Doug Zawisza Comic Reviews

This book contains quite a few recommendations that I haven't had the privilege of reading, as well as some books I know I should dig out to enjoy again real soon. This might be Isabella's top one thousand comics we should be reading, but I'd like to see the next thousand from him or a thousand from a few other comic pros.

For a miniseries that has the potential to launch a whole new line of books -- or possibly a timeline to be revisited in future stories -- this adventure never really does more than introduce some characters and emphasize the fact that the Fantastic Four is always about family. I wasn't sure what to expect from "100th Anniversary Special: Fantastic Four" #1, but it wasn't this. Van Meter and Estep open the issue with promise, but before too long, the "traditional" Fantastic Four is back in action, but against a less-than-inspired foe. I'd like to see more of the Richards-Banner twins, the "future" Human Torch and the Enchantress instead of the Fantastic Four once more besting a borderline generic foe. Perhaps, like the refugees of "Days of Future Past" did throughout X-Men history, these new characters will be able to check in from time to time. This issue, however, doesn't really pack enough of a punch on its own to sustain in readers' collective memories until 2061.

"100th Anniversary Special: Guardians of the Galaxy" #1 is the most enjoyable, most accessible and most timely of the "100th Anniversary Special" series so far. This issue won't change the industry, but the on-sale racks are much better for having such a comic as this. With Guardians-mania hitting its apex, it might just be time to pull out all the stops and give this all-ages appropriate amalgamation of all things Guardians of the Galaxy a chance to carry on and build a legacy.

The flow and the melding of story to art sputters a little in "1872" #1 but, for the most part, holds together nicely. As the various domains of Battleworld are set to do, "1872" #1 gives readers a fun, alternative take on the core of the Avengers. The additional characters around the fringe add depth, but the heart of the story is Captain America as Sheriff Rogers in the Old West, making this an ideal comic for Old West fans, readers who enjoy alternate timelines or folks who just want to read a new take on classic characters. This isn't the flashiest of the "Secret Wars" tie-ins, but it has a lot of character and just as much potential.

"A-Force" #2 appears to be a straightforward superheroine adventure on the surface but, as the pages turn, Bennett, Wilson, Molina, Yeung, Wong, Martin and Petit make it quite clear this isn't a straightforward anything. The mystery of the new arrival and whether or not the portals are hers would be enough but, embedded in the policies of Battleworld and the surrounding bureaucracy of it all, this story gets more personal. Easily dismissed as a gimmick, "A-Force" is anything but, packing in strong characters, smart characterization and wonderful artwork.

Like the cast of this issue, A-Force is an unexpected delight that is so much more than simply the sum of its parts. Sure, a certain level of expectation can be carried into this issue, but those expectations are left behind as Thompson, Wilson, Molina, Martin, and Petit make A-Force #2 a book worth searching out. Thompson and Wilson set the foundation with a cast of loveably believable characters, and the visual creative crew brings it all to life. This is one of the greater joys of the All-New, All-Different Marvel voyage.

Snyder and Lemire might be giving us autobiographical peeks or wildly creative fiction. Either way it's compelling and absorbing and pushes the limits of what comics can and should be. At several points in my reading of this issue, I found it to be a spiritual cousin to R. J. Ryan and David Marquez's The Joyners,except this story has just a little bit more hope around the fringes. Book One has my attention. Let's see what Snyder and Lemire do with Book Two.

Between the story and the art, A&A: The Adventures of Archer & Armstrong #1 is a madcap romp through the anything-can-happen playground of comic books. The leads aren't superheroes, they're just characters in a drama. Except their drama includes some comedy, some fantasy, some science fiction and a whole lot of imagination. This comic, as mentioned once or more in this review already, has a little bit of something for everyone. Valiant had a strong offering when they came back to comic stands a few years ago, and offerings like A&A: The Adventures of Archer & Armstrong #1 are the type of thing only Valiant provides. Roberts, Lafuente, Winn, Reber, and Lanphear may not be delivering a literary classic, but they sure are delivering an entertaining escape, which is why we all read comics, right?

I forget the attribution, but recently I heard the perfect comic book story should include equal parts suspense, action, adventure, romance, and comedy. I'm pretty sure Roberts was not the individual at the heart of that attribution, but he sure hits all of those points. With an all aces crew of Norton, Passalaqua, and Sharpe joining him, A & A: The Adventures of Archer & Armstrong #5 is a comic that is not to be missed. This is the type of relatable escapism so many of us read comics to enjoy. I just hope we get a little bit more from this creative team. This is a comic worth loving.

This book was well worth the price. It's probably the one single DC comic I've really, truly enjoyed lately. That said, this book carries the Sightings trade dress, whatever that really means. To me, it doesn't mean too much, as it neither adds nor detracts from an enjoyable read.

In this issue, this comic lives up to its title, "Action Comics." Now if Hollywood would just learn a thing or two, borrow a page or twenty-two, and realize what a great Superman movie could truly be.

"New Krypton" seeks to deepen the Superman mythos while providing new answers to old questions and addressing continuities cops' concerns, and through the fourth chapter the tale has done a nice job. With a month of issues behind it and another couple months of Superman related adventures remaining, this storyline appears to be one that will be pointed back to for inspiration from a new generation of Superfan and Supercreator. As mentioned before, don't let the numbering fool you, you'll be able to jump in with this issue and still enjoy the rest of the flight.

While I am not keen on over-paying for my comics, the Captain Atom adventure given to us here is almost enough for me to consider buying the next issue -" just for that. The main story of "Action Comics" seems on a course to intersect with the events in other Superman titles, so Captain Atom may not have to lure me back all by himself. We'll see what Rucka and Robinson (together on "World of New Krypton," Robinson writing solo on "Superman") have in store for us and how engaging that story might be.

"Codename: Patriot" is half over with this installment, but there seems to be a lot going on in this story "- almost too much. I look forward to seeing how Robinson and Rucka draw all of these divergent paths closer together towards resolution in the next two installments of this storyline.

The two stories make this title worth reading. With word coming down of the upcoming "War of the Supermen" story set to rock the Super-titles this summer, this issue seems like a great place to start. If not here, where? If not now, when?

"Action Comics" is taking the road less traveled here by putting Luthor in the starring role and diminishing the role of Superman, and I wouldn't have it any other way right now. After the past two plus years of New Krypton and "War of the Supermen," it's nice to explore the world surrounding the Man of Steel. Cornell is doing a great job with this story. This issue alludes to greater dealings beyond what is shown, and I can't wait to see where Luthor goes next. Luthor is far from a character that I empathize with, but he's certainly a character I enjoy reading.

Luthor seems to be getting close to solving the puzzle that has driven him for two-thirds of a year, and Cornell is definitely showing his readers a fun time along the way. Luthor and Joker have been allies and adversaries. These two even share a passion against their archrivals, but they truly are, as robot Lois points out, polar opposites. Sure, they may not appear to be opposites, but Cornell does a fabulous job defining them as such over the course of this story. In my review of a previous issue, I stated that, "Luthor is far from a character that I empathize with, but he's certainly a character I enjoy reading." That holds true now, and with Cornell guiding Luthor's path, I don't see that enjoyment diminishing any time soon.

Hamner's visuals in the lead story are impressive, clean and crisp. The artist provides plenty of detail, but implies so much more through his strong storytelling. His work isn't ornately decorated with shards and random shapes, but rather presented in traditional sense, with outlined panels intelligently composed throughout the issue. Hamner does play around with the orientation and composition of those panels, adding action and energy to his drawings. Sook, likewise, provides a masterfully composed story that needs no wording to transmit its message. With these two artists on board, the Superman brand is looking good and worth checking out. I just hope we don't have to wait another year for a Superman story to be this enjoyable.

This isn't a big impact issue, but it is an enjoyable one that delivers good to great art and unpredictable adventures. The apparent disconnect between the lead-in and backup adventure makes "Action Comics" #16 feel more like an anthology book than a straightforward comic with a primary tale. With only one issue left, I can't help but feel as though Morrison has an awful lot of loose ends to try to tie up or trim off after reading this one.

When all is said and done, Grant Morrison's run on this comic is sure to be held up as one of the best. That's not hard to do, considering the trials and tribulations Superman has endured since his death in 1992. This run, capped by "Action Comics" #18, celebrates the Man of Steel, his supporting cast, his heritage and his legacy all while serving as a love letter from Morrison to the concepts and characters that must have fueled his desire to create adventures for Superman.

In the end, with all of the hoopla surrounding Diggle coming on as Grant Morrison's replacement and flaming out after one issue, "Action Comics" #19 is just another Superman story. It's no "What's So Funny About Truth, Justice and the American Way" and it's not even "Man of Steel." "Action Comics" #19 is enjoyable, but tragic in its incompletion. While Diggle's work will continue to shade the remainder of this story, it's not going to be his story and given Daniel's track record with the New 52, I'm not racing back for the next issue.

Of all of the "Villains Month" offerings I've read, "Action Comics" #23.3 is most relevant to the "Forever Evil" event and does a fine job of lining up the pieces in seamless prequel fashion. Soule and company bring readers a day in the life of Lex Luthor. It just happens to be a very productive and fulfilling day, although not a particularly memorable one. This comic book serves as a nice primer to the events of "Forever Evil" #1 and a decent fill-in piece between issues of that series, but pales in comparison to other Lex Luthor stories that have been published under the "Action Comics" banner.

Zod of the films is far more interesting for his bluster and posturing than this Zod ever could be in his unfounded self-righteousness. Even the Terence Stamp version of Zod has more depth than this jungle-raised anarchist. Pak tries to use Zod as a prod to inspire the Kryptonians to build a better future, but in the shadow of Michael Shannon's portrayal of the character, Pak's version is thin and uninspired. No longer methodical, noble or cunning Zod now is damaged goods, cruel and menacing for no other reason than to be menacing. The end result is that "Action Comics #23.2: Zod" is simply a limp story. I hope when we see him again (which this issue all but makes certain we will) that the character is more inspired.

In many ways, "Action Comics" #25 is the best sort of tie-in. People who are reading "Zero Year" in "Batman" get an answer to the question of why Superman hadn't waded in and tried to help Gotham City in its moment of crisis. Readers of "Action Comics" won't feel lost or confused. And hopefully, "Action Comics" just got some new regular readers who liked what they saw here. I know I did. Pak and Kuder are a great choice for "Action Comics" and I'm eager to see what happens next.

I've always enjoyed stories that manage to balance the troubled "man" aspect with powerful "Super" in the adventures of the Man of Steel and in "Action Comics" #27, Greg Pak and company do a fine job delivering such a story. Additionally, Lana Lang isn't a hapless damsel in distress, but an empowered woman who finds inspiration and initiative through the words and actions of her childhood friend. Couple that with an adversary that isn't a sleepy retread of Superman's more popular, but extremely narrow, collection of foes and this book begins to give "Adventures of Superman" a run for the money and a solid case for readers. Combined with the aforementioned digital first comic and "Superman Unchained," I'm happy to say I'm reading more enjoyable tales of the one-time big blue Boy Scout than I ever have in this New 52.

"Action Comics" #29 is a good comic with a solid Superman story that presents Superman as a hero of the underdog and someone for us underdogs to look up to. I'm eager for more from this team, especially if they're going to continue to contribute positive, fun stories to the legacy of the Man of Steel. Pak and Kuder make Superman a character I can cheer for and sympathize with once again.

"Doomed," like Doomsday himself, has taken a course all its own, seemingly unstoppable and certainly overwhelming. Pak, Kuder, Kolins and crew do a fine job of giving readers a dynamic, packed story to read, but it feels rushed and ill-fit for the space and time allotted. Credit given to a pair of writers certainly adds credence to the supposition that this comic book may have needed some help hurrying along to match deadlines or adjust accordingly. The scope of Doomsday blending into an attack from Brainiac (and more!) is ambitious, but it needs to be controlled just a bit to become a more enjoyable "Superman against all odds" story. I love the connectivity Pak and Kuder have built with appearances and cameos across the DC Universe, but I'd like to see Superman given more space to soar.

With three installments complete and five on the horizon, there is simply no denying that "The Final Days of Superman" is going to have a significant impact on the Superman family of comics leading up to and following Rebirth. Thankfully, Tomasi keeps readers invested in the here and now as well, though, with plenty of action and adventure. His characterization of Superman in his growing desperation is believable, but the writer also gives readers a Supergirl to put faith in and enjoy once more. This could have easily been a coast between the previous Superman tale and the launch of Rebirth, but Tomasi and crew are doing their very best to make "The Final Days of Superman" one of the most enjoyable tales of the New 52 and, more importantly, a memorable Superman tale for fans to remember fondly, regardless of the era or surrounding continuity.

With a slight cameo by the enigmatic Mr. Oz and the appearance of a surprising Superman cast member, Jurgens and crew don't simply make this a Superman comic. This is, as the title says, an "action" comic, and there's plenty of action and suspense. So the only thing to do is to give readers a splash page final image that'll stick with readers long after this comic is closed. From there, those readers checking their calendars in anticipation of the next chapter titled, "ANNIHILATION!" I'm pretty darn thrilled to be able to look forward to reading a Superman comic again.

It's an interesting mash-up of familiar concepts blended together, but what readers and critics seem to be quick to dismiss (or simply forget) is the presence of the mysterious Mr. Oz. The hooded figure slips into the panels of Action Comics #958, adding a layer to the story, a non-combatant party to the fight, and a quantity of the unknown to this tale. Whether or not those ingredients result in a fresh recipe or a distinctly unimaginative casserole remains to be seen. So far, there's at least plenty of action, suspense, fighting, and solid art.

While I didn't know what to expect with the visual team tagging out after two issues for a breather, I know now. Hopefully the second issue for Kirkham and crew gels a bit better than this one, and, maybe, just maybe, we'll get a little closer to the finale of the Doomsday battle.

Overall, the art works for the story, but not for the series. Kirkham's style is divergent from series initiator Patrick Zircher's more realistic presentation, and, once collected, the flow from one to the next is going to be visually alarming. I'm not sure which artist is on deck for Action Comics #961, but that will be the fifth (and final? Penultimate?) chapter of "Path of Doom". Whoever it is has a big-time battle ahead of them, as all of the players appear to be on the board, so it'll be time to see what Jurgens can really do with this tale.

Part five of the "Invisible Mafia" story, gave me a nice jumpstart for my interest in the Superman line. I'm in for the next issue, to be certain, and I cannot wait to see more of Superman, the Question, and maybe even Kate Spencer's alter ego in action in Action Comics.

"Adam.3" #1 is a bold step in a new direction. Kolins provides a quick introduction to the cast and the world but wastes little time in setting the table. Readers are invited in for the journey and are shown early on just how intense and invigorating this new world can be.

Adventures of Supergirl continues to be a must-read, day-of release. Comic book fans can look forward to every day of the week for one reason or another, and with the Supergirl show on Monday nights, we already had one reason, but Mondays aren't exactly known as everyone's favorite day of the week. Thankfully (at least every other Monday) Gates and company are giving us a reason to look forward to Mondays, and the cliffhanger of this installment will definitely have you pining for that fortnight to fly by like a certain Kryptonian.

It's sad to think that just a year ago, a new issue of "Adventure Comics" from Geoff Johns, Francis Manapul, and Clayton Henry was an exciting event. Now? With a monthly "Legion of Super-Heroes" title existing, and a "Superboy" title en route, I wouldn't feel too bad if "Adventure Comics" got the axe. Unless it gets a creative kick in the seat, there's not much to recommend it sticking around.

Parker and Samnee get the ball rolling quite nicely. I can't wait to see more from this duo, as "Adventures of Superman" #1 does a great job of delivering exactly what I want to see in Superman comics in a convenient package at a nice price. I want more of this. Now. Of course, I'll probably buy the print edition when that hits the racks too.

While this series could be considered a tryout for artists and writers to see what they can bring to the adventures of Superman, I view this as a celebration of the character, calling upon comic book industry talents who might be otherwise too busy to create a Superman story or simply might not have the opportunity presented to them to do anything more than contribute to an anthology. For the price attached to the weekly installments of this series, however, Adventures of Superman" simply cannot be beat. It presents consistently high quality craftsmanship and entertaining stories that show Superman at his best. Jordan and Rossmo add their names to the talented roster to grace "Adventures of Superman," and I sure wouldn't mind seeing them come back. I'm pretty sure Rossmo's style would be just as effective on the Parasite or even a gritty version of Brainiac.

While so many charges of heartlessness and out-of-character decisions and actions have been levied the Man of Steel's way of late, it really is enjoyable to read a comic with soul and compassion, especially when it features Superman. Williams packs humanity into this series, continuing the short-lived but growing tradition of strong stories in the pages of "Adventures of Superman." Whether you're waiting for the paper copy or considering downloading the digital version of the series, "Adventures of Superman" #12 is one that absolutely should not be missed.

Charming and graceful, "Space, Actually" is evocative of the energy and enthusiasm of the once-popular Super Powers toy line given life through the work of Seeley, Norton, Bellaire and Abbott. It helps that Norton is among the best all-ages, any subject artist in the industry today. The crux of the story isn't anything readers haven't seen before, but the execution is simple and rewarding. As long as "Adventures of Superman" can continue to draw talent like Seeley and Norton to produce work like "Adventures of Superman" #21, this title will continue to be a go-to outlet for the adventures of the most well-known Kryptonian.

"Adventures of Superman" #40 is yet another enjoyable celebration of Superman in this digital edition. While Landis and Jock may not be the top combination to tackle the first meeting between these characters, the story they deliver is certainly worth a read. As unexpected as this matchup is, this comic is able to provide some surprises along the way as it sets up an explosive cliffhanger dangling from the rooftop ledge of the Daily Planet. Luckily, readers only have to wait a week to find out what happens next.

Even though the conclusion to Superman's fight with the Atomic Skull is telegraphed, it's still fun to see for the sake of being fun. This might be one of the silliest installments of "Adventures of Superman" to date, but it certainly delivered on two fronts: it gave DC a chance to publish Sugar and Spike again; and it put Phil Hester in the artist's chair for a Superman adventure. I'm not necessarily feeling the need for another Sugar and Spike appearance any time too quickly, but if Hester wants to return for more "Adventures of Superman," I certainly won't object.

Editor Alex Antone has been working spectacular magic on this series since day one, crafting amazing creative teams. "Adventures of Superman" #43 is the sterling example of the series' potential as a whole. The issue definitely raises the bar, and practically begs all future creative teams to bring their absolute best to the table. I bought it and read it digitally, but I'll be getting it in paper as well, not just for me, but for younger readers in my life who genuinely don't know what they're missing out on, especially when it comes to Superman. Now, if Antone could only assemble a similar roster of creative talent and find a way to bring readers adventures from the Silver and Bronze Age Justice League of America"

"Only Child" is a remarkable addition to the mythology of the Man of Steel. This three-parter epitomizes the notion of what this title should be and what Superman can and should be for comic readers. As the pacing for the digital to print goes, this story is going to add up to one magnificent standalone print comic book. Most importantly, though, this is my Superman. This is my dad's Superman. This is my six-year-old nephew's Superman. Marz and Shaner combine to tell a timeless tale of the Last Son of Krypton in a story that answers the perpetual question, "What's so special about Superman?" I only hope DC figures out a way to bring these guys back for more. A creative team that clicks like this and a timeless tale such as "Only Child" unlocks the potential of the DC Digital First program.

Coordinating the debut of Monkeybrain Comics with Independence (or in this case Independents') Day is a fine, nostalgic way to start. Taken for what it is -- a bold new offering with lots of baked-in familiarity -- "Aesop's Ark" has limitless potential for entertainment and enlightenment. I'm looking forward to much more of this ride. I just hope I don't have to wait forty days and forty nights to see more.

While I took a massive dose of "Afterlife With Archie" in a relatively short time, I found myself closing the cover to #4 wanting a little bit more. Sure, more than twenty-two pages could get a little oppressive, but Aguirre-Sacasa, Francavilla and Morelli have constructed a fun story that crosses genres and transforms a cast of characters. While readers can get the whole gist from "Afterlife With Archie" #4, the run isn't so deep that it cannot be chased down and enjoyed in a short span. Those with more experience in Riverdale will have a more fulfilling read, but this is not an impenetrable issue. I have to hand it to those who recommended the series to me: they were right.

This book is haunting in its apparent simplicity, but demands to be analyzed panel by panel to catch the details that have been there all along, but can only truly be discerned after hours of study. Without a single word, this book is easily one of the most intriguing pieces I've seen this year.

Marvel makes no pretense about how large this story is. With an interesting collection of characters, this is certainly an event book that will garner attention, but this issue just isn't amazing. There are still, however, nine parts to go. Bendis' work tends to read better in chunks, without waiting between installments, and "Age of Ultron" #1 seems to follow in that trend. The cliffhanger of this issue is more of a page-turning cliffhanger than an issue-ending conclusion. I'm sure there will be plenty of readers who get a kick out of this opening chapter, but I might go back and re-read some of the other Ultron tales that <a href="/?page=article&id=43983">Timothy Callahan mentions in his latest column</a> before I re-read "Age of Ultron" #1. Maybe that will help me find a deeper appreciation for Hank Pym's most dangerous creation after this issue's letdown.

"Age of Ultron" #5 is a display of the collection of heroes jumping through Tuckman's stages of team development in alarmingly quick fashion. Yes, many of these characters know one another and have fought alongside each other before, but there's an awful lot of space dedicated to talking and game-planning. This issue does sport twenty-five pages of story, but the series continues to tease exciting developments without much delivery. Maybe future-Ultron can send us some action-packed pages.

"Age of Ultron" #6 delivers a couple gasp-worthy moments here and <em>everything</em> changes. I'm sure there's a magic history eraser button at the end of this story, but for now, the desperation just rocketed up to astronomical levels, claiming lives of many Marvel Universe stalwarts. This is the level of action and excitement, uncertainty and wonder event comics used to have. At the end of this issue, I can honestly say I have no idea what to expect of the next, and it's about time. "Age of Ultron" #6 took a while to get to, but there's no mistaking that the payoff is worth it, especially since the final page leaves the question of "Now what?" floating in the ether. This is a cliffhanger we were screaming towards and now that it's here, "Age of Ultron" #7 has become something I look forward to instead of dread.

As penultimate issues go, "Age of Ultron" #9 is not a very tense issue. The Wolverines, Sue Storm and Pym noodle over how to make things right and it seems like their solution might be on target, especially given the narrow margin for error or expansive story weaving. That said, this issue doesn't seem to have much going on, save for multiple Wolverines, which makes for some fun moments, mind-bending time travel scenarios and wonderful artistic opportunities for Pacheco and Peterson. It's pretty obvious what's going to happen, I'm just wondering how close to the obvious it will really play out.

This comic book cleanly directs readers to "Avengers A.I." #1 scheduled for release next week. Waid has successfully utilized Pym as a supporting character in "Daredevil," so seeing the writer get a chance for a grander story is rewarding, but disappointing in the knowledge that Pym's continued adventures won't be crafted by Waid, who clearly has as much to say about Hank Pym as he does Matt Murdock or Bruce Banner. For now, Waid has given us a near-definitive Hank Pym comic book, and I'm thankful for that.

"Agent Carter: S.H.I.E.L.D. 50th Anniversary" #1 is a decent read and fine epilogue for Immonen and Ellis' work on "Operation S.I.N.", but it doesn't pack any lasting punches. It's great to see Sif in place, which further connects the comic book "S.H.I.E.L.D. 50th Anniversary" specials and the "Agents of S.H.I.E.L.D." television series, but the story in "Agent Carter" #1 just seems like an inventory tale, keeping the license fresh and vital. I'm sure Immonen, Ellis, Rosenberg and Sabino would be able to craft more riveting adventures with more available real estate, and I hope they get that shot.

As long as Parker keeps pressing his vision onto the adventures of the Agents of Atlas, and is accompanied by fabulous artists like Gabriel Hardman, this book is going to be well suited to be a great book in need of more readers. Maybe a sample of the fabulous art, will inspire you to check out this issue. To get a peek, you can <a href="http://www.comicbookresources.com/?page=preview&id=2710&disp=table" target="_blank">click onto our preview</a> or <a href="http://www.comicbookresources.com/?page=article&id=21420" target="_blank">the interview Dave Richards conducted with Jeff Parker.</a>

As a reprieve from capes and tights comics, this book succeeds. As a horror-tinged suspense comic, this book excels. "Alabaster: Wolves" is the beginning of something new, a fresh take on the terrible creatures that lurk in the shadows and one of the protectors who keep those monsters from us. I'm hoping this is the beginning of a series of adventures featuring Dancy. If Kiernan and Lieber continue to bring us stories of this magnitude, I'll be right there, snapping them up.

Future issues should bring not only a more interesting plot, but a story that filled with the action and gritty adventure of the close-quarters battles favored by both of these alien species. "Should "is the operative word here, as it is possible that this matchup could just degrade into another tired franchise with the best stories behind it, or this could be a return to brilliance. One way or the other, this first issue exhausts itself setting up what is to come.

Although the story in "Michael Turner's Fathom" #1 struggles against itself at one point as the story experiences a severe information dump seven pages in, the action resumes quickly thereafter and the comic book is able to get back on track. This issue is a nice addition to Aspen's "10 for 10" promotion, but more importantly, a solid start for a series that is quite welcoming to new readers. Yes, there are bits and pieces reflective of previous volumes of "Fathom," but those are nicely handled by the creative team and blended into the story. As the trademark character for this publisher, it is only appropriate that Fathom be given a strong start. "Fathom" fans should keep an eye on this book, eager to see if Mastromauro, Wohl, Konat, Sotelo and Reed can continue to improve and mesh together for a strong new direction.

Those bold enough to purchase "Avengers" #0 are sure to find at least a couple stories to satisfy their interests. As a sampler anthology, "Avengers" #0 gives readers more than enough to make informed decisions for the upcoming half-dozen related titles, especially with each creative team checking in. It's not a necessity for all Avengers fans, but it certainly is a nice luxury that contains relevant, polarizing tales for the All-New All-Different Marvel Universe.

This issue is all about connections, and with the addition of the all-new Wasp, it deepens Marvel's exploration into the concept of legacy. All-New, All-Different Avengers #9 gives readers a fun read, with the team fighting a slippery threat. There's still plenty of growth for the team and the characters, but I like the direction Waid and Asrar are pointing.

Remender and crew hit the ground running (or is that the skies flying?) in "All-New Captain America" #1 and give readers a strong start for a new "Captain America" comic book. The issue ends with an eye-popping final page from Immonen that will leave readers hanging. Longtime Captain America fans will undoubtedly be impressed with the final image from Remender, Immonen, Von Grawbadger, Gracia, Navarro and Caramagna and will be clamoring for more. I know I am.

The opening of "Captain America" #4 had me wondering why Remender couldn't just write a Falcon story, but submerging the reader alongside Sam in the world of Captain America certainly provides a deeper appreciation for where Sam has been and where Remender is leading him. By the end of this issue, Remender has made this a Captain America story, elevating the consequences beyond Sam Wilson and embedding Wilson in action that shows readers why this is a Captain America adventure and not a Falcon story.

"All-New Captain America" #6 is a solid, satisfying conclusion to a story that has shaped the new Captain America, defined his cast and reinvigorated the franchise. Choosing to use a myriad of foes from Captain America's mythos was an inspired decision, and one that Remender, Immonen, Von Grawbadger, Gracia and Caramagna delivered quite well. This run of the star-spangled, shield-slinging Avenger is certain to be remembered fondly, and I will certainly enjoy re-reading it at some point in the future.

This is a snappy, fun debut from a creative team that is well-suited to deliver the all-new adventures of the ass-kickers of the fantastic. Fans of the films, the comic franchise, or the creative crew are in for a treat. Me? Im going to wind up re-reading this a time or three before the next issue. Care to join me?

"All-New Hawkeye" #3 is a fun, energetic mid-mission chapter in the all new adventures of Hawkeyes Kate and Clint. Neither character supersedes the others in the comic, but Lemire does give Kate some of the more memorable story beats this time out. Once the final cover closes, however, readers will discover that there are moments and comments that stick with them after, like accidentally referring to the next Kate you meet as "Kate Katie Hawkeye." Lemire builds and celebrates memories here, and "All-New Hawkeye" #3 is one of the good ones that should be held onto.

My biggest gripe with "All-New Invaders" is that this issue only has nineteen pages of story for the four-dollar pricepoint. Granted, Robinson jams a lot of information into those pages and Pugh pours the detail into the panels, but page count is critical when bang for the buck comes into play, especially at $3.99. That said, "All-New Invaders" #3 is a nice, solid read, with a good deal to thrill readers and satiate long-time Marvel-philes. Robinson and company have provided a strong start to this series and this issue is a fine example.

The quick summary of Radiance, is to compare her to Dazzler, but Robinson makes it quite clear that Radiance is closer to the power set of "Mighty Avengers" cast member Monica Rambeau. "All-New Invaders" #6 is an interesting change-up from the Kree-focused opener for the series, making it quite apparent that there is no intention to leave the roster as simply Human Torch, Captain America, Winter Soldier and Namor. This is a team that is growing and changing, and Robinson is mining the rich Marvel history to find untapped resources to reinvigorate and introduce to readers.

As with all series, "All-New Invaders" has experienced some ebb and flow. Some issues are better than others, some have more nuanced tales with deeper backstories and other issues push at the boundaries these characters normally keep. "All-New Invaders" #9 serves as a tight showcase for Deathlok, but also gives each of the Invaders a chance to introduce themselves to readers. Deathlok makes a fine addition to this story, and a surprising key to open up the heroes just a bit more.

Michael Kormarck's cover promises a bombastic battle that Robinson and company deliver on the inside. While no present members of the Invaders are on the cover, the presentation and trade dress showcase the connection to the rest of the series and cement the adventure solidly within the Marvel Universe. Lapsed readers might be a little shaken by the team inside, but "All-New Invaders" #12 sends the Invaders in a bold new direction, promising plenty of developments along the way. Robinson and company make "All-New Invaders" a fine blend of historic Marvel Universe and brand-new adventure, with rich history to add depth to the story.

"All-New Savage She-Hulk" #1 is rounded out with a seven-page behind the scenes conversation with Fred Van Lente, Jeff Parker, and Paul Tobin, moderated by editor Mark Paniccia. This may not be the most ideal way to try to justify the extra buck this issue runs above many other shelfmates, but it does offer a little more creativity than some randomly fished out reprint would. <a href="http://www.comicbookresources.com/?page=preview&id=2337&disp=table" target="_blank">Check out the preview here.</a>

"Michael Turner's Soulfire" #1 is more of a new adventure for longtime Soulfire fans than a true introduction for new readers. As such, I'm sure those seasoned vets will appreciate it more than I found myself able to. I'm not sure where this comic story is going, but I won't be hurrying along with it, unlike some of the other "10 for $10" launches.

All-New Wolverine #28 is an odd spot for a new reader to jump in, but Taylor, Cabal, Woodard, and Petit do a stellar job of presenting readers with a wonderful welcome mat. These guys are the best there is at what they do. And what they do is make fun comics. This series has been a joy that I look forward to with every issue and one I move to the top of my stack whenever I pick it up, and All-New Wolverine #28 is no exception.

The final page is so packed with emotion and puts such an elegant point on this story that I didnt see coming. And yet, it wouldnt have been a complete tale without it. This is definitely a story Ill read again and one that I cannot try to share enough. So, if youre game, and want a story with action, heart, great characters, and a dash of humor, do yourself a favor. Get All-New Wolverine #30. Find a quiet place and enjoy it.

All-New Wolverine #35 does what exactly what the final issue of a beloved series should do: make me smile. Yeah, it's the end of a series, but I've got well over thirty issues to go back and re-read and I know I'll enjoy the heck out of them! Normally when a series I love closes, I feel a bit of loss, maybe even betrayal, but Taylor, Rosanas, Woodard, Petit, Groneman, Harrington, and Paniccia simply give us the best story they can. And all I feel is gratitude. This was a fun ride. Thanks team!

"All-New X-Men Special" #1 is a delightful throwback comic book that delivers a succinct story, embedded in current continuity without having that continuity weigh it down. There is no mistaking the current predicaments of the characters involved, but Costa doesn't bludgeon the reader with unnecessary exposition. Instead, Costa settles into the story, sets the action in motion and delivers a comic book worthy of what Marvel Annuals used to deliver: an extra-sized story with connections to other books. The story begun in this comic may continue elsewhere, but "All-New X-Men Special" #1 is a satisfying read all by itself.

While I could lose countless hours looking at the fantastic art in "All-New X-Men" #4, Bendis doesn't let the story stay still for very long. He naturally plays to Immonen's considerable talent, with a wide range of expressions and settings, but takes Immonen's best and delivers a story that is filled with excitement, adventure and promise. While the premise and delivery are totally different, the original X-Men, reunited in a book driven by the search for new mutants has the energy and excitement fourteen-year-old me found in the early issues of "X-Factor" written by Bob Layton and drawn by Jackson Guice. An interesting blend of old and new, tribute and trial makes "All-New X-Men" one of my favorite books of the Marvel NOW! relaunch.

The notion of dipping into the past and bringing the original X-Men into their future sounded like a novelty comic book to me. I didn't expect the story to last very long or to be terribly interesting. I expected a scene or two that was exceptionally poignant or maybe a memorable line or two. More often than not, however, the balance of great art and energizing story present in "All-New X-Men" #8 has been the norm for this series. Bendis' work is more effective in larger chunks, but there's enough going on in every issue of this series to provide a solid dose of entertainment in every issue.

A last page reveal opens up the universe just a little bit more and made all the difference for me between buying this comic in paper or pawning a digital version from a pal. There's a lot of story to be told still and despite the slow, deliberate start to "The Trial of Jean Grey," Bendis and company are rounding the corner and raising the stakes. Now that the story is over half complete (although the checklist at the back identifies six issues contrary to the five parts promised on the cover) the conclusion of "All-New X-Men" #23 hits an unexpected note and offers a payoff to readers, locking them in for future installments, while raising questions, giving answers and promising a lot more adventure in the remaining three chapters.

The issue provides Asrar with a chance to stretch a little bit and gives Bendis more than enough time to establish directions for his characters, but this issue feels light on action. X-23 is involved in the most active part of "All-New X-Men" #32, while the other characters have nice movements in their personal narratives. While I can appreciate what Bendis is attempting to accomplish, Miles Morales steals the spotlight and the All-New X-Men feel like supporting characters in their own book. Hopefully next issue balances out a bit now that the base introductions are complete.

"All-New X-Men" #39 marks time between "The Black Vortex: Alpha" and "The Black Vortex: Omega." As the fifth chapter and near-midway point of the multi-title event, it serves as halftime, giving readers and creators a chance to catch their breath. Rather than providing a pep talk or bolstering wounds sustained thus far, this issue does little to inspire further action. It is almost as though this issue simply could have occurred between panels and the story and readers would be none the worse for missing it. As it stands, however, it may be a struggle to recall just what exactly did occur in "All-New X-Men" #39, save for some dynamic imagery.

"All-New X-Men Special" #1 is a delightful throwback comic book that delivers a succinct story, embedded in current continuity without having that continuity weigh it down. There is no mistaking the current predicaments of the characters involved, but Costa doesn't bludgeon the reader with unnecessary exposition. Instead, Costa settles into the story, sets the action in motion and delivers a comic book worthy of what Marvel Annuals used to deliver: an extra-sized story with connections to other books. The story begun in this comic may continue elsewhere, but "All-New X-Men Special" #1 is a satisfying read all by itself.

If DC wants to bring the heart of their comics to the bigscreen, then they really need to consider swapping out Snyders. Zack Snyder is taking some heat from fans, but Scott Snyder seems to know how to make fans happy with his interpretations of not only Batman, but the entire DC Universe. He balances character and action, seasons it all with intrigue and adventure, but never loses sight of the characters while doing it. "My Own Worst Enemy" is a buddy action-flick on par with "Lethal Weapon," but set in a world wide open for special effects and dynamic visuals. This seems like Scott Snyder's buddy film, and I'm glad we have another Batman comic that plays fast and loose with the continuity, all in the name of a good, fun story. This is as approachable as Batman gets, both in terms of personality and in terms of continuity. Climb aboard. Let's take this ride together and see where Batman and Two-Face take us.

"All Star Western" #0 successfully delivers the story of Jonah Hex with all of the main components of the regular series in place. In that sense, this issue serves up a nice appetizer for readers to come back for more. I'll admit to being a lapsed reader as I tried to trim away titles in order to maintain a healthier comics budget, but this issue has given me enough of a reason to come back next month and plunk down another four bucks for another Jonah Hex tale. If this issue is any indication, I won't be disappointed.

"All-Star Western" #18 is a fabulous sampler of what Palmiotti and Gray do so well -- brilliant characterization, electrifying action and dark humor. As this issue concludes, the writing duo sets up more adventures for Hex elsewhere and also promise "the most unexpected guest star." Not only do readers have that to look forward to, but as of this issue, Hex has also run afoul of Vandal Savage, teasing plenty of great Jonah Hex stories waiting to happen.

Between the two sections of "All-Star Western," this book has been picking and choosing from the legacies and heritage of the DC Universe, but this issue reaches into the future to mix up characters that are truly entertaining together despite themselves. Jonah Hex is an underappreciated character that meets like in the form of Booster Gold. Thankfully, Palmiotti and Gray continue to prove that their ability to write great stories isn't hinged solely on the character's level of popularity. "All-Star Western" #19 is a fun cross-section of the bizarre excitement and interaction that the DC Universe offers creators and readers. It's also the first installment of something bigger. What that is remains to be seen, but in Palmiotti and Gray I trust.

"All-Star Western" #24 is simply another excellent installment in the adventures of Jonah Hex. One of DC's most consistently enjoyable titles, "All-Star Western" doesn't lose sight of the "Western" despite the current-day setting and modern guest stars. Gray, Palmiotti and Moritat are having fun playing with Hex, his reactions and, more importantly, the reactions of the world <em>to</em> Jonah Hex. Despite the ornery appearance of the character and the shift in subject matter towards the weird, "All-Star Western" #24 is a delightfully fun comic for the reader to soak in.

"All-Star Western" #27 is just another very good issue of a very good series. Where some titles find themselves mired in mediocrity and dragged down by unending storylines, this comic is fresh and entertaining every issue. I don't know what's coming next, but that is a large part of what makes this series so fun and engaging: every issue is a new adventure alongside the greatest gunslinger the DC Universe has ever known.

Palmiotti and Gray continue to make Jonah Hex a compelling character after all this time and show no signs of stopping. Following his adventure to his future/our present, Hex finds himself back on the new frontier, surrounded by a threat and more than a bit out of sorts from the trip. As Hex himself says, "Smells like home." With yet another great read in a collection numbering five score, "All-Star Western" #28 continues to be one of the very best comics DC has to offer. If you've missed out on Hex's first hundred tales spun by Palmiotti and Gray, now's the time to saddle up for the next hundred.

Jonah Hex has been given plenty of opportunity to reach readers through various series from DC, both in the New DC and the pre-2011 DC Universe. For the most part, those tales were written by Justin Gray and Jimmy Palmiotti and featured a slew of awesome artists. It isn't every comic of a series that can position each and every issue as being approachable for new readers and enjoyable for old readers, but Gray and Palmiotti did just that in over one hundred issues. "All-Star Western" #34 serves as a nice reminder of what they accomplished, gives them one last chance to do it all again, with Darwyn Cooke, Dave Stewart and Rob Leigh joining them, and allows the whole gang to wave Jonah Hex off into a gorgeous, well-earned Old West sunset of a different kind. Jonah Hex may be taking a break from the new comics' rack, but I've got a whole mess of Palmiotti and Gray goodness I can go back to whenever I want. Thank you, gentlemen, and thank you, Jonah Hex. It's been a remarkable ride.

I was enthused to read the return of these characters as written by Jim McCann in the "Chaos War" special and more excited once I saw Phil Jimenez drawing the art for a cover or two. Reading this issue has given me reason to check the calendar so I can celebrate Canada Day. This issue is every bit worthy of comparisons to the "X-Men/Alpha Flight" story, except shorter and without Loki. It's good to have this team back. I hope they get to stick around for a long time.

This second issue of "Alpha Flight" contributes a great deal towards setting up the story and the premise for this series, but it does so at the sacrifice of a good story. Taken by itself, this issue is flat, but clearly, this is intended to be the second of eight chapters, so I am certain it is simply a lull in the story before the real action hits. After all, how many times can this team go against the Box robots?

This story could not have happened without "Fear Itself" to launch it, but it needed something else to keep it afloat. What should have been a resonating, emotional conclusion came through as more of a whispered "See you later." I'd like to see more of these characters, but they're going to need a little more electricity around them to get anyone's attention again. Who knows, maybe the next event -- "Avengers Vs. X-Men" -- has a role for this team. It would be nice to see these characters given another chance to continue to develop and earn a place in readers' hearts.

"Amala's Blade" #1 has some fun moments in it and some wonderful coming of age bits too, but the throat slitting early in the book really discouraged me from thinking about sharing this comic with my young daughters. I'm anxious to see where the rest of the story goes, but so far, Horton and Dialynas have given me more than enough reason to come back and check out the next issue for myself.

The recap page is especially handy, given the activity in this issue which starts long past "Go!" and dumps the reader neck-deep in the thick of a fight with Norman Osborn "- not the best place for any Parker to be. It's a shame that this book once more has to roll up the rug, put the chairs on the tables and turn out the light. The good news, however, is that the fans of this character have been supportive and vocal enough to land May a new home -" over on Marvel's Digital Comics. Additionally, Spider-Girl will also be turning up in the pages of "Amazing Spider-Man Family" beginning with #5.

All in all, this issue reads well, offers some great Spidey moments and some beautiful art and, in general, has me quite stoked for the second part of this tale. That said, I'm not completely convinced that this tale couldn't have been told with a wedding band on Peter Parker's left ring finger. That argument, however, is rendered moot given the truly wonderful story bound by two superhuman staples.

McKone's knack for detail (bricks on Aunt May's porch or rubble in Liz Allan's house, for example) meshes superbly with Slott's tale to offer a visual treat, especially at Marvel's bargain price of $2.99 (yeah, that is a little dig on Marvel's crazy price hikes). All in all, it's good to have fun Spider-Man stories that can be shared with younger readers (again, this issue is suitable enough for me to hand over to my comic-devouring eight-year-old) and enjoyed by more "seasoned" readers. This is the third issue out of four that I've purchased and if the quality keeps up at the level I've seen of late, I think there will be many more issues of "Amazing Spider-Man" in my collection in 2009.

This is not the strongest of the issues that have resulted from the "One More Day" scenario, but it does play upon the circumstances put in play there, and for the most part would not have been possible without "One More Day." My biggest gripe, however, is that by revealing his identity to the FF, Spidey now spins them into his web of deceit that sits at the center of his current status quo.

"Amazing" has been an enigma to me. Just when I expect to be disappointed, it elates me and the issues (like this one) that I have high hopes for are frequently deflated. I understand a great deal of that is driven by the writer, but there seem to be enough safeguards in place to preclude this from being a regular occurrence. Hopefully as "American Son" marches one we'll get a more solid foundation for Peter's insane actions, but until then, I might just resort to looking at the pretty pictures.

This is not a comic to be taken lightly, but it is a comic that might be lightly taken by any fan of Spider-Man, new or veteran. If you find yourself with a spare fin burning a hole in your pocket this Wednesday, keep in mind that there are zero calories ingested in the act of reading a comic. This comic might just give you a fuzzy feeling inside too, as it reminds you that even though things may not always look up for Peter Parker, there are certainly times it is well worth it to look Peter Parker up.

This is the story I expected in the "Web of Spider-Man" issue I reviewed a month back. This is a tale of redemption for the Rhino and it makes him a character worthy of note as he struggles to stay on his redemptive path. How the new Rhino factors into the overall "Gauntlet" storyline is yet to be told, but given the identity of his "mysterious benefactor," there is little doubt that we'll be seeing robo-Rhino again. Marvel, and more specifically, Team Spider-Man, continues to deliver quality, fun Spider-Man comics. The fact that the classic Spidey foes are getting significant screen time only adds to the enjoyment of these stories.

While this was a nice interlude from the harried pace of "The Gauntlet," I've been enjoying the resurgence of old Spidey foes. I find that the classic villains make Spider-Man stories more compelling for me, and look forward to Curt Connor's return to these pages in the months to come.

This "Gauntlet" storyline is starting to put some wear on Spider-Man and Peter Parker, and while I cannot pretend to know exactly what the endgame is, I am finding most of the issues to be compelling reading. This is certainly one of the most compelling yet.

While I've been enjoying more than a few of the recent issues of this title, this issue was particularly enjoyable. Stern knows how to write Peter Parker as a challenged but not mopey character, and he seems to have fun doing it. I'm in for the rest of this story from Stern and Weeks and plan to kick back with my Pepsi Throwback to enjoy a return to classic form for this title.

To this point, the end result is familiar, but the details along the way have changed a bit. After all, how many times has the Lizard ruined Curt Connors' life? I hope from here we find a new path, with more new details for this story to help avoid predictability.

The highlight of the "Grim Hunt" story -- the true fight between Spider-Man and Kraven -- is still to come, and, hopefully, will outshine this weak issue.

The drive behind this story is to put Spider-Man in a new situation, and Slott is certainly doing that. It's nice to see things looking up for Peter Parker, but given his history and the ol' Spidey luck, it seems like "Big Time" might be setting Spider-Man up for a bigger fall. I certainly hope I'm wrong, as I quite enjoy my heroes not to be completely driven by angst and put upon by misfortune. Where Slott takes it from here certainly remains to be seen, and I'll be tuning in to see.

All in all, Marvel has made this a fun title once again. The costumes might be goosed up, the coloring brighter, but this is definitely the high-flying, fun-loving, strong-willed Spider-Man I became enamored with as a kid. It feels like a classic Spider-Man story from yesteryear. This issue in particular has me itching for more "Amazing Spider-Man," especially if Caselli's bringing the art.

This issue ends with a Spidey-appropriate cliffhanger, and the introduction of a new villain: Massacre. I didn't realize it while I was reading it, but towards the end of this issue, I was holding my breath, and it came rushing out as I flipped the last page over to the letter column. Truly, Dan Slott and Marcos Martin have provided a breathtaking (literally) emotional and entertaining issue of "Amazing Spider-Man." I'm happy to say that with Slott onboard that appears to be par for the course.

I'm not very generous with the five-star reviews. Once upon a time, I was questioned about them. I replied that I save five-stars for my personal favorites and the best of the best: the books I just know I'm going to read again, lend to friends, and probably buy again if those friends forget to return them. I'm thinking Mom's going to get this issue.

Paul Benjamin and Javier Pulido provide a "silent" day in the life story of Spider-Man that is fun and loose, filled with lively visuals and stunning heroic-level coloring by Matt Hollingsworth. I suspect this part of the issue will remain in my mind far longer than the first segment of this issue.

Ramos seizes the opportunity to depict a plethora of Spider-People in a plethora of Spidey outfits. Almost every costume gets some panel time from the pencil of Ramos, including the "Iron Spider" get-up and the Scarlet Spider hoodie. Plain and simple, this is a big, fun book that is filled with raucous action, exciting characters, and energetic art. "Spider-Island"

"Spider-Island" may be a simple story at its core concept, but two issues in, with four parts of the main story to go, we're almost as in the dark as Peter Parker, himself. And we know the main villain! Slott and Ramos are giving us a mystery with serious repercussions to figure out alongside our favorite Webhead. The "eventness" of this story, with its twenty tie-in issues and eight-part (six "actual" plus prelude and epilogue) may be chasing some folks away, but if you've got patience and finances enough for an entertaining eight-part tale, pull up a chair and web up a copy of this issue. It's not too late to join us on "Spider-Island" in these waning days of summer.

As you can guess by now, my patience for the "Spider-Island" event is wearing thin. Between a story that is not enough about Spider-Man (with more than a few too many guest stars) and painfully slipping art, this book is in danger of exiling me from Spider-Island. Perhaps after the quarantine is lifted, we'll return to the fun-loving book this title transformed into when Dan Slott took over. I'd be almost ecstatic if that post-quarantine tale included some clean, crisp art from Stefano Caselli. For now, I'm counting down installments until we get past this event.

So there's a pile of cleanup that needs to happen, but this issue spends no time there. This issue unravels the web of wackiness surrounding the Spider-powered people of Manhattan and Spider-Man's desperate pitch to set everything right. It's been a crazy ride, one that didn't hit all the right notes for me, but still managed to tell a story that gave everyone a chance to see Spider-Man as more than just a wisecracking, wall-crawling Webhead. Spider-Man gets to be the hero in his own book, and that makes this gangly, sprawling adventure worthwhile.

"Amazing Spider-Man" has continued to deliver great Spider-Man stories, poking into every corner and crevice of the Spider-Man section of the Marvel Universe. This issue, blending Spider-Man's foes, his allies, his employment, his teams and wide-ranging supporting cast is a fine example of what to expect from this series with Dan Slott on board.

We get almost as much facetime with Peter Parker in this installment as we do with Spider-Man, but Caselli and Slott effortlessly make those pages every bit as interesting and entertaining. This book has everything a Spider-fan could wish for: a rant from J. Jonah Jameson, heroic allies for the Webhead, a wild amount of comic book science fiction technology and a very serious threat. There's also a passing skateboarder singing R.E.M.'s "It's the End of the World As We Know It (And I Feel Fine)." See? Everything you could want to read in one great issue of "Amazing Spider-Man" plus fabulous art. Now is as good a time as any to grab a web and swing on in.

"Amazing Spider-Man" #687 isn't the single greatest issue of the post-"Brand New Day" Spider-Man, but it is certainly a great sampler of what the current era of Spider-Man comics is all about. This is the conclusion of the bigscreen adventure "Ends of the Earth." Now things are going to narrow a bit in scope as Spider-Man tries to move forward from the tragic loss he experiences in this issue. He's also going to be spending a little more time with the comic book equivalent of his theatrical co-star: the Lizard.

Marvel has gotten considerably more savvy about their comics offering up tie-ins and relevant parallels to the products based in other media bearing their brands, but this issue really doesn't do much to sell the Lizard to moviegoers considering a career change toward comic readers. It's quick-moving and packs a surprise ending, sure, but it lacks the enthusiasm and show-stopping art that gateway comic books need to showcase in order to entice new readers and turn them into fans. Maybe things will shape up a bit in the next issue, but by then we'll all have seen the Lizard onscreen and will be bringing an expanded set of expectations.

Despite some hiccups in the art, "Amazing Spider-Man" #691 provided a solid, entertaining read that is sure to please most Spider-Man fans. After all, this issue features another Spider-Man adventure that has a tidy ending before leading into a celebration of the webslinger's fiftieth anniversary. Slott offers some teases of what's to come, but those teases almost feel like afterthoughts -- at least until the final panel of the issue. I've avoided preview solicitations for this title coming up, choosing to be surprised when the next issue hits the stands and with the conclusion of this issue, Slott and company have me looking forward to I know not what, but I'm definitely eager to find out.

This issue, in all of its splendor and priciness is exactly what I would expect for a celebration of the Webhead and a chance for Spider-Man to be, well, Spider-Man. Granted he wasn't the only character in the spotlight, but this issue showed many facets of everyone's favorite spider-themed superhero. Slott has done a marvelous job with this character and continues to craft enjoyable stories from start to finish.

A quick-fix, Saturday morning cartoon (and by that, I mean "Spider-Man and His Amazing Friends") solution to the world's problems sets everything right as Slott continues to stack up the building blocks for the big Hobgoblin escapade. The "Alpha" storyline is fairly light and positively charged, well-suited as a counterpoint to dark, depressing comics where characters are getting mangled and murdered. Slott has made "Amazing Spider-Man" an enjoyable read with astonishing consistency and stories like the one contained in "Amazing Spider-Man" #694 prove that comics can, and should, still be fun. Especially when you've got a guy dressed up in web-covered red and blue pajamas.

Dan Slott has some big plans for the book in "Amazing Spider-Man" #700 and he seems ready to poke at the foundation of Spider-Man's current status quo, like an over-caffeinated teenager boldly shoving Jenga planks out of a once-sturdy tower. This issue has a little wobble in it, not enough to topple that tower, but certainly enough to draw out concern for future moves. That said, Slott has provided plenty of entertaining stories in the past, enough to nurture hope that "Amazing Spider-Man" will be a fun, enjoyable read right up to the final issue.

"Amazing Spider-Man" #698 is everything I've come to expect from Dan Slott's tenure on this title: solid story, good art, classic comic book plots and subplots, brash villains and a solid adventure. Does it live up to the hype? Yes. It does. This is a Spider-Man book that changes Spider-Man without completely discarding everything. Every Spider-fan can find something to cheer about in the story and the mystery Slott adds in is sure to put some pep in fans' steps and add a Spider-sense buzz to this title for its remaining issues.

This Morbius story makes for a great tragic romance comic, a very good horror comic or even a decent science fiction comic, but as a Spider-Man comic, it simply falls flat. I completely understand Marvel's marketing ploy to hitch Morbius' star to the Spider-Man wagon, but truth in advertising would have labeled this comic book "Morbius the Living Vampire" #0.1. Would it have been more enjoyable with that label? Not necessarily, as "Amazing Spider-Man" #699.1 is a pretty darn good Morbius comic, good enough to change my mind about the character. For now.

The point issue makes it approachable and marketable, especially with hype accumulating for "Amazing Spider-Man 2" following the debut of that film's trailer. While waiting until May might seem far away as the temperatures drop throughout the northern hemisphere, "Amazing Spider-Man" #700.1 is a near perfect snow day read. Morrell's story is not necessary to be set in the waning days prior to Otto Octavius' greatest victory and could certainly hold its own in any time period of the webslinger's history. Once upon a time, this story (and the subsequent chapters) would have been presented as a graphic novel, but now a series of specials seems the preferred method for delivering a slightly out of continuity adventure. That's fine with me as "Amazing Spider-Man" #700.1 provides a nice break from the constantly self-centered superior Spider-Man. I just hope the upcoming chapters are as independently enjoyable as this issue.

One of two books published by Marvel this week, "Amazing Spider-Man" #700 changes the face of Marvel Comics forever. Or, at the very least, for NOW! as the publisher is now set to roll out "Superior Spider-Man" following the epic conclusion of this issue and series. I'm glad Marvel scaled back their releases this week as this issue deserves a little more time and attention from readers and fans. Sure, there's going to be heartbreak and hostility at the outcome, but there is simply no denying this is an intense story.

As an anthology of Spider-Man-related stories, "Amazing Spider-Man Annual" #1 is great. As an Annual, however, it falls a little short. Rather than giving readers an extra-long single story, the conclusion to an event or the kickoff to a different event, "Amazing Spider-Man Annual" #1 seems like the recipient of the Inventory Story Drawer Cleanout Award. The adventures here are fun and upbeat, but nothing in these pages is particularly memorable. It's a nice example of Spider-Man comics, but not a must-have or must-read.

While this is the fifth installment of five, readers can walk into this issue with no preparation, save for knowing it's place in the continuity of Spider-Man, and thoroughly enjoy. Yes, there are some questions that might creep into their minds, such as, "What ever happened to. . .?" or "Why did. . .?" but Dan Slott does his job here and gives readers a satisfying story with a clean ending. For now. Slott usually finds spots for his creations and has a tendency to project ideas out for newer characters. Surely "Learning to Crawl" will have some impact on modern-day adventures, but even if it doesn't, it is nice to take a stroll with Slott, Prez, Herring and Caramagna to the most formative days of Spider-Man's development.

"Amazing Spider-Man" #1.2 may come across as a luxury. After all, it tells a story between stories that have been re-told and re-published many times over the last half-century, but it truly is a fresh adventure for Peter Parker and his surrounding cast. If you're like me and clock in to your comic book reading sometime after Spider-Man's title climbed into triple digits (or his brand expanded into more than one title) then you may recall the first time you saw those first issues, whether they were reprinted in "Marvel Tales" or another single issue or collected in a trade, such as "Origins of Marvel Comics" or "Sons of Marvel Origins." This series delivers the closest thing to that vibe, as Slott's story digs into the past emotionally and Prez's art pays fine tribute to Ditko's creativity. This is a luxury, but like all great luxuries, it's one that you'll truly appreciate indulging in.

"The Amazing Spider-Man" #3 is less about the powers and adventures of Spider-Man and much more about the humanity surrounding Peter Parker. Putting Spider-Man in the fire alongside MJ's firefighter boyfriend, Ollie, is a wonderful touch from Slott, deftly illustrating real world heroics alongside superheroics while allowing Spidey a chance to reflect on how his choices impact the lives of those around him. Slott continues to build up the duration of his work with Spider-Man while finding new ways to showcase his love for the character.

It seems as though "Spider-Verse" has been running for a long time at this point, but in reality this is the second chapter of the saga in "Amazing Spider-Man." As "Spider-Verse" is ratcheting up the speed, a mind map would treat this as the hub with spokes going off in no less than four directions. While a great deal of what happens next doesn't happen here, it is happening in the various "Spider-Verse" spinoffs as noted in the editor's boxes throughout "Amazing Spider-Man" #10. In the meantime, readers are treated to such highlights as one of the characters actually saying, "It's a clone thing. You wouldn't understand," while Old Man Spider-Man warns the Spiders to protect "The Scion. The Other. The Bride." There's a lot going on here other than crazy variations on Spider-Man, and it is really just starting to ramp up.

"Amazing Spider-Man" #13 is a solid, readying-for-war story that gives readers lots to enjoy, including over-the-top action and amazingly spectacular characters. Slott and friends might be finding spots to shoehorn in some spotlight moments, but the story itself is still vital and progressing. Next issue is the big battle, and this issue is the grand table setting. Slott's learned from past events and gives readers plenty to look forward to.

"Amazing Spider-Man" #15 closes the door on "Spider-Verse" as Slott and company look toward the future with Peter Parker clearly in control of his own destiny. There are plenty of threads to pick up but, for the first time in what feels like years, Slott will be able to tell a Spider-Man tale that doesn't revolve around Otto Octavius or build towards a universe-spanning event. For now, "Amazing Spider-Man" #15 is the first inhale for that breath of fresh air.

Even though it's the start of a multi-part saga, "Amazing Spider-Man" #16.1 doesn't feel ominous or foreboding. Conway pitches a story that seems appealing and hits the ground running. All readers need to know about Spider-Man, Tombstone, Wraith or Mister Negative is all right here, no flashbacks or origin tales required. Just grab a webline and get to swinging alongside everyone's favorite friendly neighborhood Spider-Man; too bad the neighborhood part is in a downward spiral.

"Amazing Spider-Man" #17 is less "amazing" and even less "Spider-Man" than I hoped for, with fourteen pages of main story and Spidey only appearing at the end of the adventure. Yes, a balance of the secret identity life and the costumed adventures needs to be struck but, after the mind-numbing and timeline-bending events of "Spider-Verse," I was kind of hoping for a Spidey vs. Villain-of-the-Month run to remind us why Spider-Man is special in a universe with considerably fewer Spiders. Instead, this feels like an installment of "Spider-Man Family," which could be fun. However, when I see Spidey and a villain like Ghost on the cover, I want to see those two fighting it out. Maybe next issue will deliver the Spider-Ghost scrum but, for now, "Amazing Spider-Man" #17 left me wanting just a bit more Spidey. This issue is alright but doesn't quite find its way beyond that.

Overall, Amazing Spider-Man #25 is a nice package, but it falls short of the Alexander Hamilton required to purchase it. This feels much more like an annual used to than an issue of a regular series. If it were mine to price, Idve probably paid $6. Maybe $7 for an extra-sized issue that follows way too closely to a recently completed event. It definitely served the purpose of getting my attention for Immonens arrival on the title. Ill at least be looking at the series so long as hes around.

This book has much more than a standard-issue Spider-Man story: Nazi gold, Kirby crackle, Kingpin wearing patterned, Hawaiian shirts, Spidey costumes both classic and black, a flashback appearance from the Parkers and other little nods throughout the Marvel Universe.

Buried beneath a clunky story is the fact that this Spider-Man isn't as committed to his values as the "regular" Spider-Man. Slott makes it quite clear throughout the story but doesn't give the reader enough material to evaluate whether or not they prefer a slightly harder-edged webslinger. More noteworthy is the fact that Peter and Mary Jane feel content telling their kindergartner a life-altering secret and seeding lies around the rest of Spider-Man's story. "Amazing Spider-Man: Renew Your Vows" #3 is a decent enough inventory story, but not the type of tale I'm likely to go back and re-read any time soon. Its connection to "Secret Wars" is, currently, tenuous at most and the characters just don't have enough personality or vitality to make this storyline exceptionally memorable.

Spider-Gwen and Miles Morales, Web Warriors and Spider-Man 2099 have all demonstrated the power of the Spider-Man brand. Tweaked just a bit and shifted from another Earth, timeline, or dimension, those Spider-variants have been fan favorite, and I have no doubt this title can find its way there as well. Amazing Spider-Man: Renew Your Vows #1 is a wonderful introduction to a new world that answers some questions, discards other questions, and turns it around on the reader, asking, "Are you ready to have some fun?" If you answer, "Yes!" then get out your webshooters and start slingin'.

As a fan of Aaron's work on "Thor: God of Thunder" and "Wolverine and the X-Men," I had no doubt I'd be in line to snatch up "Amazing X-Men," especially with the larger-than-life, bombastically animated artwork of "Hulk" and "Nova" veteran Ed McGuinness. Aaron and crew up the ante by making the story in "Amazing X-Men" #2 an adventure of an afterlifetime while inserting character bits that makes this fan of "Spider-Man and His Amazing Friends" smile. There aren't a whole lot of fun, boisterous comic books out there -- especially not those that send their characters, literally, to Hell. "Amazing X-Men" #2 manages to be fun, despite the settings and delivers a comic book full of hope and excitement. I just wish I didn't have to wait so long for more.

While the details of the story might not be the most memorable, there is simply no denying "Amazing X-Men" #5 tries to reinstall fun into the X-Men's corner of the Marvel Universe by reminding readers just what has been missing since Nightcrawler left. Aaron tempers the fun with introspection and gives readers a comic worth revisiting. This could be construed as anti-climatic, but it brings the X-Men back to a more complete place and wonderfully sets up Nightcrawler for a journey of self.

Kyle, Yost, McGuinness, Farmer, Rosenberg, Caramagna and company deepened my concern as they deliver a complete installment in the adventures of the X-Men, including a nail-biting cliffhanger. While the arc is mostly build-up at the moment, the Wendigos are on the board and the X-Men are rushing to face them. I'm not sure everyone made it out of this issue alive, but Kyle and Yost have succeeded in making me curious to see if the Alpha Flight cameos pay off. After two meandering issues following Jason Aaron's departure, I was concerned about this series losing its way, but it has more energy and enthusiasm than I recall any X-title supplying in a long time. "Amazing X-Men" #8 has hooked me back into the series with potential and power.

While the writing is already dry on the wall for some of the plotlines (seriously, does anyone NOT see King Yamoon trying to conquer unsuspecting worlds again?) I am interested to see how the story plays out and just who the people ransacking the Atoms' homestead turn out to be. Potential is here, now it is just a matter of acting on it.

Do yourself a favor, put "Uncanny X-Men" #500 back, and pick this thing up. Your funny bone will be thankful for it. And if you don't like it, well, Keith Giffen went thataway!

This "Ame-Comi" concept stood out as an oddity from the start, but the Wonder Woman story gave me hope that there would be some fun to found. Granted, I haven't checked in on the two stories in between, but this issue is nothing like what I found in "Ame-Comi: Wonder Woman." I'm going to dig through my back issues and remind myself just how good a Justin Gray and Jimmy Palmiotti "Power Girl" comic can be.

The American vampires "- Pearl and her benefactor, Skinner Sweet "- are the type of characters you don't want to embrace, but cannot help but be intrigued by. Their tale is brutal and gory, and the visual presentation of it is remarkable. The creators of "American Vampire" are collaborating "- truly working together "- to deliver one of the best comics on the stands today.

"American Vampire" might chase some people away simply because of the outrageous amount of hype vampires are receiving nowadays, but Snyder, King, and Albuquerque are delivering a different kind of vampire story "- as different as the philosophies of the United States and Europe were in the years between World War I and World War II. While much of Europe was trying to rebuild, the States were trying to build anew, investigating the future and marching boldly toward it. That's what is happening here. The American Vampires "- Skinner Sweet, Pearl Jones, and Hattie Hargrove -" are true Americans, seeking new opportunity and making the most of it once they find it. This first arc may be over, but the stories of these characters most certainly are not. Snyder and King know better than to wrap up a story completely. Amazingly, this issue is still very well suited for new readers, but it certainly wouldn't hurt anyone to go back and read the whole series to this point.

There might be some concern about this title among retailers and readers, with Stephen King no longer co-writing, but I can assure you, this book certainly does not suffer from a lack of King. Snyder has complete command of these characters, a passion for the tales told within, and a plan for this new mythology that we have only begun to glimpse. <A HREF="http://www.comicbookresources.com/?page=article&id=28247">Snyder recently spoke to CBR about this new arc in a conversation that you can read here.</A> I'm enthused about what has happened in this book to date and I look forward to more disturbing tales in the months to come.

While the entire twentieth century is open for Snyder to play these characters against and through, the choices he makes in time and setting allow these characters to grow and breathe. Snyder avoids (what I would imagine is) the obvious temptation of having these characters appear Forrest Gump-like throughout the highlights of history, and puts the American Vampires exactly where and when they need to be to benefit the overall narrative. Since its launch, "American Vampire" has been a critical darling here at CBR, and my compatriots and I tend to agree that this is a book that you really should be reading.

I buy quite a few comics, and I read quite a few more, but no comic has been as consistently entertaining and surprising over the past year as "American Vampire" has been. Snyder has offered up a dark mythology here that continues to reveal more and more about itself each month. This book truly has become the tale of American vampires, and it is a tale that demands to be shared as it celebrates the history of America, from the Wild West to the Roaring Twenties and beyond. There are plenty of stories yet to be told, and now is a good time to grab a seat and start sharing in these stories alongside those of us here at CBR. Please don't make us say we told you so

This is a fantastic book that almost seems to reinvent itself with each new story arc, but upon further reflection doesn't reinvent itself so much as it visibly evolves. The roles and interactions of the main characters shift, just as your own role and interactions with your own supporting cast shifts with every new situation you encounter. Snyder has done a great job making these characters believable and human, so much so that when the fangs and claws are unleashed, they are that much more intensely satisfying and shockingly impressive.

"American Vampire" with Rafael Albuquerque on board is as right as original recipe Coca-Cola, baseball in the summer, and tricked out sports cars. Snyder's investigation of the American tradition filtered through bloodsucking vampires makes for a brilliant variation on an age-old concept, a distorted history lesson and fun read all at the same time. There is no time like the present to hop over the door into the backseat of Travis Kidd's convertible and enjoy the ride. It's not often you're given a chance to jump onto a great title with a wide open transition like this, and you won't want to miss out.

The theme of this issue is "consequences," and the legend of "American Vampire" is fit to burst with with them. Travis Kidd has made some choices resulting in some weighty fallout, and Skinner Sweet is the messenger of repercussion. There's one more installment left in this "Death Race" storyline, and I'm certain the consequences stemming from that issue will be set to play out in "American Vampire" for a good long time to come.

Snyder twists the plot at the end, spinning the story on its head, giving Poole the shock of discovering something new and setting up a confrontation that demands more space than the next issue could possibly allow. Snyder also puts the question out there that's been lurking in my head since the beginning of the series, but at the risk of spoiling the finale, I'll just put it back in my noggin. This issue is quite the departure from the story Snyder has given us through twenty-five issues, but if there's one thing Snyder has proven time and again, things aren't always what they seem and connections are made quicker and more completely than readers of "American Vampire" can expect.

"American Vampire" has been a disturbingly delightful book since it first hit the stands. Almost three years later, Snyder and Albuquerque revisit some familiar geography for Skinner and Pearl, and through the lens of time and place, the creative duo shows just how much everyone and everything has evolved -- some for the better, some not so much, all forever altered. This is the second installment of "The Blacklist," and the twenty-ninth issue of the series, but the adventures are still fresh, electric and exciting.

Snyder and Albuquerque combine to lead Pearl down the path of introspection throughout the issue, but Pearl's assignment from the Vassals takes her, literally, back to where everything began. There is one hell of a flashback in this issue that presents a stunning way to bring the whole series -- the whole freaking series -- full circle. The final page is one of those gasping cliffhangers that sends the reader back to the credits box to check progress in the story (this is part 4 of the six-part "Blacklist" story) and almost as quickly to the internet to see when the next issue is due out (interestingly enough, on Halloween). Naturally, with Skinner Sweet as an ally, Pearl will face some dreadful foes. The challenge Snyder and Albuquerque leave her facing at the end of this issue, compounded by everything she endures throughout, makes "American Vampire" #31 one of the strongest issues of the series yet with a the setup that sets the bar high for the next issue.

This chapter is ending, which enhances the feeling that this is simply the conclusion of the first movie. Now all we have to do is wait for the next. At least we can re-read and re-re-read the books. Snyder and Albuquerque have supplied us with a lot of great stories and "American Vampire" #33 can certainly take a place among the best of the best. Where Pearl Jones goes from here remains to be seen, but like Calvin Poole, I'll be waiting for that goodbye call.

This issue might not provide a complete summarization for new and lapsed readers, but there are plenty of hints, clues, returning threads and continued notions to hold "American Vampire" #34 up as an example of what a zero issue could and should look like. The mystery lurking in the shadows of Abilena Book's house is captivating, certain to spark speculation and the double-page vision-filled spread of future story details is enticing to long-term readers of this title. Scott Snyder and Rafael Albuquerque pulled no punches in this issue, giving readers every reason to wish them a relaxing and recharging sabbatical from this modern myth. Personally, if this is what they leave us with to take a break, I cannot wait to see what they come back with.

Any one of these tales could be expanded on in the series or in a miniseries, as Snyder has done in the past with the escapades of the Vassals of the Morning Star. As they stand now, however, the stories in "American Vampire Anthology" #1 provide a fine sample of modern-day, mature audience comics from topnotch creators. This is the type of offering that should be forever preserved in a time capsule of the year that is 2013.

Last year, Snyder debuted "American Vampire: Survival of the Fittest," which expanded the reach of the Vassals and added diversity to the throngs of creatures going bump in the night. "Lord of Nightmares" adds even more depth and history to the Vassals of the Morning Star, revealing more hints of the true secrets behind the organization. The "American Vampire" franchise is a splendid example of growing a brand organically and the blossoming tradition of a summer Vassals miniseries is a wonderful example of how to nourish that growth while exploring new territory.

Similar to the bittersweet ending of last year's "American Vampire: Survival of the Fittest," this issue closes one door and opens another, perpetuating Snyder's wonderfully excited universe all the more. Despite their similarities and shared cast, Snyder avoids falling into a pattern with the adventures of the Vassals, providing "Lord of Nightmares" with some shocking surprises. Given that we had a miniseries starring the Vassals of the Morning Star last year and this year, I'm hoping we see more adventures of the clandestine organization next year. Until then, I am excited to see how the new direction for the VSM affects the primary narrative of "American Vampire."

While Snyder and Albuquerque don't tell the readers everything, they certainly transfuse enough of the awesomeness from the "American Vampire" series into "American Vampire: Second Cycle" #1 to make it a must-read. It's rare that a comic book this thoroughly developed and enjoyable comes around, offering readers a ground-level chance to enter a new world. It's even more rare when it happens for a second time. If you missed out on the first run of "American Vampire," start with this issue. If you've been eagerly awaiting the return of Pearl Jones and Skinner Sweet: wait no longer. "American Vampire: Second Cycle" #1 is just beginning and it's one hell of a start.

The only shortcoming of "American Vampire: Second Cycle" #4 is the fact that Snyder and company presume the readers are with them for the long haul and know all the characters. I'm not saying there is any need to run a roll call in every issue, but a name check on Gentry or Calvin would help lapsed readers. It's not much worse than missing an introduction, but it does leave a pinhole in the near perfection Snyder, Albuquerque, McCaig and Wands have achieved with this series.

Never short on shockers, Snyder and company ensure that readers are going to finish "American Vampire: Second Cycle" #6 and demand to have #7 in hand immediately. The writer mixes the fun and unpredictability of a 1960s adventure film with the expected levels (and so much more) of horror and surprise. Topping it all off, the characters in these pages are so familiar to long-time "American Vampire" readers that every appearance is like catching up with old friends and regaling in the stories of their adventures. If only "American Vampire: Second Cycle" stuck around longer or, at least, happened by more often.

Anytime a comic book can leave you with a "Holy S---!" cliffhanger, it's a decent read; anytime "American Vampire" can do it, well, it's just another issue of "American Vampire," where anything can (and quite often does) happen as Snyder, Albuquerque, McCaig and Wands continue to deliver topnotch horror-filled adventures with each issue. After years of the narrative dance Skinner Sweet and Pearl Jones have performed around the legend of "American Vampire," Scott Snyder and Rafael Albuquerque continue to find new ways to elevate both characters in their respective roles. They make "American Vampire: Second Cycle" #7 a surprisingly approachable issue, despite being seven issues into this volume and scores of issues into the series. The creative team continues to deliver consistently high quality work, giving readers plenty of surprises and excitement along the way.

"American Vampire: Second Cycle" #8 is part three of the "Dark Moon" tale. The original evil has set events in motion, and Snyder, Albuquerque, McCaig and Wands give readers a behind-the-scenes peek at the calamities to come. The issue opens with action and ends with suspense, which makes everything in between all the more impactful. By the time readers reach that back cover, they'll have forgotten about any delays and will almost certainly be itching to get the next issue to see what comes of Sweet, Poole, Pearl and Felicia.

The painful gap between issues and the virtual impenetrability of this issue might be tough for newer readers going into "American Vampire: Second Cycle" #10, but it shows just how much work this creative team has poured into this series and these characters. "American Vampire: Second Cycle" #10 knocks down a couple plot threads, but it doesn't wrap anything up. Instead, it ramps up the intensity and teases readers for what's to come. Snyder, Albuquerque, McCaig and Wands have paced this story out, and this issue is that last jaunt before the final, full-out sprint to the finish line.

The final page of the third installment of this series delivers a splash page that just demands more. Fast. In the theater of war, nothing is out of the question, and in this series, all things are possible. Nazi vampires may have seemed like enough to draw readers in, but Snyder and Murphy give a payoff worthy of the price of admission, and then some.

At the end of this issue, after the loose ends are seemingly cleaned up, we're left wanting more, just like Snyder planned the whole way along. That, my friends, makes this the perfect book. The past five months have provided a very enjoyable double dose of "American Vampire." There's been talk of this being a semi-regular occurrence, and after completing this series, I would certainly be among the first to open up my wallet to buy the next one.

Any comic with "Asgard" in the title is destined to bring in the God of Thunder, but with Thor now being a different Thor than the one Angela is familiar with, Gillen elects to leave readers awaiting the confrontation between Angela and Odinson. To sweeten the pot, the writer teases a surprising reason for the visit, leaving readers with a cliffhanger in the process. It's a solid cap to a solid comic book, as "Angela: Asgard's Assassin" #1 gives readers yet another excellent female-led series in the Marvel Universe.

This is, thematically, a descendant of Grant Morrison's, Peter Milligan's, Tom Veitch's, and Jamie Delano's "Animal Man." There are subtexts of superhero adventures here, but the primary action requires Animal Man to be more of an adventurer than a superhero. That adventure is anything but predictable. Lemire and Foreman give us a story that's disturbing and crazy, but memorable and exciting.

"Animal Man" under Lemire continues to be an impressive, fun read. At a time when so many familial relationships in comics have been cast aside, it's rewarding to see a man trying to balance his duty to the greater good with that to his family. Lemire doesn't make the decisions easy for Buddy Baker, and that, in turn makes this comic a solid read. Like Morrison before him, Lemire has found ways to provide a deeper, more impactful story that strays off the beaten path, challenging and entertaining the reader at the same time. This is a nice interlude from the Rot story. Lemire doesn't just completely ignore that tale, though, and that makes this issue all the more engaging.

Fans are always going to rush to compare any Animal Man story to Grant Morrison's run, but this book deserves to be taken on its own merits and it has plenty. Lemire has put "Animal Man" on tips of comic readers' tongues and in their hands with his edgy, dark tale, but it is the reaction of the family to the threat surrounding them that makes this comic sparkle. Buddy Baker is facing an unknown, scary threat: one that he is determined to spare his wife and children from, but it isn't a simple threat that can be defeated with a punch. Animal Man is out of his league, but still fighting.

There are only a couple issues left of the Rotworld saga and to this point in the story, Lemire has kept me guessing. Some of the surprises are welcome, others are simply surprising, but this adventure has been anything other than predictable. "Animal Man" #15 offers a little bit of everything any good comic book story needs from character development to action to plot twists. Furthermore, this issue delivers some significant developments for Rotworld and continues to further the development of Buddy Baker.

I'm unsure what awaits these champions of the Red and Green, but Lemire and Snyder have left an ample supply of story nuggets for future writers to mine. After all, there are plenty of tales to be told of the heroes of the DCU's fall to the Rot, the fights they endured and the decisions they made. Lemire, Snyder and company provide some insight within the pages of "Animal Man" #17, but it is evident that the story is not completely told. As for the conclusion to Rotworld, readers only need to open the cover of "Swamp Thing" #17 to begin the end of this lengthy journey.

That said, it's disappointing that the conclusion of a two-part story is left so incredibly open-ended, but that is par for the course at DC as one adventure tends to lead directly to the next. The upside is that, prior to the final bewildering page of this issue, Lemire works rather diligently to bring Buddy and Ellen back together. After months of crossovers and more downbeats heaped on top of that, "Animal Man" #25 feels like a step in a forward direction. It's too early to tell if it's the right direction just yet, but Lemire gives Animal Man some purpose beyond just being an avatar of the Red. Buddy now has a recognizable foe and a task in front of him. This issue displays that Buddy can act like a hero, so maybe readers will see more heroic deeds from Buddy Baker in the near future.

In essence, Lemire closes the book not only on his own adventures with Animal Man, but also wraps up the adventures Grant Morrison opened so many years ago and, hopefully, ushers in a new era for Buddy, Ellen and Maxine Baker. There won't be another Animal Man series in the foreseeable future, but Lemire will be keeping in touch with his former charge in the pages of the upcoming "Justice League United." I look forward to some actual superhero adventures from Animal Man, but will always have "Animal Man" #29 to return to, much as I do "The Coyote Gospel" in Morrison's "Animal Man" #5.

In the first ever "Ant-Man Annual" #1, writer Nick Spencer does what Annuals were designed to do: tell an oversized story that has additional story potential and entertains the whole way through. This issue makes reference to the soon-to-conclude current volume of "Ant-Man" and also points readers towards the original graphic novel "Avengers: Rage of Ultron" without spoiling either and still applying the effects of each to the story here. Neither tale is necessary to appreciate this, but Spencer realizes the value in keeping connective tissue connected. With Ant-Man about to take over the spotlight cinematically, this comic is hitting at just the right time and provides plenty of pathways to explore in the near (and possibly distant) future, as Scott Lang continues to try to live up to the example set by Hank Pym.

The best part of this comic, however, is the fact that Spencer packs an entire story -- and an entire history -- into a single issue. Once upon a time, this may have been a one-shot or an Annual, but "Ant-Man" #1 gives readers a complete, detailed story to welcome them to Scott Lang's neighborhood. I didn't realize "Ant-Man" was exactly the comic book I was looking for right now, but it is, as Spencer and Rosanas have captured the same energy, enthusiasm and passion for the character that Waid and Samnee have in "Daredevil."

"Ant-Man" #4 continues to provide readers with an entertaining exploration of a man trying to live up to a heroic ideal. Scott Lang knows he's got a long way to go to be a hero but, most importantly, he just wants to be a good dad. Spencer shows readers that might be just as important as heroics and illustrates the lengths a man will go to in order to try to return normalcy to a portion of his life. In that quest, Spencer has peeled back the bravado and amped up the humanity, making "Ant-Man" #4 a relatable adventure tale with some interesting personalities lining the journey.

This series started and ends strong, consistently delivering light-hearted but sincere super hero adventures. Spencer, Rosanas, Boyd and Lanham have filled this series with their absolute best work and "Ant-Man: Last Days" #1 is a fine sample of their topnotch comic collaboration. I'm thankful for this series as well as its finale and look forward to more Ant-Man adventures from this creative team soon.

An interesting start to an awkward team-up, this book celebrates the Avengers corner of the Marvel Universe with great delight. This issue reads like an issue of "Marvel Team-Up" from the 1980s, with enough nods and winks to continuity and ongoing (or recent) events without letting itself be anything more -- or less -- than it is: a fun set-up to an adventure that promises some predictable moments that will be juxtaposed with more than a few surprises. Seeley is setting O'Grady up for a bit of character evolution. I'm looking forward to seeing if the character agrees and steps up or continues to revel in his scoundrel ways.

All plot and little else, "Ant-Man: Larger Than Life" #1 is a decent glimpse in to the world of Hank Pym and the origins of Ant-Man. Unfortunately, it falls short of being anything more than a printed commercial churned out by the hype machine as Marvel's latest cinematic release draws nearer. The addition of the two stories from "Tales to Astonish" elevates this comic nicely, giving readers a peek into the origins of Ant-Man and the variation in genre this character has experienced, from the horror tale of "The Man in the Ant Hill" to the boldly costumed debut of a hero in "The Return of the Ant-Man!"

This issue is fast moving. I got to the end of the story and had to go back to count pages just to make sure the issue itself wasn't abbreviated as the story was briskly paced to great effect. As the Ookla the Mok song goes, "I know there's gonna come a day when they're gonna stare in slack-jawed wonder as they hear me say, 'I am Aquaman and nobody better mess with me!'" Two issues in, this series has me down with the slack-jawed wonder. As a fan of Arthur Curry, I've seen quite a bit, from his seahorse-riding days on "Super Friends" to the hook and back. This series, however, sets the high-water (had to do it) mark for "Aquaman."

This issue brings twenty-two pages of story (as opposed to the "new" standard of twenty) and gives us a complete tale in this issue. Plenty of mysteries and plot threads are started for the upcoming issues as the mystery of Atlantis continues to deepen. This title is a fun read with outrageous adventures that, as this issue proves, are unpredictable. Johns and company have found the way to make "Aquaman" a great title, and they've even done so without relying on any of Aquaman's traditional foes.

Like many of the issues of "Aquaman" to this point, the story moves quite quickly. This is a fast but considerably enjoyable read. There aren't a lot of revelations, nor is there a great deal of character development, but the plot drives the story forward and for now, it really works. It heightens the sense of adventure and gives "Aquaman" a quality not unlike that of an Indiana Jones movie. The mystery of Atlantis and the history of "The Others" promises to bring some amusing stories and this installment is the perfect shallow end for new readers to ease in.

"Aquaman" #9 is a fine slice of what makes this series so very enjoyable, from story to characters to art, but being couched in the middle of "The Others," it is a bit thick to wade into. For fans already soaking in this series, however, this issue is certain to be a highlight. Without spoiling it, I can say that there are two eyebrow-raising surprises in the final two pages of this issue. Coupled with Reis' stunning artwork, this issue is a must-read.

"Aquaman" continues to be one of the handful of DC comics that I truly look forward to each and every month. This issue serves as more of a transition, shifting the battlefields and re-arranging the combatants with an awful lot that happens to move the growing legend of Aquaman forward.

"Aquaman" #12 is just another fine example of what to expect with this character from Geoff Johns and crew. It's a classic good versus evil storyline where everything is in play. Characters will live, characters will die and there will be a whole lot of great looking art.

"Aquaman" #13 would be one heck of an odd place to jump in and start on the series, but amazingly enough, the issue does a great job bringing all of the numerous plots, subplots and characters into focus, closing one chapter for Aquaman and company while delivering a solid tease for the next chapter. "Aquaman" has surprised some comic fans and won consistent critical and popular acclaim. Don't you think it's time to find out what all the hubbub is about?

This is what crossovers should be: action-packed, fun stories that entertain and dazzle, filled with character bits and powerful art. In "Aquaman" #16 there is plenty of Justice League action, including a <em>major</em> revelation for Cyborg that sets him among the most powerful characters in the DC Universe, but as it is couched in this crossover, it is handled without much pomp, simply leaving the thread open-ended for further investigation elsewhere. Additionally, there is well-measured, revealing character moments for Batman as his relationships with Cyborg and Aquaman are given clearer shape and finer detail. Most importantly, however, is the impressively handled plot twist that delivers one of the most thrilling final page since the DC reboot. "Aquaman" #16 is a great slice of life in the DC Universe and offers a nice assortment of characters and character moments for fans of many of DC's iconic heroes.

With the wrap-up and the set-up that Johns pours into "Aquaman"#17, this feels much more like a zero issue, and both sets the table and preps adventures to come while addressing all aspects of the character. Johns provides glimpses into the bureaucracy that Aquaman is faced with now that he has assumed the role of Atlantis' leader. We also see the character's dedication to fighting for what is right, regardless of others' perceptions. Aquaman takes a call from Cyborg, illustrating the Justice League connections and addresses the Atlantean army and their desire for a strong leader. The crux of this issue, however, is how Aquaman addresses Amanda Waller's question, "Who are you fighting for?" That answer defines this Aquaman. I'm excited to see where Johns takes the King of the Seven Seas from here.

All of this adds up to one of the most enjoyable books on the racks nowadays, and certainly a reliably entertaining read from DC. Johns drives this title forward with action and adventure. He layers plots and subplots one over the other. While that doesn't do much to develop the character of Aquaman, it's quite obvious Johns' Aquaman is conflicted right now, and that makes every subplot and the way they're each connected to one another all the more interesting. If you missed it this week, but happen to want to pick up a recent comic when you go to the shop on Free Comic Book Day, you really should sample "Aquaman" #19. I can guarantee you the three bucks you spend on this will outshine some of the freebies you pick up.

I do wish there was a spoiler-free place where I could lock up my storyline suspicions. In the case of "Aquaman," I'd be able to go back to the suspicions I had in "Aquaman" #19 and say, "See! I was right about the Scavenger!" It's a plot twist that definitely has repercussions despite its forehead-slapping, "Of course!"-inducing obviousness. Johns sometimes sets up the obvious and continues down that road. In this case it pays off by meeting readers' anticipation with dynamic effect. Additionally, the second-to-last page with eight page-width panels stacked on top of each other hits the reader with rapid-fire imagery, leaving the reader wanting more only to find the turn of the page delivers an even steeper cliff to hang from. "Aquaman" #21 is a strong chapter in the adventures of the current King of Atlantis, but it does more to set up even stronger, more electrifying adventures in the months to come.

"Aquaman #23.2: Ocean Master" has ties to "Forever Evil" and makes a strong case for Ocean Master to be considered a villain. It doesn't delve into the former ruler's origins, choosing instead to walk beside him as he seeks out his future. While this issue is closed with the tagline of "Not the End!" no indication is given if the story of Ocean Master continues in the pages of "Forever Evil" or "Aquaman." Villains Month is winding down. Given the overall impact of this tale, I'd say that's a good thing. I look forward to Ocean Master being more dynamic as a foe of Aquaman once again instead of simply being evil out of apathy.

Before drawing a conclusion to "Aquaman" #27, the creative team re-introduces an obscure one-time Aquaman foe, at least by name, and teases out a subplot development from this story's conclusion as Aquaman's supporting cast begins to solidify. At the conclusion of the fight, Parker goes out of his way to show the surface world's appreciation of Aquaman following the conclusion of the battle, despite the obvious collateral damage set upon the coast of Reykjavik, Iceland. This is a nice way to emphasize Aquaman's concern for others and his willingness to share his time. This is a fine second issue for Parker's run on "Aquaman," but visual consistency would have helped elevate it beyond merely being "fine."

"Aquaman" #29 is a magnificent example of what Parker and Pelletier bring to this series. The titular character is every bit human as he is hero and, like the rest of us, finds himself in situations that he may not always be properly prepared for. His heart is in the right place and his head is clear enough to do the right thing, but victory never quite seems like a guarantee. "Aquaman" does a great job of standing apart, while remaining plugged in to the rest of the DC Universe, continuing to add to larger picture around the maritime legend. In "Aquaman" #29, Parker and Pelletier show readers they need no long-standing history with the Sea King in order to enjoy a riveting tale that happens to be filled with world-building.

"Aquaman" #31 is just another fine example of what Jeff Parker; Paul Pelletier and inker Sean Parsons; Alvaro Martinez and inker Raul Fernandez; Rain Beredo and Travis Lanham bring to this title. While each of these professionals present remarkable work alone, the true collaboration of comics shines through when combined. This is what comic books are all about and this team is able to express that completely. The best part about it all is that Parker never makes "Aquaman" #31 feel like the latest part of a infinite storyline, this is simply an Aquaman story where he meets Swamp Thing and they fight. The main plot and the subplot may tie into other issues, but Parker gives the readers everything they need to enjoy this as a standalone.

"Aquaman" #33 is a startling violent issue in Parker and Pelletier's run, with Chimera leaving a trail of damage and a pile of bodies. Parker makes it clear Chimera is as much monster as man and gives readers a story meant to make them uncomfortable -- as readers and as observers -- while Amnesty Bay and the medical ship "Haven" both sustain attacks from Chimera. Parker gives readers no guarantees in his take on the adventures of Aquaman and Mera, which is exactly how it should be. All of DC's less prolific characters should have the opportunity to shine with a creative team as solid as the one in place on "Aquaman" #33.

"Aquaman" #35 is yet another fine example of this title bringing out the very best in talented creators while they come together as a single creative team. Parker, Pelletier, Parsons, Beredo and Esposito each augment one another's strengths and find their own particular way to influence the story at hand. "Maelstrom" is just getting started, but this creative team has "Aquaman" #35 shaped into mid-arc form. The thought that this tale is only going to get more intense is invigorating, especially as Parker and company leave readers with a last-page revelation that launches a queen-sized mystery for Aquaman and Mera in one of DC's greatest looking and most consistently entertaining titles.

"Aquaman" #37 is a wonderful exploration of a corner of the DC Universe packed with potential. In just twenty pages, Parker, Pelletier, Parsons, Beredo and Sienty give readers the latest installment of Aquaman's quest, a history lesson on Gorilla City, a fight and a few more clues in the mystery behind "Maelstrom." Aquaman has been an adventure-packed read since the relaunch of the DC Universe in 2011, and this is another fine example of why, as it packs in everything superhero readers buy comic books for, plus some gorillas for good measure.

Solid and consistent but considerably more brisk than recent issues, the pace of "Aquaman" #39 is adjusted to accommodate some big-screen shots that give Paul Pelletier plenty of room to put the action in the readers' faces. The journey has led to this point, and the conflict is unexpected and exciting. With only one issue left before the "Convergence" crossover and the creative team change-up, Parker, Pelletier and company are doing a bang-up job of packing "Aquaman" full of everything a comic tied to Atlantis should have: regal majesty, stunning creatures, a fantasy thread and lots of water and energy splashing all over the place as "Maelstrom" preps for its final chapter.

There is a mystery afoot that Aquaman is heavily involved in, so much so that he travels to St. Louis. Through Aquaman, Bunn refers to St. Louis as "doubly landlocked," but there is not a more welcoming city for Aquaman in the heartland, or even off of any coast. The issue opens by the Gateway Arch, which is close enough to Mississippi to actually legitimize the notion that Aquaman should have been here before. Instead, this mystery puts Aquaman on his heels. Following suit with Hal Jordan's new status in the DC Universe, two of DC's magnificent seven characters (that are the backbone of the Justice League, no less) are on the run from their former allies. Like "Green Lantern," "Aquaman" #41 teases potential but fails to offer any sort of hook or reward for readers to return.

Aquaman #50 clocks in at forty pages. Abnett and Booth aren't so much world building as sorting and sifting through concepts and ideas, which keeps the issue smartly paced and enjoyable. If Rebirth weren't just around the corner, Aquaman #50 would be the perfect jumping on spot for new readers, but given the window between now and DC's line-wide refresh, this is simply a fun comic that is actually worth the hefty pricetag for readers who like their Aquaman adventures quick, self-contained, and amusing.

Technically, Aquaman #43 is sound, even very good, but it's a lot of set-up that doesn't have meaning. At least not yet. For now, it's a collection of characters filling the pages while not being very compelling. I'm hesitant to dismiss this story out of hand, but I don't have much to hold onto that makes me want to come back next issue. That "All-New" cover also established this is the first chapter of a five-part tale, so there's more to come that will undoubtedly shore up relevance, interest, and maybe even action, but taken by itself, this one's a bit of a letdown.

I'm not sure what to make of this book after a pair of issues. It's nice to see Aquaman being used as the anchor of a team, but the overall vibe this book is giving me is very similar to how I felt about "Primal Force" following "Zero Hour": I like the concept, I like the creators, but I can't help but feel that there could be more or that this could be bigger. With the mystery and allure of the Atlantean relics, Jurgens and Medina pack a lot of story and development into "Aquaman and the Others" #2, including a nice little scene that showcases just how resourceful the King of Atlantis can be for his teammates. That team is on rocky terms to say the least, but they do unite strongly against a common foe, salting this comic book with clich ideas a bit. In doing so, however, Jurgens is at least defining the personalities present on the team. Now that the challenge is met, Aquaman and the Others have a chance to take on a foe not steeped in history as a solo foe of Aquaman.

As "Convergence" nears, stories and characters are sidelined while their series are put on hold or, in the case of "Aquaman and the Others," drawn to a close. Jurgens and Medina, however, treat "Aquaman and the Others" #11 more like a series finale than a season finale with the characters all but waving goodbye to the readership on the final page of the issue. This has been a fun, ancillary title for the King of the Seven Seas, but the lack of depth for the characters -- as showcased here -- is indicative of where this series could have used a bit more investment. If the Others come back, now that they've been established in the DC Universe, they'll hopefully be more than "Aquaman's other cast."

If there's a good story to be told, the writers and artists are going to tell it, and Aquaman: Rebirth #1 is a great start to a good story.

Overall, "Archer and Armstrong: Archer" #0 is a sharp story that leaves the reader nicely prepped for the "Mission: Improbable" crossover with "Bloodshot and Hard C.O.R.P.S." #20. Despite the "facts only" presentation through the caption boxes, Van Lente makes Archer a sympathetic character, but telegraphs a potential for unpredictability. This is yet another solid read from the fine creative teams at Valiant Entertainment and one of the best, most concise and informative origin tales ever. "Archer and Armstrong: Archer" #0 gets a double bonus in that regard for not even requiring the entirety of the issue. Truly they deserve a triple bonus for keeping the origin contained to ONE issue where other publishers would feel compelled to make a collection-length tale out of this. Those other publishers should take a good, hard look at this issue and try to absorb the proper way to handle zero issue origin stories.

Of the three issues I've sampled from Valiant over the past month, "Archer and Armstrong" #14 is the least compelling, but it is much more compelling than anything from DC Comics' Villains' Month. This comic isn't as action-packed as "Bloodshot and H.A.R.D. Corps" nor is it as comical as "Quantum and Woody." Taken on its own merit, however, there is a lot of potential in the ongoing Sect infighting as Archer tries to find answers to all of his questions. "Archer and Armstrong" is another win for Valiant and another comic more readers should be checking out. I accepted the open invitation offered to new readers in "Archer and Armstrong" #14 and plan on coming back for more.

When a member of the church of Retrology asks Armstrong for six hundred thousand dollars, he retorts with, "And they say you're not a real religion." That weighs in as the funniest line in "Archer and Armstrong" #20. Armstrong keeps the story light, while Archer is on a quest, giving "American Wasteland" a strong purpose. Now that the duo have infiltrated the Fameotorium, I'm curious to see where they go, what comes next and who the next deceased celeb will be.

The end of "Arkham Manor" #5 sets the series' future upon the notion of a procedural by placing a hit list in Batman's hands. This becomes an interesting parallel to what <i>could</i> be on a television series set near Gotham City with a tighter, more personal feel in its scope. With stories that are fairly light on continuity, solid on action and briskly paced, that future should be worth checking out.

That one panel comes and goes quickly as "Armor Hunters" #2 ratchets up the action more than a bit, apparently ready to spread into other titles very soon. Venditti and his co-creators are pacing this story along nicely, giving the Valiant universe a chance to react to the attack organically. X-O Manowar's reaction is the most visceral as he, literally, has the most flesh in this fight. All the same, Venditti manages to keep this from being an ancillary X-O book and truly makes it a central hub for a worldwide crisis, giving readers a plethora of characters to latch onto. If you haven't sampled the Valiant universe yet, you could do worse than jumping in right here, which is amazingly feasible, despite being the second chapter of the "Armor Hunters" story.

A fight to the very end, the end of "Armor Hunters" #4 shouldn't surprise anybody with the Armor Hunters' defeat. However, it comes with an extreme cost and -- as Lady Colonel Capshaw says -- they are left with a new world in the wake of the great battle. Venditti and Braithwaite have provided as clean and complete a universe-wide crossover as you'll ever see in comic books, on par with what Marvel Studios executed with its Phase One films. Everyone's here, but nothing is being forced on anyone and no characters are lost in the journey. Crossover planners everyone should take note and imitate this event's structure, readers will be thankful for it.

Colonel Capshaw works through an organizational identity crisis as M.E.R.O. becomes G.A.T.E. (Global Agency for Threat Excision) in a dense, transitional tale in the pages of "Armor Hunters: Aftermath" #1. Sharpe's letters shape the story, making everything flow nicely around and through CAFU and Reber's artwork. Sound effects and exclamations fill the space allotted, but don't obscure any storytelling or imagery flow, making "Armor Hunters: Aftermath" #1 a remarkably clean comic book for a "picking up the pieces" adventure. This comic book is a nice bridge between the excited chaos of the "Armor Hunters" battle and the future dawning in the Valiant Universe. It's not a completely necessary installment, but it certainly adds to the depth and breadth of this universe as heroes and creators alike work to build a more remarkable universe.

This is the right way to do a crossover, not selective involvement, but line-wide participation with each character having time to shine and opportunity to expand their side of the story. Valiant's continuity is young and resilient enough to augment the fun inherent in comic book events, giving "Armor Hunters: Bloodshot" #1 a true "Anything can happen!" air. Bloodshot, through Harris, is a fun character to read, like the Punisher, but more entertaining. He still adheres to his mission, but does so in a manner that challenges the reader to keep up rather than stand pat, once the bullets start to fly. There is no shortage of action in the twenty-four (yes, twenty-FOUR) pages of "Armor Hunters: Bloodshot" #1 and, quite honestly, this comic book just amplifies my appreciation for the entire event.

Robinson, Takara, Sanz and Lanham craft a domain unlike the others in "Armor Wars" #1. This issue doesn't feel regimented by the "Secret Wars" event and, instead, forges ahead on its own, establishing Technopolis as a dynamic contribution to the larger Marvel Universe. Part espionage adventure, part police procedural and part dystopian sci-fi adventure, "Armor Wars" #1 is a solid introduction from Robinson and crew.

More seasoned readers of Valiants line of comics will definitely find much more to appreciate in this one-shot than a casual passerby who happens to pick Armstrong and the Vault of Spirits up. That said, revelations such as I do have a bottle from the actual cask of Amontillado over there! and the light-hearted approach to action and adventure certainly make this a fun read and one that would be a fine springboard for an annual, light-hearted adventure to bring together the Valiant heroes with near-limitless story potential.

I'm not going to say this story is "epic," or a "must-read," but I am certainly thankful I did read it. It's loud, widescreen comic book mayhem that sticks to the roof of your brain after the final page is turned.

This issue, like the one before it, offers a fresh, exciting read with some compelling characters. Top Cow has a winner here in "Artifacts" as a new trail is blazed for these characters and their universe. Marz is putting just enough new characters and concepts in each issue to leave room for development, action, and evolution. It's a refreshing break from the standard fare on the new comic racks nowadays. This is that new comic that you've been looking for, that breath of four-color fresh air that is big and bold, but detached from excessive crossover muddling.

Bunn's the type of writer that doesn't put everything up front in the first issue of his story, and Asgardians of the Galaxy is no exception. The time hop in the middle takes a second or seven to process, but it summarizes the setup for the reader quite nicely.

With the Agents set to be a regular backup in "Incredible Hercules" this book is well worth looking into, buying, and enjoying thoroughly. Hercules has consistently presented enjoyable reads equivalent to the kind you once purchased comics in hopes of reading. "Agents of Atlas" has been a critically acclaimed title in its own right. Now, it's like peanut butter and chocolate.

With all of the calamity and chaos surrounding the X-Men titles right now, this issue is a nice suspension of action. It's a wedding tale reminiscent of "Tales of the Teen Titans" #50, but with less over-the-top celebration. Sure, "Astonishing X-Men" #51 got substantially more media attention, but in the end, it's simply another comic book wedding and a quiet one at that, undisturbed by invasion or attack. Hopefully Kyle and Jean-Paul find their happily ever after. From here, however, Liu appears to have some plans that are going to test the X-Men a little more intently than the crisis of whether or not Avengers should be seated at the same tables as X-Men.

Taking a risk in today's comic market by offering up a title featuring a female lead, "Athena" is able to offer readers a different take on a female warrior with a title that not only develops the character for the future, but also celebrates her past. While this comic may not be directly comparable to "Wonder Woman," it will be interesting to keep an eye on both titles and see if one influences the other in any way.

I think a few well-placed issues around the house this summer (my wife is a teacher and therefore has begun her "downtime") and we might have a new "Atlas" fan. Of course, if you picked up a few well-placed issues (the place is your local comic shop) you might find yourself ranked among the fans of this book too. It's just that much bombastic, gritty fun.

As I've mentioned before, this title is a breath of fresh air. It's the one comic, bar none, that I anxiously anticipate each month. Parker fills the pages between the covers with excitement, adventure, and fun. The stakes are high, the sides are sometimes a little blurry, but the story and art always find their mark. The changes sparked in this issue are certain to have ramifications in next month's finale, but taken at their face value for this issue, the story is a good one. "Atlas" is the title that should have been on everyone's reading lists. It's the comic that isn't afraid to be an over-the-top, fun-filled, wonderful comic. It's a tough sell, a comic that only has one issue left, but in this case, it's a comic that's worth trying to sell.

It's a shame Chad " and you " didn't get a chance to see this book sooner. Maybe then you could have helped to save "Atlas." For now, though, we have a treasure trove of stories woven by Jeff Parker and his allies on "Atlas." Track this final issue down. You just might thank me too. This all wouldn't have happened without Jeff Parker though. I'll be raising a pint to Parker and "Atlas" this evening.

This wasn't the "big book" I intended to get and enjoy the heck out of this week. I'm not even sure I had this plotted out in my top ten for the week. Nonetheless, I bought it, read it, and enjoyed it. It's a nice change of pace in such a busy week.

The lackluster non-interest I had in this re-invigorated Avengers brand certainly is not challenged by this issue. It's a decent read, but it wasn't something that's going to stick with me years down the line when I think back to those classic "Avengers" tales I love. Kang on the cover is a good start, and the last page is a fine step in a fun direction, but the rest of the book could use an infusion of "oomph."

I've enjoyed the "Oral History" pages and I quite like this issue. There's no denying that this issue is more set-up than delivery, but the set-up presented here is enjoyable in its own right. Now, I'm dialed in for the delivery. "Fear Itself" is here and it seems ready to make an impression upon the legend of the Avengers. This is going to be good.

To sum it up for you, this issue features a change to the Avengers roster. Is it earth-shattering or even must-have reading? Nope. Is it fun and entertaining? Yup. Are Avengers fans going to be happy, disappointed, sad, mad, or ambivalent? Probably. It's a story of the roster changing and how that is affected by -- and affects -- the world around the team in this post-"Fear Itself" world. If you need a breather of an issue to reacquaint yourself with some old friends, this might just be what you're looking for.

This issue is a sojourn for Vision and gives him a number of personal encounters that help remind readers who this character is while also offering clues about what he may yet become. Surprisingly more character-driven than one might expect from a comic starring a synthezoid, Bendis and Peterson have concocted a near-perfect Vision story. In all future "Avengers" point one stories, I'd like issues just like this one that further the relationships touched on in this installment. After all, is there a character who is more inherently an Avenger than the Vision?

The connection to "Avengers Vs. X-Men" is tenuous at best, coming in the form of three pages of "Crisis on Infinite Earths" red skies equivalent scenes. Simonson takes what Bendis gives him and puts a nice shine on it all. Unfortunately, the issue itself is filled with navel-gazing and seemingly inconsequential conflicts. The final page really delivers the true nature of the tie-in "Avengers" #25 serves to the main battle, but sixteen of the pages don't add much to the "Avengers Vs. X-Men" narrative. I'm sure there will be some greater payoff in the future, mostly for the Avengers proper, but for those expecting more in-depth collaboration with "Avengers Vs. X-Men," this comic simply does not deliver. For Avengers fans, however, this comic is certain to entertain and delight as Simonson's art is proudly showcased in a story somewhat tailored to his strengths.

I'm just not sure why Marvel didn't simply hold onto the issues of "Avengers" that are going to be released over the next few weeks and make them double-sized. Readers certainly would have enjoyed a more concise read than feel strung out for the wait until "Avengers" #32. Personally, I'm antsy to get more of these stories. Additionally, this story is freestanding enough and serves as a transition from Bendis' marathon service with the Avengers into what that brand is set to become under Marvel NOW!

The "End Times" story provides "Avengers" readers with one last tour through Brian Michael Bendis' version of Earth's Mightiest Heroes and gives the writer a chance to tuck in or trim off the loose ends of his marathon run. As such, fan favorite characters abound and developments occur all over the place, but in this issue those things are on a smaller (pun intended) scale and are therefore much more personal. As a fan of the late-1970s through early 1990s Avengers, I'm finding a lot of enjoyment in this series and this issue in particular.

The Avengers should be loud and fun, with subtle character moments, which is exactly what Bendis gives us, although it moves so briskly it feels like half a story. "Avengers" #33 (and all of the "End Times" issues) are nice rewards for readers who have stuck by Bendis throughout his run or simply decided it was time to check in with Earth's Mightiest Heroes once again.

"Avengers" #2 may not have a great deal to do with the feature film, and the layman coming into comic shops looking for the silver screen team might be put off by the cover price or double-shipping schedule, but there is simply no denying that Hickman has a plan. As the plan begins to take shape and the characters start to settle in to their roles, "Avengers" is a wonderful offering from Marvel NOW! It's the one title I'm actually damn glad to spend eight dollars on a month for what I get, especially since it's so far a story worthy of the "Avengers" brand. Hickman proved his mettle on "Fantastic Four" and his investigations of the perimeter of the Marvel Universe in this title pick up where that left off, adding more depth to the universe around the Avengers. I may not be exceptionally keen to the inclusions and exclusions on this team, but I trust Hickman will continue to make a strong enough case for me to appreciate the work he's done.

Of the Marvel NOW! titles, "Avengers" is consistently the one I look forward to the most, regardless of the publishing frequency. Hickman made an indelible mark on the legacy of the Fantastic Four and so far he seems to be on track to do something equally memorable with Earth's Mightiest Heroes.

Although this is (at least partially) a result from the first story featuring the Garden, it stands quite nicely on its own and vividly exposes the Marvel Universe and its unfurling possibilities. The New Universe -- in part or in whole -- crashes into the Marvel Universe in this issue. Undoubtedly this will impact the story Hickman tells in "New Avengers," but taken for what it is, "Avengers" #7 is stunning, electrifying and enjoyable. With a charge into action and a great deal of discussion to finish this issue as we near an inevitable conflagration, this is Avengers comics for a whole new generation and I'm glad to be onboard with it.

Bizarre aliens and a creepy scene driven by the presence of Validator post-Gardener fill "Avengers" #10 with uncertainty and excitement. Hickman opens the issue at the end of the story before leaping back to what transpired beforehand, which intensifies the drama and adds a bit of mystery to this adventure before he reveals the status of the system to readers in a cliffhanger. Par for the course, "Avengers" #10 is a great read when considered in the context of the grander adventure. As a standalone story, there's more than enough meat to this story for readers to sink their teeth into.

The real hang-up I have with this issue is the resignation present in all of the Avengers. Hawkeye and Spider-Woman are as hands off in their lessons as they can possibly be, Thor and Hyperion seem more content to navel-gaze and Spider-Man (still Octavius) appears to have had an extra helping of jackass flakes before this issue starts. When the Savage Land kids are attacked, the heroes don't spring into action, obviously allowing for future issues to address the pursuit and conflict certain to follow. Luckily, the scheduling frequency of "Avengers" truly helps to keep Hickman's sprawling epic fresh and mobile. This issue needs a quick follow-up that Hickman, Spencer and company will almost certainly deliver, but like some of the previous issues in this volume, the threat just doesn't feel quite Avengers-worthy. That doesn't keep this from being an enjoyable issue all the same, it just isn't the greatest issue of the dozen "Avengers" have given under Hickman's supervision.

"Avengers" #15 is another rich installment in Hickman's grand adventure. Filled with excitement, suspense and action, this series continues to build an adventure worthy of Earth's Mightiest Heroes coming together. By the time the last page hits, it leaves the reader wanting more and wondering what they just saw. All of the creators contribute to the surprise, and I look forward to what Hickman, Spencer and Caselli bring have in store for the next issue in a few short weeks.

Essentially, "Avengers" #17 serves as the pep rally and fire-up dinner for the Avengers as "Infinity" draws nearer. After reading this comic book, I'm stoked for the continuation of the action and look forward to how this bigger Avengers team meshes. Hickman has made very deliberate choices in constructing his Avengers story to this point. The additions to the team made in this issue pay out dividends for seeds the writer spread in this series' first handful of issues. The final page of "Avengers" #17 declares "End Prelude," but the argument could be made this whole series has been a prelude to "Infinity" as Hickman, Spencer and company have prepared readers ready for the battle to come.

While this isn't a bad story, "Avengers" #20 is hardly a typical Avengers tale. It is more an "Infinity Auxiliary" adventure: still delivering details and further enriching the late summer Marvel event that happens to star most of the Avengers. This comic book focuses on the Ex Nihilo, Abyss and the Galactic Council's continued negotiations with the Builder Armada. These are all critical developments, albeit developments certain to be repeated more often than sitcom reruns over the summer. Hopefully, this is simply a pacing issue as the story turns the corner and begins the heated sprint towards the finish line now that "Infinity" is past the halfway point.

For Hickman's part in this comic, we get a dynamic, rousing speech from Kl'rt countered by cockiness from Shang Chi. Hickman reminds readers of the scope of the conflict and the consequences thereof. One scene in particular is so masterfully measured out that despite the telegraphed conclusion, I found myself conflicted between cheering the outcome and being disgusted by the delivery of that finality. While some comic books would mail in or unnecessarily elongate the penultimate chapter of a major crossover, the prelude to the final issue of "Infinity" is bold and daring, delivering consequences to be felt beyond this issue. "Avengers" #23 has left me anticipating a mighty finish to a summer event I've found myself enjoying rather thoroughly. I just hope the final chapter measures up to the work delivered to this point.

All in all, though "Avengers #24.NOW" falls short of being a great comic for new readers, it excels in being a fine comic to close out the aftermath of "Infinity" while looking forward to what lies ahead for the Avengers under Jonathan Hickman. The issue may have suffered from a crew of oddly mismatched artists, but it doesn't completely jettison the work Hickman has poured into this franchise. As someone who is patient with Hickman's work and appreciates his ability to construct a long story, I can give "Avengers #24.NOW" a bit of a pass, but by numbering something ".NOW" and stamping a huge #1 on the cover, the story needs to be more approachable for newcomers.

The twist is fine, but the story around it needs a little more fire. I wasn't too keen about the inclusion of time-tossed Avengers as billed on the cover, in what might soon be the new house-style of bringing past heroes to their own present, but Hickman gives enough credence to the story to summon me back for more, especially after the writer assures his readership that things are starting to come together between his Avengers books. This issue is a calm before the storm sort of issue, promising action, adventure and mystery in issues of "Avengers" to come.

"Avengers" #29 widens the hole that Hickman has been digging for the Illuminati for quite some time now. Hitting the crossroads of "Original Sin" and the Incursions from "New Avengers," this title is now enmeshed into the seemingly inevitable implosion of the Avengers. Hickman does throw in a last minute surprise on the final page, but the surprise is a forty-thousand-foot image, detailed to dizzying heights by Yu -- unfortunately, it's not enough to carry the whole issue, and thus leaves a limp conclusion for "Avengers" #29.

"Avengers" #34.2 isn't a comic book I would normally pay five dollars for, but Humphries' work with Starbrand (with a side of Nightmask and Spider-Woman) gives an under-defined character a chance to shine a little bit. Bengal's art is stronger in storytelling than detail but works just fine for the tale at hand. Independent of the current "Avengers" storyline and higher-priced than a typical issue of any "Avengers" title, "Avengers" #34.2 reads more like an Annual-lite and inherently feels a little bit more dispensable as well.

Delivering a Hyperion story in a point-one issue of "Avengers" proves that one-shots are apparently dead without a brand to buoy them up. This is most definitely not an Avengers story, regardless of Hyperion's status with the team or the future impact this tale will have on Earth's Mightiest Heroes. "Avengers" #34.1 is packed with promise, it ultimately falls short of delivery. Hyperion should star in a comic and shine, but fails to work the spotlight here. It's a good, solid story, but it could have been more.

As of "Avengers" #35, Hickman has taken his cast and his fellow creators on a long jump into the unknown, giving readers a whole new world to discover with the Avengers, but is it an Avengers world? Like all futures in Marvel's publishing history, this one is fraught with wonder, excitement, mystery and complications. The Avengers have definitely affected the world, but Hickman keeps all of the sordid details close to his vest for now, preferring to eke plot points and nuances out to the readers, treating each morsel as new discovery along the way. It's a fun enough premise, but it needs to gain some traction quickly in order to keep readers tuned in. Unless editor Tom Brevoort is going to regularly summon Cheung to satiate the readership.

"Avengers" #41 brings a payoff many readers have been waiting for but, with three months still remaining until "Time Runs Out," it also leaves readers wondering just what Hickman has in store before the inevitable changes that will accompany "Secret Wars." The Incursions have frayed the nerves of the characters in these comics and piqued the curiosity of readers, but how many Incursions remain and what happens when the last one lines up? Hickman and company provide readers with plenty to feel uneasy about.

Let me tell you, my friends, there is a lot to come. Add that to a riveting Avengers read, with a solid, diverse roster that is both new and familiar, and Avengers #1 is as inviting an introduction to Earth's Mightiest Heroes as you're going to get. At least for 2016. Hope in the Quinjet and have a look around. Waid is writing a fun story, Del Mundo and D'alfonso are making it visually striking and even quite pretty, and Petit is bringing it all home, giving readers a wonderfully complete experience.

Larraz and Curiel give readers plenty of those breath-stealing, big-screen moments, propelling Avengers #675 into a cinematic, pre-credits hurry. This is no more a standalone issue than the first issue of the historic Crisis on Infinite Earths. Avengers #675 isnt as lush, nor does it quite feel like it is on the same scale. At least not yet. This is a great start, the weekly pace should battle any story or memory atrophy, and the character assortment has enough for every reader to find an anchor.

Narrated by Falcon, Avengers #676 follows similar story structure to the previous issue, with the narrator giving us bookends for a major development. In this case, that development is two-pronged: the aforementioned collection of villainy and the cliffhanger that closes this issue out. Im all-in with this Avengers adventure, especially since Avengers #676 expands the horizon of battle, widens the cast of characters, and brings something new to a story that has a classic Avengers feel.

Another issue in the No Surrender tale, another cliffhanger. This is what Avengers and event comics should be. Ive had almost seventy pages of Avengers comics this year already, but I want more. This is a fun superheroic, universe-saving saga in the making.

No Surrender is a fun event that pulls inspiration from Avengers tales old and new, retconned and reimagined. There are obvious influences from the Marvel Cinematic Universe, as well as new bits, specifically crafted to be grafted onto Avengers lore. Im loving the heck out of this story, and with ninety strong pages of Larraz-Curiel-Petit work done; Im stoked to see what the next few chapters bring.

Some of the it may include further investigation to "Avengers Fever" or "Avengers World." It may involve the shadowed figure asking for help at the end of Avengers #679, or it might be the mentor-student relationship Beast and Nadia are developing as they try to nurse Jarvis back to health. Whatever it is, this comic has it. Jacinto is a nice exchange for Larraz in a story that has intrigue, adventure, and fun everything an Avengers epic needs.

All in all, this is a pretty packed issue, but its also the least satisfying of No Surrender to this point. Its not bad, mind you, its just murky. And dark. Did I mention this is a dark issue?

Overall, the seventh installment of No Surrender in Avengers #681 is another solid chapter in what is becoming a significant epic in Avengers history. This issue feels a bit like a transitional issue, but I cannot clearly see where that transition is headed. That mystery, that potential, intrigues me. The second-to-last page amplifies the epic nature of this story by bringing back a character in true Avengers fashion. Where this story goes from here is anyones guess, but Ill definitely be reading.

I generally dont like to use profanity in my reviews of comics, but I darn near made an exception for the Oh, S#!T! moment that ends Avengers #682. This is what folks mean when they refer to a game changer. Its not so much a cliffhanger as it is a teaser. If youve been reading Marvel news on the internet, you might be able to math this out yourself, but if not, well, youre in for a treat, which will only ratchet higher in intensity reflective of your own passion for the Avengers. No Surrender is really clicking into place. Grandmaster and Challenger are entering the closing stages of their face-off, and were all right there to see it play out. Im so glad this is a weekly story.

A colleague in comic book commentary noted that No Surrender is a video game in comic form. Hes not wrong, but games inspire comics and comics inspire games. Nothing in this day and age is crafted in a vacuum, especially with brand recognition like the Avengers. And thats the beauty of this single-title-contained event. Its not limited to one source of inspiration any more than the Avengers are limited by one defined roster. This is a comic story that lends itself to be more, and if comics could launch merchandise today (Original Secret Wars anyone?) this No Surrender would be powering out wave three or four right about now.

Aside from a minor typo, and a little bit of sameface (Nadia and Voyager have very similar hairstyles and noses) Avengers #684 is a nice, Hulk-sized issue that gives No Surrender a supercharge to head towards the finish line. Im not sure whats going to happen in the next few issues, but with an unchecked Hulk, a few too many Avengers, and a pair of cosmic-level manipulators both averse to losing, anything seems possible.

Avengers #685 continues to present some great work and this chapter takes No Surrender in a different direction. Yes, Challenger and Grandmaster are still playing their game, but this issue transcends that.

Glowing eyes of purple (two different shades actually) and green and even more Kirby Krackle than expected (lets be honest too much Kirby Krackle is never enough) add even more punch to the pages, as No Surrender takes no prisoners among the combatants. This story has run for a years worth of comics in the span of three months, and it just seems to be picking up speed. And theres still more to come.

Avengers #687 relies on recharging, checking in, and adjusting. Janet Van Dyne steps up and reminds readers why she is one of the most beloved Avengers and just how confident a character she is. Her conversation with Voyager makes sense, feels right, and gives readers a chance to look at this wide assemblage of costumed characters as a real team once again. With the pause in fisticuffs and explosions, Avengers #687 feels like a huge gasp before the final sprint in the No Surrender marathon. The finish line is in sight. Now its time to really pour it on.

With two chapters to go, Avengers #688 gives readers an "Avengers Assemble!" moment that supercharges the remainder of this saga while promising even more Avengers awesomeness ahead.

"No Surrender" has been a widescreen epic since the first panel. The creative team figured out a way to highlight some lesser-known Avengers, but managed to keep the tale epic in scope and severe in consequence. Over the course of the saga, they expanded the Marvel Universe with a few new characters, and gave us a story that could have easily been a free-standing event.

Avengers #690 includes a tight epilogue that looks past the big Avengers event of the week (it is April 29 as I type this) to look at NEXT week's Avengers hotness: Avengers #1 by Jason Aaron and Ed McGuinness. I'm looking forward to the widescreen adventures as much as anyone, but "No Surrender" set the bar pretty darn high and gave me a story that I have enjoyed nearly as much as some of the more classic Avengers tales.

"AXIS" #4 fails to impress, taking a thin concept and coating it with half-finished extensions of its core. This is like the worst bits of "Secret Invasion," "Fear Itself" and "Avengers vs. X-Men" thrown together without any heart in the story, which is especially troublesome considering the spectacular job Remender has done with other books and stories. Some of Remender's previous work had a slower burn to them, eventually paying out and changing worlds, but "AXIS" seems remarkably temporary. It's hard not to imagine the end of this series portraying a bunch of characters sitting bolt upright, shaking their heads and saying, "I just had the strangest dream!" "AXIS" needs to make another turn, quickly, to give readers something to get excited about.

The story spins around Spider-Man and Nova, making for a fine team-up and nod to the friendship present on "Ultimate Spider-Man" animated series. Readers already familiar with the pairing from that avenue who find their way to this issue are sure to enjoy Remender's playful banter. With the lines in the sand drawn and cleanly defined in "Avengers & X-Men: AXIS" #5, the combination of Nova and Spidey in a team-up situation blended with the slick art from the Dodsons has at least temporarily reignited my interest in the series.

"Avengers & X-Men: AXIS" #8 delivers a story that contains a war of inches and millimeters, not one of major battles and tide-turning confrontations. The sides may not be completely identifiable (like Absorbing Man beating the heck out of anyone and everyone within reach simply because he can) but most of the players have indicated at least moderate allegiance to other parties. Although the issue has some fun artistic moments, it doesn't do much to move the story along.

In the end, "Grinding Halt" is an appropriate title for this final issue as the story finds its way to an end. The purpose of "AXIS" seems to be simply to have undone some wrongs while testing out others, and in the end, Remender was successful in that regard. He also set up no shortage of future adventures and even provides the springboard for a pair of titles to launch in January. "Avengers & X-Men: AXIS" #9 is the capper to a series many readers will likely forget, but the repercussions of this adventure will impact stories for at least the very near future.

"Avengers A.I.," like the characters it features, has promise as a concept. It is farming virgin soil in the Marvel Universe, but isn't giving us characters with pathos. Hank Pym is a whiner on an ego trip and Vision is as conflicted as he's ever been. There isn't much to cheer for here and there isn't much to hook into. "Avengers A.I." #3 seems like a last gasp for me -- not for lack of technical execution, just for lack of soul, a concept that almost seems funny considering the struggles some of these characters face or wrestle with themselves.

I keep waiting for this title to get Avenger-y only to be continuously disappointed. "Avengers A.I." #8 is the most Avengerful issue of the series to date, with appearances by Unity Squad members Rogue and Captain America and a slight cameo from Cannonball in addition to regular cast members Vision and Hank Pym. Instead of Avengers-powered adventures, this comic routinely reads like a metaphysical meditation of an inside joke between network admins with paper dolls of Avengers on hand for appearance. After Jocasta's appearance to close out the previous issue, I was holding out hope for this book to finally earn its Avengers stripes, but once again, "Avengers A.I." #8 just disappoints.

This is a fine addition to the Heroic Age, but it's not the most memorable comic of the bunch by any means. There's a half dozen new characters here that will surely be someone's favorites someday, but for now, they're just being introduced. Where they go from here defines how successful this first issue truly is.

I really, really want to like this book, but it just isn't dazzling me. There's a threat of the month, the kids are presented with the opportunity to learn an after-school special-like lesson, and then we move on. The underlying current of the kids knowing that the adults have them marked as potential bad seeds needs to evolve a bit, before it becomes more of a crutch and less of a subplot. Nothing in this book has hooked me. This is an average issue of "Avengers Academy." It's quaint, and enjoyable, but not very memorable. I can appreciate where others might disagree with this assessment, but this is the one "Avengers" book I just can't get into.

Sure, this issue does have a service announcement educational-type quality to it, but it does so in a manner that improves the story. What happens to the Academy from here is unknown, but with the work that Gage and McKone put into this issue, I'm looking forward to finding out what happens next.

"Avengers Academy" is a book that continues to receive considerable accolades, but I somehow continue to sample it with issues that are just slightly better than average. This issue seems on par with the others I've read in recent months: nothing of significant consequence occurs and the characters are less engaging for it. The Academy is a good concept, but lacks some electricity in execution.

"Avengers Academy" still has a solid core concept, a handful of interesting characters and a decent creative team. Unfortunately, it also has the attention of events and has to pass time between those them. This issue is one of those moments: largely forgettable but indicative of what could be.

Which sets me to thinking about the future of these future Avengers. As this series closes up shop, waiting for Marvel NOW! to bring "Avengers Arena," I can't help but wonder how these characters will fare in what is being summarized as a deathmatch comic. Some of the friendships Gage created have started to crack, but given that these characters are all moving out from Gage's watchful eye, nothing is guaranteed.

I'm sure there's a wonderful reset button somewhere waiting to be pushed, but for now this adventure is filled with high-octane intensity. This is one of the Marvel NOW! titles I wasn't overly keen about, but the first two issues have delivered enough energy and excitement for me to come back for more. Walker's art is strong and emotional, matching the story note for note and then some. Despite the premise the series is built on and the fact that the eliminated heroes now number the same as issues released of this series, I'm curious to learn more about this ragtag bunch. Like a twisted game of "Survivor," the characters in "Avengers Arena" #2 begin forming cliques and developing alliances as they try to figure out what's happening and why. For now, the readers are right there with them as Hopeless does a good job making sure we want to stay.

While "Avengers Arena" is essentially the same concept as "Threshold," this book clicks as Hopeless elects a new character to serve as the point of view for the readers in each issue. That focus helps this book to move forward, provides some background on the narrator and gives the reader more substance to each individual. Anachronism's frustration is believable, as is Nara's fury. Many of these characters had little (or no) previous or recent exposure prior to this series, but Hopeless, Walker and Vitti have constructed a cast of characters that continues to find ways to hook readers, despite the unfortunate fate they all potentially share. "Avengers Arena" #6 apparently adds to the body count from this title, but not before giving readers a little more to care about, especially with Arcade set to steal the show next issue.

"Avengers Arena" #18 is less of a solid conclusion to the story and more of a finishing of a chapter. Hopeless and company don't end the series with a "The End" or even a "For Now..." choosing instead to simply leave the story continuing from the final panel with the Avengers logo "A." With more adventures on tap for several of these characters and Arcade still scheming, there's no doubt that the Avengers will have a hand in the further development of the remnants from this series.

The end of this third issue of "Avengers Assemble" delivers a cliffhanger and a wild moment that will surely have fans talking nearly as much as the final after-credits scene at the end of the movie. That certainly gives the story a massive swing in momentum, but the path to get there limps along considerably. While this book certainly does have the star power and momentum going for it, momentum rarely writes a good story. Even with the final page, this issue doesn't forge strong impressions or beckon readers to hurry back, but it does nicely present the secret threat behind the story to this point.

"Avengers Assemble" #8 is an exciting read, action-packed with great little character bits, but delivering an inordinately quick resolution for a story that has carried on for eight issues. At that length, the story becomes an event of sorts. Bendis acknowledges that with a big-time fight in the latter half of this issue, but it all happens so quickly I find myself wondering why it didn't happen sooner. Bendis is now off to "Guardians of the Galaxy," and given what I've seen here, I think it will definitely be entertaining. Before leaving this title, though, the writer was kind enough to drop a final scene on readers that is the comic book equivalent of the post-credits pieces from the films. Just a quick scene to sharpen our interest as his time on the book concludes.

"Avengers Assemble" #9 brings the title focused on the "movie cast" into the Marvel NOW! As DeConnick has made quite clear in interviews -- and certainly in the pages of this issue -- this title is going to be less concerned with only depicting the movie Avengers and more about branching out to the plush cast that carries Avengers ID cards. The first issue in this new direction is slightly underwhelming, giving readers less of a grandiose story than I expected for Marvel NOW! Caselli's art is full of energy and expression. Hopefully some of that will absorb into the story in issues to come.

Apparently the outer edges of the "Infinity" story will continue on for a second issue of "Avengers Assemble," but this first issue doesn't do much to inspire me to drop another four bucks without some convincing. I do enjoy how much command DeConnick has of Spider-Woman and look forward to a team-up with Black Widow, but beyond that I'm more hopeful DeConnick's use of a baseball metaphor will lead to some personality-dominant scenes and that once "Infinity" is done with the Avengers we can maybe see a baseball game like back in the 1986 "Avengers Annual" #15. That would bring in some fun "Avengers Assemble" #18 is simply missing.

As initial installments of event stories go (if this "Avengers: Origins" can truly be considered an event) this one is a fun kickoff with two characters that just don't get enough love. Hank Pym and Janet Van Dyne are inspirational to a generation of heroes, especially Avengers, and really should be celebrated a little more often and more impressively.

I skipped over the Luke Cage issue of "Avengers Origins," but the other two I did read set a nice standard for what to expect from these books. Sure, neither of those stories are "must-read," but both offered additional insight to the development of the titular characters and the stories of said characters finding themselves Avengers-worthy. This issue ignores the standard and offers up a sub-standard. If this brand is to continue, I'm hoping for a return to form closer to what was established in the first two issues of this series. This issue is not only forgettable, but largely dismissible. The redeeming factor here is the limited appearance of a great line-up of Avengers and the visuals of the fight between the Brotherhood and the X-Men in their original blue and yellow uniforms. Even that, however, seems to be set up as another box on the checklist.

"Avengers Origins" is a fun set of one-shots brushing up the origin stories of these fan-favorite characters, and this issue is a textbook example of what these stories should be like. With more issues on the horizon, every fan of the Avengers is sure to find a story or three of "their" Avengers. I've certainly found mine in this issue. If only we could have more.

Avengers Standoff: Assault on Pleasant Hill Alpha #1 spills the beans on the Kobik project, as writer Nick Spencer and artist Jess Saiz bring together the multiple Captains America to prepare against a once-sleeping threat that has now awakened.

Avengers: Standoff Welcome to Pleasant Hill #1 isn't so much about what happens in the pages of this comic, it's about what it is setting up for other comics. As a standalone, this comic might be a bit of a disappointment, as it has the Avengers branded on the cover, but no one bellows out our favorite battle cry. Rather, this is the start of a sixteen-part, eight-title crossover that will continue through April. This is chapter one of a larger, longer adventure. Spencer, Bagley, and company do a nice job preparing us all, but by the time readers see that final page, they won't be reflecting much on what they've just read, but will, instead, be looking forward to what's to come and what all of this means to the greater Marvel Universe.

Hopeless plays Zemo as a masterful propagandist and truly leaves readers shouting at "Avengers Undercover" #4's final page. Although the cast is small and populated by characters I could care less about, Hopeless scripts in enough humanity to bring me back for the next issue.

The backup by Scott Kurtz and Zach Howard, while brief, was effective, efficient, and quite funny. I've enjoyed Kurtz's sense of humor for years now (I first encountered it on a panel dedicated to the memory of Mike Wieringo in Baltimore in 2007) but haven't read anything from him in the superhero vein. "Nom. Nom. Nom." That's all I can say about this story that Kurtz jams full of action, adventure, humor, and irony. Howard delivers a fantastically ominous hibachi scene that is filled with peril for our man Jimmy Woo. It's the perfect backup to a perfect main story: both filled with fun, excitement, great characters, and laugh out loud (or at least audibly chuckle) humor.

I'm glad Marvel has put a great deal of faith in the hands of Parker and Hardman and allowed them to tell stories "- such as this one -- that set the stage for a return of the "Atlas" comic. This issue is not going to be required reading prior to diving into that series, but it does serve as a great appetizer, especially since Hardman and Parker will be the creative team.

I'm not looking forward to seeing more of the same fourteen characters knock each other around, though. After all, aren't there more X-Men and Avengers that could be called in for the fight? I'm hoping if this fight continues (which it will for a few more issues if nothing else) that we see some shake-ups in it, which the last page of this issue pretty well guarantees.

"Avengers Vs. X-Men" #5 comes in very tired, but the issue buzzes about with the fury of a second wind before completely passing out in sheer exhaustion. Act One of this series is done. The Phoenix has arrived. Hopefully, Act Two has fewer instances where scenes and matchups repeat in a seemingly endless loop. This issue certainly offers hope for improvement, but we're not even halfway into the series yet. Quite simply, I just don't know what to make of all of this. It's not riveting, but it is finally moving.

I can understand the need to restrict the cast of characters, particularly given the depth on the writers' bench. At least now "Avengers vs. X-Men" finally feels like an event with severe consequences awaiting both sides.

With the tie-in stories focusing on individual battles, skirmishes beyond the main team-on-team fights and repercussions of those battles, this series really feels like it has finally figured out what it wants to be. Unfortunately, like "Fear Itself" before, it just doesn't quite feel as large as its pitch. Nothing's missing; it's just that for a conflict that threatens the very fabric of the universe, there should be more parties invested in the outcome. Adding Wakanda, K'un-Lun and attacking hordes from Atlantis is a nice start, but "Avengers Vs. X-Men" needs more. The stakes are getting higher, so there's no time like the present for more parties to be interested.

I feel as though I've said this before, but this issue of "Avengers Vs. X-Men" was the most enjoyable to date. Where most event series begin to trend toward predictability in their later issues, this series continues to offer up surprises and twists on traditional or stereotypically predictable plots. The end result is a story that picks up momentum at exactly the right time. There's only a trio of issues left in the main series and while there may be some obvious developments coming up, "Avengers Vs. X-Men" #9 has proven that predictability can be superseded by a fun story. If nothing else, it certainly provides readers with a chance to enjoy a Jason Aaron-written Spider-Man.

All in all, I've been very impressed with what I've seen in the Infinite Comics. The stories themselves have been interesting, even though both offerings have featured characters I have never considered "favorites" of mine. Mark Waid, I'm convinced, could interest me in any character ever created and the razzle-dazzle of the Infinite Comic concept is enough to grab my attention. Hopefully, Marvel continues their wonderful streak with these Infinite offerings.

"Avengers World" #1 brings energy and fun back to the adventures of Earth's Mightiest Heroes, shifting the scope just slightly to provide the members of the team with enough room to breathe and grow. As part of the All-New Marvel NOW! initiative, "Avengers World" #1 sets the world stage for a wide range of conflicts and a worldview from the boots on the ground. This issue sets up a number of plots bubbling with potential, and teases them together just enough to entice readers to join a whole new, yet notably familiar world.

I wasn't sure what to expect when Marvel expanded the Avengers brand with "Avengers World." Quite honestly, I'm still not sure what to make of this series. Five issues in and there's not much of note from the series to date. "Avengers World" #5 doesn't do enough to make a huge dent, nor does it do anything to advance the dangling subplots around the globe. After half a year's worth of comic books, I would like to be able to summarize the accomplishments of a title, but all I can say about this book is it is another Avengers book, which just happens to have some wonderful Stefano Caselli artwork in it. Unfortunately, at four bucks a pop, even Caselli's artwork isn't going to be enough to keep me coming back for more "Avengers World." This book has been on the bubble for me and this issue does nothing to alleviate that.

That image includes the Next Avengers (from that direct-to-video adventure of the same name from some years back, who also appeared in the Heroic Age "Avengers" series), Euroforce, S.P.E.A.R., the Ascendants and, of course, the Avengers. The composition completely fills the last two pages of "Avengers World" #14. Yes, it may seem like a bit of overkill, but after the fourteen-part saga that has carried readers through, it is perhaps the most appropriate way to reward readers and Avengers, showing a distinct conclusion before spinning off into a new storyline. That new storyline will undoubtedly be connected to "AXIS," but at least there is closure before piling on new stories. I'm hoping the next arc doesn't span this long, but the stable of creators, highlighted by Spencer and Checchetto certainly has ample opportunity and range for whatever come next.

"Avengers World" #15 promises to be another comic book that features the charming gathering of the heroes, but a lackluster collection of characters is all that's left. This is definitely a story that needs "AXIS" to exist. Once the Inversion is explained, the writers provide some clues as to what is to come, but "Avengers World" #15 has a completely open ending since no one missed these "Avengers" before now, and they all appear somewhat expendable in this story. Couple that with a significant threat and Spencer and Barbiere give readers a suspense-filled book with high stakes in which anything can happen. After all, Doctor Doom is one of the good guys here.

"Avengers World" #18 is a formality of a label. Instead, this comic could just as easily be called "Incursions and Repercussions" and the effect would be the same. As mentioned previously, the boundaries between "New Avengers," "Avengers" and "Avengers World" are disintegrating, which makes a fine case for Superman-like numbering to guide readers through the labyrinth of Avengers adventures as Incursions begin to give way to the set-up for "Secret Wars." In this case, however, Barbiere and Checchetto give readers a digestible, grippingly-entertaining and easy-to-comprehend chunk of the tale between worlds, as the space between universes gets ever thinner.

By the time this story is complete, a year-and-a-half will have passed in the real world. That makes the wait between issues " or the wait for a collected edition " almost unbearable. The payoff, however, is a great story with high stakes made all the better by Cheung's fantastic art. Quite simply, it's a story worth waiting for.

Poised between events past and events yet to come, "Avengers: The Children's Crusade" provided some great moments for the characters across multiple franchises. Set so close to the kickoff of "Avengers Vs. X-Men," I expected this final issue to be filled with considerably more action and excitement. This anti-climatic, quiet issue was still enjoyable, mind you, it just wasn't as bombastic as the talents and characters assembled would normally lead such a comic book to be.

With Heinberg's flair for dialog blooming in all of these characters coupled with Davis' timeless pencils, this book is a nice detour from the adventure being depicted in "Avengers: The Children's Crusade," and I'm certain it will provide some repercussions. For now, however, it comes across as a missed opportunity. I'm walking away from this one feeling a bit let down. These adult Young Avengers are quickly introduced in this issue, but are never given a chance to prove much to us. Maybe we'll see more of them over in the main story, or maybe this was it. Whichever the case, at least we got some new Alan Davis interior artwork to enjoy.

My kids have loved the show, and my eight-year-old asks me at least twice a week if there's a new episode of "that team with Wasp." As a matter of fact, she just tore off to the couch to kick back and read this one. Looks like I might have to go buy myself another copy. Maybe while I'm there, I'll even pick a copy up for my nephew who just turned six yesterday.

Remender, Opea, Larraz, Morales, White, Rosenberg, Almara and Cowles do a grand job making this both new reader friendly and openly appealing to longtime fans of the Avengers. Clocking in around one hundred pages, "Avengers: Rage of Ultron" is a fine example of what original graphic novels can and should be in an era where books are still more prevalent and readily-accessible than comics, especially to casual fans. This is a smart package that delivers a complete, well-paced and entertaining story with plenty of continuing adventure opportunities. Until that point, however, this is a story that can be read and re-read, shared with others and read again. Each time, I'm certain Avengers fans, regardless of their history with the team, will find more to appreciate.

This book is an oddity. It offers a whole lot of potential, but doesn't deliver on much of that potential. The recently published "Hawkeye & Mockingbird" series had more of a "Solo Avengers" feel to it than this comic does. There's no denying "Avengers" is the brand of choice at Marvel nowadays (I'm surprised Matt Fraction's new book isn't titled "Defending Avengers") but this title does little to merit that connection.

Priced at $2.99, the lead-in chapter to a five-part crossover adventure opens the story nicely; giving readers everything they need without a hefty pricetag or mind-numbing amount of chapters yet to come. While this time of year hails in summer movies, "Avengers: The Enemy Within" #1 is a nice summer comic book, filled with a story that has gravity and emotion aplenty, but not at the sacrifice of character moments or action. DeConnick and Hepburn have given readers a strong entry point for a story that should boost the profile of "Captain Marvel" at least a little bit.

You can see some of Kurth's art in <a href="http://www.comicbookresources.com/?page=preview&id=1742&disp=table" target="_blank">the CBR preview</a> for this issue.

Finally, fans of Tigra who were upset over the beat down the Hood put on her need to pick this issue up. Gage and crew are setting Greer up for a full recovery. Now, if they could just recover her tail. . .

Gage and crew have utilized the setting and surroundings of Tony Stark's Initiative (although now a perverted shadow) to share background on the characters in the story while advancing the story. In a scene between Norman Osborn and the Hood, as they attempt to address a calamity, we learn of the Montana roster and then see them in action, the same with the Force of Nature (Oregon's squad.) This title has a great deal to offer any reader familiar with the Marvel Universe, but it also offers quite a bit to those readers who may not know who the U-Foes are or what Penance's former ID was. Knowledge of this deepens the read, but ignorance of same will not impede anyone's ability to enjoy this book.

The big reveal on the last page -- which as this point isn't much of a secret if you've seen any advance solicits for January or February comics (or even the March ones) -- is nicely played out, with the revelations hitting more than one character at a time. The two characters that reach the dramatic conclusion are from different sides though, so using the comic book device of having one character half a world away finish another's thoughts or sentences is played out marvelously here. Gage has a handle on the characters, if only the book itself had a stronger sense of purpose.

<strong><a href="614">Avengers: The Initiative #20</a></strong><br> Posted Sat, January 3rd

As an experiment, I would dub "The Initiative" to be a success, albeit a success that had a slow start. Gage managed to maintain the unpredictability that Slott established while growing the cast substantially. This was a solid read month in and month out, even if some months its only tie to the world of the Avengers was in the title of the comic. Gage leaves the end of the series with a message looking towards the future. Based solely on the strength of the work Gage presented here, I'll be checking out "Avengers Academy." I do, however, hope that some of the other questions and open items get addressed in the meantime.

While I cannot promise that I'm going to run out and preorder any of the next appearances of Reptil (to my knowledge, there aren't any yet) I did enjoy the story. At $3.99, this issue provides almost 40 pages of story. No unnecessary reprints or filler here, just the introduction of Marvel's self-proclaimed next hot character.

While I enjoy a good Avengers comic as much as anybody, in the end, this issue is an average tale of decompression on the origin of the Avengers. There's nothing startling here, and nothing overly exciting either. For the price, this book is a bit of a letdown, but at least it's a very sharp-looking letdown.

This is the first shot fired in the war between Marvel's biggest franchise superteams. It is a giant tease of a story, but it is also a fun yarn in and of itself. It's a mere twenty pages in length, but there is no doubting repercussions are set to resonate from this adventure. It's a fun ride that precedes what should be an engaging event. Regardless of the future storylines spinning out of "X-Sanction," however, the first issue delivers fun, excitement and adventure -- all the things we read comics for, right?

This series may have had its detractors, but it delivers a complete story acting as a concise set-up for "Avengers Vs. X-Men" and it has plenty of fun in the process. Sides aren't drawn here, but the causes worth fighting for are defined. From here, Loeb and McGuiness turn it over to other creators for "AvX." Their interpretation of Cable's journey is complete and they had a blast bringing that tale to light, something that particularly shines through in this closing chapter.

I've been enjoying "Daredevil" and "The Punisher," so I won't feign shock at enjoying this book. What did surprise me, however, was the extent to which I enjoyed it. In this issue, Waid and Rucka build enough of a story that anyone could pick it up and find their way along. If you happen to be a regular reader of either title, the story just enhances the characters and whets the appetite for more. Thanks to great creators and fabulous characters, "The Omega Effect" is off to a great start.

That's the key to this book, just as it was for "Marvel Team-Up" decades ago: fun. "Avenging Spider-Man" is the closest thing to a revival of "Team-Up" that we're going to get and stories like this are exactly the kind that should fill its pages. This issue is the first of a two-parter, but it packs enough of a complete story to entice readers to return for more.

Take the good with the bad. There are positives, like the details in Medina's are good, but some storytelling choices are not so good. The Otto Octavius-commandeere Peter Parker continues to obsess about women in a manner I truly do not recall Octavius doing before, but it remains inline with what Dan Slott has been writing in "Superior Spider-Man" and "Amazing" before that. This Spider-Man also suffers no fools and provides a memorable encounter with Wolverine that is certain to shade the future relationship between two of Marvel's most recognizable icons. As a sum of its parts, "Avenging Spider-Man" #16 is an enjoyable comic, even if some of those pieces are less than perfect. Yost and crew have a fun high concept to work with, it simply needs some more polish.

This title has really been quite fun. The three issues to this point have been entertaining and individually packaged as strong standalone stories, but with larger undercurrents sweeping throughout. While some of the conclusions, including the one in "Avenging Spider-Man" #18 are standard-issue comic book wrap-ups, Yost is delivering a great read for fans while exploring and introducing aspects of the Marvel Universe to readers.

As Yost has done all along, this issue is completely open for new readers and masterfully catches them up to speed regardless of their depth of familiarity with Spider-Man (either Superior or Amazing) or this series in particular. Everything a reader needs is right here in "Avenging Spider-Man" #20, including sharp art, a solid story and fun character interactions. While "Superior Spider-Man" has certainly received more attention, "Avenging Spider-Man" is my preference of the two as it is more open, self-contained and self-sufficient. Yost and Checchetto have a great thing going here with a solid quartet of guest stars in this issue.

That said, I'm thrilled Marvel has relented and brought "Team-Up" back to the lexicon of Marvel Comics. I just hope Yost is able to keep those adventures as fun and entertaining as he's done here on "Avenging Spider-Man." The continuation of the creative team carrying over one issue -- or series -- to the next will help consistency and development. So long, "Avenging Spider-Man!" It's been a fun adventure, but I'm looking forward to teaming up with some summertime reading.

Of the three issues of "AVX: VS," this was the one I enjoyed the most, but it was not without flaws. This is a great superhero slugfest comic, but it's also easily forgettable and doesn't make a strong case for re-reading. The matchups have been shown no less than a handful of times in various issues of different comics, but the creative teams assigned to those fights in this issue were masterfully matched. I'd like to see more of Loeb and McGuinness working with the Thing and likewise for the Dodsons with Magik. Halfway through this series we've seen six matchups (three of which have featured Juggerlossus) and two of the best looking fights are in "AVX: VS" #3.

Store proprietor Marc Hammond states that "Aw Yeah Comics!" is for love of the comic book medium and this first issue brings a whole lot of love behind a fourteen-page lead story that sets the tone for everything to come. This isn't groundbreaking comic book work, but it sure is enjoyable work that fits quite nicely into hands of any age or in front of eyes of any child. "Aw Yeah Comics!" does a great job of celebrating comics for comics' sake and really deserves to be checked out.

"AXIS: Hobgoblin" #1 is a fun romp through a weird, not-as-dark-as-it-used-to-be-but-still-kinda-creepy corner of the Marvel Universe following the events of "AXIS" #3. Hobgoblin doesn't perform a complete heel turn to become a rescuer of kittens and defender of lunch money, but he does present himself in a much more relatable manner in Shinick's introductory offer. This is a fine start for an odd new adventure and one that I'm looking forward to continuing.

Marvel has been cranking out event stories and garnishing the presentation with additional tie-ins and crossovers, but in this case, the presentation suffers. Anyone buying this comic book for an appearance from their favorite character is certain to be disappointed, while any event completionists are set up for confusing continuity at best and frustrating dismissal of it at worst. "AXIS: Revolutions" #1 is a comic book with a pair of stories that are fine on their own, but really add nothing to the grander Marvel Universe in general.

It's also a comic book that makes me pine for more adventures of "Frankenstein: Agent of S.H.A.D.E." "B.P.R.D. Hell on Earth" seems to be a good choice as a surrogate to that title. I'll have to stick it out a bit, do a little research, take a few notes to keep characters straight, but that's testament to the complexity of the world Mignola and Arcudi construct. This isn't a great issue for new readers, but it is enjoyable, with good character vignettes and solid plot construction that seeds plenty more story to come. I just hope the learning curve for this newbie lightens up a bit in the issues ahead.

"Ballistic" #1 is exactly the type of comic book no one is expecting or thinking they want until they have it in their hands. Like "Chew" and Grant Morrison's take on "Animal Man" in the 1980s, "Ballistic" finds new, irreverent and evocative ways to spin familiar subject matter with humor and flair to make it all seem new and innovative. This comic book wasn't on my radar, but it's certainly on my reading list now.

"Barb Wire" #1 is undoubtedly a deeper experience for readers familiar with the character, but a new number one issue should be more new reader friendly. That's not to say Warner and crew don't make this story memorable or inviting, but they don't offer much by way of character depth or development and there is very little to draw new readers back. "Barb Wire" #1 knows its target audience and guns for them, but continued adventures certainly have ample opportunity to expand and invite.

"Bat-Mite" #1 is a far cry from anything the New 52 once offered, trading in grim, gritty and CW-marketable for a wider potential audience and more expansive product possibilities. Jurgens and Howell clearly have fun with this book, and the wacky, anything-goes nature of the character is starting to define the possibilities of this series. Now, it's up to the creative crew to make it all exceptional. This is a decent start.

Going in with low expectations, this issue certainly delivered more than I anticipated, but in the comic marketplace today, books have to aim a whole lot higher to earn a reader's money. DC seems to be banking on their readers' sense of nostalgia as well as the symbol of the bat. Surprisingly, the bat icon plays an important role in this issue, offering a sense of duty to the character wrestling with her decision in this issue. If this book featured OWLgirl instead of BATgirl, I'm not certain it would have seen print.

This book is classic comics at its best. No disemboweling, no improper innuendo, just good old straight-forward superheroics. "Batgirl" is to 2009 what Mark Waid's run on "The Flash" was to the 1990s: a rare commodity that should be appreciated by more folks. At a time when the cowl seems to be threatening to dim Dick Grayson's shining personality, Stephanie Brown stands as a beacon of hope in the cowl. I grabbed this book to review it, figuring it'd be worth checking in on it again. From here, I think I've got another addition to my monthly pull list.

This title has been the surprise of 2010 for me. The issues I've read of this book have really won me over, but this issue really makes me hesitate. Thankfully, it appears that the second part of the crossover between "Batgirl" and Red Robin" has stronger art. <i>[<a href="http://www.comicbookresources.com/?page=user_review&id=1990" target="_blank">"Red Robin" #10 reviewed here.</a>]</i>

I can't help but compare this title to "Nightwing" back when it started. Many people pooh-poohed that title, but it wound up finding an audience that became rabid enough to stave off Dick Grayson's intended demise. The title was just enough of a Batbook to matter, but strong enough to not use its Batness as a crutch. The same holds true here. If this title runs for half the duration "Nightwing" enjoyed, then there are some fantastic stories yet to come.

This issue, like many issues in this series, is a done-in-one, another rarity in the comic book world nowadays. New readers can (and should, hint, hint) check this book out for a comic of a different kind.

With all of the hullabaloo surrounding the Bat-franchise lately, this title has been a little overlooked, just as it was before Bruce Wayne returned. Through it all, "Batgirl" has maintained its consistent, invigorating high quality level of story month in and month out. After sixteen months, Batgirl has grown as a character, but "Batgirl" as a comic has not put any distance between itself and its readership. Some characters are defined by their supporting cast, others gain fame due to their rogues, but Batgirl's very existence is defined by her recognition of self and her choice to try to make things better in the way that only Stephanie "Batgirl" Brown can do so. This is Stephanie's story, and it is a real enjoyable one. Batgirl " this Batgirl " may not be the most recognizable of characters in the DC Universe, but this book makes her one of the most believable, relatable, and approachable. The holidays are here; give yourself a gift of an awesomely fun read. Check this book out.

This is a series about the emergence of Batgirl into the role of a hero, a leader, and a wonderful person. It's a beam of sunshine on the new comics' racks, and it does a great job of brightening my day once every month.

The world of "Batman, Inc." may seem overwhelming to some. The array of Bat-titles boggles the mind. For my $2.99, though, this book won't be beat by Batman-related title or, well, almost any other title each month.

Zero month is supposed to be an outreach program that lures new readers to comics and it's something the Bat-family of titles has done very well so far both in quality and concept. In "Batgirl" #0, Simone and Benes deliver another good series installment that utilizes the zero month concept to the full, setting up the character's future adventures, reflecting on the past and teasing out some mysteries to be revisited another day. More importantly, Simone hits the nail on the head with this book, making it the perfect entry point for readers of all ages.

As with the previous issue, Simone and Syaf leave us with a cliffhanger, but it's not a nail biter. It's a cliffhanger that doesn't threaten Batgirl directly. Overall this is a flat issue and I wouldn't be at all surprised if I don't recall much of it by the time the third rolls around.

All the same, Simone joins the crossover, defines the threat in terms relevant to Batgirl and even gives a little more definition to the impact "Night of the Owls" is having on Commissioner Gordon. One need not stray from this title in order to understand the danger Batgirl faces and to enjoy the story Gail Simone and company deliver.

The last page sets up a cliffhanger but points the reader to both the next issue of "Batgirl" as well as "Secret Origins" #10. Given that Stewart and Fletcher are writing that installment as well, it should congeal nicely with the rest of this series, but it seems ill-timed as "Batgirl" #39 takes readers right up to the bleeding edge of this sweeping adventure.

The Velvet Tiger storyline wraps up in "Batgirl" #44, but the ongoing subplots continue underneath it all, shaping Batgirl's cast and seeding future drama. Other subplots pop up in this comic, including new developments for Frankie and Luke Fox. Fletcher and Cameron have done a grand job building up Burnside and the inhabitants around Barbara, and "Batgirl" #44 is a sharp sample of everything this title can be.

This issue seemed poised for deep revelations, exciting subplots, and action aplenty, but it fell short in all areas. It is a nice little humanitarian piece, of sorts, that allows Dick Grayson to try to teach Damian Wayne a lesson on right and wrong, but it turns out to be an average comic. It does, however, do a good job of keeping the seat warm until all of the Batbooks are synched up for their next step forward.

This installment is part one of "The Riddler's Ruse: Mirth from Above" and ends with queries to prime the pump for the next installment. I could almost hear William Dozier's voice as the swipes across my iPod revealed the set up for next week. DC Entertainment has a nostalgia stuffed innovation in this comic that is filled with a fun -- that's right, <em>fun</em>! -- story and striking art delivered by topnotch talent. I, for one, will be tuning in each week waiting for that brief reunion with childhood entertainers.

Fans who grew up with comic companies producing Annuals in the 1970s through the 1990s will remember the once-yearly comics to be big stories, the four-color equivalent to the summer blockbuster. The stories were grand. The art was impressive. Frequently those Annuals would either kick off a longer-form narrative to come in the main series or elaborate a character or concept that otherwise was not afforded the luxury on panel time. With this foray into the realm of Annuals, "Batman" latches onto all of those components and produces a great read that would certainly be a fantastic way to spend your lawn-mowing money.

"Batman Annual" #3 is by no means a must-read in order to understand the "Endgame" story Scott Snyder and Greg Capullo are delivering in "Batman," but it certainly does give readers more of the DC Universe's most famous madman at his madcap best. All too often, the focus on the Joker turns to the carnage and body count, but Tynion and company tighten the spotlight here, showing the true cost Tommy Blackcrow pays for his quest for knowledge. The Joker gets just a little more horrific by the end of this comic book and "Endgame" raises the stakes just a little bit more. Joker fans are going to want to pick this up and Batfans in general are certain to find "Batman Annual" #3 disturbingly entertaining.

The story to this point has been a high-stakes collection of near misses, almost fatalities, and compounded stress for the titular character. Given what Snyder puts upon the cowl and cape of Batman in this issue, it doesn't look like it will be changing up anytime too soon. Snyder is doing a very good job of expanding Batman's world without alienating long-term fans. He's found new ground to overturn and, in doing so, just so happens to give Batman an unearthed mystery to try to solve. It's fun reading that combines the very best of the Batman mythos with the energetic brilliance of Capullo's artwork. The duo seems like the odd couple of comics, but with this story, their collaboration shines. Batman's fun to read again, and there truly is a sense of adventure as Snyder and Capullo make this a run that will prove to be memorable.

There are only so many ways I can express how "Batman" continues to impress with issue #6. Scott Snyder is playing longball with the plot, but he doesn't elongate the story. Instead, he packs it full of details and developments, making the issue well worth the price of admission and rewards the reader with each successive read. "Batman" is consistently a quality book in DC's relaunch, showing no sign of letting up as the story continues to build toward the "Night of Owls" crossover.

As kickoffs to events go, "Batman" #8 delivers a good set-up and sincere motivation for extending the story beyond the pages of one title. "Night of Owls" takes shape organically, and given the trouble Batman has had with the Court of Owls and their Talons to this point, it's a good thing he has his own crimefighting network to call upon. How the various members of the Bat-Family handle the Talons is certain to be central to the story moving forward, but in this issue it is clearly established to be a cafeteria-style option, allowing the reader to determine their own level of comfort and involvement in the event that Snyder has meticulously crafted.

Snyder has done a masterful job adding depth to Gotham and to Batman. Having such wonderfully talented collaborators as Capullo and Albuquerque certainly helps. Next month wraps up the Court of Owls storyline in the pages of "Batman," but this penultimate chapter really should not be overlooked.

I've enjoyed the heck out of this Batman story for the past year. With the excitement around the character building due to "The Dark Knight Rises" as well as the impending Joker story coming soon in the pages of "Batman," it's easy to lose sight of stories that don't involve recognizable foes, but that's part of what makes this story all the more enjoyable. The Court of Owls and the Talons are not linked to Bane, Catwoman or the Joker. They're freestanding new additions to the city of Gotham, brought to you by the imagination of Scott Snyder, Greg Capullo and the entire creative team. After this issue, Bruce Wayne, Batman and Gotham will never be the same. In my opinion, they're all better for it.

As the Joker tells the Riddler in the backup story in "Batman" #15, "You're going to want to come along for the ride. This is going to be something to remember!" Indeed "Batman" #15 is just that -- an unpredictably bizarre tangle of ideas wilder than a roller coaster from the deranged mind of the Clown Prince of Crime as he sets out to make an appeal to "his king."

Truly functioning as "The Punchline" to "Death of the Family," this issue will be received like many jokes: some will get it right away, some will need it explained and others will walk away with little comprehension of it. For those who get it, who have been dialed in to the setup, the delivery from Snyder and Capullo in "Batman" #17 pays off with a grand and satisfying conclusion to an epic tale the Batman corner of the DC Universe.

As "Batman" heads towards "Year Zero," this issue gives a nice chance to join Snyder and Capullo as they say farewell, not goodbye, to today's Batman. The second of a two-part story, "Batman" #20 reads like a breath of fresh air, albeit one tinged with loss and lament as Bruce Wayne still has a long way to go to recover from the cruel hand fate has dealt him recently. I'm looking forward to the next story, but I will certainly have no problems looking back to this one to remind myself just how fun the comic book matchup between Batman and Clayface can be.

Snyder's deliberate thoroughness in constructing the decisions Bruce Wayne makes on the road to becoming Batman (combined with the upcoming mountain of tie-ins) basically ensures that every moment of Bruce Wayne's pre-Batman life is about to be keenly detailed. While enjoyable, "Batman" #23 is akin to the first act of "Batman Begins" -- both stories are action-oriented slivers of the tale, but finely detailed and absolutely critical to the development of the character to come. The anticipation of that character, however, makes it all seem expository since the spotlight is entirely on Bruce. Readers know Bruce Wayne <em>will</em> be Batman and wait for that "first" appearance, but there is still a lot of solid story right here before Bruce even thinks about donning a cowl. Kudos to Snyder and Capullo for making this story interesting and exciting, but also for laying groundwork for what will, inevitably, be a masterful collected tale resplendent in all acts of the ascension of Batman.

While the seven-dollar price tag is a punch in the wallet, "Batman" #24 is worth the price, giving readers everything they could want in an origin story. It's a richer experience for readers who have been plugged in to the "Zero Year" tale from the beginning and an even deeper experience for longtime Batfans, but this comic book is top-notch simply taken on its own. "Batman" #24 serves as a nice Bat-sorbet to cleanse frazzled Batfans' palettes of the Affleck and Villains Month aftertaste. With tributes and tinges of "Batman Year One" and "Killing Joke," "Batman" #24 delivers an ultimate primer for Batman in the current DC Universe and an incredibly enjoyable story to boot.

"Zero Year" is yet another mega-storyline that has marched throughout the pages of "Batman," but the latest installment in "Batman" #26 delivers enough action and revelation in one issue to make the story seem instantly refreshed. Snyder, Capullo and team continue to do a fine job of adding more to the Batman mythology without negating anything. Doctor Death's appearance and development throughout the "Dark City" arc just adds more depth to the bullpen of loons Batman calls foes. Beyond simply adding depth to one of Batman's earliest opponents, Snyder serves as architect to the man Bruce Wayne will become in and out of the cowl. "Zero Year" is not just about Batman, it's also about Gotham City and all of the ancillary characters that happen through the life of Bruce Wayne, from Jim Gordon to Lucius Fox. Bruce Wayne is learning about himself, his allies and enemies and what it means to watch over them all.

The timing of this issue is rather odd, especially for what is essentially a teaser for "Batman Eternal" in the midst of "Zero Year." I'm onboard and locked in to see how Snyder and crew weave the not-so-distant past with the near future, especially since the final panel of "Batman" #28 will make fans pump their fists in the air and shout, "Aw yeah!" before they cower back into their seats and wait for the other shoe to drop. This issue is a nice break from "Zero Year," a change of pace, a switch in visual impact, a breath of fresh air and a sign of hope for the Gotham of tomorrow as Snyder continues to construct and deepen the legend of Gotham City and its role in the mythology of Batman.

While "Zero Year" is certainly a fantastic display of dancing between the raindrops and farming further details from the early days of the legacy of Batman, it is beginning to get a little long in the tooth. As an overarching saga, I have no doubt "Zero Year" is going to be a story to remember, but the monthly installments, taken by themselves, are bordering on impenetrable, begging the reader to try again, once more from the start. Thankfully, Snyder and company have broken the story up into chapters of the grander saga. That allows readers a chance to breathe and the story an opportunity to shift. "Zero Year" is a tale that comes together more as the camera pulls back to reveal the big picture, which is filled with Snyder's detailed, meticulous writing and Capullo's enthusiastically, brutally animated art.

"Batman" #31 is yet another durable comic in the "Zero Year" story, which is quickly accumulating as a Batman tale begging to be re-read in its entirety from start to finish. As a sample of that grandiose adventure, this comic book has a lot to offer readers, but even more for readers with deeper experience following the character and this issue's creators. This is a building block in the evolution of Batman and Snyder and Capullo are sharing the construction process with the readers as the structure nears completion.

After all the tooth-gnashing and grumbling about the price on the cover for this issue, "Batman" #35 proves to be worth every penny. As the Dark Knight detective continues to revel in his seventy-fifth anniversary, the creators working on his adventures weave new stories that add even more facets to the character. I'm sure there will be additional moaning about the fact that Batman fights the League, but Cyborg and Green Lantern are absent; or that Aquaman gets taken down like a punk; but there is simply no denying the passion and excitement this creative team brings to every panel of "Batman" #35. Part one of "Endgame" hits the ground with a dynamic explosion, letting readers know right away that this saga is going to be every bit as dynamic as "Court of Owls," "Death of the Family" or "Zero Year." I'm all in, regardless of price point, especially since every single contributor on this book brings their absolute best.

In "Batman" #38, Snyder, Capullo and crew bring all the storylines together: "Zero Year," "The Court of Owls," "Death of the Family." It all congeals as readers follow Batman against the Joker, each trying to outwit the other, with the rest of Gotham teetering on the brink as the Clown Prince of Crime appears to have the upper hand. Batman is fighting for the city, but he's also fighting for his pride, his sanity and the lives of everyone in his city. "Endgame" stretches throughout Gotham's history, so it's only appropriate that Snyder and crew dive through Batman's.

With an underlying mystery, the development of a character and the exploration of Gotham City, "Batman" #42 is still a fun book that affords Snyder and Capullo a chance to play. Additionally, the creative team continues to investigate the inspiration of Batman, just from a totally different, inspired perspective.

"Superheavy" has opened a whole new wing in the legacy library of Batman's mythology. Seeded with new foes like Mr. Bloom, the arc exemplifies the teamwork required by comic book creators. No character is a bad character and no story a bad story; some tales simply need a little more cultivating, as Snyder, Capullo, Miki, Plascencia and Wands demonstrate in "Batman" #46, where Mr. Bloom is a serious threat and Batman is faced with a challenge unfamiliar to him. Where this creative takes "Superheavy" from here remains to be seen, but one thing is certain: it's going to be one hell of a ride.

The ending, while appearing conclusive, doesn't feel satisfying or, well, even like an ending. This is Batman's comic, but he's just standing to the side, an afterthought in a panel that should be more fraught with emotion, especially given the rollercoaster ride that "I Am Gotham" has taken us all on.

There is plenty of passion, heart and characterization in Batman/Superman #31, from Batman's first observation of Superman's eyes to the conversation between the two heroes as they fend off their attackers. Every decision Tomasi makes informs the readers and underscores the history shared by the Man of Steel and the Dark Knight Detective. The second installment of this adventure begins to outline the subplots and advance the plot, but also reminds readers why Superman is super and what adventures should be like when Superman and Batman team up.

The only Batbook I've given my coin to on a regular basis has been "Batgirl," which I will continue to do so. Recently, Scott Snyder, Jock, and Francesco Francavilla made "Detective" a must-read. Now, however, it appears as though I'll be making room for some more Batbooks. I'm dialed into this book for as long as Tomasi and Gleason are on board.

As chief architect of a fabulous creative team, Tomasi displays in "Batman and Robin" #0 exactly what the zero issue concept is all about: telling an origin story that serves as an introduction to a broader universe. From here, I want to see more of Talia and Damian training. I want to see the first few days of Damian testing his father's patience. I want to see Gleason drawing Man-Bat -- a lot. I want more of this book, from these creators, regardless of what I knew or didn't know before coming in to this story. Being totally honest, I've never been a fan of any of the Robin characters as Robin. Batman, to me, is a much more compelling character when his adventures feature him flying solo. That said, I hate Damian, but Tomasi has at least made him an entertaining character.

I've gone from being a casual Batman reader in the pre-relaunch DC Universe to being a Batfan in this brave new universe DC has been delivering to us each and every month. Snyder's "Batman" delivers a great story of Batman's continuing investigation and defense of Gotham City, but the relationships being forged, investigated, and tested in "Batman and Robin" are every bit as compelling and equally fun to read. Of course, like Snyder on "Batman," Tomasi is leaving the title each month with a compelling ending. The difference is, here, you just never know what Damian will do and it brings me back each month to see how Bruce reacts.

This story is the newer standard of twenty pages in length, in which Gleason draws six (four plus a double-page spread) splash pages. Additionally, several other pages are two-thirds splash, but through it all Gleason and Tomasi fill the pages with story. Many other creative teams would suffer from losing that much real estate to big moments, but even the smallest panel feels like a big moment in this story, making those splash pages even bigger. This issue ends with a predictably unpredictable splash page as Bruce and Damian are given a whole new set of problems to work through.

All of that sets "Batman and Robin" #15 in motion and gives the reader quite an adventure to enjoy. This may not be the spine of the "Death of the Family" event, but it certainly is a strong story that stands well on its own, but gains so much more severity in the context of the larger narrative. Now's a great time to be a Batman fan. Or a Robin fan. Or just a casual reader looking for a compelling Joker story.

I bought this digitally as I couldn't wait to get to the comic shop today to get started on my reviews, but I must confess I plan on buying the floppy of this book as well. Maybe I'll hold off for the hardcover, maybe I won't. At any rate, Tomasi and Gleason deliver a fantastic story of grief and despair that is certain to prove noteworthy, shareable and perhaps even timeless. Tomasi has gone on record to explain that Batman will share the title with a number of partners over the next few months, but what truly becomes of this book following that run of guest stars remains to be seen. For now, "Batman and Robin" #18 is one of the best single issues of Tomasi and Gleason's collaboration.

The work between Batman and Red Robin is not very collaborative and does not end well. Tomasi reflects on the revelations from "Death of a Family" and leaves the rift between the duo growing wider and wider. "Denial" is a fitting title for "Batman and Red Robin" #19 on so many levels: Batman's refusal to refer to Damian in the past tense; Batman's embracing the twisted science that brought life to Frankenstein; the Dark Knight's continued insistence that he does not need help; Red Robin's solution to the problem; Bruce's return of the discs from Carrie Kelley. So much heartbreak and disappointment that leads to an amazingly touching, entertaining story. Tomasi and Gleason continue to make on heck of a case for making "Batman and..." the must-read Bat-title. Lucky for us, we're not limited to just one title and DC has found ways to make them all interesting.