is still quite enjoyable and, like I said, charming; it can just stand to offer a little more in terms of story. And although Cornell's last-page glossary and explanation of the Morris Men is much appreciated by this ugly American, I'd rather not need it to fully appreciate the actual issue.

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.

Punisher MAX: Butterfly is an ambitious one-shot, one that succeeds in providing a gripping read even if it doesn't accomplish all of its lofty goals. I'm looking forward to reading more of D'Orazio's comics work.

Dini is joined on art by Stephane Roux, best known for his work with strong female leads on the covers of Birds of Prey. Like longtime Birds artist Nicola Scott, Roux's females are sexy without resorting to too much cheesecake, which is a hard thing to do when your lead character prances around in fishnets. Roux's a great cartoonist capable of strong storytelling. He creates lush atmosphere and versatile character "acting." From the looks of this first issue, he's the perfect choice to join Dini on his pet project. Here's hoping they enjoy a lengthy run together, and that they both figure out ways around the character's inherent difficulties.

Thankfully, Powell is on board to transform Johns' rather conventional and unsurprising script into twenty-two pages of beautiful comic book art. If a lesser artist had handled this book, I certainly wouldn't be following it with half the enthusiasm. In the long run, I think this book's greatest accomplishment will be making more people pick up Powell's endlessly hilarious Goon.

Although I loved seeing Eric Powell's Max Fleischer-esque Superman and his unique twisted take on DC's greatest icons, in general, I'd call this three-part arc a bit underwhelming. I hope we haven't seen the last of Powell on a mainstream superhero book, but I certainly hope we don't have to see another Bizarro story for some time.

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

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.

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.

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.

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

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.

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.

But again, the very fact that this issue progresses the New Krypton storyline the way it does will likely lead many to consider it a success. They may have a point. Those same people might also find it difficult to overlook the issue's significant technical shortcomings, or a suspicion that the final product could have been higher in quality had it been planned and executed more carefuly. For those reasons, I recommend the issue to anyone enjoying this current Superman epic, with the stipulation that they curtail any high expectations.

In conclusion, there's no other way to say it: New Krypton failed at nearly everything it set out to achieve.

And then there's the issue's "Origins and Omens" back-up. I don't know what else to say about these features other than they're proving to be rather worthless as sources of entertainment, and equally insignificant as sources of information (at least to regular readers). Most of the focuses of these tales, particularly Guardian, feel shoehorned in to all this Blackest Night business, and I have a tough time believing the majority of these features will prove to be anything more than wastes of valuable pages and annoying interruptions. I hope I'm wrong.

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.

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.

All in all, I'm still fairly optimistic about Rucka's Action Comics and the new Nightwing and Flamebird-centric direction. The concept is intriguing, the lead characters have potential, and Ursa makes for a great antagonist. Likewise, the issue's cliffhanger suggests some interesting things down the road. I'd like to think that Action Comics #877 is merely a bump in the road, and that it'll pick up steam again next issue.

The issue also marks the debut of Rucka and James Robinson's Captain Atom back-up serial, but I'm not sure what else to say other than I have no idea what to make of it. The story sees Captain Atom battle a horde of Orc-looking creatures in some unspecified time/reality, with Rucka and Robinson declining to give the reader any foothold. There's some nice action, and a quick cut scene to the Atom's time in the JLA adds some intrigue to the set-up, but the story still suffers from being far too enigmatic. I have a lot of questions about Captain Atom, chief among them being whether or not he remembers his unfortunate turn as Monarch in Countdown. By holding their answers so close to the chest, Robinson and Rucka made me less interested instead of more. The back-up certainly didn't justify the dollar hike in cover price.

Unfortunately, Action Comics #881 doesn't boast nearly enough plot substance to call it a success. The character's eventually revert to the clich? that began the issue on such a tired foot, and in the end the only real development to occur involved a change of setting for the Kryptonians run-in with anti-Kryptonian forces. Combine that with another ambiguous Captain Atom back-up feature, and I was left wanting a lot more from this comic.

This series' back-up is considerably more interesting than the main feature, which has been the case for the past couple of weeks as the connection between Captain Atom's predicament and the New Krypton storyline has become clearer. James Robinson deserves serious props for trying to integrate elements of Countdown and a character as severely broken as Captain Atom into the fold, even I'm not quite sure if he'll pull it off. At the very least, though, there's a feeling of risk taking and unfamiliarity at work in this co-feature that's not present in any of the other New Krypton-related books, except for perhaps Sterling Gates' Supergirl. For that, and for Cafu's expressive, dynamic art, it definitely deserves some praise.

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.

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?

Sadly, the reality of the situation is that the biggest development in both the story of Steve Rogers' return and the state of the Captain America franchise moving forward occurs in a comic that has yet to be published, and is apologetically revealed in the issue's opening recap and a late-issue monologue by Rogers. That's tough to swallow no matter how exciting the development might be and no matter how well Brubaker navigates these unfortunate circumstances. I'm just glad Steve's back and free to walk around the Marvel Universe without spoiling any more stories, and hope his future adventures can someday make us forget how sloppily he was brought back into the fold.

I sincerely hope Mr. Dini is finished trying to expand on his floundering weekly series, because we already suffer through enough superfluous Countdown-tie-ins as is, and his Detective Comics one-shots used to provide a much needed break from the monotony of following DC's current megaevent.

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.

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.

As with most of Dini's Detective issues, the characters and story are extremely well written, but the whole thing can feel a bit too brisk and inconsequential. Artist Dustin Nguyen has a lot of fun breathing life into these colorful, goofy villains, but his over-the-top approach – though amusing – only underlines the fact that Batman will have no trouble making mincemeat out of these idiots. As far as similar types of stories go, you can put this one-shot on the bottom of the pile of Dini's other works.

Again, my main problem with this issue is the fact that there doesn't seem to be much of a mystery or explanation behind this suit of armor, which hardly justifies why an entire issue was needed to explore its back-story.

All in all, it was an enjoyable, if unremarkable, installment, with Dini offering nice characterization and artist Dustin Nguyen providing more of his stylistic pencil work (even though I still don't like the way he draws Batman's cowl).

Speaking of Zatanna, in my review of last issue, I voiced my excitement at the prospect of a Zatanna/Batman romance, but I have to say, after reading this issue, I'm glad such a pairing will likely never see the light of day in any serious capacity. Though they work in the confines of a JLA story, Batman and Zatanna just don't work that well together in a grounded story. Unless the two are going up against the likes of the Joker (which made for a brilliant 2-part story by Dini last year), having Zatana around for a fight with armed gangsters feels too much like cheating. I don't want to see Zatanna utter a backwards phrase and have the goons drop their Tommy-guns, I want to see Batman forced to disarm his enemies the old fashion way. From a story perspective, I think the Bat-books are far better off with less Zatana as opposed to more, though I wouldn't mind seeing her pop up from time to time to demonstrate her and Bruce's unique chemistry.

On the art side of things, I have to admit that I'm slowly coming around to Dustin Nguyen's work (though I still don't like the triangular, pointy appearance of Batman's nose behind the cowl). Nguyen use of shadows adds the appropriately dark atmosphere to Dini's noir-ish tales, and he also has a lot of fun with his character designs. Selina Kyle is as darkly sexy as she should be, and I loved the disheveled, Albert Einstein like quality to Commissioner Gordon's hair. It looks about right for a guy who spends twenty-hours a day sucking down coffee over crime scenes.

As I said before, Dini has a long way before he convinces me that Hush is a strong character, but I'm willing to stick around and see if he'll pull it off.

There are some truly harrowing moments here, and artist Dustin Nyugen has a lot of fun setting the dark atmosphere in each of Hush's modern day scenes with some strong use of shadows and lighting. He also does a great job with the last page reveal of the previously alluded to famous Batman villain. In general, this Detective Comics arc definitely seems to be going someplace interesting, even if it's nowhere near RIP. (Again, probably a good thing).

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.

As for the link to the recently concluded RIP, O'Neil fluidly includes shout-outs to a number of different stories currently taking place in the Bat-books, and he does it with the ease of a career editor who oversaw a number of different convoluted Bat crossovers in his time. What he doesn't do is clue us in on why all this matters to Millicent Mayne's predicament, and we're left wondering whether or not the veteran scribe might be using this RIP post-mortem to tell one last Batman story that's been lingering in his imagination. Seeing as I have full faith in O'Neil, I don't think this will be the case, and I fully expect the second issue to deliver more in terms of exploring the idea of a Gotham without Batman. As it stands now, though, all we really have is a relatively compelling story starring a mysterious new character, Nightwing and Two-Face.

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.

"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.

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.

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.

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.

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.

Whatever happened to the high stakes, anything-can-happen feel of Willingham's stellar series? Hopefully, "The Good Prince" will prove more of an aberration than a sign of things to come. I'd hate to think that the citizens of Fabletown all of a sudden have it easy.

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 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.

Kick-Ass, and this finale in particular, works best when Romita's art takes center stage bringing Millar's wildest ideas to life, acting out absurd theatre that plays like some ungodly amalgamation of Scarface, the Three Stooges, Home Alone and Wild E. Coyote. Though I look forward to the movie – which, by the way, was written, cast, shot, edited and screened in the time it took to complete the actual comic – I have a tough time believing any director, cinematographer and cast of actors will be able to bring this craziness to life with the same wicked zeal Romita brings to this book. Maybe the movie will prove me wrong, but I seriously doubt it.

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.

Like the mini-series' debut issue, part two keeps its feet firmly grounded in reality, neglecting to mention the force that brought the former Robin back from the dead. It even goes a step further, using Jason's disinterest in the cause of his resurrection to powerfully highlight his pathological obsession with Batman. Once again, Talia and Ra's Al Ghul steal every scene they're in, as Winick does wonders with their turbulent relationship. The art, handled by both Pablo Raimondi and Cliff Richards, isn't nearly as impressive as the writing, but it does enough to call Red Hood: The Lost Days a success.

All that being said, none of this is enough to make me forget the one question that's been lingering in my head ever since I watched Batman: Under the Red Hood: why didn't Winick and DC deliver that razor sharp, nonsense-free story in the first place?

As always, George Perez's masterful artwork is extremely detailed and dynamic, but that isn't enough to compensate for Waid's unremarkable plot, which sees D-list villain Dr. Alchemy attempt and hypnotize/possess Power Girl into killing Superman. There's also a brief thread surrounding the Book of Destiny that ties this arc with the previous storyline, but again, that isn't enough to make me excited for next issue.

Whether Waid likes it or not, The Brave and the Bold exists as a charming alternative to the majority of DC's continuity heavy books – a place fans can turn to find a well crafted retread of stories they've already read in some form or another.

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.

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.

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.

But if JMS' Brave and the Bold issues have one thing in common, it's that they all come together in the end to make for a powerful final revelation or moral statement. For that matter, JMS' finest efforts on this book are a lot like brilliant little magic tricks in which a series of slight of hands all weave together into final moments that someone seem both inevitable and surprising. This time out, because of the absence of his most talented stage hand, Saiz, and a few missteps along the way, the climactic trick doesn't pack as much punch as it should, even if it deserves a round of applause.

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

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.

So in the end, what we have here is a stand-alone adventure that doesn't stand on its own very well due to how little it says about its characters or the story's subject matter, and the first part of a two-part tale that doesn't do much of a job setting up part two. Doesn't sound like much, does it? Luckily, JMS is good enough to make the issue work surprisingly well despite its fundamental flaws. At the very least, it's fun to watch JMS play these characters off each other in a story that takes an unexpectedly grounded take on over-the-top sci-fi.

All in all, the issue falls far short of the high benchmark the JMS/Saiz team has set on The Brave and the Bold. The issue does make an insane sort of sense when placed alongside last month's Doom Patrol/Legion of Superheroes team-up, but even when taken as a whole this story isn't anywhere near as polished or impressive as this creative team's previous efforts. At the very least, though, this installment does deliver a few big laughs while providing some fun, irreverent entertainment. For that, I'd still call it a worthwhile read. I just hope JMS and Saiz revert back to the form that made this series one of the best on the stands, and sooner rather than later.

So do I think the "Origins and Omens" feature alone justified the issue's cover price? Well, no, not really. Other than the development involving Lex and Brainiac, the story really didn't bring anything to the table. If you're interested in reading the first Legion story, however, I'd definitely recommend picking this book up. If not, then by all means wait for the Superman books to catch you up to speed.

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.

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.

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.

All in all, the issue is not nearly as impressive as Levitz' more modern Legion of Super-Heroes relaunch a couple weeks back, but it does offer a pleasant little call back to the days of yore. Whether or not that appeals to you is another matter entirely.

I might be making more than a few stretches with this analysis, but I challenge any serious comic reader to examine this issue and tell me that Frank Miller has absolutely no game plan whatsoever, and is instead just crazily typing away these scripts with the goal of pissing off fanboys everywhere. At the very least, the many seemingly random creative choices Miller has made thus far seem to be tying together to make some cohesive statement about the Batman and Robin archetypes, and while I can't be certain what that statement is, I wouldn't dare look away for an instant.

Bring on the hate mail.