Williams' mix of watercolors, paintings, heavy inks and modern pop art is brought to life by the colors of Dave Stewart. As complex and layered as Williams' work is, it would become a cluttered mess if the colors were not executed perfectly. Stewart understands every stroke of the art, and colors it expertly. He also understands how to create a dream world, and the combination makes Sandman very special.

Murphy knocks the art out of the park yet again. I could describe his eye for detail, wholly original penciling style, and knack for creating complex action within a small space, but that isn’t the real gift here. What makes the most impact is that Murphy’s work is completely unique. Nothing is like it; nothing even comes close to imitating it. As professional as it is, there is grimy vibe to what he does, a broken, violent desperation that creates this dystopian future perfectly. It’s wonderful to look at, page after page.

Tradd Moore handles the art, which is perfect for what Felipe Smith is doing. The work has a modern feel, blending parts of anime and underground comic book art sensibilities, with an urban graffiti feel. Moore's work has an original hook to it, as well as an interesting way of communicating movement. His dynamics are really odd, as is his line work and sense of anatomy. Mixed with the vibrant colors from Nelson Daniel and Val Staples, Ghost Rider looks great. It's too bad the story is so unappealing.

Garry Brown's art seems like an odd choice for this series, but it works. When you crack open a book involving superhero armor, you expect something bombastic. Brown relies more on subtlety. His line work is thin, but exquisitely detailed. Brown also has a great sense of shading and movement. There is a darkness to the work, something that breathes a level of maturity into the story. Brown is one of those rare talents who can draw the quiet conversation between a father and son as well as a smash-mouth superhero fight.

As unhappy as I was with the writing, the truly egregious sin comes from Michael Alrred’s art. Again, Silver Surfer comes across like a bad cartoon. Surfer doesn’t look sleek and dynamic – he looks doughy. The other characters are sloppy, and there is a rushed look to the entire issue. It’s as if Allred was more focused on being funny than creating a good look for the series. Surfer books don’t work with art that looks like a cross between poor indie art and old Archie comics.

Jim Lee’s art is another lesson on how to pencil a big fight book. Heavy inks, thick lines, details, an amazing ability with anatomy and action, Lee makes it look easy. There are a few artists out there who have achieved this iconic status but don’t allow their work to become easy, or repetitive. Jim Lee is at the top of that list. You can feel his passion for the work in each panel.

Animal Man was one of the strongest series in the DC arsenal. It's a shame to see it end.

Paul Maybury’s art is excellent, especially for this kind of series. The work has a distinct and specific look, one that draws on inspiration from old, classic stories like The Three Musketeers or The Man In The Iron Mask. His pencils are thin, but exquisitely detailed. There is a rustic quality about every panel, which allows for Roberson's  story to really come to life. Hopefully, that story finds stable ground and Sovereign finds an audience.

Ten Grand should be seen as a new industry standard. All those in the world of comic books need to study this story and the art behind it.

American Vampire returns the same way it left, with its hand clutched firmly around readers' throats.

I seriously hope Chris Samnee stays on Daredevil for as long as Waid does. They work perfectly together. Samnee has the same light touch to his art that Waid does to his writing. While not the same style, Samnee has the same appeal that Steve Ditko or Jack Kirby had " that ability to make the work leap right off the page. The bold lines and heavy inks give everything a strong presence, while the slim details in the background give pop to the foreground art. Waid and Samnee are a winning team, one that I hope stays with the red-horned hero for years to come.

East of West is a complicated story that forces you to think. It’s also visually stunning.

I’ve said it before and I’ll say it again. Snyder and Capullo, the Lennon/McCartney of Batman.

The glaring problem is the art. After a beautiful Alex Ross cover, the interior work is just lame. It’s a problem Dynamite has had in the past, a dedication to finding people who can draw characters to look like their human counterparts, without actually finding great artists. Juan Antonio Ramirez is a solid factory artist, somebody who understands what goes where and why it goes there, but he has no style, no presence, and the Six Million Dollar Man book suffers because of it. This is the kind of work that would be a good fit for backgrounds, but not main characters or action. Dynamite needs to make an artist switch if they want Six Million Dollar Man to really catch on.

The art from Kev Walker is an interesting choice. While the spine of this story is dark, Walker’s visuals are bright, even over the top in some panels. The pencils themselves are nothing special, a factory-like comic art style mixed with a dash of manga and a smidge of indie work like Ghost World. The art tells the story, but little else. I also found Walker’s human faces to either be overloaded with expression, or else dead eyed. Overall, it wasn’t awful, but nothing to be excited over.

The art from David Lopez is solid, though I don’t know if it works for the series. Lopez’s line work here is thin, without much in the way of background detail. Lopez’s use of shading and blacks gives the visuals a certain narrative heart that goes hand and hand with the storytelling. While it works with this issue, I’m not sure how it will play out once Captain Marvel gets intergalactic. Lopez’s work is great for more interpersonal stories, but might not translate into big action.

 She-Hulk is another win for Charles Soule. Is there anything this guy can’t do?

Afterlife With Archie is not just the most exciting comic on the shelves right now; it’s also one of the most important. Sacasa and Francavilla have redefined how we look at the world of Archie. I cannot stress enough how special this book is.

Thankfully, the most beautiful woman in comics has returned with her stunning artwork. Nicola Scott plays with the big boys and leaves many of them in the dust. Her pencils have the same main event vibe as Jim Lee or David Finch, but with more character, and a real devotion to facial expressions. Scott is bold in the action, but never sacrifices mood or backgrounds. She renders a complete image in each panel, which gives the entire story a feeling of immediate danger.

As always, David Finch’s art is excellent. Like Jim Lee or Doug Mahnke, Finch is a main event artist. When your book needs to be huge, when it’s got to be smash mouth, thick lines and heavy inks, you call Finch. Everything is executed with razor precision and laid out with an eye towards cinematic action. Finch is like Hitchcock – he’s so good that, even in the factory-like nature of these tent-pole books, his personality and mastery of the craft shines through.

Once again, I tip my hat to Lemire's artwork. In anyone else's hands, this story becomes just another huge sci-fi epic. Lemire's pencils are much more delicate, some might even say crude. It's a style that works uniquely for what Lemire does. It's not for his other titles, like Green Arrow " this style works only for his creator owned properties. There is something as jarring and odd in Lemire's art as in his storytelling.

Mahmud Asrar's art is just as uneven as Latour's story. Some of the panels look great. The work within the school is crisp, clean and slick. The lines are solid, the inks heavy, and it's good smash mouth comic art. Then, when Wolverine steps into the picture, everything changes. Wolverine looks awful, as though he's been flattened or he's the bastard son of Hammerhead. Nothing works in that entire section. Asrar's work here is not terrible, just lacking in consistency.

With so many of the X-Men titles being about intergalactic or world-ending situations, it’s nice to see a street level story for once. Especially when it kicks as much ass as this one did.

Hawkeye doesn’t just entertain, it inspires. Fraction and Aja have raised the bar by completely rethinking the narrative and visuals in comics.

Tyler Kirkham’s art has that big comic book feel. Kirkham has a great understanding of how panel placement can elevate the action of a story. His pencils are solid, though very much in line with a standard comic book look. Heavy lines, dark inking, a penchant for being slightly over the top with the facial expressions. Kirkham also seems to love huge boobs, or at least this issue makes it seem that way.

Artist Steve McNiven is allowed to let loose in this issue. McNiven has always had a strong comic style, good with action and faces, but here, there is no holding back. From the glorious Captain American splash page, to the so-brutal-you-can-feel-it bashing between Eimin and Thor, McNiven nails every panel. Ships, multiple characters, explosions, galactic fighting and even up close and personal fisticuffs – this is some of the most exciting work McNiven has given us thus far.

Inherently, there is nothing wrong with issues like these. They can often allow the action some breathing room so it doesn't become overbearing. The same would have been true with Walking Dead, if this wasn't the 22nd issue dealing with the same exact villain in much the same way. Even the Governor, who was a much more exciting character, only got 21 issues, and this arc still has four issues left. When you're pushing two years on the same arc, with no variation to it, any filler issue becomes an even bigger albatross.

The end of One Hit Wonder doesn't matter because none of the rest of the book matters. This is like something Sapolsky mined from Quentin Tarantino's dumpster. The art is terrible as well. Ariel Olivetti has a style that seems taken right from a dentist's office wall-art. No expression, nothing interesting, just panel after panel of easy characters and dull action. I'm not sure who at Image Comics approved this garbage, but lets hope their job is up for review soon.

Emilio Laiso's art is strictly by the numbers. No flair, no originality, just standard comic book art, especially for companies like Boom. The only thing that does stand out is how sloppy and rushed it all looks. The Michael Keaton likeness alone is enough to put the book down. Perhaps Laiso would excel on another project, but here he makes a boring story worse.

The Wake #6 is another solid issue in a storyline that’s been hard to figure out and impossible to put down. This thing has epic, summer blockbuster action film written all over it.

Chris Samnee’s art is amazing as always. Just flipping through the issue you can see how well his pencils blended with Waid’s ideas. Past Daredevil books, as brilliantly drawn as they were, often remained dark and menacing. Samnee’s unique style let Daredevil breathe, and gave it an upbeat feel without the series becoming goofy. Samnee was also able to turn it all on a dime, and suddenly, those menacing shadows would return. Samnee understands the character, and always nails the panels.

Jerry Gaylord's art doesn't fair any better. He is so preoccupied with making every panel over the top that they just become goofy. I appreciate the attempt at frenetic energy, but it fails here because it is empty. A bad story with art that tries too hard does nothing but give you a headache. Much like the clich characters, Gaylord's illustrations of them, especially in the club, are laughable creations of somebody who must have never set foot in a nightclub in his life. Girls with names like "Impurity"? Give me a break.

I have no clue where the future of New Warriors will go. Hopefully it will be something a little less pedestrian.

If the entirety of Batman Eternal is the same caliber of this preview issue, then the bat-fans out there have yet another reason to rejoice.

Ten Grand is something very special. A gift from Straczynski and Smith, as well as a clear example of when comics transcend the medium, and become a game changer for everyone who experiences it.

Thor: God Of Thunder #19 is a solid beginning, but with a huge uphill climb ahead of it. Let’s hope Jason Aaron gets there, and hopefully with a new artist.

Javier Pulido’s art is perfect for this series. His work is very stylized, bringing in elements from the Silver Age, but blending them with an animation vibe. While still cheery, and upbeat, Pulido manages to cram in action in all the panels. The simple act of She-Hulk ordering drinks at a bar is executed in a really exciting way. I also applaud his character faces, which are wonderfully expressive. Pulido never lets us forget that we are looking at a comic book.

Wonderfully written, exquisitely drawn and gorgeously colored. Green Arrow is a dark, compelling and thoroughly wonderful rebirth of a classic character that is also visually stunning.

Trillium is a treasure. A culmination of art and story that is as rare as the flower the series is based on.

With Pak and Kuder at the helm, the world of Superman just got that much stronger.

David “Big Fight” Finch brings his penciling A-game to the proceedings. Pretty much anything Finch touches looks great, even incidental panels pop off the page. Battle wise, the art is exceptional. Violent, filled with great action, and insane detail. Finch brings a bit of his darker side to the Sinestro/Green Ring battle, even giving Sinestro a bit more of a monstrous look. Bringing more excitement to Finch’s line work is inker Richard Friend, and the wonderful color decisions from Sonia Oback. Visually Forever Evil #5 is another check in the David Finch win column.

Mirko Colak's artwork is unstoppable here. Vibrant, explosively colored by Lauren Affe, and brimming with movement. Colak has a unique style, one that blends a modern flair with an old school, pulp magazine style. Each panel is a small work of art, one that pushes the storyline in such a way that it becomes more cinematic than just sequential art.

Pascal Alixe artwork is bizarrely inconsistent. His line work is thin, and he tends to pencil characters in small, far-off shots, which makes them look either disfigured or unfinished. What's odd is that the Jet Black scenes, when she's jumping buildings, are wonderful. Alixe has an exceptional ability to communicating movement. The problem is that what's moving often looks like blobs of color. Even faces look off, which is never a good thing for a book that already lacks clarity.

With so much slam-bang noise being made by the other Marvel Now issues exploding onto the screen. Ms. Marvel makes an impact with a quieter style that's more elegant and charming.

If the story begins to click with the visuals, Marvel Now's Punisher could be the book to beat in 2014.

Tyler Kirkham’s art is solid. His pencils aren’t particularly unique, but he’s a powerful storytelling force. There is no lack of ability with character faces, and the action is nicely done. Kirkham has a good sense of movement and pacing. The work tells the story, and doesn’t get in the way of what Lobdell is doing. It may not be the most exciting artwork in comics, but it communicates the overall arc very well.

While the blurred focus of Black Science is unnerving, Remender and Scalera are executing a very challenging brew of ideas.

Artist Henry Flint brings Judge Dredd and his world to life. His work is rough around the ages, but has a visceral charm that works with Dredd. The lines are thick, as are the inks, which helps give each panel a weighty definition. Flint's action is right on, as is the tension of the panels. I do wish the violence had been more in your face, something I've come to expect in Judge Dredd comics.

Robinson Rocha handles art duties, and while he’s a competent artist, he’s not Nicola Scott. Her work is singularly unique, and a defining part of Earth 2. Rocha’s style is well suited for comics, but nothing spectacular. The line work is thin, and the faces tend to run together. I did enjoy some of his panel placements, and a few perspectives he took the visuals from, but overall I couldn’t help missing Nicola Scott. The colors from Scott Hanna are okay during the darker aspects of the story, but anything in the daylight comes across blown out.

Several artists pencil Superior Spider-Man #26. Humberto Ramos, Javier Rodriguez and Marcos Martin. Ramos handles the Goblin fight, Rodriguez the Avengers arc, and Martin the scenes involving Peter Parker in Ock’s mind. The three artists styles are very different, which works really well for the story. Ramos’s bombastic style brings out the action of the Goblin War, while Rodriguez’s lighter touch gives the Avengers scenes their own life. Finally, Martin’s work clicks especially well within the dream-like center of Ock’s brain. Three compelling visual styles for a book that is anything but.

Whether Burton or Bishop, Hawkeye continues to be one of the best titles Marvel cranks out. Fraction, Wu, Aja and Hollingsworth are a revolution.

I’m not sure who to give art credit to. Layouts have been done by Ivan Reis, but finishes were handed over to Joe Prado, Jesus Merino and Vincent Cifuentes. Overall, the work is nicely executed. I’m assuming Reis didn’t do the line work for the individual characters, as it’s not quite as thick or heavily inked as his usual work. This kind of art is like quality special effects in a blockbuster movie. They look great, but are to be expected. As solid as all of this is, nothing jumps off the page as wholly original.

All New Invaders #1 opens up some interesting doors for the long-standing team. Let’s just hope a more pronounced artist is handed the reigns.

Greg Capullo continues his tour de force with Batman. I’m not only a fan of Capullo’s work, his signature style and interesting, complex pencils, but I also love his scope. He presents his work with the eye of a cinematographer, which really helps Batman pop. Hats off to inker Danny Miki, too. Inking the type of detail-oriented work that Capullo does is not easy. Too little and the pages seem unfinished, too much and they become muddy. Miki hits the nail on the head. Same with FCO Plascencia’s colors, which are muted, but still exciting.

Wes Craig’s art is the best thing about Deadly Class. It’s a visceral style, one that captures movement in every panel. The line work is thin, but Craig’s pencils bring it all together into something consistently interesting. He also varies his approach depending on the scene. The way he illustrates the death of Arguello’s parents is like a children’s book turned into a horror film, which is very different than his straight pencils. Lee Loughridge is there for the assist with really great color work. Urban sprawl can tend to look drab, but Loughride manages to keep the melancholy aspect of it, without losing a solid palette.

I have high hopes for Harley Quinn, but it’ll need a real story and a better artist before it clicks.

If Watchmen is the Ramones of the movement to mature and darken the world of superheroes, then Miracleman is The Stooges and the MC5 rolled into one.

Batgirl #27 and Gothtopia could assuring in either another multi-verse story, or it could be setting readers up for DC’s own Ultimates type run. Only time will tell.

Ron Wimberly’s pencils don’t really help matters. Granted, a comic like this is supposed to be over the top, but Wimberly falls victim to the same thing Ash does. It’s too much; each panel is trying too hard to make sure we know that it is parody. By the final page, the pictures are inconsequential and become little more than background noise. Comic stalwart Sal Buscema gives some decent inkwork, but JM Ringuet’s colors are drab, hitting another nail into the coffin of indifference for Black Dynamite.

Velvet makes a strong case for Ed Brubaker to be the best writer in comics today. He and Epting are an unstoppable team.

Green Arrow is book that continues to get better with every issue. Lemire and Sorrentino are in top form here.

Earth 2 slaps the mouth of any other book out there. Taylor’s ideas and Scott’s art are a two-fisted knock out that you don’t get up from. This is one of those books you salivate for each month. If you’re not reading Earth 2, you should be.

Brett Booth’s art is glorious in both scope and execution. I don’t know if this guy could pencil a quiet independent book, but man, can he kick the ass of an action epic. DC has chosen to use a sideways vantage for this story. In other words, the pages are set up horizontally like a calendar. Booth takes full advantage of each page, cramming as much action into every panel as will fit, and then hitting us with explosive splash pages. Booth’s work is a gut punch of constant action.

Detective Comics #27 pays homage to the greatest superhero of all time (yeah, I said it). Sure, the price tag is a little goofy, but with so much talent, DC gets a slide. Most importantly, Detective Comics #27 shows that even after three quarters of a century, the Dark Knight’s adventures or just beginning.

Avengers World is another check in the win column. Hickman and Spencer do more with one issue than most can do in an entire run.

I’m glad Savage Wolverine is around. It’s a superb playground that allows talented creators to give their ideas on the enigma that is Wolverine.

Solid issue, with good action. The next arc of Guardians of the Galaxy may not start until issue #11, but as transitional issues go, this is worthwhile read.

Teen Titans continues to impress. A well-written, well-penciled slice of superhero adventure, mixed with a small dose of science fiction. Excellent work.

Justice League Dark continues to create compelling stories by coloring outside the DCU lines. It’s some of the most daring work being done in the New 52.

Jonathan Hickman's staggering talent has injected a much needed shot of intelligence and adrenaline into New Avengers. Bianchi's art is equally devastating. An absolute gut-punch of a book.

Paul Pelletier’s art is inconsistent, but in a really odd way. Whole panels never suffer, but items within them will. It’s not each page, just a few strewn throughout the entire issue. Sometimes one character looks fine and the other is off. Pelletier excels in the battle between Aquaman and the Karaqan, but some of the more intimate moments suffer from weird expressions on faces or uneven form. Nothing happening here is bad, it’s just uneven to a point you can’t help but notice.

Great fun to read, and beautiful to look at, Superman Unchained is subversive. Wrapped within an exciting comic book tale are ideas and emotions that will go on to redefine Superman as an icon.

Regardless of the art hiccup, Jonathan Hickman as done it again. Just as he finishes raising the bar, he jumps it, leaving us stoked on an entire year of Hickman-driven Avengers stories.

Forever Evil is a stomp-foot good time. Geoff and Finch have decided to throw a comic book party and we’re all invited.

Too bad, because Ivan Reis’s art is big fun to look at. Reis gets that this is a big deal for DC, and he pencils Justice League in such a way. Everything is bigger than life, each panel is the money shot. At times, Reis’ strong ability to bring action to life saves issue #26 from being completely boring. Reis always brings his A-game – it’s just largely wasted on Justice League.

Origin II needed to capture fans right out of the gate. It has failed to do so.

The art here is a mess. Clay & Seth Mann handle pages one through ten, and twelve through thirteen. Their style is flimsy, with thin, weak lines, and character faces that brush very close to parody. Banner’s face is particularly ridiculous. When Miguel Sepulveda takes over, the work is much better, but the contrast of the pages is so obvious that it takes you out of the story. Three people should be able to offer up better art for an iconic character.

Ten Grand is an exceptional work. Beautifully rendered, expertly written, and the kind of creepy good time so few books provide anymore.

Black Science is a good time with a lot of oddity to it. Remender seems to understand that he's dealing with some well-worn sci-fi clichs, and he's allowing his imagination to fill in those blanks. Part of what works is the visual scope of the story. Artist Matteo Scalera, who worked with Remender on Secret Avengers, goes for broke here. Everything is bigger than life, from the landscape to the aliens and even to the reactions of the characters. The evil businessman is so gloriously sinister, and the disgraced mercenary so begrudgingly serious. Scalera ramps up the clichs, and at the same time, he manages to keep an original slant on the story. Only time will tell how Black Science ends up, but for right now, it's a great read.

East of West, with its combination of excellent script and wonderful visuals, would be an unstoppable force if readers were afforded one protagonist to get behind.

Piotr Kowalski brings his refined artistic sensibilities to Marvel Knights Hulk.  While keeping some of the trappings of standard comic book art, Kowalski brings something almost intangible, a dynamic in his pencils more akin to cartoons in The New Yorker, or old Broadway theater posters. The lines are soft here, relying more on complex strokes than hard, thick inking. Kowalski’s faces are outside the norm for comics, but the way he communicates the Hulk in flashbacks is very powerful. This is a perfect blend of fine art skill and comic book appreciation.

I’m really excited for Kyle Higgins' direction with Nightwing. If he gets a stronger artist, this could become a premiere title for DC.

Snyder and Capullo are inextricably tied to Batman for all time. Your children’s children reading Batman will marvel at them, the way fans do now at Kirby & Lee.

On the lighter side, Doug Mahnke’s art is gorgeous to look at. Mahnke is a big fight type of artist. His lines are thick, his perspective gloriously huge. If Mahnke was a cameraman, he’d be hired for all the huge action adventure films. The massive splash page with Owlman is killer. Mahnke doesn’t really do subtle, but that’s okay, because he doesn’t have to.

Tom Taylor and Nicola Scott continue to make Earth 2 a hidden jewel in the DC Crown by constantly shifting reality and playing with the icons we love. Amazing stuff.

Helping keep this Annual jolly is Dave Lafuente. I’ll be honest, in a standard comic, I wouldn’t be a fan of what Lafuente does, but it is perfect for this story. The pencils are cartoonish, almost over the top in their attempt to be animated. Tony Stark is a bit angular, and Banner looks like Shaggy from Scooby Doo. Interestingly, Lafuente brings his over-the-top style down a few notches during the conversation between Cap and military vet. The art fits each aspect of the story perfectly.

Saving the day visually is Oliver Coipel’s nicely done art. He has a real playground here. Fraction’s story pans decades, races, aliens, everything. Coipel takes full advantage of that. His pencils are creative, always shifting perspectives and dynamics. The end result is art as grand as the story, but not as dull.

Superior Spider-Man continues to be one of the most important eras in the history of the character. Issue #23 is just a dull bump in that road.

Stylish, exciting, and smart, Velvet is another win for the unstoppable force of Ed Brubaker and Steve Epting.

Black Science is a winner. Any sci-fi fan will be hooked.

The art from Mahmud Asrar is atrocious. It fails on every single level. Proportions, character faces, shading, backgrounds, action, everything. Imagine a badly drawn episode of Pokemon, and you might get close to the horror show here.

Hickman has raised the bar with Infinity. This is a game changer, a story that will have fans in awe and fellow creators inspired. Nothing short of brilliant.

Leinil Francis Yu continues to be an unstoppable force on this series. I’ve heard whines that his pencils are too dark, his line work too detailed, but to me those are the keys to what makes his art work. Hickman’s text is so rich, so densely packed, that light-hearted art would tear it down. Yu matches Hickman’s intensity with every tightly packed panel. It’s a perfect marriage of images and words.

Issue #12 of Prisoners of Time, even with its dull art from Kelly Yates, shines in its story. The rest of the series was a far too uneven game of hit and miss.

Cataclysm: Ultimate Comics Ultimates #1 ushers in the end of the Ultimates, and succeeds on a story level. The failure here is with Carmine Di Giandomenico's art. There is zero consistency to what he's doing. Some points look great, as though time and effort were put into it, but others look rushed. Several of the Fury panels give the character an oblong skull. Giandomenico's proportions are off, and his faces look too inconsistent to be interesting. The end of the Ultimates deserves better than slapped-together art like this.

I know the Harley Quinn book won’t be this odd, but issue #0 has hooked me into reading what comes next.

Javier Rodriguez’s art is satisfactory. It’s nothing to rage about, but it tells the story. Rodriguez is coming with the same nod-towards-the-silver-age vibe of Chris Samnee, but somehow doesn’t elevate the work past mere cartoons. It’s hard to take Blackout seriously when he looks like Morbius dressed up for a western themed wedding. I’m sure in another setting Rodriguez’s art would work, here it just feels too goofy.

Intelligent, beautiful, smart, and completely intriguing. The Wake boasts two of the best creators comics has to offer performing at the very peak of their powers.

Sadly, the art from Matthew Dow Smith is little more than a means to an end. Every comic book must have a visual element, but it doesn’t always mean said element leaps from the page, nor does it mean the element elevates the issue into something special. Smith’s art flat lines, it tells the story but does nothing else. Character faces are much too similar, the panels are awkward and clumsy, and it just has no visual appeal. It’s a shame, because issue #11 was the first example of Prisoners of Time really knocking it out of the park since the first few issues.

Overall, The Fifth Beatle: The Brian Epstein Story is impressive. Even with the content exclusions, you have to respect the scope of what Tiwary, Robinson, and Baker are trying to accomplish.

The meeting of story and art on this level is rare in comic books. Scott Snyder and Greg Capullo are, quite simply, the Lennon/McCartney of Batman.

Superman/Wonder Woman is a prime example of how to write these icons. Soule and Daniel have knocked this one out of the park.

I guess with Kirkman's focus on the show, logic and story fly right out the window. Walking Dead has been limping along for nearly fifty issues now. It needs to end. It won't affect the show, which is simply using the characters to create new storylines. Kirkman either needs to step down as writer and give fresh eyes to the series, or pack it in. The brilliance of those first few years are in jeopardy of falling to the lame, repetitive, and uninteresting series Walking Dead has become.

Thor is an icon, one that deserves better than sitcom adventures in Candy Land.

Nick Dragotta's art continues to be one of the strongest things about the series. Dragotta has a keen eye for creating surreal surroundings that are alien, but not unfamiliar. His line work is solid, and the use of solid colors in the background allows for a nice sense of unease. Dragotta also has a great imagination for machines, and for creating a hybrid of nature and technology. While Hickman's work in East of West is starting to unravel, Draggota's art remains tight as ever.

I'm still very positive on the new Green Lantern direction, and the attempt to tear down Hal Jordan, I just feel DC needs to pump the brakes a bit.

While the story of Swamp Thing continues to stagger, the art excels. Jesus Diaz, while not Yanick Paquette, is seriously talented. He excels at creating this natural world. His details work is exceptional, and his pencils really capture an organic feel to the whole Swamp Thing Universe. It’s not easy to differentiate characters who all look the same, so kudos to Diaz for that. Visually, Swamp Thing #25 is much more exhilarating than the story.

Jeff Lemire has talent he hasn’t even tapped yet. Trillium is another step forward in his becoming one of the most original storytellers around.

Earth 2 is an incredibly entertaining ride. The freedom to create a world from the ground up has allowed it to be one of the most exciting, diverse, and entertaining titles DC puts out.

Even Ed McGuinness, who is usually so dependable for quality art, falls short of the mark. I don’t think it’s McGuinness’ fault – I think he was trying to draw in the same vein Aaron was writing. Everyone involved has overly exaggerated reactions, especially Hank McCoy, who spends most of the issue looking like He-Man’s battle cat standing on two legs. The art here is so over-the-top, it’s borderline obnoxious, which matches perfectly with Aaron’s writing.

Superman Unchained is unquestionably the new bar by which all Superman stories should be told going forward. Snyder and Lee have reinvigorated not just the Man of Steel, but also his supporting cast. A knockout series across the board.

Don’t get me wrong, Smith is a wonderful artist. His work here is first rate, and he brings it a real sense of layering, using pencils, paints and even computer graphics. Smith keeps the surreal nature of Ten Grand, as well as the fine art sensibility. Problem is, Smith is nowhere near as inventive as Templesmith. As solid as the work is, the symmetry of Straczynski and Templesmith is gone, and it hurts the overall impact of the book. I’m sure in a few issues all will seem well, but this first example of the new art direction is hard to swallow.

Art for this annual comes from three sources. The main pencils belong to Jason Masters, assisted by Daniel Sampere and Vicente Cifuentes. With three times the artistic power, you’d think the work here would rise above standard comic book fare. It doesn’t. Nothing happening within the pages is bad, it’s just nothing to get excited about. Having no idea who is responsible for what, it’s hard to say who owns what errors. In several panels, there are problems with body proportions, which takes you out of the story. The faces are pretty interchangeable, such as the female Hollywood producer and Barbara Gordon. While those mistakes are glaring, the movement and action in the panels is executed very well. The overall effect is that the art tells the story, but never establishes itself as part of it.

Andy Kubert is a tremendous artist, just not a very good writer.

The new Green Lantern team is exactly what this universe needed. Exciting, refreshing, and amazingly fun to read. I’m so excited for the future of the GLU!

Infinity is a work of staggering excellence. Jonathan Hickman is absolutely one of the best writers in comics, not just now, but ever.

Lavishly written and gorgeously illustrated, Sandman: Overture demands your attention. Gaiman makes us all realize how much we’ve missed him. 

Nova continues to be a great title, but Zeb Wells deserves a more interesting artist.

Waid and Samnee are a smashing team. Their Daredevil brings a life to the story we haven’t seen since Brubaker and Miller.

This could have been a great book, but instead it’s incredibly frustrating. My reasons? The art. Writer Charles Soule has penned a great book, and artist Alessandro Vitti just craps all over it. Let’s start with Guy Gardner, whose head and face are on a Rob Liefeld level of awful. At some points, Gardner looks like his nose is broken, on other panels his face is flat. Hal Jordan’s face is worse. Vitti has him making these absurd faces, like he’s pooping razor blades made of acid. Panel after panel, the art is just sloppy, badly formulated and boring. It completely saps the energy of the book.

Justice League #24 gives us more meat to chew on with Crime Syndicate, and makes their story fresh enough to belong in the New 52.

Ed Brubaker and Steve Epting are one of the most important teams in comic book history. Velvet is a book that would bring smiles to the faces of Dashiell Hammett, Ian Fleming and John le Carre.

Helping bring this Shakespearean level story to life is Leinil Francis Yu, who pencils with the same eye towards complexity as Hickman writes. Yu's work is just as massive, straddling the line between comic book fare and fine art. His line work is delicate and he has a real affinity for shading. His creatures are all wonderful, each with their own visual personality. The panel placement is exciting and layered like Hickman's writing. Only a true master could equal with drawings what Hickman has accomplished here with story.

Brad Walker. His pencils are insane. He uses every single inch of every single panel. He clutters the pages without allowing the page to feel cluttered. His line work is strong, as are his faces and forms, but his detail work is the real gut punch. Walker uses the panels and their placement very cinematically. The book sweeps with motion and excitement. It’s a seriously visceral slice of comic book art. Walker is to be commended.

The artwork is surprising in how weak it is, especially with both Patrick Zircher and Scott Hepburn working together. Two artists should render something near perfection with Rogues Rebellion. Instead, the work feels rushed and uninteresting. The panel placement is dull, the character largely repetitive. Even at the end, when a more pop-art style takes over, Rogues Rebellion suffers visually. The book isn’t awful, but it isn’t great. I expect more when such a classic team is on the line.

Hawkeye is brilliant. Touching, heartbreaking and completely engrossing. There is not a better book on the stands right now.

Issue after issue, Dan Slott adds not only to the canon of Spider-Man, but the very fabric of comic history. A run doesn’t get more important than this.

Scot Eaton’s artwork is passable, but nothing spectacular. He pencils comics in a very factory-like way.  Nothing jumps off the page, the panel layout is pretty standard, but it tells the story. Eaton has solid line work, and some decent shading. His Bane is a little too ridiculous, but other than that, it’s an acceptable job for what the issue is.

Snyder and Capullo continue to redefine Batman. Strengthening the mythos, adding to the legacy, and allowing Batman to grow in new directions without sacrificing what we hold dear about the character. This era of Batman is something very, very special.

Superman/Wonder Woman could end up seriously redefining the idea of a power couple.

Batman: Black & White continues to impress, dazzle, and tell captivating stories in small spaces.

The art from Michael Lark jumps off the page in issue #4 unlike it has before. The detail work is still there, the thin lines and sketching are still solid, along with the shading. However, Lark brings the movement of the story to new heights. Forever’s battle against the soldiers coming to kill her is epic. Panel after panel the violence is extreme, and swift. It really helps to bring home the power that Forever wields.

Earth 2 continues to be the hidden gem in the New 52 treasure chest. A visceral, smart and exciting series for sure. Worst part of all of this, though? Earth 2 #16 is James Robinson's last issue. **shudder**

While some will rejoice, I find myself put off by Adi Granov’s art. The talent is there, and his ability to create fine-art landscapes rich with characters is undeniable. That being said, this Norman Rockwell approach to comic book art is stiff. Movement is so stifled that this book ultimately becomes a list of small paintings. These paintings are gorgeous, but they have no life. They elicit no excitement, so as comic book pages they fail.

Forever Evil allows a bright future for the darkest times the New 52 have seen yet.

The art is classic Jock. Very angular, lots of dark shading and jagged lines. The terrain of the planet is bare, but Jock manages to make the backgrounds like dangerous. Logan looks solid, though some of the panels have him looking like wrestler Sami Callihan (who goes by Solomon Crowe in WWE’s NXT). Jock’s action is still well done, and his ability with texture is second to none. Savage Wolverine #9 is a solid entry to a new storyline. Let’s just hope Jock can pull it off with the same level of excellence Zeb Wells achieved.

Geraldo Borges' art is decent, though he really excels at the water scenes. The opening splash page, involving OM and his crew ready to slap out at the surface dwellers, is amazing. The on-land pencils are a little lackluster. They lack the punch of the aquatic art. Borges has a nice handle on pacing. Very little happens here action wise, but the story never drags. I wouldn't consider the work in Ocean Master exceptional, but it does have its merits.

Though the art betrayed the darkness of the story, Killer Croc's one-shot remains a favorite among the Villains Month releases.

Bland art aside, The Rogues are such an interesting group I might start picking up the Flash books again.

Teenage Mutant Ninja Turtles continues to impress. With this kind of writing, there is no limit to where it can go.

Villains Month is starting to strain not just the wallet, but also the patience.

As much as it pains me to say it, it’s time for Castle to go. Let those who have penned his best stories come together for a year-long story arc that culminates in his death. Let Punisher go gracefully, let him step out while he still has dignity.

The Wake continues to make the deepest parts of the ocean even scarier.

While the story from Charles Soule is unremarkable, the art from Alberto Ponticelli is very well done. Ponticelli's slightly surreal pencils add a subtle horror book touch to GL #23.3. While not as directly horror oriented as Creepy, Ponticelli definitely calls on those textures to create the art. Shading, odd color choices for skin, all the details and cityscapes have a certain "rot" to them. It's all very effective. As good as the art is, it can't save another unnecessary story from Villains Month.

Joe Madureira’s are is phenomenal. The pencils are grotesque at some points, at others merely creepy. There’s a certain air to Savage Wolverine, a vibe of violence and decay, something surreal and disturbing. Madureira nails that perfectly. The Arbitrators are vicious but somehow regal, Elektra is severe and yet still feminine, and when the berserker rage hits, it’s some of the best Wolverine art in recent memory. I can only hope that Wells and Madureira are in it for the long haul.

Daredevil is the man without fear and the book without equal.

If I have one complaint with Detective #23.3, it is the art. Szymon Kudranski tries so hard to show the darkness of the new world that he ends up muddying his own work. The lines here aren't very strong; Kudranski prefers thinner, sketchier lines. When those lines meet his over zealous use of shading, the result is a hair too shadowy to be enjoyable. I appreciate what Kudranski is trying to do, he just needed to either use stronger inks in the outlines or ease up on the shading.

The always-good Ryan Stegman nails the artwork. Superior #18 is a big issue; a slam-bang action issue that’s also brimming with plot movements. Stegman controls the art with the same mastery that Slott does the text. No wasted lines, no filler panels. Stegman also keeps a bigger perspective on the action through panel placement. His usual solid lines and gift of communicating movement are in tow as well. I am a hardcore Humberto Ramos fan, but Stegman is awesome, too.

Jesus Saiz's art is well executed, but he's not given much to do. Outside of a few flashbacks, most of Swamp Thing #23.1 is a conversation between Abby and Arcane in an open field. Saiz makes the most of it, especially where zombie Arcane is involved. The small details and line work give zombie Arcane an awful, decaying vibe. Abby is solid, too, though her look is way too early-eraMcFarlane Image comics for me. Overall, Saiz has some effective pencils, though I'd like to see what he does with more content.

Artist Ron Garney does a nice job of bringing the fantasy elements of the story to life. While not quite as awesome as Walt Simonson’s Malekith, Garney’s is grotesquely evil.  The work here has a watercolor vibe to it, with the lines and details lightly sketched and inked. Thor: God of Thunder #13 has a light touch to it, one that goes hand in hand with older '70s pulp fantasy books. I’m not sure how this will translate action, but thus far Ron Garney is doing an excellent job.

Solomon Grundy's issue wasn't bad, it just didn't measure to what it could have and should have been.

Oddly enough, Carlos Pacheco picks up where John Romita Jr. left off. This is odd to me because each man should have been doing the other work. Pacheco’s darker shadowing and more realistic pencils would have helped the Dimension Z story. John Romita Jr., one of my personal favorites, would have been perfect for the return of Cap to his own time. Though I love Romita Jr., his blockish characters never fit the dire nature of the Dimension Z arc. Pacheco’s work here is strong, his shadowing nicely executed. The softer pencils of the flashbacks work well against the stronger, heavier inks of the current timeline.

Claude St. Aubin's art is solid, but a bit hit-or-miss. When it is on, like with the suited up Black Manta or the underwater scenes, the work is wonderful. Aubin has solid lines and colors, though he could stand to shade things a bit more. When his work is off, it is pretty off. Superwoman looks like a bad pinup model, and some of the panels are lazy with the detail work. Overall, St. Aubin is a solid performer, he just needs more consistency.

Ben Oliver and Cliff Richards deliver pretty standard sci-fi art. There’s some whimsy to the pencils, the kind that would grace the cover of pulp sci-fi books. Nothing here is spectacular, but it does the job. A bit more imagination in the aliens would have helped; they’re pretty by-the-numbers. It’s clear the focus here is the new Lobo, but attention to the rest of the characters would have been a bonus.

Greg Land pencils the book and, while not everybody is smiling like a smug cunt (the Greg Land staple), there is some of that. The entire scene between Spectrum and her tailor is cunt-smiles all around. Land is a competent artist, just not very exciting. Character faces are usually forced into reactions all the time, the shading is more often than not dull and, overall, Land can communicate the action, but not involve you with it.

Artist Daniel Brown makes the Cyborg look awesome. The new robotic arm is all kinds of demonic, as is the half skeleton mouth and new body design. The rest of issue #23.1 isn't quite as effective. When Brown is penciling the Cyborg story, the art comes together beautifully, Nicely detailed, great backgrounds and shadowing. The Krypton work is a little too stagnant. Brown never gets the textures going there that he does in the Cyborg work. Overall, the work is solid, and the Cyborg Superman is kick ass.

Chris Batista's pencils are nicely done. Like Ethan Van Sciver or Doug Mahnke, Batista has an easy professionalism to his work. These are the kinds of pencils you go to when you're looking for a big comic book feel. Solid line work, great action, multiple splash pages " Batista is tremendous with shock and awe. Gorilla Grodd looks terrifying here, and that's not easy to do with an angry gorilla.

While not a badly written story, Desaad's Earth 2 one-shot is terrifyingly unnecessary.

Green Arrow has taken an old character and made it all kinds of new badass.

Jeff Johnson's art is a little too goofy for this issue. Johnson has an obvious love for '80s comic book art. The lack of shading, the broad backgrounds and his use of overly thick lines are well executed, but wrong for this Bizarro story. With so much death and pain involved, there is an inherent need for something dark, shaded, and a bit less cut and dried. Johnson's work isn't bad, it just fails to meet the dramatic requirements of Bizarro #1.

As off-putting as these little incidents are, it doesn’t dissuade me from continuing to read Trillium. Lemire is a slow starter. Sweet Tooth didn’t grab me for the first few issues, and Animal Man almost lost me. Trillium remains exciting to me, and it also remains one of the few books I’m left guessing at when it ends. As for the art, well, I like Lemire’s bizarre sense of the human anatomy. Some will hate it, and I get that. For me, it’s the kind of weird art the story needs.

To put it simply, Joker deserves better.

Rags Morales pencils are solid, but very bare bones. Green Lantern #23.1 is all about creating the idea of a universe bigger than ours, and Morales takes that to heart. Lots of splash pages, larger than normal panels filled to the parameters with figures. The scale Morales works with creates a perfect landscape for the story. Outside of a few pages, he is relaxed with backgrounds and high detail work. Like the light energy, most of this work is to generate a feeling or connection.

Daniel Acuña’s art drives Remender’s words home. The kind of darkness the writer is trying to communicate would fail if not for Acuña’s pencils. Acuña works much the way Remender does. Every single page is densely packed with characters, backgrounds, action and details. Most of the time, the panels can’t hold the amount of action Acuña is bringing forth. It’s a perfect marriage of art and text.

Without the art of Jae Lee, Pak's ideas would be nothing. There is a shadowy darkness to how Lee draws. The edges are soft, the expressions slightly off, as though the characters are sensing something elusive happening just behind what they can see. Lee's work flows in a way I haven't seen in many artists. Each panel is a soft work of art, something tiny and exceptional to be marveled at. It matches perfectly to what Pak is writing.

Captain America should be a great series. I usually love Remender and I always love Romita Jr. Sadly, this time their contribution to an icon's history is a complete bust.

Ivan Reis' art remains superior as always. There are some artists that inherently understand comic books. Reis is one of them. His line work is always top notch, his details excellent, and his use of movement inspired. Issue #23 holds a lot of information and Reis helps disseminate it through his visuals. Two-page splash pages, off-panel placement " he makes all of it tie together. Strong work for an artist who never lets up.

Trinity War is a mess. I’m looking forward to the return of JLD pre-event status.

The Indestructible Hulk continues to smash its way into Hulk glory. An awesome spectacle.

While not visually stunning to look at, the stories in Batman Beyond Universe #1 are both solid, enjoyable reads.

Making sure Waid’s upbeat lyrics remain visually fun is Chris Samnee. Once again, he knocks it out of the ballpark. Samnee pencils Silver Surfer in a very uncomplicated manner. Most artists try to make Surfer this deep, slightly melancholy character, which he is. Samnee, however, is confident enough to let Surfer be a comic book character, a flying bad ass with the power cosmic. Those darker portrayals of Surfer are cool, but it is nice to ease up on them every so often. Samnee’s Silver Age love shines right through the Silver Surfer.

Superman Unchained reinvigorates the hero through keen insight and flawless art. There’s a reason Superman has been around seventy-five years. Snyder and Lee take those reasons and ramp them up as high as they can.

While I'm still a fan of East of West, issue #5 fell short of expectations.

Infinity #1 is packed and gorgeous to look at. However, I must agree with Iron Man’s statement towards the end of the story.  “I’m getting tired of end of the world scenarios”.

While visually stunning, ultimately the war between Gorr and Thor turned out to be a bore.

Batman #23 is a solid, if flawed, installment for Zero Year, and Snyder continues to etch his place alongside Dennis O’Neal, Frank Miller and Chuck Dixon, as one of the most important Batman writers in the character's  history.

Andrea Sorrentino's art continues to dazzle. His creativity is especially peaked here during the flashbacks. Instead of keeping with his standard art, Sorrentino pencils the scenes almost like hieroglyphics. It adds a nice dimension to what is otherwise just easy exposition. The rest of the art is just as formidable. Sorrentino's pencils with light strokes, but still manages to give his characters weight. He's also selective about her details, giving the characters center stage.

Like the death of Gwen Stacy, the alien costume, or even the death of Uncle Ben, Superior Spider-Man will, for certain, go down as one of the key moments and greatest runs in Spider-Man history.

Nicola Scott’s art continues to work in perfect harmony with Robinson’s words. Scott’s work is very heavy. Her lines are thick, the inks over them deep, and even the detail work has a certain gravitas to it. The shading is also key; it gives each hero a certain level of definition and power. Flash is lean, Green Lantern bulky, Steppenwolf’s main dog huge and overpowering. Add to all of this how she uses huge panels to allow plenty of room for the action, and you get another visceral shot in the arm from Nicola Scott.

I'm sure Sidekick will expand and deepen as the series continues, but already the structure is questionable, and many of the scenes follow the standard of an "adult themed" superhero series.

Ten Grand is absolutely the sleeper hit of the summer. The creativity level here is staggering.

Trillium. Jeff Lemire does it again. Bravo!!

Daredevil: The Man Without Fear is currently in a series without equal.

Guardians of the Galaxy is an exciting book. There’s something in here for geeks across the board.

Teenage Mutant Ninja Turtles continues to get better, and continues to redefine the franchise.

Tom Strong and the Planet of Peril is a great book if you know the history. If not, you may find it too exclusive to fully enjoy.

Smart, exciting, gorgeous. Batman/Superman is something very special, presented by two talents at the absolute peak of their game.

Leonard Kirk’s art is very uneven. Just looking through the book, you can tell Kirk is less interested in some panels than others. The entire beginning, set in a burger joint, is sloppy, even lazy – several panels where background characters have no faces, a lack of any detail work, etc. When the story shifts to outer space, Kirk comes alive. The pencils are crisp, the line work solid, and the action intense. If he’s going to draw this book from now on, Kirk needs to keep his A-game in all his panels.

Mikel Janin’s art is nicely done, even if it is a little too close to Frank Quitely for comfort. They both have a soft light way of drawing characters. There’s a stiffness to Superman, a rugged reality to Batman, a supermodel vibe to Wonder Woman, all penciled with something that crosses between cartoon and comic book art. With styles so similar, Janin needs to find something that takes his in another direction from Quitely, outside of the fact that he’s not quite as good.

Lazarus is a competently told story, but needs to find its own voice quickly.

David Lopez's art jumps the shark in one issue. The beginning is great. Solid line work, a really cool looking Spider-Man, and great movement. At about the time The Avengers confront Doc Ock's Spider-Man, the work falls apart. Thor looks twelve, Captain America looks pointy, the whole thing comes across way too cartoonish. If Marvel wants to continue the Superior Spider-Man arc, they have to do better than this.

Paco Medina’s art is rather lacking. The facial expressions he pencils are entirely too overblown, plus each face looks dirty, as if Sam and the rest of the cast need to wash themselves. The pencils are also stagnant, there’s no movement to them at all. A book like Nova needs art that moves at a brisk pace. Medina’s work is rushed, it comes off too still for something as action oriented as Nova. I think Zeb Wells writing would be better served by another artist.

Batman ’66 may not hold up over the long haul, but issue #1 is a lot of fun.

Green Lantern: New Guardians #22 is a solid issue, but it seems to be setting us up for a story the GLU has examined to death – the power of the ring. Instead lets focus on the minds of the people, the fall from grace of the Corps. Try making the GL titles human again, instead of just another gigantic space adventure.

Trinity War is a superhero mosh pit. A crackling adventure on an epic scale.

Overall, Superior Carnage is anything but.

Matteo Scalera’s art is really hit or miss in issue #10, mainly due to the mouths of the characters. They are over-pronounced, to the point that they often make their owners look like monkeys. It might be Scalera’s obvious manga influences, or just that he has an issue with scale. Whatever the case, the mouths tend to give the whole issue a comedic vibe it doesn’t need. Scalera needs to step up his game.

Greg Capullo continues to bring first rate work to Batman. His unique style of drawing human characters takes center stage in issue #22. Edward Nygma looks like an Irish thug with his mutton chops and angular face. Bruce is always angry, even when he’s being contemplative, and this rage boils beneath the surface. While the backgrounds and colors are wonderful, there is no center piece, no Batman to focus on. This gives Capullo a harder task. He needs to generate visual interest in a book where the central character doesn’t even exist. As usual, he executes it perfectly.

Goran Sudzuka’s art is run-of-the-mill comic book art. His panels tell the story, but that’s about it. Nothing Sudzuka pencils is bad, it’s just not anything eye popping. This is work-horse art, the kind of drawings that turn the words into images, but never transcend the nuts-and-bolts of that. Facially, Sudzuka draws a bit too consistently. Each character shares a “look” that makes them blend together, and the backgrounds are largely uninteresting.

Sheltered is a gut check. Brisson and Christmas have decided to come out swinging. A great read.

Superman Unchained is an exceptional piece of work. A fun, imaginative, and exciting story produced by one of the finest teams comic book fans could ask for.

Robinson is a master storyteller, and Nicola Scott executes perfectly what is in his mind’s eye. Earth 2 is really spectacular stuff.

Daredevil: Dark Nights is a punch right to the chest. A charged narrative of emotion and wonderful storytelling.

Ten Grand is that rare occasion when comic books transcend genre, and became true literature and art.

Satellite Sam #1 is a killer opening. Sexy, vulgar and completely entertaining.

I suggest a new book. What If Avengers Vs. X-Men Was Way Way Better?

Daredevil is awesome. A series that reminds all of us why we started reading comic books in the first place.

The Godzilla lore comes fully equipped with all the ingredients needed to make an awesome comic book. Turning out this dreck is shameful.

Bumps aside, Lazarus #1 is a promising first issue.

Like its antagonist, The Wake sneaks up on you. Its creepy, tense, and claustrophobic story emerges from the depths and drags you into it.

Great writing, gorgeous art, Batman/Superman #1 is everything you want in comic book.

Steve Pugh’s art is solid, even if it does look like less-developed Travel Foreman pencils. Pugh’s work has that same creepy elegance to it, but it feels restrained, like Pugh is holding back. The best of what he does leans towards the weirder elements of the story. The multi-animal humanoid monster, the dying animals, the scenes within The Red, that all looks great. His normal human interactions are sullied with badly drawn faces and dull backgrounds. Hopefully Lemire will return to the more bizarre elements of Animal Man, which will allow Pugh to really open up.

Much like Avengers vs. X-Men, Age of Ultron wasn’t so much a story, as it was a ten issue catalyst for more Marvel product. Smart business. Not much artistic integrity to it.

I can’t deny it. Superior Spider-Man is one of the best written series of the year. Dan Slott should be commended for reinventing a villain, a hero and a long running series.

Not helping matters is the atrocious art from Michael Walsh. Once again, IDW saves a few pennies by giving us sloppy, rushed and badly put together art. Scully looks like somebody smashed her face with a pan, and Mulder looks about as much like Mulder as I do. Lazy shadowing is used to give the art a bit of noir heaviness, but to no avail. I don’t know why IDW refuses to invest in solid artists but, that being their game, pretty much everything they put out looks awful. X-Files Season 10 #1 is no exception.

Thor: God of Thunder is beautiful to look at, but that isn’t enough to hide Jason Aaron’s consistent issues with storytelling.

Albuquerque also handles art duties. His work is glorious as always. Stylized, eccentric, and always beautiful. What makes his work so perfect for American Vampire is how romantic it is. Though dealing with violence and horror, there is a underlying humanity, romance and love to the stories. Albuquerque brings that out in his pencils. His human characters all have great emotion in their faces and eyes. It's rare when you can't see any other artist being part of a series. With American Vampire, it's definitely true.

The Crow: Curare is for hardcore fans only.

The True Lives Of The Fabulous Killjoys is like the emperor’s new clothes. Lots of cool, and lots of shiny, but with very little else backing it up.

Batman: Zero Year is well on its way to establishing itself as the new origin gospel in the new DC Universe.

Superman Unchained is poised to bring a new layer of depth and excitement to the first superhero.

Jonathan Hickman and Nick Dragotta have hit upon something very special with East Of West. Rarely are text and art married in such perfect harmony.

Earth 2, like Green Arrow, Animal Man and JLD, is a hidden jewel in the DC crown, a title more people should be paying attention to.

Age of Ultron has become a cleverly disguised re-launch of Hank Pym via Brian Michael Bendis. While I have no problem with that, it's disappointing that the powerful story started early on will never be fully fleshed out.

While the final curtain for End Of Days may be disappointing, the art continues to impress. The combined style of comic icon Bill Sienkiewicz and Klaus Janson, have kept End Of Days visually exciting since page one. Co-writer David Mack, who uses a fine art paint style to give the scenes a dreamlike quality, handles the flashback sequences of Daredevil lecturing Urich’s kid. Sienkiewicz angular style, combined with Janson’s modern day noir edge, is perfect for the story being told here. I wish the story had been as dedicated to originality as the art.

Jeff Lemire and Andrea Sorrentino hit the bullseye perfectly with Green Arrow. Sharply written and featuring beautiful artwork, this is another hidden gem in the New 52 crown.

Teenage Mutant Ninja Turtles continues to surprise, impress and kick major ass.

The art from Philip Bond is passable, better than some issues, no better than others. IDW never seems particularly focused on great art. It’s odd for a comic book publishing company to consistently give readers boring artists, but it must be working for them. Bond’s pencils are clean, his lines strong, but no one here has any character. The Fifth Doctor looks almost goofy, as do his companions. I would almost rather this story arc had been a book than a comic if the art is going to be this dull.

Indestructible Hulk is a winning book. Simonson and Waid a winning team. The best there is drawing and writing the strongest there is. What’s not to love?

The Wake #1 is a solid start. I’m really excited to see where a dream time like Scott Snyder and Sean Murphy take this series.

Justice League Dark continues to impress, remaining a hidden gem in the DC Universe.

A cool throw away story with tremendous art. Uncanny Avengers #8AU is an appealing time killer.

Mark Waid and Chris Samnee’s Daredevil continues to prove that there are always great stories to tell, even with our most aged characters.

Over the last ten years, I have had ups and downs with Geoff Johns and his Green Lantern run. To this day, I find Rebirth boring, but I love the Sinestro Corps War, Blackest Night and even War of the Green Lanterns. Everything past the New 52 reboots, in my opinion, has been garbage. Still, Johns has stuck with a series that, when he took it over, nobody cared about. In his time, he has given us some amazing work, expanded Sinestro, brought new colors to the corps and even managed to shake up the Guardians idea. Green Lantern #20 may be an overblown finale, but if anybody deserves it, Geoff Johns does.

Ten Grand is a gorgeously illustrated book that is able to become much more than the sum of its parts.

Age of Ultron started strong, but Bendis' need to go right off the reservation has cost it dearly. What started as dark and exciting has now become convoluted and tedious.

Taking aspects of the Voltron we all know and love, Brandon Thomas has reinvented the entire series and excelled in making it brilliant.

AIM is coming for the Avengers. I can’t wait.

The art from Greg Capullo remains astonishing. Capullo pencils with the same eye towards movement that Frank Quitely does. The thin lines and sketched characters makes the art move like cinema. Having that style, Capullo does some wonderful things with Clayface. When the villain morphs, it comes across like a living, breathing transformation. Capullo also makes Clayface disturbing, which can be hard to do. Danny Miki’s inks go a long way in solidifying Capullo’s work. FCO Plascencia’s colors are used sparingly, but effectively.

Green Arrow is a smart, funny and surprisingly human adventure. Jeff Lemire and Andrea Sorrentino have done some amazing work here.

At this point, the only surprising thing about Walking Dead is how it can outdo itself in mediocrity. Each time I think the series has bottomed out, it surprises me by sinking lower. I'm on pins and needles to see how Negan is defeated. I can't even imagine the levels of suck that Kirkman will wallow in.

Earth 2 continues to astound. It's easily one of the best New 52 titles going.

The shark hasn't consumed Age of Ultron yet, but there's blood in the water and fins abound.

Simonson and Waid. Waid and Simonson. Together the two are creating a Hulk story that demands you read it.

I have full faith in Dan Slott. His hold on Spider-Man is nothing less than brilliant.

While East of West is still in its infancy, so far it is one of the best series of 2013.

TMNT #21 does little more than allow us to step back from the onslaught of action over the last twenty issues. Splinter's warning is a nice segue to the Kitsune story arc, but the real star here is Kevin Eastman's pencils. From the first appearance of TMNT to now, nobody has captured the spirit of these books like Eastman. His pencils are savage, almost punk rock in their unrefined style. Eastman enjoys working with odd angles, allowing buildings to bend into bizarre mountain ranges. Streets twist into darkened roads. Eastman's work has a surreal element to it that cannot be duplicated. One can only hope that he continues to pencil TMNT.

Despite some great art, Jupiter's Legacy is further proof that Mark Millar is not nearly as solid a writer as he thinks he is.

New Avengers continues to outdo itself. Just when you think Jonathan Hickman can't top himself, he does.

An effective blend of sci-fi and superheroes, Nova is continuously entertaining and all around great fun.

Once again, LDB handles the joy and pain of normal life with a gorgeous and surreal narrative. Everything happening in this story could happen to any of us, yet Struble's writing is so romantic, so melancholy that it feels like a world just outside our own. It's not easy to make the mundane interesting, but Struble pulls it off. He knows when dialog works best and when to turn the scene over to Grace alone. It gives LDB a cinematic quality, as if you're reading a small indie film instead of watching it.

Doctor Who: Prisoners Of Time #4 does not set a good stage for the next seven issues.

Age of Ultron is exciting, emotional and best of all fun. Bendis has created a blueprint that maps the best of what an event series can offer.

I'm in no way giving up on Superior Spider-Man, nor do I expect to be let down once the story plays out. Issue 8 is just a bad day, a stumble on the path towards greater Spider-Man glory.

Batman #19 may not be an epic story arc, but it process Scott Snyder and Greg Capullo can tell any Batman story, in any style, and make it sing.

Uncanny Avengers has been so solid thus far. I'm hoping Remender doesn't go too far off the reservation before coming back.

Age Of Ultron #5 is a decent issue made better by the emotions Bendis writes into an otherwise uneventful script.

Andy Diggle and Tony Daniel will only be on Action Comics for three or four issues. I don't know if that's because DC felt the Diggle/Daniel route was lackluster or if it became lackluster because DC's editing team can't stop screwing with every story. Whatever the reason, Action Comics #19 is not the high-octane reboot I was hoping for.

Walt Simonson and Mark Waid are a perfect combination for Indestructible Hulk. This is what comic books are all about.

Lazy art aside, TMNT continues to be one of the best comics on the shelves today.

Uncanny Avengers is a smartly written and really entertaining book. If Marvel could get the art team to rival Rick Remender's script, it could become a serious force to be reckoned with.

Age of Ultron, quite simply, shows us all how event stories should be handled.

East of West is astonishing. Something that may reset the bar by which all other comics are tested.

Guardians of the Galaxy #1 is a strong first step in the rebooted world of a beloved team.

Daredevil #24 levels the playing field for new readers, but with so much going on, let's hope the Man Without Fear doesn't collapse under his own weight.

Intelligent and exciting, New Avengers continues to prove that Hickman is an MVP amongst comic book writers.

Constantine #1 is not just bad, it is a puppy killing moment of absolute failure.

Superior Spider-Man is a challenging story arc. It forces us to look at how we have defined Spider-Man and how we have taken him for granted. Powerful stuff from a powerful writer.

At this point, The Walking Dead has become the family member I should turn my back on, but I just keep giving the relationship one more shot. Then, as always, I am kicked in the nuts by said family member's actions. What will it take before I say "NO MORE!!" and give tough love a chance? It could possibly be issue #108, where writer Robert Kirkman not only jumps the shark, he filets it and serves it as the kind of fish sticks you'd find in a seedy carnival in a soiled part of town.

Thor: God Of Thunder #6 is gorgeous to look at but story wise does a serious disservice to a wonderful new enemy.

Batgirl deserves better than this. Hurry back, Gail.

Batman #18 is a strong issue, despite it being more a necessity of Grant Morrison's ego than anything involving Scott Snyder's epic run.

Batman and Robin #18 s a powerful issue; I just hope this requiem isn't for both Damian Wayne and the series itself.

Colorist Lovern Kindzierski does what he can with the colors, but Pugh's inks make it hard. The shadowing is inconsistent, so the colors look like they're fighting the pencils. There's also a drab look to the color scheme, as if we were seeing the story through a thin film. None of the art is awful " it just betrays the emotional charge of Jeff Lemire's writing.

The rest of the faces are over done with sketch lines in hopes of communicating emotions. Instead, everybody looks like they need to wash their faces immediately. Klein also has all his characters make this consistent face like they need to crap. Klein's heavy use of blacks in his pencils, inks and colors, give Winter Soldier the feel of a badly lit B-movie. Nic Klein either needs to raise his game, or move on.

Age Of Ultron #1 has hooked me in. Lets hope I'm still feeling this way by issue #10.

Swamp Thing #18 is a perfect end to a historic run from Scott Snyder and Yanick Paquette.

Aquaman is one of the most consistently well-written series that DC has to offer. Let's hope that, once Geoff Johns leaves, it remains that way.

Prisoners Of Time #2 is a great story and gives me a lot of hope for the rest of this series.

John Dell's inks assist McNiven excellently. Dell touches on the cross-hatching, but doesn't get overbearing with it. His outline inks are strong, but he lightens up with hair and facial features. Bad inks could ruin the nuances of McNiven's faces but Dell nails it. Justin Ponsor's colors are wonderful. He uses soft tones to bring the coziness of the farm and the romance to life. Then he abruptly switches, using harsher blue tones beneath everything when the aliens attack. Colorists don't just fill in the pencils, they create mood, and Ponsor does a great job.

Punisher: War Zone was a bumpy ride, but Rucka proves with this issue why he needs to be counted as one of the most important contributors to Frank Castle's legacy.

Captain America, the Remender tales, is so bad that I can’t even enjoy the art from John Romita Jr. As one of my favorite artists, this should be a no brainer, but instead, all I can see is great talent being wasted on a bad story. On its face, Romita’s work is still above reproach, I just wish it wasn’t bringing to life a story as awful as this one.

Nova #1 is a solid jump off point to bring a peripheral hero into full frame.

Matt Wagner's exceptional writing skills save The Shadow: Year One from dreary art and glacial pacing. Will this be a successful run? Only The Shadow knows.

Thor: God Of Thunder #5 isn’t a deal breaker; as there’s always hope I’m wrong. Having read a lot of what Jason Aaron does, I just don't have much faith.

Secret Avengers #1 is an idea that could play out well in a mini-series. It feels like a real stretch to try and push it into a monthly.

Daniel Sampere’s artwork is better than Fawkes' writing, but it’s nothing to get too excited about. Sampere does very standard, factory-like pencils. His lines are bold, his work shaded nicely, but it does little more than tell the story. There’s no flair, no excitement behind his work and his movement leaves much to be desired. The fire scenes with Batgirl are nicely done, but overall this is just average work that any decently trained artist could pull off.

"Death Of The Family" will go down as one of the best Joker stories in history. Snyder and Capullo should be thanked by anyone who loves Batman.

I know I always end my reviews with “And I still hate the art,” but my recent look back at when Walking Dead was a great read made me re-think that idea. Original artist Tony Moore was awesome. His work stood out, you could tell one character from another, and the art popped. Current artist Charlie Adlard just doesn’t have the same abilities, and it’s really hurt the series.

Helping this epic story unfold is the art from Adam Kubert. Really, what more is there to say besides this is art by Adam Kubert? Yes, Kubert’s lines are strong, his inks heavy and his ability to dictate action unquestionable, but what makes Kubert so good is his ability to bring in and release the work. When heavy detail is needed, Kubert is right there, when a simpler panel is required, Kubert backs off. This creates a more cinematic look to the art, which fits in perfectly with the transcendent Hickman’s story is.

The art is in interesting brew of images. Klaus Janson handles the pencils, while Bill Sienkiewicz does the full color painted splash pages. Both artists ping pong off each other well. Janson tells the lion’s share of the story with his inspired noir style. The saturated rain, the heavy feeling of melancholy, it all works beneath the foundation of masterfully well done human forms and action scenes. It’s beautiful work for a story that never ceases to gripping and exciting.

For right now, Winter Soldier seems to be in very capable hands

The art from Adam Kubert is gorgeous. With so much story to tell, a misstep in the art could prove disastrous. Kubert doesn’t flinch. He lets you see what you need to see and allows your imagination to fill in the blanks. When Kubert does put pencil to paper, the whole book raises to another level. Kubert can easily switch between light pencil strokes in certain areas and more powerful lines in others. He never loses his ability to draw emotive faces nor does his unique style cause him to ruin the action. When Kubert opens up, it’s pretty amazing work.

Frustration builds because of the art. Simon Fraser’s work looks rushed, as if he was handed the project a few hours before deadline. The faces have little expression to them, often the bodies look bulbous, and there is no real detail or clever panel layout at all. Why would a story so clever, one that is celebrating fifty years of Doctor Who, be passed on to an artist who looks as though he doesn’t care about the material? It’s maddening to enjoy a story so much, but with each page epic failure comes with great success. I hope Simon Fraser is not the chosen artist for all the issues.

While I hold no hope for the art, I do hope that War Zone #5 ends this Rucka run on Punisher with the kind of impact it deserves.

This series is a key step in proving to the world that Aquaman is relevant and necessary and kicks a lot of ass.

If GL rings can bring anything into existence, I’d like to will them to force the creative team behind all the books to raise their game a great deal.

John Cassaday’s art is not a win here, it’s way too sporadic. His Red Skull is amazing, so is his Captain America, but his general pencils are too simplistic. Cassaday does communicate action well during the fighting, but he doesn’t allow the shadowing to go dark enough. The overly basic backgrounds and stock character looks don’t reflect Remender’s dark themes. Overall, the art just doesn’t do the story justice.

While the story of Avengers #3 has great depth, the art really doesn’t. Jerome Opeña’s work is so hit and miss that the visuals never get a good rhythm going. Some of his work with faces is great, others are much too cartoonish to blend with the rest of the art. I enjoy how he renders the Hulk and Captain America, but his Tony Stark and Thor are sloppy. Where Opeña shines is delivering action, when Hulk punches Hyperion, you feel it. It isn’t that Opeña is untalented, it’s more that some pages are glorious and others extremely average. It might not be so noticeable with a lesser story, but here the art failings are painfully obvious.

Butch Guice is also jumping ship, which sucks. His art has been the backbone of Winter Soldier. Nobody pencils noir like Guice. There is always a mood set within the panel, there’s always a sense of natural movement to the characters. Guice’s so good with character forms and faces that he easily draws specific emotional reactions out of the reader. Graced with an ability for action movement, plus the style and control to make each beautiful pencil count. His presence on Winter Soldier will be sorely missed.

Helping with all this chaos is the art from Ivan Reis. It’s not easy to pencil water, nor is it a simple task to give a storm the kind of visceral feeling that Reis gives the Ocean Master. Reis has such an easy perfection with the human form, he can focus on creating multiple levels of detail. The two-page fold out of Ocean Master unleashing his troops is a wonderful example of this. Reis’s ability to communicate emotion and action is perfectly framed in the panel where Superman loses his temper. Johns’ story thus far is a great one, but it wouldn’t be half as effective without Reis’s art.

Overlooking the flaw that there are no real New Avengers in this starting story, Jonathan Hickman has pushed this title into a whole new arena.

Ed Benes’ art is a very odd duck. In the smaller panels, the pencils are a little too basic to keep up with the pace of the book. However, the larger panels and the splash pages really pop. The back and forth begins to take you out of the story, which is never a good sign. I also don’t care much for Benes' rendition of the Joker. It lacks the menace and deformity of Greg Capullo’s original concept.

Savage Wolverine #1 is a good start. Let’s hope Cho can keep it up.

With the end of Death Of The Family approaching, Snyder and Capullo will cement themselves as the best creative team behind Batman since O’Neil and Adams.

JinnRise is an acceptable and fun first issue that suffers from poor art.

God Of Thunder is a visceral return to Thor’s roots as a warrior of the eternal realm. It is a treat for the eyes, heart and imagination.

Another thing is the art, which sucks. The name of the artist doesn’t matter here because it’s that same repetitive style that tends to creep into these kinds of comics. The panels are placed very rigidly and the art within them looks more computer-created than hand drawn. This is art that only tells the story - it simply brings to life what the written word says. With no life or identity of their own, the pencils within Star Wars #1 become more a hindrance than a help.

The art for Superior Spider-Man is handled by Ryan Stegman, whose style is so close to Humberto Ramos that it makes you more miss Ramos than champion Stegman. Nothing is inherently wrong with the pencils, I'm just unsure why Marvel would stick Slott with a Ramos clone as opposed to just getting him Ramos. Even if I loved the story, I'd still think the art is an average copy of a superior artist.

Daredevil: End Of Days is a powerful story that rattles the emotional core of the superhero world.

Stuart Immonen, whose art I usually adore, is off his game in this issue as well. All the art feels rushed, as if the deadlines got the best of him. Part of it isn’t Immonen’s fault. Bendis has crammed so much exposition in this issue that the artist has entirely too much to draw for one issue. Still, the visceral excitement and strong characters are lacking here. All in all, All-New X-Men #5 is a misstep for Bendis’ new series.

It’s sad to see American Vampire go, but incredibly exciting to think of the future.

The art from Johnny Desjardins is fairly typical of what Dynamite puts out. There’s nothing inherently wrong with the art - it just doesn’t pop off the page. Desjardins does have a great way with gore, and he seems to really shine when drawing decaying demons. The rest of the art is fine, as it does the job of telling the story, but with something this interesting I expect the art to rival the story.

Jonathan Hickman’s New Avengers is a darker themed and very exciting new road for the series.

Punk Rock Jesus is still the best mini-series of 2012, but #6 is just shy of delivering on the level the other five issues did.

I think Johns is so excited by the big crossover that he's forgetting how the slower unfolding plots and dark themes of Aquaman really helped to make the book so wonderful. He's bringing the bright pop of Justice League to the harder edge of the Aquaman book and it doesn't work.

Writer Geoff Johns seems to know the story he wants to tell, but he's in too much of a rush to tell it. I'm also not thrilled with his writing for Justice League. Clearly, he has no idea how to write for Batman. Nothing Batman says sounds or feels like the Dark Knight. It's as if Johns feels the Justice League Batman should be much different than the caped crusader from the pages of Batman or Detective Comics. I haven't read the mess that is New 52 Superman or the new take on Wonder Woman, but both characters have identical voices to them in Justice League, and both come off with dialogue that "sounds" clunky.

All-New X-Men is still a top-notch book with great art. I just hope Bendis doesn’t crush his new creation under the unbearable load of time travel.

Captain America is the failure to communicate. The failure is how Rick Remender has chosen to communicate his desire to step outside the Ed Brubaker shadow.

Daredevil has survived a weak storyline over the past few issues. Lets hope that clears up quickly.

Masks isn’t just for those who love Golden Age books, it’s for those who love comic books across the board.

Leinil Yu’s art is an entirely different deal. I hate it. All the faces are drawn as though they’re dirty and most often the faces shine as if partially made of metal. Yu’s Hulk is just bad. In an attempt to make him look like Banner, the Hulk loses that monster effect and ends up looking like ‘roided out weight lifter. I’m also not sure why Yu has such a thing for Hulk’s teeth, but he does. In almost every panel that features the Hulk, he’s open mouthed and bearing his teeth. It’s off-putting to look at, as is most of Yu’s art.

If you’re hardcore into MMA fighting then pick up Joe Palooka. If not, approach it as you would a pissed off UFC fighter. With extreme caution.

Esad Ribic’s art is really hit or miss here. When he does hit, his blending of fantasy art a la Frank Frazetta and comic book art is perfect. Thor visiting the death of each God is where Ribic’s art really works. When the art falls flat, it really fails. The entire scene of Thor at the mystical hall of records is garbage. For some reason, Ribic has Thor looking like Captain Overreactor in each panel. Thankfully, the more quality work wins out over the other stuff, but Ribic should work harder to make every panel as perfect as possible.

The new age of The Avengers raises the game higher than we ever though possible.

I find it curious that Jason Aaron fucked up both Wolverine and Incredible Hulk, Grant Morrison has shit-canned Action Comics, Tony Daniel couldn’t find a real voice for Detective Comics and David Finch nearly derailed Batman The Dark Knight, but none of them are fired. Even if they’re moved to different books, it’s handled with a lot more respect than Simone received here. A more cynical man, like myself, might believe it’s because she’s a woman writing strong female characters instead of victims. Regardless, DC have screwed the pooch hard this time and once Gail Simone leaves I will not pick up another copy of Batgirl.

I will say this, the art is something different. Punisher artist Mark Checchetto steps in for the first two pages involving the prison break (spinning out of issue #699) and, while his work is still great, it loses some of the Punisher edge once colors get involved. The big story here is Valentine Delandro, who pencils the rest of the book. Delandro has been using is noir style over in X-Factor to great success. Now the artist for Morbius, Delandro takes that noir and filters it through a Silver Age look that I’m impressed with. If Morbius sucks writing wise, we now know it’ll be pretty to look at.

"Death Of The Family" is one of the greatest Joker stories ever told. It belongs up there with The Killing Joke, Arkham Asylum, The Man Who Laughs, The Joker’s Five-Way Revenge or Death In The Family. An absolute classic.

hange has its moments and may find it's voice in the upcoming issues. That being said, issue #1 fails to do what first issues must do, and that is generate interest in what is going on

On the lighter side, artist Humberto Ramos once again nails the art across the board. There are those who love Ramos and those who hate. The haters won’t be won over here. The work is still bigger than life and very much comic book art. Ramos loves to play with dimension and body scale but he also brings action like nobody else. If I have to endure rapid-fire panels, why not love how they look?

Another problem with War Zone #2 is the art. Carmine Di Giandomenico is either a naturally sloppy artist or wasn’t given much time to pencil this issue. Everything in this issue feels rushed, from the blocky human characters to the overly dull backgrounds. Nothing pops, nothing looks like time was taken with it. Panel after panel, Punisher War Zone #2 comes off as rushed and slapdash.

Hickman is a writer of unmatched ability and Opeña’s art is staying with him every step of the way. Avengers #1 is bold, exciting and instantly addicting. Jonathan Hickman is taking The Avengers down a whole new path.

All-New X-Men #2 is already one the most exciting mutant books on shelves.

Masks is a great book. The kind of comic book storytelling I wish we saw more of.

Mixed feelings about art and Bendis leaving aside, New Avengers #34 is an absolute gem of a book.

I do like that Rick Remender is getting his weird on. Uncanny Avengers, one of the few silver linings in the overall mess that was Avengers vs. X-Men, starts off dark and then just gets weird. I'm hoping this tone follows the book for at least the first year.

The history of Spider-Man takes a serious twist in #698. All we can do is hope the story is something we cherish instead of another blow to the already battered Spider-Man hopefuls.

Eventually, the Remender/Romita Jr. collaboration will find it’s own voice. Let’s just hope that it happens before too many people get turned off.

Indestructible Hulk #1 is a solid effort but I remain very, very, cautious in my optimism.

Billy The Kid's Old Timey Oddities and The Orm Of Loch Ness is one of the best horror comics to come out this year.

Punk Rock Jesus is as good as comic books get. Nothing else comes close.

Batman continues to be extraordinary. This incarnation of the Joker is one of the best in years.

At 104, the adventures of Rick and his crew have become flaccid.

Regardless of the lackluster art, Avengers #33 shines.

Anyone looking for the absolute best in comics should look no further than Earth 2.

Daredevil: End Of Days is about as good as comic books get.

Iron Man #1. An obvious attempt to jump-start interest in the third film but handled with enough integrity and talent to read like any other Iron Man tale.

Still a leader in the New 52, Aquaman’s story quality dips a bit with issue #13.

While not anything to get excited about, A+X is an enjoyable read and probably the closest we'll get to Marvel Team Up.

I understand this is a first issue, but to me, that’s when the comic should grab you and hold your attention. Bedlam, thus far, is banal and boring.

Justice League Dark is easily one of the brightest jewels in the DC crown.

I hope Dan Slott doesn’t shit the bed with Amazing Spider-Man #700. I love Dan Slott and I want to keep on loving him.

Justice League Dark continues to be one of the brightest spots in the new DC Universe.

Captain America never truly goes away, and in November, Marvel are starting over with issue #1. At the helm is writer Rick Remender along with artist John Romita Jr. I’m fans of both men but, sadly, they have already failed. Nobody in the foreseeable future will be able to touch what Ed Brubaker has done here. It’s a staggering run from a man of staggering talent.

Punisher War Zone #1 is not a great start to Rucka’s swan song, but, like I said, I have faith.

With Wolverine currently in the tailspin of awful it is and now Wolverine MAX #1 being a straight suck fest, I doubt even Logan's healing ability will be able to save him.

However, say you’re not much of a reader. That’s cool, because the art in this comic is ridiculous. Don’t get overly despondent, but Powell isn’t the artist. Kyle Holtz is, and he kicks huge amounts of ass. There is a wisp of what Powell does in Holtz’s work on this book, but Holtz also adds the flavor of old time EC Comics like The Haunt Of Fear, Tales From The Crypt or Vault Of Horror. Holtz’ thick lines and serious love of inks has that same in-your-face presence as the EC stuff, plus the art is always moving - every panel feels like it’ll jump off the page. Powell and Holtz have created words, plot and art that is as hateful as it is excellent and I am all on board for it.

I know Waid is a legend, and I’ve always been a big fan of his. That aside, Daredevil is failing on an epic level.

I wasn’t as big a fan of Michael Gaydos’s art. His lines are weak and they push across the line between a loose and flowing fine art look and that of just being sloppy. Gaydos’s faces seem to be one step away from melting and his overreliance on shadow just kills any depth to the work. He also has trouble not making female faces look incredibly masculine. Shaky artwork aside, New Avengers #31 is a well-crafted kick off to what seems like a good story.

At this point, Kirkman would be better to wind down Walking Dead as opposed to spending two hundred more issues with Rick and the gang meeting people who are assholes and fighting them. The Negan storyline may end with some "shocking twist" but at this point, who cares?

Evil Ernie #1 isn’t evil, it’s just dull.

Sean Murphy’s Punk Rock Jesus belongs in the same league as Watchmen, it’s a complete game changer.

Batman #13 only has 22 pages but within them writer Scott Snyder and artist Greg Capullo have redefined an icon and returned the grandeur and terror that rightfully belongs to the greatest villain in the history of the sequential art medium.

While hurting from inconsistent art, Uncanny Avengers is the first good thing to come out of Avengers vs. X-Men.

Doctor Who #1 is a win for Andy Diggle, but he needs to get a new artist fast.

Ethan Nicolle’s art is just cool to look at. Everything he pencils, I want a toy of it. Ethan understands the types of stories his brother is writing and really tries to present the art that way. Quiet backgrounds, all the action up front in each panel. Axe Cop has a children’s cartoon vibe to it, but that doesn’t make the art any less impressive. I love Axe Cop and I can’t wait to see what Malachai comes up with next.

Green Lantern sits at a crossroads. The series can either come back from it’s lackluster year swinging or it can start becoming a bloated, convoluted mess of lame plots and too many characters. In other words, Green Lantern is dangerously close to becoming DC’s X-Men.

In five years, when comics are back in an early '90s sensibility where the writer takes a distant backseat to the artist, people will point to AvX and say "Yep, that's really when it all started".

The pencils from both Mico Suayan and Juan Jose Ryp are very inconsistent. Some of the work is gorgeous, lush scenery and dense backgrounds really give the impression of Gotham closing in around Bruce. Some of the characters are well done, particularly young Bruce Wayne. Other characters look too much like Mad Magazine cartoons. At times the detail work is really excellent and at others really overbearing. None of the art in Batman: The Dark Knight #0 is bad, it’s just so inconsistent it takes you out of the story.

Talon #0 is a solid beginning to a new hero. It’s now up to James Tynion IV to carve out a niche for him in a crowded superhero world.

Before we get into Amazing Spider-Man #694, I have to give major props to whoever chose the cover art. This cover hearkens back to one of my favorite comic book events ever. In 1976, DC and Marvel teamed up for the first time to bring us Superman Vs. The Amazing Spider-Man, which found the two heroes joining forces to try and stop the nefarious plot hatched by Lex Luthor and Doc Ock. I owned this comic; read it thousands of times until it literally fell apart. It was an awesome surprise to see artist Humberto Ramos’ homage to the book.

Ironically, Marco Checchetto’s is at it’s best during the rain park scene. His use of shadow, the way he pencils rain to make it look heavy and thick, it adds so much to the feeling of despair washing over Alves. The rain is a purifying metaphor and Checchetto drives that home. The man has always known how to draw and has always had his own dark style, but these pages at the end of Punisher #16 are some of his best work. It’s too bad the story fell just short of the mark.

The art from Chris Samnee is solid as ever. I love how he puts a modern spin on the Silver Age style of art. He maintains the heavy inks of the era but his strokes are thinner, the detail work a little more refined. Samnee never allows his panels to become too complex, even his characters are made up of only what they need to define them. The broad art gives characters weight and draws the focus to who is in the foreground of the panel rather than the entire panel. It’s a strong story telling device. I hope Waid pulls a cool trick out of his hat to explain the sudden dip in writing. I have faith.

The art is by comic legend Walt Simonson. It is above reproach. The man is a God and we should all tend to bowing down before his greatness. It’s just too bad he’s being wasted on filler issues.

Helping this surreal world find life is the beautifully understated art of Sina Grace. The work here is focused only on the characters within the panel. Spike and LDB are drawn beautifully, with a real sense of delicate pencil strokes and moderate inking. Grace’s backgrounds are usually clean, devoid of too much detail and there only to give the characters a framework to exist in. Much like the writing, the art in Li'l Depressed Boy makes its point subtly and skillfully. Though it doesn’t come out nearly enough, every issue of this series is a treat.

Whatever Kirkman has planned, he needs to get on with it. Walking Dead #102 works not because anything happens, but because Kirkman pulls a masterful bait and switch.

While not as thrilling or bizarre as the standard series, Frankenstein Agent Of SHADE #0 is a really entertaining reboot of a classic character that solidifies his existence in the DC Universe.

Winter Soldier is another flawless entry in a story that is deeper, more exciting and better written than pretty much anything in the Marvel Universe.

The art from Olivier Coipel is solid, though a few things bug me. Why does Hulk have a hipster haircut? Why does Professor X look like Doctor Strange’s buddy Wong? I like the action here and Coipel has a real way with drawing fire. Truth be told, if Jack Kirby himself had returned from the grave to draw this issue, it wouldn’t have mattered. AVX #11 is exactly the kind of bloated event series we’ve come to expect from Marvel.

Some of the best work here happens within the makeshift batcave. I really dig Capullo’s instinct on the type of outfits and tech that Bruce would originally gone with. The scene doesn’t point out anything particular, it just gives multiple hints as to where things like the Batmobile the Batplane and so forth got started. The only thing I didn’t like about Batman #0 is that it sets the tone for a story we won’t see until 2013.

Punk Rock Jesus is nothing short of masterful. The characters are rich with personality, the plot is layered and the textures in the art allow for maximum enjoyment. I have not been this excited about a comic book in a long time.

Doug Mahnke’s art, while always exceptional, is a little phoned in this time. Don’t get me wrong, it’s still good work, but it doesn’t have the flair the usual Mahnke work does. I like his ideas behind Simon Baz. He’s strong, and has much the same presence that John Stewart has. While not dazzled by Mahnke’s performance here, I am excited to see where he goes with Baz and his uniform and how he uses his powers.

Earth 2 #0 makes an already amazing series even better

I also enjoyed Kano’s knack for panel placement as well as switching of styles between human and creature. His humans are thin lines, very meek looking. In contrast, his monsters are thickly drawn with an enormous amount of weight to them. What Kano does in this book is really terrific horror art. Swamp Thing #0 can be considered another victory for both author and artist.

So it goes, on and on and the stories become more and more grisly. At the end, Powell sets up a coming battle for The Goon. Powell’s sense of what makes the macabre both scary and funny is at the heart of The Goon #41. As you read the book, you're repulsed by a story that you’re laughing at. Powell also makes this work with his particular brand of art. I love how Powell pencils - how much larger and life and dripping with sickening detail his stuff is. The Goon is one of those books that sneaks up on you and knocks you out.

Avenging Spider-Man #11 is one of the best-written issues of 2012, and it was handed over to an artist that is completely substandard. So heartbreaking.

The title "Rise Of The T,hird Army" would be better suited paying homage to the Beastie Boys album and calling itself Some Old Bullshit.

When the action kicks in, Suayan jump-starts what he does and brings a lot of motion to it. When Punisher slides across a building and lands squarely in a bad guy’s jaw, you feel it. The panels where Gerard dies by Alves’ hand are gorgeous in their brutality. Punisher #14 continues to give more weight and literary significance to a character that always deserved it.

TMNT #13 does hit troubled water with the art, which sucks. Andy Kuhn is a fairly big deal in the world of comics but I’ve never been a fan of what he does. His work is too rigid for me. It looks too stylized. In TMNT #13, his work looks unfinished or at the very least rushed. Why do all the TMNT have really tiny heads? Why is Splinter so buck toothed? Why do all the humans have the same look on their face across the board? It’s especially offensive how badly Kuhn pencils Casey Jones. At one point, it looks like Casey has the mumps, in another, he has no lower jaw. Really sloppy work for an otherwise killer title.

The one reason to rejoice over Avengers #29 is that Walt Simonson does the art. Like John Romita Jr. and Frank Quitely and a few others, Simonson really just inherently gets comic books. The way he approaches the art is so perfect, this spectacular blend of larger than life and yet easily acceptable. Simonson’s pencils are so fluid, but carry so much weight. Each action shot is so detailed that you can spend five minutes on each panel. I still buy Avengers simply because Simonson’s art is some of my favorite in the world.

Michael Allred’s pencils help keep this from being a total failure. The work here is bold, big and rich in color. The minute details are sacrificed for large, open panels that often bleed into each other. Allred uses the Silver Age style of action in Daredevil #17. Each panel is an action snapshot, there’s not much flow from panel to panel. Regardless of the snapshot effect, the action is still exciting to look at. If I had to offer up a problem with Allred’s pencils, it would be that Foggy looks more like Peter Lorre than himself. Outside of that, it’s Allred’s artwork that keeps this unnecessary issue of Daredevil afloat.

The second half of the art is taken care of by Jim Calafiore, who does a similarly wonderful job. Both artists have a solid love for detail, but Calafiore’s work is a little more fine-art inspired, especially his rendition of Black Hand. The combination of the two never feels off, it blends seamlessly. I also have to acknowledge colorist Alex Sinclair, whose work is exceptional here.

While a fun story, the lackluster art and indifference towards Alan Moore’s original work makes Rorschach #1 little more than a money shill.

Walking Dead #101 holds true to Kirkman's humane storytelling and his ability to keep a personal connection to a fantastical story.

Do not be deceived by the cover of The Creep #0, for what you shall see is a stunning piece of Frank Miller artwork that belongs in his Sin City era. However, when you crack open the book the art is nothing like that. Do not walk away from The Creep because of this deception, for you will miss a very cool and rather oddball detective story. Writer John Arcudi (The Mask, B.P.R.D., Major Bummer) takes the idea of the hardboiled detective and adds a serious dose of humanity and melodrama.