Pat Olliffe's artwork is another problem area, as it's almost completely unremarkable and at times quite muddied and somewhat rushed. His super-skinny depiction of Wonder Woman will make you wonder when Diana gave up eating, and there are a few panels where it's tough to tell the exact nature of the threat that's supposed to have us and the Big Three shaking in fear. Of all the 52 spin-offs, this series might be the least necessary.

When this issue was all said and done, I would have much preferred to watch the comic book equivalent of a four-person play featuring Snapper, Bruce, Clark and Diana than sit through been-there-done-that action scenes, explanations of Oolong Island's new sovereignty, and cliche-riddled dialogue between the four lame monsters. It's a good thing Giffen's penchant for characterization and dialogue is such a pleasure to behold, otherwise this series would be a real snooze-fest.

We've seen quite a few fantastic mini-series spin-out of 52 thanks in no small part to the plethora of interesting material that Grant Morrison, Mark Waid, Geoff Johns and Greg Rucka laid out in that weekly series. Sadly, once they chomped down on Osiris and caused Black Adam to go into a murderous rage, the Four Horsemen ceased being one of 52's interesting threads, which makes you wonder why the hell Giffen decided to tackle this particular story in the first place.

With Keith Giffen locked into an exclusive contract at DC, I can only hope the company will assign him projects slightly more substantial than a throwaway "Big Three" story that only waters down a previous plot thread.

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?

Overall, I'd call this long awaited Annual an entertaining read if not a riveting one, though I'd hesitate before saying it's actually worth the wait. I can think of few series other than maybe Planetary or All Star Superman that could realistically survive this sort of delay.

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

Action Comics Annual #13 is a very frustrating albeit interesting read. I'd much rather watch a writer take daring chances and shoot for originality than play it safe, and Cornell definitely doesn't play it safe with either of these stories. Unfortunately, there are far too many problems and missteps along the way to call this issue a success. Instead, I'll call it a fascinating failure – one that didn't much change my opinion of Cornell as a bold, original storytelling voice even if it brought him down to earth a bit in my eyes.

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.

Besides pointing out the general competency of this mystery, and Robinson's deft characterization of the Guardian as a man struggling with his own identity and humanity, it's tough for me to pinpoint whether newer readers will identify with this issue as much as long-time Superman fans. I suppose the most accurate thing I can say is that if you enjoyed the Jimmy Olsen one-shot, you'll enjoy this one. However, fans expecting a pure or direct follow up to last week's Superman issue are likely to walk away disappointed, as are those who expected all of Superman's titles to build of each other sequentially moving forward. On the plus side of things, Superman's world continues to get a bit more interesting and complex with each passing week.

I have to say, this latest development aside, this series' first arc was quite enjoyable and had the perfect mix of nostalgia, comic book satire, humor and super-heroics. Artists Dan Jurgens and Norm Rapmund have never missed a beat on this title, proving once again that Jurgens remains one of the best "classic" superhero artists in comics. It's just, you know, they kind of ruined everything with this latest storytelling decision. And that's a bit of a problem.

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.

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

So to wrap things up, the first issue of "New Ways to Die" was an extremely well-drawn, well-crafted comic that was enjoyable but far from mind-blowing, one that most importantly will wet the appetite for what's to come in future weeks. And I suppose that's enought to ask from any first part of a major story arc.

One final, relatively small complaint: since Dan Slott is so clearly using voice-over captions exactly like thought balloons, why doesn't he just use thought balloons? If there's one character who can support this narrative device without it feeling dated, it's Spider-Man (as opposed to say, the Mighty Avengers).

"New Ways to Die" could have been the new Amazing Spider-Man's coming out party – its chance to show even the most pessimistic fan that the new status quo could lead to some very exciting stories. Instead, it fell a little short of that, giving us a watered down version of the Thunderbolts, a silly new symbiote villain, an annoying and whiney Harry and a slew of reminders that One More Day isn't nearly as far behind us as many of us would like. But don't miss next week, when Spider-Man frees himself from something heavy... again.

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

But those are minor quibbles in the greater scheme of things. What's important is that Kelly and Bachalo have delivered a two-parter that simply oozes with style, bravado and fresh attitude. Due to the rotating nature of Amazing Spider-Man's creative team, I've come to expect a varying level of quality from story arc to story arc. However, I now know exactly what to expect when Kelly and Bachalo's names pop up in the rotation, and you can bet good money I won't miss out on another one of their Spider-Man collaborations.

I'd call it another entertaining Spidey yarn, although definitely a step down from the quality of the last two weeks.

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

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

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

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

The book also includes a six-page short by Brian Bendis and Joe Quesada that was supposed to appear in Amazing #600. I'm not sure what to say about this feature, other than the following: unless you're a huge fan of Quesada's art (he delivers one rather awesome double-page splash in particular) or absolutely love the type of shtick-fueled writing Bendis consistently delivers in New Avengers, don't expect this back-up to make the issue significantly more or less enjoyable than it already is. It's just sort of there.

Despite its few stylistic faults, the issue definitely pushes the series in an exciting new direction (at least for the time being), injecting some darkness into Peter's life while progressing the everyday soap opera. The art by Barry Kitson, is clear and effective if not all that impressive. Still, the issue's parts do add up to a satisfying whole.

Now if only the Brain Trust would stop acting like the specifics of the Mephisto deal were an enticing mystery…

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

That aside, Amazing Spider-Man is still firing on all cylinders. And wrapped in the palm of Felica Hardy's hands with his most dangerous rogues on the way, things only can get worse for everyone's favorite wall crawling bachelor.

And since I spent most of this review trying to decide whether I enjoyed this issue or hated it (I've convinced myself I mostly enjoyed it, if you're still wondering), I'll leave you with one thing about which I'm absolutely certain: despite Kelly's clever explanation for Deadpool's attack on Spider-Man, there was no need whatsoever to tie this story into The Gauntlet. Again, there was enough going on already.

Amazing Spider-Man #612 is a fun, well crafted book that many fans will enjoy for no other reason than it finally introduces a familiar member of Spider-Man's rogues gallery back into the fold. At the very least, The Gauntlet promises to be entertaining for precisely the same reason, even if it doesn't turn out to be the cohesive story arc many of us (perhaps wrongly) expect.

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

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

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

In other words, I've already started looking forward to when either Kelly, Waid or Van Lente return to the book.

In the case of Amazing Spider-Man #621, exceptional art makes up for mediocre writing. Still, that doesn't change the fact that I loathe mediocre superhero writing more than putrid superhero writing. In an industry dominated by capes and tights comics, a writer must do his best to make sure his – or at least some – personality bleeds through the tropes and conventions of a superhero book. I never get that from a Slott Spidey comic. One of the best things about this book post-Brand New Day is that it's easy to skip certain arcs without really missing a beat. I wish I had the luxury to skip Slott's. Then again, if I did, I would have missed the chance to see Lark draw Spider-Man.

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

Things only get more unnatural and problematic once the story's two main threads come barreling into one another, and Spider-Man injects Waid and Peyer's tired schtick into a Vulture/JJJ confrontation that could and should have been driven by the same eerie atmosphere of the Vulture's early segments. All in all, the clumsy unevenness of the issue makes it one of the weaker installments of Amazing Spider-Man to date.

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

Amazing Spider-Man #627 is a failure not only because of its dated style and forced script, but because it also feels largely irrelevant to the ongoing Gauntlet initiative. Such brief excursions from the ongoing status quo can sometimes serve as welcome tangents. Not this time.

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

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

Sadly, the issue marks a disturbing trend in these mini Spider-Man events this title has tackled over the past year: an inability on Marvel's part to tell an entire story with just one artist. In this case, not only does Marco Chechetto step into spell Michael Lark and Stefano Gaudiano for 18 of the lead feature's 22 pages, but Zeb Wells also helps Joe Kelly out on the script. Luckily, Checchetto's style isn't too much of a departure from the regular team's, and it's impossible to distinguish Well's voice from Kelly's. Still, the art shift is annoying nonetheless. Once again, though, the back-ups from the likes of DeMatties, Max Fiumara, Stan Lee and Marcos Martin help make up for the story's few flaws.

My main problem with Amazing Spider-Man #638 isn't as simple as the original Paul Ryan drawn pages sitting uncomfortably next to the Rivera-drawn pages, even though they do despite Rivera's best efforts to channel a classic look; my main problem is that the new sequences seen here don't add much of anything to the table, focusing on the aforementioned nameless henchmen breaking out of a police car (with some help from Mephisto), setting about on a half-realized scheme to kill a cop, and then ultimately preventing Spidey from reaching the ceremony. If Quesada truly intended and tried to make this story fit organically into the original, and it's fairly clear he did, then I fear he accomplished the opposite. This comic feels very much like a team of editors and creators rolling up their sleeves to try and jerry-rig past continuity to fit their needs. Which is probably the biggest criticism I can think to assign it.

But all that isn't to say that Amazing Spider-Man #642 is a bad issue. It's not. There are a few moments where Waid and Azaceta click amidst their early missteps, and by the time they do hit their stride by issue's end it's clear they have an exciting story in store as the big finale to Brand New Day. I just hope they do a better, more natural job of integrating all of these ideas, story threads and characters into one climax.

And although Waid's script hardly makes for captivating theatre, it does allow Azaceta to spent most of his time drawing Spidey in action, which is something he does with a visionary flare reminiscent of Steve Ditko. Thanks to Azaceta, the action sequences pop off the page with a sense of kinetic energy even if it's hard to care about what we're witnessing. It certainly doesn't help that Waid has Spider-Man needlessly provide play-by-play commentary of his every action, even going so far as to explain his motivation when it's more than obvious already. This is a rather poorly written comic that's only partially redeemed by stellar art.

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.

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.

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.

Hardly seems like the type of brisk, high concept, modern take on classic Marvel storytelling many have come to expect from the Astonishing line, no? Luckily, Choi's art at least comes close to livening the story up in some spots, particularly when he gets to draw big cinematic shots of Thor in flight or Ego's grand, double-page spread of an entrance. But, as I hinted at above, even Choi's art isn't really enough to save this dull, uneventful issue, nor is it enough to convince me to come back for a second installment.

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.

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.

Azrael #1 isn't a great debut by any stretch of the imagination, but that's mostly due to the art. Thanks to Nizieca, though, it does offer a lot of promise.

If this new Azrael series hit the ground running with its first issue despite its visual stumblings, then it definitely trips and falls fully in its sophomore issue. I can only hope Nicieza can find a way to pick himself up off the floor. He can start by fleshing out his protagonist and addressing the 800 pounds elephant he dragged into the room last issue.

All in all, though, I'd call the first issue of this miniseries a success. It fits in well with the greater tapestry of Battle for the Cowl, and even weaves in and out some of what Nicieza is doing in Gotham Gazette. I also love the idea of DC keeping these Cowl-related projects resigned to three issues, which means we're not likely to linger on many dull moments or have to witness any writer trying to stretch out a story for too long. And who knows - maybe this new Azrael will warrant his own ongoing series.

All nitpicking aside, Azrael: Death's Dark Knight is still an enjoyable comic. I just hope the lead character starts acting more like the tormented soul he is rather than some carefree adventurer.

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.

But by and large, arguably the biggest flaw of Batgirl #1 is that there's no real logic or firm reason given for the new star and change in direction. Like with Red Robin, the change feels more like a room full of editors randomly deciding to swap some characters' costumes around rather than natural story progression. On a positive note, however, Miller does seem to write his protagonist well (I'll refrain from naming her in this first review), and artist Lee Garbett delivers the same sort of solid artwork found in his recent Batman and Outsiders work. And considering just how laughably bad some of the writing is on Smallville, I suppose this comic could have been a whole lot worse

When you compound all of Miller's missteps with the fact that Stephanie's backstory - specifically her recent "death" and "resurrection" - is about as sloppy a plot development as you'll find, Batgirl becomes even more awkward and intolerable. The whole mess is enough to make you wonder why DC even bothered re-imagining the property in the first place. I suppose it could have been worse - they could have decided to take Barbara out of the chair.

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 Annual #27 doesn't do much to elicit excitement for the upcoming Azrael ongoing, but it does provide a fun exploration of the new Batman and Robin. For that, I'd recommend it to any fan of the new team.

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.

Batman Beyond #2 isn't a bad comic, and for those Beyond diehards desperate for new McGinnis stories, might even prove worthwhile. Still, I'd tell you to reread the recent Superman/Batman Annual from Paul Levitz and Renato Guedes and save your money.

And am I the only one who thought the issue's first cliffhanger was a lot juicier than its second?

On a far more positive note, veteran Batman artist Denys Cowan is turning in his most experimental and provocative work on this story arc, and his jarring and jagged line-work is quite powerful on each of these atmospheric and densely packed 22 pages. Cowan's artwork is alone reason to pick up this issue, but so is the opportunity to watch a rookie comic book writer force his entire foot into his mouth.

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.

If you're reading this review before you make your weekly comic book purchases, then consider yourself warned. Battle for the Cowl: Man-Bat is a complete waste of time and money.

All in all, I'd say Battle for the Cowl: The Underground isn't at all necessary unless you're a diehard Yost fan or are just dying to poke your head around the corners of Tony Daniel's main story. If you don't fall into either category, I'd say go ahead and pass.

Like I said, though, in the end, the appeal of Gordon and McGraw's work with him makes this issue a worthwhile read. Those who are eagerly devouring all things Battle for the Cowl will definitely find a worthy companion to the story in this issue, even if it doesn't exactly break new ground.

All in all, though, Battle for the Cowl: The Network manages to tell an entertaining story that also succeeds in filling in the crevices of the main series' cluttered plot. Despite a few significant flaws, I'd call it another pleasant surprise.

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

In case you haven't realized it from this review, though, I'm still far from impressed by this project. The quality of art is rather shameful, and for someone who got over Smith's writing sensibilities long before I realized it, the story and dialogue came as a jarring wake-up call. Just as there are those who will always swear by tequila, I suspect there will be Smith lovers who enjoy this book. I clearly don't fall into either category. Now, if you'll pass me that bottle of whiskey, I'd like to wash this bad taste out of my mouth

Which brings me to the art of Walter Flanagan. Though I've certainly drilled this point home in my previous reviews of this series, it's worth reiterating just how amateurish Flanagan's work is. Whether he's failing to make sense of an action sequence, butchering the proportions of his character or just failing miserably at drawing a competent Batman, the quality of Flanagan's art never once matches that of a professional. At the very least, I guess it's good to know that if I had a friend who happened to be a famous film director, I too could probably draw a Batman comic.

Where to start? Adams' dialogue is abysmal, his storytelling awkward and unclear, many of his decisions completely inexplicable. Why is Dick Grayson dressed in Tim Drake's uniform? Where the hell did Man-Bat come from, and what the hell does he have to do with any of this? For that matter, what do any of the seemingly unconnected things that happen in this book have to do with the others? This comic is awful. It's as if Neil Adams forgot everything he knew about the craft of comics during his time away from the form. I can't remember being this disappointed by a comic. It might look pretty in places, but it reads like the work of an amateur.

Finally, there's the back-up Manhunter feature by Marc Andrekyo and Georges Jeanty, which for me remains this series biggest draw. Whereas Dini's script is rocky throughout, Andreyko's is smooth sailing, as he masterfully navigates his limited space to a deliver a worthwhile installment. In her creator's hands, Kate is as badass and charming as ever, even if I still have a tough time accepting the plot point of her willingly leaving her son back home. One well-written scene in particular, in which Kate's intern nudges her ever so slightly past her own stubbornness towards a rational solution, reminded me why I fell in love with this character and her series in the first place. At the very least, it looks like Streets of Gotham will be worth picking up just for this feature. Hopefully, Dini's main feature will start matching the back-up.

If only the lead serial could step up its game.

The series' Manhunter back-up serial continues to add value to this book every month, and is probably the strongest example of DC's double-feature initiative. This week suffers a bit from the inconsistent fill-in work of Cliff Richards, but the intersection of Kate Spencer, Harvey Dent and Dylan Battles' lives remains as captivating as ever. This back-up could easily support its own title.

With some moments brilliant and others forgettable, this book is the same as it ever was.

But the same questions continue to linger around this title: what the heck is going on with Paul Dini's involvement on this book, and why hasn't DC been able to keep it from devolving into a glorified anthology series at such an early stage?

It's another strong outing from Dini and artist Dustin Nguyen, rounded out by the final installment of Ivan Brandon and Ramos Bachs' violent Two Face serial. If only Dini had the time to be the regular, steadying presence this book so desperately needs, Streets of Gotham could rank as one of the best Batman books on the stands.

Batman: The Return isn't the glorious, burst-out-the-gates first chapter I expected from Morrison, even if it does show a lot of promise for this new direction while hinting that Bruce glimpsed a horrific truth about the future on his romp through time. Fans of Morrison's previous Batman work will find Batman Inc. to be a far more worthwhile, entertaining and fully realized kick-start to this new chapter of Batman's history. That said, this one's definitely worth checking out.

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.

But despite the improvement in writing, the art remains a major problem. Flanagan continues to have some fundamental problems with anatomy, perspective and storytelling, and still can't draw Batman the same way twice, except when he draws Batman's cowl as a two-dimensional glob of ink. In the end, his shortcomings as an artist will likely overshadow anything Smith is able to accomplish with this series.

The issue's cliffhanger is another instance of Smith overestimating the novelty of an idea, and I have no idea where he's going with this Baphomet character. I don't really care, either. As long as Smith continues to have fun playing with these toys without breaking them, I'll come along for the ride.

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.

For a long time now, one of the best and most enjoyable aspects of this book has been the work of artist Nicola Scott, who continues to develop into one of the best superhero artists around. Scott might just draw the most realistic (yet still beautiful) female characters out of anyone in the industry, which is pretty important for a book starring an all female cast. If it didn't involve leaving Birds, I'd love to see Scott take a shot at drawing Wonder Woman, as her super-heroines are incredibly iconic. That and we already know she works well with Gail Simone.

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

Oracle, Lady Blackhawk and Huntress only pop in for a brief moment, but we never miss their presence, as Bedard and Scott craft a dark and exciting tale that showcases both these young characters and the rich, creepy atmosphere of the New Gods' new operation on Earth. It's good to have Bedard back.

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

All in all, it's another strong issue from this consistently entertaining title. But seriously, can someone tell these damn superheroes to play nice with each other already?

You're not going to find many better team books out there in terms of writing. The problem with Birds of Prey is that we're only two issues in and this new run has already hit a jarring artistic bump in the road. The shift from Benes to Melo almost derails the entire issue, and almost undoes all the superb work Simone puts forward in these pages. Thankfully, the operative word in that previous statement is almost. When all is said and done, Birds of Prey #2 is still a damn entertaining issue.

It doesn't help that regular penciller Ed Benes isn't in his finest form, and once again bows out while Adriana Melo handles the issue's last handful of pages in an entirely different but just as unpleasant style. I recall a time when DC's high-profile relaunches didn't resort to fill-in artists in their debut arcs.

All that being said, there are some definite high points in this finale. Simone gives the new White Canary an awesomely wicked back-story, ultimately providing a great addition to DC's cast of kung fu badasses. (I for one immediately assumed it was Cassandra Cain behind the mask, and am pleasantly surprised I was wrong.) Simone also writes a great Penguin, making him every bit as creepy and perverted as he is slippery. Again, my main problem with this story, besides the clumsy art, is my lack of interest in the mystery villain, Simone's failure to make me care about him in the end, and the way his plot never really synced up with the White Canary/Black Canary face off. The issue does end on a very promising note, though, so here's hoping the sophomore outing is more fully rounded than this debut.

It's not all bad. Reminding us she reached superstar status by writing these various characters, Simone does a wonderful job capturing the unique personalities of Huntress, Lady Blackhawk and Oracle. There are even a few genuinely funny moments that remind you of Simone's trademark sense of humor. The main problem with Simone's script is that the various stories never feel at home next to one another, a problem that's only heightened by the different artistic styles of pencillers Alvin Lee and Adriana Melo. The poor quality of art is once again what really sinks this issue to disappointingly low levels, and I can only assume that will remain the case until this book gets one talented artist behind the wheel.

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.

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.

Don't get me wrong, Black Summer has the potential to turn itself around and deliver something new and exciting. At this point, however, it appears like we're in the midst of the fiction equivalent of a freefall - a story that starts with a fantastic and original concept and proceeds to wander downhill into boring and familiar territory.

The strengths of the flashback sequences aside, nothing changes the fact that these two entirely different threads fail to jibe together on any level. Even as this issue begins to push the two plot lines together as the present reflects the past, there's still the striking disparity between Raney and Leon's work to pull you right out of the story. I don't see that changing anytime soon.

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.

If you're a die hard Blackest Night fan, Untold Tales is definitely worth picking up. However, if you're like me, and enjoyed Blackest Night #8 in large part because it closed the book on the drawn-out, repetitive event, you're better off skipping the issue entirely. If anything, it will only serve as a reminder that commercially successful events never really end, they just go away until its time for the next money grab.

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.

That's the plot in a nutshell. To say this comic lacks substance and consequence would be giving it too much credit. There have been quite a few excellent Blackest Night tie-ins since the event began. This is not one of them. I have a hard time believing even the most adamant supporters of all things Blackest Night will find much to enjoy in these pages. Although I have to say, the idea of a Black Lantern Robinson deliberately ruining the writer's reputation is quite amusing.

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

Without any of the fun horror trappings of last issue or a book like Blackest Night: Batman, Blackest Night: Superman #2 is essentially just one long fight scene. Pyscho Pirate adds an interesting little twist to the story's exploration of emotions, but other than that, what we're left with is a sequence of characters punching each other. Eddy Barrows does his best to deliver dynamic action scenes, but even his kinetic pencils can't elevate this story into exciting territory, nor can they cover up for his inconsistent anatomy. All in all, I think this series would have benefited greatly from wrapping up before Blackest Night #3 hit the stands.

I have no doubt these projects seemed like strong ideas when they were first conceived. With so much great stuff going on in Blackest Night, Green Lantern and Green Lantern Corps, surely it seemed like there was enough room to explore certain A-listers as they reacted to their undead loved ones. But again, it wasn't enough. I don't care how well Robinson writes these characters or how far Eddy Barrows has come in his portrayals of dynamic, over-the-top action scenes. What we were given with Blackest Night: Superman wasn't enough to fill or even justify three issues. To paraphrase Jesse's review yet again, let's hope the next batch of tie-ins does a better job living up to the quality of the event's three flagship books.

In my review of last week's Amazing Spider-Man #600, I mentioned how the book included so much material and entertainment value for five bucks, it all but defied and rose above any attempt at criticism. Tales of the Corps #3 is the opposite type of book: it delivers so little, it's hard to talk about anything other than its cover price. Other than the chance to see Ivan Reis' un-inked pencils, the book barely offers anything, and nothing that it promises.

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?

As far as event tie-ins go, though, I suppose you can do worse than Blackest Night: Titans #1. The book does add a little to Geoff Johns' main story, and fans of the characters might get a kick out of seeing them react to the resurrection of their dead allies. Still, for this reader, the issue was above all else an example of the current sorry state of this franchise.

But all the talent in the world couldn't change the fact that Blackest Night: Wonder Woman is as inherently flawed as the last round of tie-ins. Until these series are allowed to probe deeper than the surface conflict of Blackest Night, they won't stand much of a chance of living up to the high standards of the more entertaining and substantial Blackest Night books.

Finally, I've reviewed far too many Booster Gold issues without giving due credit to artist Dan Jurgens, who remains one of the most consistent, reliable and talented superhero artists in the business. It's an absolute pleasure to see Jurgens' style sharply defined by Norm Rapmund's inks, and overall, the two talents make some damn fine looking comics.

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

Did I mention this book really is quite funny?

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

As a fan of the JLI days, I also can't stress enough how rewarding it is to see Johns and Katz write this unique team dynamic. And Jurgens again delivers some of the sharpest and strongest work of his career, proving he's one of the most talented and consistent veterans working today. This is unabashed superhero fun, folks. If you like that sort of stuff, you need to get on board before Johns, Katz and Jurgens' run ends.

Once again, this series provides all the thrills we've come to expect from this title. Johns and Katz have fun playing with elements of DC's long history (this time, the JLI team dynamic and certain 52 threads), dish out some amusing one-liners, infuse some great character interaction into the mix and generally craft an exciting and well told superhero adventure. Also once again, I'd be remiss if I didn't mention the artwork of Dan Jurgens, who is seriously outdoing an entire career's worth of impressive artwork with this series. I know Johns and Katz are on the way out with next month's One Million issue, but I sincerely hope Jurgens sticks around to draw the character he created two decades ago.

But other than getting the most out of the book's heightened exposure through accessibility and adding a few surprisingly emotional moments, I can't say this issue does anything more with the Blackest Night storyline than we've seen in other relatively insignificant tie-ins. I think it's still safe to say you can skip any monthly book that has "Blackest Night" on its cover but not the words "Green Lantern" or "Green Lantern Corps."

In the end, the book's uneven artistic breakdown, and the overly familiar sight of Black Lanterns brawling, combined to keep me from calling it a total success. But again, kudos to Jurgens for capitalizing on this opportunity.

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

Having said all that, I should point out that I fully expected to encounter an issue like Brightest Day #4 the minute I realized writers Geoff Johns and Peter Tomasi would be taking such a fragmented approach to this series, which was somewhere around the halfway point of issue two. It's worth noting that 52 suffered from many of the same pacing problems on a week to week basis that are currently plaguing this book in its early stages, and that series managed to deliver one hell of a satisfying read when all was said and done. And until each of these threads kicks into gear, we're bound to encounter more of these sorts of underwhelming installments. With that in mind, I'll continue to foster high hopes for this series, even when one of its chapters leaves me cold. I just hope Johns and Tomasi hit their stride sooner rather than later. And would it kill them to give us a little more Aquaman?

But all backhanded compliments aside, I did enjoy several elements of the issue. Gleason again proves the perfect match for the weird imagery of the J'onn storyline, which itself is coming closest to matching Johns and Tomasi's normal high standards of storytelling. The Hawkman storyline is rife with rich, intriguing possibilities. Unfortunately, every one of the series' other plot lines are still stuck in their tracks after nearly a third of this maxi-series' total issues. And even if Johns and Tomasi find a way to kick them into gear, and then make them all feel at least somewhat like a unified story, I imagine I'll still have major problems with this project. But more on those other problems as they arise…

In the end, the worst thing I can say about this comic is that it reads like a publisher's attempt to create a story where there is none. Which is exactly what it is.

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.

However, the book quickly runs off the rails following the catastrophic explosion that sends Rogers on his fateful collision with the 21st century, with Waid leaping from one scene to the next without any logical transitions to aid the reader along. As the book progresses, it begins to feel as if we're watching a jumbled clip show that's missing integral pieces of the plot – like entire pages were inexplicably left on the cutting room floor. The rushed style of storytelling Waid employs ends up cutting the legs out from underneath his story just as it's getting started, which is unfortunate. To make matters worse, artist Jorge Molina is rather inconsistent from panel to panel, and his frequent shots of Cap charging towards us readers carries an unsettling resemblance to Rob Leifeld's work with the character.

Bryan's Score: 7.6

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

In explaining away some of their most egregious recent editorial gaffes, Marvel has often hid behind the fact that all we be forgiven, if not forgotten, once a mismanaged project is collected. I don't think that will be the case for Captain America Reborn. This issue makes me seriously consider whether this story will ultimately read better in one sitting than if they kept the mini at five issues and collected it alongside Who Will Wield the Shield?. I suppose time will tell, even if fans are unlikely to forget how poorly Steve's return was handled in the periodicals.

When examining the problems inherent to Captain America Reborn and this final issue in particular, it all comes down to how little the comic has to offer in terms of surprises. Even its most exciting moments seem to lack any real consequence thanks to other recent comics. By the time Steve settles down to contemplate what he saw in his journey through time, it still feels like we're experiencing a retelling of events and developments we first learned elsewhere. But even that being the case, the most telling criticism of this series is that it includes about half the fun of other such spectacle-driven comics, and even less of what Brubaker has done so brilliantly in the main Captain America series. I'm glad it's over.

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.

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

Hopefully, Pfeifer and writer Bill Willingham will find a way to get Selina off of the prison planet and out of the pages of Salvation Run in a timely manner, because I'd hate to see this story shelved until after Final Crisis is over. I should say, however, that I am somewhat interested in seeing how both writers handle Selina's involvement in Salvation Run, and it'll be at the very least fun to see Pfiefer in particular get a shot at writing the large cast of colorful villains. That doesn't change the fact that I'd prefer to see Selina remain in the confines of Gotham City.

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

Pfeifer and Lopez's Catwoman is at its absolute finest when it's focused squarely on Catwoman's never-ending moral tightrope walk between good and evil, and at first, Salvation Run seemed like an opportunity to put Selina in a crazy situation while exploring that central moral dilemma. But it hasn't, really. At least not in these past two issues, which spun their wheels a little too much for my liking.

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

As always, David Lopez is on top of his game when it comes to the issue's art, providing crisp, clear visuals that pop with the right amount of emotion and personality. Here's hoping Pfeifer gets on his game in time to deliver a final story arc worthy of their wonderful run on this title. It'd be a shame to see this series end with a whimper.

On the positive side of things, Pfeifer does seemingly wrap up this story at the end of this issue, meaning he'll likely spend his and David Lopez' final two issues tying a neat little bow on their extended run. This series was far too enjoyable to go out with a whimper, and I hope this creative team returns to form for their last hoorah. Selina, this book and their run all deserve a strong ending.

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

Anyway, I'm glad this series lasted as long as it did, and would highly recommend anyone who arrived to the party late to go back and check out Ed Brubaker's early run on the title all the way through to this concluding issue. It's a fun ride. I also hope it's not the last we'll be seeing of Will Pfeifer, who more than proved that Amazons Attack was a mere aberration for a very talented and capable writer.

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

The art, by Chris Samnee, is a bit muddy and dark at times, particularly during flashbacks to the French Revolution. Still, it's a rather smooth transition from Joe Bennett to Samnee, and even though I'd prefer Bennett, his heir does a fine enough job in the long run. As a whole, however, I'd have to call this issue a bit of an underwhelming disappointment.

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

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

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

Listen, I'm all for an incoming writer taking a title in a new direction. More times than not, that's far preferable to the new writer merely attempting to ape the previous scribe's style. But with a book like Checkmate, which is so defined by its unique tone and storytelling style, such a glaring change in direction robs the title of its identity. That, and I'm fairly tired of Bruce Jones using whatever title he's given to tell horror stories.

It's my job to read certain comics, but I can't see why any Checkmate fan would stick with this book through Jones' run. Get out while you can. He may bring the Chtulu monster from his Nightwing run back into the mix, and nobody wants to relive that horror.

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.

Without Templesmith involved, Choker would read like a weird, nonsensical, directionless mixture of ideas and thinly realized characters. Thanks to Templesmith, though, the disconnect between those ideas almost becomes part of the book's charm. I'll take any excuse to watch Templesmith work his depraved magic, and above all else this book is precisely that – an excuse to watch Templesmith at work. If I can't have another issue of Fell, Choker will have to do.

If you haven't figured it out already, I absolutely despise the very idea of this series, and couldn't in good conscience recommend it to anybody.

In general, the new Earth 3 is a far less satisfying version of the same alternate reality explored in Grant Morrison and Frank Quietly's awesome JLA: Earth 2, and once again, it seems like DC has tried to fix something that wasn't broken to begin with. As far as Countdown related issues go, however, you can do far worse than this issue.

This might be the worst thing DC has published all year, which is saying a lot, considering we're talking about the folks who put out six months of lackluster Countdown issues and are currently publishing a laughable little piece of fan-fiction called Countdown: Arena.

Besides the unfortunate interruptions of Jason and Kyle bickering over Donna or Bob the Monitor explaining their need to find Ray Palmer (we get it, Bob), Johnson crafts a surprisingly complete story that sends this version of Dick Grayson on a tragic and appropriate narrative path. I don't know where any story about this particular universe can go from here, but I don't really plan on returning anyway, so I suppose it doesn't matter. For now, I'll take this issue for what it was, an entertaining exploration of one of DC's 52 Earths.

If it weren't my job to review these books, I surely would stop purchasing these stupid Search for Ray Palmer one-shots. They're self indulgent, pointless excuses to bleed Countdown's already paper-thin storyline completely dry. The ones that work, like the Crime Syndicate and Red Rain issues, work in spite of their ties to the Search for Ray Palmer, not because of them. There's no other way to say it, really: this whole concept not only highly flawed, but stupid.

Artist Eddy Barrows really shines in this work, providing energetic panel layouts and crisp character work on levels far above his outings in 52. Judging by these first two issues, I'd say the main feature in Countdown to Adventure is alone worth the cover price and the crummy back-up, but that's a personal opinion and could very well change if the story doesn't deliver past it's initial set up.

And then there's the Forerunner back up. What else is there to say about this 16-page serial other than it lacks the least bit of drama, intrigue, intelligence or even coherent story? Unless you're absolutely dying to see the Monarch's goofy-looking scout recruit characters from the least-compelling parallel Earths (this issue sees Forerunner head to Earth 33, home to the Justice League of Shamans. How fun…), do yourself a favor and put the issue down after you're finished reading the main feature. Justin Gray and Fabrizio Fiorentino's short will only make you wish Countdown would end even faster.

As far as the art is concerned, Allan Goldman does an admirable and competent job filling in for Eddy Barrows, and even goes a long way towards imitating Barrows' style. His sprawling Rannian landscapes are particularly stunning, and I wouldn't mind one bit if Goldman returned next issue.

Now to the whole Countdown to Adventure vs. Countdown to Mystery comparison. The first includes a decent, mildly entertaining main serial that picks up on a previous series/story and fails to meet expectations. The second include a wonderfully original and refreshingly mature take on one of DC's oldest magical characters. The first includes a horrible backup that tries to flesh out the back-story of one of Countdown's thinnest and dumbest characters. The second includes a mediocre serial that focuses on Eclipso's role in Countdown, but also takes time to hit on cool characters like the Spectre, the Creeper, and Plastic Man. They're both $3.99. You decide which ones worth it.

Which brings me to my final point about this duel-story anthology format. I like it. I like it a lot. In today's publishing climate, where even the best new titles stand such a slim chance of catching an audience of any kind (just look at Marvel's The Order), books like Tales of the Unexpected, Countdown to Adventure and Countdown to Mystery offer platforms for characters, ideas and stories that simply don't exist elsewhere. At the very least, we're given a chance to read hidden gems like the Dr. Thirteen serial from Unexpected or the Dr. Fate serial from Mystery, things that would otherwise have never seen print. At the very most, these serials can win an audience and inspire an ongoing series. That said, the worst thing DC can do is to continue to use one of these books' two features to crossover with their next big event. Please, please, please, don't do that to me again, DC.

Three more weeks, then we can put this whole mess behind us. Unless of course, my nightmare comes true...

For all the lessons that 52 taught us about how to do a weekly series and tell a 52-part serial the right way, it seems like Countdown has done the opposite – underlining those very lessons by showing us what happens when you go about things the wrong way. I can only hope that DC, Kurt Busiek and any other bold and/or foolish creator that tries to take on such a task will learn from this Great Disaster of a series.

There are only five issues of Countdown to Final Crisis left, and the end still can't come soon enough.

Only six more weeks….only six more weeks…only six more weeks…only six more weeks…

It's also unfortunate that Magno just happened to return for an issue written by Jimmy Palmiotti and Justin Gray, by far the worst and most awkward (there's that word again!) of Countdown's dialogue writers. I would normally not complain too much when a group of characters stand around worrying aloud amongst themselves when they should be, you know, doing something, but when these two scribes handle such a scene, it's impossible not to eventually cringe.

Like I said, I just can't get over it.

Hmmm…so much for the fair shake thing, huh? What can I say? Countdown finally boasts competent artwork (Ron Lim steps up to bat in this issue) and a storyline that is finally going somewhere. That should come as good news to anyone who has stuck with the book this long, but for me, it's still too little too late. Only 16 more weeks to go…

In the interest of giving credit where credit is due, I do feel the need to applaud editor Mike Carlin for at the very least getting Countdown's artwork on the right track. With the exception of one recent issue from the increasingly hard-to-look-at Carlos Magno, Carlin has found some genuine talents to fill the pages of his weekly series, and Jesus Saiz continues the trend of professional looking pencil work. And that's kind of nice.

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.

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...

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.

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.

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.

Luckily, there is one redeeming quality of Daredevil Noir, and that's the art of Tomm Coker, whose works recalls the Daredevil run of Alex Maleev and is gorgeous in precisely the shadowy, seedy, and smoke-laced way a noir comic should be gorgeous. If nothing else, he here proves that he'd be a perfect match for Daredevil's regular ongoing, which would hopefully give him a chance to draw better stories than this one.

Rounding it all out is a prose story from veteran Daredevil writer Ann Nocenti with spot illustrations from David Aja. Like so many comics writers tend to do when they're given the chance to write prose, Nocenti goes way overboard, burying her story in over-indulgent hard-boiled language that becomes a parody of itself. Still, the lead feature is good enough to call this issue a winner. And at the very least, I'll definitely be back for more.

Of all the potential storylines to explore in Dark Avenger's first story arc, I'm a bit baffled that Bendis decided to go this route. Again, that could be my own personal preferences popping up above anything else, and I understand the Doom/Osborn connection is worth exploring in some way, but I sure would have liked to see Osborn's gang of misfits doing something a tad more interesting than battling generic demons for their debut adventure. Unless Bendis delivers more scenes like the one covered in the issue's first half, I might just have to sit this one out and come back when all this Morgan Le Fey business is over.

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.

In conclusion, Dark Reign: Hawkeye will come as another welcome dose of evil for fans of Marvel's new status quo. For those still on the fence about the whole Dark Reign direction, the issue won't do much to win you over.

So far, Dark Reign: Hawkeye has been a mixed bag. At times, it offers a chilling look at the Marvel U's greatest assassin, and at others, it seems to lack a clear focus and purpose. The art, by Tom Raney, also has its hits and misses. Raney's art is bold and vibrant, but doesn't seem to match the grim tone of the story. We'll have to wait for more issues to see if this miniseries is capable of putting all the pieces together.

Most anthologies, particularly these event-oriented ones Marvel has been rolling out of late, are typically hit or miss throughout, and Dark X-Men: The Beginning is no different. It's a mixed bag for sure, and as I noted before, I would only really recommend it to those diehard completists eager to look beneath the surface of the Dark Reign story. For those that are content following the bigger picture, I'd recommend sticking to Matt Fraction's core books.

The real question is whether this 80-page book is worth its $5.99 cover price. It's not. Not with its lackluster and uninspired scripts, and certainly not with its mostly sub par artwork. There are more cruel tricks here than treats, which means we'll have to wait for next Halloween for a Holiday anthology worth reading. (Because god knows we're not going to get one for Christmas.)

Tying it all together is Abnett and Lanning's two bookends detailing the Arkham inmates escape, and while I wont spoil anything, I will say that these two writers save the best twist of this issue for last and manage to make the last two pages more than just a tidy little bow to wrap things up. This pleasantly shocking ending sees the return of one of the coolest supernatural characters in DC's arsenal and proves once again why the Joker is the craziest bastard in the DCU. A pleasant surprise, all in all.

Legacies #1 is by no means a bad comic; it just pales in comparison to Marvel's previous two forays into the same genre. It still has plenty of potential, and has the chance to rise to new heights if Wein can manage to turn his lead into a more fully rounded character. Right now, though, the best thing it has going for it is its lineup of talented artists.

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).

DCU: Decisions isn't just a bad comic, it's an aggravating comic. And those are the worst kind.

Wow. What a horrible comic. I won't be able to forget about it soon enough.

If the best thing I can say about Dead Romeo #1 is that I didn't want to throw it away immediately after reading it, the second best thing I can say about the comic is that I enjoyed pinpointing everything it does poorly. I suppose that's worth something.

This is by far the best Countdown-related series you'll find. If only it weren't Countdown-related.

Instead, it looks like we'll never know how Starlin would have ended this opus had he not been hampered with the whole Countdown tie-in. It's a shame, because I'm beginning to really like this book.

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

His artistic style – a blend of Kirby and John Byrne's take on the Fourth World – is by far the most satisfying component of this series, which is fitting when you consider the Fourth World has always been known more for dynamic artwork than three-dimensional storytelling. Still, the very fact that Starlin is succeeding somewhat at the latter task is one of the highest compliments one could pay this veteran creator.

This is all not to say that fans of the New Gods and Jack Kirby's creation won't find this issue important. They will, and in some ways, I did. It's just that I'm tired of ignoring the 800-pound gorilla that's been sitting on this project from day one: Jack Kirby's Fourth World deserved to be closed in proper fashion by a writer of Starlin's caliber without the impedance or obstruction of DC's latest silly crossover.

As if following in the footsteps of the King of Comics himself wasn't a big enough task, Starlin also had to deal with the perpetual interference of Countdown. Anyone who read last week's issue of Countdown should already know not to expect a satisfying conclusion in the pages of this book. If the creators of DC's weekly, yearlong disaster were trying once and for all to prove that they had little idea what they were doing with Countdown, then the fact that the finale of that book came from the pages of this series definitely got their message across. Poor Jim Starlin. First, Tony Bedard revealed the identity of the New Gods' murderer as the Infinity Man in the pages of an otherwise unrelated Birds of Prey issue, and then Starlin himself isn't even allowed to handle his own story's conclusion. Instead, he's left grasping at straws in order to provide a satisfying conclusion, and I think it's safe to say that an extended Darkseid monologue isn't exactly satisfying.

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.

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.

Looking back, I think I was a little harsh on last week's annual from Nicieza and Calafiore. Yes, it had its significant shortcomings, but it did provide what so few Batman books offer these days: a chance to watch the current team in action in a complete story. That it doesn't exactly hook us into the upcoming Azrael ongoing shouldn't be counted against it too much. Sometimes, telling an entertaining adventure story should be enough. Isn't there room for a Batman series that tells stories like this?

Luckily, the comic also consists of one of DC's second features, in this case a back-up starring First Wave's Justice Inc., written by novelist Jason Starr with art by Simon Dark's Scott Hampton. This back-up succeeds in nearly every area the lead feature fails. The Justice Inc's main player, The Avenger, is introduced beautifully by a revelatory opening scene as well as Starr's hardboiled narration. A few of the supporting players also get brief but succinct introductions. More importantly, Starr and Hampton give us a clear, easily recognizable story to sink our teeth into, as the Avenger sets out to solve the kidnapping of one of his troubled team members. There's nothing mind-blowingly original here, and I'd be hard-pressed to say this back-up provided enough to convince it's worth a second visit. But I'll be damned if it's not infinitely more professional and competent than the amateurish lead feature. Thanks to that little stinker, I'll leave all subsequent issues of this new ongo

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.

Like I said, I haven't been reading Maberry's Black Panther work, and his writing in DoomWar #1 has me glad I haven't. Whenever a writer can make an idea as promising as a war between Wakandan revolutionaries, Dr. Doom, the X-Men and the Black Panthers boring, it's probably best to avoid his work.

All that said, this is only the first issue, and even if The End League doesn't exactly burst out of the gates, it did leave me wanting more. The title also has one huge plus going for it the art of Mat Broome, who delivers sleek, dynamic and powerful artwork from start to finish. Though Broome's work is a bit over-rendered for my tastes, it does manage to tell a hell of an exciting story and fits the tone of Remender's dark script quite well. The jury's still out on this one, but I'll certainly be back for more.

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.

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.

But as much as I had a problem with the specifics of Deathstroke's escape, I should say that Hine ended up redeeming himself with the issue's conclusion, which definitely pushed the character towards an interesting direction even if it's not a new one. In the end, the issue turned out to be one of the few Faces of Evil issues that proved more than just a cover gimmick, and actually revitalized its star character. And as uneven as Hine's writing was at times, penciller Georges Jeanty's art was consistent throughout, and I was reminded of a strange but pleasant hybrid of Scott McDaniel and Adam Kubert. If nothing else, I'd certainly be interested to see what the two creators would do with a longer Deathstroke story - as long as Hine stays away from absurd plot developments, that is.

But like I said before, the most important question when dealing with a story like this one is whether or not it is entertaining in and of itself. Although this issue is clearly trying to serve a utilitarian purpose in raising a once mighty villain back to the top, it did manage to provide an enjoyable read as well. Even if Gates' Prometheus doesn't quite sing as much as Morrison's did, Gates' take is still a lot of fun to follow, and I enjoyed seeing him drag himself up from out of the gutter. Gates was thankfully shrewd enough to pepper in plenty of his backstory, which is as inspired and interesting as any villain's out there. Along with artist Federico Dallocchio, who comes across as a sort of Michael Gados-lite, the writer manages to deliver a worthwhile read that also accomplishes some important DCU house-cleaning. In these regards, I'll call this one-shot a success, even if it's not a mind-blowing one.

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.

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

Final Crisis has had some exemplary tie-ins in recent months. Submit is not one of them. All in all, I'd call it an unexceptional, very mediocre book, which is par for the course as far as typical tie-ins go, but nowhere near the quality we've come to expect from this event.

Final Crisis: Secret Files isn't just bad; If you're a fan of Morrison's main story, you'll find yourself wishing this book never saw the light of day. What a shame, and for $3.99, what a rip-off...

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.

Seeing as how this is the first issue of six, and (I assume) answers will be forthcoming down the line, I can't dismiss the possibility that Escape might turn into something worthwhile. That being said, I can say that as an individual issue Escape #1 fails miserably. I suspect many readers will forget what they just read moments after putting down the book, and that's never a good thing for a debut issue.

I sincerely hope that those who slog through the murky waters of Final Crisis Aftermath: Escape in periodical form will be rewarded in the end for their patience. As a reviewer, I can't in good conscience recommend doing so. Instead, wait to see if the reviews and word of mouth turn around by the project's completion, and then go buy the trade.

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.

I will admit that there is a certain amount of fun to be had in watching a character as inept as the Human Flame stumble from one horrible mess to the next. I just don't think there's enough potential there to warrant an entire six-issue miniseries. Hopefully Sturges will prove me wrong.

The infusion of new blood into the book doesn't just help the story, either; it also made me understand why Freddie Williams II was chosen for this series. In my review of last issue, I remarked how Williams' cartoony art felt out of place in this ultra-violent spectacle, but his style felt right at home as soon as Condiment King and his band of morons appeared. With this band of garishly costumed goofballs present to balance out all the blood and guts, Williams now seems like a great choice to handle the art. His work in the last few pages is another reason I'm looking forward to reading more of Run.

Freddie E Williams II does another admirable job trying to keep things lively with his cartoony art, but again, even his energetic visuals aren't enough to get this issue off the ground. There's just no getting around the reality that there's not enough meat on either this character or this story's bones to make me care, nor is their enough style to compensate for its lack of substance. This is a miniseries that probably would have been better off left at the conceptualizing stage. Suffice it say that after only three issues, it's already run out of steam.

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.

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 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.

Let's hope Morrison gets this weirdness out of his system with these two issues, and that it won't spill over into Final Crisis proper. I don't think I'd be able to handle it.

If there's one real reason to pick up this issue, it's for a fantastic six-page backup written by Waid and John Rogers, with beautiful painted artwork by Dough Braithwaite. The story stars a Golden Age-era Jay Garrick as he attempts to save a peaceful alien race from extinction, and it's an absolute delight from start to finish. Waid and Rogers' characterization of the original Flash is spot on, and Braithwaite's painted work might alone make these entire 22-pages worth the cover price. Judging from the fact that this short is titled " The Fast Life: Part 1 of 4," it looks like Waid, Rogers and hopefully Braithwaite will be back for similar stories. For that alone, I'll be looking forward to future issues. Let's just hope Waid's new "West Family" direction will hit its stride sometime soon.

And then there's this arc's goofy, B-movie villains, sea creatures that remain exceedingly ridiculous despite being fleshed out in this issue's backup feature, the third short installment of Waid and John Rogers' tale of the many Flashs' encounters with an alien planet over the years. I admire Waid and Rogers' risky decision to build up and develop an antagonist in such an unusual manner -after the fact, in a seemingly unrelated series of backups - but giving these villainous creatures depth before hand would have made previous installments far more interesting.

I should also point out how little I care for the art of Freddie Williams II, who inexplicably draws the Flash (and Black Lightning and John Stewart, for that matter), as if he's been pumped full of ten doses of Bane's Venom. I'm no stickler for proper anatomy in my superhero comics, but Williams' humans are lumpy and a bit grotesque, and I'm fairly certain that's not the look he's going for in a book like The Flash. In comparison to the Doug Braithwaite-painted backup stories that have accompanied each of these last five issues, Williams' art looks rather amateurish.

I'm not sure whether to call this issue a horribly executed one-and-done fill-in issue by Champagne and artist Koe Turnbull or a sign of what's to come for the Scarlet Speedster. I can only hope that future writer Tom Peyer can figure out a way to bring the Flash back to basics and away from this ill-conceived family-oriented direction. If that's not possible, I can only hope that Peyer won't hesitate to send the twins back to the future from which they came.

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.

Oddly enough, the quality of Kolins' art mirrors that of Johns' script, with the artist struggling with some awkward facial expressions and static compositions during the flashback sequences before rising to his usual level of dynamic, emotionally driven work once the story kicks into gear in the present day. The issue is definitely a mixed bag, and the good only barely outweighs the bland.

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

I have no doubt Flash: Rebirth will go down as an important event in the history of the Flash, and there's even a possibility it'll read better when collected as a whole. Right now, though, it feels way too much like watching Johns do some home-repairs to the Flash property.

But that's all not to say that this is a bad comic. I absolutely love the opening three-page scene explaining the Flash's biggest weakness – having to slow down. It's a reminder that, in addition to all of his other skills, Johns has an incredible knack for getting at the heart of a character. And as much as some moments feel forced and unnatural, others, like the Iris development, work wonderfully in the context of the story. The art, by Ethan Van Sciver, is beautiful enough to make me forgive the book's lateness, even if some of his figures seem too posed to be taking part in a kinetic, super-fast battle. Flash: Rebirth isn't a bad comic; it's just far from Johns and Van Sciver's best. I understand the Flash franchise needed some retooling, but couldn't it have been done in a better story?

Having said all that, I feel the need to nevertheless point out that Gotham City Sirens still deserves a chance. Because it's Dini at the helm and he's handling these three characters, I'll give him the benefit of the doubt that he'll be able to deliver some worthwhile stories down the road. As it stands now, though, this series hardly feels necessary, even for a fan of Dini's past work with these three stars. Let's hope he'll be able to come up with some worthwhile explanation for their alliance, other than they all look curvaceous when drawn by March.

Seeing as how this series shares such a strong tie to Dini's far superior Batman: Streets of Gotham, it's even more baffling to think about its myriad failures as a comic. It's becoming clearer by the issue that the planning process behind Gotham City Sirens started and ended with "let's put these three hot super-babes in the same book!" If that's the type of thing that interests you, by all means go ahead and give it a shot. If you prefer more substance in your Batman comics, stick to the franchise's other titles.

If you've been enjoying all things Battle for the Cowl, then there's no reason for you not to pick up Gotham Gazette: Batman Alive. The book offers another look at the new Gotham landscape as well as a taste of what's to come for Batman's allies. Just don't go into it expecting a satisfying epilogue to Tony Daniel's three-part miniseries, or even much of a story, for that matter.

Artist Jim Calafiore captures the atmosphere of Gotham City quite nicely, and since he's free from the rigid structure of Countdown, he's able to stretch his legs a bit with some more creative panel layouts. Though it doesn't have anything new to say about Gotham or the Dark Knight, Batman fans will enjoy this issue for what it is, a nice little tour of the grittiest city in the DCU. But if you're not a Batman junkie, and you've decided to avoid Countdown-related books like the plague, then by all means, stay away.

If you're a Batman diehard, you'll want to dive into this book without thinking. If not, you'd probably do well to save your money for another, less formulaic title.

If you're a similar type of Batman fan as I am, then I've probably already said enough to get you to pick up the book. If you're not, then I've probably given you plenty of reasons to stay away. Such is the nature of Gotham Underground, a book that succeeds in delivering everything it sets out to accomplish.

When Gotham Underground was first announced, I rolled my eyes at the thought of another useless continuity-heavy mini-series that would only further muddle the greater story currently going on in the DCU. When the first few issues hit, I was pleasantly surprised at the goofy, whirlwind of action and character pieces. Now, after four issues, I'm back to square one, wondering why this series even exists in the first place.

One final nit-pick before I leave you: Multiple times throughout this series, Tieri has made some pretty egregious continuity mistakes. And not the type of shallow continuity mistake that's common throughout the DCU these days, where a character is off on Mars when he's supposed to be imprisoned on Paradise Island. No, Tieri makes an entirely different and more severe blunder, and ignores stories that were printed not too long ago. In the case of this issue, Tieri portrays an Amgydala that's dramatically different from the character that used to live in Dick Grayson's Bludhaven apartment complex, and instead seems ripped right out of the pages of his appearance in Knightfall. If you're going to do nostalgic rehashes of the past, at least get the history right.

If only it weren't too late to reconsider making Gotham Underground a six-issue miniseries...

By now, you either enjoy the series as some sort of carefree (and brain-free) romp through the crossovers of your childhood, or you're like me, and find it too sloppy to enjoy or consider.

With Countdown finally over and done with, Gotham Underground remains the lone remnant of that awful year in DC Comics, when boatloads of characters were thrown together into a random miniseries for no apparent reason than to prove the DCU is a joint universe. And just like most of its brethren, Gotham Underground proves the opposite. It also makes us wonder what goes through the minds of DC's editors when they approve a mini-series like this.

After nine-issues of grasping at straws and trampling over every corner of Batman's world, it's worth pointing out that Tieri at least stumbled upon a character that he writes well: the Penguin. Tieri does a nice job capturing what sets Oswald Cobblepot apart from the rest of Batman's less cultured rogues, and there's one particularly poignant scene that sees him settle down alongside the only other civilized Bat-villain in Gotham, the Riddler, for what could be his last glass of fine vino. Jim Calafiore also deserves some kudos for his overall stellar work on this miniseries, even if I suspect that his style would be much more at home in a more traditional superhero book than the noir atmosphere of a Bat-book.

Look this is by no means a great or even good comic. By and large, the best thing about it is the art of Diogenes Neves, whose style is a lot cleaner and more impressive than similar Jim Lee knock-offs who have risen to prominence over the past decade. Still, considering Krul's mind-bogglingly bad recent showings (see: Rise of Arsenal), the sorry state of the Green Arrow franchise heading into this relaunch (see: Cry for Justice), and the issue's awful opening sequences, and credit is due to Krul for pulling the issue out of the muck long enough to convince me to come back for a second issue. I very well might decide that second taste will be my last, but at least I'll be back.

This issue follows Green Arrow and Hal Jordan as they visit one another and discuss Ollie's new status quo as the lone guardian of Star City's new star-shaped forest (another of the series' ridiculously random, contrived elements), a reunion which is interrupted by an army of mercenary policemen hired by the new head of Queen Industries to protect the city. The battle goes on for too long, with far little consequence and in a very clumsy manner, until the cliffhanger jumps out and desperately tries to convince you nothing will ever be the same again. Spoiler Alert: it will be.

There once was a time, somewhere around that GA/BC Wedding Special, where I was actually excited about this series. Those days are long gone. Right now, this series represents everything I can't stand about Winick's writing gimmicky plots, vomit-inducing melodrama, piss-poor characterization and overall lazy storytelling. Wake me up when someone else is writing this book.

Last but (surprisingly) not least, is the issue's Origins and Omens feature, which is actually an example of a writer turning this feature into an enjoyable story. No, it has absolutely nothing to do with Blackest Night, but at least Kresiberg is able to provide us with an interesting exploration of the consequences of Dinah's powers, and how she's been known to rack up collateral damage without even knowing it. And judging by this back-up, that very well might come back to bite her.

With as many crappy books out on the stands, I suppose it might be a little harsh to criticize a book for being only a few steps above mediocre, but I have no problem using that argument against Green Arrow/Black Canary. Kreisberg has shown some serious flashes of brilliance in the early stages of this run, and I'm fine with calling him out on the carpet for not putting all the pieces together into a greater whole. Because once he does, this series might finally become a book worth following closely.

The art is the issue's greatest strength. Federico Dallocchio stops by to lend this story a desperately needed sense of visual consistency and coherency. What his art lacks in detail, it makes up for in dynamic energy. There are some awkward poses in his work, but by and large his action scenes all suggest a sense of fluid motion. With Dallocchio on board, Krul might just be able to turn this new era in Ollie's life into a memorable one, mostly because, again, the central idea is a good one. He just needs to distance himself and his story from Cry for Justice as soon and as much as possible. He can start by following through on the promise of this issue's cliffhanger.

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.