This is not the all-knowing Batman. He is a detective and does uses tricks to get his way with Poison Ivy, much like he did with Freeze. The resolution of this story not confusing as the one with Freeze. Its a good thing.

Of course, the best part of this comic is the art by Stepan Sejic. It seems that DC Comics really wants Aquaman to shine, now that he will become a popular movie hero. The publisher is putting its best talent behind this series and willing to reduce its publication from twice a month to one so that it can have solid work for this series. I do hope that Abnetts script will be strong enough to create a memorable Aquaman run similar to Greg Ruckas Wonder Woman.

I like that many characters are playing parts and that Mera is still a part of this story even as she cannot reach Atlantis. Even Tempest has been brought back to the fold and new mysteries have been hinted at in this series and the Titans. I encourage you to read Abnetts Aquaman. His contribution to the character will soon reach and perhaps surpass that of Geoff Johns and Peter David.

I was excited to read Brad Walkers early issues on Aquaman but got bored when he was frequently replaced with other artists, being unable to draw a biweekly comic continually. With Stjepan Sejic, we again have a strong and distinct artist on the series. What he brings is the whole epic dimension that could only be captured by an artist not afraid of fantasy elements. Hi, is a savoury Aquaman!

Stapless art is great. She is the perfect artist for Archie. If she can stay with this series for a few years, she might one day challenge Dan DeCarlo as the ultimate Archie artist. Her rendition of the characters makes them more realistic, but its still a comic with enough comedic moments and funny gestures. She renders the reality television / comic jam well. Much of the comic would have worked fine without as much dialogue. Shes a great storyteller. I want to read more about this new Archie and I am glad that Archie Comics is continuing their push to make their comics relevant for kids today. It's part of what I call the nouveau comics.

David Finch, and Clay Mann are not the artists that I would have chosen for this story, not because they do not excel. They do. But for such a quiet story his work seems over kill and one expect a fight, an explosion lurking in the next page to jump at readers. But none does, so we are left with a complex story and intricate designs to convey emotions. Finch, and Miki do not convey emotion through facial expressions well so it is the placement of the characters in the page; their use of space that informs us of the subtlety in this story. It is one approach that is very sober, and removes the melodrama and lives us with cerebral decision-making and very few emotions coming from the characters. This seems to be the Batman that King wants to write about.

Tom King often uses good staging to start his stories and set up their conflict. I like what he did here with the stand-up comedian and the Joker. I also enjoyed how he mixed the Riddler in the chaos. There is a detective and crime noir feel to this story which like all of Kings work, is cerebral. Its also a great follow up to the last issue and its surprising revelation.

Mikel Jann draws great crowed scenes and the use of space, where the Joke constantly occupies the left, while the Riddler the right, is well done. King uses many parallels in his stories and Jann can execute them well. Now my only question is how is it that all the goons just stood there and had no meals of their own?

Clay Mann does not try to replicate Mikel Jann and that makes this comic stronger. His work is less clear and more figurative. But it is the right set of lines for this comic.

Mikel Jann deserves the other half of the accolades mostly for his rendition of the Riddler who finally has a distinctive look. He looks Irish! I also like the Jokers sneer. The action in this issue was telegraphed in a good way. These were fine pages where Jann skewered the frames to show the flow of the movements and the fight. The obligatory pows and other sound effects were there to remind us that this is a Batman comic after all. It should not take itself so seriously!

Having read the rest of this brief chapter, I can say that the setup was more than the overall story, but it was still very enjoyable.

Mikel Jann and Jolle Jones split the art this week. Jann takes care of the super heroics. Jones covers the dress shopping. Its a good split and each artist is suited for the task at hand. Rarely does one see a split so well done with one comic. Jann is establishing Catwoman as a green-eye person. I love it. Jones Catwoman is silky and well inked. The work would work well in black and white.

Lee Weeks is back drawing a Batman series. He is for me the classic pulp and Daredevil illustrator. Of course, his style fits nicely with Batman. I enjoy how different his panel layouts are compared to other artists who have worked with Tom King. You can tell that Weeks is a master storyteller and much more experienced than the others (who are no amateurs). His interpretation of the visual storytelling is pulpy and classic, while capturing all the nuances of king's script.

Walter Geovani continues the tradition of limiting the black and dark areas in the comic, especially in the well-lit clean room. But outside, in the streets, he did use good amounts of inks. He knows how to ink and play with light and dark. But he is choosing to focus on the bright. That, as I have written before, is a good choice.

I like the dynamism of TenNapels work. One can feel the animated cartoon influence in his art. Of note is the close resemblance to the Charleroi comic book school of design, popularized by Belgian cartoonists. His characters are expressive while being inked with a heavy line that is closer to American styles. Its a good mix and its perfect to capture the once serious and comical tone of this book.

Checchetto is a good replacement for De La Torre.Hollingsworths colours help cement the whole story and make sure it all fits in. This is turning to be a real classic Daredevil story in the making, visually and storywise.

Now that Waid is finally blooming on this series, Martins work is finally allowed to shine properly. Martin has been a great draftsman from the beginning, but with little inspiring material to work with, it all felt useless. Now he can tell the kind of stories that matter and that people will remember. Its nothing crazy or groundbreaking, but the illustrations are just right and of course the storytelling works well for a character with so much kinetic energy, like Daredevil.

Martin is not Lee Weeks, but his works is perfectly suitable for this series. Hes not too big on drawing Daredevil jumping around, but his storytelling is excellent He casually moves the story along and as reader, I never feel overwhelmed. There is just enough visual information to carry us through. Its refreshing.

Deodato has often been for me a hit or miss, but here, its a hit. Hes much more interesting than in the first issues. Gone are the dramatic pauses, replaced by solid storytelling and good staging. My only question is why cant he draw nipples on naked characters. I thought this convention of the comic book world had been dismissed years ago. As an aside, old time readers will recognize that this cover is an old recreation of the first Avengers series #314 which also mentioned the Void!

The Sentry goes berserk assuming his dark side and only Norman Osborne is capable of taming him. Yet, any result must be temporary as the Sentry is now self aware. That cant really be good for anyone. I really like this issue which shows that Osborn is more than a crazy lunatic. As crazy as he is, he knows how to control people crazier than he is. His argument for stopping the Void was credible and showed that he did not reach his current position only through guile. He has merit. This series is the one where Bendis has been putting all his efforts and it will be sad to see it go away. Its just too enjoyable. Deodato has grown as an artist and converted me into one of his fans in the space of a year. I used to hate his work. Now, I feel he defines the entire Norman Osborn and Dark Reign era.

I will miss Deodato when the Dark Avengers end in a few months. Hes really a great artist that has evolved over the past year into a strong creator. Beredo added more painterly effects to his clouring this issue and that complemented Deodatos work quite well.

Deoodato continues to impress me. Starting as an artist I could not stand with annoying unnatural poses, he morphed into a strong storyteller with a sense for the dramatic, as can be seen in the last page of the comic book featuring Osborn. Hes not what I would call a photogenic artist. His style is not exuberant. But he gets the job done.

Dennys Cowan is back! And hes inked by Bill Sienkiewicz. Hum, what can I say about this? With Priest, this is one of the strongest line up of classic comics greats working together. Ive complained about guest artists not fitting the current series look. Because this was a one shot with the Creeper, which mind you fit the rest of the series continuity, I can only say that I was impressed with this comic. Its the best one so far. Why is Deathstroke so hit and miss?

Gary Frank continues his systematic storytelling using the nine-panel grid. It is interesting to compare how Frank uses the nine-panel grid versus someone like Mitch Gerads. Both break larger panels into small chunks spread on rows of three-panels. Gerads, however repeats many frames within a page or uses them to make characters move within that space. This is something Keith Giffens used to do frequently. Frank favours using subject-to-subject transition between his panels. This fascinating stuff!

Gary Frank may be late on this series, but every issue has been a delight. Although he does not draw like Dave Gibbons, his interpretation is as authoritative. He helps Johns weave many clues that many will miss. I for one, do not perform as close a reading as I could as there is so much hidden in these pages. Frank has the patience to deliver those clues to willing readers.

Enough ranting. Go buy this comic Its great! Oh and Ferro Lad is the new Happy Face with a blood stain.

Travis G. Moore is incredible. His work is stellar and adds a lot of realism to a story about mythical creatures and characters. This series is great. If you are not reading it yet, I urge you to try it.

Scott Kolins has drawn the Flash for so long that whenever he comes back to the series, it is a pleasure. It is as if he simply picks up from where he left the last time and continues. Although he was assigned with the Wally West version of the Flash, everyone, including Barry Allen look familiar. I like that he draws the warden of Iron Heights again. If Kolins wants to stay, and draw Flash more regularly, please sign him up!

I have a concern about this series. The ideas are fresh and could cement a solid reboot for Flash Gordon. But will Dynamite lose interest with Flash Gordon in a few years or will it try to sustain a new classic version of the character?

Mahnke adds that touch of suspense and great design to every page. Through him, I could feel the despair of Hal Jordan as he tried to rescue the people on the bridge but could not. I cant say anything bad about this comic book. Its that good.

I dont know Fernando Pasarin, but can say that his work is brilliant so far. He has that same crisp quality that Doug Mahnke and Patrick Gleason have brought to Green Lantern in the past. His figures are well-formed and even his aliens look believable. Being able to draw good aliens is one great skill for a series like Green Lantern. I wasnt a regular Green Lantern Corps reader in the past, but I see no reason for passing such an excellently put series. This one has my full recommendations.

Im not used to Kirkham, but I like his work already. Theres almost a hint of anim in his work, but with full composition being influenced by American comics. He can draw gore and aliens. His characters have good facial expressions and dont all look the same. Who could ask for anything more?

Clay Mann is good here. Although not my favourite illustrator, he gave the farm this Smallville scope of wideness that makes one think everything around is silent. His best scenes are of course the diner ones where the characters just eat and live their relationships like typical Tom King characters.

Ryan Ottley. Ryan Ottley. Hes Invincible. He draws all these worlds and characters, and then kills them in the most gruesome ways, making us care about all these cool characters that appear in the pages of this comic book series. I cant complain about anything Ottley does, including the gore. Its emotional. People are mangled and obliterated without care. Its not emotional or redeeming. Their deaths are true, in a sense. They are not heroic or romantized. The threat of the Viltrumite is well visualized. Ottley is a true super hero comic book artist. Hes a classic. Pick up this book. Its worth it.

Larroca is a great artist that brings the human dimensionof this story of a wider scale. He succeeds as well in drawing humaninteractions as big battle armour. Colourist DArmata has to be mentioned forthe way in which he channels the colour palette of French cartoonist M"bius. Itgives the book a realistic look mixed with some slight fantasy, informing thereader that this is not all real, but a comic book.

Without Larroca, the story would not feel as larger than life. With Larrocas participation, this series and the current story arc have the potential to dethrone previous highlights of Iron Man, like the armour wars and much of the run by David Michelinie and Bob Layton. Whether its technology, regular folks or super models, Larroca knows how to render them well.

Larroca may be credited as being the other half of this marvelous run in a few year. The work he does here, will allow him to stand on the same pedestal as that of classic comic book teams such as Chris Claremont and John Byrne, Stan Lee and Jack Kirby. This is what hes delivering month after month in this series and hes making this run on Iron Man one of the best since the armour wars from the 1980s.

Mitch Gerads appears to be using modified photo backgrounds for some of his sombre sets but it does not matter if he does. Kirby also did but did not have the benefit of Photoshop to make it look as good.

This comic may not be for everyone though. Yes it is cerebral but more than that it is exploration of comic storytelling as good as Keith Giffen or Alan Moore. Mitch Gerads plays so well with space and the arrangement of panels that this comic should be used in classes teaching students about visual storytelling and how to craft a good comic. Gerads fully understands the tools he has and pure pacing through space. Again, few creators have mastered this art as well. He is competing with the likes of Keith Giffen, Larry Hama, and Frank Miller.

As usual, Mitch Gerads played the accomplice to King in this story whose narrator in hindsight is very godly and very obvious. The repetitions of panels using the nine-panel grid with little changes and a lot or reused frames in subsequent pages create much familiarity in a story that can be difficult to grasp if read literally.

Mitch Gerads plays his part as usual, making this comic the best on the market right now. For someone who is not a natural at the super hero genre, he handled himself quite well here. Pay attention to the way he draws Darkeid in the nine-panel grid. There is a lot of secondary storytelling hidden in these scenes.

Visually, DellOttos work has a painterly quality that works for a story about the epic history of the Avengers. The first few pages showing important crisis in the history of the Avengers, where they were responsible for creating a threat that could have affected the universe was quite powerful. Unfortunately, to read the end of this story one has to pick up another annual. The price of this comic book was ridiculously high, though.

Coipel is Coipel. Hes one of the best artists that Marvel Comics has right now. His folksy style captures all characters idioms so well. I like his rendition of the Sentry as this parasitic creature. Of course I like his Thor and I like his Captain America and Iron Man. Theres a double page spread in there that just calls to action. All the heroes are lined up and ready to kick ass. Just perfect.

The artwork is very cartoony but funny. Everything is dynamic and easy to decipher. Marcelo Dichiara draws both stories, adhering strongly to the animated model sheets developed for this series years ago. Even for adults, this comic will provide a few good laughs and good break from gloomy comics. As for kids, it wont talk down to them.

Will Conrad is impressive. His work is very realistic but not stiff. Often very realistic artistss work is stiff. Last issue Conrad proved that he could draw super hero material. Here, he proves that he can draw regular slice of life and thrillers as well. Captain Atom is engaging partly because of his participation. This comic is great. Go out and buy it!

Raynor is a great artist. Normally, I wouldnt care for someone with this style, but for this series, I cant think of a better match. Its slightly cartoony and action-packed. His storytelling is great as the action and the character move the story along without submerging the plot. If it looks a bit rough in some places, its not much of a problem. Its gritty but with cool facial expressions. It really is the best-designed Green Hornet series published by Dynamite right now. I wish they would raise the level of all their other series to match this one.

Padilla is a good artist. Never heard of him before this series but his work is fun to look at. Theres a hint of manga in his work, but the inks are so strong and the characters so gritty that it feels like a light influence from Japanese comics.

Olivier Coipel is one of my favourite artists. To think that people used to complain about his work when he was working on Legion of Super Heroes for DC Comics. Granted most of his characters look alike, he has the ability to capture mundane and non heroic characters unlike anyone else. His use of facial expressions has also improved tremendously since he last worked on Thor as its regular artist.

Milne is good, and I like that he continues to work on this series, providing it with visual continuity. His Transfomers faces have more human qualities, than robotic ones, but I dont mind that.

Cahill should be the regular Transformers illustrator beyond the Chaos storyline. I really enjoy his take on the Transformers. Prowl really looks unique in robot mode, although in his alternate car mode, its sometimes tough to distinguish him from Streetwise. This story is really enjoyable from the first page to the last.

Veteran artist Peter Gross lends a hand with the series casing the story in a realistic but clear style that forces the reader to focus on the story and no other artefacts that would deter attention from the story. His loose inks are a good match for the narrative and do not give a noirish or any other slant to the story. For those familiar with the premise of the series, such a neutral art style is necessary and I hope will be adapted for particular tales.

Coipels handling of Thor takes more character every issues and the way he portrays Thor, is becoming more unique and iconic. Thor is no longer just another blond guy with Goldilocks. Hes a rugged with the grace of a strong man, incorporated in the body of a brute. His silence visually is always telling and exudes his strengths and weakness in a way few other artists could do. I really enjoy this run.

Aja brings an iconic touch to this early Avengers storythat reminds me of James Fry. Giarrussoand Kirby are just pros, although the inkers on Kirbys work made his storieslook quite different.

Samnee is the best artist for this series. Its delightful to look at every page and every panels he draws. Theres never something out place or unnecessary. Even while packing many panels per page, he still makes each count for something. This comic book is probably one of my favourites from any publisher right now.

I dont know what else to say about Samnee. Hes the best artist for this series. Its because of him thats its so good. I like the way the character has real expressions in this comic book. The storytelling and pacing is excellent. Thor actually smiles so much that its refreshing. I cant get enough of this series. It,s my favourite read from Marvel Comics these days.

Im tired of praising Samnee every issue. I cant say anything negative about his work. I cant ask him to improve on anything. For what this comic book is about and what hes supposed to do, theres little I could suggest. Thats rare that a comic book is so perfect, that theres nothing to say about it. I guess the weakest part is the cover. Its not the best, but everything inside just flows. Something else that has to be commended is how Samnee draws a one page recap of the entire series, instead of just relying on a text blurb. I wish more comic books would adopt this formula.

I enjoy Baltazars cartoons. He simplifies his characters just enough to make them recognizable. Each character has its own icons and bright colours. Since the publisher aimed this comic book at older readers like me in an attempt to give them to kids, I guess DC Comics has succeeded.

Why is it that great Transformers artists can never quite render humans properly? Oh well... At least, Guidi makes for complex and detailed Transformers where each has his individuality. For example, Hot Rods knee articulation is totally different from Megatrons. Guidis work has a manga feel that is appropriate for the Transformers. Im not sold on the colouring though. Its too painterly and not stark enough.

Bilquis Evely has a pulp feel which is just right for this story that will make you think that Lara Croft is a red-haired adventuress. Romulo Fajardo Jr s colours add the right tough to an already pulpy comic. Its a great mix and a great comic that I hope will become every Wonder Womans fanss favourite.

Im glad that Greg Rucka is a feminist writer. Wonder Woman is written in a smart way that will please anyone who cares about social justice and those who do not. She does not preach. She is still innocent. But she is inspiring and caring. This year one storyline has to be one of the best rendition of Wonder Womans origin ever written.

If you still havent picked up this series, please do. Its one of the best of DC Rebirth.

Ive never read anything by Van Lente before, although he seems to have been working in the comic book industry for some time. I really liked what I read this issue. The story was simple, yet complex. There was strong motivations and characterization. There was also some humour which is always good with Spider-man. I hope he returns for more stories.

Checchetto is a very good artist. Im not familiar with his work but he showed that he could handle the chores remarkably well. The one weakness is his inking which should be more encompassing to cover the lines. His work needs it. He plays a lot with page layouts and use closure to suggest information happening off page. Thats quite good.

It finally dawned on me that Philippe Briones is inspired by John Byrne, heavily. The entire fight has the kind of kinetic movement one expects from a Byrne super hero fight. The angles, the postures all give away a clear Byrne influence. And thats why the way Briones draws technology seemed somewhat familiar in the past. If you long for a modern take on Byrne, pick up this issue. I havent seen anyone capture Byrnes energy and signature so well since the late Mike Parobeck. I must say that inker Wayne Faucher's inks also helped make Briones' work much better than usual.

Pencillers Scot Eaton and Philippe Briones deliver a good farewell to the series theyve been drawing since 2016 but I have to mention the funny error that he tried to correct in the sequence during Arthurs trial. There is a blonde woman watching closely the trial. She wears what seems like a crown similar to Mera. But Mera was established as having left the city pages earlier. I bet that editor Andy Khouri had the inkers remove the scales from the womans costume and give her blonde hair instead! This woman was so prominently portrayed that at one point I even wondered if she was Aquamans mother, Atlanna! Similarly, there is another woman coloured differently who looks like Tuula, Atlantiss regent.

Sejic provides the most vivid and original take on Aquaman since Esteban Maroto who was Davids colleague on the Atlantis Chronicles. His Aquaman and Atlantis are not sci-fi based. They are vivid with colours even deep undersea but there is a feeling that the characters are underwater. Sejic knows how to draw water and textures that resemble scales and other see critters. Its all fun here.

Mikel Jann continues to draw all characters distinctively and it makes the story much stronger. This is how the Joker and the Riddler should always look. They should always have those sneer and the personalities that come with them.

If you read Johnny Bullet, youll of course have figured out that I am a poor Alex Toth student. I was amazed at the many similarities between Jesse Bravo and Johnny Bullet that went beyond their infamous initials. This is why I felt that the story was not the best developed aspect and I yearned for more. There was so much that was barely unearthed in the few available Jesse Bravo stories he created for publication. Still, for fans of Alex Toth, Jesse Bravo is some of the most mature and idiosyncratic work done by the cartoonist, where he got to play with all of his favourite toys.

If you read Johnny Bullet, youll of course have figured out that I am a poor Alex Toth student. I was amazed at the many similarities between Jesse Bravo and Johnny Bullet that went beyond their infamous initials. This is why I felt that the story was not the best developed aspect and I yearned for more. There was so much that was barely unearthed in the few available Jesse Bravo stories he created for publication. Still, for fans of Alex Toth, Jesse Bravo is some of the most mature and idiosyncratic work done by the cartoonist, where he got to play with all of his favourite toys.

In this issue, we get some Bourne-like remorse fromCaptain America. What really happens is that it highlights the fact that thecurrent Captain America is a criminal and murderer, a wanted felon in much ofthe world. Granted he wants to do well and improve now, but this is far fromwhat the original Captain America stood for. Im not complaining though. One issue that concerned me was the use of theword China to describe Taiwan, that is, if according to the writers, Taipei isstill located in Taiwan and not Communist China.

There are minimal shadows in Walter Geovanis work. I dont believe that he cant play with light and dark. I think that given the very bright environment he plays with, that he purposely avoid strong shadows. It makes his characters, regardless of the colouring feel as if they were over-saturated. This is not a criticism. This is very effective for the kind of story that he writes and the bright settings his characters thrive in.

The artwork this issue is better than in the first issue.The weird posing has stopped and Deodato shows he can stage a fight scene. Now,if only his Nixon interpretation of Osborn could become the norm at MarvelComics, that would be just sweet.

Its hard to imagine that a year ago, I really did not like Deodatos work on this series. I felt his characters gestures were odd and non natural. I didnt like his storytelling either. Whereas I wished this series would end quickly, I now really like what is offered and the visual. Deodato has grown a lot in this series in subtle ways. His posing is no longer back pain inducing. His characters look like normal humans instead over muscled creatures suffering from roid rage. He also makes every one of them look different. Finally, his Norman Osborn is the best rendition of any current one with his Richard Nixon nose. This series really has grown and is a great one.

Trust Joe Bennett to deliver a solid comic capturing all the madness in the Wilson family. His work is detailed and just right to capture the beauty of the characters. These are not, however, beautiful people. And the fact that their ugliness is not more visible is a problem!

Larry Hama continues to shape the wonderful breakdowns of this story which are then rendered marvellously by Carlo Pagulayan. Its great work guys!

Carlo Pagulayan is strong this issue. I wonder why he was given assistance on the layouts earlier in the series beginning. In terms of storytelling, there are a few things that I would adjust but its a strong visual representation. I like his effectiveness at showing the bravado between Batman and Deathstroke.

Gary Frank contributes greatly to the enjoyment of this comic by sticking with the nine-panel grid layout and breaking it when needed, using the same spatial design. Of course, Frank is a better illustrator than Gibbons. His pages are richer in texture and more dynamic. But then, he has had years to study the work of Gibbons before being able to perfect his art here and elsewhere. Frank is a great pick for this comic and adapt at facial expressions and visual storytelling.

Regardless of my minor criticisms, this comic continues to impress.

Carmine di Giandomenico and Pop Mhans show a lot of the pencils (whether they are actual pencils or digital) used for the page. Often Giandomenico reuses elements but does not adjust the width of the lines in close shots. Here instead, we see the thickness of the lines that he uses and the analog quality that they have. Not any comic book artists these days are willing to play with the lines of their figures the way Giandomenico does. It adds a lot of energy to his work.

Doug Mahnke is a pro and I have always loved his work from the day I saw it in the first Mask mini-series. His work is crispier than before and at times, I found myself wondering if it wasnt Patrick Gleasons work. Gleason worked under Mahnke for years, so its interesting to see the master allow the student to inspire him. But its ll good including hints of Steve McNiven. Its sweet and crisp.

I'm tired of saying that Freddie E. Williams II was born to draw this comic. Its chaotic and filled with energy and overtly muscle guys who seem on roids. It doesnt matter. This is what this comic and the cartoons were about. Get this comic!

Invincible faces Conquest a second time. This time neither combatant will underestimate the other and they will fight until one of them die and the other barely makes it alive. Which one will it be? This issue took me by surprise. Its a great super hero fight to the finish the likes of which we rarely see these days, even with all the violence thats been allowed to creep in super hero comics. It used to be that Invincible was the safe series for those who long a old school super hero with challenges and real emotions, la Spider-man. The last year or so, Invincible has proven that every time we think it will become bland, it will shock us. This issue is like that. I really did not expect a fight to the finish when I picked this title this week. I didnt skip to check out the last pages, so it was a real shocker for me. I dont know how they ll come back from that one. Ottley, like everything in this issue is great. However, I seriously hope that drawing these comic books draw out all th

This issue is a new start for the series after Siege, after the total mind wipe out of Tony Stark, after he lost everything to Norman Osborne. This series is a perfect jumping point for people curious about Iron Man and of course a great tie-in with the Iron Man movie. While the last few issues bored me to death with the mind travel storyline, Im glad to see some of the drama and corporate action back in this series again. Tony Stark is an industrialist and a technologist. The series does better when it sticks to that instead of all that new age mumbo jumbo. Of course, this story ties in with the other big Stark villain who will show up for the movie, Justin Hammer " actually his daughter. I like the hint of sexism directed at her character and am glad to see he portrayed as a worthy boardroom opponent to Stark. I like the new armour, but would have liked to see how much it differs from the old one and how it could no longer be attacked the way the Skrulls did the last time. Larroca fi

The artist for this issue is probably the best that has worked in it since this series began. Unfortunately, Sandra Hopes pencils dont enhance his work as she tries to turn him into another Ed Benes clone.

I liked Loprestis work, but Ryan is not the right inker for Captain Atom. I liked all the other characters and the grit added, but the reflections on Captain Atom looked more like crosshatching. Everything else was fine with clear action and storytelling. My criticisms about this story are quite minor and do not take away from enjoying the comic book. Its really personal pet peeves, so Id definitely suggest this book to any super hero story fan.

Bennett is back. I always like his work. He draws beautiful women. His characters faces are always full of expressions. His work here complements Winick script perfectly. Jadson gives Bennetts pencils a more angular feel which is not bad at all. Inkers usually give him softer lines, but I like the contrast here. With solid pencils, any play on inks usually make the drawings look good no matter what.

Merino does good work here and his inker is better than the one from last issue. I like the classic 1950s look of Liberty Belle. Shes really the hottest JSA character these days. I like the various villains depictions although its a bit difficult to understand who they all are as we have not been properly introduced to them.

Mitch Gerads has a lot of fun this issue. It may be false positive but Scott Free sports various T-shirts from members of the Justice League and even one of the Sheriff of Babylon! None of this may have any meanings but its fun to see. I recently compared Gerads nine-panel grid with Gary Franks. While Frank focuses subject-to-subject transitions, Gerads uses many repetitions and moment-to-moment transitions. Even though the nine-panel grid has become a fetish and stylistic trick to mark authoritative comic book authorship instead of the genuine, each artist still manages to use it in unique ways.

Deodato renders a mean and lean Daredevil. I like how he drew him here. I could easily see him become regular artist for Daredevil should the sales of his series plunge further. But that is another story. Meanwhile, did I mention how this team feels more and more like the Defenders? I wonder if it would sell as much if it was billed like that.

Of the two artists featured in this brief comic book, I preferred the work of Vicki Scott. It was livelier and relied less on stock Peanut characters pantomimes to make its point. Snoopy was the start of that strip and the work relied on no text caption to guide the story. In comparison, Ron Zormans pages did not innovate so much with the characters pauses, and relied on typical gestures displayed by Peanuts character over the years. I would say he played it safe. The stories by Schulz were of course authentic but did look odd as the comic strip format was adapted to make a comic book page. The characters appeared much smaller than in the original material. As an experiment, this comic book will be interesting to watch.

I liked Diogenes Neves work here. Blonds colouring helped a lot to with the negative space created by the white thing and the blue hue used throughout the issue. The only thing missing were Kirby crackle balls!

I dont know Will Conrad but I like his clean classic DC Comics look! He has a great handle on anatomy and his Justice League characters look good. Of note are his special effects and water illustrations. They are great. Youll notice that DC Comics seem to model Captain Atom closely after The Watchmens Dr. Manhattan. He is clearly blue instead of silver. Interesting decision!

I went back quickly to the two previous issues to find any other references to The Watchmen. There seems to be all around I need more time to dig further. If you are still wondering if you should get this comic, well don't. This is an important Rebirth comic which is highly entertaining! Buy it now!

Milne draws good Transformers although he gives them a human face. The colouring is good and there are touches throughout the book that make things interesting visually. For example, there is a scene where Megatron throws a rock on a piece of glass. The wreckage is shaped like the Decepticons symbol.

On the other hand, the highlight of this run is the art by Ferry. He is an illustrators illustrator. I like the crazy creature he draws. Some of them reminds me of the Myazaki ones, but with a totally different visual reference. As a storyteller, Ferry is as excellent. The pages and their contents flow seamlessly. Every panel in this comic book is a work of art to admire. Not many comic books have such visual quality.

Samnee is a great artist and I hope he stays with this series for a while. I like the expressions he puts on Thor and other characters faces. There is a simplicity in his work which is charming but also hides how much work he really put into to make this series such a joy to read visually.

Keeping a single artist on this issue helps a lot. Previous ones had a mix of artists whose style was not always suitable for the Transformers, thereby weakening the better drawn pages. Here Guido, although not my favourite has the same vibe as classic Transformers artist, Andrew Wildman. His robots have human facial characteristics while being mechanized creatures.

Roches work is more angular and less symmetrical than Coller, but it has its own vibrancy. As the writer and artist, this series its odd that he did not better plot the layout of his page as he had so much text that it made his artwork less important to read. Still he tried to make it as kinetic as his story would allow it and that is a good thing. Collers visuals are colder. He makes the Transformers into real machines, not humans that munch on cigars. But its quite good and closer to what Dreamwave artists did when that company had the license to the Transformers.

Franciscos work is good and perfect for the plain landscapes and mountains needed to capture the world of Turok. The line work has qualities similar to Joe Kubert but with a very different style. My first criticism would be that there are too many lines in the characters faces that obstruct their features. Franciscos characters could easily get away with a bit less line work. My second criticism has to do with storytelling. In some panels where crucial action is happening, there is too much of a gap between the panels making the flow of the action uncertain. For example, in one scene, Turok and Andar are back against a mountain flank with the warriors of the other tribe circling them. Yet, they manage to escape the circle and have much distance between themselves and their opponents. Thats quite a stretch.

The weak point of the story is he artwork by Liam Sharp. I prefer year one artist Nicola Scott. But a weakness is relative in a story so well crafted. Some shots, like Wonder Woman plunging through Urzkartaga looked like super heroics of a bygone era and so were less satisfying. Yet for such a jungle epic, he is the natural choice.

I like the tile motif that Liam Sharp used for this issue. It allows the various vignettes that make Wonder Womans life come around while symbolizing her current detention in a psychiatric hospital under a cover name. Sharp mixes a lot of elements, including shots taken from Nicola Scott. In scenes where the art needed to be clean like with Diana Prince, Sharp did that. But with other scenes like the runaways Steve Trevor and Etta Candy, the mood was just right. Dark, and gloomy.

There has been many times where I have not found Jimenez work suitable for Spider-man. Hes work feels better in epic stories with iconic characters. Spider-man is iconic, but not larger a god-like figure. Yet, Jimenez added enough grittiness to make this story entertaining visually and selling me on the idea that he could be a great Spider-man artist, if given the right story. This was his breakthrough and he impressed me.

This new storyline is just in time to celebrate the 600th issue of the Amazing Spider-man. Part of me asks how Kelly will pull of the confrontation between Norman Osborn and Spider-man without detracting from the overall game plan of the Dark Reign storyline affecting all Marvel Comics. Still, it was a good build up issue that concentrated on the characters and introduced a credible stake and conflict in the person of Norman Osborn. One issue which I wish had been addressed this issue is how Jonah Jameson Jr. feels about the black Spider-man in Normans Osborns Avengers. Does he think hes ok?

Azaceta is a great artists, but not necessarily the best choice for Spider-man. The editors of the book have been favouring artists like him over the traditional action-oriented ones for a while now. Perhaps they are trying to give Spider-man a unique look and feel. Well, in a sense its working. Im just concerned about how Azaceta makes Peter Parker look so fat!

I really like Casellis work this issue. Its everything Humberto Ramos is not. Its well constructed with good anatomy. Backgrounds are not rushed and are rich. Characters dont look exaggerated and the action flows naturally. A very good read.

This makes Trump nothing more than a reactionary fighting against the past of an America changing while allying himself with foreign forces to destroy the unique American exceptionalism which is brilliantly exploitable and represented in Ridley's comic. Looking from the outside, I marvel at the United States constant struggle with itself. Georges Jeanty represents this struggle well in a comic where the pages keep improving.

I was not familiar with Brad Walkers work before this series. Hes a good artist. He seems to be more in line with Marvel Comics than DC Comics. This is not a criticism. Usually DC Comics goes for the more realist and classical artists. Their execution is usually fine but lacks energy. Not Walkers Aquaman! All of his characters jump off the page! Aquaman really has a lot of hair! Its good stuff!

I havent been a fan of Philippe Brioness Aquaman all the time. I think my problem is the inking. It lacks polish. And this is a shame because he draws very good figures. Still his work is solid and does not really jump out when compared to Scot Eatons. Each handle Aquaman well. But when will Brad Walker be back?

Dan Abnetts job is to keep up the charm now that Aquamans first storyline has established the series as one to care about. Its a typical quiet issue where he introduces a new threat and resolves some dangling plot points relating to Mera and Aquamans relationship. Its all moving in the right direction. Its also a great jumping point for the series.

Scot Eaton is back and his work is clean. Its also dynamic enough. I like all of the Easter eggs that he added in the pages where there a crowds cheering. Aquaman has three regular artists but they fit well. I prefer Brad Walker but Wayne Faucher is a strong inker and he makes the art look great.

Im not always a fan of Philip Brioness work. While his art is reminiscent and inspired by John Byrne, his inking can be at time too light and insufficient to correctly strengthen his figures. Not this time. His work is outstanding this issue with great facility for action scenes. Youll believe that Aquaman is jumping off the ground easily.

This is Stjepan Sejics last issue. I thought that he would stay longer with this series as he elevated the series greatly. Aquaman has not looked this good since the Atlantis Chronicles. I like how he uses negative space with painted colours. Sejics depiction of hair underwater is not always good but I like how he draws swimming and floating bodies.

This incarnation of the Suicide Squad with Harley Quinn has always had a bit of dark humour. It returns in full force this issue with Master Jailer contemplating his future as a possible super hero. While his backstory is very similar to Deadshots, he has none of the assassins confidence. Aquaman in this issue plays a secondary role to the Suicide Squad but this is not a fault. This crossover has been very intertwined, and it has been difficult to decide where one series start and where the other one ends. This is highlighted in the conclusion where Amanda Waller and Mera have a chat together.

Lan Medina was the artists on the Mera comic book series. I like seeing him here too as it ads to the continuity of the visual storytelling. His art infused with inks by Vicente Cifuentes is tight, clean, and beautiful, although Im not always a fan of how he draws Meras face. Those are just personal quibbles.

Fiona Staples is becoming the classic Archie artist for me, the same way Dan DeCarlo and Dan Parent were for their generation. Of all the alternate covers for this issue and the first, only Stapless interpretation of Archie feels right to me. She adds a lot of comedy and slapstick humour to the pages, which again, are classic Archie tropes. While the art looks fresh and contemporary, its still an Archie story. My only complaint is that Stapless inking is too rough and hard. She should soften her touch a bit.

The artwork is just right even if painted. Often painted comics feel stiff. Janet Van Dyne has never looked better. Even the wacky costumes look decent with very little updates needed. The price of this comic book is a bit steep though. I would encourage readers to only pick up issues they are interested in as opposed to all of those coming out. For example, I skipped the one on Luke Cage because I dont really care about the character.

I enjoy Casellis work. He gives a lot of dimensions to the characters and combined with the beautiful colouring by Rudoni, he makes me wish all comic books could look this good. The quality of the artwork on this series surprises me. After all, it is not a main Marvel Comics series, unless that is really what Marvel Comics wants. Well, I can only say that readers win, and I might have to seriously consider adding this series to my regular reading list, because the artwork looks so good.

Clay Mann is not the usual artist for this storyline. That affects the story as the visual style changes a bit too much. While the panels layout appears superficially the same, the characters idiosyncratic faces which are so important in this story are off regardless of Manns effort to mimic Mikel Jann.

Watch how Jolle Jones draws lines and movement in this comic. The goons gestures and drapery are like sinews and muscle all arching on one direction opposing the forces and counterweights of Batman and Catwoman. But once that segment of the story is over, Jones converts to a more intimate illustration style with less movement and more power given to the inks. A master is at work.

It appears that King and Weeks have finally learned to work together in a complimentary manner.

Tony S. Daniel returns to the world of Batman to show us how he is one of the best Batman artists that can draw him in midair jumping from rooftops. He is the right pick for this story also featuring Nightwing. Normally, I would not be a fan of Daniels work not because it is bad, but the Jim Lee style is not favourite. Yet for this tale, capturing the innocence of Nightwing and the limited action afforded by Kings script, Daniel excels.

I do hope that I am wrong on the near murder of the KGBeast and Batmans confusion.

Robin is left alone with a smiling and begging Joker that revealed the truth of how he has been manipulating Batman and Robin and the rest of the city police force for months. But Robin is too impulsive to be caught by the Jokers temptations. This story was good but weird at once. The beginning which starts a few days before the rest of the book was confusing in a Morrison way, so Im not worried about this. All we be clear by next issue. The best part was the smiling Joker who really didnt want to smile and how it was totally unclear if he was begging for his life or just taunting Robin. Irivings Joker is beautiful and scary to look at.

The highlight of the series is of course Paquettes work. Its soft and well inked. The drawings are solid. I love his Catwoman and his interpretation of the new Batman suit. The colouring is simplified with palettes of colours per sequences. Thats not often done in comics, but always appreciated when it is.

The best aspect of this comic is the artwork by Francis Manapul who has all the gravitas needed to depict havoc on a wide planetarian scape. I sense some John Romita jr. influences for the first time. But its exactly what is needed to depict chaos and war.

Murphys inks are strong. He plays up the Dark Knight aspect of the comic with a generous helping of inks. His Batman is very much like the Dark Knight of Frank Miller but interpreted with his own narrower and triangular design of faces.

Jesus Saiz is perfect for this series. One important thing about Birds of Prey is that it has to look good. When you have female leads in a series, I dont care if it comes off as sexist, but the leads must be beautiful. Each woman is beautiful here and graceful enough. The action was easy to follow. This series is a go for me.

Saiz is excellent here. I just love how he draws women. They are hot but not exaggerated. They can kick ass and look good in skin-tight costumes, without looking like tramps. Saiz has the right mix for these characters.

Saiz, as I wrote in the past is the perfect artist for a series where the female leads are expected to be beautiful, but drawn to overemphasize their curves. He can draw women in action scenes quite well, without using any of the clichs and poses that would break a real persons back in real life.

This story was fast-paced. I read it in about five minutes. A previous story hinted that Batgirl and Black Canary had some kind of real disagreement. But this issue Batgirl just showed up to help her old teammate without bringing up any of their past issues. It kinds of invalidate the previous subplot. Of course the story ends in a cliffhanger. I will say that Birds of Prey is one of the most solid of the 52 reboots. It may not go to some of the creative heights of other series such a Wonder Woman, but it is a great read. Time Warner Inc. the parent company of DC Comics supports the Stop Online Piracy Act (SOPA).

Francavilla draws a pulp Black Panther that feels like hes from the 1950s. I like it. The Clark Kent secret identity trick is funny too. I like all the gear the Black Panther carries around. The fights scenes were interesting. Cant wait to see more from this team.

Series like these are good to give less known artists opportunities to shine and show their work to a larger audience. This, is done well, although Barrows is hardly a newcomer. I enjoyed his interpretation of several of the characters and how solid they felt.

This is a new Vertigo series with promise that takes from current cultural wars and attacks on the Latino community in the United States to create a tale about those living near the hypothetical wall that some want built to stop migrant workers in town. There are a lot of important revelations in this first issue and more than enough space to explore the main characters and his supporting cast. This is amazing. The threat is exposed but for now, it was not the most important aspect of the story. That will probably come for the next issue.

There is nothing that I can say about the artwork in this series except for marvelling at the quality and consistency readers are treated to. Even when there is a replacement artist, like Butch Guice, the work is so similar to Eptings that its only noticeable when reading the credits. Kudos to the art director who works behind the scenes and never get any credits for his work.

Changing the artist probably made me like this comic book even more. Aruna has a great reputation for drawing characters in a way that makes them look like theyre from a political thriller. With the old Marvel Comics look of past issues, Im glad we have something more solid to concentrate on. Aruna particularly reveals the distinct traits of every character he draws. I like how skinny his Tony Stark is, compared with Steve Rogers.

The artwork is fine and a great way to imagine Daredevil. Its rainy and realistic at the same time. Its not about dark shadows in corners, but more about the brownstones and rain drop. Its great stuff.

Lark and Gaudino offer visuals where the characters look consistent. They even look consistent to the work by Alex Maleev. Thats a great feat and I wish more comic book series spent time creating a uniform visual identity for their characters, than trying to feature the new hot head artist of the month. The story is just easier to read this way.

Lark is just right for this series and help establish the crime noir feel. Whats good, is that it doesnt feel like reading a Batman title. Its clearly a Daredevil branded style and the lack of Daredevil in costume in these pages is not even an issue for this reviewer. Its just solid drama rendered visually.

The art team on this series does what few can. Itintegrates different chapters drawn by different teams smoothly, making it unnoticeablefor the casual reader to pin point where one artist started and left off. Ofcourse each artist in this series works solely to carry the story forward andthere are no wasted panels or posters showing the prowess of individualartists. Its a team effort that pays off quite well.

Aja continues in the tradition of past Daredevilillustrators to create a crime noir what I like about his contribution, isthat its so embedded with the general tone of this series, thats itsdifficult to differentiate from other Daredevil illustrators. Its good work.

Visually, it all works out. I remember when Daredevil looked like but a worm next to the kingpin. Its not the case now it seems. The cover shows them at about the same size. Its not clear with the inside art, as Daredevil is constantly slouching. Its kind of odd too that he would do so instead of measuring up to the man he has come to call his arch nemesis.

De La Torre is a good artist and keeps Daredevil in style which is appreciated. I particularly liked Hollingsworths colours. He creates palettes that feel like washes with too much light saturation. Its great with the story as it gives it an aerie mood as if there is steam in the room.

De La Torre is great. I like how his work feels rainy and continues to give everything Daredevil related a unique look that cannot be found in most other super hero books. Ive said it before. DC Comics had an opportunity to make Green Arrow a Daredevil type of book but failed after Brad Meltzers run. Here Marvel Comics keeps to the right formula with edging stories and iconoclastic artists.

Djurdjevic is a great artist, although he draws his characters open mouth wider than Rob Liefeld. He gets pacing and page composition and its hard to find anything bad with his work. Its crispy comic book fair and it may help to justify this fourth or fifth " I lose track " Avengers series.

Joe Bennett is an old time 2000s DC Comics artist who could draw good looking women. Im glad that he is back for this issue as it focuses on Ravager. Bennett is a pro. His work follows the lead established by Carlo Pagulayan but with less flash. What he loses in flash, he makes up in solid storytelling and a double-cross set up that remarkably enhances Priest complicated premise.

In the visual department, Larry Hama, an old pro at wordless comic book storytelling, continues to guide the beautiful pencils by Carlo Pagulayan. Hama is the perfect foil for Priest. They are both old timers in comics who are willing to let visuals do the heavy storytelling lifting. Pagulayan is a fine artist who while he many not handle storytelling as naturally as Hama, can render beautiful scenes.

The one weak point is the artwork. Its not bad at all, but the inking should be stronger. It doesnt fit with the style of the story and makes it more quiet than it really is.

Although the Avengers seem to not recognize the Eternals, it is not a real worry, as Gaiman has indicated that he was fully aware of continuity of this group. In fact, he revels in it with his hints about the current civil war at Marvel Comics. The discussion Makkari has with the celestial is interesting, and although no man is meant to understand its scope, Gaiman still showcased its philosophy as best as he could. It seems that another issue will be added to this series, where possibly, the Avengers go for a rematch against the Eternals. No complaints from me.

Travis Moore reminded me of a younger Rags Morales. I have never heard of him before but I enjoy his work. Unlike Morales, he keeps the size of eyeballs to a respectable size. Besides great character renditions, Moore excels at background illustration. His page layouts are sometimes a bit too fancy and can lead to confusion though. If he limited these tricks, it would enhance his considerable storytelling abilities.

Steve Rolstons work is a stark change from what we have been treated to earlier. His rendering which are cartoony and simplified are suited for a story featuring goblins. I do admit that I was put off by it at first since it is so different from the hyperrealism that we have witnessed earlier. But Rolstonis a solid storyteller, nevertheless.

Hitch is a hit or miss. It depends on how much he inked his work or let other inkers lend a hand. I would bet that Currie does a better job of inking Hitch though and maybe he should have more space to interpret this great penciler. In the past, teams such as John Romita Jr and Klaus Janson proved that an inker can add as much thrill and delight to a great artists work, when they are given the space needed to shine. Lets hope that Hitch inking his own work is not a matter of ego, and that Currie can start taking more spotlight.

Hitch continues to deliver superior renderings in these pages and he will be missed when his and Millars run end. He clearly defines how the characters should look, although I dont like how he draws Doctor Dooms nose. It seems like something DC Comics Hawkman would wear!

Epting is a great artist. Hes like a mix of Alan Davis and Bryan Hitch. If I have one criticism, its that he needs a stronger inker to strengthen his lines. In many panels, they look almost half-closed. Beyond that it all looks nice and has great colouring by the unmatchable Paul Mounts.

Im not against Mahnkes interpretation of the Martian Mahnunter, as it gives it a unique look among all the football-player-like super heroes he used to fight with. The death of the Martian was gruesome but effective. It did show some of his emotions through his eyes which lack irises. Thats a feat.

I really like Carnie Di Giandomenicos work this issue. It works well even though he does not draw many repetitions of the Flash within one panel. There is feeling that the character is moving fast, regardless.

Im really enjoying Scott Kolins here and I am glad that the editors have finally figured out that it is better to let one artist handle a complete storyline instead of bringing in many fill-in artists. This has hurt the series a lot in the past.

This is the third issue in a row with Scott Kolins drawing the comic. Of course, I am elated. But I really hope that he will not draw the next issue, so that he can prepare and draw an entire future storyline without interruptions. Im ready to see some good artwork by Howard Porter or whoever is lined up next. Scott Kolins on Flash is a joy. His work is messy and reminds me of Chas Truog and Greg Larocque mixed with a bit of Gil Kane. Kolins does not draw multiple Flashes in one frame as often as other artists, but it does not matter much. His work is still enticing and a good fit for this series.

Of course, any comic book featuring female lead is forever doomed to have an artist that knows how to highlight the female physique " or draw something that looks like what men idealize about womens bodies. March does a good job drawing women, but also backgrounds and male characters. His work is crispy and full of action. Hes capable of doing comedic facial expression and is a good storyteller. Did I mention that his women, although over sexualized, have reasonably real proportions?

Im not sure if Hester even helped with the breakdowns of the storytelling this issue, but Laus work seems more dynamic than usual. The figures look much better than they did a few issues back. My only criticism is that I feel he needs a thicker inking over his pencils to strengthen the characters on the page. But it seems that now inkers was hired for this book and that it was sent directly to the Photoshop colourist for treatment. If thats the case, that would annoy me greatly as comic book inking is an essential skill and part of why comic books look so good. Skipping this production step in favour of the colourists fixing the work is a short term gain that doesnt help to highlight the artwork and make it more solid for a viewer.

Doug Mannke works wonder here and it's funny because one can feel see fear in the eyes of the Korugarians hedraws. Sinestro's gaze also has the same scary quality. I like Alamy's inks this issue. It's not as clean as usual with thick layers of blacks, but it works in the context of the story with the cells covering and absorbing all light.

Pasarins work is crisp and detailed. Hes good with alien designs too. He also knows how to create dread and anguish. Most of this story is about the perceived threat of the aliens. We dont see them do much damage on panel. Pasarin is good at hinting at stuff that occurs off page and creates dread.

I liked Robson Rochas artwork. Its not special but solid. His figure have that early Image Comic rage thing but with better anatomy! Hes also a decent storyteller. The colours were a bit too bright and muffled the artwork in places though. It was often difficult to quickly differentiate Green energy from the figures or the refracted light from props and surrounding characters.

Rafa Sandoval is solid. He has a clean style with a few edges and angles that add to the dynamism of Green Lanterns. I really enjoy reading a comic without any internal logical flaw, good art, and a strong plot. Read this!

Even Bryan Hitchs artwork whom Ive been very critical of in this series is delightful this issue. The inking is stronger and the Microverse setting apt for Hitchs style. While I continue to dislike how he draws Hawkmans helmet, Hitchs Atom is very fine-looking.

Ive already written about how Freddie Williams who is an acquired taste usually is the best artist for this comic. Besides the fact that he can render these muscle-bound atrocities well, he also make them look dynamic. In the case of the Thundercats, lets not forget that they always seem to dance when they fought. They dance in the comic too! Heres a suggestion. If youre a fan of Conan comics, pick this up.

Jess Merino does bloke art well! Yes, thats the best word that I have to describe the various British characters in this comic. They look like blokes and I like it! His John Constantine is not as photogenic as he could be. He lacks the Sting factor but its still John Constantine. It remains to be seen if he can do horror and gore. Well find out in the following issues!

Cory Walker continues to art shores on the series after Ryan Ottley's departure. Although the characters look very much the same, he doesn't do gory fights as well and as bloody as Ottley. Yet the storytelling in this series is solid and following the action, never a problem. I'd like to see Walker's work under another inker. I have a feeling it would be more appealing.

I like the interior scenes with Stark and Potts. Each really have a look of their own. Its the same for the other characters like Rhodey whos starting to resemble Don Cheadle who played his role in Iron man. Im not a fan of the Detroit Steel armour as it is too big and lack and any humanoid silhouette. But perhaps the thing about that armour is too show that its overkill compared to the lean simplicity of the Iron Man suit.

Jim Lees work is good and solid as usual. I did find that his sharks were exaggerated and big, as if he was trying to improve on Aquamans image. I bet we dont get to see any giant purple squid helping Aquaman anymore! The panels in this comic book are packed with tons of information, perhaps too much at time. But then again, thats what Jim Lee does and complaining about his signature style is useless. Just having him work on a comic book is always an event anyway. Time Warner Inc. the parent company of DC Comics supports the Stop Online Piracy Act (SOPA).

No matter how much I like the story, it does not feel like it really matters and that it will affect Aquaman or planet Earth for long. An important note, DC Comics needs to simplify the way it titles some of its books. It is becoming complicated to follow. I gave up on Witching Hours, and trying t read that series in order. I skipped it instead. Whoever in marketing thinks that Justice League Aquaman Drowned Earth is a great title and necessary for readers to understand that it is a Justice League and an Aquaman book is thinking that we, even casual readers are idiots. They are making the books more impenetrable with such long titles that do not let us know in a moment what we are getting.

Janin makes everyone he draws beautiful, unless they are from the Justice League. They looked off and not their natural super heroic posture. Yet, on every non super hero scene, Janin rendered a varied and interesting universe. His women minus Wonder Woman are all beautiful.

Merino continues to draw great super heroes here and seems quite adept at drawing them when they are older. The cover is one of those where what is drawn doesnt happen at all inside but its still a good action pack story.

Speaking of expression, I like the pencils in the story, but the inks leave something to be desired. The artist needs stronger inks to reinforce his work and make it solid. Here, it feels too weak, although the visuals are strong.

The art is handled by Dan Parent who seems to be the big man on campus in the Archie universe. I'm not a fan of his portrayal of Archie character. He lacks the rounded figures and soft edges that makes them enjoyable to watch. Inker Koslowski's lines are too thick in many places and it overpowers the work, making it too simplified. Simple but rich artwork like this can exists without overtly thick lines. I like anything by the late Mike Parobeck for example.

I like the innocence of the characters captured by Romita, although I keep thinking that Steve Dillon would have been a better pick for this seores. Romita does make the action larger than life and he knows how to draw a good mobster. But for some reason, I would have preferred Dillon to handle the gore instead. Well, its never too late to hope and maybe the second mini-series will bring that.

Cory Smith is excellent and creates work like Don Heck but for a new audience. His illustration style is not as popular as it used to be. It feels like pencil drawings and dirtier inks. Yet, it adds just enough grit to what could have been a slick depiction of robots. His robots are menacing yet still look like the spaghetti legs f the 1960s. But with his dirty lines, Smith makes the robots evil and less than the perfect machines they claim to be.

The artwork is a bit difficult to enjoy as Segovia is a Leinil Yu clone. This is not the type of artwork an highly adventurous series needs. He slows down everything with his linear work. This series should feature an illustrator who can create snappy and short burst of actions while clarifying the artwork as much as possible.

I like the break in artist this issue. The artwork is more solid and crisp. The inking is clean. Khoi Pham is a great artist, but he was starting to use shortcuts in his work. A new artist has a tendency to reinvigorate a series and makes us think it might be more fun than we expected. Considering the job that was done to present Hank Pym as a major force in the Avengers, It was good to see so well handled visually.

I was happy to see Pham back this issue. He really defined this series for me. I do miss his usual inker though who brings more fluidity to the lines in his design than Yeungs inks. Yeungs lines are finer and he is better with the cartoony and facial expression work of Pham, but he doesnt add the grittiness and the kinetic energy of Miki to Phams work. Still, the cleaner approach is not bad at all, as the facial expressions look better than before.

Pham has become one of the reasons this series is so particular and he is the other half of it. How he draws these various characters is growing on me. Yeung is a great inker for him this issue as he makes everything look clean and enhance quite well Phams natural talent. This series really has improved the last two issues and should no longer be considered the weaker of the Avengers titles.

Gerads is the ideal partner in crime to King. He reveals nothing of the big plan. He just adds layers and subtexts as needed to the extent that it will be impossible to figure out what was his exact contribution to this comic. Lets tackle that one in another review.

Basris artwork is gorgeous and perfect for Power Girl. I like that DC Comics gave this series an above average artist with a unique flair instead of a random generic one. He follows in Amanda Conners steps quite well. The fight was epic and the colouring sweet.

Russ Braun captures the spirit " pun " intended of the comic by using a realistic and rich style that still captures the slapstick moment of the story. His lines are thick and juicy and accompanied with just enough texture to make the comic a treat for fans of solid comic storytelling. It took me a while to read this comic because I was put off by the first issue. This one sold me. It's not as nasty as it sounds.

I really dig Baltazars simple yet clear cartoon style for this comic. Its easy to dismiss and misunderstand how complex it is. The compositions are well thought of. Dare I say that Super Powers is more entertaining than the Justice League comic that came out this week

Philip Tan is the right choice for this comic because he is one of its creators. While I would not have liked his work elsewhere, this one, he moulds into a mess that is pleasant and suits his strengths as an illustrator. But many accolades must be given to colourist Rain Beredo without whom, this comic would not have looked as great.

While the fight between Thor and the Silver Surfer seems like it will never end, Fraction manages to show how one-sided Thor has been in this war against Galactus. The Silver Surfer is much more level-headed, patient and merciful than Thor, even is his job is dreadfully worse than Thors. The best part of the story is Loki. Dare I say that Loki was never as interesting a character as now that hes a boy? Hes really the god of mischief now. The magic with Coipels work, is that his characters all feel like dwarves, even Thor. But their facial expressions are unique and even if there is a lot of familiarity in all the characters, it is so easy to tell each character apart.

Tyler Crooks artwork is efficient. Its clean enough and simple. Yet, it conveys all the right emotions in a few strokes. The details and background may be minimal but they support the characters in the foreground well. The inks are also clean. The colours are doll but thats on purpose. The story told is not bright and joyful. So the tones support the mood of the story well. Im curious about this series now and will seek more.

One thing for sure, it was fun to see little used characters like Breakdown and Streetwise, instead of the usual golden team from the very first Transformers stories " you know Prowl, Jazz, Bumblebee and all. O they were there, but for once we got to see characters that deserve much more exposition. It was fun to see the differences between Prowl and fellow cop Streetwise. They are both police cars, but like in real life, they differ in tactics. Im not sure where this new storyline is going, but I cant wait to find out about this new conspiracy.

Of course, without Cahill the story would not be as interesting I like his take on the Transformers with just enough human facials but well designed and updated robot modes. Im not impressed with Jazz latest designs though, but I understand its probably tied to some toy and not a decision of the artist.

Coipel is my favourite Thor artist. I think Ive said that about him every time Ive reviewed his work. He brings dignity to Thor and makes this series look much more classic and epic-like than other Marvel Comics series. I would say his contribution here will help this current incarnation of Thor be what Frank Millers run was for Daredevil. His work is simply majestic. By the way, I like how he draws the young Loki and how he draws his eyes.

For some reason Grindberg reminded me of David Laphams work on the old Valiant comic books. This book really had a Valiant feel to it, but with a different colour scheme. But thats not a problem for this reviewer and he rendered Thor and Donald Blake quite well this issue. The backgrounds drawn are all detailed and add to the context of the story.

Now if they can increase the action and the speed up the delivery of issues, Thro will be in good hands, although Im not a fan of Billy Tans work.

This story recaps the early years of Thor as he arrived on Earth and meets Jane Foster. Thor wants his hammer back, but its trapped in a urn in a museum. Security thinks hes nothing but a hobo and throws him out. But when Mr Hyde shows up and threatens Jane Fosters life, things get more complicated for the son of Odin. This story is fun and simple, although it completely rewrites everything about Thor. Thats the one thing I dont like about this type of stories that dont try to fit in with what already exists but add a complete rewrite to a classic. I do like the characters and Jane Foster is more human and lively than shes ever been. I like Thor as a big hobo and the fact that as of yet theres not Loki in sight. Woah, a good Thor story without Loki? Well we know hell show up eventually. As for the art, I really like it. The characters smiles and faces were fun to watch. It gives the story a dated look which is good.

Reconstructing the Transfomers means revisiting oldercharacters and reengaging their core personalities. Thats what McCarthy isdoing here. For example, he recalls the ambivalence of Mirage to the Autobotscause. He also shows the devotion that Ironhide had for Optimus Prime, as hispersonal bodyguard. But at the same time he shows greater complexity tocharacters like Sideswipe who are no longer bubble heads with guns. Lets hopeMcCarthy does something interesting with these characters after hes doneredefining them.

Mike Dowling is back this issue with his scratchy impressionist textured lines. I miss them. I like how he masters approximations using shape as opposed to light, like a cartoonists like Alex Toth. Using shapes and gross lines makes him closer to Gil Kane. Not complaining! Just analyzing art! Its all good if you ask me!

The artwork is incredible. Basri draws the most gorgeous women. The men are not bad either. Theres a cinematic feel to his compositions. I have to mention the work of colourist Jessica Kholinne. She makes Basris already beautiful pieces stand out even more. Together, they have given an incredible feel for this series. As the story is not bad at all, although sill not fully developed, its up to this team to make sure this series about characters weve never read before survives. I highly recommend this series as it's a completely new concept and new characters that can only make the DC Comics universe richer.

Bilquis Evely offers us her last issue on this marvelous run. I will really miss her. Her Wonder Woman had pleasant pulp qualities. She does not look as nave as Nichola Scotts Wonder Woman. But she feels anchored to the comic book genre, instead of being cinematic, like Scotts.

I like Medinas work. One word to describe it " rich. Its full of textured lines and energy that makes the comic book pages move forward. It feels like they are trapping the readers gaze in a maze of wonder forcing him to read every panel and be delighted. Woah, that was was poetic! Well, this issue was great visually.

Rafael Albuquerques tale is also about fathers and their kids and brought full circle the nemesis storyline of the premiere story. I cant wait to see the Killer Queen reappear in the future. I like that Albuquerque is both the artist of the main story and the writer of the back up. As Ive written before, this Batman is more caped crusader than dark knight. The illustrations reflect that in the first story but less in the back story drawn by Sebastian Fiurama.

Romita Jr. just continues to make me wish he would drawevery issue of Spider-man rather than anyone else. But then again, MarvelComics has to put him in all their big event series and they cant clone him.Too bad.

Fiumara is one of those artists that you have to learn to like. His work does not come across as great Spider-man material, but in spirit, it feels right. Sure, Peter Parker looks like a skinny dude, but I really like the facial expressions he gives his characters and the gestures and poses they have. The colouring by D'Auria also enhanced his work. Everything flowed well, although some aspect of the storytelling were off. For example, all the scenes with the horses were badly integrated. Where did they come from and how were they killed? This issue also makes the jump from $2.99 to $3.99 which is a concern to me, although there is a back up story. I'm not sure if eight extra pages justify such an increase.

With Pulido, Fiorama and now Rodriguez, I have to say that I dont understand Marvel Comics current taste for non American comic book style illustrators on this series. We had the likes of Barry Kitson and Phil Jimenez for so long that I didnt know how spoiled I was. Rodriguez is not a bad artist at all. His characters have distinct features and his fine lines are a delight. But he seems to be of that same school of artists with a less heavy-handed approach to comic book art closer to what one would expect from something like the Will Eisners spirit or even a European artist. It feels metrosexual. Im not complaining, but it is an interesting artistic direction for Spider-man as a series.

Speaking of Kaine, he looked very different this issue. The artist drew him with shorter hair and made him almost a clone look alike of Peter Parker. He tends to look very different with the long hair. I like the work of Lark and Gaudiano here. It fits the story well. They are also remarkable storytellers guiding the reader through a web of action seamlessly.

Prez draws a rough Spider-man where the story and art are completely meld one into the other. The artwork does not over power the story at all. While the lines are rough, this new Marvel house style works well for characters like Spider-man and Daredevil. The inks feel minimal and the colours are simple. Unfortunately, this latest Spider-man series by Marvel is not as cheap under like the previous series.

P.S. $5 is twice the price of a comic book from just a few years ago, an one-third of what the movie would cost at the theatre. Where is the value for the reader?

Having said this, I enjoyed how Aquaman resolved his conflict with the Shaggy Man, using his brain. From my research, similar ploys have been used before to defeat the Shaggy Man. I'm glad that Abnett's Aquaman was able to update and old trick.

I have one complaint about colourist Gabe Eltaeb. Black peoples palms are a different colour than their hands. Black people do not have black palms.

I am starting to prefer Scot Eatons Aquaman better than Philippe Brioness version. Although each draws Atlantis as a generic science fiction set, Eatons rendition is less cleaner even with Wayne Faucher cleaning the pencils with inks.

This story was good and added more background characters and potential conflicts for Aquaman to deal with. Id like to see how he would fare in a conflict involving China and Khandaq. These are not the type of stories that we see about Aquaman usually. This issue at the very least, opened the repertoire for new adventures. This story was also good because as he has done many times in the past, Aquaman had to use his brains to fight a threat as opposed to just his muscles.

Riccardo Federici is an excellent illustrator and storyteller. His sense of realism, even under the seas elevates Aquaman and will make this run memorable. My only complaint is the lack of scales on Aquamans suit!

The story is straightforward and simple. But it works and is evocative of the period. It is interesting to see Archie live in suburbia before suburbia was something. Peter Krauses pulpy artwork helps evoke the 1940s. His art is dynamic, and the costumes appear right. This series starts slowly and give us an Archie that appears introspective but now that conflict has been presented, the next issues should feel more meaningful.

Marvel usually relies on Romita when it wants to push a comic book out there. Romita delivers, of course, thinking ahead, this may not be a wise decision as we know Romita will probably leave in about six issues and the artists left to pick up the slack, while probably good will probably drive the sales of this series down. Wouldnt it be better to build this series from the ground up with a regular artistic team committed to stick around for a while instead of borrowing a popular name to jump start a new franchise?

The artwork is good but there are a few pet peeves. There is a shot of Huntress swimming underwater with her hood still on in the water. As she pulls from the water, the hood nor any other part of her uniform look wet. She hood just fits on her and feels as puffy as it did before she jumped in the river. Its an amazing material that just looks great and dry at all times. Granted Roge Antonio is not drawing Aquaman but really?

That Daniel draws and writes the story is essential to its current success. He intuitively knows where to put emphasis on visual elements. The visuals could be a little more integrated with the plot, but Ill forgive him for taking a few graphic liberties when the story is so entertaining.

I already wrote about how I like Tony Daniel on this series. Hes different storywise and brings another energy visually. Its the first time in years, I believe, since the days of John Byrne that Batman has been written and drawn by one single artist (outside of Legends of the Batman and special oneshots and mini-series, of course). There is as much energy in the visuals as a Jim Lee comic book. There is also a lot of mood and brooding. Its a perfect mix.

Fans of Tony S. Daniel will be happy here as Bruce Wayne looks very familiar and the action never stops in this comic. I also like his depiction of Doomsday-like characters which is dirtier and more wart-laden than usual.

Ive criticized Benes work in the Justice League of America series several times. But I cant criticize him here. This is where he belongs and Im happy to see him draw these pages. Yes, he continues to have severe problems with storytelling. The fight choreography is not the best it could be. There are chunk of action missing. It doesnt all make sense. But I like how he draws the Birds. Hes trying for more grittiness, and I cant complain. Now, Melo is not as good an artist and her pages are very inconsistent. Im hoping she was but a small back up for this issue and not someone that will come back too often. Shes not ready yet to take the center stage in a series like that.

Visually, its where things fall apart. Benes has been sick and its difficult for him to deliver whole issues. I understand that and of course am not blaming him. As he handled the fight between Black Canary and White Canary, these pages were spectacular. The weaker pages are with Melo who just isnt a compelling choice for this work. She makes the girls look all round and cutesy, but not in a way that makes the reader think they are high level fighters.

Syaf is a solid artist. However the inking by Cifuentes may not be the best match for his style. Syaf needs something cleaner and more solid to highlight the great lines and figures he weaves.

Is Blue Beetle a series worth following in light of all the new series from DC Comics? Its not bad so far and has a lot of hinted future stories. However, if you dont want to go through a series about the formative years of Jaime, skip it. I it doesnt bother you or that youve never read about the character before, this series, while not exceptional is a good pick.

While many artists work on the series, they work on sections involving specific characters, so everything meshes properly. Its amazing that multiple artist series like this one looks so good. Often, newcomers are assigned to such series instead of solid artists. Im liking everything of course.

The various artists do a good job as usual. I dont feel that there were weak parts although I prefer some more than others.

The artwork continues to be pleasant. The place Hawkgirl and Hawkman visit reminds me of a cheaper Avatar world. Lets hope the artist can make that story look more visually interesting in future issues. I do like how he draws Hawkgirl and Hawkman though. They look great. The pages with Deadman were the strongest of all and that may help make the character popular again.

Visually, this book continues to rock although several different artistic teams are involved. But parts tend to get gory, so readers beware.

Reis was the perfect choice to draw the acrobatic Deadman. It felt like I was reading a Daredevil comic book. I really like how he draws his characters. Every page was lively. Whats good about Reis is that his artwork never gets in the way of the story. It supports and reinforces it without taking over, as many good artists tend to do.

Deodato is a good artist. He continues to build upon the facial representation of Osborn as Nixon crossed with some Tommy Lee Jones. Its priceless and how I envision the character from now on. The mood here reminded me of the current Captain America run but with less beautiful colouring. Still this is a good layout and with good pacing.

Daken, the son of Wolverine is courted by Fates of Asgard that want him to start Ragnarok anew. Will Daken follow their lead or continue to prove that he is his own master? I really like this issue and although I hate Daken as an antisocial jerk " he represents the worst type of person I would never want to come across, he is the most interesting villain I have read in years. He is just a bad guy and there is nothing redeemable about him, as the Fates see. I see a future for this series after the Dark Avengers story and would gladly follow it, if the writers stay on board. Camuncoli has always been a great artist and I wish he could get a better inker to show how good he really is.

Just a note: Hawkgirl is not in the comic even though she is featured on the cover.

Carlo Pagulanyan continues to draw the best and most dynamic Deathstroke since Mike Zeck. Yeah, since Mike Zeck. I wish more people would discover this series. Its one of the most intricate and pleasurable one on the market, regardless of how difficult it is to approach initially.

I dont care what the credits indicate but I could swear that M.D. Bright contributed to some of the early pages in this comic. He is not credited at all, but I recognize his work. Did M.D. Bright return to comic to draw a few pages with Priest, his old partner in crime?

As I write before, Robinsons work is more suited for this series than the previous artist because its more super hero-oriented. The line work reminds me of Gil Kanes drawings. Funnily, its also kinetic. For those not familiar with Solar The Man of the Atom, this series is worth picking. The story is still slow, but it packs enough action and contents per issue. Its not a five minutes read.

Neil Edwards is a solid illustrator whose work seems to be as good with super heroes as with drawing regular folks. Most of the issue contains with regular folks. His work is cleaner than the average Vertigo series from DC Comics. Im looking forward for more adventures from this series but Im not sure if enough readers will notice it and give it a chance.

To some extent, I feel that now Flash suffers from the Daredevil problem where since Frank Miller every writer wants to rewrite the classic stories that elevated the character. So just like Daredevil, with Flash, every writer since Mark Waid has been trying to write the ultimate epic with the speed force and the Reverse Flash. When Geoff Johns did it, he added layers by beefing up the Rogues gallery. But Im not too sure what Williamsons contribution will be at this point other than playing with other writers toys and retelling their greatest stories his way. Why wont writers of characters with defining stories like Daredevil and Flash just not forge their own paths?

Evan Shaner continues to be a remarkable artist in the tradition of Chris Samnee, Alex Toth and even Frank Frazetta. He renders his characters with a retro look fit for the 1960s but that is delicious for the eyes in 2014. A dedicated inker would create the textured light and dark compositions that would enhance his work.

I like having Carmine di Giandomenico working on this series. Its been a while since a guy named Carmine drew the Flash and for some odd reason, he draws his character with the same elongated limbs that look unattached to thetorso, like Flash creator Carmine Infantino! Di Giandomenicos interpretation of the Flash is really an updated take from Infantino, down to certain memorable poses that old time readers will recognize.

I really like Ron Randall and think that he is a great replacement for Doc Shaner. His work is cleaner too. Randall is an old pro who delivers good super hero action. Veronica Gandinis colouring is also very good although he draws the palms of black characters the same colour as the rest of their skin. No one has melamine in their palms and soles. That means that they should not be coloured brown.

The last Future Quest series was a success mostly because it was drawn by Evan Shaner who easily evoked the simple and effective designs of Alex Toth but for comics. Ariel Olivetti was one of the artists who took over Shaner when he needed a fill-in artist. In the previous series, I was critical of Olivetti because his style conflicted with the what had been established by Shaner. Art direction matter more than the ability to fill-in a comic. Many editors forget this.

The Green Hornet is here to give a warning to crime boss Carusos men. He wants a share of the business and nothing happens in his city without him being a part of it. The best parts of this comic book were those where we did not see the Green Hornet and Kato. In particular I liked the sequence in Africa with the warlords. All the parts with the Green Hornet and Kat were standard super hero thug action without anything imaginative. If youve read a Batman comic book, youve read this one. Lets hope future issues can put more fun back in the characters as opposed to their flashbacks. The art is solid and reinforces that 1940s look.

I like how the story has moved along and the big reveal of the villains origins. Its actually an interesting concept. We havent heard of them before of course although they seem similar to the Manhunters. I dont know how the Stormwatch and the Martian Manhunter will play out in future stories, but I really like the cameo. I also like seeing more of Stewarts resolve and Gardners cunning. This issue was not as fast moving action-wise as previous ones, but the build up and characterization rounded off the series thus far. Time Warner Inc. the parent company of DC Comics supports the Stop Online Piracy Act (SOPA).

Freddie Williams II is always an acquired taste. But here, his work shines and fits better than anything else. His exaggerated musculature is not a problem in this comic. The kind of grotesque physique he gives characters is what I expect from these cartoon characters. If you have been sitting on the fence about this comic like I have, just give in. You will not be disappointed.

Freddie Williams continues to be super cool drawing the one comic book he was meant to draw. He keeps amazing me by how much I cannot imagine anyone capturing the action from these cartoon properties and the overtly muscle frames of the characters so well.

This is the second issue of Walkers return to Invincible. May I ask where hes been? I really like his work on this series as it gives a solid form to all the characters. He seems to be able to draw action, quiet scenes and gore as well as the regular artist of the series. The only difference here is that hes also part creator of Invincible and its world. A very good issue over all.

Invincible, his brother and his dad go out in space to join an alliance against the Viltrumites. However on route, they are attacked by Viltrumites and the one man that cause so much grief to Invincible. But prior that, its goodbye to everyone, including Eve who has a secret that could change Marcs life. I like this issue. It was a simple story with the right amount of action and strong storytelling. Its also the pause before the big fight. Im not sure how Invincible will get out of the jam hes in though. This issue a;so introduced a new character called Tech-jacket. Im hoping to see more of this character but I hope this is not Kirkman signalling that hes ready to retire Invincible after this run. Ottley is again gracing the pages with inker Rathburn who works so well with him. If both draw the next issue, I bet they will be tons of cool gore!

Larroca again delivers a stand up series of panels and images even when their narrative contents is less interesting, as is the case with the desert s dream sequence. I like his irregular line which when looked from a certain distance is quite stark and sharp.

Visually, this comic book rules. The characters look consistent and have similar recognizable facial features throughout. Now, Im not a fan of Larroca reusing some of the panels and blowing them in some shots as the line thickness loses its impact and it doesnt make for a nicer picture. If hes going to reuse material, he should at least adjust the line width.

Lee designed a great comic book there, with a lot of destruction and some clever panels. I like the interplay he did with Flash and Superman. The pages were very busy however, although easy to read.

Jim Lees work is messy this issue. Theres a too much happening all at once and several reading are needed to capture all hes put in. Id suggest he cleans up and simplifies a bit. But then, his fans rally like his messy pages and that may not please them. But I read Justice League because I like the Justice League, not because of Jim Lee.

Bagley is an action-oriented artist and his work is one of the most dynamic of the comic book industry. Theres a kind of energy that was only found in older John Byrne stories that is still refreshing. However, I have to admit that reading this comic book feels like reading a Marvel comic book as opposed to a DC Comics title.

This issue explains how the Justice Society was defeated by the Fourth Reich in the past and how the future changed. Its a Days of the Future Past type of story and its a good read. Mr. Terrific is the central character of this storyline and we see him use his intellect to the max. I like his interrogation and how he relates history. Im glad that there is finally a classic Justice Society story. The series has been too laid back for months and the use of Kid Karnevil to set up this particular storyline was a long time coming. But Im glad it pan out and this team may yet make a mark in the Justice Societys history. Right now, theres dangerously approaching the best work by Geoff Johns. A strong series is nothing without strong art. Merino provides the good old comic book visual punches and the strong group shots necessary to carry the story forward.

Mr. Terrific and the captured super heroes put their plan in motion on the arrival of the leader of the Fourth Reich in this alternate future story that looks at what would have happened if the Justice Society had lost to the Fourth Reich and its power nullifier in the present. This story is gripping. What I like about Willingham is that he shows how the Nazi and World War Two element is essential to the identity of the Justice Society. This is an important part of the teams history and he may have created in this storyline which is like a Days of the Future Past, an worthy villain that matches the anti mutant theme of the X-Men. My only worries is that this story will not go further and just simply ape what has been done in the X-Men. I really hope he can go beyond another classic. Merino is perfect for this storyline and I like how he draws the older super heroes.

The artwork on that book is very good. All Asian characters actually look Asian and not like Caucasians painted yellow or Caucasians with tiny slits for eyes. The few action shots were good too. They were much easier to comprehend then in the Green Hornet comic book. This will be very important as Kato is the type of visual series that reader want to see a lot of martial art action from. Perfect choregraphy of moves will be important.

Romita here is more polished than his recent work on the Avengers which is not looking too good. The storytelling is good. It seems that series like this one are better suited for the man than stuff like the Avengers where there are as many characters to draw but on a larger scale. Here, the scale is human. These goons in costumes still look good in them and if Romita has a weakness its that. They still look like super heroes instead of idiots dressing up with pantyhose Lulu Lemon gear.

This series continues to be lighter than the New Avengers and far less sinister than the Dark Avengers. With three Avengers series, its becoming crowded already. As I said last issue, its really starting to feel that these are the Westcoast Avengers where they focused on traditional super heroics instead of the more cutting edge stuff Bendis is doing over in the New Avengers series. But no matter how much one can label this team the B team, when the Westcoast Avengers were the best at their game, they routinely beat the main Avengers series in terms of good stories. I dont have any complaints about this series. Its not groundbreaking while being above average. It will be interesting to see when Slott takes this team. He has the potential to make this series very popular, especially with readers tired of reading Bendis take on the Avengers. For one thing. With Slott aboard, it doesnt feel like readers are reading the same comic book spread over two series, as it felt during the Secret

Marvel Comics found another Leinil Francis Yu clone for the artwork. Im not sure why Marvel Comics seeks to replicate so closely the work of one artist, instead of branching out and allowing artists to be themselves. Yus work was different and thats why it was noted by so many. Having all those clones of him running around does service to no one. Readers arent idiots. Its not the real thing and Yus work is always on a tight line, being admirable at once, or totally annoying. Clones tend to fall into the annoying camp rather quickly.

Of course, none of this would be possible without the great timing and of Tom Kings accomplice, Mitch Gerads whose job it is to choregraph the fight while King focuses on the showing how oblivious Scott Free can be. There are a few scenes that are not very clear, such as when the couple literally pull the guts of the aquarium monster to use as a vine and some of the movements between panels in the fight. The backgrounds are very similar so sometimes, it is not clear where the comic is moving to.

McNiven is great here. The work feels European. The one thing I would change is to provide Niven with another inker who would give thicker lines to his work. It reminds me a lot of Frank Quietly in the shaky lines that populate the pages. From afar, it all looks like solid. Close by, you see the irregular lines that permeate the work.

The answer to this will come mostly from what McNiven can do. It would be hard for this series to switch artist in the middle of its run. The last issue was several months ago and it does not seem like the artist will increase his cadence. Again, the work is beautiful and more attuned to European comic books than American comics. The realism of the character shines and the action is easy to read. There are a lot of poster worthy pages in this comic book. Some of the images dont even look like McNiven applied inks to them but its not a complaint. It feels raw and its good. This series is recommended for readers who enjoyed Kick-Ass

Visually, McNiven delivers. Hes not the goriest artist either. Instead, he has a fine control over the characters faces and designs and goes for the maximum wide panel format as if this comic book was indeed a film. Its a better trick than relying outfight on splash pages to tell a story as he can actually have many major shots in a single page. However, it doesnt make for the best laid out and well flowing story. Its a bunch of mini splash pages strung together as if they were a comic book. So, should you get the last issue of Nemesis? I say yes. I was entertained. All Im saying, is dont believe the hype.

I am not familiar with Trevor McCarthy, but he adds a lot of grit and realism to this story. I like the double-page spread of the Justice League going after the Legion of Doom. It felt like a classic shot of the old Super Friends cartoon series. The colouring reminds me of the one used in The Golden Age, drawn by Paul Smith. Strong magentas, oranges, and blues adorn the page and almost make the artwork suffocate. But the blacks still come off as very strong. Its an interesting mix.

Cheung is great here. What I like about this issue is how the art of inking matters. Several inkers worked on this comic book. Many comic books publishers no longer have their comics inked. I think it is a loss. The shadow and contrasts in this issue alone show that good colouring is not always the answer to creating mood and ambience in a comic. This comic book is not necessary to follow Original Sin but fun nonetheless.

Benes has been paired to a series that works for his strengths and will help him grow as an artist. His storytelling is already better. I suspect working with Milligan has something to do with it. His range is still limited, but its not annoying. Fans of pseudo Jim Lee art will enjoy.

Coipel is in a class of his own artistically and although his work is not conventional, it is original and powerful. He tends to make all men with large frames and small chins and this does take away overall from his work. Yet besides this weakness, he is a great storyteller and someone who knows how to draw action on a page.

The artwork is simpler in places and has a Steve Rude polish when it comes to spaceships and buildings. The characters designs and postures are not from Steve Rudes repertoire though. Its solid comic book fair that appears in many current DC and Marvel comics. It is not a criticism. Dynamite is publishing solid works these days. Gone are the days of Green Hornet Blood Ties. Thank God.

Why have only one Captain America series when you can have two? Steve Rogers is chasing the grandson of the man who created the serum that transformed him into Captain America. He wants to sell the serum to the highest bidder and Rogers is here to stop that. But the chase ends quickly as another villain enters the fray. First Eaglesham is a great artist and perfect for this series. He gives majesty to his characters. His characters always remind me of guys like Lou Fine. He really worked at distinguishing every character. I was expecting all the men to be big brutes. He tends to draw a lot of them. They werent. The story was good, although it conflicts with recent developments in the former Avengers the Initiative series where another Erskine grandson was featured. The story is a classic spy story with the casino shots. Its interesting so far, but its hard to justify another series on this character when he already shows up in Secret Avengers and practically every Avengers book around.

I like Dallocchios artwork, but find that the inking is uneven and not complementary to his work. He needs someone with thinker lines to really surround his work. Here, the lines are too thin and brittle to extract all the good designs from the penciller and throw it out at the reader. Because the lines are so thin and much of this issue is dark and with little light, it can sometimes make understanding whats happening in an individual panel difficult.

The artwork was very super hero-like and therein is my main criticism. Why are the boys so muscular when they are teens in high school? Ok, Raymond is a jock and football player, but out of costume, he doesnt seem so big or muscular. But when he and Jason transform, there is no in between. They automatically gain the traditional six-pack and super muscles of other super heroes. Nevertheless, this series should be a fun read.

Now, the story. The set up is different. Im not sure if the Mighty is really to betrusted. It feels like Ive read this story somewhere in Robinson and SmithsThe Golden Age " right down to the buzz hair cut of the prodigy. As a set upissue, it did its work, although nothing groundbreaking was introduced. But Ima sucker for comic book superhero stories set in the 1950s, so who knows. This storycould be the more than sum of all the other series Ive alluded to above. Itcould have the epic depth of The Golden Age and the gritty reality of Blackmask.

Jack Herberts work is much cleaner than Silencers co-creator, John Romita Jr. I like his Talia. While pretty, there is something exotic and non-caucasian inn her looks. Herbert is also good with drawing everyday thugs and cityscapes. I find that his Silencer seem to be able to jump as high as Daredevil, but I dont know if this is one of her abilities or the artists exaggerated interpretation of her skills.

Guidis work is good, but hes not the best Transformers artist around. Yet, hes good for action and its easy to follow whats going on in the page. He may be a bit low key and not hot on the ornate stuff drawn by other Transformers artist, but hes a good value and great for this series.

Sometimes, its annoying to review the work of a regular comic book artist who delivers the same quality every month in a series. When the artist just executes well, there is nothing to say than continue patting him on the back. Theres really nothing to say about Gross work. He delivers quality every issue to the same level and contributes to the feel and popularity of this series. His work does little to interfere with the entire experience drawn from this The Unwritten.

Mike Dowling continues the brief tradition of this series to depict this connected world through in impressionist inked styles where lines are almost fragments that construe one larger picture. The illustrations are like strokes that adeptly portray light and dark while withholding just enough information to force the readers mind to connect the ink lots together, as if we had to connect to one another in a social network.

The artwork inked digitally represents the best of what American comics can do to match European comics. Artist John Davis "Hunt follows a tight nine panel/three panel- level composition per page. With the pastel colouring, this comic feels like a European book. Its a darn gorgeous book. One criticism is that the black and red cover does not convey the tone and mood of the interior art. It feels like the editor and colourist decide to paste a traditional American cover on an American comic that was for a European look inside. Its quite odd.

Although I dont like how Liam Sharpe draws female faces, everything else about his work rocks. Im glad that he is on this title and has been able to keep abreast of a tight schedule.

Grummet is the perfect artist for this series. His work, has for years been at the crossroad of similar retro artists, such as George Perez and John Byrne. He has neither the elegance of Perez nor the storytelling genius of Byrne, but he has all the energy and emotion one would expect for a comic book set in the 1990s. In this series, his work wont be bashed for being retro. Its exactly where it fits and people purchasing this comic book know exactly what they are buying into. This should be a fun ride!

Briones reminds me of an earlier Jim Lee but with better composition and better structure. Unlike other Lee clones like Benes, he actually understands what hes drawing and his contribution to the comic book is more than just posing plastic looking character in large panels.

This issue reunited Ralph Dibny with one of the artist who drew him often in the old Justice League Europe / Justice League International series. Although the cartoony look was right for Ralph Dibny, it also took away from the seriousness of this issue. Sure Dibny stretches, but he doesn't have to look weird when he does. At the very least, the team who brings us 52 every month is finally making this series entertaining.

John Byrne is an action artist. With him telling the story, there is nothing that is unclear. His work is not as polished as it used to be, but still, it makes for a great adventure story. I really like the dynamism of his work. Scotts inking preserves much of Byrnes original work - or at least, tries to make it looks like Byrnes work of recent years.

But for this Batman story, it is not part of the procedural detective case. The tory has to be resolved and Snyder has dispensed with such details and instead focused on the masquerade and legerdemain between Batman and Ras Al Ghul. So we know that Batman is a detective, and as Ras Al Ghul says, an illusionist. But we do not see the construction of the illusion which would have been enhanced if more time had been spent with the procedural detective legwork. Perhaps it would have taken an extra issue to tell this story and that may not have been what Snyder nor his editors wanted.

I like Rafael Albuquerques work. It reminds me of Eduardo Barretos work but with thinner lines. The art is probably the one thing that made me most interested in the comic. It reminded me of the old 1950s Batman or the one from the Bruce Timms cartoon but with a bit more realism and crime noir.

Larrocas work is cinematic and captures the acrobatic feel of Spider-man well. Although this story was staged at night, it still looked quite bright as Spider-mans world should be. Thats excellent work on the colour palette.

This is an interesting story that extends a few plotsintroduced before, while introducing new conflicts. The story was not complex,but then it seems like a stepping-stone for much more to come. Its intriguingenough for me to come by next week.

Visually Pulido continues to shine, although I dont believe he is Spider-man material. I really like how he draws the Sandman and uses him ingeniously. He does have a great sense of storytelling and posing which would probably look better he he had been assigned a more solid inker.

Martin is a good artist and his style is in line with the more illustrative and distinctive style used in Amazing Spider-man the last few months. Like many of these artists, it takes a while to get used to the style although the artists are excellent. They are just not super hero material artists. Here, Martin delivers with Spider-man and proves that a good artist can change preconceptions.

What works less for me is Philippe Brioness art. He resembles John Byrne but not in a pleasant way. His figures are stiff and the faces not attractive. His work would look better with a dedicated inker. He should not ink his own work. His Deadwater looks scary though.

Scot Eatons work is solid as usual. Although some of the alien creatures on Tethis look cool, his strength is with technology scenes and military gear. But no worries. Aquaman and Mera look swell when they swim!

Scot Eaton continues to draw a clean and effective Aquaman although characters hair could be flowing much more.

While I liked this story very much, it is not the strongest one in the run with Stjepan Sejic. His artwork adds a lot to this story and as I have read elsewhere, Abnett should feel forever indebted to Sejic for making his work on Aquaman memorable.

Most of this issue is about the intrigues in Atlantis as various factions plot to take down King Corum Rath, the man who usurped the throne of Atlantis from Aquaman. Thus, there is little action and the story feels slow and more like a soap opera rather than an adventure series.

My favourite part of the comic is of course the gorgeous artwork by Riccardo Federici. Having just seen the Aquaman trailer this past weekend, it appears that Federicis work in in continuity with the Aquaman film. His beasts and Atlantis feel familiar. This is good and hopefully will be something new Aquaman readers will enjoy once this story is collected nearer to the release of the compiled edition.

There are hints of Howard Chaykin in Brent Andersons work, but it looks much better and is not as deformed as the other artists. In fact, I could detect some Gil Kane influence too. This is to say that the characters and their designs are fluid, dynamic and not stiff. Its the right fit for a Golden Age adventure.

Romitas work was bettet this issue and less sloppy than I remembered. I especially like the last page with all the Avengers commenting on the new recruit and how the multiple panels showed their expressions. Its drawings like those on that page that made Romita a popular artist in the first place. Its simple work with but a few lines that capture so much energy. When he rushes his work, its easy to perceive that. By the way, I like how everyone but Wolverine appeared to be drink hot chocolate or tea. Wolverine had a beer instead!

Acuna is the right artist for this storyline which is less explosive than the previous one. Im actually glad to see John Romita Jr. gone from this series. He was really pushing it to the ground with his rushed artwork and dirty lines. His work was all sketches and no finishes. Its good to see a totally different take here with Acuna whose work is somewhat painterly and much more stylized. There are even hints of crime noir in his work. Im hooked again.

McKone is a solid and very good artist whose work shines netter when he has the right inker. Here he inks himself which makes for a happy medium. Cox is a great match and solidifies his work instead of propelling forward the fine lines that McKone is known for. The series seems interesting, but its one too many Avengers series for me, so Ill skip it in the future, not because its bad, but because Im not convinced it needs to exist.

Finesse, the young polymath wants to know as much as possible about the Avengers and their history as possible to better herself. And she is prepared to blackmail Quicksilver to achieve her ends. Will that succeed? First, the only interesting character here, besides the older Avengers is Finesse. Shes interesting and not a redundant heroine who will probably cease to be in a few year. Im hoping she turns into a major villainess or attempt to. However, he angle was already explored in the Justice Society with the character of King Chimera, an equally smart young kid who wanted to get as much knowledge as possible out of the older heroes. Yet, here, shes looking for specific information on Magneto and the Brotherhood of evil mutants. As if there was something to learn by being evil. She should just move in with the X-Men and be done with it! I like the visuals in this story. They are very strong. I wasnt sure about whether to keep this series in my pull list, but I want o see what Finess

The art is a hit and miss. I dont like how McKone draws some of the characters faces, but thats not really his fault. Its his inkers. McKone is a solid and competent artist with decades of work under his belt. I cant ever complain about his work. What hes done in Amazing Spider-man the last few years is inpecable. Anything he did in LEGION for DC Comics is to be marvelled at. So here, I can only blame his inkers for the weird faces he gives some of his characters. But rest assured, everything else is rock solid.

Castellis work is not standard Marvel Comics, but I really enjoyed it. His characters have strong facial expressions. The storytelling is good, although some of the characters should be facing from left to right instead of right to left to pull the reader forward in the story. This is a minor detail. The inking, which I presume is also Castelli is excellent. Real comic book inking has become so rare that when one sees it, one understands exactly why its missed.

Kurths work reminds me of Michael Bairs. His characters faces feel twisted and in agony. An inker with crisper lines would have improved his renderings. He does know how to capture emotions and perhaps thats why he was picked for this issue.

Asrar is a good artist with good storytelling skills that can weave a story with an exotic panel canvas without confusing the reader. Buchmans inks are complementary and solid and make this a very delightful comic book to read.

The story is quick and little time is spent explaining transitions or events leading up to the tracking of the baby. Dixon avoids slowing down his story. I would argue that this comic has an adventure comic strip feel because of the talents involved. I kind of miss such comics sometimes and although I am not a fan of Bane, this comic is a good throwback to an earlier age while still being contemporary in its themes and tropes.

Matt Wagners art has not aged as well but his function in this story was to refer back to an older mythical time in the past. That he does well even if the art looks a bit gauche in 2018. This is what he was supposed to do. He was not expected to draw like the current crop of artists.

Visually, this series works. The painted style is very dynamic and the artwork delightful.

Olivers work takes a bit of adjustment to get used to, but its still kinetic although all painted. Its as if he had made cuts out of airbrushed sections, cutting a clear line and using a lot of white space as a negative background. The lack of proper background is not much of a problem though, due to the well-done juxtaposition of painted elements and white space.

About the visuals. Well, I like the logo a lot. Its original. I get that DC Comics is trying to market this comic to a female audience. I just dont like how Annie Wu draws Black Canarys face. It seems angry and she looks like a cheap trailer trash girl on drugs. This is not how I imagine Black Canary. She is not sexy.

Ditto is cute. Annie Wu renders action well. I just dont like the face she chose for Dinah. In some drawings, Dinah looks healthy and strong. In some, she looks meek and skinny. It feels weird as long time Black Canary fan to see her rendered this way. But I accept that I am not who this series is intended for. I find the background by the paparazzi blogger annoying. Its not easy to read. Maybe if the format was improved it would be more fun to follow.

Hudlin is taking the series in a new frontier, using the often used conflict of science versus magic as the theme and path upon which he builds this series. Doing so he tries to recapture the African heritage aspect of the series. Its also an interesting proposition given that the Black Panther has always been immersed in science and technological breakthrough as if this was the value that Africans placed on their culture. By going back to the magical and folkloric aspect of African culture he puts emphasis on matters that are closer to a typical African society than science.

Meras people come back to seek the death of Aquaman and Hawkman and Hawkgirl are on a new world where men birds are at war with men lions. Our heroes are caught in the crossfire and may well be the next meals of the various factions. Oh, Mera reveals her real reason for travelling to Aquamans dimension. I liked the sections with Aquaman and the reveal of the big secret plot. Its about time. Now, because Geoff Johns is involved, we know that hes going to be rewriting a lot of history. The Hawkman and Hawkgirl segment was violent and it was fun to read the section because it felt that the writers really knew the characters. The artwork colouring for the Aquaman section was painful. The pencils were strong, but the colours destroyed the experience. The storytelling was not as clear in the Hawkman and Hawkgirl section.

The highlight of this issue, is of course the artworkwhich gives Namor unique features, although his head is not as triangular as inother comic books. Dont let the cover fool you, Captain America does not fightNamor. However, its interesting to see Namor rendered in a crime noir series.

McNiven is good here. The illustration and storytelling are fine, but I still feel like his work is like a bunch of photographs. So even though he can move through the story visually and make it clear for readers to know whats happening, it feels stilted. Its really difficult to understand whats off. Check out the picture of the Falcon flying on page four. He just stands there in the sky on top of a city as if he had been stuck there. Its hard to feel that hes in the air floating. Well, much of the comic book has this feel. So gorgeous art work and decent storytelling, but it feels stiff, monotone and non-moving. There is no kinetic energy to the drawings.

This issue could have been published within the regular Captain America run. It is created by the same regular team that has work on the regular series and the Captain American Reborn series. The one thing I do miss is the fully dimensional colouring of the regular Captain America comic book series that gave a realist bent to the earlier issues in this run.

Sometimes artists you literally hate on some series find their voices on other ones. The number one reason I didnt read All-Star Justice Society was because of Williams. I just could not stand his work. Here, on Captain Atom, that series is perfect for the fluid forms he likes to depict. He really complements the series. The colouring is fine too, although I wonder why Captain Atom has to glow, if its hinted at in some scenes that he was invisible to onlookers. I didnt like Kruls work on Green Arrow and Arsenal and I didnt like Williams Justice Society work. But here, both creators just merge their talents and create one of my favourite and one of the most innovative of the 52 reboots. Woah.

I'm not sure if I'll return to this series next month. It's a wait and see.

Sanya Anwar is a good artist for this issue as shes good with drawing everyday people, places and things. Funilly, Anwar would also be a great artist for the new Archie series with realistic characters. Her work looks cartoony but not too much. Its far more realistic than Love and Rockets.

The beauty of this comic is how the authors explain the science fiction as a simple extension of current social media practices. Thats why the story is so relatable and captivating. Piotr Kowalski gives a plain look with rudimentary but correct renderings. The low-key factor does not hide the internal debates the characters are going through as the comic progresses. The stunted reality depicted with this visual style removes the artifice and grandiose science fiction elements and replaces it with a story that seems very real.

Lark and Gaudino continue to deliver gorgeous realistic shots that fit the current crime orientation of the series. Although not as spectacular as previous Daredevil artists, their work focuses on the story and telling it well. As such, its a perfect complement to Brubakers scripts.

Lark is a solid artist whose work captures the mood and doesnt deviate from the script. Characters show enough facial expressions to be believable and make readers relate to them. That is all this story needs.

Visually, although the artist is not the same, the colouring helps create the same mood of lush red blues that has pervaded this series since the new team took over. However, things may be a bit too dark in places. The mix of snow and blood looks great though.

Rivera is great at action. I like how he drew the decomposing sound-based villain. Thats some ingenious design. However, he should not be doing any more cover for Daredevil. This one was so uninspired that were this series not already in my pull list, I would not have picked up this book based on its cover. Its really an ugly cover that feels like its from a 1980s comic book.

Deodato and Dodson offered the type of visual that makes one wish the story read could last forever. It was just fun to see the potential fights and the various set ups. Some of it was confusing though and may have something to do with the large cast used in this comic book. Nonetheless, its still something worth collecting.

Camuncoli has been a better artist. When he drew the Intimates for Wildstorm hes characters looked more compelling. The only difference is that he had a more competent inker " Sandra Hope that was capable of improving his work. Here, Catacchio only enhance Camuncolis weaknesses like the wider than normal mouths and the goofy expressions of the character. The way this is drawn is not bad, but would be a better fit in a Vertigo series, than one featuring a Wolverine.

Daken is offered a future where he is a leader of men during the Siege of Asgard. Will he rise up to the occasion or will he be a loner once more. I really liked this issue as it showed the best and the worst of the character. I really despise Daken as a character but I feel compelled to read his comic book series. I dont usually like clones of other characters like X-23, but Daken here is his own character. Hes not his dad, Wolverine and his even more interesting than the old man. Hes just crazy and a psychopath. Much of the fun of this series lies in the strong characterization by Way and Liu. Im not sure anyone else could make Daken such a formidable character. Camuncoli of course is a great artist, although Sandra Hope is his best inker to date. Catacchio brings another dimension to Camuncoli and in this gritty war with Asgard, it fits just right.

The artwork in both tales was fun. I did prefer the cartoony rendition because it was less constrained by logic. It was filled with cartoon chaos! Im not a fan of the dark shade the colourist puts in Black Canarys face to suggest a mask. It looks weird at best and is a distraction. The fight between Catwoman and Black Canary is fun and the comedic timing of Sylvester and Tweety just right.

Joe Bennet's work here is great. He is used to drawing urban action scenes. But here, he does the kinetic and step by step storytelling well.

Deogenes Neves is an unknown to me but he seems ready for the big leagues. I dont always like the way he draws faces though, but everything else is dynamic and at the level established by prior artists on this series. Last question. Why is this series priced at $3.99 when it has the same page count as cheaper series?

This is the part of Christopher Priests stories where things get a bit murkier as he introduces more subplots with unknown characters whose presence we know we must pay attention to but without anymore clues as to why. Although there is a training session and a mission, this story is a setup one for new storylines and rather quiet. More should be expected. The theatrics of Deathstroke being maimed by a sword is just for show and to add something interesting to the story. Its a scene used to advance more ideas whose payoff, following Priests writing style will come later,

Carlo Pagulayan was allowed to complete the layout this issue. Hes not bad at all on his own. His realism is pleasing and help make Deathstroke a book that matters.

A stronger inker is needed to enhance Andy MacDonalds artwork. At point, his ink coverage work. At others, it is too light and gives a Vertigo Comics feel to his work. Although dealing with monsters, the Vertigo look should not be what this series aims for. He can draw gory stuff, although not as well as Ryan Ottley or Howard Porter.

Carmen Garnero is a great artist with solid anatomy and interesting backgrounds. The action portrayed is not always clear, but the comic remains entertaining throughout.

This story is the conclusion of several threads that will eventually lead to a wider storyline. It is a good comic that seem to focus on Batmans crew more than him. It also is not very detective-oriented and more adventure-based. This is not a complain. I do find the comic to be bright and colourful which is something that has been missing from Batman for years. Perhaps the focus on Batmans team helps with that.

Robinson replaces Dennis Calero this issue. His work is more attuned to a super hero comic book and although he is not a better illustrator, his dynamism may be what this series needed to be noticed. I like Caleros work, but the inking was not the best. Its pure super heroics!

Since Im comparing this series to Angry Birds, I have to say that the birds look much better. I like the roughness and line quality of the doodles but they look less polished than the Angry Birds comic. While the colours are bright, the shading on the character makes them look dirty. Perhaps this is the intended look for the series but it looks dirty.

So far, the story is solid, and I enjoy seeing the proto Jokers in the form of Mime and the Marionette. I like the reintroduction of old DC Comics characters like John Law, Libby Lawrence and more in the articles that follow the comic. Gary Frank makes everyone in this comic look good while still drawing from Dave Gibbons lead. I do wonder if he finds it ironic to draw a comic whose theme is similar to Supreme Power from Marvel where the presence of an alien baby on Earth was deemed responsible for the onslaught of meta-humans on that world. This is where Johns story is weakest. He is threading old material that Marvel Comics had already intended for their version of the DC Comics universe.

Eaton is used to working on the Black Panther so his work seems natural here. It is a bit busy with too much going on in the page to really make the layout work. Thus its not very engaging even if the characters designs are strong.

Eaton is used to the Black Panther and his black characters actually look like they are black, instead of Caucasian with brown painted on them. The characters also each have their own looks. This is good. Unfortunately, the darker colour palette used by Beaulieu is too dark to enhance the work of Eaton and the entire book ends ups being a smudge of lines and colours that is not really appealing, although the artist is fine. The cover by Romita was poor by all standards and looks like it was put together at the last minute just so they could say Romita participated and try to sell more copies. Well poor covers, even by Romita dont tend to do that.

The story did a good job of retelling details about the last mini-series so readers can start fresh. Knauf set up the conflict with Druig and another evil very well. Coming off after Neil Gaiman is a tough act to follow. And where the Knaufs divert with Gaiman is when they try to give the Dreaming Celestial a language at once alien and similar to a computing language in order to make us understand how Celestials communicate and view our world. It removes the dread we had about the Dreaming Celestial in the mini-series. We know hes not going to start rampaging through San Francisco. But it also lacks the evocative and poetic quality of the simple words used in Gaimans scripts. Still, the story is worth reading and the characters likable and intriguing enough for us to care more about them.

Carmine Di Giandomenicos work continues to remind of the art of Carmine Infantino with the elongated figures whose muscles are well defined and almost sculpted. I wonder if he has trained with Carmine Senior. Of course, his take on the Flash is more modern yet still pleasing.

The art was almost as good as the story. Mixing Pop Mhan and Christian Duce does not work though. Their styles are too different and clashed. I prefer Duces pages. His faces are stronger and his figures better shaped. Mhan was gave the few Negative Flash illustration a lot of energy but hes not as great when it comes to illustrating police procedurals!

Neil Googes section which covers the fight between Flash and Bloodworks looked good and that was the point of his contribution, regardless of logic. Gus Vasquezs took care of the police procedural after the fight which was cleaning up Bloodworks mess. It wasnt as spectacular but was the appropriate part to hand to the second artist. Googe was great at drawing blood-based constructs.

I have written this before; it is always a good thing to see someone named Carmine drawing a Flash comic. Di Giandomenico is the perfect foil for Carmine Infantino. Their styles with elongated muscular limbs is very similar. Di Giandomenico is of course a much more current and dynamic artist but he is equally suited for the Flash. One thing that he does not do as much as the other Carmine, are multiple drawings of Flash doing things at super speed I one panel. Instead of that or speedlines, he likes to populate his panels featuring Flash with thunderbolt contractions.

Evan Shaner is of course the best artist for this series. The comic book did not feel the same the last issue when a guest artist stepped in for a substantial set of pages. He adds a lot of the levity that Parker tries to imbue in the comic. His composition and storytelling is flawless. He understands the basic cinematographic staging. For example, check out the pages where Dale and the Hawkmen hide in the bush. The space they occupy on the page is rigorously maintained, just like in a movie. Few comic book artists bother to use these cinematographic continuity tricks.

This story tells the tale of how Kato first met with Britt Reid and became his lifelong servant and sidekick. Caught in China during Japans attack on China and witnessing the horrors of his fellow Japanese patriots, Kato switches side and fight his countrymen until caught. But Reid saves him just in time to create a friendship that will take them all the way to Chicago where they will fight mobsters. This is finally the story that should have been told for the first two issues explaining the bond between the two heroes. Theres always been a racist context in the Green Hornets relationship with Kato where the former is less skilled and talented than the man that serves him and drives him around. Wagner doesnt deal with that issue head on, but helps alleviate criticism about the white guy who bosses around the yellow guy. Katos devotion to the Green Hornet is explained more in cultural obligation mode than in terms Westerners are used to. Lets hope future stories delve deeper in this asp

Mahnkes Sinestro is creepy but so real. I like the crispness of the artwork. There is a Gil Kane quality to the visuals, which is quite a compliment for the artist.

Changs work under Moritas inks is a compelling mix. Moritat changes enough of Changs work that I didnt recognize it at first. Yet, the work is crisp. Chang draws good action scenes. I like the sequence where John Stewart was fighting with the Durlan invader. Some of the pages are too packed. For example, the shots of the Corps become a big mass of lines. This comic book is good. Get it.

I was not as impressed with the visuals this issue as with the previous one. Like I wrote above, the guest-filling was not as strong and Clay Manns work did not feel as polished as the first issue. I still like this comic, but this issue is not as remarkable. It is still a must pick comic though. The cover will remind some readers of Wonder Woman: The Hiketeia.

I like Mike S. Millers work here, but I will not say more as he his personal politics have affected many people in the comic industry. He is not a good person and has wasted his talent and its potential reach to peddle cultural wars and attack creators and fans who support diversity. His Kara is not exactly the best that I have seen, but it is too bad that is he is better known for his atrocious politics, rants, and attacks, rather than his work which is good.

I have already praised Williams many times, but I have to do this again. Few artists would make such a complicated comic work. The best part is that one can feel the love he has for this franchise and how he tries to make it work with Injustice. I will argue that he is a better fit for the Masters than Injustice who usually is rendered in a slick and clean style. But the best thing is that the story moves, and moves, and moves.

I like the new costumes created by Freddie Williams. They update the Masters of the Universe and even the Injustice characters. I do feel that too many characters have huge proportions that make them look like wrestlers.

Ottleys rendering of the various vignettes for this issue works. A lot of stuff happens. But unlike Morrisons Final Crisis, the vignettes provide just enough information for the reader to complete the missing elements in one narrative. Thats good storytelling. Ottleys work is violent and full of blood, but dynamic. Perhaps his simplified and almost cartoony style is what will keep readers from perceiving the full effect of the gore in this issue.

I ask myself often if Ottley will ever get equal billing to creators Kirkman and Cory Walker. When I think of Invincible, I dont think of Walkers interpretation. I think of Ottleys. Hes defined the character and his universe for me. After delivering months after months of work on this series, it would be just for him to be acknowledged as an equal creator of Invincible, even if he did not draw the first issues.

By the panel counts, this issue seems to have a lot going for it. There is actually a lot to view visually. Ottleys storytelling is impeccable and entertaining. Sure, all his characters are covered with blood, which seems odd in such a clean cut comic book, but at least the gore has a purpose.

Invincible fights the horrible squid guy that looks like the Justice Leagues Starro. But the fight against the parasite alien organism turns bad when Invincible has to make an important decision about the how to stop the villains threat. This story seemed like it was played for a laugh until Invincible crossed that line and ended the threat posed by the villain. I like where this is going and what it means for the character. After all the crap hes been through recently his reactions make sense. Theres not much to discuss about this issue except for the fact that it was a solid read. Ottley remains my favourite Invincible artist and he knows how to draw gore.

Cory Walker is back this issue and I have to say that I prefer when Ryan Ottley draws this series. The characters still look very much the same though, but Ottleys work is more lively and the faces more interesting to look at.

Art-wise, the entire book is a delight. There is a risk that the colouring which is heavily paint-like will stiffen the storytelling, but Larroca,s dynamic posing and effective use of iron Man allows the work to breathe like a comic book instead of a photo novel.

Visually, the issue is good. Larroca does racing track stories well too. The cover is weaker not because of the artwork but because the composition and the monotone colours fail to draw attention on the flying Iron Man.

Larroca is back in shape this issue with well-drawn pages filled with details and a realistic view of the world of tech. Sometimes, hes off his game, but this issue, he was very careful with details and designed gorgeous pages. The segment with Pepper Potts drawn McKelvie was good looking too, but although the artist is superb, it looked simplistic next to Larrocas work.

Larroca is a great artist as usual and I like how he draws the dwarves. His work is splendid as usual. One thing important has to be said about his work. He has successfully delivered almost all issues of Iron Man since the 2008 almost always on time and still continues to work on the series while not missing deadlines. This is not very common these days.

This is a classic team up comic where the two factions meet and fight one another! We dont see the end of the fight as it ends on a cliff-hanger but its fun. One thing that this story does which a lot of reboots of kids cartoons tend to do is to increase the stakes on the cosy and nice world of the readers childhood heroes by showing some real destruction with dire consequences. We will have to wait for future issues to find out how exactly this pans out though.

Guess artist Goldman does a good job of telling this action-based story. The difference in storytelling with regular artist Ed Benes is easy to see. Goldman is not a pro storyteller, but after two years of gruelling with an artist that just cannot understand how to tell a story visually, its a fresh change.

Bagley is a pro. Im more used to seeing him on a Spider-man book than on a Justice League series. So his characters have that Marvel Comics energy and looseness which is often lacking from the illustration centric DC Comics. With Robinson, this is an excellent mix that should produce results.

Robinson pads a fun story here where he continues to push this junior Justice League to the next level, proving they are not just replacements for the real Justice League. What Robinson has for him, what hes always had was a thorough understanding of DC Comics history and where each character fits in. For example, I like how Blue Jay assumes no one remembers him and his time with the Justice League. It shows his inferiority complex, while at the same time allowing the character to redeem his worth, by taking out Owlman at the first opportunity. This is the same Owlman who is an exact match for Batman and gave the second Batman, Richard Grayson a lot of trouble. Robinsons run on this series has not been liked by all. Its been criticized severely. Coupled with the Justice League mini-series he wrote last year that helped destroy Green Arrow and Arsenal, he has a lot to prove. But this is the writer who wrote Starman and the Golden Age mini-series. Before writing him off, Ill give him mor

What I like about this comic is that Steve Orlando updated the material from Gail Simone's series and made it better, giving Ryan Choi who was murdered before the New 52 reboot to shine again. It's a captivating story that reintroduces the old Atom Ray Palmer, and many elements of his past, like Adam Cray. We know that many of his stories did happen but instead of focusing on that, we get to know more about Ryan Choi.

I enjoyed Jamal Campbells Vixen. She is black. Unlike the X-Mens Storm who seem to become paler by the day, having gained blue eyes a while back, Vixen cannot be mistaken for a white woman with slightly darker skin. She is totally black and beautiful! Campbell, by the way is a great colourist and probably being black himself, avoids the black palm problem that plagues many comic book colourists work.

Bennett is a good value but his facial expressions are not all the way to the level of some of the classic artists that have worked with this specific team of the Justice League.

Visually, this issue was strong. The best quality was the colouring by Hi-Fi. The colours are thematic to what is happening on the page and the storyarc. This is not something achieved often in comics. Francis Manapul is of course, an excellent artist as usual and captures some of the grand scale that only artists like George Prez have been able to represent in these larger-than-life epics that super hero comics publishers enjoy so much.

Romita Jr. Is back in shape this issue. Perhaps not having to draw the Avengers every month has freed him and allowed him to deliver more than bland sketches with too many lines. His composition is good here and the figures look fully formed. This is the Romita work that I like. The one that looks so easy for him to draw, thats full of energy, but all you have to say when you look at it is say that its pure genius. Its gory. He shows the piss and blood leaking down Kick-Ass dads body while being hung in jail. Not a cool pic to remember. But for what this comic book is about. It works.

I like Mera a lot and am confident that Dan Abnett has her best interests, but the series is a bit formulaic and does not take enough chances with a character who could easily escape the shadow of Aquaman.

Lan Medinas work looks better this issue thanks to new inker Norm Rapmund. Medina is good with action scenes. Yet, I would have preferred if Nicola Scott had also been invited to elevate the series into classic territory.

This is a good looking issue, with each time strip separated by a different style. It works well and tells us more about the story and the many settings. Much of this story is one big fight after another but they look fine and flow well over all the inking is crisp, just the way I like it.

Maleev has the opportunity to work on a story that is attuned to his strength. Or perhaps, his participation made it the type of stories he would draw! Its all headshots and introspections, with very little words said. Its not crime noir, but his moody style fits the super spy thriller that we witness this issue. As with everything Maleev works on. The *visuals are balanced, well executed and without any extra drawing and the right storytelling. He makes it seem so easy to render out professional pages like these.

The artwork is weird. It seems like a second rate John Romita Jr. clone. It has some of his feel, but without the tightness in design, that makes Romitas work crisp and alluring. The linear work captures much of the feel though. Perhaps its the best thing to hope, for a story about a second rate Avenger.

I like the use of multiple artists to tell the story. I particularly liked the flashback to the early Avengers when they had just found Captain Americas body frozen in ice. But before we can witness Wanda Maximoff putting all the broken parts together again in two years time, well have to go through another annoying companywide crossover trying to pitch us Black Reign. Im not buying.

The artwork was good, although a departure from the regular artist. A little bit more inks and shadows would have balanced the pages more. It felt like everything was a pastel palette.

Phams inker is not great this issue. Its hard to figure out this team. Sometimes they work well, sometimes they dont. This issue they dont and the art looks weird, although its from a familiar team.

Doctor Pym must fight his son Ultron, but doing so may make an enemy of Jocasta. Will Pym defeat his most treacherous creation or will he die trying? I must be the only person who like Pym enough to have enjoyed this series as I am now. This series, more than any other has been the one that was meant to fix the character and it has. Pyms been broken since Jim Shooter played with him and made him a wife beater. Here, all his weaknesses are revealed as strengths. Hes no longer just another crazy genius super hero who puts on a costume. Im not sure what the plans are for this series after the Siege, but I,d like Pym to come back and be used once more in more Avengers stories. Of course, Pham and Yeung continue to create strong visuals for this story. Im not completely a fan, but Id rather see the two work on this series rather than a poorer team. It feels like Jeff Williams but not as tight. By the way, there may be a way for the Wasp to comeback as was revealed in this issue. It will be

Some sequences, however are not as strong. For example, the page where Mister Miracle climbs the crane would have been better told had Gerads used a vertical nine panel grid system, or simply three panels read from the bottom up. It is true that most readers would have started from the top but the page would have been more elegant. Such pages show the limits of the nine-panel grid. Breaking it into a three-panel vertical grid would have been better. It makes me worry that the nine-panel grid is being fetishized instead of used as an effective storytelling tool.

The series starts with a mystery and enough motivation to fill two years worth of stories. However, visually, its a hit and misses. Some pages are gorgeous, others are hideous. This series will need much better art to survive the 52.

The artist has a classical illustrative style that is well adapted to this science fiction story. However, the inking could use a little more weight. The sketchy lines left on the characters face feels sloppier than stylistic. Tan also has a few problems with proportions. His characters head are too small compared with their bodies.

Deodato is a pro but his inks are too dark for this series. Many of the backgrounds have fine details that dont look as solid next to the figures he draws. His rendition is excellent. But the line weight of the backgrounds is too thin. It doesnt support the foreground well. This is a problem as there are many shadows and dark areas. It gives too much visual information and does not create the right ensemble.

What I dislike the most is the lack of patches that used to make up Ragmans costume. It lacks the patchwork feel and makes him look more like a mommy fighting with drapes than random pieces of fabric. His old costume made him unique. This design makes him look generic. The patches could be coloured with multiple colours, although a mix of greens, browns and beiges was usually used. This costume lack personality. Personality is not lacking in the execution of the rest of the comics artwork. As the series has already ended, my commentary may be useless and too late.

Ed Benes is just right for this series. Another artist would have made this series crawl to a halt, not because they arent good, but because their art would not be action-based. Milligans script is very wordy. Benes facial expressions have also improved over his previous series. I cant wait to see where he grows next.

Buy, read, bag, board!

Dave Eaglesham and Wellington Alves join Howard Porter this issue with the artwork. Eagleshams sequence is very short and thus there is little to say about his work which continues to be solid as ever. Alves does manage to show us the inner beauty of Velma in his flashbacks. Thus she cannot be all that bad. At least I hope so.

The Sea Ghost is an interesting series. So far its too similar to the Space Ghost to be anything that could go beyond, but its still a great package for parents who want to introduce their kids to comics, or someone looking for something that feels its from a generation ago.

The art also looks much better With Deodato continuing to grace the pages with remarkable pencils and strong action sequences. Few Marvel Comics look so good these days.

This issue was quite interesting as a set up issue, although not much into the early infiltration of the Skrulls has been revealed. It will be interested when more of the Easter eggs that Bendis has been inserting are revealed. However, this issue and possibly the rest of the series, will probably focused more on action than the secret plot. And there is the main problem with Secret Invasion. Readers will have to read a ton of other books where the real story will be exposed.

As for the story, well, it doesnt explain much about the Sentry, but it is dramatic enough. Theres nothing particular to it or memorable. When you buy this just look at the pictures and ignore the script.

However, I have to commend the "risk" taken with the Kochalka pieces. They are not groundbreaking, but the fact that Viacom was ok with the design of one of its properties not being respected totally is cool. The other stories follow the animated character bibles established for Spongebob more closely. I always like to see softraced coloured art, and of course, just like the cartoon series, the comic book features much of that. It's a fun comic book. I pretty sure every issue is as safe and entertaining.

Edwards work is good but the inking not appropriate for his style. It did not enhance his work, which is strong in storytelling and action scenes.

Art Baltazar completely own this comic. He is an accomplished cartoonist that knows how to simplify complex character designs into something recognizable and dynamic. Superman is Superman. Batman is Batman. But each character has been stripped to its essential core which makes them more enticing, visually.

The characters facial expressions are the best. Their postures and pantomime are very good too. Get this comic, and let the kids in your life know about it!