Great art, fun scripts. Again, not going to crush any preconceived notions of the Marvel U., but it should prove to be an enjoyable series enough to keep me entertained.

Bendis and Hitch have definitely piqued our interests and has promised us this isn't going to be without some pain and suffering – in the best possible way they could.

Again Bryan Hitch's art is stellar. Every image is cinematic. You can see it framed on a movie screen. Every close up and every wide angle just feels like we're watching a film play out in front of our eyes. People can say whatever they want about the pacing, but I'll be damned if anyone will say the art isn't visually stunning.

All joking aside, the reveal at the end, though not greatly shocking in retrospect, still had a good surprise punch that already has me salivating for the next issue.

The series has done a great job of building the world and setting us up for a second act that should now take us into some big action and I simply can't wait for next week.

This issue marks the end of the line for Bryan Hitch as artist. I gotta say that he'll be missed quite a bit. Brandon Peterson is nothing to sneeze at, but, even in this issue, Hitch managed to make a mostly conversational issue still feel epic. Again, I point to the gratuitous Ultrons blasting Austin thing, but Hitch pretty much goes for the gusto in that two page spread. Even the last page with Wolverine is foreboding and bigger than life – and it's a pose we see from Wolverine all the time in comics and sketches. What Hitch did with these first five issues is probably something no one else could have done. He simply carried us through the first half when the pace was deliberate and slower. Hitch built this rich world that looked like it belonged on a movie screen. Now, let's see what Peterson can do with the action!

The second half of the series is well underway and I'm really curious to see where we're headed in the is time jumping adventure!

The second chapter of this book is penciled by Marc Sandroni and colored by Andrew Siegel. This is a complete opposite look than Laroche's parts. Sandroni, who definitely hit a home run with Dames, again is up to his old tricks of matching the style with the times in which he is depicting. This whole section looks like it came straight out of a 1960s Spider-Man comic. It's bright and the characters are smooth and attractive. They've not lost their innocence completely and become twisted yet. Siegel's palette shifts from the darker tones of Feecs' and opts for lighter, brighter tones of the greens and yellows. Even the nighttime scene with Dodger and Carla doesn't look as dark as the daytime scenes in Laroche's chapters. It's a great contrast that really helps the reader shift from the bad times to the good and back again.

So, what we're left with is a book that's stuck in no man's land of doing what these books are supposed to do, but covering ground well covered before.

All in all, I have to say that I loved the idea of mixing Jonah into Gotham's past with a pinch of Jack the Ripper. Some might see too many close comparisons to books like From Hell with the secret society angle, but I'm definitely a sucker for this type of thing. So, to answer my opening question – my excitement was paid off in spades!

On the El Diablo side, Palmiotti and Gray are reunited with their former Jonah Hex art team of Jordi Bernet and Rob Schwager. It's good to see the four of them working together again as it brings back the memories of the extremely well written, drawn, and colored Jonah Hex series. Anyway, looking at El Diablo's first adventure in the new series, I thought it was pretty cool to have a zombie story that takes place outside our usual preconceived notions of what a zombie story would be like. Throw in the idea of what El Diablo is and how Lane has to be unconscious for El Diablo to do his thing, and you've got an all around interesting story.

Three issues in, All Star Western still sits right near the top for all the DC New 52 for me. It's like DC just wanted to reward me by giving some of my favorite characters in their whole line a chance to shine. Not only that, they asked the only writers I would want on the title to continue to produce these awesome stories.

Four months in and All Star Western still sits right near the top of my favorite DC books of the New 52. It's an all around fun book to read and just about as entertaining as any other comic out there.

While this issue travels into more weird territory than what we've seen to this point, the issue is still very fun and gives Hex a lot more than just tracking and killing bad guys. While the backup is a bit generic in origins, the Barbary Ghost is also working as a new character with a lead that is not your typical western heroine. Overall, it's still a very fun issue and should please most fans of Hex and the genre.

This backup story, much like the El Diablo story in issues 2 and 3, is short, but there's a classic feel to it. These types of quick hit stories was a staple of old DC and Marvel anthologies of the 70s and early 80s. While they aren't as deep or decompressed as the comics we read these days, they give just the right amount of story and action in their fast paced format to be entertaining. I guess a good way to approach a back up story is to not expect anything that would be on the same level as the main story. They are short format for a reason and they are written to be just that – quick and fun. Phil Winslade's art in the Barbary Ghost story is not only fits the story well, but also fits the series too. It looks like it belongs in All Star Western, but it also fits the art style of those old anthology books. That makes the entire series feel like I've gotten a box full of old western books and it makes the experience reading it all that much more fun.

The Nighthawk and Cinnamon backup written by Palmiotti and Gray and drawn by Patrick Scherberger is a great little introduction to a character that new readers may not know too much about. Combining both the main story and the backup, All Star Western is a book I feel is every bit worth the $4 price tag. Maybe if you aren't sure about the genre or don't have a long standing knowledge of Jonah Hex, you might flinch at the price, but fans of this section of DC's line or of Hex himself can't help but be in love with this series.

From front to back, All Star Western is a joy to read every month. Next month, Jonah mixes it up with the Court of Owls as the series ties into the Bat-Family books!

And now Tallulah Black is back and certainly going to be handful for Jonah in the issues to come.

In the backup, we meet Bat Lash for the first time in the New 52. This story is just a one parter, but sets up his personality for a future appearance in Jonah's side of the series. In this story, Bat details how lucky he is to be as handsome as he is. He cavorts with women – often sleeping with more than one at a time, and sometimes those girls are twin sisters. He's a particularly skilled gambler with a silver tongue. However, things may have run afoul for him when he returns to town to find one of the twin sisters he partied with nine months earlier pregnant. His explanation of how he cannot be the father is written well by Gray and Palmiotti and Jose Luis Garcia-Lopez' art is spectacular. Bat Lash might be a dandy, but he's a damn fun character to read.

In “The Haunted Highwayman”, Palmiotti and Gray are joined by Scott Kolins for a re-imagining of Dr. Thirteen. This is a drastic change from the classic character who always existed in present day DC. Moving him to the All Star Western era is a pretty cool idea. It allows for more of a paranormal slant in the western genre and with Dr. Thirteen a Steampunk character seems to fit nicely. It's very cool to see this type of story featured in the genre. Plus, Scott Kolins is always an artist I like seeing stuff from.

The dialog and pacing problems aside in both stories' conclusions, this book still shines for one reason alone… Tallulah Black. That first part of the Hex story is so damn cool that if you were charged $4 for just those pages, you'd come away pretty happy.

Where the issue does excel is in the spirit of the book. I said it before, and I'll say it again" This is a celebration. It's all about Peter Parker. It's a race against time that, even though you may have pre-conceived notions or heard leaks about what might happen, you still find yourself thinking Peter is going to get himself out of this nightmare.

Hopeful anticipation for a great first arc has dissolved into concern over whether this book, the book that is the flagship of the new Heroic Age, will truly return the team to great adventures with plenty of fun moments.

I'll stay positive and look forward to #7 regardless of the uneasy feeling I have in my gut.

Overall? I like what I'm seeing from this arc and hope there's more to come.

So, that's it… This is flat out my favorite issue yet of the series and it looks like the story is just getting warmed up.

That's a real disappointment too… I really thought something was in the works after the last issue.

Overall, a fun issue full of those old timey team up feelings. We also have a set up for a big throwdown between some super-powerful characters, so we should be seeing some serious action in the next couple months.

It's probably no surprise to many that Thanos has shown up. It's probably a foregone conclusion that the battle will only intensify going into the next issue. Either way, this arc is really hitting the right notes for me. I'm really looking forward to seeing the final battle!

I got two Marvel.1 issues this week and I have to say both of them knocked it so far out of the park that you better test these issues for steroids.

Overall, if you're looking for action connected directly to Fear Itself, you might want to skip this one. Regular readers of the series will likely be mixed. I fall on the side that marginally recommends the issue, but not without some thought to what the person I'm talking to about it is looking for.

I'm just leaving it at that for this review. I don't need to go into my disappointment with the art because, honestly, it's not as big of a problem as the story itself.

In the end, nice and sweet story falls short compared to much deeper issues in this series.

I just don't have much more to say about this issue. It's not good. It's not as completely painful to sit through than issue #16, but it's so flat that it becomes almost inconceivable that this was the premiere characters from the premiere event doing primarily not much. Series like Fear Itself: Spider-Man, Secret Avengers, Fear Itself: Youth In Revolt, and even Fear Itself: The Home Front focus on character. Those series show us how our characters are emotionally holding up to the threats and fear. Even New Avengers offered some characterization. This arc seemed to force the talking heads down our throats as a way to push character and emotion. It didn't work. At all.

To be perfectly honest, if I wasn't a complete nut for the Avengers (a nut who has every single issue except for 5 issues in the entire run), these past six to eight months would be enough for me to quit. This book, and it's brother, The New Avengers, isn't any good. Cap is right, a change is needed. Marvel, I'm looking to you to save your flagship title.

I hope this is the first of many steps to elevate the book to the place it needs to be. This team is far more experienced and better than the New Avengers team and they need to just prove it now.

After all this, the book does set up a great upcoming battle, much like New Avengers did last week. I'm beginning to think that this last year of Bendis on the Avengers is going to shape up to be a great one. (And don't you think for a second I won't be addressing his departure in the future.)

As far as the art goes, Daniel Acua steps away from this issue and Renato Guedes takes over. This Superman alum is exactly the artist I wanted to see in this series. He's got a solid foundation in the superhero genre and his work kinda takes me back to the style I remember as a kid. His gray Hydra Hulks evoke Jack Kirby's style ot expression and form. There are a couple shots in this book that covers both the more contemporary style (Iron Man capturing Protector) and the classic poses of the Bronze Age (Vision leaving the Quincarrier to battle a giant H.A.M.M.E.R. agent). I know I'm about to see one of my all time favorites in Walt Simonson stepping into the series to do an arc in just a few short months, but if the future of the Avengers is going to be looking for a more regular artist, my vote would go to Guedes. He really shines in this issue from that classic style that I've been yearning for in this series.

The arc is still what I've been looking for as far as the Avengers facing a worthy foe, but I never thought I'd ever see the Avengers' public image get tarnished so easily and so completely that their real foe is the American people and not a madman threatening lives or the safety of those same people. To top that off, to have the President actually willing to “try to make it work” is flat out unacceptable.

I still hope there's a future for Acua on something Avengers related. While it is very stylistic, there's a look to it that just makes it that much more exciting.

This issue is a great return for an old friend. Welcome back, Vision. You've been terribly missed.

There are few creators more closely tied to a run on any series in history than how Simonson is tied to his Thor run. When I discovered he would be working on this title, I nearly passed out. Now that his arc has come, his art doesn't disappoint. He brings his unique style to each character.

I will say that what is in this book is good, but I will reserve a full judgment until the other series completes its run for the AvX stories.

However, this story suffers from Remender's beating it to the punch of having these same characters doing different things in the same location. These two stories couldn't be any different. If this story had come first, then you could write off Remender's story as being the new guy to the franchise and therefore maybe not as well versed in what's going to happen in the larger event. You might still be able to say that, but these books are so different, I'm not sure which one to hold in the canon of Avengers Vs. X-Men. Considering how well I've enjoyed the big event as a whole, this whole thing is rather frustrating and makes me wonder how the editors would allow these two stories to exist.

This issue also features some great art from Walt Simonson with a huge boost from Scott Hanna on inks and Jason Keith on colors. With the way that Bendis wrote this issue in a slightly more prose style for half the issue, Simonson is getting the chance to really show what he can do as a storyteller. This issue just proves why Simonson is a true master and one of my very favorite artists ever.

All that being said, is this issue good? If you look at this specific issue without thinking about the issue over at Wolverine and the X-Men, this story does work. It's got a clear plot that isn't too muddled by dialog (though I totally admit that Hawkeye talking about all the chicks he's hit on during brainstorming sessions as to how to not lose a war against cosmically powered X-Men isn't a great idea) and has a lot of great work from Walt Simonson. His battle scenes are spectacular. If you didn't read the Wolverine and the X-Men issue, then you likely won't have the same problems I did. But if you did read both issues, you might feel a little ripped off, for a lack of a better term.

Yeah, I agree Mr. Neggy… It's a little unbelievable that we also have to listen to these two people needing to either screw each other or break up while they take out your army and punch you in the face. Talk about rubbing salt in the wounds.

The book is beautiful as well. Brandon Peterson and Mike Mayhew provide the pencils while Jason Keith colors. It's slick and very well laid out. It's easily some of the best artwork this series has seen. Coupled with a really well scripted first part of this final arc, Avengers #31 looks and feels like it's the start of a really great story for Bendis to ride out into the sunset.

From the two artists on this book, Mike Mayhew and Brandon Peterson, this last story is certainly a good looking one. Every page and every panel is gorgeous. You really couldn't ask for a better duo to tell this story for this final arc. It's really everything you should expect from an Avengers comic.

One issue remains and everything is shaping up to be a very nice finale.

Gabriele Del'Otto steps in with beautiful art for this annual. It's dark and moody and while he didn't have a great deal of action in this book, he didn't really need it. His art tells the story well and gets the point across that the Avengers are targets from within as well as without. It's definitely much more of an art piece than most Avengers books and just a joy to look at.

The series is not without an intriguing idea or possibilities. It's not even without a big name on art like Adam Kubert. However, when the art is even mildly disappointing and the stand alone issues seem to buckle under their own potential, it signals a troubling trend that may push this series in a wrong direction.

This issue is one of the better issues of the series, but the problem is the pacing. It's been six issues and we've not been moving too much toward any real plot. Again, we've had a three-part arc followed by individual character-driven issues. We have a pretty neat cliffhanger, but considering how much the characters are sitting around and talking, standing and talking, and eating and talking, it's really betraying the pace of this book and is more approximating to what it must be like to be an Avenger on an off day than any serious build toward this cosmic event.

Dustin Weaver, who has given this series all of its covers so far, takes the art duties for this issue. While he does a great job with the characters, and has a couple really fantastic pages/panels (one in particular is the last panel with the Avengers standing over the new Starbrand), there is something that you don't get to really talk about in an artist's work very often that is definitely on display here. Weaver's design work is incredible.

It's safe to say that even if you're not liking what you're seeing in this book, or having a hard time, following the story, at least you're getting some wonderful eye candy. If you are digging this book a lot, the art is nothing short of the cherry on top of the sundae.

The one thing this series has not be short of has been nice art. Dustin Weaver's stuff has been fantastic in this arc. For this particular issue, he's getting an assist from Mike Deodato and together they do some very wonderful things. However, all this lovely art, while keeping the reader excited and engaged on a more visual level, can't always carry every issue. I'm not asking for a less complicated story, but to have at least a little clearer focus would be what this series needs most.

It's hard to recommend this book to any casual reader, but I think if people gave it a chance for either the story, or Gage's characterizations, or Mike McKone's art, they might find that this is a fun book that is certainly endearing.

It's great to see Christos Gage and Jorge Molina together again. They seem to work very well with one another. One of the things I always liked about the duo is that they make every panel count. What I always have seen from Molina's art is that he has a fantastic form that gives each character he draws their own look. So many artists rely on different hairstyles for characters to make them different enough. Molina uses facial features to differentiate characters and that makes him one of my favorite current artists.

For anyone struggling with Avengers and New Avengers, I strongly recommend checking this series out just because it's actually going someplace and not nearly as tedious.

Christos Gage's understanding of his characters is astonishing. He knows how to tell the right story with the right amount of mood and heart. When Hank tells Jan that he has to learn how to live without her, you can feel and believe it. What began with a smarter, more patient, more capable Hank Pym in The Mighty Avengers, has continued with just as much fire and intelligence in Avengers Academy.

In all, any fan of comics who like good, honest character development should be checking this book out. It's layered and interesting and full of characters that are easy to like, dislike, and identify with.

The real emotional impact of this issue is, though, is in the fight scenes between Finesse and Taskmaster. Taskmaster has long been Gage's ace in the hole. Under Gage's pen, Taskmaster has been more interesting than he ever has been. He's opportunistic, thirsty for knowledge, but we learn he's got a major issue that is nearly debilitating. In fact, in just a couple word balloons, you can feel Taskmaster's pain knowing that as good of a fighter and trainer he is, his memory is slipping every time he learns a new person's techniques. To see such a selfish character pause and admit he hoped to remember Finesse was a very touching moment between two characters almost devoid of that kind of impact.

Really the only thing that is misleading about this issue is the cover. We're kinda led to believe that this is going to be a whacky, magical issue with Dr. Strange coming in and doing a bunch of tricks and stuff. The magic class referred to on the cover is featured in all of one single panel. At first, I thought, “Oh cool, we get some magic monsters for the kids to deal with.” Then, I realized I was putting too much attention on the cover because what I got, instead, was another wonderful character study for two characters (one of which, Speedball, Gage has really made his own with this series and the last few issues of Avengers: The Initiative) that shows us how beautiful life really can be.

All this leaves us with a question… What's going to happen to the idea of Janet returning? Is she truly lost forever, and what will be the fallout once Hank has the opportunity to stop and think about what happened? This storyline is not ending anytime soon, but when the dust settles, I can't help but believe there will be long lasting ramifications.

While Veil is taking the chance to save herself with these new powers before being returned to her normal timeline, others like Striker is showing that maybe he's not feeling so good about being at the Academy. Mettle and Hazmat realized they are prisoners inside their own bodies for all their lives. Mettle drops his happy-go-lucky persona and Hazmat shows a softer side to her that don't get to see too often. Here are two people in the same boat sharing a really sad, but touching moment. It's a scene that should tell anyone reading the series that Gage is a particularly powerful writer. Along with Tom Raney's art, the scene is quiet, but says so much about how they feel and gives you a new side of these two characters that shows no matter how much potential you have, sometimes you have to find strength to get over some of the biggest disappointments in your life. Basically, it's the story of every high schooler ever.

I'm looking forward to seeing where this gang is headed now. There seems to be a lot of reconciliation among characters over the past couple issues. I can't wait to see how Gage handles new struggles from a more mature gang now that it moves beyond the individual insecurities.

Ultimately, Cage, along with artist Sean Chen, has built a very fine series. One that I hope isn't being overlooked as it was before. With each month that passes, I hope more readers are finding this fun and engaging book and loving as much as it deserves.

In all, Avengers Academy is a book most people should read. It's full of great characters, excellent writing, and about the most consistent art you'll find from any series that's had a few artist changes over the course of the run.

It's come to a point that I cannot understand why anyone wouldn't like this book. There's so much good characterization and interesting stories it has quickly become one of my favorite books in stores.

To wrap this up, I'll just say that every two weeks, I get to read a comic book that is not only fun, but also contains just about every reason I can think of as to why I fell in love with the medium.

All in all, this is good book. It isn't quite as exciting on a character level as the last few issues, but this is still a very solid entry and the combination of Gage and Di Vito is one I'd like to see some more of in the future.

Next issue sees some of our old favorites leave, but new ones are on their way!

Even if it is doing it quietly, it's hard to deny the fact that Avengers Academy has always had the perfect combination of story and art to elevate it above the other Avengers titles out there today.

With this new era beginning for the series, Christos Gage and Sean Chen now has a new setting, a new cast of characters, and a great start to this second phase of the book. And the decision to start it with a really cool mystery and all too familiar villains was definitely a wise decision.

As much as I try to not say this, this is a rare miss in my book for Christos Gage. He still produces a lot for me to enjoy, and Sean Chen's art is fun and even exciting at times, but the story ends up being more circular when it would have been nice to be more linear.

Aw… Who am I kidding? I just love seeing Hybrid again. Now, let's see him go out there and try to eat some kids!

Plus, if you just want to see a stinky and gross monster thing feeding off of people's life force, you probably can't do much better than Avengers Academy #24.

I'll go ahead and say it… Teen hero books are often well thought of. It's safe to say both Avengers: The Initiative and Avengers Academy can be seen as Marvel's version of DC's Teen Titans. Thanks to Christos Gage and his stable of artists, Avengers Academy is every bit as enjoyable as some of the most highly regarded runs of Teen Titans. You'll have a hard time convincing me otherwise.

Plus the end of the issue certainly keeps the future versions of the original class around with a somewhat surprising mentor.

This issue just takes a nice break to have a fun romp with a couple teams of kids. Plus, the whole thing is focused on finding a dinosaur. What more could you really want?

It feels like Avengers Academy just got done crossing over into a Marvel event and it's already time to do so again. Let's see what kind of role they'll play in AvX!

With all the main Avengers titles now officially tied into AvX, it looks like they save the best for last.

A particularly fantastic scene takes place between X-23 and Finesse. Here are two characters that act almost like the Data and Mr. Spock of the series. They struggle to make personal connections. One was created to be a machine and follow orders, which usually includes assassinations. The other is the daughter of a villain and is so coldly observant and amazingly intelligent. They share a scene about the Phoenix and X-23′s confusion over her role and where she falls in terms of her feelings. In a lot of ways, X-23 is going through a growth spurt on an emotional level. This is exactly what Gage has done so well in 30 issues of Avengers Academy. He's been able to pull the right strings at the right time to make the reader continue to care about these character on deeper and deeper levels.

If you're already a fan of this particularly interesting group of Avengers Academy players, then it's no doubt you will enjoy these last two issues quite a bit. You have the kids continuing to learn about what's right and mature. You have the overarching idea of giving people a second chance at doing some good. You even have a good deal of comedy from Hercules. All of it is nicely illustrated by Tom Grummett and is one of the few books on the shelves that entertains with each and every issue.

Oh, and guess what… This issue is no different.

As much as I'm excited to read every issue of Avengers Academy, there appears to be a dark future ahead that might either forever change this title and its cast or be coming to an end altogether. Here's hoping that Marvel NOW! still has a place for this book.

The stakes have risen and the kids don't have their mentors or teachers to help them. I can't wait to see how they get out of Briggs' trap.

Overall, the story has got enough to keep you guessing how they will get out of the situation. Add that to Andrea Di Vito's art that not only helps the more dynamic action sequences, but also nicely fits into this series with Chris Sotomayor's colors, and you've got yet another particularly solid issue in a series that's purely been phenomenal.

On the art side, Andrea Di Vito still brings a great style perfectly matched for the darker and action scenes. His characters' forms and movements are nicely drawn. In the more dramatic moments, he does well with the expressions. Overall, I have always been a fan of his since back in his Crossgen days and have been very pleased with his work on this story in particular.

Yes, the series hasn't come to its conclusion yet, but the issues on the horizon seem to be more fun and light in comparison to the last few arcs. This arc, in particular leaves a lot of questions for these young heroes. Veil is gone. Finesse, despite really doing something bad for the good of everyone, has killed someone. The students seem to be on an unclear path. This is how I would have liked to have seen the end of the series do. These kids came to Avengers Academy under the idea that they had a rough road ahead of them. While they were still taught what they needed to learn to grow into a solid group of young heroes, this arc doesn't have them being lifted up over peoples' shoulders in appreciation for their deeds. Instead, they are left with the same uncertainty the instructors had when they were brought to the school.

The entertainment value of this issue is among some of the highest I've read in a comic this year.

So we say goodbye to another series. This one is going to be one of the most missed.

My final verdict… As a thirtysomething fan of the series, this book was a huge disappointment, and an expensive one. For someone with kids, this book is definitely what you're looking to get for them.

Despite the massive road blocks, this issue is pretty good. Though it's not bad, if I look at this from the point of view of a fan, I'd probably feel just as angry that these characters are literally trying to kill one another. Oh, and when this series ends or is taken over by a new team, please don't make all this simply go away or retconned. That would only lead to more angry letters.

One thing I can't argue or complain about is Kev Walker's art. It's been the very best thing about the series from the start. While the past couple issues haven't necessarily been heavy on action, this issue's flashback scenes to the Braddock Academy shows Walker's strengths on this series. You can literally feel Captain Britain's disdain for Kid Briton. You don't have to look too far to see that Briton is a prick. Then later, you get a more sexual scene that shows you just how dependent he is on Apex and Nara lusting after him. He goes from almost being human with Apex to almost being out of his depth with Nara. It's well done and almost entirely done through body language and facial expressions.

I've also really liked Kev Walker's art in this series. He's done a great job balancing lighter moments with much more serious and dangerous ones. The first part of the book is mostly a happier feel. Characters seem, for the most part, more relaxed or hopeful (except for Nara who is just pissed off). By the time the story shifts to Hazmat, Reptil, and X-23, things seem not so happy. In fact, things are really tough for them and it gets downright scary when X-23 is triggered into becoming a maniac. Overall he's brought a real nice shine to the book that I've at least enjoyed looking at even if reading it has me on the fence.

While this issue doesn't further the plot set up by the first six issues, it does give us the vital information about who Arcade is and how he got this dangerous and it really makes for a good, entertaining read.

In fact, I had to pinch myself to make sure I didn't dream this book or that I had some sort of fever dream about getting in a time machine and going back to a comic shop in 1998 to pick this comic up off the shelves.

All that being said, this book is still what I've long looked for in an Avengers book. It's exciting. It's fast paced. It's got a lot of eye candy. Yeah, I'm not pleased with the ignorance to “Zodiac”, but this book is still a lot of fun to read. Not only that, it is absolutely gorgeous. It feels like Mark Bagley was born to draw the Avengers. I don't care if this series lasts only an arc, or a year, or two years, but I hope Bagley is there for the long haul.

All that being said, the reader can either enjoy the more classic, adventure-heavy story or rail against it for schilling the movie and vice versa. I have decided to enjoy the adventure since it does take me back to what made me love comics as a child in the first place.

Perhaps the biggest problem is the slightly shallow plot, but that didn't quite bother me as much as Tony Stark's negativity at the end. Going on about how Thanos is so far above them and anything that deals with outer space is not Avengers business, and the so forth. However, haven't the Avengers been embroiled in the Kree/Skrull War? Didn't they have to deal with Michael Korvac? Aren't they currently trying to stop the Phoenix Force from destroying the planet? Thanos is a major deal, but one would think that Tony would spend more time for them to pull out the victory than complaining about having to deal with problem in the first place. It's a little disheartening to read that attitude from one of the greatest Avengers and it's not helping this book in the least.

For me, personally, I do like this issue for all those reasons I explained in the paragraph before the last. There's action. There's a collection of different characters. There's a big time baddie the Avengers needs to bring down. These are things I've found myself constantly complaining about with the Avengers titles over the past decade or so. I love that Brian Michael Bendis amped up the action. I love Mark Bagley's work on this book. I just wish this book could have found its legs as a solid book for anyone regardless of age instead of just finding itself lost among the ever growing number of Avengers books.

This series isn't quite perfect, but this issue was a pretty good one on the excitement and action scale. If there's no other reason to get this book, definitely flip through it for Bagley's art.

In a way, this book is a definite trade off. Is it worth the $4 a month to see a little more comic booky style of Avengers story where they go out into space and fight aliens or just loading up the pages with more action than story? For me, it kind of is worth it because these are the types of stories I grew up with. Perhaps that's why I can say I like these issues. I find some connection to that 10 year kid inside that read these types of stories and that helps me forget about the flaws and just enjoy the ride.

All that being said, there is a guilty pleasure gleaned from this for me. It's not perfect. It's not terribly memorable, aside from what I mentioned about cashing in on the movie and setting up a new series. However, I find myself completely unable to hate this series as so many do. Sure, it's something I wish was handled with a little more of an all ages flair, but those are only medium potatoes compared to the fun I had reading it. With a new creative team set to take over next month, I'm hoping to see the more contrived ideas of this series start to fall by the wayside and let some real engaging stuff take over.

Stefano Caselli takes the controls of the art duties, and handles the job beautifully. His character work is spectacular and he lets DeConnick's enjoyable script shine through in his work as well. That's a great sign of a talented artist. It would be one thing to simply read DeConnick's words, but to see the art add depth and even more character to each person's facial expressions only makes the entire issue better. Toward the end of the issue, when Caselli really gets a chance to cut loose with some action, it creates a total package that is truly spectacular.

Pete Woods provides the art for the issue and he simply knocks it out of the park. As I said about DeConnick delivering an old fashioned feel to her stories, Woods does the same in the art. For example, the designs for the lizard men is simply perfect. It perfectly compliments the script and helps tie a great bow around this issue that was simply a joy to read.

These are the reasons why I've grown to really love reading DeConnick's stuff.

I'd recommend this book even if you aren't reading Age of Ultron. It's truly a book that should get noticed by readers (and especially fans of Black Widow).

I have to say this was a very satisfying annual. I was so happy when the Vision returned to the ranks of the Avengers that I didn't think to stop and wonder what the implications of this return was. Christos Gage, a writer I very much like for telling character-driven stories, really hits this out of the park. He manages to create a character study of a artificial man trying to figure out his place in the world.

You might say that he's still got a lot going on and between Avengers and New Avengers, he's not entirely delivering on all the expectations the fans have. This series seems a lot different because Bendis is focused and putting a lot of effort into bringing these three legendary characters back together. All the Avengers fans out there would definitely be better off if they picked up this series.

This series brings that feel back that the Avengers are heroes plain and simple. They don't have to have the top selling characters from Marvel to tell a good story. They don't have to fill pages of plot with catchy or clever dialog that has done little but cover up great art. They just have to tackle the issue using each members talents to the fullest potential. Hell, they don't even need more than three team members to make a solid story work.

There's very little to dislike about this miniseries. Granted, in the grand scheme of things, what happens here might not be a big deal to the Marvel Universe as a whole, but sometimes stories are just fun. They don't always have to move mountains.

Victor: The battle is already beginning as Bendis is stealing the spotlight right away from the X-Men and focusing on his Avengers. (LOL) Those are my parting words.

Victor: I definitely agree with you on all points. Great opening issue and set up to some possible incredible fanboy battles. Great story laying out the entire situation from both sides of the fence. Cons. ROMITA JR is a one note hack. (That's my nice way of saying the art sucks for me) Overall, 95 sounds about right. Can't wait till next issue and the battles it will hopefully contain.

It's really spectacularly handled by Jason Aaron as far as the script and pacing goes, and, like I said, the overall feel.

Victor: Can't wait!

Victor: LOL. If there is, I'm sure there's Hope that we survive.

Geoff: Well, the good news is that we do have some one on ones coming in the form of Vs. next week. Looks like some of it might be from the very battle on the Moon we saw in this issue. I'm thinking we're going to see some decidedly X-Men victories, but we'll see! Until then, my X-buddy!

Geoff: I doubt you're the only one looking for that to happen. Maybe she'll be able to talk sense into everyone…

It's not an issue that drives any societal issues to debate. It's mostly action, but there's a plot within it " a great plot at that.

This issue was fantastic. This has been a great event so far and it doesn't seem like we are going to slow down. This just feels worthy of being called an event. Marvel's definitely getting this right.

Who knew that a fight between the good guys would be more interesting that a major team up against a world ending threat?

Victor: I'm going to agree with a 90. There wasn't too much wrong with this issue, but it didn't have the emotional touch or the high action of the last two books. I'm hoping the last two issues deliver on both. Until next time.

This is yet another 100% for this event. Well plotted, well drawn, perfectly situating the entire run for a big, bombastic conclusion.

I think the event did what it set out to do as a whole, and the conclusion to the event put a nice bow on a lot of things. We have an ending that's not what I like to call a "dot-dot-dot" ending where someone says something and it just blows the door open for more to have happen or leaves too many threads left undone. I do think this ending also nicely set up what's to be seen starting next week with Marvel NOW!

Effective use of Cyclops being a jerk. Better art. Good cliffhanger.

Scott's story is still starring in the overall plot, but the outside situations are starting to be shown in full force. Plus, I'm a big fan of Eaton's work anyway, so the art on this issue was pretty darn good.

I tend to find myself completely drawn in by what Gillen does so when I can just sit back and enjoy the ride, I find myself pretty damned entertained. I really am excited to see what the next issue holds.

ven with the visual hiccups, the issue was solid. The overall mini served it's purpose. A new faction was created and a long time marvel character was completely overhauled and given a new purpose. I'm definitely looking forward to the future. Something that I haven't been for a while. Success!!

Victor: Can't wait for it. See you next week!

Geoff: Until then!

Geoff: See you then" Just make sure you don't accept any cosmic powers that can burn this place to cinders in the meantime!

The first battle was just perfectly played out, written, and drawn. It worked so well that the second battle, which should have been the headliner, just fell flat.

Geoff: And make mine Avenger!

A perfect ending to one of the best "events" to hit the market in the last decade. Now let's hope this bodes well for the future and a great starting point for Marvel NOW!

I really want to see where this story goes, but this is the first time I've found myself underwhelmed in this big event.

I'm just not sure we need to know a lot about him outside of what we already knew.

J.G. Jones' art is pretty awesome regardless of the issues I've had with the series. But the series feels like it is trying to find that magic moment that led Blake down the path that would eventually lead to him being tossed out his apartment's window. It just misses the point that Eddie Blake was this way from the very beginning.

While this book does fall back on the things that have frustrated me in some ways with this entire event, there's enough of a twist at the end that tells me things might just get really interesting really soon. And if nothing else, I'll definitely keep coming back for that beautiful art.

This book is a complete head trip. There's no denying it. Coming from J. Michael Straczynski, who isn't exactly a writer known for throwing this many layers at you (though he is a very capable writer), you're not quite prepared for the extremely high level of thought this book requires. It's a truly neat experience to read.

Generally speaking, Minutemen #1 isn't going to blow the doors off anything. It's subdued to help us get back into the mood of the world The Watchmen existed in. It might disappoint some expecting more of a bang, but this, honestly, was probably the best way to kick off the event.

It's up to them how much they want it to be canon.

While this book's overall feeling is much more straight forward than the others, Cooke's telling this story in much better than a lot of these stories. Like the Silk Spectre series, this book really has a great big heart underneath all we're seeing and it makes for a nice read that is as fun at times as it can be heartbreaking.

This issue is hard to read. Not because of anything other than it shows these characters in particularly harsh and desperate situations. It's almost as if these people were never meant to be heroes at all. Actually, you could say that they were swept up in a tidal wave of their own creation and their destruction has proven to be infuriating and depressing in all the right ways.

Then there's the art of Eduardo Risso. Again, looking back on both the original and the current Watchmen stories, we mostly have seen him to be a tall, skinny man with weird Spock ears. Risso completely twisted him. At first I wasn't a big fan. It almost seemed as though Risso was just making him a little goblin of sorts. As I continued to read and think about it and tried to make heads or tails of the visuals when it hit me like a ton of bricks. Risso portrayed Jacobi as he sees himself – this little monster who was ugly and unworthy of attention or love. Notice whenever he was in a happier place – the carnival, on stage, etc – he was shown more normal. Whenever he wrestled with his self esteem, he was portrayed as a grotesque weirdo. It's positively brilliant and made the book that much more interesting.

Overall, I may have some qualms with the first issue's plot, but I want to see where this goes. I love Dan Dreiberg as a character because he felt more real than anyone else in Watchmen. I think JMS has the chops to give us three pretty good issues, and with the Kuberts along for the ride, it's going to look pretty damn good.

If there's anything that makes this series worth your $4 an issue, it's the art of Andy and Joe Kubert. Andy's pencils through out these first two issues have been amazing. It's dynamic and exciting. It sets the mood brilliantly for this story. Andy's dad, Joe, inks the book so well on top of those great pencils. It's a superb pairing that gives the series a look that is not just dark and moody, but also gives an all around feel that we're in the gritty underbelly of the 60s. It sets such a perfect tone that it actually elevates the script.

Ultimately, this book doesn't necessarily lack in script, but in plot. It's odd because usually the other way around. However, this would have been ten times more gratifying to see a more straightforward pairing of Nite Owl and Rorschach, or hell, even just Nite Owl on his own, doing some good old fashioned detective work.

Where Wein really triumphs with this story is not trying to connect two points in time. No, instead he fills in the story by adding things that we weren't shown before without really trying to bring any revelation to anything. Unlike the Comedian tale, there's no grand scheme to punch us in the brain and shake our understanding of this character. That's when a project like this works. There's no need to add that sort of thing to any of these books. Instead, Wein just tells the story without us needing to either slap our forehead and exclaim, "OH! Now that's something we should have seen before!" or scratch our heads while wondering why the hell something was added to completely change our perception of the character.

That's what makes this story that much more interesting and intriguing.

Then, there's Jae Lee. There's so much you can say about any work he does. There's such a distinctive look to his art that it almost transports you immediately into this world and keeps locks you in. While the characters often have a smooth and youthful look, Lee has a way to create such personality in each face that they tell stories of their own aside from the actual plot. All around this is a pretty phenomenal series.

I think I'll end this review with this… If you look at Azzarello's ability to tell the gritty noir style crime story and Bermejo's spectacular art, it's fantastic. Beyond that, it's up to you to figure out how much you like the narration.

All in all, Azzarello and Bermejo go for the jugular in this series. Despite all we've seen in previous stories, this is by far the most mature and adult of the Before Watchmen books. Through that, the series can certainly be considered a success.

With all this taken into consideration, I'm going to make a bold prediction that this will be the most liked of all the prequels. Considering this was a book I wasn't sure how excited I was for, I dearly enjoyed it.

The book is absolutely bonkers. You have to wonder if Cooke and Conner, themselves, hit the sauce or the pipe a little bit to piece this whole thing together, but it's so far outside the expectation of Watchmen that it works. The story and art has everything from the bizarre to the straight-laced and from sweet to flat out sexy. It's not at all like the other books of this event, but maybe that's why I have such a soft spot for it.

It might not be the first of these books I'd recommend to fans of the original, but without a doubt, it's spot in my heart is well secured.

The art drags this book down, but I'm enjoying Remender's new twist. I suspect we'll someday see the more usual Cap stories, but for now, I'm kinda digging this weirdness.

It's a good thing that Remender's story is as strong as it is because otherwise, this would be a real tough book to read.

If you're a Cap or Black Widow completist, you'll likely buy this anyway, but if you're looking for a nice little book starring two fairly fun characters to read, then you might like this book. However, don't expect this to become a series or move mountains.

Overall, I applaud you, Kelly Sue DeConnick, for giving me a new series featuring one of my very favorite Marvel females and I cannot wait for issue #2!

After the first issue, I've found that I'm much more used to Dexter Soy's art as well. Is it different? Sure, but aren't these two issues different in terms of how Danvers has been used? Most definitely. It's a style that may still take some by surprise, but there are really great shots too. Soy has some really great action pages that are simply beautiful. It really is a perfect combination of a different type of superheroine plot and different type of art melding together for a particularly unique book.

These different ways to tell stories lifts that veil that seems to cast a shadow of making it difficult for new readers to come in and pleasing older readers for which Marvel's been known of late. With a handful of writers being the custodians of the majority of the books in the line, it's great to see this fresh new take and what better time than Marvel NOW! to take a good look at how DeConnick is writing this series, or how Mark Waid has done Daredevil, to get some fresh inspiration?

Regardless of the strangeness of this issue, there's no denying that this series is refreshing and fun. It's a truly new experience with a character that we've known for a long time. This new take just feels good to read. It makes me hope and wish that more series and writers take an opportunity to have fun with what they are doing as DeConnick is. She's been able to keep the excitement and the pure essence of the character in the forefront while giving her something brand new in terms of plot.

This is a book that isn't reliant on a female writer bringing a female character to a new level of perspective or realism. This is a product of a good writer making a good character great. It's more reliant on DeConnick being able to boil Carol down to her pure essence and playing to those strengths as a character and placing her in new situations that let those strengths shine. I hope Marvel is paying attention because this is really something they should be asking more of from their writers. As fans, we don't always need to see Captain America fight the Red Skull or Iron Man take on the Mandarin. We sometimes just need to find our characters finding themselves and showing us what makes them tick no matter the situations they are in.

The other element is the brilliant art by Emma Rios. I positively love how she mixed the art styles. In the scenes that depicted the events of Carol's Ms. Marvel origin, it's drawn in the older style of the 70s. In the shots that point back to present day Carol and the younger Helen, she uses the style that she put on display in the previous issue. It's such a great mix to place you into the different perspectives of the timelines and characters involved. It's truly a stunning book that shines in both art and story.

My main issue, though isn't the story, or the art, or the lack of understanding of what's been going on with the Thunderbolts. It's the title. It's yet another Avengers title in a sea of Earth's Mightiest Franchise.

I've really enjoyed this series from China Miville, but this issue feels a little bland. Instead of showing any kind of usable origin of the dial or some explanation to some of what we've seen in the series first four issues, we're just shown another owner of a dial.

I'm looking forward to seeing what issue 2 gives us and what Jent will turn into next!

This is definitely a book that's hard to write about in a review because it's something you just have to read to understand. China Miville certainly has fun with the series and lets his imagination run wild, and that's the greatest draw to this title.

Regardless if you are getting answers or adding on questions, this comic is literally bursting at the seams with originality. This originality, at times, makes this a tough read because you really need to be on your toes to not miss important information, but when those times crop up, the art is there to pick you up and keep you going. It's really a perfect combination of art and story.

And this is why I would 100 times over rather read the strangest of ideas from Miville than I would from Morrison.

This series already has so much going for it – Brubaker/Phillips, noir, monsters straight out of the mind of H.P. Lovecraft, and a sexy attitude to it that has already sucked me in. I cannot wait to read the next issue.

I can't help but think that, with a little less adult language and sex, this is what it would have felt like reading a crime comic in the early 50s and, I'll tell you this, it's a great feeling.

I have very little idea what to expect as each issue comes and goes, but if there is one thing that I can expect, every issue is going to be very cool and special.

Without a doubt, Ed Brubaker and Sean Phillips' dark tale of monsters, cops both dirty and clean, hapless men enslaved by the love of a truly mysterious woman, and murder is one of the finest books on the shelves. It pulls you in and sticks with you after reading it, and it's a wonderfully sculpted story that gives you enough to think about while still left in the dark. No matter what, you want to come back for more each and every month. You want to know everything there is to know about Josephine, but couldn't be happier than to have the story play out in this pacing. You don't want this to rush. Instead, you want to settle into this world and live there for a while even if those monsters and murderous cultists are waiting to pounce on you at every turn.

Overall, it's the start I wanted to see, even if others maybe didn't. Building toward a better ending is better than having six awesome, spine-tingling cliffhangers, only to be let down by the seventh.

Again, Fraction's pacing is really paying off. He's good at knowing when to put his foot on the pedal and when to build exposition. I could see this story playing out in a grand summer blockbuster, movie feel, but a good one (not those Michael Bay silly kind). It flows and has a tempo and cadence that you can almost hear and feel as you read from panel to panel.

For the first time in a very long time, a Marvel event is leaving me with more excitement for each subsequent issue. We've gotheroes and villainsboth working for the Serpent. We've got mass destruction everywhere. We've got a potential HUGE casualty on the slab. I've got goosebumps. Oh yeah, and Thor is coming back. I can't wait to see him facing down with the avatars!

This is yet another good issue. Maybe not quite the strongest of the series to this point, but it's a good middle point of the story.

Thankfully, Matt Fraction and Stuart Immonen's been doing a pretty damn good job at that very thing up to this point.

And about that nice little thing that was revealed… You know, what Thor's importance is? Yeah, turns out what we've always known about the battle between Thor and “the Serpent”? Turns out that it's not as bad for our hero as we've always thought. That was one of the bigger “Wow” moments for me in this book.

This was the perfect wrap up for the Fear Itself story. It's quiet, but carries a lot of power with it and really gives a fantastic wrap up to Tony's side of this story as a whole.

Overall, if you like the Black Widow, you'll like this book. Although, if you do like Black Widow, you'll likely wonder why she isn't getting more than she is in terms of tie-in material.

Tie-in series like these are always a gamble. The good news, though, is that this one is delivering. In fact, if the next two issues live up to what we've gotten so far, it will certainly position itself at the top of the list of Fear Itself tie-in books.

Along with Mike McKone providing more than suitable art, Chris Yost is building to a great conclusion and made me realize that mini series tying into a major event don't have to forgettable. They can actually be fantastic.

All said, Fear Itself: Spider-Manbegan as a book I wasn't too sure I was going to pick up when all the original solicits for the event came out, but after reading it and thoroughly enjoying the tale, I'm so glad I went for it.

Ultimately, it's a good book. If I miss anything from a Home Front title, it's the (how should I put this?)… liberal angle. Ben Urich sought truth and was a bit of a hero from doing so. These are just extra Fear Itself stories, not really anything with a punch, or anything that made you hate the obvious, conservative blow hard, or hating on the trampling of personal rights and privileges.

As much as I don't mind the little shorts that follow the two headlining stories, I would like it if we could just have two main stories. Overall, I'm not at all sorry I'm reading this. In fact, this month I'm enjoying it a little more than I did the first issue.

Aside from my issues with Milligan's story and Mayhew's art, overall, this isn't a bad book. It won't knock your socks off, but you'll likely not be sorry you read it.

Overall, this is a good little series, but I feel as though I'd like something more from it. I'm curious what story will take the place of Agents of Atlas now that it is over, so that might be that little boost I need from the book.

If there's any reason to read this series, it would be for Speedball's story. The other stories are nice, but are beginning to pale big time in comparison.

This issues departs from its usual formula and ends on a funny story. A story in which I think I liked most in this entire issue. I've known the Great Lakes Avengers since their inception. I was there for their parody of the “Avengers Disassembled” story. And like Brian Michael Bendis, I find something in Squirrel Girl. Yes. I like the GLA. That being said, I thought their inclusion in the Fear Itselfstory was clever, cheeky, and just plain fun. They defeat fear by making people feel sad for them and help them decide that they shouldn't be hated, they should be looked upon like that old guy who is sitting in the restaurant by himself during a busy lunch rush. Considering Milwaukee is hardly the haven for supervillains, the heroes are simply doing what they feel is right even if the populace chooses to ignore them. Pretty funny stuff.

The story about Rick by Clevinger was a wonderful way to close out this book and series. Rick has a moment in Fear Itself #7 that's particularly powerful and starts the turning of the tide against the Serpent. To see this behind the scenes stuff and see him becoming a bit of a hero was sweet and really powerful stuff. There's a progression to his decision too that makes the whole story seem more realistic and natural. It starts with questioning if he should be there with Cap as Dark Asgard rises above the horizon. It then moves to saving a dog tied to a tree. Then he finds a young girl who asks him to help her WWII veteran grandpa. When he sees his family, he realizes he needs to fight for their safety. It's a really well written story and left me literally saying “That's pretty awesome” after I finished it.

Overall, this first issue gets things rolling nicely. These tie ins for Fear Itself have been a lot of fun to read so far and helps give that whole scope as to what these other characters in the Marvel Universe are doing while all this crazy stuff is going down.

Putting my love for Avengers: The Initiative aside, and focusing more on being a fan of comics, I'm really liking what Sean McKeever and Mike Norton is doing with this mini. There's a feeling of that old school storytelling going on in this book. There are lots of things happening but there's a pace and an energy to it that I can really appreciate. While the action cuts from one setting to the next, it never feels rushed or confusing. We're following several characters spread out across the country, but it's easy to follow. Nothing about the script is a head scratcher either. It's a well constructed, and nicely paced plot that's exciting and actually pretty fun. Put Norton's art in the mix with McKeever's story, and you've got yourself a comic book like the ones I remember as a kid, and that just makes me happy.

As good as McKeever's story has been, I'm loving Mike Norton's art on the book. There's a range in this particular issue that I noticed on the page as I read it. I didn't have to go back and review the art. Because I'm primarily a story guy, that's about as great of a compliment I can give an artist in a comic. I felt what was going on without needing to rely on the words or be led to feel a particular way. The best example of this was building to the climax of the issue. You know what transpired and the cost of trying to stop Juggernaut. You don't have to assume. You can literally read the faces on the reaction shots of the other Initiative members. I actually had to say I was moved by the end of the book.

I had high hopes that this series would at least be entertaining. I didn't exactly expect for this to be such a roller coaster that's matching the fun of Avengers: The Initiative. In my book, that's a hell of an accomplishment!

On the other side of the creative team, I just can't say enough good things about Mike Norton's art. Everything thing about this miniseries felt big and worthy to be a part of Marvel's big Fear Itself story. The art takes a story of C, D, and even E-List characters and makes it look like they ARE the Avengers out there to save the whole damn world. I've made this reference before in the latest review of Fear Itself, but it bears repeating… The main series seems like Marvel's first real stab and giving a major story with serious consequences to their fans that feels on the level of DC's classic Crisis on Infinite Earths. Norton's art has that same appeal as those big stories of the past and I, for one, appreciate it!

And so, to the Initiative, I'll be seeing you around!

This is the type of book that I'm glad to get a chance to look at. It had such a great start that I literally can't wait to see #2. It's such an interesting use of these characters that I immediately loved the characters, even if they are sometimes hard to even like, let alone love. The art is beautiful and just throws you into the story with the very first frame. If you are heading to C2E2 in a couple weeks, stop by and take a look at the issue. If you aren't going to be in the Chicago area for the show, I'd head over to Joey Esposito's site (link), check out the preview and purchase the book!

There is so much to love in these first two issues. Esposito and Moore work perfectly together to give an endearing story full of fun characters the edge it needs to still be a gritty noirish masterpiece. I cannot recommend this book enough for anyone looking out for a great mystery/thriller. The book should be available soon through the 215 Ink app for mobile devices, and you can always ask your comic shop to order the issues through indie distributor Liber Distro. Either way, keep looking for it and get your hands on it if you can!

Without a doubt this series takes itself seriously, as it should, but Esposito and Moore handle every little piece of the story and art with just the right amount of right amount of restraint and the right amount of really cool moments to build a great recipe for a great story. When this series hits the streets, you really would have a hard time to do better than Footprints.

Dammit, get out there and get your hands on this graphic novel when it comes out! I promise you won't be disappointed!

I'd have to say that as much as I looked forward to The War Time Forgot for its dinosaurs (of which I'm a big fan), it fell flat beneath overused cliches that could have come out later while the Unknown Soldier has me coming back waiting to see Haunted Tank.

Godzilla, as a concept, is sometimes best served as a big, “dumb”, high action/adventure romp. Feature how the humans will win the day, but don't mire it in a shallow emotional story that plays off as cliched, big, dumb attempt to tear jerk a la Michael Bay.

Overall, as a fan of the Grimm Fairy Tales books, I really did enjoy the first issue of this mini. It's consistent with what you can expect from Zenescope. That being said, with as steeped as it is in GFT lore, I have to say that I wouldn't really recommend it to any Zenescope virgins. Even though you are given a little backstory on the inside story, it wouldn't help a complete newcomer. However, if you have some experience with Zenescope, I think you'll like what Esposito brings to some of the characters. Not only that, but he gives you a good old fashioned monster mash to boot.

Overall, being a fan of the Grimm Fairy Tale universe (that seems to be growing every day), I'm really enjoying this story. Esposito is breathing some extra personality into these characters which not only reminds me of what someone like Kieron Gillen can do with characters, but also makes reading the book a little more fun. Outsiders may not necessarily get everything that's going on, but at least the characters are clearly defined to open that door a little bit. On the other side of the fence, fans of the line should really enjoy the high adventure these first two issues are setting up.

Anyone who's read Grimm Fairy Tales, or any of the more horror genre books from Zenescope, will find a surprise when Sela awakens the Mandersoon. We all expect this creature to be some horrific beast, or possibly some sort of scaly dragon like character. Either way, we would expect some kind of rampaging giant beast. What we get isn't what we'd expect in a Zenescope book, but something I've come to realize that we can expect from Esposito – a complete rug puller. The creature that has the Reavers and Bad Girls scared for their plans is nothing else but a fluffy, cute, six-legged puppy that's half Chewbacca and half Toto. It's undeniably adorable, yet perfectly set into this story that's been one of the more entertaining Grimm Fairy Tales book I've read.

The story is still entertaining. The art gets a boost from consistency. The Mandersoon is still awesome even though he's not quite the little cutie we first saw. The Dark One, pretty much the high lord of all that's evil, is sniveling and groveling for mercy. Good fights, great monsters, and a sense of humor about it. This is something for which Zenescope fans should really find a place in their hearts.

All in all, the story comes to a quick conclusion and suffered early from too many cooks in the artists' kitchen, but the quality is in the fun Esposito had with the characters that wasn't forced. Whether if it was the Queen of Spades just being evil and enjoying it in a cutesy demeanor, or the Mistress of Limbo beingconniving, or Sela bringing a “oh, great, now this…” attitude, or Samantha learning her true power while being coupled with a beast that was cute at first and then pretty badass… This story was simply a joy to read.

Steve McNiven provides the art for the book and, boy, is he bringing it. If this is what he can do with a book that almost entirely takes place on Earth, can you imagine what he'll be able to do with an outer space action series? With each panel, McNiven pulls the reader in and simply knocks it out of the park. The best way to describe the art is this – it makes love to your eyeballs and even calls you back the next day after delivering them a couple dozen roses.

This series launches on a great first issue. Here's to more of the same!

Leinil Yu's work on this book has been phenomenal as well. I'm not one who's a huge fan of his style, but this style fits the bill for the Hulk so perfectly, he's made me a believer in his abilities. He actually manages to make the scenes with Banner just as visually interesting as the scenes with the Hulk. However, his action shots with the Hulk are simply out of this world. The money shot in this issue isn't the cliffhanger or the aforementioned Hulk torpedo, but thesurveillance shot of Attuma's monsters of Atlantean lore attacking the shipping boat. Any fan of monsters (like myself), will love the two page monster goodness.

Some nicely stylized art from Leinil Yu, coupled with two scenes involving the Hulk grabbing through a monster with supposedly indestructible skin to grab Attuma and Banner's alter ego turning on Mara for some laughs and you have a fun read that fails to disappoint.

As for this issue, it struck all the right chords for me. Waid and Simonson can do all the Hulk and Thor comics they want and I'd by one happy fanboy.

The story continues next month with a possible major setback (or maybe more likely a bit of sabotage) for Stark Resilient, but things aren't going to get any easier when he realizes random people are controlling the Detroit Steel drones.

Even though I've been a big fan of this entire series, this is the first time since “World's Most Wanted” that I can honestly say I cannot wait for the next issue.

The action is there and the story as a whole has been sharp, but this thing with attacking Iron Man with Detroit Steel and not having a great deal plausible excuse for it seems to be a bit of a plot hole. One that needs to be cleared up or it could put a little bit of a black mark on an otherwise great arc.

Lastly, the issue ends with a wordless short that depicts the day in the life of Tony Stark by Fraction and artist Jamie McKelvie. Without saying too much about it, let me just say that it's a short that is perfect in its silence.

Ultimately, I paid an extra 3 bucks to find out stuff I already knew. It was certainly interesting and well written, but between what felt like rushed art and the gimmick making us wonder if this is the start of an arc or just a history lesson, the issue left a little to be desired.

It's hard to say right now where this arc will lead. It's likely not to please those who want to see more action from Iron Man, but it very well might be a great character story. Dr. Octopus has been in his current state for a while now and it's hard to say if he's even got much of a shelf life left anyway. I'm very much looking forward to see what these next issues have in store for the series.

I won't promise or predict any Iron Man action in the next issue, so if you want more of that, maybe you should hold off for a few more issues.

Overall, it's not a bad issue if you don't take the first impression of the book. Read it and think about it for a little bit and you'll realize there really is some cool stuff going on. If you can't get past that first impression, then you're likely disappointed in this book. At least now, Fraction and Larroca can jump into the Fear Itself tie-in arc in earnest.

This comic should please just about any Iron Man or Matt Fraction fan. Salvador Larroca's fans are already aware that he can do this in every issue, but his visuals add to the shear horror of this story.

Take one superstar writer who can carry every book he's on even if the art isn't so good, add a superstar artist who can carry a book without a strong writer, throw in a truly intriguging story about a hero faced with horror and a viewpoint-altering realization, and you've got yourself a truly great comic. Just think… These guys have done this consistently for over three years now.

On the topic of Tony hitting the bottle again… I actually like the idea. No, I don't wish alcoholism on anyone, but Tony is in a position as a character that this is his next challenge. He was the top cop, lost that, chased by Osborn, regained his freedom, built a new company, seen a bunch of really horrific stuff happen, and now what? The guy's had a busy life. I'd dare think any recovering alcoholic would likely fall off that wagon if they had Tony Stark's life. Bring it on, Mr. Fraction! I want to see what you've got in store for us post-Fear Itself!

When it comes to stories, Fraction and Salvador Larroca have had several excellent arcs. This one may be my favorite yet. It literally gives me the chills and keeps me excited to see what comes next. Is Pepper going to be turned to stone? How will Tony survive the Golem? Is this the end for Sasha Hammer? I can't wait to find out.

As I said, the book comes down a notch with the overall excitement, but there are still some tense moments that bring you to the edge of your seat. It looks as though the arc will wrap up around the same time as the final issue of Fear Itself hits the stores. I'm guessing there are some major moments still on the way!

This arc has bounced us around the world, but it works so well with Fear Itself that I wouldn't suggest the main title without checking this one out too for an overall strong story that folds into the larger story naturally.

In a more minor aspect, I like seeing Split Lip hanging out with Tony still. In his own, foul mouthed way, Split is charming. It should be fun seeing him in this series going forward.

This arc has been a great read so far and I'm almost to the point where I wouldn't hate it so much if Mandarin never actually jumps into the fray. If he just sat back and let everyone else dance for him, he's still a serious threat.

The strength of the Mandarin's plot happening behind the scenes but also at the forefront of the entire arc is really making this yet another great arc with solid plotting from Fraction and the usual beautiful art from Salvador Larroca.

Fraction's great plotting and action, coupled with Salvador Larroca's fantastic art, has made this series soar over the past few years. Now, we're rushing headlong into a war between Iron Man and some of his biggest enemies ever. Needless to say, I'm really looking forward to what comes next.

Even if I find it a bit odd that Stark agreed to wear Babbage and Hammer's circuit breaker when he should know it would end up hampering him, this issue still set up the next stage of the Mandarin's plot against Iron Man nicely.

The arc Fraction and Larroca did called “World's Most Wanted” took Tony's mind away from him in a slow burn, but in “Demon” that's all Tony's got. Sometimes having a particularly brilliant mind is a hundred times better than the Iron Man suit. I'm really looking forward to the next stage of the story!

With this first issue of a new arc, Matt Fraction is laying down some foundation for the next few issues.

This book isn't terribly exciting, but sets a larger plan into action even if we're not 100% certain what it is.

Fraction's story is relatively ambitious to have all these things going on in the same arc. Salvador Larroca's art is still stellar, but I wish some of these separate stories could have been distilled down into their own arcs or broken up a little more.

Don't get me wrong, the stories are still keeping me interested, but these threads need to be tied together or put further on the back burner until some of those bigger storylines can be resolved or it's going to be that much more of a chore to keep things straight in my head and stay interested in the grand scheme of the story.

There still could be a good conclusion, but I can't help but think this story needs to be read in the collected trade, or in one sitting, to avoid the issues with the amount of stories compared to the pacing in each individual issue.

We might just be in the first part of this story, but it looks like we have a much better focused story as we've gotten the world around Tony mostly caught up and a lot of threads aren't going to be as distracting as they were in the last arc. I'm really looking forward to seeing what comes about in the relationship between Stark and Stane as they try to work their way out of Mandarin City.

Overall, this arc is so much stronger than the last and we're only two issues in. There's still a lot more to see, but I'm definitely on board to see what happens next!

I want to see why Rhodey's faked death leads to the J.A.R.V.I.S. program to attempt violence against Pepper and Wyche. I'm dying to see Tony's final assault against the Mandarin in what's surely going to be a big battle between Tony and his former rogues against the Mandarin and his Titanomechs. This is a book that has brought me back around to being almost unwilling to wait for the next issue to come out!

Overall, this larger story by Matt Fraction and Salvador Larroca has been solidly put together. I had some issues with the middle arc, but the story immediately following Fear Itself and the story that is going on now brings a larger scope that had been teased to us of some time. I'm just glad that the tension and the excitement is taking center stage.

It's also appropriate that Stark is fighting alongside some of his other long time foes. It's hard to say it's going to last, but it's been great to see him put aside long running rivalry to fight the greater problem – the Mandarin. I am still a little confused exactly why Rhodey had to fake his death, but there's still likely an explanation forthcoming. Overall, this has been a very satisfying arc with great scripts from Matt Fraction and the great, high quality art from Salvador Larroca. It's hard to think any Iron Man fan would be disappointed by the story.

One issue remains in this creative team's impressive run. While I'm excited to see what Kieron Gillen can bring to the character, this has been a great ride.

So, this brings to a close this series. Soon, we'll be talking about Kieron Gillen and Greg Land's work on the new Iron Man book. But until then, I just want to give my thanks to Mr. Fraction and Mr. Larroca for a great run.

This is a very solid start that older Iron Man fans should be able to get on board with considering it's paying tribute to one of the better Iron Man stories in the past 20 years. It's in great hands as far as script and the art is definitely fitting for Stark's world of excitement and gorgeous women.

Greg Land does a pretty good job with his art here. First, we get a really nice two-page spread of a space battle. It's very reminiscent of the opening scene of Star Wars: Episode III. Yes, boys and girls, I went there. It's crazy lasers flying around and ships exploding and you're not sure if everyone is a bad guy or what's going on… In a good way! I think it's obvious that Land has a knack for drawing a good looking lady. Even if the ladies are purple or orange. I would like it if he kinda eased up on the flirty fingernail/thumbnail to the mouth shots. That really stood out as it was used at least three times that I can remember simply from memory. Overall, though, Land did his job well. He put us on a completely different planet that is way ahead of just about any other species' development and it worked really nicely.

I've really enjoyed Greg Land's art in these last couple issues as well. He seems to be at home in outer space. While the characters themselves aren't much different than basic humanoids, he's given the aliens a bit of a flair that makes them both different, yet recognizable. He manages to give the world Tony visited a smooth sheen that kinda reminds me of what I'd expect to see in a space opera or a futuristic story. I also liked the almost John Carter-like appearance given to Tony when he's battling for his innocence. It almost felt too appropriate considering he was winning over the natives with his skill. Overall, these last two issues in particular have looked exactly what I would hope a more cosmic driven story to look.

It might be odd to think of Iron Man as an outer space hero, but this particular issue is most definitely the finest of the series to date. This is the type of issue that I want out of Iron Man. It's a nice mix of fun and action with a little humor thrown in. This issue concludes with a side of Tony that we don't often see anymore. Instead of him being the smiling, cocksure guy with all the gadgets, he's angry and read to dole out some justice. He's also potentially found himself a brand new recurring villain that's more than just a collection of odd things. He's an already well rounded villain with enough intrigue that makes it all work for the better.

I'm really looking forward to the next issue and would recommend this book to anyone looking for a good comic to read.

So, all in all, Dan Abnett and Andy Lanning have crafted a nice little comic book story that has some very complex ideas and execution.

Overall, I really don't have much to say. Don't take that as a negative review because it isn't. This issue is mostly action with the ending setting up the final battle. It would be up to each reader to determine how they value that. Me? I understand it's purpose and appreciate it.

Iron Man/Thor is nowhere near the worst miniseries I've ever read, but it's not nearly as good as Jeff Parker's The Avengers Vs. Atlas. It was just… Nice.

The real star of this entire series to this point has been Steve Kurth. His art is simply phenomenal. Kurth's characters are unique and can express emotions like real life people. You can almost feel what the characters are feeling when you look at them. One thing you don't think too much about when reading the book and moving through Kurth's panels is that he does have a great deal of quality panels involving action and detail. I think it's kinda easy to overlook because it has such a nice flow to it and you can kind of experience it as if you are right there in the book with the characters. But, trust me, it's there. I'd love to see what Kurth could bring to a book like Avengers or a Spider-Man title.

Maybe it isn't the most action-packed series with the name Iron Man on the cover, but it's more about why Tony Stark, not Iron Man, is a hero. Maybe this series won't last forever, but while it's around, I think the readers will always enjoy seeing this side of Stark.

Fred Van Lente and Steve Kurth are still pretty good on this book. Kurth's pencil work is still top notch. I especially liked the two page spread of the giant monster battle in Tokyo. Van Lente's story is still working well with what he's trying to show about Stark's influence and intelligence. It's just a shame that things are slowing down a bit with convenient assistance from friends and an increasingly un-scary bad guy.

Fred Van Lente's ability to give some good action is apparent, but Steve Kurth has been replaced by Philippe Briones who gives us some really nice art in this issue. If you want something fun, this issue should satisfy the need for some action in the series, but if you're looking for more of that subtext of Tony's influence on those around him, this one lacks a little bit. You can argue that the Pride's, and in particular, Geoffrey Wilder's, obsession with making sure Tony doesn't take over some of their territory is part of his influence on others, but it's much weaker than his ability to lift up the town by making them believe in an idea of his.

The series has come to an end. These were two arcs that had some very interesting characters and themes, but in the grand scheme of things, I'm not terribly sad it's over. It was a decent run with some nice things going on, but it's not something that will live much beyond being a second series released during a time Marvel was promoting an Iron Man movie. If you are an Iron Man fanatic, you'll want to read these issues, but the two stories aren't much more than diving deeper into a couple periods in Tony's life that appeared in comics many years ago.

I'm really looking forward to seeing how this ends with Rusty and Jonah. I'm sure it will not be so good for Rusty.

Perhaps one of my favorite aspects of this particular issue was Jordi Bernet's art. He's been a part of Jimmy Palmiotti and Justin Gray's run many times, but his Mei Ling is a definitely throw back to golden age art. To be more specific, Mei is definitely reminiscent of an Asian Betty from Archie. I've always liked Bernet's style for this series because it's more than interesting or pretty. It sets a tone that tells you that you don't have to expect the darkness of something like The Punisher. Hex might be a stone cold killer, but his comic series is right at the top of my list of the most entertaining books on the shelves.

This is a particularly good issue in the series. While Hex is mostly a spectator to the ugliness of man, he ultimately plays a heroic role. First, he takes out the trash, and then, he serves up salvation to one who is happier to be dead than beaten mercilessly.

All around, it's a great issue, but a challenging one nonetheless.

This issue does have the usual excellent dialog from Justin Gray and Jimmy Palmiotti, but the story is really light. The last few issues really dove deep into the situations Jonah finds himself in, but this one is very light on story. It isn't bad, but it's the first in a long while that takes the foot off the gas pedal. Yes, there's some gore and there is another, slightly unfortunate death, but it just didn't feel like it had the same intensity or character story as much of Gray and Palmiotti's run. Nelson's art and Rob Schwager's colors are very good and the combination ranks high among the series' visuals, but my real critique lies in the story.

This is particularly nice story from the series. Justin Gray and Jimmy Palmiotti again peel back another layer to the Jonah Hex character by showing a more forgiving side.

Overall, pretty good issue. I would like a little extension on the story, but it hits the right notes and should be fairly well liked by fans of the series and of Western genre.

So, go check this out if you want something a little different but still existing in a world with characters you recognize. Don't look for a lot of action right off the bat. Either way, I'm always looking forward to seeing with Kieron Gillen can give me next.

Loki's quest is underway and, dammit, this series is really moving now.

I may be scratching my head a bit at what's going on, I'm really looking forward to seeing what Gillen and Braithwaite has in store for us in the coming issues.

It's yet to be seen whether or not Loki will eventually become that older version that is known for being evil, but it doesn't matter. This new Loki has so much gold to be mined that I can't wait to see what he's going to do next.

Ultimately, I liked Robert Rodi's story, but as a book to entice new readers, they are missing out on the true joy of Loki. What a lot of people will really get to see, if they do pick this up for the first time, is a strong entry by Ferry.

Throughout my years of reading comics, especially ones featuring Asgardians, it's not been usual for me to chuckle audibly. Journey Into Mystery has not only done that, but it's also made me laugh out loud, and that's certainly a credit to Gillen and his abilities.

This issue gets a boost in visuals from Whilce Portaciao. Here's a guy who knows how to draw a monster or two. As I was reading the book, I could almost feel the textures of their clammy and gooey flesh. I could smell the saliva dripping from teeth. I can hear “SQUILCH” as blades are driven into the mouths of these beasts. It just enhanced the story so much more.

All in all, this series has been so good that I honestly can't wait to see what the book has in store in the aftermath of Fear Itself. It might be the most anticipated book on my list because I know every time I open an issue up, I'm promised top notch quality.

This issue may have been silly, but Volstagg is a character that proves to have a lot of heart. He fought in a war, and those who fight in wars tend to never come out of it without some guilt over what they had to do to try to win. Volstagg's got a heavy heart (not to mention heavy arms, heavy legs, a heavy gut, well you get the point), but when asked why he had to lie to the children about what really happened, he simply responds saying he wanted to keep the children innocent for a little while longer, and if he could keep them innocent forever, he'd be happy. It's a touching end to a fairly ludicrous story. But don't let that fool you, this is still a great example of how good Gillen is at writing this series.

As a whole, this issue is building toward the new direction for Thor's corner of the Marvel U. There's not much here to blow you off your seat or knock your knickers down to your ankles, but it's good. Very good. One of the things I enjoy most about Kieron Gillen's work is how he can build anticipation in even the quietest of issues. A lot of questions are waiting for answers in both this series and The Mighty Thor. It's going to be really interesting how these things play out moving forward.

There's not much more to say about the issue other than if you want a good laugh and a nice fuzzy holiday feeling afterward, this issue will definitely suit you well.

This series starts the new year with a great first part to a new arc bringing Loki into direct confrontation with an unexpected guest star that nicely sets up part two.

Loki may be a secondary character and there are a lot of characters only the longest of Thor fans would understand and recognize, but in Gillen's hands they couldn't find a better home.

Not only is Kieron Gillen earning the title I gave him as my favorite writer of 2011, but he's definitely going for two in a row while this series and this specific arc is putting itself on a level that might leave all other books and stories I read this year in its dust.

Another great arc ends and Kieron Gillen continues to make this a spectacularly different and enjoyable read.

This story is quirkier for certain, but after two parts of the story, I'm not exactly sure how excited I truly am for the story. Perhaps I just need to see more before I can make a true assessment.

On the other hand, the twist in the Disir story was clever and made for an interesting play on legend and, on a larger scale, mythology and religion. We're so used to hearing one story and letting that be the gospel, but every story has at least two perspectives. What if what we know about something had more than one side to it that greatly changes that original thing in a way that has us sympathizing with something that was always portrayed as a demon? Are you more likely to put your trust on that version that opens your eyes and seduces you with new ideas and thoughts on the topic? Can that end up being a ruse that will be the undoing of everything? That's what we will likely ask ourselves in the final part of “Exiled” and we can get back to what we've come to expect from this series since its return.

After the shaky tie-in with New Mutants, I'm definitely glad to see Gillen and Elson take the series back to its roots.

This makes this story all that much more interesting for me. It's a classic clash between the ways of old and the newer generations pushing toward the future. It's well written, still containing that Journey Into Mystery wit, and beautifully illustrated. Loki's realization that he's fighting for the wrong side is brilliant as well. It shows that he has the maturity to understand that both the new and the old can share the world and there's really nothing wrong with embracing both ideas. It's kind of like how I've found a place for both comic books and digital comics. Really, this book interests me on the personal level and on that fascination with those British myths and stories of magic, while still finding a whole country's total adoration of their mobile devices amazing.

All said, this story ends with a great issue featuring fantastic art from Richard Elson, some great wit (that includes Loki and Leah wearing symbolic Guy Fawkes masks while they destroy the places of power for Otherworld), and a touching end. We now head into a crossover with The Mighty Thor that will likely feature a different tone as Surtur looks to be coming to burn everything!

My favorite page in this whole book is completely black to the except of white words reading “Asgardian Wisdom”. I'd bet everything on that being a Gillen-influenced page. Freya is trying to defend her actions for having Loki do some things discreetly. She's about to go into a big explanation when we get the black page. We return to everyone angry and ready to take her off in chains. It's a purely brilliant page that gives us all a chance to chuckle before the real heavy stuff takes off.

This series has always benefited from terrific scripts, but it also has had a run of artists that were perfectly suited for what Gillen's imagination brought to the series. Much like last issue's interiors, Carmine di Giandomenico just kills it. That turn from the lighter to the darker moments is so well illustrated. We can literally see Loki go from scared, to sorry, to plain evil, and back to his more usual look in a matter of panels. Angles, lighting, shading, everything works so well in that scene that it's truly memorable and impressive all at the same time.

I also love how Carmine di Giandomenico's art has fit his pieces of this story so perfectly. Between Journey Into Mystery and The Mighty Thor, di Giandominico and Alan Davis has been launching the ball out of the park in each chapter. What makes their pairing so great is the tone of their issues. It seems to almost be completely driving this story to another level. Fraction and Gillen have scripted a near perfect big story for Thor and Loki, but the look of each issue has only enhanced the story that much more.

It's time now to say our goodbyes to Kieron Gillen as the writer of Journey Into Mystery. As much as I am gleefully thankful for his run, I seriously cannot wait to see what he has up his sleeve. Thank you, Mr. Gillen… The next pint's on me.

Isn't that what comics should be about?

This first arc ends on a high note and makes me ready to see what else is out there for Sif.

Still, Jeff Lemire tells a nice story. It was neat to see Constantine as someone who could still be enamored by something. We're so used to seeing him as this hardened jerk who's only out for himself. He's still pretty self-centered here, but there's a bit more wide-eyed behavior. Garbett's art works well with the story and all the mystical elements. Overall, this is a book that's got some good things for fans of Constantine and Zatanna in particular.

While I did mention this is a difficult read, I don't mean that negatively. I mean it in a good way. It's engaging and keeps you on your toes. I don't think we should expect a book with these characters to be terribly linear. It's definitely got me asking the right questions to come back for the next several months.

For as much as I liked Milligan's story, Mikel Janin's art really steals the show.

This is one of those books that will remain on the fringe but should really grab hold of a core of devoted fans. I'm quickly finding out that I am definitely in that core group of fans.

Justice League Dark, despite the pacing of getting the so-called “team” together, is easily one of my top 5 New 52 books and anyone who likes horror comics should check out these issues. They definitely make for some serious creep factor.

Milligan's experiment to bring a “non-team” together in a book with Justice League in the title was tricky, but it scores big leaving the characters parting ways as fast as they can to never see each other again, and the reader wondering what will come next. Having characters so completely disconnected with one another was a brilliant move and works on just about every level possible. Couple that with Janin's art, and you've got a stunning book in appearance and in story.

All that and now the series is entering a crossover with yet another gorgeous and interesting series from DC's Dark corner of the new Universe, I, Vampire. I literally can't wait for next month.

Now it's onto I, Vampire #7 as Rise of the Vampires rolls on!

Now that Shade is seemingly gone and the crossover is at an end for this side of the story, I'm as curious as ever to see where JLD will go next!

Of course, the return of Mikel Janin is almost as exciting as that fast paced story. Yet again, Janin kills this book in every frame on every page. It doesn't matter if he's drawing Steve Trevor and John Constantine having a chat, Andrew Bennett shifting from humanoid vampire into a werewolf, or a truly creepy-ugly Felix Faust, his art is dynamic and exciting in every shot.

This series has been near perfect from the very beginning. It's got monsters, magic, characters who don't seemingly get along from the start, a wit, and fantastic art. With each and every issue I read, I find myself more and more addicted to the series.

Lemire is definitely giving Janin lots to play with, but he's also packing the arc so full of classic ideas like the House of Mystery, the Books of Magic, and even bringing back Timothy Hunter. This book so just a ton of fun to read every month.

Again, Mikel Janin just knocks another issue out of the park. If you look at his work, particularly in this series, one of the greatest things he does is perfectly match the visuals to what the scene calls for. When looking at the flashback, everything seems happy and emotional. Once you get back into the present, when he needs to show action, he uses angles and space and body language so well. When you move to Faust's temple, it's dark and scary. To show Blackbriar Thorn and Black Boris, he takes advantage of space to show their scale in comparison to the other characters. It makes for a beautiful visual experience.

Without a doubt, Avanti's Monster Myths is a book that is as interesting to read as it is to look at. It dives into monsters of society and the demons that hide within everyone and even makes you think about the good things people do every day and what personal gain they get from those actions.

Because of all these reasons, I liked this book quite a bit. Some may see how many times I referenced Disney and be instantly turned off by it. I wouldn't. This is a solid book for all ages. Take your kids to the comic shop (especially your little girls), and have them try it out. I guarantee they will love it and I think you'll find a lot of fun in the pages as well.

Ultimately, I still think the people who would get the most enjoyment out of this series are younger readers, and especially, younger, female readers. While it might appeal to girls slightly more, there's enough base-simple ideas explored in this series to bring enjoyment to a wide array of readers.

I still think this is a book you should buy your daughter or little sister. While they might enjoy it best, there's still a sense of fun that girls AND boys of all ages can enjoy and actually like.

Its spotting those really familiar things that makes this book feel like a comfort read. I looked forward to each issue even if a man in his mid 30s isn't really the intended audience. I really have to give a great deal of credit to writer G. Willow Wilson and artist David Lopez for drawing me in with the story and images. Anyone with an open mind should find something to appreciate in this series. Sure, it isn't the Punisher offing a bunch of drug dealers or Superman hoisted the world up on his shoulders, but you know what? It never had to be for me (or anyone for that matter) to enjoy the classic themes presented in Mystic.

Lastly, though it's not something that I can really critique the issue on, one thing definitely made me giggle when I saw it. I'll leave you with this to ponder… What is going on with Spider-Man on the cover? Is the Eye of Agamotto actually a really fancy proctologist or is someone about to put that thing where the sun don't shine?

I guess I should say that the art by Stuart Immonen is still very nice to look at, but I'm not sure if that is even a valid point when all he's drawing the characters doing is standing around.

For now, I'll look forward to the next arc starting with issue #7. I'll spill a 40 in honor of Doctor Voodoo and raise a glass to wish better times ahead for this team of Earth's Mightiest Heroes.

Now, I'm not saying every single issue needs an explosion or anything, but it needs a hell of a lot more than this. If we're going to pay $4 a pop, let's give people something more than the thrill of interviewing D-Man for the open nanny position. If you ask me a year or two down the line if I remember The New Avengers #7, the only answer I could give is, “Oh yeah, isn't that the one that ABSOLUTELY NOTHING happened in?”

Even though I didn't necessarily hate this issue because of the exciting stuff that happens, the issue had several chances for me to get really interested in the Jessica-as-Jewel storyline and never once went in that direction. Instead of me saying "That Doombot action was awesome!", I should be saying "I'm really glad Jessica is back in the game! And I suppose that Doombot action was kinda cool" I guess."

Without a doubt, this is the best issue of New Avengers in years. It's got a couple compelling storylines and is a very dynamic book. Add to that the art and this isn't just a compelling story, but a comic you have a hard time peeling your eyes away from.

I definitely can't wait to see Fury and his Avengers take on the Red Skull. I'd really also like to see a little more play out in the 2011 story. If Bendis can find a balance to that soon, this stands to be one of his best Avengers arcs since he took over.

All in all, I'm enjoying this arc. I like how Deodato and Chaykin's styles are being used to tell the two stories, and Bendis' plot isn't really dilly dallying around but keeping a nice even pace. What's the connection between the two eras? No idea. I mean, I don't even have a guess at what is connecting these two eras. So, that definitely means I'm looking forward to seeing how that plays out.

The story's strong art team of Deodato and Chaykin is still a very strong reason to check out the issue. While the issue isn't terribly exciting for the majority of the book, it does set up some nice tension and questions about some of the main players seen in both storylines.

Let's see how the team deals with the Thing's transformation into a servant of the Serpent!

I wish the Oral History stuff could have been saved, but overall, this actually is the best of the bunch of Avengers tie-ins to Fear Itself.

All in all, I'm glad Bendis is pulling back on the Oral History stuff. Plus, I don't think Squirrel Girl has ever been drawn more elegantly than by Deodato. This issue, and character for that matter, may not suit everyone's tastes, but I found it possessed enough for me to be satisfied by it.

This isn't a .1 issue that will stop many presses, but it isn't bad. It's a good comic to go back to when this mega arc begins next year and it is a definitive "this is where Osborn succeeded in getting out of jail" point to reference. I still my reservations about the team's actual ability to get a job done.

While everything from when the little robot slashes Wolverine's throat to get a blood sample to the end of the book was actually quite good, everything leading up to it just helps prove my point that the Avengers franchise has gotten out of control. I can't help but to think that this team would find a way to lose to the Great Lakes Avengers.

So mix a good recipe of Bendis building a team and being able to use his style of dialog to his advantage in the short scenes to gather the new Dark Avengers, and Mike Deodato's fantastic artwork (even going so far to use the same lighting as the old Dark Avengers series that he and Bendis worked on), and you've got, at the very least, a solid start to what could be a very good arc.

In my honest opinion, I believe this is by far the most interesting arc to date for this series. It's fun, it has excitement, and outside leaving Daredevil behind (oopsies!), the New Avengers don't stumble around as much as we've seen in recent issues. This arc, so far, is just what this series needed!

The best arc in this series' history continues along with this extremely exciting and excellently drawn issue from the Bendis and Deodato team, and with the Thor Clone showing up, we're barely going to get a chance to catch our breaths.

While suffering from some of the same problems as Avengers #22 had this week, this issue is better, and certainly more exciting. Either way, both books are definitely worth looking at for the art.

This story is winding down in preparation for the Avengers to get into a big ol' tussle with the X-Men, but there looks to be a big, explosive finale coming to an overall solid arc.

Looks like Osborn is defeated again, so let's get to AvX!

We also get an inside scoop on what each of the Avengers books will be giving us as AvX continues to surge. It really helped me understand a lot of the previews for upcoming books and why certain characters are in certain places (like Thor leading the Secret Avengers for example). Overall, it was a nice tie in issue that bridged the gap between the last story and the new while keeping focus on the big AvX event.

As with any issue of New Avengers, Mike Deodato and Will Conrad gives the book an absolutely unique and gorgeous look. Like Salvador Larroca's Invincible Iron Man, I could stare at the art in this book for hours. Both books are wonderfully illustrated and makes it real difficult for anything else at Marvel to come close in comparison. This is a title that as soon as I see Deodato and Conrad on the cover, I know I'm in for a visual treat. Add to that Rain Beredo's colors, and you positively cannot deny the beauty of each issue.

With two issue tying into the main AvX event that doesn't use the titular characters come and gone, this story still does a great job of enhancing both that main story and some of the more “ancient” Marvel Universe history.

Bendis and Mike Deodato score big with me on this arc. It's not overwrought or groundbreaking for the sake of being groundbreaking. It just simply worked.

As far as art goes, what more can I say about the beautiful work Deodato does with every Avengers book he draws. I really loved his work on Dark Avengers because it was able to fit the tone of that book so well. He was still able to bring the higher action type of stuff that went on prior to the Avengers Vs. X-Men stuff, but this issue brings back his darker talents. This issue is filled with a weight that just sits on you. It's not day glow and happy. It's really where Deodato has excelled over these past few years when working with Bendis. It proves you can always count on a gorgeous book regardless the subject matter.

There to capture all the nuances is Mike Deodato. He's become one of my very favorite artists when it comes to having a character's expression tell more than just what the up front dialog is saying. Nearly every panel in this comic's present day scene reveals layers emotion and story that it really elevates this issue into something pretty darn special. However, that opening two-page spread in 1944… Wow. That was some beautiful work featuring Namor, Human Torch, Cap, and Bucky taking on the Red Skull and a bunch of Nazis with giant metal monstrosities. If nothing else, grab the comic off the rack and take a look at this spread. It's truly amazing.

All in all, Bendis and Mike Deodato have shone in these AvX issues. They've certainly elevated both Bendis series toward the end of the writer's long run that has been full of ups and downs. For me, these issues have done exactly what I wanted them to do – tell solid enough stories about satellite situations in this “war” while not making me feel like I will need to remember this thing or that thing, or have to pull these issues out as well when I re-read Avengers Vs. X-Men. They are directly connected without being invasive to the main story. To me, I can't really ask for much more.

Much like Avengers #31, this is very strong start to Bendis' last story on the title.

It's a spectacularly well pieced together story that takes advantage of a pretty darn good script with an assist from some well drawn art.

One more issue to go, and there's a big ol' magic fight a-comin'!

The art is gorgeous. And there's not much more to say than I'm ready for Avengers Annual #1 and the inevitable moment of Steve Rogers looking at D-Man and saying, "Who's this nerd?"

On the art duties comes Steve Epting, the perfect compliment to Hickman's story. Here's a guy who really is one of the finest artists at Marvel. His own style seems to scream importance. With out a single word on a page from Hickman, Epting is able to relay how important or vital each and every moment of this issue is. Without a doubt, this team is a match made in comic book heaven.

Plus, what's up with Doctor Strange? Is he being changed by the Infinity Gem in his possession? Is he going to be yet another issue that the New Avengers will need to deal with? My money's on the answer being “Yes”.

I honestly don't think this issue was much different than the last. I think if you liked #1 chances are you enjoyed #2 as well. Sam is still a likable character. I'm still rooting for him. The art is still great.

As for my jumping on board with a brand new DC title, this was the first title of the new series, outside the series/characters I already knew I wanted to follow into the new era, I wanted to get my hands on. I thoroughly enjoyed this first issue and I've decided I'm in this for the long haul.

All in all, this issue didn't raise my excitement level. I wish it had, though. I just feel this is a little too formulaic and left us hitting the exact same beats as issue #1. I want issue #3 to finally take off and send us somewhere else other than what we've seen. I want to see the Red Lanterns in action against a truly galactic-sized threat that fosters hatred and pain. I think I just want to see action.

It's clear this book is specifically marketed to fans of Green Lantern. I doubt they planned on this book bringing in many fans learning about the Red Lanterns for the very first time. That being said, questions are coming up about what these things are and how they think/operate. The real question for readers, though, are the questions enough to keep them coming back?

It's just unfortunate that these moments are sandwiched by dragging formula and a build up to the first human Red Lantern that might be anti-climatic when it finally happens.

I'm actually looking forward to the next few issues because I'm finally getting what I've felt this series has needed from the get-go… An actual plot that is moving toward some goal or event. It seems that either someone has stolen Krona or he actually is alive and if so, that definitely gives a great deal of purpose to the book and the Red Lantern Corps itself.

If nothing else, I'm hanging on by a thread hoping we will see that before they are replaced by a third wave New 52 book takes its place.

Ultimately, I've liked these last two issues a little more than the few before them, but it's hard to imagine what the future of this book really is. Peter Milligan can get the job done, but he's missing more than he's hitting here. I can kind of see what he wanted to do with this book, but it's not quite where it needs to be.

What's interesting is that while this is my least favorite of all the Green Lantern titles in the New 52, this one is by far the least of a chore to read. It's not wowing me, but it's far easier to read than the other GL books.

In a time when I want to be as careful as ever about what I want to spend money and time reading, Red Lanterns has fallen over the cliff and I believe it's time to move on.

With an exciting cliffhanger and a very familiar feeling with Waid's characters, this mini is shaping up to be a great one. I just need to get used to the different art style from what came before.

Without a doubt, Ruse is every bit what I hoped to see when I saw it return. It's got all the right things for people who want to read something fun and interesting.

Overall, it is a really nice set up for the conclusion. It was nice to see Simon's temper get the best of him to remind us that he is human after all.

I hope Ruse returns again, but I was happy to get something after so long. Kudos to Mark Waid for coming back after all this time and still showing that this series still has its place on the racks.

My only concern is how I'll feel beyond this first arc. Is the book work an extra $3 or $4 a month when I've already got a runaway, and seemingly uncontrollable, comic book budget? That's yet to be seen. For now, they've got that extra cash from me, let's see where this goes from here.

I'm definitely on board for a while now. I'm looking forward to seeing more of what Yost and Stegman has to offer. Two months ago, I don't think I would have believed you if you told me this would be my reaction to Scarlet Spider.

Ryan Stegman is still doing a great job with the art. The visuals almost match the story and script from Yost perfectly. There's a lighthearted quality that is fun to look at, but each page still features a striking panel or two that can be put up next to some of the cooler Spider-Man visuals. There's just a good feel to this book that is fun to read and I'm ready for the next issue already!

Is this the issue of Secret Avengers I'd tell everyone to rush out and buy? Certainly not, but I have to give it high marks on giving us the back story without a ton of unnecessary story or dialog. For a collector of the series, I think we can certainly appreciate the reveal and how it was able to be told in one issue.

As always, I'm looking forward to the next issue of what, in my honest opinion, is my favorite Avengers title!

Without a doubt, Brubaker's words and Deodato's beautiful art are the backbone for the best Avengers book on the shelves.

That's some exciting writing. Not only that, but each frame plays out smoothly and brilliantly. It's just more proof why I think this is the best new series for the year. Brubaker and Deodato's partnership on this series is every bit as good as Matt Fraction and Salvador Larroca's teaming on Invincible Iron Man. I just think it's proof of how good the right artist and the right writer can be gold on a series.

Secret Avengers and Avengers Academy know how to use plot, tone, timing, and character development to drive a story so well that these are the two best Avengers series out there. Without a doubt, Secret Avengers is the cream of that crop and it proves it every month.

It looks like Brubaker's last two issues will help put a bow on some of the loose ends. Looks like we're going to get some explanation of what happened to John Steele to take him down this more villainous path. I can't help but to say that series is still miles ahead of Avengers and New Avengers.

One more issue left from Ed Brubaker before he heads out for greener pastures. I'm very much looking forward to getting the wrap up of the John Steele character and seeing all the loose ends coming to a neat little conclusion.

Yes, boys and girls" I think these next three months are going to be quite kind to these Secret Avengers!

Yes, a comic taking place in the middle of all out war can pause for a moment, and still be as powerful as anything going on in the main story.

With the overall emotional tone Spencer has built and the gorgeous interiors from Eaton, they have one last issue that's surely going to open up that even more – Black Widow's story. It surely will deal with the heartbreaking loss she just suffered in Fear Itself #3.

What better way to go out for the team up of Spencer/Eaton than to finish strong on one of my favorite books with one of my favorite characters. I hope Warren Ellis can keep this momentum going!

I guess there are worse stories and worse artists for this series, but I hope the only way to go is up.

In the end, this issue was exciting, but it left me wanting much more.

This isn't an issue of Secret Avengers. It's an issue of Warren Ellis' Weird Superhero Ride.

Overall, everything up to the last moment of this comic works extremely well. I just wish the ending had been a bit more than a weird line, a kick, and a splat.

It took a long time to get to this point, but this issue is exactly what I hoped to get from Warren Ellis' run. This is what I knew he was capable of and the pay off was a perfectly interesting story.

In a couple weeks, the regular artist, Gabriel Hardman, joins Remender as they begin their run and, if you ask me, this series is certainly in the right hands.

On the art side, we have Gabriel Hardman stepping onto the title. There's a rough style to it that fits this grittier Avengers title. The action scenes are cool and nicely laid out. Bettie Breitweiser's washed out colors takes away what we'd normally see in an Avengers book – that bright superheroic atmosphere. All of that works quite well in for this group. Between the visuals and the story, I'm very excited where this is headed.

This new era in the Secret Avengers title has lived up to what I hoped it would be. This book is definitely climbing back up the ladder to be my favorite Avengers title again.

I'm excited to see how these mysteries play out in the final part of Remender's first arc as writer of the series and how it might play out in the long term if some of these things turn out to be real.

However, what I really like about this new direction is that Remender isn't going to let you get by with just glancing through the book. It's a deep story with lots of going on and the use of every character keeps the reader on his toes. It's challenging without being a chore. It's something that I look forward to reading again now that the arc is over to see if I can find even more in the story. That's not something I generally find myself excited to do right away after an arc.

All things considered, this was a pretty good issue. This might just turn out to be the finest of the tie-ins on the Avengers side.

All that said, I can definitely say I'm much more looking forward to the next issue of this book as the Phoenix approaches and Thor will eventually be thrust back to Earth ahead of the destructive force to warn the heroes already gathered there.

And, hey, if it wasn't there before this issue, I'll just take credit for whining about it enough in my other reviews for it to be finally answered by Marvel (because that would likely be why they included it, right?).

On the art side, Matteo Scalera gives a nice gritty feel to this story. The art is actiony when necessary and dark and tense when it needs to be. Sometimes he blends the two different tones, but it certainly enhances an already great script. The last scene with Venom and Taskmaster just heightens it all to get us excited about issue #30.

Now, as that insane, but homicidal, villain has the crowns and controlling an entire country, it makes for a next issue I'm really looking forward to reading.

Still, this story has entertained even if things are starting to slow a bit before winding down to a conclusion.

Matteo Scalera's art has definitely matched Remender's story very nicely. It's stylized but appealing. Matched with Matthew Wilson's colors, there's a nice creepy feel to the arc that plays well with the idea of possession and a demon-like entity. Without a doubt, this book is nicely crafted and stays in that nice “just right” zone of being entertaining, but dark at the same time.

The Secret Avengers are definitely in some hot water, and this issue does so well to heighten that fear. I'm definitely excited to see what the next issue brings.

In a lot of ways, these stories Remender built for his run go way beyond the typical superhero smashy that we all know and love. Don't get me wrong, there's a lot of that smashy, but there's a lot to digest if you sit back and let it sink in. It's like an episode of Carl Sagan's Cosmos " if you allow the brain to soak in the message, you can find yourself thinking about it for a long time after the episode is over.

This is a great start to a new series and a new direction for Secret Avengers. It's off to a great start an I can't wait to see what comes next!

If you like your heroes a bit darker, then I'd definitely suggest Secret Avengers because it really feels like Nick Spencer and Luke Ross is cooking with the right ingredients.

I guess the best thing I can say here is that I'm definitely in for the long haul, but I'm really not sure how much of the CrossGen Universe we'll see. El Cazador promises to be a nice adventure, but does the typical Earthbound teenager going too far outside the whole idea of CrossGen? We'll wait and see…

If there is one really good thing about the book it's Kirk's art. It might be so good that it's distracting me from the story. So, maybe that's a bad thing too? I'm just as confused about that as I am with what's going on in the comic!

To wrap up, this book found its legs to be fun and exciting. Along with Kirk's superb art, this series is starting to get back to the ideals that made the old Crossgen books so much more fun to read than almost anything else out there.

With Carey able to focus the last two issues into a fun and exciting book, and Leonard Kirk's really pleasing art, I would like to see Sigil return for another mini, if not a full series of its own.

Overall, this series excites me. It's Kirk, Spock, Bones, and the rest of the crew in a regular, ongoing run again. The art is solid with some beautiful splashes of the Enterprise, Gary Mitchell showing off his new powers, and another shot of Mitchell at the end that is as creepy as it was making me wish issue #2 would come out right away.

I'm still way on board with this series. I like what I'm seeing and I'm enjoying the twist on the original episodes.

The stars of this series so far are artists Stephen Molnar and Joe Phillips. They put together a really nice visual to the story. They manage to walk a nice line between drawing the characters as we've seen in the movie and what we see of them in the original series.

As a series, I think most Trek fans can get behind this series. Outside of the adjustments made to have the new cast fit into the old crew's adventures, it's not terribly original in content, but like I said, it's comfortable for the most part. I'm glad they are just taking on episodes in two parts instead of trying to expand to the point of being too meticulous. It won't blow minds, but it shouldn't necessarily disappoint anyone. If you know what the series is giving you, and you know those old episodes, you really should know what you're getting into. If it appeals to you, it should entertain. Maybe it doesn't go too far over the top with new ideas or presenting higher level storytelling than what the original series, but a Trek fan should simply feel good reading it. Sometimes, that's all you really need in a book.

This series continues to deliver the goods and should be well enjoyed by the vast majority of Trekkies and this issue in particular is perhaps the strongest yet.

Sometimes you don't need that overly complex story to entertain the readers. The themes can be just as good wrapped up in an actiony, exciting sci-fi story. In a lot of ways, that's how Star Trek has entertained audiences for the better part of the last 45 years.

If I could find one fault of this first issue it would be how much more Doctor Who has in terms of story than Star Trek. While it certainly injected a ton of fun into a particularly dark opening, I would have liked to have seen a tad more from the Star Trek story too. I would have even paid another dollar in order to get a few more pages for Star Trek to get a little more play. Don't get me wrong, though, this book has an amazing start and definitely lived up to the hype that I had built around it for a fun story featuring some of my all time favorite characters in any medium ever.

Two issues in and I'm loving this series. It truly is a geek dream come true!

While we slow down the pace quite a bit to take the time for these two universes to get used to each other, this book is still done very well. I mentioned before that a lot of care is being put into this from the story to the art, so really the only thing that I would like to see more of is something for Rory and Amy to do. They seem to just kinda be there. Their contributions haven't been much more than asking questions or giving a one liner to try to say the Doctor is a little different than the Enterprise crew thinks.

The series continues to entertain and the story looks to really be picking up speed!

What's more, the Tiptons capture the two feels of the shows perfectly. The Doctor is a little more outgoing and flighty while Picard is a little more buttoned down and rigid, thanks to his experiences with the Borg and his military background. Since its return, Doctor Who, for the most part, has been lighter in tone and generally leaves the door open for more comedic moments. For Star Trek: The Next Generation, those moments aren't quite the same. Instead, there was always a larger sense of exploration and social themes. When there was action, it felt more like watching a series that featured naval battles as opposed to those higher brow themes. That contrast has made this series a great deal of fun.

Again, J.K. Woodward's art shines in this issue. His painted style of art captures each character perfectly and gives the book a real feeling. In other words, the world he's created in this series has a lived in look to it. I've said before that it actually has the look of a television program. It's as if we're spending a Saturday evening in front of those old tube televisions watching this play out. It only adds to the nostalgia of seeing these two franchises come together.

I guess a good way to put the negatives about this series is that your brain and body thinks it is good to fart. However, it's your friends around you that wish you'd just hold off for a better opportunity to let that out.

I hope this angle continues, and wouldn't it be something if ghost Peter learns something from Octavius about dealing with those that have no hope of rehabilitation? Wouldn't that be a cool twist to get along the way?

As far as this issue goes, it's dark and violent. Even if it doesn't show all the violence, it's definitely alluded to. This overall dark tone often shows the seedier side of people as you see with the head of Phizzy Cola being more concerned with how Burger Town looks than the news of a massacre. In a way, it's satisfying that Spidey confronts her, but pull away that layer of her getting what's coming to her, and you find that this Spidey is almost hellbent on bringing down anyone who does anything wrong without the extenuating circumstances of the situation. It's almost as if Spider-Man has taken on more of a Judge Dredd quality than that of a true hero who can see more than just one angle to the issue. It's a scary version of Spider-Man that is more like Batman " ready to scare the living daylights out of those who do wrong. I can't help to find that pretty interesting.

While Ramos' style isn't always my favorite, Slott's script still carries this issue through.

While this story isn't bad by any stretch of the imagination, it just kind of floats there. If you want more Age of Ultron, grab it, but otherwise its existence is questionable. It makes you ask the question if these tie-ins are necessary or if we're actually going to see some of what led to the present predicament. That isn't the fault of Gage's at all because he handles this issue nicely. It's just one of those situations that you're not really sure what to do in terms of checking it out or not.

When it's all said and done, I certainly would like to see more of a return to that darker tone that tends to shock the reader into feeling downright frightened of Spider-Man than anything else. Hopefully, we see that return sooner than later.

Like I said, this issue is better than the last but it does reveal one weakness that the series can't seem to shake. Not each issue seems to have a consistent feel. We're too often moving from one issue to the next with completely different feels as if the series is showing more of an assorted series of vignettes of Doc Ock as Spider-Man instead of a one series that has a consistent feel from one issue to the next. Yes, I understand that this is paralleling Ock's own journey straddling the role of a hero and what his own hubris feels he should be. However, that's been lost in the unevenness of the scripts and plots. It feels more all over the place instead of having one thread with a true arc based on a series of events that Ock has handled in particular ways. Until that consistency can be found, it's hard to know what to expect out of this series and that makes for a not-always-pleasurable reading experience.

As much as I'd love for Asgard to get a breather from all the tragedy, I'm really looking forward to seeing Galactus show up on its doorstep. This was a very satisfying start to what's surely going to be a really good series.

The Fraction/Coipel team is building toward a fantastic partnership and is definitely putting their mark on the character.

As good as this was, look out for next month when the Asgardians take the fight directly to Galactus!

That said, you will want to be a fan and, therefore, want to stick around to see what happens next because this issue definitely threw some wrenches into the mix with some of the extraordinarily high concept scenes with Odin and Galan.

While staying true to what Thor is in relationship to the Marvel Universe, Matt Fraction seems keen on the idea of exploring the more barbarian aspects of the Thunder God. It might actually bring the character more closely in line with the stories from ancient Norse mythology. He's a bit of an unstoppable force who is supremely confident in his own strength and abilities. It reminds me of another famous barbarian – Conan. It's clear that Coipel's art has some Conan influences from the way Thor looks to how he draws the confidence in his face. None of this has been a bad mixture for me.

This is the Thor I grew up with and this series seems to reconnect to his people's larger role where they always belonged.

Again, not a bad issue in technique and execution, but it could have worked so much better in a couple ways.

That aside, there's still a chance for this arc to really get moving. The pieces are there for a really interesting story to set the wheels in motion for the new “status quo” for this title and the Journey Into Mystery title, but I just wish the mystery behind Tanarus would have remained that way for a bit longer.

Tanarus continues toward making his big move against the All Mother. Will Loki figure out what to do with Mjolnir? Is it possible someone will take the hammer and bring Thor back or become a version of Thor him/herself? I suspect the next issue or two will definitely continue moving us in the right direction to get our answers.

Pepe Larraz steps in as the artist, and his style is fitting for the story that's being told. His characters are solidly drawn and there is a fantasy element that belongs in this series. While Olivier Coipel's art in the first arc was spectacular, Larraz and Pasqual Ferry's work in this arc has fit in so well. It's almost as if their art styles increase the more higher concept of the idea of what happens to gods when they are forgotten and become lost over time. The bright colors of Frank D'Armata puts the finishing touches on a gorgeous look that's as much fun to look at as it has been to read.

Pasqual Ferry and Pepe Larraz' art with Frank D'Armata's color makes this a very pretty book to read too. Each scene has its own unique look and color scheme. There are gods of different shapes and forms and the inside of the Demogorge itself has such a cool look to it. The two page layout of Asgardia is simply gorgeous. Everything about this book is fun and has ideas and images that makes it a truly unique book from Marvel.

Without a doubt, though, Barry Kitson draws an absolutely beautiful book. It's definitely Kitson's art that could potentially serve as a sole reason to buy this book. It's powerful, exciting and gives the hero almost more of a Conan appearance before he truly matured through humility into the hero we know today.

Overall, the art of the book is solid. I've liked Pepe Larraz's work on the issues of Mighty Thor he's done in the past. I'm a little bothered by his overuse of blanking out faces in the distance as it does stick out like a sore thumb, but his design on the Mares is really fun and has a nightmare quality that made them very cool. The last page of the Enchantress is positively, drop dead gorgeous and well worth the wait to see even if the previous panel on the page before reveals what we already knew to be who Blake was talking to. It was the type of last page that actually caught me gasping lightly at the reveal.

Overall, this is a pretty solid book. The two main stories are interesting enough. Thor being trapped in a dream world is a throwback to those old Thor books that dealt with weirder characters and plots. The Blake story has questions, but his own personal hell with the Enchantress is well done. In each story, Larraz's art is solid. He's created some cool monsters to represent the Mares and his portrayal of the Enchantress is certainly alluring.

This story is still something that has a lot going for it, but that last page, and all of the subplot of the Jeff character really wasn't doing it for me.

The book is finally coming to the climax of the Blake becoming a god story, and that's left us with a good cliffhanger. It also features some nice art from Pepe Larraz. Here's to next issue setting Don Blake straight for his deal with Enchantress!

So, we say goodbye to Don Blake. Man, this is getting to be way too many goodbyes in the Thor books.

For art, wow. Asking Alan Davis to take on this task in these last few issues of the series was an excellent move. He's an old time artist who has a knack for these big stories. His Thor looks every bit like you'd expect the God of Thunder to look. His Surtur is menacing and imposing. His landscapes are beautiful and large. While Davis will be stepping aside to do colors for the Journey Into Mystery parts of the story, it's still great to see him lending his incredible talents to both sides of the story.

The art in this book is top notch from a classic artist. The story by Fraction and Gillen is still bringing the excitement despite a couple things I had to raise my eyebrow at. Overall, it's still every bit as exciting as it appeared to be from the very beginning.

Now we have only a couple issues remaining before this major storyline comes to a close. Is Loki seeing salvation for the the nine realms by allowing for everyone to be consumed by Surtur? Does he have even more tricks up his sleeve to play before making his final move?

This is a story I plan on reading again very soon. I'm sure there are so many elements I missed the first time around. For six issues, there's so much to take in and digest. However, it's not a story I'll be reading again to try to connect the dots or try to understand certain elements better. Those things were laid out fairly nicely, but it will be reread only for the pure entertainment value.

Barry Kitson returns from an earlier .1 issue to provide the art on this final issue. Again, he knocks it out of the park. Kitson's work with these types of characters is top notch. It's reminiscent of what we saw back in the 80s from Walt Simonson. There's a larger than life quality to the Asgardian men and a beauty to the women that is almost unmatched. If nothing else, readers will love the look of this book even if Kitson's not getting a great deal of opportunity to have Thor in full on battle to slay a beast.

You may or may not love the story, but I can definitely get behind this nicely paced and full story from DeMatteis with some pretty awesome art from Elson.

Ultimately, for me, this might be the best issue of the series on a while. It's funny because this is consistently the hardest book to review issue-by-issue because it's typically so very good already. So to say that this issue is the best in a while really says something about how, nearly 80 issues in, Robert Kirkman's series of an apocalyptic world ruled by zombies is still capable of knocking your socks off.

As the apparent hordes of zombies come raining down on Alexandria, who's become complacent and weak and who still has the survival instincts to do what is necessary to keep themselves, and their loved ones, safe?

Next month, the walkers will be fully amassed outside the gate and the arc we've been teased will begin in earnest. As the brilliant first season of the television series comes to an end, it looks like we don't have to go through too many withdrawals for very long.

This series has had more than its fair share of big moments. Most of which were surprises. This time, we're getting something a little different. We're moving toward a climax that will likely claim lives. I have a feeling each issue of the arc is going to continue be heavier and more laden with atmosphere and the expectation that Alexandria will fall.

In a single issue, Robert Kirkman goes from Rick and Jessie making love, to Morgan and Michonne dealing with their points of view on life and death, to roamers now pouring into Alexandria, but along the way, we realize what's at stake and find new characters to suddenly care about. While Tobin was never a major character by any stretch of the imagination, we were sorry to see him die. Obviously, we knew people would die, or get turned, but it still affects us. Kirkman's ability to make the readers invest in the characters is superb. We're only two parts in and we're already seeing people we like die. I have a feeling it's just an appetizer to a greater body count that may only leave us with a very small group of people with Rick as we move forward.

Kirkman's increase of the horror and the usual brilliant artwork of Charlie Adlard makes this an arc that will surely have a large impact on the future of every character we've grown to love. I even expect to see a major change in Rick unlike we've seen before.

I'm very much looking forward to reading it as a fan again. I'm also very much looking forward to Tom Parry's views on the series. With issue #85, I'm handing the reigns over to Tom and I'm really interested to see how someone who got their start with The Walking Dead through AMC's TV series views the comics. And don't worry, boys and girls, he's been catching up with the comics, so I'm sure he'll know what he's talking about!

This issue is another classic Kirkman tale. The humans are the bigger threats. Rick is slowly cracking, but toughens up when he needs to. This time though, Rick can't count on everyone around him believing in him. He doesn't have Douglas' pull anymore. Just like every other “safe haven” for Rick and the crew, I'm pretty certain this one is going to end up in a pretty bad place. Oh yeah, and then there's Rick's comments about the worth of Carl's life if he's going to stay the way he is.