As good as the story itself is, artist Bryan Hitch elevates it to an extra level of excellence with his detailed and cinematic style. Hitch balances the action with the gravitas perfectly and you can practically cut the tension with a knife. The utter fierceness of Hawkeye and the malaise of the Avengers comes across well through their facial expressions and the action scenes are dynamic and fluid. Hitch is a master of his craft. As much as Hitch's art compliments Bendis' writing so perfectly, Paul Neary's inks really compliment Hitch's drawing style just as well. There's still a long way to go, but this series has my full attention and, if the rest of it maintains this level of excitement and intrigue, it just may join the ranks of any number of Marvel's classic tales of a dystopia, such as Days of Future Past or Age of Apocalypse. If anyone currently working at Marvel could achieve that level of greatness, it's Brian Michael Bendis. Bring on issue #2!

Bendis does an expert job at balancing the conflict, drama, and humor around the emotional storm brewing from both sides. The issue also contains his trademark snappy dialogue, as well as large doses of humor to counter the serious goings-on. Artist Stuart Immonen's art is, quite simply, jaw-dropping. He perfectly captures the emotion and drama of this issue, as well as the uncertainty in the faces of all involved. Some interesting juxtapositions of classic X-Men with today's X-Men in certain panels and pages also serves the story well. In short, this is my new favorite Marvel NOW! title, with enough innovation to make it fresh, but retaining enough of the old Marvel flavor to make it appealing to longtime fans. 10/10

While it's anyone's guess where this comic is headed, you can be sure there will be lots of drama in store, as emotions run high for all involved, past and present. The last panel is particularly telling, as it appears Jean has probably been affected most of all by the knowledge of her future. One can't help but feel sorry for young Cyclops, as she gives him the cold shoulder. For the high drama and pathos alone, this issue gets a well-earned 10/10.

For the most part, I've been enjoying this series immensely and this issue is no exception. It's actually the best to date and I really can't find anything wrong with it, try as I might. Therefore, I must give it a perfect 10/10. A great comic is a great comic.

As for this issue, I honestly can't find anything to complain about. It's excellent in every way, from Bendis' smart dialogue and the way the characters behave to the art of Marquez evoking just the right sense of nostalgia. This kind of stuff is why I read comics.

Stuart Immonen makes his return this issue in an impressive way, with inker Wade von Grawbadger adding just the right touch to Immonen's pencils. The beginning scene in the Danger Room is probably some of their best work on this series yet, as the Sentinels descend upon the streets of New York. This comic has everything going for it. Strong writing, eye-popping art, and an awesome premise. The last page promises an even bigger story next issue. I guarantee you that you'll be itching with anticipation. Comic books don't get much better than this.

Dan Slott seamlessly pieces together every element we love about Spider-Man and his world to make each issue of Amazing Spider-Man a truly enjoyable experience.

By now, Slott has such a great handle on these characters that he could easily write them in his sleep. His Spider-Man is just an honest, heroic guy, who you can't help but root for. As for the art this issue, Giuseppe Camuncoli does an admirable job filling in for regular artists Stefano Caselli and Humberto Ramos. I really have nothing negative to say at all about this issue. It's another winner and will have you greatly anticipating the next issue. I give it an amazing 10/10!

Artist Guiseppe Camuncoli's style of art is actually quite appropriate for the darker tone of this story arc. He depicts Conners' hidden Lizard persona in such a way that it comes across as being very disturbing to the reader. Any minute, you expect him to bite someone's head off. His Morbius is expertly rendered as both brooding and sad, emphasizing the all-too-human soul beneath the monstrous exterior. Klaus Janson's unmistakable inks intensify the gritty look of the story. In short, this issue is a very satisfying read and also perfect for casual readers who are looking for a Spider-Man vs. Lizard fix, after having seen the new movie. As always, I give this issue a 10 out of 10.

The main story is accompanied by two fun short stories that really capture the spirit of Spider-Man. While these stories aren't incredibly original, Dean Haspiel, Joshua Hale Fialkov, and Nuno Plati deliver a couple of entertaining bookends to Slott's tale, enough to keep your attention and make this issue a worthy commemoration of the Web-Slinger's birthday. This issue is a milestone in many ways, that is a perfect celebration of all things Spidey, yet also adds to his legacy. Being slightly disappointed with the last issue, this one brings the series firmly back on track. I still maintain that it's THE best comic book being published today. From me, a very enthusiastic 10/10!

I have to say, I'm really enjoying this story arc and this issue is easily a 10/10. Great job, all around!

Artist Giuseppe Camuncoli makes a welcome return this issue, possibly outdoing his excellent work from No Turning Back a few issues ago. He draws a pretty wicked Hobgoblin and is perfect for this story. I really can't praise this issue and this series enough. At the risk of repeating myself, this is the best series being published today and this issue gets a very enthusiastic 10/10 from me. Well done!

If this issue doesn't have you anticipating and worrying about what's going to happen by the time #700 arrives, then you just aren't invested in Spider-Man as a character. It's that heavy. At any rate, if you aren't reading this comic, then I feel sorry for you. You're missing out on the best title currently being published.

While there are actually two more issues left of Amazing Spider-Man (#699.1 and #700), things are looking to be quickly heading towards an epic conclusion, as a new era of Spider-Man begins with Superior Spider-Man. It's still up in the air who is actually in the costume by then, but I'm willing to bet it's going to be something that many people will not see coming, knowing Dan's writing the way I do. I, for one, cannot wait to see how this turns out! 10/10

Ivan Reis has become one of my very favorite DC artists, as his style seems to invoke legendary artists like George Prez and Neal Adams. If anyone is a successor to their legacy, Reis is. His art has never looked as amazing as it does here, which might have something to do with Joe Prado, Oclair Albert, and Andy Lanning all contributing inks to Reis' pencils. I would say that Aquaman's newfound popularity owes as much to Reis on this book as it does to Johns. Without him, it wouldn't be nearly as exciting. I give this book a perfect 10/10!

This team has really turned this character around, by not changing who he already was, but actually showcasing everything that was cool about him to begin with. No longer the butt of jokes in the comic book community, he now truly comes across as a badass superhero and one-time ruler of Atlantis.

Ivan Reis' art is some of the best in the industry today. His collaboration with the inkers, particularly Joe Prado, only enhance his already gorgeous renderings that harken back to the early days of Flash Gordon, Buck Rogers, and Tarzan. His is a very traditional style, which is refreshing to see in these days of unconventional comic book art. He and Johns are one of the most formidable teams currently working in comics. And they don't appear to be letting up any time soon. I give this issue a very enthusiastic 10/10!

As mentioned earlier, this was another stellar issue. Very exciting, well paced, and beautifully drawn. I honestly can't find anything to criticize about this series. One year later, since the New 52 began, I'm still amazed at how much Johns has turned Aquaman around. I've always loved the character, to be honest, but what's being done in this series is nothing short of amazing. It's easily one of the best titles DC is currently publishing, if not THE best. The way things are shaping up here, this arc certainly looks to be one of the best in the history of the character. At the expense of sounding repetitive, this issue easily gets another 10/10 from me!

Quite simply, this issue is perfection and this title continues to satisfy in every way.

Simone writes Barbara Gordon like no other and gives her true dimension, as she struggles with and overcomes her own insecurities to always do what is right. What's not to admire about her? Alitha Martinez's artwork suits the style of this series and she is at her best when depicting action scenes, such as Batgirl's dive bomb into a window near the end of the issue. Her subtle facial expressions are also worth noting. Particularly, Batgirl's as she swings across Gotham. Rather than the solemn expression that is common in most members of the Bat Family, we instead see a more vulnerable and concerned look, which fits her character so much. Whether it's intentional or not, it's hard to say, but whatever Martinez is doing, it's working. I give this issue a 10/10.

Gail Simone, who can write Barbara Gordon in her sleep by now, does not disappoint this issue. (Does she ever?) This one has it all: a confident and formidable ass-kicking Batgirl, shocking twists and turns, action on top of action, suspense, and spot-on characterization. Ardian Syaf's art looks great, as always. Although, I have to say that Knightfall's design looks like a cross between Spoiler and Azrael. Not really a critique, just an observation. It had to be intentional, either way. Not that I mind. I actually think it's kind of neat. In summary, this is the most fun I've had reading Batgirl since the relaunch and it's a genuine pleasure to read this title every month. I give this issue a 10 out of 10!

This issue contains all of Simone's signature hallmarks, dark themes, and spunky characterizations, particularly Batgirl herself, who is as likable as ever here. Simone's own personality and steadfast demeanor both really shine through in Barbara Gordon, making her one of the most heroic in all of the DCU. A real hero to root for. The art here is something special, as well, with Ardian Syaf delivering in spades and a gorgeous cover by Stanley “Artgerm” Lau. With solid storytelling, characters with great depth and motivations, and dynamic artwork that pulses with energy from start to finish, you'll be hard-pressed to find a comic that delivers as consistently and is as satisfying as this title. This issue is easily a 10/10 and I couldn't recommend it more.

In short, this is the best issue of the series to date, bar none. It should be quite entertaining to see how Batgirl deals with one of the greatest challenges of her life and how it affects those around her. Easily, a 10/10.

While I still consider Ed Benes to be my favorite Batgirl artist, Daniel Sampere does a fine job here, especially in his rendering of The Joker. Sampere really showcases just how insane the Clown Prince of Crime is in this issue, with some great facial expressions and random acts of violence. In short, this is probably one of Simone's best issues of her entire run, which is saying quite a bit. Shame on you, DC, for letting her go from this title. At least she's going out with the proverbial bang. 10/10

Writer Scott Snyder skillfully and sincerely breathes life into Harper and Cullen, while also managing to add something new and fresh to the title. He's easily the best thing to happen to Batman in a good long while and DC is lucky to have him. Artist Becky Cloonan makes her Batman debut here. While her style is in stark contrast to series regular, Greg Capullo's, it fits this type of story quite well. It may not be everyone's cup of tea " especially those who are more used to traditional comic book art " but the cartoony, almost manga style should make it very appealing for this issue's target audience.

When all is said and done and, judging by the promise of this issue, Death of the Family should be destined to go down in the Batman canon as a surefire classic. I'm very much looking forward to the next chapter! 10/10, easily.

The backup story, dealing with a meeting between The Penguin and The Joker, isn't as satisfying as last issue's backup story, but Jock's artwork elevates it to a better level than it should be. As a whole, this issue is the best of the run yet, with the Snyder/Capullo team outdoing themselves, yet again.

The backup story, which features a meeting between The Joker and The Riddler, really doesn't contribute much to the main story, but it does establish that even The Riddler thinks The Joker is certifiably insane. Which is saying a lot, coming from The Riddler. In the previous DC continuity, The Riddler was well on his way to becoming an actual ally to Batman, much the way Catwoman has turned over a new leaf in recent years. It remains to be seen if that carries on in The New 52, but one gets the sense that that could happen from this backup story. Or maybe that's just wishful thinking on my part. Regardless, this issue is, quite possibly, the strongest yet of Snyder and Capullo's entire run. It easily earns a 10/10 from me.

Batman #17 is a very satisfying finale all around. It's a masterfully told and beautifully rendered issue that will surprise you in unexpected ways and at unexpected times. Snyder and Capullo have, in essence, reinterpreted one of the best comic book villains of all time, while bringing about some long-lasting changes to Batman and his family. This issue gets a very well-earned 10/10. Snyder and Capullo should be very proud of what they've done.

At any rate, it's nice to see that some of DC's original history is intact, as there is nothing to really contradict Batman's first meeting with R'as, which is a classic moment in Batman history. Certain famous key scenes are even shown in flashback. Grant Morrison's reverence for DC's characters is certainly infectious and much-appreciated.As for Chris Burnham's art, he's coming more into his own, particularly with this issue. At first, I dismissed him as sort of a Frank Quitely ghost artist, but this issue allowed him to really go out into his own territory. Like Quitely, his style meshes quite well with the type of stories Morrison likes to tell. This was a very refreshing issue to read and sets up some intriguing story possibilities for fans of young Damian Wayne. I give it a globe-trotting 10/10!

Artist Nicola Scott does a fine job of depicting Robinson's brave new world, particularly in the scenes with Mercury and The Flash. Scott's talent for detail totally immerses the reader in this alternate reality and evokes an appropriate sense of wonder that a book like this requires. Kudos to whoever picked her for this book. She's outstanding. By Robinson's own admission, he will be taking his time to build the team, focusing more on developing two or three characters at a time, assuring a quality title and making it a more-than-worthy addition to DC's lineup. I give this issue a well-earned 10/10!

Nicola Scott's art is really something special. She creates extraordinarily gorgeous renderings of these characters and what they can do in such a way that it all feels epic and on an almost cinematic level. One wishes DC could somehow clone her for every one of their books. In short, I'm enjoying this series more than I ever thought I would and it all feels so fresh and new. In a lot of ways, Earth 2 is the epitome of what is good about the New 52. This is how great comics are done, people. I give this issue a well-deserved 10 out of 10.

This issue had it all. Great characterization and writing by James Robinson, tons of action, plenty of drama, and beautiful art by Nicola Scott. Each character has their own distinct personality. For instance, The Flash is an eager-to-please idealist, Green Lantern is resolute and stoic, Hawkgirl is hot-tempered and feisty, The Atom is cantankerous and sarcastic. You get the idea. Right from the beginning, this series had heart. This particular issue added soul. I can't give it anything lower than a 10/10.

Speaking of Hal Jordan and Sinestro, the end of this issue does give us a clue to their fate. What this means for their futures, I cannot say. I do know that it left me looking forward to upcoming issues. Geoff Johns is an expert at having that effect on just about every issue he works on. As for the art, Doug Mahnke's pencils set the perfect mood for this story. I honestly can find nothing to complain about. 10/10 from me!

As long as Johns has the reins, you can bet Green Lantern will never become stagnant.

While I've been enjoying Doug Mahnke's work on this title, it was a welcome change of pace to see artwork from someone different. Namely, both Renato Guedes and Jim Calafiore, who bring a whole other level of shadow and intrigue to this already dark title. Their pencils are gorgeous, as well as Alex Sinclair's vibrant and vivid colors. There is also some well-placed humor, as the whole reluctant buddy cop relationship between Hal and Sinestro is played up for, perhaps, one last time here. One scene, in particular, stands out, as Sinestro accidentally injures Hal as he zealously hacks away at the enemy. That scene, alone, says a lot about their odd relationship. As always, Geoff Johns proves why he's one of the most brilliant and ambitious writers working for DC. This issue gets a 10/10 from me.

I'm happy to say that I've been pleasantly surprised by the new direction this title has taken. I was prepared to despise Simon Baz. Instead, he's become one of the most intriguing characters of the New 52. Well played, Geoff Johns. Well played.

As mentioned earlier, the art in this book is a real treat, as it features two great artists. Doug Mahnke handles Simon's part of the story, as he's done all along. The prologue, however, was rendered by Dan Jurgen's, whose classic style is reminiscent of George Perez and Jerry Ordway, the original artists of Crisis on Infinite Earths. While multiple artists usually bother me, I found the opposite to be true here, as it served the story well. We already know the history of the DC Universe and many fans have been fascinated by these particular events in DC history. This prologue teases us just enough to leave us wanting more. As for Mahnke's work, he continues to impress on this title. He's become one of Green Lantern's classic pencillers. To sum it all up, I really enjoyed this issue in every way. This is what comic books are all about, as it gives us exactly what I want: pure escapism.

Another intriguing notion is explored in the Guardians' attempt to harness the power of the “First Lantern.” Who this is or what this means is a mystery, but it appears they're dead serious, even going so far as expressing the desire to harness the power of Black Hand to accomplish their means. Nasty little buggers, to be sure. Even Ganthet, who was always an advocate for Hal. To find this First Lantern, they visit some old friends that should take a lot of old school GL fans back. The Guardians journey to an ancient prison, where the remaining population of the Oan race are being kept. These Oans are not tied to the green energy in any way, it seems, as their eyes glow white and not green. Something tells me it is these Oans who will ultimately take the place of the old. However, that's just speculation on my part. At any rate, the identity of the First Lantern is something I'm eagerly waiting to find out! A giant glowing green 10/10 from me!

What a story! This is one of the best comics I've read in a long, long time. Star-Lord's origin is right up there with Superman and Green Lantern, in my opinion. It's grand and epic and would make an amazing movie, in my opinion. Bendis tells the story well, in some of the best writing of his career, in my opinion, and McNiven renders it all in glorious detail. If this prequel issue is any indication of how the actual series will be, we are in for a fun trip.

The backup story by Johns and artist Ethan Van Sciver deals with Pandora, who was – as fans recall – basically the one responsible for rewriting the DC Universe at the end of Flashpoint and transforming it into the New 52. We see the wizard's last moments on Earth, as he comes to Pandora with an ominous message. There is also an exciting tease for a reintroduction of a certain fan-favorite character to the New 52 DC Universe that should have lots of people talking. Van Sciver's work is his usual detailed perfection and it's always welcome to see his art anywhere, if only for a few pages. I'm going to have to give this issue a perfect 10/10. All quality stuff, that really showcases what the New 52 is all about… or *should* be about. Great job, to all involved!

All in all, this is an extremely satisfying issue, as it gives readers a more in-depth look into the characters (in both stories), while showcasing some phenomenal storytelling and artistry. I give it a 10/10.

I was really bummed after hearing Jim Lee was leaving and I was totally prepared to see a slight drop in quality with this title, but I'm pleased to say that isn't the case with this issue. Great job, in all respects. It's becoming ridiculously routine, but I have to give another high rating. It remains one of the best superhero titles currently being published. 10/10

It's been over a year since the New 52 relaunch and, while the title has had its critics, it's been consistently delivering, as far as I'm concerned. Justice League has led the way in quality storytelling and art and I'm glad to say that it's still doing just that. Now bring on Throne of Atlantis!

As good as the story is, all it takes is an artist of a particular degree of talent to make a story transcend from simply great to a masterpiece. Artist Ivan Reis falls into the latter category. He's probably one of the most traditional artists working in comics today, which I find very refreshing. His work on this title is probably some of his best ever. If this story arc is any indication of what is to come, I can safely say that this is just the beginning of greatness on this title.

David Finch's art in this first issue is exceptional. I've been a fan of his since his New Avengers days and his work has only improved. His darker style of art is actually perfect for this book, as it shows the seedier side of the League, in contrast to artist Ivan Reis' brighter style over in the other title. This series has lots of potential for greatness and, if Johns' record of success is any indication, we're in for a fun ride.

The art in this issue is spectacular. David Finch was the perfect choice for this series and his shadowy ultra-detailed style is complimented very well by his collaborator, Scott Clark. Sadly, Clark recently passed away and it's a shame we won't be seeing more of his work, but this issue guarantees he'll go out on a high note. He will be missed. In short, while it's too early to tell, these first two issues are promising. I think I'm going to really like this comic. In Geoff Johns We Trust.

All in all, this story arc is shaping up to be a very enjoyable and interesting read. Instead of tying in to the Avengers vs. X-Men story directly, Bendis manages to weave a tale that is both innovative and intriguing. This actually works to enhance the main story in that mini-series and builds upon Marvel lore in a brilliant way.

Mike Deodato's art is perfect for a story like this, with his detailed and shadowy renderings of ancient and modern characters alike. He and Bendis are just the right team for this book and it will be a shame when the time comes for their collaboration on these characters to end. I give this issue a giant, flaming 10/10

I also have to give much praise to Sara Pichelli, who renders a perfect merging of 616 and Ultimate Universe art styles to create a fun cartooniness that is perfect for a book such as this. It's certainly a refreshing change from the more serious adult 616 books out there. It very much has a classic Spider-Man feel, but in a cool modern way. The moment adult Peter steps into the 616 Universe, you know we're in for a treat. I look forward to seeing how he interacts with Miles. I give this issue a web-slinging, wall-crawling 10/10!

It's all a lot of fun and will have you greatly anticipating next issue. Sara Pichelli's art is also very cool. She captures the perfect look and feel for this story, seamlessly mixing the style of the 616 Universe with the Ultimate Universe.

This book continues to impress in its odd way, as we haven't quite seen anything like it before. Sure, Spider-Man has been in some strange situations in his career, but they're usually resolved within a couple of issues. This problem looks like it might take some time to resolve. Whatever happens, I'm in it for the long haul.

Slott does a great job in keeping the reader constantly on edge, questioning things. What I love the most about his writing in this series, though, is that, even though Otto is mostly in control, Peter always manages to shine through. Slott just gets Spider-Man. Period. Naysayers be damned. Artist Ryan Stegman continues to impress, as he makes his own unique mark in Spidey history. I've come to enjoy his art as much as Humberto Ramos'. As it was with Amazing Spider-Man, Superior Spider-Man is one of the most enjoyable comics currently being published. There are so many ways this title could've gone wrong. Thankfully, Spidey is still in good hands.

Writer Dan Slott begins his second arc on Superior Spider-Man by bringing back a villain from his earlier run on Amazing Spider-Man, while also holding to Peter Parker's promise in that series that "no one dies" under his watch. The fact that Peter's spirit is separated from his body at the moment and was replaced by Otto Octavius' consciousness makes this vow just a bit harder to maintain. If Peter isn't always successful in holding to that promise on his own, how could Otto Octavius ever hope to? That's what this issue is all about and it's Slott's strongest story yet in this new series.

This issue presents the exact kind of conflict I was hoping for with this book. Otto Octavius is redefining what it means to be Spider-Man, doing things his way and his way alone. In effect, it makes the reader question what it means to not only be Spider-Man, but also what it means to be a hero. Should superheroes kill? It's kind of astounding that a major comic book publisher should address this issue" and with their flagship character, at that! While it's only a matter of time before things turn back to normal, it's fascinating to see Spider-Man in such a predicament. Ultimately, I have to side with Peter, but I'm hard-pressed to argue with Otto's methods. Heady stuff, indeed. Writer Dan Slott pulls it off effortlessly, once again, challenging readers' expectations of him and this title. Artist Giuseppe Camuncoli renders it all with glorious darkness and shadow, delivering just the right amount of pathos. This comic is pure gold.

It's anyone's guess where Lobdell is going with this series, but I do know that I'm enjoying his work, so far. I've actually been a fan of his since Red Hood and the Outlaws (which continues to be excellent), as well as artist Kenneth Rocafort, who is doing just as a phenomenal job here as he did on that title. These two were just the shot in the arm Superman needed. Supposedly, there are some big changes coming for Superman in January, which will take the series and the character in a new direction. I have to say, I haven't been this excited for Superman in quite a while. I give this comic a 10/10 and it deserves every ounce of the praise. Bring on issue #15!

Artist Kenneth Rocafort also does some stellar work in this issue, particularly in his renderings of Lex, whose diabolical expressions give Hannibal Lector a run for his money. His Superman, as always, looks awesome, as well as the Justice League, who makes an appearance at the end to help out against his assault on H'el. Quite simply, I can't praise this book enough. It went from merely being “okay” to becoming one of the best DC titles, since Lobdell and Rocafort took over. Without any reservations or second thoughts, I can't give it anything less than a 10/10.

Taking over from John Cassaday, Olivier Coipel delivers some truly stunning art in this issue. Being one of the most important titles of Marvel, Uncanny Avengers is tailor-made for an artist of his ilk. I particularly liked his depictions of Rogue and Havok. The former has never looked more like the southern hussy that she is, while the latter is given a certain fresh-faced easygoing charisma that he's never quite had before. This is in stark contrast to his more stoic brother. Those two have some of the best moments in this issue. In fact, this book is filled with so many great character moments that some of the other team books just might start to pale in comparison. This title is finally beginning to find its footing.

Of course, a comic book's writing is only as great as its art. For this new team of X-Men and the strange new world presented to us, no one is more appropriate than Chris Bachalo. His style lends a manga-like quality to the story, which sets just the right tone for the type of comic Bendis is writing. What's great about Bendis as a writer is that he is so adaptable and he makes it easy for the artists he works with to adapt to him. He and Bachalo are a match made in heaven" or hell, from Magik's point of view. While you may or may not expect the last page, given the betrayal by a certain member of the team last issue, you will most assuredly be looking forward to the next issue, as I am.

Magneto also redeems himself somewhat with the team, as he reveals that he has been doing some manipulating of his own" all to benefit mutantkind. Of course, Cyclops is upset with him, but Magneto's plan appears to have worked. This comic is quickly becoming one of my very favorites, because of Bendis' execution of things like this. Chris Bachalo is also continuing to win me over. I must confess that, years ago, I wasn't much of a fan of his unique style. This series, however, has completely changed my mind about him. He's perfectly suited for this book, as his unconventional style meshes seamlessly with what this book is all about. As pointed out in my previous reviews, he brings a very cool and appealing manga-like quality to this title. This team is unstoppable and have both created one of the most exciting and enjoyable comics I've read in a long time.

I suppose only time will tell how this series holds up, but, for now, I'm enjoying it for what it is. Regardless of what this comic turns out to be, this is a great issue all on its own. I'm very much looking forward to seeing young Cyclops confronting his present-day self… and vice versa. I can't help but wonder if Beast's idea will pay off. As for this issue, it gets a very strong 9.5/10 from me. Well done, Marvel!

Stefano Caselli's artwork is sleek and cinematic, as always, giving the look of this title an almost Manga quality, which I find very refreshing to see in an American comic book. He's one of those rare artists whose work is genuinely a treat to see each and every time. He's tailor-made for Spider-Man. While we're getting closer to the rumored game-changer that is to be issue #700 and Spider-Man's 50th Anniversary, it has been quite a thrill seeing Dan Slott thoroughly enjoying himself writing this title. It certainly has been enjoyable for me. His next story arc, once again re-teaming with Humberto Ramos, poses the question, “Who Is Alpha?” I can't wait to find out, because I know it'll be something special. I give this issue a 9.5 out of 10.

As mentioned at the beginning, Humberto Ramos' art continues to impress. His almost manga-like style, while unique, gives a very energetic look and feel to the material. Particularly, when it comes to depicting the impetuous nature of young Alpha.

Amazing Spider-Man #697 is a fine ending to this particular point in the life of Peter Parker… but it's the next three issues that will supposedly have everyone talking. As for this issue, I'll have to give it a 9.5/10. What keeps it from being a perfect 10 is that the ending felt a tad rushed and even a bit unresolved. Still… a good story is a good story. Nicely done, sirs!

These turn of events could very well be a red herring to throw fans off of the REAL surprise of Superior Spider-Man. I certainly wouldn't put it past Slott, as he's been known to throw a curve ball or two throughout his run on this book. As always, I have faith in the guy. He hasn't let me down yet. For now, I have sort of a "wait and see" attitude. All I know is that I haven't been this far to the edge of my seat in a good long while. Well played, Dan.

Artist Paul Pelletier and colorist Rod Reis get better and better with each issue. From the designs and sheen of the Atlantean armor to its architecture, everything connects together under one aesthetic world. Their Atlantis looks like a genuine civilization. Reis' colors are extraordinary, particularly in Aquaman's gold scale armor, which glistens almost mystically in the sun. This duo works very well together and it's easy to become immersed in the world they create. This issue is another fine installment in this series. The reader has a lot to digest here and it might be a bit confusing for new readers, but it hardly matters. It's still a pretty straightforward story that is sure to please fans, old and new. It's still easily one of the best comics out there.

While this issue wasn't quite the story I'd hoped for, it still met and even exceeded most of my expectations, in some respects. I'd challenge anyone to find a better custodian for this character than Gail Simone. This issue effortlessly earns a solid 9.5/10 from me!

So far, Bendis has outdone himself with this story, as well as artist, Sara Pichelli. Her renderings of the characters are nothing short of gorgeous. Never have these characters looked so cool and so classic. While this issue delivered on characterization and making the reader empathize with the characters, it was curiously lacking on any sort of action. I suppose they'll remedy that with the final issue, but it would've been nice to see Pete and Miles taking on some bad guys this issue. That would've made it perfect. Speaking of which, judging from the last page, we should be getting plenty of action in the final issue, as the heroes race to confront Mysterio about his interdimensional tampering. I have a feeling the last chapter will be the best yet. Over all, I'm thoroughly enjoying this series and it looks to be shaping up to be a classic entry in the Spider-Man canon. I give this issue a 9.5/10.

As for the art, Ryan Stegman does a stellar job, with interesting character designs and clean pencilling. Spidey's new outfit is really neat and his rendering of Otto as Peter is amusing. Two words: Doctor. Horrible. As I mentioned, the only thing I had a problem with was MJ not catching on that it's someone else in Peter's body. If anyone should know, it's her. Other than that, I can't find anything to complain about. As expected, I'm in" hook, line, and sinker. Well done, to all involved!

As mentioned earlier, I can't rave enough about Kenneth Rocafort's art. His renderings of alien worlds and beings, as well as his more stylish and modern depiction of Superman is like a breath of fresh air. Really good work by him, as expected. Also very good work by Lobdell. He's just what this title needed. Just what Superman needed, in fact. This issue is a promising start to, what I hope is, another successful new era to the greatest superhero of all time.

This title is easily one of the best of the Marvel NOW! initiative, if not THE best. While Uncanny Avengers is widely considered to be the flagship Marvel NOW! title, one could argue the case for this book. Not since Joss Whedon's Astonishing X-Men has an X-book been this good. Excellent writing, gorgeous art, and a kickass premise. What more could anyone want from a comic?

When all is said and done, this is still Spider-Man at his best and I never want Slott to leave this title. He's the best thing to happen to Spider-Man in a long while. As for the art, this is Guiseppe Camuncoli's most impressive work yet.

The backup stories were not much more than filler for me. The cutesy story with Black Cat seemed a bit pointless and out-of-place and also left me scratching my head. The other one was well-written and may or may not contain clues as to the real Spider-Man's future, but it was ultimately as pointless, as it really didn't contribute much. Certainly not enough to justify the cost of this issue. Over all, however, these minor missteps didn't really ruin my enjoyment of the "final" issue of The Amazing Spider-Man. In fact, I'm very excited to see what Dan Slott and Ryan Stegman have in store for us in Superior Spider-Man.

I've already said all that needs to be said about Ivan Reis and Joe Prado. Their collaboration on this title has produced some of the finest art in recent memory. As they shift over to Justice League, beginning a few issues from now, they will be leaving some very big boots to fill. I can't praise them enough. I'm giving this issue a 9/10, with only it's brevity preventing it from earning a perfect 10. Otherwise, comics don't get much better than this.

While it is anyone's guess where the story goes from here, you can bet it'll be a fun ride. This Aquaman is a no-nonsense and formidable superhero, who demands the reader's respect and admiration. While he is far from the perfect do-gooder and noble king he once was, he is a character that has become much more relatable and world-weary. Rarely has he ever been this multi-faceted. I applaud Johns for what he has accomplished with this book. 9/10

Artist Paul Pelletier really does some amazing work here. On certain pages, the quality of the art is so great that I barely miss Ivan Reis on this book. While that may sound like a backhanded compliment, it's actually quite straightforward and sincere. You can tell Pelletier really gave his all this issue" and it really paid off. I'm glad an artist of his caliber was chosen for this book. With the conclusion of Throne of Atlantis taking place in Justice League next month, this penultimate chapter really ups the stakes and leaves you on the edge of your seat, while also delivering on all of the action, suspense, and great characterization you could possibly want" all rendered in gorgeous detail.

Veteran artist Walt Simonson is as intense as ever, with his epic Kirbyesque visuals that perfectly capture the cosmic gravity of Bendis' tale. It's nice to see him working in comics again and I hope to see more from him in the future. While this issue is a bit of a downer in terms of the fate of Noh-Varr, who once looked to be a successor to Captain Mar-Vell, it is told and visualized very well. As always, it's hard to dislike a Bendis-written comic. What prevents me from giving it a perfect score is what he's done with Noh-Varr… a character I had such high hopes for. I guess that's a testament to Bendis' skill as a writer, as he is the one who made me like Noh-Varr so much in the first place. Mission accomplished. Heart successfully broken. I give this a 9/10.

The artwork in this issue is, quite simply, amazing. Brandon Peterson and Mike Mayhew really put their all into it here. I particularly liked their rendering of Captain America, who has never looked more heroic and realistic, outside of an Alex Ross painting. They brought that extra something to an already great issue. Very nice work, all around. I give this issue a 9/10. Very much looking forward to next issue!

In short, this issue is everything you would want from an Avengers comic. As much as I'm looking forward to Bendis and Stuart Immonen on All-New X-Men, his absence from the Avengers will, most certainly, be felt by me. Aside from the story being a tad predictable, it's still a fun read, done in classic Avengers fashion.

Batgirl is one of those titles that consistently impresses in unexpected ways, as any truly great comic should. It's hard to not like Batgirl. While a lot of fantastical events have happened in this series, there has always been a real down-to-earth quality to the writing, yet Batgirl remains a true hero through it all. A role model to admire. I can't give it a perfect score, because of the misleading marketing… which is more the fault of the company than the creators. However, a good story is a good story. This one earns a strong 9/10. Keep up the amazing work, Gail!

Artist Greg Capullo particularly shines in the main story, from the intense and hair-raising sequence involving the jet engine of a plane to the more intimate moments back at Wayne Manor. He's easily established himself as one of the premier Batman artists with this series. His style is certainly unique and his determined facial expressions add much to the emotional impact of Snyder's writing. While this is the end for Night of the Owls, it's a sure bet that the case is far from closed. This also isn't the end for Snyder and Capullo, who surely have more great Batman stories to tell in the coming year. With the new movie coming up and the future looking bright for the Batman books, it's a great time to be a Batfan. I give this issue a 9 out of 10!

I wait for the conclusion with baited breath and crossed fingers that he hasn't done anything *too* horrifying to any of our heroes. Therein lies my only problem with this story. While it is well told and presented, it's also damned depressing, even for Batman. Perhaps that's the point, but there's only so much darkness a person can take. I have no doubt Batman will be victorious in the end, but what price will he have paid by then? I shudder to think.

Besides doing the cover, artist Greg Capullo takes a break this issue, as Andy Kubert handles the first half and Alex Maleev the second. Both deliver some fine work and I didn't feel distracted by the change in art in the least. James Tynion also helps out Snyder with the writing, which I felt only added to the issue as a whole. What parts are attributed to which writer, I can't really say, but their collaboration worked nicely here. Capullo's cover really hits home.

While there is still a lot to clear up about what is and what isn't canon in the New 52, particularly regarding the Batman universe, Morrison clearly alludes to certain events from the previous continuity still having taken place. which might be sort of confusing to some. As for Chris Burnham's pencils, he does a masterful job at capturing the wacky world of Grant Morrison's Batman Incorporated, as well as depicting everything with great detail. At times, I almost mistook Burnham's pencils for Frank Quitely's. This isn't necessarily a criticism, because I happen to like Quitely's work. It's just an observation. All in all, a fine first issue. I give it a solid 9/10

I'm not sure if any other members of the Batman Family will be making appearances in this arc, but it would be extremely awesome to see Van Sciver's versions of Nightwing, Robin (any version) or Batgirl. In this issue, we are, however, treated to an unexpected cameo by another Batman villain, The Penguin, which was nice to see. In short, this is a promising start to what is sure to be a classic run in the annals of Batman history. At the risk of scraping the bottom of the barrel to find something wrong with this issue, I'm not exactly certain of the chronology this story takes place in relation to the other Batman titles. Particularly the Death of the Family event taking place throughout the other Bat books. Other than that, I really can't criticize much about this issue. It's well-paced, the art is phenomenal, there's an interesting mystery, and the story really draws the reader in. Everything I want from a Batman comic.

Also absent from this issue is artist Nicola Scott, with the more-than-capable Yildiray Cinar filling in for her. While his pencils aren't as detailed as Scott's, they're clean and pleasant to look at. Still, I did miss seeing Scott's gorgeous artwork and I hope her absence isn't for too long. Other than The Flash not being in this issue and Nicola Scott taking a break for a while, I can't really complain much about issue #7. I only wish some of the other characters had appeared. (Where's The Atom?) This title still continues to impress, however, with Robinson's refreshingly traditional, yet clever, new take on DC's Golden Age characters and the beautiful artwork and sleek new costume designs. This issue gets a solid 9/10 from me.

In summary, this is yet another great issue, continuing the excellence that has been a hallmark of Johns' run with this series for the last seven years or so.

At first, I was reluctant to give Simon Baz a chance, simply because I've been used to Hal Jordan as the main star of this title. I still think he should be. However, I can't help but be compelled by the character of Simon Baz, who is shattering all of my expectations and is shaping up to be someone with depth and complexity. This issue gets a 9/10 from me. It teases a lot of exciting stuff to come. Especially that last page. However, I can't give it a perfect 10, due to the Third Army sequence feeling a bit tagged on and out-of-place amidst all of the Simon Baz drama. Maybe it would've worked better as an epilogue or separate backup story. It just sort of interrupted the flow for me. This is only a minor complaint, though. It's still a great issue and a promising introduction to the new Green Lantern.

Artist Doug Mahnke is in top form, as always. His use of size and angle " particularly in an incredible title splash page " both convey a sense of epic galactic scale. His renderings of the horrific Third Army transformations and the hopeless black realm that Sinestro and Hal Jordan find themselves in really make an impression on the reader. It still isn't clear, however, if their ordeal has any connection to what's happening with the Guardians or if it's something separate entirely. At any rate, this issue was a great read and another intriguing installment to this monumental event.

A sprawling epic-scale story such as this needs an equally grand artist. I can think of no one more qualified than Steve McNiven. He works his usual magic here with some enormous splash pages and double-page spreads, as well as some nice character poses. The intro to Gamora, for example, is summed up in a single page, with no help needed from Bendis' writing. The double-page spread that shows the whole group together is also nicely done. Just the kind of bombastic art that this book calls for. McNiven also excels in delivering the more minute scenes of character interplay, such as Rocket's concern for his friend and teammate, Groot, during battle. His collaboration with Bendis promises to be amazing, as does this title. Highly recommended to both old and new fans.

There is a final backup segment, dealing with the character of Essence, that may lay the seeds for upcoming issues. In this story, it is shown why Essence betrayed her mother, Ducra, and the All-Caste to their immortal enemies, The Untitled. This story, also written by Lobdell, is also completely penciled by artist Ario Anindito, who I think would be a decent replacement for Rocafort, when the time comes for him to leave. While this backup story feels a bit tacked on and actually shortens the main story, this is only a minor gripe and really doesn't detract at all from my enjoyment of this issue. This series still remains one of the best DC Comics is currently publishing, despite what you may have heard. I'd go as far as saying it is THE best, in fact. I give this issue a 9/10.

I can't rave enough about Sara Pichelli's art in this series. If this doesn't make her a superstar, I don't know what will. She's already up there with the great Spidey artists, as far as I'm concerned. Her blending of the 616 and Ultimate Universe styles are seamless and her renderings are classic, yet with a cool modern style on its own. Bendis, as always, is tops. The only criticism I have of this series is that it seems things are moving slightly slower than I'd like. However, I have a feeling when the remaining issues are released and I'm able to read the story as a whole, it will all seem more cohesive and I won't notice the pace at all. It's really hard to say anything bad about this, since the premise alone is so awesome. I give this issue a 9 out of 10!

All in all, while this issue doesn't wrap things up as neatly as one would like, it was extremely enjoyable, nonetheless, and leaves things open for a sequel. Which, I suppose, was the point. If that ever does happen, I'll be first in line to pick up the first issue.

Humberto Ramos makes a return to Spider-Man this issue and his unique and familiar style of art is a welcome sight. There's plenty to love about Superior Spider-Man and it's very entertaining seeing Otto try to be the hero he thinks Spider-Man should be. I'm not sure how long Slott plans to have things stay the way they are, but I think it will go down as one of the classic periods in the history of the character, if not the strangest. I have to admit that I can't wait for Peter to return to his rightful place, but, until then, I'm enjoying what Slott is doing with Otto. By the end, I just might even miss him when he's gone.

Bendis did a great job in showing Scott's internal struggle, as he considers his friends' words. Artist Stuart Immonen perfectly captures the action and pathos of the characters, striking the perfect balance of both the epic and personal. With the X-Men of the past due to confront their future selves, it should be interesting to see how they act towards one another. Especially Cyclops. Bring on issue #4 as fast you can, Marvel!

Above all, this series has been about character and plot development, rather than pure action. This is typical with most of Bendis' work, save for the curiously devoid of barely ANY development over in the concurrent Age of Ultron series. Here, his expert prose is in full effect, as well as this title's sister X-book, Uncanny X-Men. His characters ring true, especially both versions of Cyclops, and they're sufficiently conflicted, yet resolute and true, in the classic Marvel tradition.

All in all, this was a great prelude issue, as well as serving as a template for upcoming arcs. I'm very much looking forward to seeing Orm again, as well as more members of Aquaman's supporting cast, which is hinted at in this story. I do miss Ivan Reis' art on this title, but I'm fine with him taking over Justice League. I have to admit, I'm not familiar with Paul Pelletier's work, but I'm certainly willing to give him a chance. I trust Geoff Johns on this title and I don't see that changing anytime soon. This issue gets a hearty 8.5/10 from me.

Walt Simonson's larger-than-life art is as excellent as always here. There's something different about it, though. Not a criticism, just an observation. Maybe it's the colors? The inking? I don't know. You can still tell it's him, though. Very cool art, particularly during the Utopia scenes. While I wish there had been a little more action, I did enjoy this introspective issue very much. It's always nice to know what drives a character and Bendis depicts that very well here. I give this issue an 8.5/10.

My only criticism is that the issue does feel a bit rushed. However, I realize the writer can't always be faulted for that, since they only have so many pages to tell their story. With Bendis' tenure on the Avengers books winding down, I would imagine that he wants to cover a lot in the short time he has left. I, for one, will be sad to see him go.

It's clear Hickman does have a plan here, with characters beginning to show what roles they'll be taking and how the team will be operating from here on out. It's ambitious enough to seem fresh, while retaining everything uniquely Marvel. I'm really looking forward to seeing it all unfold.

This is the last issue of Simone on Batgirl before she takes a break for a few issues. I'm not sure how the guest writer is going to be, but I will certainly be counting down her return. This title needs her. As for this issue, I'll have to give it an 8.5/10. My rating would've been higher if just a little more time had been spent on Babs' Oracle days and had Benes pencilled the issue entirely, but the other guys did a great job. Great issue, all around!

So far, I'm really enjoying this new team's direction on this book. As good as the other Bat titles are " especially Scott Snyder and Greg Capullo's book " this is probably the most "pure" Batman series of them all. Other than the exclusion of Batman's extended crimefighting family (Nightwing, Robin, etc.) this is eveything I want from a Batman book: a great detective story, in-depth character analyses, a classic depiction of Batman and his world, and realistic dialogue. I highly recommend all Batman fans pick up this comic.

Artist Ethan Van Sciver can do no wrong when it comes to Batman. I really love how menacing his Batman looks, as if he is almost literally half bat and half man. He really sells the grim and gritty Batman look here. The Mad Hatter has never looked so gruesomely" well, mad. His look is very much keeping in line with Hurwitz' origin story. Having some experience in professionally dealing with mental patients in the past, I have no problem in believing the reason for his psychosis and appearance. In summary, this issue does not disappoint. I urge all Batman fans to pick it up.

While not the best issue Johns has written, it does open some exciting new possibilities and that last page is killer (literally).

I can't really find much to complain about here. It's Geoff Johns, who automatically elevates this book to an above average read. What can I say? The guy's a master storyteller and it looks like he's delivering on all expectations of giving the fans who have stuck with him all these years an exciting conclusion to his run, as this story appears to be returning Hal Jordan to his former glory. A perfect way to bring things full circle. 8.5/10

This is actually more of a setup issue for next month's (sure-to-be) grand finale. Still, it's a fascinating character study, just the same, as Sinestro prepares to make the ultimate sacrifice and Hal's willpower is tested for, perhaps, the final time. Johns is a master of his craft, especially in conveying so much is such a short time. I was hoping Doug Mahnke or Ethan Van Sciver could join in Johns' final issues, but artists Ardian Syaf and Szymon Kudranski did an impressive job, particularly in depicting the nightmarishly dark realm our heroes find themselves trapped in.

The only criticism I have with this issue is that it felt a bit rushed at times. As I've said in other reviews, however, I realize that a writer is given only a certain amount of pages to tell a story. I would imagine that it's no easy task to simultaneously write a tie-in issue that references the main story and also tell a self-contained story dealing with that particular book's titular character. Kyle Higgins does an admirable job doing just that in this issue. Still, I want more background info about Dick Grayson and those new revelations. Without a doubt, all of it certainly left me looking forward to next issue! I give this issue an 8.5/10!

The book needs more consistency in the art department. Regardless of this, Nightwing is shaping up to be a terrific title that fans of the character have been waiting for.

Great storytelling and characterization, good balance of humor and drama, nice art from Ramos, although it's become tiresome seeing Peter's ghost floating idly.

As I mentioned about Kenneth Rocafort, his work is always amazing and this issue is no exception. In a short time, he's become one of my very favorite comic book artists and I think he's perfect for bringing new life to Superman and rendering the fantastic alien worlds, characters, and landscapes that Superman stories call for. I very much look forward to he and Lobdell's collaboration on this book. While this issue is an origin story of sorts, it also sets up some intriguing story arcs to come. Especially that last page, which should leave plenty of fans with fervor and anticipation. My only problem with the issue is that things weren't as neatly wrapped as I would've liked. As a prequel, it does work in a lot of ways. As a self-contained story, it sort of seems to ask more questions than answer them. Still, it's an extremely enjoyable read and it certainly has me pumped for future issues. I give it an 8.5/10!

Artist Chris Bachalo is at his epic best here. His redesigns of Cyclops and Magneto will take some getting used to, but his manga-like style is infectious, lending a cinematic quality to an already exciting premise. I hope he stays on here for a while. One wonders how many more mutants Cyclops will recruit before someone catches up to him and his group of revolutionaries or if anyone will be able to stop them at all, but there's no doubt that we're in for a real treat, either way. This issue gets a solid 8.5/10. I expect great things from this series.

All in all, though, this issue was a solid read.

Sholly Fisch's backup story, about a man who allegedly designed and sold the first Superman t-shirts, doesn't really have much at all to do with the main story, but is an interesting read, just the same. It kind of makes you look at those Superman t-shirts you see on display in department stores in a new light. CAFU's artwork very nearly outshines the art in the main story that it's almost a shame the rest of the book wasn't pencilled by him. No offense to Morales, who is a fine artist all his own. It's just that I enjoyed CAFU's artwork a little more this issue. All in all, this issue was a very enjoyable read, which presents some fresh ideas and asks some weighty questions. I give it a solid 8 out of 10.

As with many #1 issues, this one suffers from being nothing more than a setup for the title. Now that we know the deal behind it, #2 should give us a better idea of what to expect from this series. As it is, the premise is intriguing enough to follow. It also helps that the very capable Stuart Immonen is handling the artwork. While this issue doesn't really have a chance to showcase Immonen's signature action sequences he's best known for, his pencils are still very pleasing to the eye. With the talent behind this concept, I expect great things. This is a promising start to a promising series. 8/10

All in all, this issue doesn't really serve the current “Dying Wish” storyline in Amazing Spider-Man, but it is a good start point for readers looking forward to the new Morbius series and should satisfy fans of the character, even if they don't plan on picking up his new book. We all win. 8/10

The real treat of this issue, though, was the dialogue. As mentioned earlier, the welcome home party for Janet was filled with humor and a lot of relatable, human moments that really showed this team as a family, more than anything" even if it is sometimes a dysfunctional one. It's here where the writing truly shines, as it has always been with Bendis. As I've mentioned in my previous reviews, I'm going to miss him on this title, as well as its sister book, New Avengers. I look forward to seeing what he can do with the X-Men. Farewell, Mr. Bendis. It's been fun.

With as much as there is going on, Simone actually does a very nice job of providing all of the information and critical elements to this chapter of the story from Scott Snyder's outline in the main Batman title, while simultaneously making the story fresh enough to stand on its own. That's why she's one of the best writers working in comics today.

Daniel Sampere continues to improve with each issue and this one is his best yet. His facial expressions and clean, traditional style is refreshing and his action scenes flow well. The four inkers helping him out do a lot to improve the look of the pencils and add just the right touches, as it all could have easily gone wrong. The colorist, Blond, also does a phenomenal job, balancing just the right amount of shadows and hues. I was fully prepared to hate Fawkes' brief run in Simone's absence, but he's actually managed to fill in quite nicely, creating a compelling and fascinating story. He's a writer to watch and his two issues on this title should get him noticed even more. 8/10

When all is said and done, this is a satisfying look at the early days of our heroes, though the main story isn't as self-contained as I would like it to be. Still, that's only a minor complaint, as I'm sure the followup will be coming very shortly in the pages of Batman and all related titles. A very enthusiastic 8/10!

The only problem I have with the story is that the reasoning for Sloane's name change to Mr. 8, rather than Mr. Terrific, seemed a bit needless and random. I'm also not really a fan of his costume, which is nothing special. He actually looks out-of-place next to the other heroes… which, I suppose, is the point. Otherwise, the designs and artwork by Tomas Giorello are all perfectly fine. He gives the characters the appropriate look, in line with series regular artist Nicola Scott's depictions. The cover by Ivan Reis is gorgeous. All in all, this is a great lead-in for future stories, as well as a welcome glimpse at the days before Earth 2′s new dawn of wonders. I give it an 8/10.

While it seems this series is still finding it's footing, I know it's in great hands with Robinson and Scott. So far, it's been an absolute blast!

All in all, this is a perfect start to a promising new series that will, hopefully, flesh out even more. I see lots of potential, no doubt about it. I'm hoping they all come together soon as a real team and it'll be interesting to see what their next challenge is. I plan to stick around.

Despite this, however, Robinson's writing is top-notch and he's injected each character with their own distinct personalities. Artist Nicola Scott makes her welcome return this issue and her work has never looked better. Her style lends an iconic and mythical touch to the characters, which suits this series well, as Earth 2 is more magic-based than its counterpart. As mentioned earlier, this issue is a return to form for this series. I only wish Robinson would speed things up a bit and bring the team together. 8/10

Over all, I enjoyed this issue a great deal. We're introduced to some interesting new characters and it also expands upon a lot of things from previous issues. It isn't a good jumping on point for new readers, but it doesn't really matter. If you haven't picked this comic up yet, chances are you're never going to. I, for one, am glad I've been reading it.

I can't find much wrong with this issue, other than the curious absences of Green Lantern Alan Scott and Hawkgirl, among others. By now, they should all be a team. It'd be nice to see them all in one book together, for a change. It hardly matters, though, since this book is put together so well.

The only criticism I'm giving this issue is that both stories suffer from forcing the other to be shortened. Perhaps it would've been better if they would've just given Shazam his own comic, rather than putting him in backup stories in Justice League. Still, there isn't much to complain about. It's all being rendered so beautifully that it's easily forgiven.

Speaking of which, Johns and artist Gary Frank deliver another top-notch chapter in the intriguing origin tale of Billy Batson, before he becomes Shazam. We are also re-introduced to Shazam villain, Black Adam, in the New 52 Universe. He appears to be, more or less, the same character we're familiar with from the old DC Universe, with his costume reflecting basically the same changes as Shazam's, save for the difference in color. As I said in my last review, it seems as if Johns is taking his time in developing this story and perhaps it might work better if he had just been allowed to give Shazam his own book. However, I can't complain too much, since the story is just so darn good, anyway. All in all, this series continue to be one of the better DC titles and a real treat to read each month. I wish I could give it a perfect score, because there is a lot to love here… but the stories just seem a tad too short. Instead, I give it a strong 8/10.

On top of all of the shocking revelations contained here, we are also treated to some brief previews to upcoming stories. The new Justice League of America series looks exciting, but the one I'm probably most excited about, though, is the first meeting of Superman and Shazam (formerly Captain Marvel in the old DC Universe) and, what looks to be, a knock-down, drag-out between the two. Should be fun! 8/10 for me.

All in all, another extremely enjoyable issue, even though the main story was mostly fighting. Which is not necessarily a bad thing in and of itself. Sometimes, you need your superheroes to do nothing but throw down, I guess. I still say Superman should've been able to put up more of a fight against Orm. Come on, Geoff!

The Shazam backup story makes a welcome return this issue, as villain Black Adam continues his search for the old wizard's new custodian. Johns brings the characters to life very well and Gary Frank's art is truly something special. As this chapter sets up the first true confrontation between Shazam and his arch enemy, Black Adam, it looks like we are finally about to see just what kind of hero Billy Batson is. Nothing to complain about here.

I have to admit that it's going to take some getting used to some of the new costume designs for certain characters, such as Havok, Scarlet Witch, and Rogue. While the changes aren't necessarily drastic, they're noticeable enough almost to the point that they're unnecessary. I know I'll get used to them, though. I mean, I don't hate them. It's just that, at this point, I prefer their previous looks. Still, Cassaday is a talented artist and I look forward to reading this series with both he and writer Rick Remender involved. Regretfully, I'm not as familiar with Remender as I'd like to be, but I have enjoyed what I've read by him. As with many #1 issues, this one isn't perfect, as the book is only beginning to find it's footing. However, it does introduce many intriguing notions and has me very much looking forward to Marvel NOW!

Rick Remender does a solid job in his first arc and artist John Cassady brings a super-detailed, surreal world to life. I love that the cover is an homage to Uncanny X-Men #141, which I thought was a nice and fitting tribute. Despite this first story being a tad bit depressing in its bleakness, I still enjoyed it immensely. If this first story is any indication of what is to come, count me in for the long haul.

While this issue doesn't always succeed in delivering everything I want out of a Superman comic, it does open some exciting possibilities and is still one the best titles DC is publishing.

Artist Bryan Hitch continues to display a cinematic quality to his work, which is perfect for a story like this. His ultra-detailed style and sprawling panels perfectly capture the grand scope of this story. So far, while everything sort of has a “been there, done that” feel to it, it's still an engaging tale, nonetheless. What's good about this event series, though, is that it's ten issues long and Bendis has plenty of time to let the story unfold. As this is only the second issue, I wouldn't expect much to be explained or even come close to being resolved, so we should probably remember to give him some leeway. It'll be interesting to see exactly how things are set right again, as this is obviously not going to be the new norm for the Marvel U. So far, color me intrigued. 7.5/10

While this was really only a minor criticism, the issue was still enjoyable. Amazing, in fact. It was great to get a continuation of Batgirl #9 and I actually hope to see more of this Talon in the future, as well as Catwoman playing a more heroic role. I just sort of missed Batgirl this issue. 7.5/10

Artist Doug Mahnke does a superb job, as always, particularly in his renderings of Baz and his unconventional costume design. The coloring also adds a lot of cool sci-fi flavor to the mix, which fuels the imagination. It is this sense of wonder that had been missing from the title as of late and what made this issue work so well. With the addition of B'dg and an exciting new Green Lantern, I'm even more invested in this title than ever. I only hope that Hal and Sinestro aren't gone too much longer, as I feel they are still very much relevant to this book. Especially Hal, as I've been following him loyally since Green Lantern: Rebirth. As it stands, even though this issue didn't work for me as a conclusion to Rise of the Third Army, I'm still very satisfied in the direction it takes us.

Kenneth Rocafort's art is perfectly suited for this sort of storytelling. He's become one of my absolute favorite artists and his work here has been exceptional. As much as earlier artists like Curt Swan and later artists like John Byrne and Dan Jurgens presented definitive and iconic depictions of Superman for their particular eras, I do think Rocafort is well on his way to becoming the iconic Superman artist for *this* era. At least, in my eyes. I hope he stays on for while, as well as Lobdell. While the earlier part of this review makes it sound as if I didn't enjoy this issue, I actually *did* like it a lot. Despite mishandling Supergirl for the majority of the story, he did sort of set things right in the end. His Superman is phenomenal. For this reason, I give this issue a solid.

So far, I really like where this series is going. There is certainly great potential for it to have a good long run. I only hope the Avengers/X-Men ratio balances out, as far as exposure and characterizations go. I'm more than willing to stick around to give it a chance. There's just enough inventiveness to intrigue me, so I suppose it's working. As this was the first title published under the new Marvel NOW! imprint, I'd say it's a perfect representation of what that initiative is all about. I give this issue a solid 7.5/10. Now, bring on issue #3!

This issue has a ton of action and John Cassaday's art continues to amaze in its detail. While his work here isn't quite as satisfying as it was on Astonishing X-Men a few years back, it's still very pleasing to the eye. I can definitely still appreciate his style. To sum it all up, this book still has my full attention. Despite the pacing problems and the unconventional narrative style, this is a book I plan to stick with. Now lets see just what this team is capable of. 7.5/10

While this issue isn't the usual masterpiece I've come to expect from Dan Slott, it was still an enjoyable read, despite the problems I had.

The biggest praise I have for this book, though, is artist Aaron Lopresti, who has truly come into his own on this title and continues to do so with this issue. It's hard to see where it's headed, but I sincerely hope DC gives this book time to become the great comic I know it can be.

Artist Kenneth Rocafort again does a masterful job on this title. As with his work on Red Hood and the Outlaws, he's perfect for this sort of book, which requires otherworldly settings and beings. His rendering of Superman is still one of the best in recent years, particularly in The New 52. He and Lobdell make a formidable creative team on this book. While this issue wasn't as enjoyable as their previous installments, I still find Lobdell's Superman a refreshing change of pace and Rocafort's art is impossible to dislike. I only wish somebody knew how to write Supergirl as something other than a clueless idiot.

Artist Kenneth Rocafort takes a break this issue. The three artists in his stead, Aaron Kuder, Tyler Kirkham, and Robson Rocha, filled in adequately, with varying degrees of quality. I did miss Rocafort's unique style, though, and was a bit disappointed at his absence here. Hopefully, he'll return soon, as I'm afraid this comic suffered just a bit in the art department. Not to say that the artists featured aren't talented. They're certainly more talented than myself. I think I've probably just been spoiled by Rocafort's quality of style. Still, this was an enjoyable enough issue and I'm still in it for the long run. The intriguing story possibilities presented in this issue are hard to dismiss. For that alone, I have to recommend this comic.

All in all, a promising preview of things to come.

As I said, I will reserve final judgment until this series is over. I certainly won't give up on it after three issues. However, I do hope that the pace picks up a bit and we finally learn a bit more about this world. It would be a shame if we didn't, since it is so intriguing. Bendis has an uncanny knack for building character relationships, so I find it a bit odd that he's foregoing the potential goldmine of possibilities here. Perhaps it is his intention to eventually explore deeper into this world and its characters" we'll see. As of now, though, I've gone from being thoroughly interested to almost completely apathetic. Thankfully, we're not even at the halfway point. Plenty of time to make up for it. Please don't disappoint me, Mr. Bendis. You've done right by me so far. It'd be a shame if that ever changed.

One aspect I can praise without question is Bryan Hitch's art. His work contributes significantly to the enjoyment factor of this series, as he lends a movie-like quality to the proceedings. There are few artists able to lend a sense of epic scope to a story like this and Hitch just happens to be one of them. I only wish the story was able to provide him with more to work with. I still enjoy Bendis' work, don't get me wrong. It's just that I know he is capable of more than this.

While the story is only so-so, Walt Simonson's art continues to impress. Particularly his action scenes and a gorgeous two-page spread that he can draw in his sleep. Despite not being wowed with this issue, it is far from horrible.

Despite what did work about this book, I don't think it'll be enough to keep me on board. Of course, I could very well regret dropping this comic, but I can't justify paying my hard-earned money to repeatedly be disappointed every time a story arc ends. As it stands, I can only give this issue an average score of 6/10. There was so much potential for this story. It's a shame we'll never get to see it.

While this issue wasn't the best, it wasn't terrible, either. Fawkes is talented, but I can't help but feel behind-the-scenes editorial decisions may have hurt his story a bit, so he probably isn't completely at fault. As a result, this issue is merely okay, not excellent.

This issue does, at least, maintain the sense of originality that has made this series work ever since its inception. It's just that I expect more from James Robinson than what this issue offered. Oh well. You can't win 'em all, I guess.