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.

Foreman uses almost no backgrounds outside of color and he wields the power of shading in a gifted way. He sneaks everything up on you. When his human forms, violent creatures, and plain backgrounds come together you see how the rest of the world is fuzzy compared to this one. It's really a major achievement for a comic book. I also enjoy how Foreman uses colors in the background to help elevate the emotion of scene. The only book that compares to this one right now is Swamp Thing and I'm hoping the red monster there is connected to the Red of Animal Man. These two books coming together would be a real triumph for comic fans. The combination of art, literature and comic book ideals doesn't come together any better than this.

Bringing all of this together is the art from Travel Foreman. I can’t think of a more visually appealing book on shelves right now. Foreman isn’t drawing comics here; he’s creating other-wordly expressions that bring life to a bizarre story. This is part horror comic, part creepy children’s book drawings and part acid trip. There’s a flow to the art here that is organic, which works perfectly with the themes and subtext of the story. Each drawing is something you can stare at for several minutes before moving on. Foreman doesn’t just help tell the story; he is as much a part of Animal Man as Lemire is. It’s one of the best examples of symbiotic harmony I’ve seen in comic books ever. Animal Man is becoming one of those comics that raise the bar for the entire medium.

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

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

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.

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.

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

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

The other heroes in this book are colorist John Kalisz and inker Mick Gray. Gray’s work gives definition to Gleason’s pencils and Kalisz’s colors are impeccable. The dark overtones that are given depth by the flashes of color help push the movement Gleason creates into another zone. It’s breathtaking work. Between Tomasi’s Batman & Robin and Scott Snyder’s Batman, the Dark Knight is once again the most interesting character DC comics has to offer.

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.

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.

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

The hands down capper of the issue, the thing that just makes every page sing is Jock's artwork. For me, in issue 880, Jock delivers the best cover in comics thus far in 2011. The Joker on this cover will go on to be a tattoo staple for any Batman fan, I guarantee it. Inside, Jock just goes off, creating one memorable panel after another. The splash page when Commissioner Gordon finds his ex-wife is stunning. Jock brings back the physical grotesqueness of the Joker. The scars are deep and wide and for the first time in a while, The Joker is hard to look at. The sense of noir, the rain work, everything is absolutely perfect and when it marries to Scott Snyder's words, the results are breathtaking. Detective Comics #880 is a major marker in Snyder's journey to become mentioned in the same breath as names like Miller, Moore, Waid, Byrne, O'Neil, Wein and all the others who have changed the face of comic books.

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

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.

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

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.

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

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

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

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

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

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.

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.

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.

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.

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

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

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.

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.

There’s a definite connection between Swamp Thing and Animal Man outside of them being the two most interesting DC comics out right now. Both have master storytellers telling tales derived from nature, both series have art that does more than illustrate the words and both are creating a heightened sense of reality, one just to the left of normal. I hope these two characters cross paths one day, but more I hope that Snyder and Paquette and Animal Man’s Jeff Lemire and Travel Foreman continue to put out bold and exciting comics that raise the bar of what can be done.

Yanick Paquette absolutely unleashes here. The art is glorious. Paquette throws the gauntlet down with what’s possible regarding panel layout and fills in those panels with wonderful, beautiful and graphically horrific things. Every single stroke of the pen is brilliant. Every vile creature of The Rot is disturbing and the visuals of the Parliament Of Trees burning really impactful. It’s as if Paquette knew this was a game changer and decided to unleash his own vision of hell. Swamp Thing #7 is a stunning piece of comic book literature that should be the new bar by which al other books are measured.

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

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.

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

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.

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.

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

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.

Travel Foreman. What the hell can I even say about the art from Travel Foreman? The man is absolute genius with a pencil. The art is constantly moving and I don’t mean with action. Each form that Foreman draws seems to vibrate with a living energy. Part of it is how fluid the art is, part of it is Foreman’s panel placement and part is how big the sandbox is that Foreman has to play in. Lemire’s story is so well crafted that it leaves a real open ended arena for the art. Foreman can put anything on the page and it will work to tell the tale. It’s true synergy. Animal Man #4 continues the series’ impressive streak and sets it apart from the rest of the DC Universe.

Batman, Superman and Wonder Woman may be the shining stars of the DC Universe but with this reboot, Aquaman is becoming the hero to watch.

Axe Cop: President Of The World not only gives me hope for comics, but for humanity as well.

Greg Capullo's pencils, for the first time, really hit me as wonderful. I've always liked the work, but with Batman #5 Capullo and Snyder are in perfect harmony. Every panel depicting Batman's slow descent into madness is a true representation of Snyder's idea. It's not just a visual representation of what Snyder wrote; the art also gets into the nooks and crannies of the ideas behind the writing. Batman's face reflecting the insanity, his shredded costume, the various ways he sees himself, it's all stunning work. If this level of kinsmanship continues, we could be looking at the best thing to happen to Batman since Dennis O'Neil and Neal Adams.

Batman #7 takes the already iconic Scott Snyder and solidifies him as one of the truly great storytellers in comics.

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

"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.

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.

Again, the art here works to split the stories up. Butch Guice, Stefano Gaudiano, Mitch Breitweiser and Chris Samnee work the art giving the book ends stories a sixties Agent Of S.H.I.E.L.D. feel, while the middle story with Bucky has a gritty and violent look to it. All the work here helps to raise Brubaker's plot as each panel is a tribute to how important movement and tone is to any issue. Though this run of Captain America seems to be coming to end, at least Brubaker will remain through the re-launch. I'm glad for that, because Brubaker has given a new life to Captain America, one that stays true to what Jack Kirby and Joe Simon created but also adds layers to it that make the hero a more well rounded human being.

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

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**

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?

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

The story that Norah ultimately decides to tell is a nice touch, one that shows the line between not feeling bad for who Frank Castle kills but also not seeing the Punisher as a hero. Once again, Rucka’s masterful storytelling works wonders in recreating a character many had long thought lost to stupid plot twists and writers who confused machismo with drive. The art from Marco Checchetto is still great. He has the Punisher looking a little younger than I’d like but I can overlook that. The story is brought to life in a very cinematic way. During the Punisher scenes, the art is done with a muted blue overtone, very dark, while the other scenes have vibrancy to them, more color involved. Everything here remains within the noir ideal; but Checchetto’s art is pushed further by Matt Hollingsworth’s color work. Four issues into this reinvention and Greg Rucka and his team have done more to breathe new life into the Punisher than any one has in decades.

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.

Marco Rudy’s art is the uppercut knock-out shot of the entire exercise. First, let me talk about layout. Not since Batwoman have I seen layouts this spectacular. Each page contains a really special statement to what comic books could and should look like. Epic double page spreads, panels that begin one place and end inside a second panel. Moving panel edges, combinations of various scenes, its all so gorgeous that it lifts Snyder’s story into something else. Rudy also has a keen sense of macabre and that which is really unnerving. In short, the guy can draw fucked up and creepy better than most. Swamp Thing #6 is a keeper.

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.

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

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

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

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

Humberto Ramos does more stellar work here. The man knows how to give us action; he knows how to make comics seem bigger than life without it getting ridiculous. His childlike excitement in drawing a city full of web slingers is palpable. This is the kind of comic book art I love, the stuff that is beautifully produced but never lets us forget these are comics. It’s heightened reality that leans more towards an animated vision. Even though the faces are rather basic, they convey emotion perfectly. Ramos is an artist that, with each passing issue, I love more and more. Amazing Spider Man #668 and Spider Island are textbook examples of what makes the medium of comic books so extraordinary.

On a side note, Ramos outdoes himself with the cover. As sad and pathetic of a nerd as this makes me sound, the cover of Mary Jane Watson is really hot. I know that my fellow geeks that have girlfriends will be attempting to get those girlfriends to wear Mary Jane's outfit.

I enjoyed the art from Stefano Caselli and I give him full props for the cover and its nod to one of the most recognized Spider-Man issues ever. The work is fairly straight ahead comic book art, nothing too flashy. Caselli has a nice touch with faces and figures, plus he is great with the dynamics of a panel, laying them out like camera angles. I think the restrained vibe of the issue is better served with Caselli’s humanistic art than Humberto Ramos’ more over the top work. I prefer Ramos to Caselli, but I do think the somber tone of the book is suited to Caselli’s art.

Want to know the best part? HUMBERTO RAMOS IS BACK!!! I love me some Humberto and he rocks this issue to the core. His bizarre over-the-top style works perfectly with Slott’s story. I love how he pencils Doc Ock and M.O.D.O.K. plus nobody can ramp up an action scene like Ramos. The Sinister Six is a bigger than life team and Ramos’ drawing style is exactly the same way. With Ramos back and Slott at the helm, 2012 could be another year of the spider!

What you get is a seriously fun book that never feels off or out of sorts from what Slott has done. Granted, Waid is only here for one book, but a lot of the younger scribes could use a lesson on this even when they take over a series. You don’t need to destroy to move ahead. The art from Emma Rios is really interesting, it almost has a look of old French advertising pencils in fashion magazines of the sixties. Thin line, a refined sense of style that never gives up the action. The scene where Daredevil and Spider-Man enjoy some high-flying fun atop the Chrysler building is wonderful to look at. Rios has a lot in common with Spider-Man artist Humberto Ramos only she’s a little subtler and less angular. I wouldn’t want Dan Slott to walk away from Amazing Spider-Man, but this little break with Mark Waid is a nice treat.

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.

The art from Rafael Albuquerque is really wonderful. Until I read this series I was unfamiliar with his work but I’m now a fan. Albuquerque knows how to draw the human form, he knows how to give faces the right reactions and emotional impact. Taking that knowledge he stylizes the art to give it a look the combines early EC horror and modern superhero books. He’s also great with action and clearly has a love of penciling violence. Albuquerque gets Scott Snyder’s vision and draws accordingly. Between the story and the art, American Vampire is another notch in the belt of a writer who seems to be unstoppable.

Knocking the visuals out of the park is artist Rafael Albuquerque. From the opening scene, this guy nails every panel. It's not easy to replicate a car chase for 22 pages but Albuquerque makes it look easy. His ability to represent motion and real danger in a drag race within a two dimensional medium is nothing short of staggering. It feels like the race is whizzing by you, you sense the peril in every single page. I also love his eye for details and his ability with the human form, especially faces. Snyder in the story and Albuquerque behind the visuals is the reason American Vampire is the full-on blast that it is.

Rafael Albuquerque. Really? Fuck this guy. What gives him the right to be so incredibly good at what he does? The art in American Vampire #24 is flawless. Rafael delivers, from panel to panel, a visceral feeling of speed. The secret is how he injects movement into everything going on, not just the obvious. Close up shots of character’s faces have motion, cut away shots of cars have motion. Everything in this issue is flying past you at top speed. There’s a centerfold in American Vampire #24 that forced me to drop comic and walk around the block for a minute. It’s that good. Once again, the unstoppable punch of Scott Snyder’s writing and Rafael Albuquerque’s art raises the bar by which all other comics should be measured.

American Vampire is one of those series that rises above comic books and becomes great literature.

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

American Vampire: Lord Of Nightmares is not only incredibly entertaining, it also expands the already massive scope of the entire series.

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

Ivan Reis’ art is top notch, of course. I absolutely loved his vision for the humanoid sea creatures and the story being light on action gives Reis a chance to really flesh out how Aquaman should look in this new light. The last Aquaman series started strong and turned to crap. Let’s hope this time the man from the sea gets the respect he deserves.

As always, the art from Ivan Reis is totally on point. His strong lines and eye for detail really brings out the depth of where Aquaman and Mera are. He creates darkness and fear. He also keeps those damn humanoid creatures looking as fucked up as possible. The pages involving the battle is some of the most beautiful work that Reis has ever done. Nobody kicks out an action scene like Reis. Everything just pops off the page. With Johns taking it to the mat and Reis serving up delicious art, Aquaman could be the book to watch in 2012.

The art from Ivan Reis is glorious. It's especially wonderful during the opening section with Black Manta. Reis just lets go in these panels and the violence and action are above reproach. I was also impressed with the storm scenes, Reis does a great job of capturing the power of the sea. With Reis on art and Johns using his full creative juices, Aquaman is constantly setting the bar higher and higher.

The art from Ivan Reis is exceptional as always. I love the way he draws Black Manta. Just as Johns does with his story, Reis makes Black Manta look threatening. This isn't a goofball in a diving suit; this is a badass who is out to kill Aquaman. Reis also does exception splash pages as well great detail work. Look at the panels when Mera is using her power to control water, tell me that doesn't look amazing. Aquaman #9 is another huge leap forward not just for the hero but also for the New 52.

Aquaman #11 is another huge step in redefining the iconic character.

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.

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.

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.

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.

Art wise Ardian Syaf’s stuff is rock solid. The action work is impeccable as are the gorgeous splash pages. I love how Syaf changes his art style for different aspects of the story. The work is light and airy during the day with Barbara Gordon. It becomes darker, more steeped in shadow and dark colors when she’s Batgirl and, for the flashbacks, Syaf actually draws the work grainy, like an old movie camera playing. Syaf’s light touch works very well with Simone’s word play. Batgirl #1 proves once again how good Gail Simone is and, having read a lions share of the new 52’s this week, there’s a lot these folks can learn from a storyteller like her.

Again, the art from Ardian Syaf is first rate. I love that this man can draw human forms and face correctly. I also love his panel placement and use of the whole page to dictate the story. Syaf uses the entire space of a page and it helps the movement and action immeasurably. Simone writes with a forward motion style and it dictates a need for this kind of art. The opening dream sequence is a perfect marriage of art and word. It creates a powerful series of images that leap off the page. Syaf is also good at solid old-fashioned knock-down drag-out fight panels as well. Batgirl #4 is awesome and belongs amongst the current stellar line of Bat Books.

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.

The only let down is Rob Capullo’s art, which is very hit or miss with this issue. The opening battle is gorgeous, with strong movement and some wonderful detail work, especially on Two-Face. However the scene with Commissioner Gordon doesn’t work at all, mainly because Capullo draws Gordon to look like Groucho Marx-meets-The Triplets Of Belleville. At one point, Dick Grayson looks like he’s about twelve, but then the murder scene Batman investigates is wonderful. Capullo really captures the dilapidated nature of the apartment and the brutality of the kill. I’m not giving up on Capullo because there is more good than bad, it’s just the bad really sticks out. Regardless, Batman #1 is cause to celebrate not only the return of a singular Dark Knight, but also that he rests in the capable hands of Scott Snyder.

Greg Capullo’s art is another highlight to the issue. I love how he splits his work between fluid action and almost portrait work. When the story calls for action, Capullo’s work jumps off the page, but in the quieter moments, when characters are talking or relating to each other, everything freezes. Capullo allows your focus to fall on everything within the panel and it helps create real atmosphere for Snyder’s story. Batman #2 is another top-notch entry from one of the only writer’s that keeps me constantly guessing and constantly excited to see what happens next.

Like Snyder, Capullo is at the top of his game. Batman #6 is not just a beautiful book to look at, it moves effortlessly with high-octane action. The battle between Batman and the Talon soldier is epic and brutal. Capullo has a style reminiscent of the work Frank Miller did on The Dark Knight Returns. I’m impressed with his representation of Snyder’s ideas. The way he made Batman look and see the rest of the world, it was dark and primal. Capullo’s art doesn’t leap off the page as much as it slowly draws you in and holds onto you. Batman #6 might not be the most original story ever told, but Snyder and Capullo are still head shoulders above their competition.

Helping Scott Snyder’s genius is art from Greg Capullo. I’ve been iffy with Capullo’s work in the past, but issue #8 is stellar across the board. Outside of Capullo’s original style with his pencils, he absolutely nails the motion of Batman #8. Snyder’s story never stops moving and Capullo does the same with the art. He also does some great work with tension by laying out the panels evenly and then blows the page up with a great splash page or action shot. With so many others of the reboot series failing by issue 8, Batman remains flawless.

When all is said and done with Batman #9, the identity of at least three major members of the Court Of Owls is revealed, though only to Batman. Scott Snyder smartly keeps the names from us and allows Batman’s reaction to dictate how serious it all is. The nonstop action ends on a dime in the last pages this book, but it doesn’t feel awkward, it completely works. The death at the end of Mr. March gives the scene emotional gravitas, which in turn stops the action cold without feeling off. Who are the names on the list? How does this affect Batman and the whole Batman Universe? I am waiting on pins and needles to see how all of this works out.

Most will say I’m just a Scott Snyder fan boy and I give him carte blanche to do whatever he wants. To that, I say check out my review of Batman Annual #1. The reality is that Snyder has shaken up the Batman world in a way it needs to be shaken up. I can only sit back and wait to see what he has in store for the Dark Knight next.

The end of the Court Of Owls story arc is not without controversy but things that really expand a medium usually are. Snyder has, once again, blown open the dark corners of the Batman mythos and added depth to a world that was already incredibly rich. Snyder and Capullo prove that they not only understand Batman, but also storytelling, sequential art and comic books as a whole.

"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.

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.

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

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.

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.

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.

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

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.

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.

Patrick Gleason’s art is stellar. Following Frank Quietly is no easy task, but Gleason absolutely kills it. He takes his masterful execution and technique and combines it with an eye for the story. Gleason can see what Tomasi sees and he brings that to the page. The work is dark and barren, leaving us always focusing on the main characters until it’s time for action. Gleason has a serious knack for creating movement. Big props also to Mick Gray for some killer inks and John Kalisz who uses his color palette to gel together all the elements of the book. Batman & Robin #1 is, so far, one of the best of the New 52 releases.

Helping tell this tale is artist Patrick Gleason. Not everything Gleason does is perfect - I don’t particularly care for his faces, they look a little too "manga meets Hellboy" for me. However, what he does do well is so good it makes up for it. He has a true sense of action and movement. Between his bold lines and backgrounds, each panel has life to it. Mix this with how he places them and Batman & Robin moves like a motion picture. I also have to give props to Mick Gray for his insane inking work and the rich color designs of John Kalisz. These three visual artists bring into focus Peter J. Tomasi’s opus towards fathers and sons and heroes and villains.

Patrick Gleason's art is, as always, stellar. This issue is a symphony of violence that never stops moving forward. Panel to panel, the action is incredible and the intensity of the battle keeps growing. There's an early splash page, where Batman has just entered Ducard's lair that is stunning. It could be one of the best shots of the Dark Knight this year. Gleason makes every single scene count and by the end, you're as worn out as the participants. While many of the New 52 series have found themselves faltering with issue 7, Batman and Robin #7 has given the series a new lease to continue kicking ass.

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

Cooke’s art is gorgeous. It helps that I love Golden Age work, so Cooke’s ability to marry that era with the modern world is always exciting for me. Even if you don’t love the era, Cooke’s work is still exciting. His pacing is good, his action jumps right off the page the same way Will Eisner or Jack Kirby’s work did. I’m happy Minutemen came out simply because I love Darwyn Cooke and he’s done a great job. That being said, this isn’t going to become part of the Watchmen lore because nothing outside of what Moore wrote ever will.

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.

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

The art from Steve McNiven is a real stand out. McNiven understands that he’s drawing for words from Brubaker, so he has no qualms with restraint. When dialog is going on he draws each panel as if it were a stand-alone picture. It allows you to focus on the words as much as what’s happening visually. When the action comes, McNiven opens up full tilt with great effect. That marriage of restraint, technical ability and a natural way of bringing motion to action sequences makes McNiven’s work here so wonderful. With Captain America #2, Ed Brubaker proves again that he’s just about the best comic book writer in the business today.

Marcos Martin’s art is a real conundrum here. There isn’t much in the way of intricate detail, the lines are bold and the shadowing very economical. Panels are laid out straightforward for most of the book and the whole thing has a very '60s noir style to it. This work should just sit there, like tiny little pictures that have no connection. Instead, the movement is incredible, the action leaps off the page even if it’s just the sweating face of a scared victim. That kind of kinetic energy is rare in comics, especially ones where the whole kitchen sink isn’t tossed into every panel. Martin’s style is the epitome of less is more and it adds to the refreshing nature of the whole story.

On that note, the art in Daredevil #6 is once again stellar. Marcos Martin not only knows how to draw these kinds of stories, he also understands how to pace them. Martin’s art is light, lots of big areas, and strong lines. His minimalism on detail allows for maximum movement, not just panel to panel but also within them. He’s one of the few artists that can block out a page in a pretty standard way; box panels right next to each other, and keep it interesting. The best example of his ability is on page five, fourth and fifth panels. Two henchmen are talking about how Bruiser beat Daredevil and suddenly Daredevil is there. You don’t see what happens, but your imagination fills in the blanks nicely. Waid and Martin are an awesome team that have brought the world’s most melancholy and depressed superhero back into the light!

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

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

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

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.

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

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

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.

My only issue is the art from Francesco Francavilla. It's not even that Francavilla's work is bad, he just isn't Jock and this issue screams for Jock. The pages involving Joker are where Francavilla really shines but still, it isn't Jock and the rest of the book lacks the punch visually that the writing has. I'm sure Francavilla fans will disagree and I can understand that. What he's doing isn't bad; it's just that Scott Snyder and Jock are a perfect team. Detective Comics #879 is full on kick ass. This is a bowl of crow I will shovel down happily.

Actual nuts and bolts of what happens in issue 881 are irrelevant; the true depth here is in the character study. One particularly stellar section has Jim and Dick facing off in a battle of words as Dick searches for them. Jim makes a distinction between Dick and Bruce (he has long since figured out the Batman identity scenario), which is so telling and so true that it snaps everything Snyder has been doing into place. Since he's taking over for Batman after the reboot, I hope those elements stay in place. While I'm not sold on DC ending the era I grew up with, I can think of no more perfect finale than Scott Snyder's brilliant run.

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.

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

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.

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

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.

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.

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

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

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.

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

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.

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!

With everything firing on all pistons, Green Lantern: New Guardians is becoming the series for fans to pay attention to. Not as heavy-handed as Green Lantern or as simplistic as Green Lantern Corps, New Guardians #3 is one of those issues when art and story come together perfectly.

Some will take issue with how Hellboy manages to defeat an ultra-dimensional god-like being with his giant fist and a flashy knife and I think they’ll miss the point. Mignola tells a story the way he sees fit but he also knows this is a comic book. No matter what really happens the good guys always win, even if that win comes at a high price. That’s Hellboy in a nutshell, and I’m not sure what the naysayers are expecting.

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

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

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.

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

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.

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.

Another thing kicking this issue into high gear is the art from Mike Deodato. I’ve been enjoying the more lighthearted work over on the actual Daredevil series so much that I forgot how cool he is when he’s drawn with a darker flair. Deodato’s sense of movement and action is so well executed here. I also loved his panel layouts. So much movement and drama can be displayed just in how the panels are put together and Deodato takes full advantage of that. Each panel is just a tiny visceral work of art. The New Avengers #16 proved me really, really wrong and I couldn’t be happier about it.

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.

Helping Rucka tell his tale is artist Marco Checchetto, who also bats it out of the park. His style is softer than you’d expect, not a lot of hard lines or edges. By using that technique, Checchetto brings in a feeling of low budget 70s exploitation films. Think Taxi Driver or The Panic In Needle Park. Helping Checchetto achieve that vibe is colorist Matt Hollingsworth, who uses shadow and light, deep colors and blurry backgrounds to set up a very urban scene. Punisher #2 is a breath of fresh air for those of us tired of seeing Frank Castle stuck in bad stories with writing that was beneath him. If Marvel leaves Rucka alone and doesn’t screw it up, this might be a new dawn for a character long overdue for a reboot.

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.

Attila Futaki’s art is what ties up this little package. Doing period anything - horror, war, high seas adventure - works only if the art kicks ass. With Severed, Futaki attacks it as if he was the dark and weird cousin of Norman Rockwell. The pages are atmospheric and tranquil, but there’s a darkness to them that bubbles just under the surface. Futaki’s earth tone color palette helps give Severed a more realistic vibe. He’s painting a lighter era of American history but making sure we know that darkness is there. The story possibilities with Severed are endless, especially with Jack being an old man when we meet him. If Severed #1 is any indication, Snyder, Tuft and Futaki could bring to comic books a series that would make Poe or Lovecraft proud.

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

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

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.

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.

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

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

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.

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.

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.

The art from Yanick Paquette is cool except for his glaring inability to draw Superman’s face. First off, this is the reboot and I hate the new Superman costume. The whole armor guise makes the Man of Steel look like he mugged Tron. I also dislike the new “S”; it’s way too big. None of that is Paquette’s fault and he does a solid job with the new design. The lion’s share of the art is spot on, especially the very awesome Swamp Thing. My only gripe is that Paquette makes Superman look like the guy from Man Vs. Food. It’s disheartening to try and focus on what Superman is saying but also keep waiting for him to take a spicy food challenge. Regardless of that, Swamp Thing #1 is an issue that can stand proudly with the long and brilliant history of one of DC’s most under appreciated characters.

The art from Marco Rudy is a massive part of what makes Swamp Thing #4 work. The opening scene is incredibly gruesome but also really creepy. Rudy has an interesting style in that his lines are strong but the panels are still tuned with a fine art sketch vibe, very detailed. The visuals are always right in tune with the story, neither really ever overshadows the other. Swamp Thing #4 continues Snyder’s quest to add his own verse to the Swamp Thing mythos.

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

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

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.

Joe Madureira does some spectacular art here. Like Humberto Ramos, John Romita Jr. and a few others. Madureira pencils comics with the understanding that they are larger than life. It's interesting because he doesn't do it with bold, clean lines. The work is very delicate, lots of small lines and bits of shading. It lands between the comic art of Ramos and the fine art of Marc Silvestri. Madureira's stuff bristles with action, everything seems to constantly stretch and move. It gives Avenging Spider-Man a distinct look and allows Zeb Wells' more action-oriented scenes to jump right off the page. As a follower in the church of Dan Slott, I was not initially on board for Avenging Spider-Man. Wells and Madureira have made me a believer.

The art from Joe Medureira is awesome, which hasn’t always been true of the artist. At times his work can be downright ugly, but with Avenging Spider-Man his very stylized pencils work. The strength of Medureira’s work is his combination of strong lines and detail. Red Hulk is just a huge block while Ra’ktar is gigantic but covered with armor, bones, muscles outlines, and all of it very detailed. The action leaps off the page as do character reactions. I can see where some might think Medureira is too stylized, like the work of Humberto Ramos or Bill Sienkiewicz, but it’s very effective for the story Zeb Wells is telling. Let the rest of Marvel prepare for mutants vs. movie stars next summer, Avenging Spider-Man is the comic book lovers series for sure.

Avenging Spider-Man continues to be a shining gem in Marvel's crown. A book that remembers when comic books were just about having fun.

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.

Issue #9 ends with LDB getting the movie theater job. His joy at being employed is not sufficient to overpower his dismay at working at a movie theater. Struble leaves the issue with that, forcing us to wait until issue 10 to see how LDB handles gainful employment. By the end of issue #9, you’ll feel a connection to LDB that you don’t understand. Struble puts it in all the issues. That feeling is you identifying and commiserating with the hero. It’s powerful stuff; I just wish Li’l Depressed Boy came out every week so I could find out what happens next in the very real world or a very surreal character. As always, Sina Grace’s art is sweet and beautiful. He adds texture to the story and gives a sense of how LDB sees the world. His work draws you in just as much as Struble’s writing.

At one point and exchange between the cops and the Phantom Detective is highlighted on each page by the head of the man talking with panels describing his story surrounding him. None of the modern work takes away from the Golden Age feel, but it does help make the book more exciting. Here’s to hoping Moonstone Comics never run out of monsters or heroes.

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

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.

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.

Trillium. Jeff Lemire does it again. Bravo!!

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.

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.

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.

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.

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

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

Butch Guice’s art is, as I’ve said, a major player here. There’s a combination of '60s era comics, pulp books and modern comics all at work. Guice strives to make every panel interesting, even if its just characters talking. There’s a grace and fluidity to how Guice draws that fits the story perfectly. He understands the idea of noir and of the spy thriller and executes his art that way. When the action opens up, so does Guice. He uses a lot of cues from old war comics, such as a white panel with just a body hitting the ground as bullets hit it. The combination of that with his knack for showing movement helps elevate Winter Soldier #5 to even greater heights. This was a great arc and I look forward to more top-notch work from Brubaker and Guice.

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.

Cliff Chiang’s art is also stronger in this issue. The lines are cleaner and the characters have a more solid appearance on the page. Outside of his obvious ability with action and movement, Chiang has a penchant for expression. Often in comics faces are just there, they don’t react unless it’s an extreme situation. Chiang uses the entire face to give his characters real reactions to every situation. It’s a nice change that adds some depth to the whole issue.

The only misstep is Reed Richards face, Molina can never get the nose to look right. Some feminists might take issue with Lee Forrester’s generous chest and how it’s the center of almost every scene she’s in. Personally I didn’t mind, but I did notice. With all the new turnaround happening in the X-Men world, I doubt solid and exciting but smaller stories like these will find a home amongst the bigger themes. That’s a shame, because these are the types stories that make comic books fun to read.

CRAVEONLINE RATING: 9 Out Of 10

I don’t think Dan Slott is so into entropy that he’ll completely destroy Spider-Man’s life, but I like how he’s taken elements of the past and shown how they effect Spidey’s present. I’m also enjoying the mystery here. An entire island full of spider-powered people is a power keg waiting to explode, but how and why the explosion happens isn’t easy to predict. Stefano Caselli’s art is some of the strongest he’s pulled off in a while. I’m still not a fan of his human faces, they tend to look too harsh and pointy, but his movement is wonderful. He really captures the action and joy of Spider-Man swinging through New York being a hero. It’s not Humberto Ramos, but it’s still an awesome job. Spider-Man 666 is the beginning of something big and in Dan Slott’s hands that can only mean good things.

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.

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.

Back in full swing on issue #667 is Humberto Ramos, and he’s having just as much fun as Slott. Nobody captures the visual fun and excitement of a comic book like Ramos does. His pencils take a modern style and merge it with a time when comics popped off the panel, bigger than life. There’s a real sense of being a comic book to what Ramos does and it’s exciting to watch unfold. Every panel is a bold statement with something happening, even if it’s not action. When the action does drop in, Ramos takes it all to another level. The marriage between his art and Slott’s words is the perfect storytelling device. I miss when comics were this much fun and I’m really intrigued to see where Spider Island goes next.

Joe Prado’s art is good, solid, workingman’s comic book art. Nothing here is flashy, nothing particularly dazzling, but the lines are strong and it tells the story. Prado is particularly good at movement, especially when dealing with Mera’s control of water. He gets across the point of just how powerful Mera’s abilities are and how dangerous she can be. This kind of work is rare because it doesn’t come with any pomp or pretention. It may not make a statement, but Prado’s pencils illustrate Johns’ thoughts in a visually appealing way.

I particularly loved how he showed the flashbacks. The use of saturated red really gives the tale of Aquaman slaying Manta’s dad a feeling of blind rage. The art is so visceral it almost dictates that Aquaman have killed out of anger not accident. Aquaman #10 isn’t a bad issue; in fact it’s quite good. I just hope that in trying to upgrade Aquaman, Johns doesn’t improve him into a failure.

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

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

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.

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.

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.

There are some great subtle moments here to. The exchange between Batman and the kidnapped girl is very effective and most of it is the art. The panel where the little girl gently grabs Batman’s finger is crushing. It shows how lost Batman is to help her, even with all his power and resources. Finch also blazes with the art once Gordon is drugged and kidnapped. His hallucinations of failure and horror are stunning, some of Finch’s bets work. I think Dark Knight has finally found balance with a team made up of two of the best at their craft.

Paolo Rivera’s art screams of another era in comic books. It’s not that the art is basic, but it’s focused more on the here and now instead of trying to cram too much into each panel. During the fight with Captain America, Rivera uses sold colors for the backgrounds, which works to give the section movement. When your eye is focused only on the characters and not the backgrounds, the mind is quicker to animate what’s happening. When Rivera needs to give us background detail he does it wonderfully, but his real power is how well he captures the characters and uses the details within them to move the story. I can’t wait to see what happens next.

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.

Earth 2 #0 makes an already amazing series even better

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

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.

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

Does Green Lantern #11 make up entirely for the last 10 issues? No, not by a long shot, but it is a step in the right direction.

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.

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

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

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”.

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.

Francis Portela's art is wonderful. His ability to keep the work clean and bold allows for maximum detail, which is necessary for a comic like Legion. Portela also knows how to add subtle nuances to the faces and expressions of the Legionnaires in order to keep them different and interesting. Overall, the art has the same frenetic pace as the writing and together the synergy is quite refreshing.

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

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

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

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

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.

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.

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

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.

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.

Swamp Thing is not an easy character to write or visualize and Scott Snyder and Marco Rudy do an outstanding job of it.

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.

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

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

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

The art from Olivier Coipel and Khol Pham is top notch, except for the Surfer. I still don’t like the way he’s drawn here; it just never comes together the right way. Outside of that, everything is nearly perfect. I love the movement, the way the action leaps off the page. When Thor and Surfer are duking it out, you feel it; you can actually conceptualize the power being wielded. I was impressed with the actual page layouts; it’s some very solid use of the space given to tell the story. The Mighty Thor #5 is a keeper, and a further step into the mystery of Matt Fraction’s consistency.

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.

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

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.

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.

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

I know Greg Land gets a lot of static from people on his art style, but I dug his pencils here. His Cyttorak-powered Colossus is an ass kicker. Land also brought great movement and pacing to the Colossus/Red Hulk fight. Granted, a lot of the faces looked the same, male or female, but overall Greg Land does some nice work with Uncanny X-Men #11. I’m digging the way Marvel is handling the tie-ins for AVX. Instead of handing us filler issues, they use the tie-ins to develop the surrounding story. Uncanny X-Men #11 is the best of that lot so far.

Jorge Molina’s art is wonderful as well. You can tell he loves the idea that Lee Forrester, Sue Richards and Emma Frost are in this and he draws them accordingly. When three of the hotties of the comic world come together, you need somebody who can draw the female form, something Molina excels at. He’s also good with action and movement. One single panel of Wolverine and Thing battling cave men like aliens had more action than a lot of entire books. Molina, like Gischler, wants each panel to say something and reduces filler across the board. X-Men #17 is one of those perfect storms when a particular style of writing and of art mesh perfectly. I only wish more of the X-Men books were this good.

Steve McNiven does some outstanding work here. It’s not perfect, such as how 1944 era Nick Fury looks like Wolverine, but for the most part it’s a win. McNiven’s art naturally has motion to it. Nothing he pencils are controlled by the dimensions of the panel, the action literally leaps off the page. He’s also great at human faces, something so many working artists seem to suck at. Captain America #1 isn’t a gangbusters all-out slam dunk, but it is a solid launching pad for the star spangled hero. I also know to trust in Brubaker, he always manages to take things to new levels of greatness and I expect nothing less here.

Giuseppe Camuncoli's art is passable, not great. Granted, my love for Humberto Ramos is well documented, but that's not the case here. When Camuncoli draws Spider-Man, Anti-Venom or Mr. Negative they look great, everybody else looks rushed and thin. There's no definition to the lines, no weight to it. That really becomes an issue during the action panels, where the three heroes look great, the main villain looks solid, and everybody else hangs there like so much nothing. Even with the so-so art and the holes in the plot, issue 664 is still a win. I'm excited for Spider Island mainly because Dan Slott is writing it and Humberto Ramos is handling the art. I don't think that team up can produce a bad issue of Spider-Man; they know the character too damn well.

The art from Giuseppe Camuncoli is the only problem with issue 674. The work isn’t bad; it’s just really hit or miss. Camuncoli’s Vulture is amazing; the splash page reveal makes him look positively badass. Then there’s his Kingpin, who just looks goofy. The Hobgoblin looks great but the Vulture children look like Goth posers, which is never good. The most damaging part of the artwork is the faces. Camuncoli’s eyes are always popping out and more often than not the expressions on the faces are ridiculous overdone. It’s especially harsh with the Chief Prachett the Vulture children and the Kingpin. I hope Camuncoli gets that under control, I’d hate for tepid art to hurt what is setting up to be another awesome Dan Slott tale.

Giuseppe Camuncoli’s art is the only Achilles' heel. Camuncoli isn’t bad, but his art isn’t great. The main problem are human heads, which have the same square jaw, flat head look to them. J. Jonah Jameson constantly looks like the top of a constipated totem pole. Camuncoli has a nice sense of action and definite strong lines in his work. The faces are just hard to get past as are some of the sloppier background pencils. Nothing here is offensive, I just wanted better art for such a tremendous story line.

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.

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.

One thing Albuquerque doesn’t do is spend a lot of time on huge splash pages. Every panel he draws is linked to the next; they all build off each other, so to throw in some random splashes would kill the vibe. When the last page comes and Albuquerque wants to makes a statement on what is to come, then he gives us a glorious full page of Skinner and Pearl ready to fight. These images are laid out more like a film than a comic book and it’s very effective. American Vampire #28 is just another notch in the belt of a team that is one of the best around.

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.

I'm getting used to new artist Steve Pugh. While still not a fan of how Pugh draws human forms, his fantasy stuff is cool as is the horror work. He has a sense of what's disturbing and bizarre and when he nails it, it's amazing. The inside out whale, The Red's talisman, even a lot of the background work is exceptional here. Pugh had some big shoes to fill and while he will never be Travel Forman, he does a solid job on his own merit.

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.

The opening splash page is all you need to see why Simonson is one of the all time greats of the medium. His art jumps off the page, it’s brimming with movement and excitement. Every single detail works for the greater image, something not all artists understand. Simonson is also killer for detail, just look at the panel when Thor first arrives back; it’s brilliant work by an absolute master. While Avengers #25 is a toss away story wise, it’s a statement to how great art can make any issue a masterpiece. Hopefully this signals a return on a semi-constant basis for Walter Simonson and his genius.

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.

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.

Frank Cho's art is solid, but I don't think it's special enough for this event series. While Cho's lines are strong, his lack of shading and hit-or-miss ability with faces hurts the overall effect. His action is stilted as well. The pencils on their own are fine, but together lack any real movement. An artist with a bit more flair should handle a series as big as Avengers Vs. X-Men. One that can combine realistic characters with over-the-top action. Cho's so-so art aside, Avengers Vs. X-Men #0 has me more interested in this story than I was in Dark Reign and Civil War combined.

Well done gentlemen. Very well done.

John Romita Jr.’s art is, as always, absolutely beautiful. I could describe it but I gush so. Great sense of timing, amazing penciling skills, great figures and faces and all within the confines of how much fun comic books should be. As for AVX #3, it’s not a great issue but I’m not giving up on the series just yet.

AvX #5 does have art from John Romita Jr. which always kicks ass. I am an endless sucker for his pencils and how they capture the larger than life idea of a comic book without becoming silly. Everything Romita does is unique, you always know it is his work you’re looking at the same way you always know it’s Jack Kirby or Steve Ditko. Avengers vs. X-Men hasn’t crossed the line into failure yet, but Marvel better get a move on with the story.

Avengers Vs. X-Men #8 is a welcome directional shift to the series.

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.

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.

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.

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 #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.

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.

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.

Patrick Gleason’s art is, as always, mind numbing. This guy walks right to the edge of over-drawing each panel and then kicks some dust off that edge. His ability to maintain control gives us some gloriously detailed work, and some of the best human forms in comics today. There are some times when the faces look a little off, but Gleason has really grown into his role for Batman and Robin. Look at his first close up of Maximums or the cross etching he does on Damian’s Robin during the four-Robin confrontation. It all adds so much to the story. Tomasi may be kicking Damian Wayne back a few notches psychologically, but he’s really finding his voice for this series.

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

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

Pablo Rivera’s art is a bizarre misstep. I say bizarre because his work on the opening battle with Daredevil and The Spot is perfect, as is his ending with Daredevil on patrol. Everything else, the little scenes in-between, is where Rivera loses me. There’s no life to those scenes, they just lay there looking more like basic colored pencils than a finished product. I must also come clean that I so wanted Neal Adams, John Romita Jr. or some other icon to be handling the art. If Rivera is going to continue as the main artist for Daredevil, he needs to raise his game just a bit. I haven’t forgiven everything Marvel did to Daredevil, and I still have the sour taste of Andy Diggle’s abysmal work in my mouth. That being said, Daredevil, however cautiously, is exciting me for the first time in a while.

Paolo Rivera really steps it up here. Either that or I’m just a sucker for a really well done snow scene. I enjoyed how Rivera turns the weather from tranquil to violent slowly over several panels. There were also specific panels that I felt really pushed the story along. Page four, third panel from the left. It’s a simple pencil of Matt Murdock looking at his prize from the earlier battle. The last panel on page 10, a shot of Daredevil trying to use his radar is another gem. Rivera uses his bold lines and colors against the details of weather, which gives the entire issue serious depth. Daredevil #7 is a filler issue, no doubt, but the talents of Waid and Rivera help to keep it above the standard fare.

I know I’ll get hell for this, but I think Daredevil could use a change in the art. No matter who’s been helming the pencil the art for the series has had a very open, colorful and old comic book throwback look to it. It’s worked thus far and I’ve been a huge fan of it. Now, however, the art feels wrong for the story. If things are going to get dark and violent, the open and colorful look won’t work. Daredevil needs a grittier look from here on out. Don’t get me wrong, the art on Daredevil 10.1 from Khoi Pham is solid, it just isn’t right for the upcoming arc.

Daredevil #15 is another solid entry into the already impeccable work of Mark Waid’s run on the iconic character.

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.

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

The art from Nicola Scott is hit or miss. Her faces are a little too one dimensional for me, they all seem to be making the same face or have the same structure. Where Scott shines is action. It’s tough to bring the illusion of movement to a character like The Flash, but Scott does it with great style. Her lines are thinner, so it helps make The Flash feel as though he’s real moving at the speed of light and beyond. If the story continues to be this good, Earth 2 could become a premiere DC book faster than you can say The Flash.

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.

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

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.

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.

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.

The art from Alberto Ponticelli does a lot to bring Lemire’s story to life. You can tell he’s having fun coming up with all these Rot creatures as well putting some real psychopathic faces onto Frankenstein. Ponticelli has a great eye for action and movement as well some nice panel layouts. Sadly, #9 is Jeff Lemire’s end run as he has jumped over to Justice League Dark. Let’s hope the future scribe manages to keep the joy, humanity and general weirdness of the series alive.

Alberto Ponticelli’s art is first rate. This guy blends his own modern style with that of the old Creepy comics and horror books. Everything is surreal, just off center enough to be sure we know it’s not of this world. Ponticelli’s eye for movement really comes through with issue 10. So much of the issue is fighting or falling or fighting while you’re falling. Without an ability to bring that action off the page, Frankenstein Agent of SHADE just would not work. Thus far, this is one of my favorite DC titles. Lets hope that Matt Kindt keeps up his flair for good writing.

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

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.

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.

Green Lantern Corps 63 puts an open-ended cap on the 63 issue series by leaving some questions for the next volume. Will the tensions between human and alien Lantern become and issue? How does Boodikka work into the future of the team and will they be attacked while weak from so many quitting? Granted, I’m not sure how all of that will work within the “five year” reboot timeline. That entire timeline idea resets the reality of the DCU, so how the Green Lantern story just continues on the same is a mystery to me. Regardless, for those who loved this volume of the Green Lantern Corps, #63 is a decent end for it.

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.

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

With all the positive things happening in Incredible Hulk #1, it’s hard to ignore how the new story arc dismisses a lot of the themes Greg Pak brought into the history. In order to enjoy the series you have to separate it from what Pak has done, which is a shame since he had the greatest run on the strongest one there is in recent memory. That aside, The Incredible Hulk #1 was an excellent kick off to the next stage of the character.

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.

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.

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

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.

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.

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

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

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

Both men seem to have an eye for detail and a great use of shadow, especially the exchange between Commissioner Gordon and the Deputy Mayor. The only issue I have with the art is how Dick Grayson is drawn outside of his costume. He’s way too young and he has this weird Asian quality to his face. I don’t care about that except Dick Grayson isn’t Asian so it seems odd. Other than that, the art is really solid. I particularly loved the cover, which comes from Eddy Barrows, inker Eber Ferreira and colorist Rod Reis. If this quality keeps up, Nightwing could become a real asset to the New 52.

Marco Checchetto turns in some of his best work to date with Punisher #1. I like his interplay between standard panel layout and more unexpected pages. Checchetto understands that for real movement and action to unfold, there has to be a succession of images that allow our imagination to fill in the blanks. His work on both scenes of violence move like film sequences and the rest of the book keeps a rapid fire pace that makes the issue a page-turner. Punisher #1 is a re-launch of a character that is beset on all sides by the violence and greed of evil men. You have to tell that story with fluidity and action, something Cheecchetto does with ease. I won’t come out fully and say the Punisher is back; Marvel could still screw it up, but for now I’m happier with the character than I have been for a long time.

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.

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

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.

Punk Rock Jesus is a blast of fresh air in a comic world that can become stilted with superhero tales.

I liked how Pak set the scene up. Schmidt refuses to kill an innocent puppy when tasked to it by the dogcatcher, but when the other dogs in the yard attack and kill the puppy, Schmidt snaps and beats them to death. It's a nice juxtaposition of the Red Skull's violent rage and this side of him we don't know that defends those who are small and weak. I'm interested to see how Pak deepens the already established history of Johann Schmidt, how he elaborates on the myth and brings humanity to the story. The art for Red Skull Incarnate is put together in a really unique manner. Mirko Colak creates every panel as almost a Norman Rockwell snapshot. While this sacrifices motion, it makes the story epic, almost tragically beautiful. Most of the time this kind of fine art falls flat for me, but here it elevates the story.

The art from Ryan Bodenheim is solid and executed with a real eye towards cinema. Bodenheim uses color more as a gel over the eye of "camera" on each panel. The figures are black and white but the color scheme is different to match the emotion of each panel. It's a very effective, in a minimalist way, of getting the story across. It's brutal, slick, and very film noir. As of right now, Secret could go either way. It could travel a road to greatness or shit the bed entirely. Issue one gives me enough hope that I'll move on to issue two.

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

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.

Visually, the issue fires on all pistons. Goddamn but Yanick Paquette is a fucking beast. His work on Swamp Thing has been so good, so outside that box that I hope other artists are paying attention. His layouts are imaginative, his pencils perfect, his ability to communicate horror or action or beauty is above reproach. I especially love his eye for detail. While Swamp Thing #9 wasn’t as much fun to read as usual, it was seriously fun to look at.

Art wise, Francesco Francavilla is right on as always. His version of Anton Arcane is so evil that in one panel the character is reborn. I love Francavilla’s use of shadow in this issue. The shots of Arcane are shaded in a way to bring maximum creepiness and yet the swamp images are shaded in a style that makes the swamp inviting but secretive. I was especially knocked out by Francavilla’s use of color. The panels are so lush that they almost bleed off the page. I’m still waiting for this war to happen, but for now I can sink a little deeper into the swamp.

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.

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

I wish the art from Dan Duncan were a little stronger. When his stuff is on, it looks great, but it’s way too inconsistent. Often, the lines are so thin that the characters look undefined and Duncan’s proportions are sometimes way off. One arm is thicker than the other, a head seems too big for a body, that kind of thing. It’s not that Duncan’s art is bad; it’s just that a series as well done as this deserves top-notch pencils.

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.

Marco Checchetto does some really nice work here. He keeps the art moving at the same pace as the writing. Action busts right off the page and out of panel boarders. Checchetto's faces aren't my favorite, though The Punisher looks cool so maybe if a beard is involved the art improves. Where Checchetto shines is penciling heroes and battles. It's pure comic book bliss. I realize that mutants in a pissing contest with Avengers is awesome, but don't overlook the awesome sauce being drizzled richly over "The Omega Effect" and Avenging Spider-Man #6

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.

Mixing the look of LDB with the low-key backgrounds and the rich colors gives us a visual indication of the emotions going on. The fusion of simple, funny and realistic dialog, blended with the surreal colors and the very real supporting characters, creates an entire world that surrounds us. We feel comfortable in an issue of LDB and any win for him is a win for us. That kind of emotional and intellectual involvement is what makes LDB not just a great comic, but also great art.

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.

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.

The art from Olivier Coipel is better here but his faces still irk me. No matter what's going on, it feels like Thor has one look on his face constantly. I'm also still not a huge fan of Coipel's Silver Surfer, though I did like his Galactus. I would have to say the art is passable, even pleasant, just nothing to get too excited about. What is worth getting excited about is how Fraction has raised his game. Perhaps he's working out all that need to be convoluted with Fear Itself or maybe he's finally settling into what it takes to write Thor. Regardless, I hope he continues on this path, the rainbow path, to Asgard!

Art-wise... its The Walking Dead. I don’t like the art, I have never liked the art, and I will never like the art. I will not like it on a plane, I will not like it in a train, I will not like the art I say!! Some people find this art to be exactly what the series needs; I find it dull and repetitive. Regardless of my problems with the art, The Walking Dead continues to be a series that’s head and shoulders above the rest. With this new direction Kirkman has given rise the tension. I’m excited to see what happens next, and you can’t ask much more from a comic book.

I just wish the art were better.

I love how Kirkman uses real life rules in a fantasy setting. If a real zombie apocalypse came down, the world would become a brutal place where death was constant. Just because a character is our favorite, doesn't mean he won't die at any second. It's that dedication to drama and tension that has kept The Walking Dead on another level above most other comics. I'm waiting for issue 100 with equal parts excitement and dread.

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.

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.

The art, also from Byrne, is exceptional as always. I love that Trio is published on card-stock paper instead of glossy. The panel layout is very traditional, but still great to look at. Byrne’s art is larger than life, a great mix of ability, ego and experience. He doesn’t waste any space on superfluous backgrounds or details. Everything is focused on the characters, which affords Byrne the ability make every panel a rich and highly detailed portrait. There’s simplicity to this kind of art, a love of drawing without being “edgy” that’s lost on a lot of modern artists. Trio isn’t the greatest book I read this week, but it is a good one. If you love Byrne or his era of comics, I highly recommend it.

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.

Ariel Padilla’s art is the only shaky thing with Voltron. It’s not that the work is bad, but it is very hit or miss. Padilla excels at the technological work. The spaceships, the laser battles, the spacesuits and weaponry. Where he falls short are the human figures, which always feel rushed or half finished. Every panel featuring a facial expression is a little too posed for me, particularly with Zarkon who looks mid-thirties one panel and then sixty the next. I like Padilla’s line work and his capability with action; I just wish he’d concentrate more on the faces. It’s not a deal breaker with Voltron but it does take away from what is otherwise a flawless return.

The art from Ariel Padilla is solid. I’ll be the first to admit that the American/Manga art hybrid isn’t a favorite of mine. It makes things look too basic, characters start looking the same and they always seem to have the same expression. On the plus side, it makes for great movement, something that really helps in an issue where the action is minimal. While many may see Voltron #3 as not enough, I see it as another well-written piece of an interesting puzzle.

My only trepidation is the art from Butch Guice. Don’t get me wrong, the man is a master artist and kicks ass at what he does, but it feels off in this issue. Too busy at times, a little too melodramatic at others but mostly way too dark. I understand the noir aspect of the story and the dark themes, but the abuse of shading and blue undertones detracts from the tale. I’m sure in a few issues I’ll get used to it but for this first jaunt into the world of Winter Soldier it didn’t work for me. My nitpicking aside, Winter Soldier is another gem from Ed Brubaker and another step in making Bucky Barnes just as interesting and iconic as his red, white and blue partner.

The art from Ron Garney is one of the bright spots of Wolverine #19. An issue so centered on action demands an artist who can deliver non-stop motion. Garney’s slight penciling style doesn’t present bold images but they are crisp and they do move. All of the battle kicks alive off the page; even the smallest motions are noticeable. A few of the panels are so well done that you can feel the pain as Fat Cobra or Wolverine pummel someone into hamburger. It’s a great combination of story and artwork. What the future holds for Wolverine is unclear, but for now Jason Aaron has done a great job with a solid story arc.

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.

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.

Regardless of the lackluster art, Avengers #33 shines.

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.

Ardian Syaf does some solid work here. I don’t know whether writer or artist decided to set the actual Batgirl sections in the rain, but it works perfectly. Syaf really communicates the numbing effect a constant rain can have on you. Things are darker, sadder; it allows the natural world to mimic how Barbara is feeling. My only critique is that Syaf’s action can be very stilted. Panels that should be bursting with movement seem frozen, even in small scenes. At times they come off like paintings. That lack of movement becomes distracting as the issue goes on. Overall, Batgirl #2 is a great read. One that brings me even closer to being excited about Barbara Gordon as Batgirl again.

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.

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.

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

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.

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

The problem comes with the Green Lantern pencils. Scott mostly drops the ball here, especially with Alan Scott’s face. Look at the exchange between Alan Scott and the “power of the green” on page eleven. In one panel, Alan Scott looks normal, in another, he has a chin you could kill a puma with. The face is always just a little off, which makes it hard to get into what’s happening. I do like Green Lantern’s Earth 2 suit, so it has that going for it, which is nice. Earth 2 #3 may rush the GL origin a little bit and the art may be lackluster on pages, but overall I’m still excited to see where this series goes.

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.

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

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.

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

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.

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.

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

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

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

On the bright side, Higgins does a great job of giving Nightwing the upper hand against an indestructible foe. The art from Eddie Barrows does a great job of bringing Higgins’ story to life. Not only is there great movement to each panel, but Barrows also has a great way of introducing pain. Between the blood, the motion and the weapons, Barrows art really makes you feel how beat down Nightwing is. It makes his triumph against his grandfather that much sweeter. I’m back on board Nightwing for now; cautiously optimistic that it will stop sucking.

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.

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

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

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.

Mike Huddleston’s works well for The Strain. It’s a combination of fine art and a classic children’s storybook look. What raises it above the standard Dark Horse title is how Huddleston changes the look slightly from the historical tale to the modern story. The changes are tiny but the devil is always in the details and those details help The Strain be visually compelling. If you don’t like vampires or you’re easily annoyed at the similarities between vampire stories, then The Strain isn’t for you. If you dig vampires or you can just relax and dig a cool gothic-tinged story about the undead, then The Strain will be a nice addition to your pull list.

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.

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.

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

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

Carlos Pacheco’s art is nicely done here. I don’t love all of it, particularly how he draws Wolverine, but everything else is on point. Pacheco has a nice flow from panel to panel and he’s very focused on the foreground of each panel. There’s little shading or texture save for what’s happening right in front of you. Definitely an epic quality, something you need for a story like this. Schism #1 is a good start and it gets the ideas flowing about the new trajectory for the mutant population. It could all fall apart, but for now I’m fully on board.

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

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.

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.

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?

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.

Probably the best reason to pick this up, outside of being a collector, is Timothy Green II’s pencils. This isn’t Travel Forman level art, but I like what Green does more so than the artist that’s currently on Animal Man. Green’s faces are a little rough but his action jumps off the page and his sense of pacing is spot on. Overall, with the delicate and detailed pencils, Animal Man Annual #1 is more fun to look at than read.

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.

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.

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.

On the downside of the art, Coipel’s human features are way too small. Everybody ends up having this same blank look on his or her faces. I enjoyed the panel placement but thought he could jazz it up a bit, especially for a big series like this. I’m still interested in what the end brings for AvX; I just wish I didn’t need a GPS to get there.

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".

On the art side, Steve Scott does a great job. I like his strong lines and his ability to convey motion. I say that a lot, the ability to convey motion, and not just to say it. What makes comics work is the ability to bring 3D realism into a two dimensional medium. So many artists can’t do that so I always applaud those who can. Scott’s art, as good as it is, just isn’t Tony Daniel, which is strongly missed. Want to know how much of difference there is? Tony Daniel did the cover for Batman #712. Compare it to the inside work and tell me who you’d rather see pencil an issue. This isn’t a bad issue, just a rather clunky end to a story that seemed to give Two-Face some new life.

Greg Capullo’s art is beautiful in this issue. I was especially impressed with how he handles the opening mob action. It’s so violent and so brutal but keeps the darker fine art edge that Capullo is known for. The fact that his line work is so thin but translates with such weight is a testament to how good the work is. Especially with Batman, who looks truly menacing here, a dark spirit of vengeance out to stop a killer. Batman #3 isn’t the most visceral issue and there are a few kinks in it, but having followed Snyder’s work for this long. I trust there’s a reason for everything.

Don’t get me wrong, Cloonan can draw. It just doesn’t thrill me, and I find it doesn’t work for Batman. Even worse are Andy Clarke’s back-end pages. While Cloonan has her stumbles, she at least can express movement. Clarke’s work just sits there, a harrowing mess of cross-stitching that is best served in kids books like Harold and The Purple Crayon. Regardless of my nitpicks, Batman #12 is a nice breather from the epic struggles the Dark Knight has recently undergone, and the sudden interest in Harper Row piques my interest in her future.

Jason Fabok’s art is nicely done, with the exception of the flashback to Wayne and Freeze’s first meeting. The lion’s share of this book is solid comic book fare. Strong lines, a nice sense of pacing and action, and Fabok’s talent with the faces of the character. I enjoyed how he used brighter tones to show the flashback of Freeze as a child and then left the rest of the story dark, almost noir. The scene where Wayne and Freeze first meet steps outside all of that and attempts a painted fine-art feel, which just hangs there with no punch to it. Batman Annual #1 is a great story, but this new origin for Mr. Freeze sets the character down a road fraught with boredom.

The art from Patrick Gleason is first rate. I enjoy how each panel is stark and set deeply in a noir sensibility. Everything is centered, the attention of completely put on the foreground. Gleason’s strong lines and use of basic colors gives everything a great composition. The final pages of the story are a statement of how good Gleason is at movement. The final splash page leaps out of the comic book with a visceral power that is undeniable. Batman & Robin #6 is a nicely penciled decent book that, with a little editing, could have been amazing.

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.

However Season 9 ends up, I can’t help but feel the concept and idea of Buffy The Vampire Slayer is faltering. For one, the dialog and whole vibe of the series is extremely 90s; it doesn’t feel as if Buffy ever moved forward. One the flipside the story arcs have gone completely over the deep end. The freedom of being in print has opened up Buffy and her gang to things that are new and exciting but often lose the quiet and cool nature of the original idea. I’m sure many are just in love with the idea that Buffy lives and for them Season 9-1 will be a good time.

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.

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.

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.

My only reservation, and I realize it’s a personal taste matter, is the art. I don’t like Clayton Crain’s style, I never have. I don’t like the dentist office “fine art” way of doing comic books. It looks like a bad watercolor project and it completely doesn’t work for this book. Crain is obviously a master artist, but his style keeps taking you out of the story, which is annoying. I’m sure Carnage USA will have Crain’s art throughout, which is too bad. That being said, don’t let the misguided artist choice allow you to pass by one of the best kick off issues I’ve read in a long time.

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

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.

If Daniel wanted DC #9 to be about Dr. Arkham, then he should have made it all about him. How he uses his deception and trickery to beat the Talon assassins at their own game. Instead, he tried to combine the doc and Batman, with tepid results. On the flipside, Tony Daniel’s art is first rate. I absolutely love how he draws the Black Mask. If Daniel could bring the kind of vision and passion to his writing that he does to his art, he’d be unstoppable. Sadly that’s not the case, and Detective Comics #9 does more to dull the edge of the Talon’s claws than sharpen them.

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.

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.

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

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.

Doug Mahnke’s art is the only reason to seriously pick up Green Lantern. As always, Mahnke brings his A game to the pencils. Strong lines, sick detail and a flow that makes the action leap off the page. It’s exciting when Mahnke is behind the art, he can draw faces and figures easily but also uses the panels like lenses of a camera. Different shots make for different emotional reactions. With writing so sub-par, it’s really nice to have something to look at.

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.

Fernando Pasarin makes a solid return with GLC #8. His work really helps to save the issue, at least aesthetically. His layouts are killer, his art always highly detailed and fun to look at. I dug his work showing the scope of the Sinestro Corps battery and while the bar fight was unnecessary plot wise, Pasarin made it look cool. I know others find this whole run with GLC to be “fun” and filled with levity. To me, the entire universe feels like it has no direction and if it does, it’s the wrong one.

Part of the bigger picture is how issue #4 of Green Lantern: New Guardians feeds into this complete lack of direction within the Lantern Universe. None of the books seem to be able to gel or find their voice. Green Lantern Corps has the most fun and New Guardians is the most consistently well written, but still aren’t anything great. All of the Green Lantern titles feel jumbled, like a giant mess nobody at DC wants to clean up. I’m hoping the creative forces get their act together and align to get the entire Green Lantern Universe on track. As always, Tyler Kirkham’s art is stellar and the colors from Nei Ruffino make the issue worth checking out. Story wise though, there’s just nothing to see here.

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.

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.

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.

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

Mike Deodato and Will Conrad do a great job with the art. These two are detail-oriented artists, putting as much into the backgrounds as the focus of each panel. At the risk of sounding insulting, Deodato and Conrad have a very Michael Bay vibe going on in issue 17. Every single panel is the money shot; it's all presented with huge movement and epic action. This is one of the highest-octane comics I've read in a long time and it's all because of the art. It's clean even for such high detail and the characters are spot on. This is easily my favorite thing about this entire issue.

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

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

The only place I felt a bit let down was the art. Given how amazing the cover is and the general vibe of the story, I really wanted a darker, more noir feeling to the whole thing. Breno Tamura is clearly a talented artist, but it’s very straightforward. The layout is standard, the work itself has a seventies comic book feel but never jumps out at you. There is a school of thought that art doesn’t always have to pop. Fair enough. That being said, it should meld with the story, and here it just doesn’t. Pigs needed darker, more stylized visuals and that just doesn’t come across.

The work by Marco Checchetto is awesome. Especially the winter scenes. He conveys the isolation of winter very well, which mirrors Frank’s soul. I wasn’t a huge fan of Punisher with a beard. Though it was well drawn, Punisher looked like Eddie Rabbit and Keanu Reeves had a kid who worked out a lot. The rest of the book held that noir sensibility, but Checchetto really wove in the entire idea of winter and how it affects people. Punisher #5 gives me cause for alarm, but only just so. I trust Rucka will pull this from the fire.

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.

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.

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

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.