Still, answers about Angela are delivered in spades, and on that level it's beyond reproach. Too much information is better than too little, and frankly any story with Sara Pichelli visuals has to be worth buying. If the lack of action bothers you, think of it as a breather as the team wades into the "Infinity" crossover next issue. Somehow, I don't think a lack of action will be a problem for the next few months.

Overall, with its emphasis on providing a lead-in to "Cataclysm" and on resolving the relationship between Galactus and Gah Lak Tus, "Hunger" feels a lot like one of those "stories about stories." There's nothing wrong with "Hunger" in that it gets characters from the last story and lines them up for the next, but considered in isolation it just lacks any real substance.

There are some good ideas in here, and Humphries has done a good job of taking a cast of misfits and nobodies and turning them into a group you want to read about, but broadly speaking it's suffering from similar problems to his "Uncanny X-Force" run: truncated plotlines, disjointed sequences and a little too much abstract imagery. It's clear that Humphries has an ambitious drive, but at the moment -- on "Avengers A.I." at least -- his work isn't quite reaching the clarity needed to realise his intentions for it.

Of course, now that the "big" development of the series has happened, it does beg the question of where the story's going to end. It's been a while since the conclusion of an event felt anything other than pre-ordained (probably not since "Civil War," in fact) but "Infinity" is giving off the same anything-could-happen vibes. It's testament to Hickman's superb writing that readers should expect something really special yet to come.

In any case, Gillen and Pagulayan manage to sell both the happiness and turmoil of returning home to find that things aren't necessarily how you left them -- and perhaps more fundamentally, that you're not the same person who left. Given the deliberately self-contained nature of the opening two arcs, it's particularly promising that Gillen appears to be re-establishing a supporting cast for the title. It's not the finest issue of the series so far, but it does its job and makes you excited to read what comes next. Any comic that does that has to be worth reading.

For the most part, though, it's a fun read, and it's certainly enjoyable to see something a little different. In an era when creator-owned comics often aiming to be as literary, dense and plot-driven possible, de Campi and her collaborators have gone in the opposite direction, reminding us that there's room in the industry for all forms of story, even the ones that start with a title and work backwards. It could backfire -- there's definitely a sense that it's preaching to fans of the genre, rather than finding a new audience for it -- but broadly speaking the nostalgia is the driving force, rather than the point, and in the end it's hard not to get caught up in the enthusiasm.

In fact, at two issues, this almost feels as though it'll be over too soon. This kind of mystery could be strung out into an 8-issue mini, and in some ways it would have benefitted from extra space. On the other hand, as a graphic novella it has a lot of potential to endure. Get in, get out and leave no room for error. In that sense -- and the fact that it has no overt ties to continuity -- it feels like an instant classic. As long as Guggenheim can stick the landing with the resolution, there's no reason it can't become one of the definitive Punisher stories.

It's clear, then, that Kot can indeed write more traditionally-structured stories with his own creations than he'd previously shown an interest in. If anything, the world of "Zero" is almost too deliberately defined, heading into Ellis-esque geopolitical spec-fic at times. And while a stronger narrative hook would've made a second issue a less uncertain prospect, there's a framing sequence which starts with a powerful image and poses a lot of questions that demand resolution. You're more likely to return for the creators than the characters, but a launch with this much poise suggests "Zero" is going to be worth keeping an eye on.

Remender's work on "Captain America" has been tonally strong since day one, and issue #11 is a reminder of exactly how good his grasp of the character is. It's a take quite unlike Brubaker's, but still entirely valid. The decision he makes at the end of this issue is haunting and pensive, and feels like something Brubaker's Cap would never have done. That Remender makes it work is proof that following a critically acclaimed run isn't always a poisoned chalice.

Its importance might change further down the line, but those who turn up for the crossover will probably get the sense that this is more of a continuation of the current "Avengers" story than a particularly important "Infinity" tie-in. It's an appreciated strategy for crossovers: telling a story that isn't mandatory to understand the event but also isn't just spinning its wheels between panels. For the moment, it's the best of all worlds. Let's hope that continues.

Overall, it's a charming, matter-of-fact look at life on the fringes of super-powered life, and exactly the kind of book that deserves a bigger audience. For readers that love the tone of "Hawkeye," this is one of the few places to find anything even remotely similar, and that alone makes it worth a try.

You wouldn't naturally think that Daredevil was a character who could sustain two ongoings, but between 8 issues of "End of Days" and now four issues of "Dark Nights," Daredevil has essentially had a year's worth of a second series. It's hard to say why it's working. Perhaps it's the quality of the creators, but perhaps it's just because it hasn't been tried before. Whatever the reason, Daredevil fans are spoiled for choice with two top quality titles on shelves.

"Uncanny Avengers" #11 is still some way away from being a bad comic, but with this series, it's always hard not to feel as though the creative team is falling short of their capabilities. Readers expect more from Remender and his collaborating artists, not because it's not good, but because they've spectacularly risen to the challenge in the past. Considering the book was originally pushed as the "flagship" for Marvel NOW!, it should at least be challenging pretenders to that throne. As it is, this issue doesn't feel like it's putting up much of a fight.

Still, that's the sort of thing that'll read better in the trade, and even if the villain is weird there's no shortage of tumult in the lives of the team. "Young Avengers" remains a book with a strong sense of what it's doing and where it's going. If you want to know what a modern superhero book is, look no further.

There's no question that "Superior Spider-Man" is a classic era of storytelling in the making, and it's particularly impressive for forging entirely new ground, rather than homaging or re-imagining previous Spidey stories. Readers have never seen the character written like this before, and while Dan Slott has always been one of the best Spider-Man writers around, there's a real sense that this is his opus. Quite simply, a must-read title for any superhero fan.

In the end, this feels an unspectacular issue in an unspectacular storyline. The idea of revisiting the cast members in turn to give them a proper send-off before the book's conclusion is good, but unusually for David, he doesn't seem to have made it work. Title aside, it doesn't feel like the series is reaching an ending. Instead of the grand send-off the series deserved, readers get a selection of weak gestures around the idea that life will probably just go on as normal. Apt for the series, perhaps, but not as enjoyable as the alternative.

Still, Gage's script is full of humor and follows the story down a logical path. There's a delicate balancing act at work, because even though we, as readers, know that Pym is being fooled, he never comes across as being unreasonably stupid. In his situation, you can imagine being just as convinced as he is. It might be six issues too late and come over a little like an exercise in box-ticking, but as far as those stories go, this is about as strong as they get. It feels more like a treat for fans who've been waiting for answers since day one, but hey, there's nothing wrong with that once in a while.

It'd be nice if the creative team was a little more consistent, but there aren't many mainstream series around to which that criticism couldn't apply. As it is, "Secret Avengers" has a unique premise and a strong tone unlike anything else Marvel is currently publishing. Spencer's work can vary in quality across a greater range than most writers, but on "Secret Avengers" he's definitely doing some of his best work. If you enjoy a mixture of intrigue and action, you owe it to yourself not to miss it.

Still, if this is all readers get, at least it was worth the time and effort. "Dial H" was routinely brilliant, and will hopefully enjoy a long life in trade. Nelson, Manteau and their friends deserve that much at least.

Indeed, Millar and Romita make it look effortless, which is a testament to how much effort they must put in. Romita especially seems to be having fun with Kick-Ass in a way that never comes across in his Marvel work, fantastic though that is. Creator-owned superheroes are always a gamble in a market dominated by Marvel and DC, and yet seeing two artists choosing to work on their own ideas within the genre -- and succeeding -- presents a fine example to the creators of tomorrow.

As usual, the only problem with an issue of "Optic Nerve" is that it's over too quickly. Still, after wondering about the relevance of the format in issue #12, two years later he's made sure there's a solid argument for its continued existence right here. Thoughtful, accomplished and deeply layered. It's as good as a comic gets.

Despite the slow-burn of Angela's appearance, there's very little here that doesn't work, and to cap it all off, there's a final page twist that can't help but have readers excited for the next issue. If space-opera superheroics are your thing, "Guardians of the Galaxy" #5 is definitely worth picking up.

"A+X" issues tend to live or die on the desirability of their creators, and luckily this issue has at two artistic coups that make it worth the money. Fans of neither may feel a little underwhelmed, but this is exactly the sort of thing the book should do: give auteurs an outlet. This issue contains two better-than-average instalments, and that alone makes it worth sampling no matter the authors' level of recognition.

Anyone buying a Carnage series is going to get what they want out of this book -- Carnage on a rampage -- but even then, it's hard to recommend a story where the title character is practically reduced to the margins. Given that it's got two critically-acclaimed Carnage miniseries as forerunners, the use of the "Superior" adjective can't help but seem like misjudged hubris.

It's certainly not a bad story, and it's good that Waid spends some time on what makes the Hulk interesting -- his power and unpredictability -- but as an extended action sequence the issue isn't particularly compelling, and the wrap-up feels rushed. Despite its flaws, it's still part of a superb Hulk run, and Waid writing more Daredevil is never a bad thing. On that basis, even as a sub-par entry for the series, it's still better than most.

Although the pace of the issue was arguably a little rushed, considering this was a three-parter, it's fair to say that it maintains the series' high quality. Too much story for one issue is a preferable problem to too little, and the book's rapid turnover of its own status quo keeps readers guessing about the conclusion of every story. It's easy to love, and even though it's tough not to want the "real" Spidey back, the quality of this comic is enough to justify an extended period without him around.

As a monthly proposition $2.99 isn't too great an outlay, but remember that this is a 13-part weekly comic. It's going to cost almost $40 for the whole story. It's too expensive for what it is. Perhaps there's a good reason why the economics don't work at $0.99 per issue. Maybe Marvel plans a price drop further down the line. But at $2.99, they'll only sell one issue to me, where at 99c, they'd have sold 13. "Wolverine: Japan's Most Wanted" proves that Marvel has the stories and creators to bring in a new, digital audience, but given the choice between one issue of this and three issues of similar-quality material from their competitors -- even for a Marvel devotee, it's not a difficult choice.

As for the issue's attempt to incite a desire to return for more, close readers will see that there's potentially a little more going on than the page makes explicit, but it's still in typical "What If"?" territory: unexpected deaths, things going rapidly awry, but no particular point to make -- at least, not yet. A 4-issue series means there's the potential for a closer examination of the themes and ideas than the average one-issue cover version can manage, but let's face it: like all "What If"?" stories, it's a novelty at best.

Recent Marvel launches have a lot of strong competition, but "Avengers A.I." #1 manages to stand out as something other than just another "Avengers" book. It's got its own feel, a cast of somewhat obscure characters and a unique concept driving it. That's more than enough to convince me to stick around for the next issue.

Still, that's mainly a production complaint. The story itself is good, and after a fairly slow first issue spent establishing the world and characters, the second issue sees its various plots start to move quickly and definitively. It's too early to say whether this is "the greatest superhero epic of this generation" as "Jupiter's Legacy's" back cover asserts, but it's certainly on the right track, and if nothing else, it feels like an interesting thematic companion to "Kick Ass" in the way it deconstructs the idea of a superhero. Perhaps Millar has a new point to make in that well-worn arena, perhaps not, but after two issues this good, he probably deserves the benefit of the doubt.

The only thing about this issue one can really criticise is its length. Seldom have 20 pages of comic felt so stingy -- but then, when a reader doesn't want a story to ever end, any conclusion is too soon. It's everything a fan could possibly want out of an X-book: engaging plots, exciting artwork and characters that feel like old friends. Maybe the world wasn't crying out for another X-Men title, but let's face it: if every X-Men book was as good as Wood and Coipel's, they could put out twice and many again without hearing a complaint.

At this point, it remains to be seen whether this is just a series of epilogues of if there'll be a last-minute twist drawing everyone back together, but either way, at least no-one's getting neglected. That said, Wolfsbane has never felt like a natural fit for the superhero lifestyle so there isn't much drama over her leaving it. It's an issue that's fine, but has no huge surprises to deliver. Of course, next issue promises to finally address the relationship between Shatterstar and Longshot, so if it's surprises you want, maybe that one's worth waiting for.

There's definitely room for improvement, but it's also much better than you'd expect based on the results of similar projects. Harris can particularly be praised for getting straight into a story, rather than spending an entire issue on introduction and scene-setting. As long as he manages to avoid getting dragged too quickly into the convoluted series mythology, this series might just be a winner.

In all fairness, there are things that might turn people off. The issue's mixture of Elektra, Bullseye, the Kingpin, Japanese villains and Wolverine doesn't exactly break new ground, and Spider-Man disappears halfway through. The final page reveal doesn't quite land, because it's more heavily reliant on visuals than position as a story beat -- and despite how dynamic the artwork looks, there isn't actually a lot of action. Those looking for a big fight scene will have to come back next issue. Still, with craft like this, that's not a problem, because there's a very good chance that you'll want to.

The only real shame is that Weeks' story is only three issues long -- but if the quality control currently being applied to the character is maintained throughout "Daredevil: Dark Nights," there will be more stories that are just as good, which is no bad thing. The first issue is not so much an unexpected hit, but definitely a pleasant one.

It'd be churlish to complain too hard about material this intentionally anarchic, since that's also its main appeal, but it's also true that it could stand to be a bit more conventionally structured if it wants to draw in new readers. It's a moot point, considering its impending (and rather disappointing) cancellation. Still, it's a comic that benefits from being re-read, and that's true of this issue more than most. "Dial H" is a great title that'll leave a huge gap when it's gone.

For the most part it is a technically competent book, and even when Yost isn't so strong on plotting the characters and dialogue are enough to remind you of his abilities -- but for a title already struggling with its identity (no joke intended) it's just as well that it's heading for a relaunch. It appears to have become just another ongoing monthly Spider-Man book, and that was the very thing it was always intended not to be.

In fairness, the character dialogue and interactions are natural, on-point and mostly accurate (although Scotty seems a little off, for either version of the character). Despite stiff storytelling typical of books that rely on ultra-realism or photo-reffing, Fajar has the look of the characters and world down, although the influence of colourists Stellar Labs cannot be overstated in realising the glossy feel of Abrams' universe. The problem isn't with the individual moments, but with the glue binding them together. There are three plots in this book, none of which show any sign of tying into the other. Existing readers of the series may be fine with it, but as a Trek fan that came looking for more after the movie, the problem isn't just that I'm not engaged by the story, it's that I'm actively being pushed away by it.

As crossover tie-ins go, this is perhaps the best readers of the series could expect: something that continues the title's story without slowing it down too much. Admittedly, if you're looking for "Age of Ultron" content, you may well be disappointed because the relevance to the event is minimal and skippable " but if you're reading "Uncanny Avengers" on an ongoing basis, don't be fooled by the "AU" numbering: this issue is worth owning.

Maybe they're building to some kind of epiphany about the evil of excessive wealth without moral conscience, but there's no hint of that in this issue. By accident or design, the issue is irony-free and utterly lacking in self-awareness. It's not a bad story, nor is it poorly-crafted -- but considering how strong and provocative the concept is, an execution so toothless can't help but be underwhelming.

As events go, "Age of Ultron" feels like more of a misfire than anything in recent memory. Some of the tie-ins have been good, but the core series has had pacing trouble and utterly failed to sell its premise right from the start. Considering what the series is named, the plot has veered so far off course that you might reasonably wonder why the series is called "Age of Ultron" at all. Admittedly, there's still time for the concluding issues to pay off this plot with a dramatic and impactful twist, but as stories go, it just hasn't got a hook.

Still, after multiple issues of scaled-up action, a chance of pace would be nice. Hopefully "X-Factor" can end strong on some more character-centric and shorter stories more typical of the book's tenure. David's past form on final issues is impressive (his "Incredible Hulk" and "Captain Marvel" finales spring to mind) so let's hope that "X-Factor" gets the send-off it deservers after so many issues.

"Avengers Arena" #9 is odd, because it seems to read better than it's objectively written. It's tough to say whether that's because of the book's strong premise, its fantastic art or Hopeless' convincing character work, but it's enough to make me think that yet again, it's worth sticking with.

It's not the worst Wolverine comic you'll ever read by a long stretch, and Cornell's vision seems strong enough that the series as a whole will go somewhere interesting, given the time - but when the character is available in so many other places, it's a pity "Wolverine" #3 didn't elicit stronger feelings.

Still, originality isn't the only quality worth looking for in a story, and between the rock-solid skill on display and a well-told story, "Guardians of the Galaxy" #2 is more than worth the price of admission. It's a gamble, particularly if you're not massively interested in Marvel's cosmic titles -- but as long as you like reading well-made comics, it's a gamble that should pay off.

"Uncanny X-Men" #5 is good (especially the artwork), but with the plot moving slowly in no particular direction and the characters failing to bed in, it's hard not to look across the floor at "All-New X-Men" and ask what "Uncanny X-Men" is doing with itself. With a team like this, just "good" doesn't feel like enough.

To be completely fair, the only reason it's not a five star book is because, ultimately, it's a comic that only exists to talk about Daredevil -- about the way the character operates, the acts he inspired, the world he inhabits. It's part love letter, part deconstruction. In all honesty, a comic that exists only to remind us how great its title character is can't really achieve full marks, but that's largely academic. For "Daredevil" fans everywhere, it's more than enough to make it an essential read.

Still, it's fair to say that this comic is better than it should've been, and that alone makes me eager to see what Kindt might do with the Marvel Universe when given a bit more room to craft a story of his own devising. It also makes me want to see more interaction between Wolverine and the Invisible Woman, which is something I never really expected. On those levels, it can only be called a success. If, however, you're looking for something about the "Wolverine and the X-Men" kids or an essential component of "Age of Ultron," this isn't the comic for you. That doesn't mean it isn't worth the time, but make sure you know what you're buying when you go into it.

"Secret Avengers" #3 is not a perfect issue, but it is good to see that the series has hit the ground running. It's already in its groove and clearly, Spencer has a tone in mind and is sticking to it. The strong character moments and fantastic artwork just about cover for a plot that struggles to hit its beats in time for the final page, and if this is as haphazard as it gets, that's something the team can be proud of.

Personally, when the series was announced, I was expecting something much more along the lines of issue #5 (which felt like a classic team book) but "Uncanny Avengers" #6 is perhaps a better example of what the series should be like: unusual yet engaging, bold but not unwieldy. It doesn't tick all the boxes, but a few more issues like this and the series could still regain the momentum it managed to lose over its first arc. If you jumped off any time in the last few months, it's worth coming back for a re-appraisal.

Perhaps Aaron and Bianchi can make it work as the series progresses. There are moments of genuine brilliance in the execution, not least the scenes between Thanos and his mother. But in the long run, it's hard to feel like this is doing anything to improve the character. It's enough to know that he's the Mad Titan -- filling in the gaps can only make him less interesting. And in the same way learning that Darth Vader was whiny and lovesick made him look ridiculous, the more time spent with this version of Thanos, the less threatening the adult version seems. For a villain that readers have to believe is intent on wiping out the universe, that can't be a good thing.

"Superior Spider-Man" #6AU is not a bad comic. It's even a mostly good one. But the fact that the plot is in a holding pattern makes it hard to love, and there's no doubt that it's the weakest "Superior" issue yet. With that in mind, it can't help but be a little disappointing overall.

Despite that, it remains a consistent and overall enjoyable read. Few writers could get away with what Aaron does in this book, but that's part of what gives "Wolverine and the X-Men" its fiercely individualistic charm. Issue #27 isn't a classic on its own terms (and in fairness, the middle parts of any story will struggle to be) but in the end, it is a good indication of everything that makes the book what it is.

When the action moves outside the boundaries of conversation, things get a little better in some ways and worse in others. The double-page spread of the alien craft looks great, but it's tough to tell whether it's supposed to be dematerializing, bursting out of the ground or even dropping from the sky. Within individual panels, the storytelling works, but the over-use of widescreen panels makes the book monotonous in both pace and tone. The art isn't what you'd call bad, but it harms the story as much as helps it. On "Cable and X-Force," Hopeless clearly tries to show rather than tell, so there's a definite sense that with an artist better-suited to that technique, this mostly good book could actually become great.

Still, those are minor nitpicks against the book's otherwise enjoyable story. The promise of the new Deathbird and her downright cold-blooded intimidation techniques are more than enough to bring me back next issue. If this is an average instalment, I want to be around when it really hits the high notes.

What really harms the issue, though, is the wider story behind it -- or rather, a lack of one. Two issues in, the story doesn't seem to have forward momentum, or even a coherent narrative. It's a prologue. The cliffhanger to the first issue, which posited that things were so dire they had left even Captain America broken, simply isn't even a concern for the readers or characters. Bendis' event plotting has always been weaker than his character work, but here it borders on non-existent. Maybe things will change with issue #3, maybe not -- but at this point, it feels like time to wait for the collection and hope it reads a bit better like that.

It might only be the second best X-Men title Bendis is writing, but this issue, with its emphasis on the mutant political situation and Cyclops' current ethos suggests that there's a lot of potential in Bendis' take on the characters and their situation. "Uncanny X-Men" #3 is a definite improvement over earlier issues, and hopefully one that marks the beginning of an upward trend.

Speaking of the lack of gloss inherent in Ponticelli's leads, it's that which makes the final page all the more interesting. Nelson and Roxie are being quite literally seduced by the alter egos they taking on, and it's easy to see why. The book's big theme centers understandably around identity, so it's both shocking and understandable to watch them living out a situation that, in their "real lives," wouldn't occur. Of course, it's also unsettling, because readers know something they don't -- that the bodies they're wearing belong to other people. "Dial H" #10 has a genuinely compelling ending that should leave readers more than ready for more.

Despite the obvious talents of the creative team, issues like this are giving me a sense that "Powers" isn't the book I hoped it was, in terms of content rather than talent. Fair enough, then -- but with two creators this good aboard, it's hard not to be disappointed that it wasn't more accessible.

Still, for those of us for whom "Star Trek" means Picard and his crew, it's hard not to be enamoured with this story, which ultimately represents a great opportunity to spend time with the crew one more time. The scope and gravitas of events suggest that this might have even been the "next" TNG movie, had things not gone in a different direction for the franchise. Considered on those terms, it works, and despite Braga's obsession with all things Borg, I'd actually be very interested in seeing a TNG comic with him "showrunning" similar to the way this series was handled. IDW, make it happen!

Still, the last couple pages suggest Remender has bigger ideas about what "Uncanny Avengers" will be, and his "Uncanny X-Force" run proves he has the chops to deliver storytelling on that larger scale. When paired with a more appropriate (and faster) artist, it's likely the book will improve. There's an audacity to the ending that has to be admired and at the very least, it's earned a pass for yet one more issue. It's hard not to feel that with the difficult first arc out of the way, "Uncanny Avengers" will finally start its upward trend.

Whether those consequences actually come to pass remains to be seen, but it's a bold image on which to end. Fialkov can't be accused to taking his time to get to the story, and it's the sort of cliffhanger that's going to bring readers back. It's not a perfect first issue -- it has a lot of exposition to slog through and some fairly perfunctory scenes of, "Let's give back Alpha his powers," not to mention that Fialkov seems to stumble a little over the voice of the Doctor Octopus Peter Parker. However, if teenage superheroics are what you enjoy, this is a good version of the classic setup starring a newly-sympathetic Alpha, and an enjoyable read overall.

"Indestructible Hulk" #4 is great on a micro level, but doesn't quite hold together on the macro level. It's fun, basically well-written and drawn, but it doesn't meet the much higher standards both the writer and artist are capable of. It's not objectively bad -- but when readers expect (or at least hope for) more, it's hard not to be disappointed by such middle ground.

If anything's a problem with "Wolverine and the X-Men," it's that the sheer pace and number of storylines and characters leaves it feeling cluttered and often unsatisfying in a single-issue chunk. It's interesting to see Wolverine's brother turn up, but there are plots from last issue, from two issues ago, from probably ten issues ago that it'd be nice to see acknowledged, if not necessarily resolved. Yes, the concentration of material is part of the book's charm, but it's also what limits the amount of enjoyment you can get from any one issue. It looks great and it's an entertaining read, but after yet another hyper-dense issue of new plots springing up every three pages, it's hard not to feel as though a breather every now and again might be a good idea -- and once again, this is anything but.

It's safe to say this isn't a hugely revolutionary story, but it's very well constructed, and takes an unusual premise and makes it work. At the same time, readers are left with questions that demand answers. That said, the best thing about the book is that it successfully merges the movie Avengers with their comic counterparts in more than roster. If anything's going to win "Secret Avengers" some new fans, it's that.

Still, it's a book filed under "interesting" rather than "great." Bendis and Maleev are a creative team always worth reading and it's clear that the scale of this series is about to change dramatically, which is compelling in itself -- but right now, it feels a little like "Scarlet" #6 was a more attractive idea than it is a physical comic.

It's clear that despite the reservations of some fans, the technical strength of this story alone is likely to make it one of the greats -- provided Slott and company can sustain it. If this is indeed a "typical" issue of "Superior Spider-Man", there's no reason to believe they can't.

Perhaps that's the real flaw. As readers, we expect super-villains to lose, but here we have to buy into their success even though they're barely reacting to their situation, much less giving us a reason to want them to escape. Three issues into a storyline, there needs to be a bigger reason than "because it's their book," but for now, the series seems uninterested in presenting one.

Answers to those questions are surely forthcoming, and in the meantime readers are left to wonder what the series is really about. It's clearly an ambitious comic with something to say, and its creators have the chops to realize those ambitions and deliver that message. All that remains is to pay attention while the creators tell their story, and after two issues, I'm as interested as ever in how it's all going to play out.

Perhaps the problem is simply that "Deadpool Killustrated" is the kind of idea that works best as just that: an idea. As soon as you try to execute it on the page, possibilities collapse, the perfect joke in your head becomes an imperfect telling of the joke. The thought of Deadpool slashing his way through the classics is twice as good as the trudging, mechanical reality of it. There's only the barest hint of a twist in the story, but it can't hope to inspire the attention it needs when set against such wilful absurdity. In the end, this is a comic that needed to be rapid-fire. Instead, it's stuck on automatic.

Admittedly, there are things about the book that feel a little shaky. The narrative captions are a little too expository at times. The cut-away scenes at the end of the issue don't really gel with the rest. The mission Psylocke is on feels far more mundane than anything she faced in her time with the previous X-Force -- but on the whole, it works despite those flaws. This is a comic that grabs you on the first page and speeds towards its conclusion. The only big complaint, frankly, is that it's over too soon.

If anything really lets the book down, it's the price. The fight against $3.99 comics is long over, but material this slight can't help but feel expensive. Its "inessential" nature means it's easy to drop from any pull list, and costly enough to make it hard to dip into. A shame, because it's consistently one of the most fun comics Marvel releases in any given month. If you want to watch Marvel creators truly cut loose, this is easily the best place to do it.

Still, it ultimately does what most licensed comics do -- provides a story that looks and reads good enough for a general bookstore audience, but doesn't really meet the much higher standards of monthly comics most CBR readers will be used to. It's an issue of accessibility as much as technical ability, but that's explanation rather than excuse. It is what it is. Not as good as the real thing, but better than nothing.

According to publicity, the Hell on Earth War storyline is one that has been percolating David's books as far back as his run on "Incredible Hulk," so for those readers who have followed his career since then, it's tough not to be excited at the prospect of a larger denouement. "X-Factor" is rarely anything less than great, and with so much work already having gone into this storyline, there's every reason to believe that, like this issue, this story's going to be even better than usual.

At the moment, every issue of "All-New X-Men" raises as many questions as it answers, and in a way, that's the key to its success. It's rare a comic can leave today's over-informed readers so flummoxed, but this one manages to do so. The possibilities seem endless, because the story treads on genuinely new ground. It's not quite "Ultimate Spider-Man" brilliant, but it's easily one of the better comics Bendis has written in some time -- and for a writer as prolific as he is, that's worth noting.

That said, there's something about the book's concept that feels off. On the surface, it's entertaining, but it lacks depth. When comparisons are drawn with the stories it's directly influenced by, there's nothing like "Battle Royale's" social satire, or the "Hunger Games'" skewering of the media. The plot is compelling and the characters are developed well, but ultimately it's lacking the strong metaphor that underpins other stories in this genre. Perhaps that will arise over time, perhaps it'll continue on its character-driven path -- but unless it finds something to say with its characters and setup, it's never going to escape accusations of being an imitation, regardless of quality.

It's a testament to the creativity and capability of the book's team that this issue works at all, but it's perhaps a step too far into the weird, even for a series that typically embraces such things. It worked better that it should have, but let's hope this was an interlude, not the new norm.

Perhaps the most surprising thing about the miniseries is the complete lack of Murdock himself. Sure, we've had hints that he (or some other Daredevil) might be lurking in the shadows, but for a book that purports to be the "last" Daredevil story, there's actually very little of him in there. In a way, that makes sense -- Daredevil's a character who works in the shadows, using fear as a tool. And that's what he's doing now, even while dead. It's grimly appropriate, and lends a fantastic undertone in a story that might yet go down as one of the best Daredevil yarns in history. "Daredevil: End of Days" is simply a must-read for fans of the character.

The plot works on its most basic level, although it does suffer from the kind of false peril that licensed material is prey to. Will War Machine get killed after the cliffhanger? Well, no, because we've seen him in the trailer for the movie set after this comic. It's a mistake to build the stakes around a character we know to be untouchable -- but ultimately that choice is typical of a book that seems to be giving its readers very little credit.

It's probable that "Superior Spider-Man" #1, when released, will address these concerns. It is, after all, the "real" first issue. But "Avenging Spider-Man" #15.1 -- part-epilogue, part-prologue -- seems to do more harm than good. It's not that Peter Parker can't be replaced as Spider-Man (the stunning career of Miles Morales suggests otherwise) -- but this comic isn't doing his latest replacement any favors, and at a time when one suspects that favors are sorely needed.

That's not to say that it doesn't look (and read) well, but whether it's the delays or the story choices, it's lost a lot of its momentum. Even the excellent value (26 pages for $2.99!) can't quite compensate. It'll read better in the trade, there's no doubt about that -- but the series needs to recapture some of its initial momentum for the rest of its single issues.

The big problem, really, is that "Cable and X-Force" is a book that's still finding its feet in a marketing event filled with creators who have hit the ground running. Hopeless is one of Marvel's most interesting new voices in some time, but there's a danger that with so much high-profile competition, his book will be the first on the chopping block when people are cutting back their pull lists as a result of the Marvel NOW! prolific release schedule. There's nothing massively wrong with the book, but two issues of relatively slow burn and teased-out exposition doesn't seem like the best tactic for grabbing those all-important fence-sitters. Let's hope Hopeless gets a chance to prove himself with more issues.

As it turns out, it's rather a weak start to the team's new era -- one that spends a lot of time setting up the wrong characters on the wrong world. Is it any surprise that readers might be left feeling like they're reading the wrong book?

To put it succinctly, with five practically perfect issues under its belt, "Hawkeye" is a book you need to be reading. If you've ever wanted to witness a character-defining run in the marking, this is your chance. Don't miss out.

Similarly appropriate is how this story incorporates elements as far back into as issue #600, reminding readers how Peter's experiences influence one another. As well as the main story, a few unresolved subplots from Slott's run appear to be converging on issue #700, which suggests a knock-down, drag-out finale that'll lead us into the new era with a clean slate. If the stories that follow #700 are going to be as good as this one, it's hard not to be excited.

It's clear that Aaron and Ribic's run on "Thor: God of Thunder" has all the makings of something very special. Not every Marvel NOW! creator reshuffle has resulted in a perfect mix, but this one definitely has. For the first time in a long time, Thor has a comic that can match his movie incarnation for visual thrills and visceral fun. An indisputable must-buy.

Still, this issue reminds readers that if any comic on the stands right now is an antidote to the crossover-driven cycle of event and relaunch that permeates Marvel's line, it's "X-Factor." As usual, David delivers a wonderfully self-contained issue that should still work for new readers. Its tone, register and emphasis on old-school fundamentals means "X-Factor" won't be a book everyone takes to, but for now, it remains a book the X-line can be pleased to host overall.

As a result, it's tough not to feel as though Bendis' tenure on the franchise reached its natural conclusion some time ago, and that "Avengers" is representative of a weak attempt to carry on against better judgement. The strong showing of "All New X-Men" #1 certainly shows that he's got better in him.

The dialogue (presumably Gage's) is convincingly Slott-esque too, and has the characters' voices down perfectly. It's a little less quippy than Slott alone tends to be, but still casual and convincing. It's not at all jarring to have a guest-creator on board, and Gage helps maintain the book's consistency. Indeed, that consistency can sometimes work against it, making it easy to forget that the general quality of "Amazing Spider-Man" has been very high of late. If this is what Marvel organizes for a normal month, readers can't help but look forward to the upcoming grand finale.

Perhaps that's a good thing after the structured, gargantuan ideas of Hickman's run. Perhaps there is still a big twist coming that'll deliver something unexpected. But it's not in this issue. "Fantastic Four" #1 appears to be a deliberate attempt to go back to basics. It's not bad, but nor is it the punch in the face the book really needed to shake it out of its perpetual complacency -- and if Matt Fraction can't deliver that, who can?

It's a genuinely inspiring collection, brimming with talent and ideas, bursting at the seams with love for the medium. At a time when the price of comics is frequently used as a criticism against the slight nature of an issue's contents, there's no finer way to spend $3.99 than on this: 30 double-sized pages of brilliance, guaranteed to introduce you to some fantastic creators, both new and old.

It's not quite the dramatic overhaul the Marvel NOW! branding may have implied, but with Gillen's snappy dialogue and thematically layered writing on display alongside some well-tempered artwork from Greg Land, it's got all the hallmarks of a strong series in the making. "Iron Man" #1 sees Tony Stark heading into uncharted waters and, crucially, makes a convincing argument for readers to tag along.

Still, as a de facto X-Men title between cancellations and launches, it's doing its job. And crucially, it's leaving characters in a more interesting place than where it found them, which means it's doing its job well. For a series with a thankless remit, it's better than I would have hoped.

In every way worth mentioning, this issue is a treat to read. Unlike some point one issues, it's an essential purchase for anyone who has even the slightest interest in the character. And if nothing else, it's worth buying just to see two creators working at the top of their game.

In all honesty, it reads like a fill-in, not the ending to one of Marvel's most enduring titles. Perhaps it was never possible to put a satisfying cap on that legacy (no pun intended). Perhaps the creators just weren't interested in doing so. It's nice that it ends on an optimistic note (which is something of a rarity in modern comics) but aside from that, there's little here that makes it stand out as anything special.

A bold experiment, then, but one which wasn't as successful as it could have been. Not so much "Incredible Hulk" as "Unconventional Hulk". Whether you enjoyed it or not, it's safe to say that it was time to wrap it up. It's just a shame that didn't happen more definitively.

So in the end, not unlike its title character, "Journey Into Mystery" was the little book that could, and did, and suffered for it. Effectively, it was a Vertigo book in the Marvel Universe twenty years too late. It's tempting to say that we shall not see the likes of it again -- but how depressing would it be to actually believe that?

It feels like unhelpful shorthand to praise a comic for being fun, so even though that's what "AVX VS" #6 is, let's instead praise its other qualities: it's humorous, inventive and routinely gorgeous. Best of all, it puts together unusual creative teams and gives them the space to do what they do best -- and as any comic reader knows, that's where magic comes from. It's no surprise "AVX VS" #6 is full of exactly that.

There are things about this issue that still don't work on a micro scale. Aaron's pet theme of faith crops up and seems to serve little to no purpose in context, while the importance of the Iron Fist isn't really clear (from this issue, at least). But in general, the issue delivers a strong ending which resolves the story's ideas and core plot. Where crossovers are concerned, that makes it something of a rarity. It's not necessarily the finale the previous issues lead to -- but it's probably the finale the creative minds (and fans) were hoping for.

Admittedly, the book isn't a perfect proposition as a stand-alone story -- it's heavily rooted in the political wrangling of the ongoing series and narrated by a character who only appeared in Japanese cartoons -- but that doesn't make it impossible to follow. It's even a rare example of an annual that justifies the increased space. Only IDW's frankly painful pricing lets it down in any substantial way. If you've ever read and enjoyed a "Transformers" comic, this is worth a look.

Even so, this is a story that seems to know where it's going with well-executed visuals and a tightly-wound plot. Far from being a stunt, the President Cap plot makes sense in context and is being treated with sufficient respect by the writer. If you pick it up hoping to find out what Captain America does once he's elected, you definitely won't be disappointed.

It's fair to say that Bendis and Simonson have produced better than this, and recently. "Avengers" #30 fails as a tie-in and on its own terms. There was a good idea at the core of the issue, but it's been so poorly executed that it outright ruins the issue. Unless you're a completest, you can safely avoid this one.

Still, as a "TNG" fan, I can't deny getting what I wanted out of this issue. It's perhaps a little too close to the plot of the Voyager episode "Scorpion" for my liking (Borg encounter superior foes, turn to humans for help) but other than that, it was mostly well-executed and, more importantly, instantly familiar. A must-buy for fans of "TNG" who want to see what the old gang's up to.

Still, judged as an issue of "New Avengers" rather than an installment of crossover, it does work, and it's going to have consequences that will presumably be explored sooner rather than later. There's enough "AvX" content to justify the banner, but at this point it's back to doing its own stories -- and to be honest, it's all the better for it.

As usual, Brian Wood and his collaborators have turned in an issue they can be pleased with. Many a creator-owned series has lost its footing by the time the first few issues are out of the way, and the draw of the book's concept has had to concede audience attention to the plot and characters, but "The Massive" #4 is as fresh as it ever was. Encouragingly good.

It's fair to say, however, that this first issue slice doesn't quite give us enough to get sucked into the story just yet. Again, this would appear to be a pacing issue caused by the adaptation -- but then if you're buying this reasonably niche product, you're probably ready to forgive its shortcomings anyway. Indeed, it's worth remembering that "it ended too soon" is far from the worst failure to be accused of.

So a mixed bag -- for the lead story, good ideas that never quite get the delivery they demand, and for the backup, decent delivery but no clear purpose. It's the same combination that drove me off the book some issues ago, and that will fail to keep me around any longer for a second time.

Of course, that's not to say the issue isn't good, because it is. Wells and Dillon are both consummate craftsmen who know how to deploy their skills to create a story that works -- but somehow, placed together, they haven't quite created the spark that helps turn a good comic into a great one.

Still, it is ultimately a complimentary complaint, and "America's Got Powers" remains surprisingly overlooked, given the talent on it and the quality of each issue. If you haven't tried it, now's the time to get on board.

However, it's debatable whether this concept is strong enough to carry two issues, particularly when the execution overall is often a little weak. As an amusing one shot, it might have left you wanting more, but the cliffhanger doesn't really seem strong enough to pull people back for the second half. It isn't awful, but nor is it easy to recommend. If you're a fan of more comedy-tinged Spider-Man outings, this is for you, but ultimately, it won't satisfy everyone.

It's fair to say that the ending of this comic (without spoiling it) suggests an interesting direction for Psylocke, and one that maybe even revisits some material from the earliest appearances of her current incarnation. For longtime X-Men fans, this is the X-title to read. As Remender heads towards the next arc, it seems likely this book is building towards a fantastic conclusion, and issues like this suggest he's playing a fantastic long game.

Perhaps "Daredevil Annual" #1 is merely suffering from its role as the middle part of a trilogy. Perhaps the standards of Waid's run are just impossible to live up to. In any case, there's nothing here that justifies a feature-length story or the extra cost of such. Only die-hard completists and ClanDestine enthusiasts need apply.

However, it's clear "Spider-Men" will go down in comics history as a perennial favorite. Indeed, it's already hard not to root for a sequel where Miles gets to return the favor and visit Peter in the mainstream Marvel Universe. Maybe it'll happen, maybe not, but if it's half as much fun as this series, it'd be justified. Let's just hope we don't have to wait another 10 years for it.

It's fair to say this does have the feeling of a fill-in issue, but as a story it's a nice celebration of the character and his past (Who knew Uncle Ben had other maxims?). It's not especially clear why, of all the possible titles and numberings, this should be "Peter Parker: Spider-Man" #156.1 and it seems to further exemplify Marvel's approach to titling and numbering as "anything that sells, regardless of how much sense it makes" -- but that's no reason to ignore what is, ultimately, a great one-off tale by a pair of solid creators.

A possible point of criticism is that it hasn't been that long since "Dark Reign," when every tie-in book followed a failed-assassination-attempt plot. However, deployed in isolation, the concept holds up. You wouldn't want every tie-in to be like this, but one is actually not so bad.

Still, this is a series likely to attract people not for its writing, but for Mahfood's artwork, and on that level it works completely, which is why I'll continue to buy it. It's just a pity that it feels like a throwback, when it could have been a leap forward.

Because few things hurt quite like a story can. Like a vaccine for despair. Like training wheels for heartbreak. It may be upsetting, but you come out of it better equipped to deal with reality. In a medium where character deaths are deployed as readily as punctuation, it's a privilege indeed to read a story that understands how to execute a death story so it matters to the audience.

It's a shame that this didn't click with me, because I'm a big fan of the character and was hoping for something to be enthusiastic about. Instead, this is an odd issue that delivers its best material early then doesn't seem to build to any kind of point. Unlike Danvers' previous series, which had a clear (if vaguely-defined) hook of her attempt to become an A-list superhero, this one spends more time trying to figure out the character's nature than convincing readers that there's a story coming. It probably makes sense from the perspective of a creator to spend time establishing the framework and testing her boundaries, but as someone who's already invested in the character, I can't help feeling that I'd rather read a comic about what she does, not who she is.

In short, it's a bland and inoffensive attempt at turning toys into a story -- but is it worth a read for anyone who wasn't a massive "Battle Beasts" fan? No. Not at all.

Ultimately, this is a comic destined for cult success at the absolute least, and probably greater. With its dark sense of humour and an uncompromising approach to somewhat subversive material, it feels like an underground hit that belongs to an earlier era. In more ways than one, this is a legend in the making. Definitely give it a shot, if only so you can say you were there when it happened.

Still, set against this book, the rest of the DCU looks positively anodyne. It's a thrill to read and a joy to support. Nelson is an unusual yet engaging protagonist and the supporting cast are full of weird and curious figures that invite you to learn more about them. If you're not frustrated by complicated stories and Morrisonian narrative sleight-of-hand, it's a must-buy. Quite simply one of DC's best titles at the moment.

Still, as comics go, it's merely unimpressive rather than particularly bad. It's unlikely to make new readers care, but if you've been following the story of Romulus over the last few years, then at least it seems that you're about to get some kind of resolution -- and then we need never speak of him again.

There's definitely a sense that the creative team is in their groove and it's just different enough from "Kick-Ass" that we can avoid calling it a rut. You may not like "Hit-Girl" #1, but you can at least respect it. Funnily enough, that seems quite appropriate.

Still, that's a small blip in an otherwise note-perfect book. Between Wood's objective approach to the story and characters and David Lopez's beautifully accessible artwork (clean, inventive and delicate without ever losing the weight of the action), this is an X-book that demands to be read not just by fans of mutants and superheroes, but fans of any sci-fi.

Sadly, for a series with a generally good pedigree, there's no doubt that this issue is veering into completest territory. It's not a great story, but it's a decent complement to "Ends of the Earth" and it'll function well in that role when it's presumably included in the trade collection. But otherwise, it's average on every level.

But in the end, "Century 2009" reminds us that "League" isn't just a story: it's all stories; a romance-horror-comedy-satire-polemic-parody to inspire and inform. At a time when Moore's opinions are being analyzed and dissected so publicly, it's worth remembering that whether you agree with him or not, he remains one of the most talented writers ever to grace the medium. And that's one thing that can't be taken away from him.

It's a shame, because there's a lot to like here: the characterisation is good, there's clearly a lot of thought placed in the plot, and Kelly's visuals are worth the cover price alone -- but it's all adding up to a book that just doesn't have the visceral punch it needs to make each issue feel satisfying. It's as though Cornell has paced the comic as he would pace a weekly TV series, and ultimately, that's too slow for monthly comics.

In any case, "The Massive" is everything readers have come to expect from Wood: provocative, original, and fiercely intelligent in both conception and execution. Don't you dare miss it.

Aside from the name change, it's business as usual: strong characterization, great art and the same villains-as-heroes premise. Whether this "new era" grabs you ultimately depends on how interested you are in the incoming team and how willing you are to wait around for the old one. Other than that, the outlook looks promising.

So, another good issue of "X-Factor" that recaptures the long-absent spirit of the book's early days. It's great to see a title cast in such a retro mold of sub-plots and single-issue stories that doesn't feel out-of-date. Where most books attempting to do something a bit more traditional end up feeling stilted and outmoded, "X-Factor" combines an older style of comic book storytelling with thoroughly modern techniques -- and the fact that it's not involved in any crossovers right now is just one more reason to enjoy it.

That said, this is a well-executed, if increasingly thin story that relies on an emotional core that can only just support the necessary weight. There's a decent concept at its heart, but the execution doesn't quite work. Not bad, but not as good as it could have been.

While at this point the Punisher guest slot doesn't seem to actually service the story, the issue's finale suggests we may see some more guests soon enough, and that in turn suggests that it's not something happening by accident. We'll no doubt see before long. If you've got any interest in the character, now is a good time to start reading -- although do yourself a favor and read the similarly great #7.1 issue too!

And, of course, the wider point about the Disir: how myths and legends have historically treated women rather badly. It's interesting that Sigurd, the notional hero, and the Disir, the apparent villains, have switched roles over the course of five issues. The exploration of this idea makes the story deeper than it first appears and now that it's over it'll be interesting to re-read it all with knowledge of the ending intact and see how its points are made.

Technically, it's an excellent comic with top quality art and scripting with a clear set of ideas to deliver. The only way it could have been improved is with a narrower focus, but that's not a mistake on Aaron's part, just the way he's choosing to execute. Still, all things considered this is probably the best tie-in yet and definitely worth a look.

The waiting is the only hard part about the issue, though -- in every other respect, it's a joy to read. Technically excellent with well-judged pace and tone, it's everything a Spider-Man fan could want. Now let's see more of it, and soon. The wait for issue #2 is going to be a hard one (especially for someone reading the issue two weeks before it's street date!) but one thing is sure: when the second part of the story arrives -- as the saying goes -- action will be our reward.

Still, there isn't long to go now, and there aren't any huge technical failures -- it's simply more hit than miss for me. The ending of this issue at least promises a battle royale worth coming back for, and in the end, where Spider-Man is concerned, even a miss for Slott is better than most.

Although the outcome of this story is known (to an extent) thanks to scenes from other Marvel titles which come afterwards, it'll be interesting to see how things shake out. At present, Captain Marvel's fate seems uncertain, and if the character is facing a re-introduction it's not the horrifying prospect it could have seemed. Similarly, finding out how this story affects the "Secret Avengers" cast will be an incentive to come back. It's rare you get to read about superheroes failing, but the framework of "AvX" means that there's space for that to happen. I can't wait to see what Remender does with that.

With the Hulk receiving an unexpected boost from his appearance in "The Avengers," this book couldn't have come at a better time. As with the movie, this is a version of the Hulk you can root for. One who's the star in a world that's supposed to belong to someone else. Pick it up, and you won't be disappointed.

Still, while the stories themselves may not be literary high points, we must give credit where it's due: this is Marvel trying to give exposure to characters who wouldn't sell under their own names in the hope that something might click. If you're reading "Ends of the Earth" and want to see more of that story, there's certainly nothing that'll make you feel as though you've wasted your money. But for the most part, it's a pair of sub-plots surgically exorcised from "Amazing Spider-Man" and given a zombified existence in their own comic.

With Zeb Wells having departed as writer, there is a slight shift in the tone and humor of the book, but it's nothing so drastic that previous readers might be upset. With a strong emphasis on action, comedy and fun, it's everything the first five issues were (though I admit skipping last issue's "Omega Effect" crossover) and retains its status as one of the most enjoyable Marvel books currently being published. In a line full of crossovers and multi-part epics, "Avenging Spider-Man" is an oasis of understated brilliance and gives you exactly what you want to read when you pick up a book with Spider-Man and She-Hulk on the cover.

It's certainly a book that will delight X-Men fans with its extensive character studies and its focus on inter-character relationships all over the X-Men franchise, but it's hard to imagine those dropping in for the sake of a tie-in will be entertained due to the focus on X-Men intrapolitics. It does answer the question of why Wolverine was willing to fight his friends, but there's a distinct lack of "Avengers Vs. X-Men" that in the end is likely to put non-regular readers off.

It's certainly not an awful comic, but there's a distinct feeling that no-one involved is putting their best foot forward. Licensed tie-in comics have a rich history of mediocrity and sadly, even an association with what is (for this week, at least) the world's hottest brand in pop-culture can't break that cycle. Don't feel bad for skipping it.

So, a slightly faltering start for the crossover, but not one which readers of either series should be put off by. It's hard to imagine newcomers sticking with it, but fans of either series will find something at once familiar and original and that's enough to mean it deserves a chance.

It's true that no part of "Mind the Gap" fails outright, but it seems somehow weaker than the sum of its parts. There's not a bad creator in this bunch, but something isn't catalysing their collaboration. More often than not, it's visually flat and overly wordy, eager to tell instead of show. McCann's admissions that this comic started life a TV script are easy to believe and would explain some of the book's problems: without actors to add charisma, or a camera to convey intimacy, the story too often feels distant and lifeless. On screen, it would have worked. On the page, it doesn't seem to.

But the fact remains: this is an "Avengers Vs. X-Men" tie-in that has no Avengers and no X-Men. On a technical level, it's actually quite good -- but the story itself is so far from what it purports to be that any reader hopping on board for the crossover alone is likely to be nonplussed.

It's not perfect -- the art is bound to be divisive and the story seems to veer sharply away from the task of stopping Phoenix in the latter half -- but if all tie-ins were this good, no-one would complain about buying more books to follow the story.

"AVX: VS" #1 is, in many ways, the comics equivalent of professional wrestling. There are big moments of drama. Memorable images. The occasional shot of dialogue that'll make you smile. But really, it's all about seeing who wins the fights, appreciating the techniques of the characters (and creators) and getting invested in the outcome even though it's of no material consequence. If you like that idea, then you're going to love this book. If you think it sounds stupid, then 5-star rating or not, you can comfortably skip it.

In general, however, this is a strong debut from the creative team and one clearly packed with love for its subject. It's impossible not to be charmed by that, even if some of the edges are rough. To be honest, if you're the audience for this comic you'll have known from the moment you read the title. The best thing we can say about it is, quite simply, that it is everything you're hoping it will be.

There's no doubt that fans of Bagge's other work will enjoy this, but it may surprise those who have found his other series (such as "Hate") a little too acerbic. There appears to be a strong, traditionally structured story at the heart of this issue and plenty of directions in which it could develop. It's a slow-burning introduction with an occasionally frustrating lead, but by the end of the issue it's concept and characters should have you engaged enough to want to continue -- if not to learn what'll happen to Krause, then at least to see what the real truth of the Reset technology is.

As with any event book, you could pick at its imperfections until they rip open and declare it a failure -- but ultimately, when the book is called "Avengers Vs. X-Men" you can't exactly criticize it for delivering just that. As fun to read as it looks like it was to create.

It's a fun adventure for the character, but it's less a story about Daredevil than it is the first part of his story. The idea, presumably, is to lay the groundwork so that readers can explore more by reading the rest of his published career, and in that sense it's a success -- but if you're familiar with the character already, don't expect anything other than an enjoyable retelling of his early adventures.

Where this issue excels, though, is in its treatment of the X-Men as a soap opera. Multiple subplots get advanced, new ones are created and there's a sense that the story moves on even though the villains are dispatched. There's no reset button ending and no happily ever after. It's probable that the developments of this story will reverberate through Gillen's "AvX" tie-ins, and that only makes them more intriguing. Particularly when you see that final panel.

Even so, despite being in its 20th year (the series re-numbered when it switched publishers) "Lenore" is a comic whose standards have never slipped and it deserves recognition for that fact alone. If you like one issue, you'll like them all and you'll never be disappointed by the story direction because you'll never have a chance to build up expectations about where it's going. How many other comics can guarantee you that level of entertainment and unpredictability?

In a wider context, however, it does feel a little like this storyline has run out of steam. It's exciting to see the old team face the new team, but the time-skipping story is incidental to that. After so many issues, the format seems tired and reasonably easy to see the course of: the team fights the locals, then jumps into the future before the consequences come back to haunt them. We do appear to be leading towards some payoff, but even with this most enjoyable diversion taking place, it's hard not to be reminded that it's long overdue.

It's a pleasant surprise to see what is essentially Marvel's B-list Spider-Man series turn out one of the best Spider-Man (and indeed, Captain America) stories in years but that's what we've got here. If any criticism can be leveled against it, it's that the story arguably veers towards being sentimental or trite, but it's convincing on its own terms and in an industry dominated by downbeat endings where no one really wins, there's more than enough room for this kind of light-hearted story once in a while.

In fact, the one thing this issue doesn't do is actually pit the Avengers and X-Men against one another. They don't meet or even speak on the phone. We simply see the problems both are dealing with and are invited to draw our own conclusions over how that will set both families on a collision course with one another -- and why not? This is, after all, the prologue to the story. Still, if it's representative of the quality of the crossover to come, then Marvel should soon have some very happy fans on its hands. Fingers crossed, everyone!

In the end, it's serviceable. Neat, but uninspired. With any luck, we'll see the Gen Hope kids appear in a better context in the future, but right now, X-Men-in-training wasn't working for the audience. In more prosperous times this title would have had a strong run, but it's no surprise to see it limping home under the current market conditions. A good try, but one that ultimately came at just the wrong time.

The problem, really, is that "Kick Ass 2" lacks any specific arc or direction. If we were to boil this series down to its core idea, it's not so much "more is better" as "more is more". When "Kick Ass 3" does come out, we can only hope it presents some new ideas because if "Kick Ass 2" did fall short of expectations, that was the reason.

Six issues in, it's fair to say that there are things in Aaron's "Incredible Hulk" run that haven't yet delivered on the initial promise and perhaps it's that the story is too long. There's one more issue to go before Aaron is joined by a more subtle and understated artist in Steve Dillon, which may have a positive affect on the writing.

Still, the story holds up and it's not as if readers haven't been prepared for this approach. "Journey into Mystery" is intellectual without being stilted, and not afraid to be funny where it could be melodramatic. A consistent monthly read and as ever, one worth investigating.

The only real criticism that can be levelled against "Saucer Country" #1 is that it ends too soon. Not for the story, but for the reader. A double-sized issue to kick the series off would have been perfect. As it is, there's plenty of intrigue and entertainment here to last until issue #2 -- let's just hope the wait isn't a long one.

With so much about this book's premise already telegraphed in its prelude, the big question (certainly, for me) was what hook Lapham would come up with to bring readers back. The appearance of an unexpected character at the end prompts a tentative eyebrow raise, while the narrative twist intrigues rather than excites. There's definite potential, if only it can lighten the tone slightly and give us reasons to care about the characters. Let's hope issue #2 delivers.

As arcs go, it's certainly not terrible and the call-back to Ellis' run makes this an "Astonishing X-Men" story as far as one can be -- but again, it's not really clear what the book is doing with itself. It's nice to see Cyclops getting an effectively solo adventure -- but is that the kind of story this title is for?

Ultimately (no pun intended) this is a reasonably good comic, but in context it falls a little flat. It feels like a chapter of a story continued next issue, but that's not how the structure of this book seems to be working. It's not really clear what Spencer's doing and there's a very real danger readers will lose patience with this book before he lets them know.

While the results aren't entirely great, it's likely Gage's run will improve when he gets used to the characters. Still, it's hard to deny a slow start, particularly after Carey's years of excellence. There are hints here of the greatness present in Gage's "Avengers Academy" but he has a little more work to do until his X-Men can properly shine. Let's hope it normalizes soon.

Aside from the weak choice of villain, there's nothing to complain about here. It started off well but seven issues in, "Ultimate Comics Spider-Man" is strong as ever -- as enjoyable as it is brilliantly-crafted and an undisputable classic in the making.

Ultimately, this issue is a success but only a mild one. When the series is only just coming off the back of one of its best and biggest storylines in years, there's a sense the same elements it featured so heavily -- evil scientists and the employees of Horizon Labs -- should perhaps rotate out. To be fair, it's not enough of a problem to quit the book over but it also can't help feeling a bit like more of the same.

Even so, he's no Joe Madureira, and combined with Wells' ironically off-the-mark interpretation of Hawkeye, it makes for a disappointing comedown after the highs of the opening arc. It isn't awful, but ultimately, a Hawkeye book likely to upset Hawkeye fans isn't fit for purpose.

Still, for a story that has no natural connection to any of these characters beyond Ghost Rider, it's working out remarkably well. The pace is just right for a weekly crossover, and if you're bored of endless combinations of Captain America, Wolverine and Spider-Man, this is essentially a team book that carries no danger of them turning up at all. Give it a chance, and you'll probably be pleasantly surprised.

Still, with three more installments to go, there's plenty of time for the stakes to be raised. Even if that doesn't happen, this is still an immediately entertaining read with fantastic art, placing a spotlight on a little-explored character.

The back-up strip by Sholly Fisch and ChrisCross, at least, is the best yet, and the first that feels like it might have something approaching a point. Examining the character's final days in Smallville, it alludes to entire stories in single scenes, rendered in a tranquil and elegiac fashion by Cross. A welcome palate-cleanser after a disappointing main course.

It's a shame this wasn't knock-your-socks-off brilliant, as we've seen Remender capable of that in the past, but as an introduction to a new run it definitely works. It would have been nice to see some of the new "Secret Avengers" cast members turn up to solidify the start, but whether you call it an intro or a prologue, there's plenty here to maintain readers' interest until next issue.

It's tough to say which of the two Transformers relaunches is stronger, but such difficulty definitely stems from them being equally different takes on the same material, in much the same way as the two X-Men titles differ. In this case, I perhaps favor the wackier, less straightforward take, but it's understandable that some might not. With each as technically strong as the other, Transformers fans are spoiled for choice.

While it's unlikely neither Ramos art nor Slott's writing on this issue is going to win over any nay-sayers, if you've enjoyed their work so far, this is as good as anything they've done on "Amazing Spider-Man," with an ending that guarantees you'll be there for the next issue.

Still, that's little more than nitpicking. In terms of pure entertainment, it's tough to beat this book: consistently funny, good-looking, built on classic relationships. It's superhero comics in their purest form. If you don't enjoy this book then it's entirely possible that you're in the wrong genre. The first arc of this series has undoubtedly been a success, and the letters page makes it clear that Madureira is planning to return for an Elektra team-up in the future. That, alone, is enough to make me keep an eye on this series.

If there's any problem here, it's that it takes a long time for the characters to begin their own story. We already know Rodimus is leaving, but much of the issue involves cast members from the other Transformers book trying to convince him to stay. There's a pay-off at the end, but that means it feels a little more like a bridge between two stories than the start of new one. Even so, it's the strongest Transformers launch for a long time. After years of trying hard and never quite pulling it off, IDW might finally have cracked it with this creative team. If you're a Transformers fan who has repeatedly lapsed over the years (as I was) this is definitely the time to give it another try.

It's true that there's a lot here to like, and certainly the book is far from being a duplicate of "Amazing Spider-Man" purely because the lead and setting are both so different, but it's unequivocally not the book Scarlet Spider fans will have been hoping for. The scorched earth approach (virtually everything but the name) worked for Rick Remender on "Venom" not that long ago. Only time will tell whether Yost and Co. can make that strategy succeed a second time.

As a piece of entertainment, there's no doubt that it's well-executed story. As a product, though, it's difficult to justify (to the buyers) why they should have read an issue of one series under the name of another. Despite the thematic similarities and a little narrative confluence, there's nothing here that justifies the name "Uncanny X-Force" being put on the cover. If Marvel wants to dispel the notion that Point One issues are skippable, issues like this aren't the way to do it.

Brandon Peterson's artwork is strong, and although his interpretation of the phalanx is a little dark and sketchy, it befits the more horror-based approach that this story pursues. It's a good-looking comic with clear storytelling, and given such a tight story Peterson manages to pack in the visual information we need. Done-in-ones are an increasingly rare treat, and as such, demand a little extra when they do come along. "Uncanny X-Men" #4 is a great taste of what the series is offering, and an instantly memorable issue to boot. Definitely worth owning.

With only one more issue to go, we can confidently say that this series will become a classic read. If you're not reading it, it's probably a bit late to start, but do yourself a favor and buy the collection.

Of course, if you've been reading Carey's run for any length of time, this is exactly the sort of story you'd expect, and perhaps his restraint should be applauded. Rather than throw himself a party (which, after such a long run, would be more than acceptable) he's opted to make it as easy a transition for the characters as possible. For a book subtitled "Legacy," it's appropriate that in the end, Carey's tenure has left an impressive one.

As a stand-alone issue, it's difficult to call "Fantastic Four" #601 a good read. It's entertaining in the way the final 20 minutes of an action movie might be if you haven't seen the start. There's clearly more going on, though, and there are moments of obvious pay-off that new readers will miss. Technically, it's brilliant; but if you've not been keeping up with the story since it began, you're simply less likely to feel it the way long-time readers will.

As ever, the only substantial criticism that can be handed out to Bendis and Pichelli's "Ultimate Spider-Man" is that there isn't remotely enough of it. Every issue feels to short, and every gap between them too long. It remains to be seen what Miles' long-term impact will be on the Ultimate Universe (and pop-culture in general) but if Bendis maintains this level of quality, there'd be no blame to lay at his feet if things don't succeed.

The biggest strength of Aaron and Silvestri's Hulk is undoubtedly the tight focus on the character that the art and writing afford. It's a welcome change from the last few years, where multiple spin-offs of the character dominated his world. It might not be perfect, but it is interesting, and most importantly, it doesn't feel like a homage to earlier work. Hulk fans everywhere can (and should) expect to be entertained and intrigued in equal measure.

In terms of the book's components, there's no major failing of the writing and art. It reads fine and looks great, especially during action sequences. There's just nothing to the story beyond the question "What's so special about Marcus Johnson?" and the crushing inevitability that we won't find out for another few months. I appreciate a good mystery, but a book needs more than that, and in the end, I'm not sure this has anything else going on.

This review began by stating that a Carnage appearance needs a good story in mind to work, and this one seems to have the ingredients for that. Carnage has a goal, however twisted, and he's proven has the means to accomplish it. Despite that, it maybe feels as though the Avengers went down a little too quickly, but the final page promises that symbiote fans aren't likely to feel too aggrieved by that, having seen what happens as a result. If you don't already buy into the idea of Carnage, this comic isn't going to convince you otherwise -- but those sympathetic towards the character (i.e. if you grew up reading comics in the 90s) will find their tastes more than catered for.

With convoluted plotting, off-center personalities and too many characters for its own good, "New Avengers" seems to weaken with each issue. Bendis certainly has his fans. Sometimes, I'm one of them. But compare this with the likes of "Ultimate Spider-Man" and it's hard to disagree that Bendis is capable of far, far better.

Best of all, though, as good as this story was, it didn't need a crossover, or tie-ins. It didn't even need Wolverine to be conscious. No gimmicks, no pandering, no advance spoilers. No better way to have told this story. If the creators involved never picked up their tools again, they could rest easy knowing that just once, they did everything right. But with this much passion and ability on display, something tells me an early retirement is the last thing on anyone's minds.

Perhaps the most interesting thing about this story, though, is that despite being the voice of authoritarian government, Captain America is really correct: Venom is too dangerous for one man to control, and we've already seen him go too far. He's taking the wrong risks and making the wrong decisions. We might be rooting for Flash because it's his book, but it's not quite as clear-cut as that. I fully expect that idea to develop over the next few issues, and there's no question that I want to be around to read it.

Most importantly, this is a comic which displays the best the industry has to offer, particularly in terms of the UK small press, which typically doesn't travel far. Thought Bubble has quickly established itself as one of the UK's premier conventions, and if this is representative of its quality, it's not hard to see why.

In a wider context, this storyline injects some much-needed levity into Aaron's run. Although consistently excellent, there's been a tendency towards some rather serious material -- Wolverine in hell, Wolverine possessed by a demon, Wolverine killing his offspring -- so it's nice to conclude an arc that has the ability to smile in the face of apparent horrors, rather than take them seriously. All things considered, a nice end to the "San Francisco" years, and if the pay-off isn't particularly strong thematically, well, at least it works geographically.

In any case, "Uncanny X-Men" #2 is another high-quality addition to a largely successful line relaunch, and finds its corner admirably against its sister/companion-title, "Wolverine and the X-Men." The competition probably isn't doing its writers' stomach ulcers any favors, but the readers? We're spoiled for choice.

It's certainly not a bad story, but so far it's done little to justify its position in the revamped line-up. Where every other title has gone for a mission statement as its opening issue, "Astonishing X-Men" simply offers more of the same. Even if that's the point, it would have been nice to see it said with a little more confidence.

So far, the only real problem is that the attack here does beg the question of whether Wolverine's decision to move away from Utopia has provided any substantial improvement in their chances of survival (and it'd be good to see that addressed), but as a free-standing story, Aaron and Bachalo knows what they're doing and it's undeniably great fun.

As usual, then, "Amazing Spider-Man" maintains a high level of quality with only a few minor flaws. Perhaps it would have made sense to make a cleaner break somehow following Spider-Island, as this seems more like a return to mundanity than the start of a new storyline, and doesn't compare well to its immediate predecessor. Acceptable, yes, enjoyable, yes, but Amazing? For the first time in a while, not quite.

Although the plot is still nascent and the lead characters largely hard to get excited about (except Crossbones, who radiates malice with every word) "The Fearless" is losing its initial momentum and right now appears to be running on the energy supplied by its artists. It's tough to say whether there were simply too many contributors or whether the idea was perhaps mis-sold, but while this isn't a bad series, it's certainly not the series I was hoping for.

I fully admit, I was ready to drop this series once Gillen left, an opener this strong has left me wanting to read the next issue. If Generation Hope #13 can spur any other readers into a similar 180, well, that's got to be one in the win column for Marvel.

Despite "Regenesis" offering "X-Men" a new lease on life, there's little here to suggest that the book is going to improve with its reboot. It's not awful by any stretch, but it's impossible to get invested in a story so half-hearted about its own plot and characters. Gischler has been on the X-Men for a while now -- surely he's got more to say about them than this?

After years of finding the Hulk mythos near-impenetrable, Aaron's clean-slate approach is working for me, though fans of the "old" order will no doubt be pleased to see it getting a nod or two in this issue. Aaron's approach seems to actively seek new ground for its star duo rather than emulating past successes, and for the most part, it's working. There are creases to iron out, not the least is the uneven artwork, but with the promise of a new supporting cast, a fundamentally altered relationship between the Hulk and Banner and at least one central mystery to chase down, there's enough going on to bring readers back, issue after issue.

It's clear that the small seeds are intended to grow a mighty oak of a story, but based on this first issue it's hard to imagine people being interested enough to hang around that long. The central idea of a man thrust into the crazy world of superheroes is well-defined, but the series wasn't sold on that. It was sold on the strength of its lead character, and at this point he just isn't interesting enough to carry it. Whatever twist Yost and Co. are working towards should probably have come at the end of this issue, because without it, there's no hook, and this reader, at least, isn't going to spend any extra money hoping that one will appear.

It's a shame that Carey's final arc should be relatively unimpressive, and it's hard not to feel as though his Legion story would have made a more fitting conclusion. Carey's run has been relatively free of duff notes, but this arc certainly contains a few. Hopefully, his next and final issue will offer the chance for him to leave on a high -- one more typical of his usual quality.

Usually, I think defending a star rating in the body of a review is a little too meta, but in this case I feel it's worth discussing. This isn't a 5 star comic in the sense that it's the next "Sandman" and everyone should have a copy on their shelves. It isn't. It's a pop comic. A firework, not an atom bomb. But with art this good and writing this entertaining, you can't fail to enjoy it -- and that's a 5 star experience however you look at it.

As with every issue thus far, the cliffhanger moment is one which makes you want to return next month, and it'll be interesting to deal with Spider-Woman -- who, lest we forget, has all of Peter Parker's memories. We can probably assume that she'll give her blessing, if not take it further and become a mentor figure, but it's a conversation that needs to be had, and I'm on tenterhooks waiting to read it. When a book is this good, it almost goes without saying.

The art, from Stefano Caselli, is tough to fault, and provides important visual continuity with both Ramos' style and the "Spider-Island" prologue from a few months back which was also illustrated by Caselli. However, it's the synthesis of Slott's writing, Caselli's pencils, and Frank Martin's coloring that makes the final page work so well, providing an iconic Spider-Man image that feels, in its own way, like as big a deal as any of the plot developments in the issue. The visual is an instant classic. In its own way, it's a reward for the fans as well as the character, and most of all, a perfect final image to close out the storyline with, as Manhattan becomes "Spider Island" one last time.

So as it turns out, this isn't really an epilogue, but a prologue. It answers questions that maybe you didn't know you even wanted to ask. And if it turns one of the more gratuitous moments of "Fear Itself" into a success, well, it's hard to complain about that. Could it have been a scene in Fear Itself #7? Yes. But much against my expectations, I have to admit it was better to do it this way.

As a jumping-on point, this certainly works. It's kicking off a major storyline, it's settling the cast into a new status quo, and it's bringing in both old favorites and new characters. "Avengers Academy" is one of Marvel's most consistently enjoyable titles, and if this issue is anything to go by, it's going to stay that way well into the future.

In a way, it's a shame this story was put in "Astonishing X-Men," as it's exactly the kind of material that would feel at home in "X-Men Legacy." If you're a huge fan of Danger, or you like done-in-one X-Men stories with a narrower focus that most of the books offer, this issue is worth picking up. It's perhaps not hugely important in the long run, but then not every story has to be. It's entertaining, that's enough.

Indeed, if there's any problem with "Daredevil," it's that it's over too soon, and the next issue can't come quickly enough. Admittedly, the cliffhanger isn't very convincing (has Matt drowned? I'm guessing not.) but the way it's shown is enough to leave you wondering not whether he'll escape, but how he'll do it given what we know. I'm confident Waid has an interesting answer up his sleeve, and if nothing else, it's good to feel as though monthly readers are being catered for by the structure. There are very few comics that you feel you could give to anyone, but surely the current run of "Daredevil" is one of them.

Indeed, there's very little the book does wrong. The problem, if any, is that it extends (and to some extent, repeats) the premise of "Fear Itself" beyond the point where one expects most readers will be interested in reading about it. Fans of Valkyrie will be justifiably thrilled with her emergence as a wildcard (and Bunn's handling of the character is by far the best reason to come back next issue) but on a conceptual level, the series struggles to evoke any feeling other than fatigue. Not necessarily the fault of the creators of this series, but unfortunately, something they'll have to deal with.

Regardless of whether you accept the premise of this being Uncanny X-Men's "final" issue, there is, at least, the sense of an era ending here. The characters are grave and pensive, even if the story they're wrapped in is a little more knowing about their situation. It's not so much a victory lap as it is a limp back home with aching thighs and the knowledge that you've got to go out for another run tomorrow. But that's all right. "Schism" has left the X-Men in uncertain straits, and while this doesn't clear the board, it does, at least, convincingly reset the pieces.

As far as "Generation Hope" goes, this issue ably demonstrates the potential of the characters beyond the book's current remit, and acts more as a lead-in to a new run than a full stop on its current one. Subplots are reprised, rather than completed. Whether the book is being supported by fans of Gillen or fans of the characters remains to be seen, but there's certainly no shortage of stories for Asmus to continue when he takes over. It's sad that Gillen is leaving the series, but there's no doubt that he's leaving with the title primed to persist beyond his presence.

At 36 pages (and often quite wordy pages) this is a book with a lot of material in it, and readers will be satisfied by the depth, breadth and thought put into the characters' decisions. Inevitably, there will be some choices fans disagree with, but in general Gillen makes even the apparent fudges (Storm on Cyclops' team?) work on their own terms. For a book that could've been all about the destination, it manages to make the journey something substantially entertaining as well, and even for that reason alone it's worth a look.

It's a shame, because the baseline quality of Spider-Island has been quite high so far, at least as crossovers go. "Spider-Woman" and "Deadly Hands of Kung Fu" require you to have a built-in level of interest and enthusiasm for the characters to fully entertain, but they have, at least, been complete stories. "Spider-Island: Heroes for Hire" is a genuine misfire. A pity, from such normally reliable writers.

Despite such complaints, "Thunderbolts" remains a very high quality team book with fantastic art, enjoyable writing and a wide variety of characters. Universe-spanning in the best way, and highly recommended.

In a month when readers have been prompted to think about the craft of the first issue (courtesy of DC Comics) "Ultimate Comics Spider-Man" #1 makes it look easy, striking a strong balance between showing what readers need to know and teasing what might come later. Most importantly, what the issue lacks in costumed antics, it makes up for with character. It's only the second time we've seen Miles Morales on the page, but already we're starting to see how his background and outlook differ from Peter Parker's. It suggests that we're going to see a Spider-Man quite different than the one we're used to -- but at the same time, it's still one who you'll want to read about next issue. A very conventional start to the series, but in the Ultimate line in particular, that's exactly what it should be.

It has to be said, then, that if you only buy one Spider-Island spin-off, this is probably the one to go for. It feels like the Avengers have been dropped into a Spider-Man story, and they're not quite sure how to deal with it as a result. It won't radically alter the outcome of the crossover, but it's good for a few laughs. Why deny yourself that?

"Action Comics" #1, then, can only be called a complete success. If there's anything you can call a disappointment, it's that for Morrison's fans, it may be almost too conventional. Even so, as a first issue, as the start of Superman's career, it's hard to criticize. You might not like the idea of there being a second "Action Comics" #1 in the world, but having read this, it's tough to imagine a comic more worthy of the legacy.

Once again, "Uncanny X-Force" has to be called one of the most fantastically executed Marvel comics currently being produced. If you're severely put off by references to decades-old X-Men continuity, you might want to give it a miss, but those who are sufficiently immersed in the lore will find it one of the most entertaining X-books in years.

With that in mind, "Iron Age Omega" is a good ending to a good series. It won't be to everyone's tastes, but with solid art and enjoyable writing, it provides a confident conclusion to a fun little mini-event. If you've made it this far, it won't disappoint.

At this point in the arc, there's little that can be definitively praised, with the bulk of the story setting up dominoes to knock down later. Still, Rachel, Polaris and Havok do get some panel time, and for the majority of this book's readership, well, that's probably enough.

Although "Generation Hope" has been a great read since it began, it's issues like this, which tie it to the wider X-universe, which are going to make readers interested in it. If you're reading "Schism," this issue " and the next " promise to be nothing short of essential purchases.

Still, that doesn't ultimately take anything away from a book that is, quite simply, a technical masterpiece. Whether you're new to Captain America or a long-time fan, there's something to enjoy here. And if you're a fan of superhero comics at all, the "Captain America" relaunch is undeniably producing some of the best right now.

In fairness, if you're looking for more Spider-Island, maybe this won't be your cup of tea. But at the same time, if you're enjoying "Amazing Spider-Man," you'll probably appreciate the kind of character-focused interplay that dominates this book. It's not much of a tie-in so far, but a great comic nonetheless.

So, as you can probably guess, this book fails more than it succeeds. We can assume a star for Conrad's art on its own, and another for managing to deliver a coherent, if not especially interesting plot. Somehow, even that feels generous.

Still, if Thunderbolts can deliver this well for its core fans every issue (and recently, it has done exactly that) then maybe it'll pick up readers through word of mouth alone. It's a clich to say it, but despite being a mid-level performer, "Thunderbolts" is quickly proving itself one of Marvel's best titles. Perhaps not always perfect, but it's consistently enjoyable and, most importantly, providing a read unlike anything else in the line right now.

In general, then, this is a good issue, weakened largely by its similarity to those around it. There are certainly worse criticisms you can level at a comic, but it does beg the question of how well this'll work as an arc. It feels, thus far, like the weakest of Aaron's Wolverine stories in some time. That still means it's good, but it's not quite all it could have been. Hopefully the final issue will provide the extra missing ingredient.

The only major gripe is that it's perhaps a little frustrating that we haven't yet gotten to the crux of the schism, given that the next issue will effectively be the halfway point. It's not as though there isn't plenty going on, though, and there's more than enough time to make the story work. A very enjoyable comic, and one that bodes well for the future of the X-franchise.

It's been quite some time since Spider-Man had his own crossover like this, and the shift in gears is giving the book a palpable sense of excitement " and to think, this is just the prelude!

Ultimately, while the intrusion of "Fear Itself" into the book's ongoing narrative might not be doing "Avengers Academy" any particular favours, at least Gage is capable of making the most of the crossover in ways that let him advance his regular plotlines. If you didn't know better, it'd seem almost as if it were planned. If only all crossovers could be as bearable.

Still, the world's loss is "X-Factor"'s continued gain. When "X-Factor" has the right combination of script and artwork, it's one of Marvel's most enjoyable series, but between Lupacchino's absence and David's increasingly sluggish plotting, it's been a while since the book was on top form. Let's hope this storyline ends soon, and maybe the post-"Schism"/"Children's Crusade" effects can give it a much-needed shot in the arm.

Despite the criticisms, this is one of the strongest "Fear Itself" minis yet, and a good X-Force story to boot. It would have worked just as well in the regular title as in this miniseries, and when the main series is as strong as it is, that's a lot of praise. "Uncanny X-Force" fans should certainly pick it up. If you're looking for something with strong ties to the plot of "Fear Itself," you won't find those here, so be careful. As long as you know what you're in for, there's no reason you shouldn't enjoy it.

Once again, the event itself is being used as a backdrop for an entirely unrelated story. There's arguably a thematic link, in that the lead characters are terrorists (who operate by inspiring fear) but that's a tenuous link to the most tenuous element of "Fear Itself." This might well turn out to be a perfectly serviceable Wolverine story " and certainly, it'll sell better off the back of the crossover " but all things considered, it's probably not going to be the story that readers are expecting.

Still, if anyone's ever wondered what "damned with faint praise" means, that previous paragraph tells you. A series most notable not for being any good, but largely failing to be as bad as everyone was predicting. That's not exactly a quote worth slapping on the hardcover.

As I said at the start of the review, the phrase "waste of paper" is one I don't deploy lightly, and I'm not sure it really applies here. Certainly, there's some merit to be found, if only in the art. I have absolutely no trouble, however, describing this series as a waste of readers' time and money. It takes four issues to do nothing interesting, say nothing interesting, and " I suspect " will ultimately fail to have any impact on "Schism" (or any other X-Men comic, for that matter). Trust me when I say you can give this one a wide berth and miss absolutely nothing worth seeing.

Despite the minor flaws with its execution, it seems as though the book's new direction is going to work well. The creative team is solid, if still finding its feet, and at least they're aiming high. If every issue ends up this ambitious with its content and approach, the decision to take New Mutants in a new direction will be fully justified.

Still, that's better than most anthologies, and it's hard to find too much fault with being given more material, more cheaply than if it had been two separate issues. This, if nothing else, is an experiment I'd like to see repeated, and that's all the encouragement I need to call it a success.

In any case, so ends an era, with writer and artist, hero and villain, friend and family member all at their absolute best. Even so, for all of this story's superlative execution, what should excite us as readers is the thought of what happens afterwards. Ultimate Peter Parker might be dead, but Ultimate Spider-Man will live on, and the stories that are coming will truly be treading fresh ground. That, in the end, is the only justification anyone really needed for killing Peter Parker -- and what it inspires will be the only true measure of how successful this story was.

Despite these complaints, it's important to note that X-Factor is, as ever, good in its own way. Solid foundations mean that every issue advances the story, and even the shakier moments offer plenty of entertainment for your money. Could it be better? Certainly, and it often is, but for now it's good enough.

Between Espin's always-enjoyable artwork (which works just as well with the more talky scenes in this issue as it did in the previous, more action-based, stories) and Gillen's excellent handling of character, plot, and dialogue, "Generation Hope" has quickly become a title of dependably high quality, with engaging long-form character and story arcs working in sync. And when that's not enough, issues like this remind us that there are still plenty of surprises hiding up its sleeves.

As it turns out, far from being a throwaway miniseries, "Iron Age Alpha" looks like it's going to be a fun continuity-revisiting storyline for the Marvel fans in all of us. The final page twist suggests that Williams is going to keep the references broad, so even if you're not an Iron Man completist you should have little trouble following the story. If event comics are leaving you cold, or you long for a different take on Iron Man " or, indeed, just a good Iron Man story " the "Iron Age" miniseries this leads into looks like it's going to be all that and more. Worth a look.

Despite the odd choice of bonus material, there's very little to complain about, technically speaking. It's possible you don't like Carey's story choices -- his attachment to Frenzy, his belief in the Rogue/Magneto pairing -- but if those don't put you off, it's simply firing on every cylinder. "X-Men Legacy" might soon be the longest-running X-book. Issues like this show that it's worthy of the accolade.

Any Defenders fans who notice that this is aimed at them will probably enjoy seeing the characters back together again (even if there's little chance for the newer members to make their presence felt), and Lee Garbett's artwork is largely clear and enjoyable, so aside from Namor's characterization, there's little to criticize. Nor is there anything to distinguish it, though, and alongside so many tie-ins, well, that's a problem that it seems too late to fix.

With its mixture of strong characterization, continuity porn, and plot-focused storytelling, "Uncanny X-Force" is undoubtedly the X-Men book for X-Men fans. With Kieron Gillen on "Uncanny X-Men" and Mike Carey on "X-Men Legacy," the line is under the auspices of some fantastic writers right now, and Remender sits comfortably alongside them. Let's hope he sticks around.

Jason Aaron's "Wolverine" has been consistently enjoyable ever since he picked up the character, and while "Wolverine goes to Hell" was a diversion that maybe felt a little outside of Wolverine's usual comfort zone, he's firmly back in it with this one, and the quality of the read shows that. Enjoyable on every level.

It's hard to imagine that there are any X-Men fans who aren't pleased by Carey's long-running work with the characters, but if there were any doubt, it's issues like this which explain exactly why he's been around so long, and why he deserves to stay around even longer.

Even if the Ultimate Universe is heading for a reboot, it's good to see Millar making his exit in style. As a property, the Ultimates never quite recovered from Loeb's stewardship, but this issue suggests that Millar will at least put them back to the point where their credibility has been repaired. If we've got two more issues like this in store, the end of this series is going to be good fun.

On the plus side, this issue does largely lay out the facts of Magneto's life in chronological order for the first time since "Testament" was released, which is likely to be helpful for those who missed the series. And the art, itself, is good. The results are technically competent, but unengaging. Most damningly, the book is a poor trailer for Schism itself.

The package itself isn't awful, even if it feels like a below average issue of the title. It's hard to argue with getting three different stories advanced in one hit. It's just a shame that the lead feature feels more like an unwelcome diversion than a proper Spider-Man story. Let's hope the token interaction with the FF can now be considered fulfilled, and that the book can return to more conventional Spidey stories.

When we consider that the story of Jubilee accepting her vampirism has already been done better elsewhere, and the crossover which leads into it has been over for months, it's hard to see what made Gischler think this story was one which needed to be told. Perhaps we'll find out in future months. Unfortunately, when the best reason to read a story is so that you can understand the next one, you know it's on shaky ground. This issue does nothing to break that trend.

And when the driving force of the changes appears to be a result of the difference between "our" Spider-Man and this one, maybe it's ultimately no surprise that a Deadpool Annual is left with very little to say on the matter.

However, the best praise I can give Yost and McKone with "Fear Itself: Spider-Man" has been saved until last, and that's the assertion that this series is straddling the crossover line expertly. As a stand-alone Spider-Man story, it wo. As a tie-in miniseries, it works. It should satisfy both halves of its target audience, and if it continues to do so while taking the story in a more interesting direction in future issues, well, so much the better.

In keeping with the book's "slice of life" themes, the series doesn't end with anything earth-shattering. Some people have changed, some haven't, and they all have to come to terms with a couple of unexpected developments. You can't fault the technique on display, and if the utter lack of testosterone in the subject matter puts you off, then it's ultimately your loss to deal with. In a genre overwhelmed by male characters, it's great to see a male creative team attempt a female-led book, and for them to get it so right. "New York Five" and its predecessor might ultimately feel like the smaller siblings of Wood and Kelly's previous series, "Local," but it's just as perfectly formed. If nothing else, they've created a comic you would be proud to give to your female friends and relatives " and ultimately, the industry can always use more of those.

As ever, the Dodsons' artwork is fantastic, and the art team packs a potentially difficult, conversational issue with interesting character designs and location work to help ensure it never drags. Weaker artists could have had serious trouble with the pace and subtleties of the story, but the Dodsons are more than capable collaborators. The results are fun, interesting and original, and you can't ask for more than that from any superhero comic. Highly recommended.

"Avengers Academy" might be largely confined to its own world right now, but the day these characters step out into the wider Marvel Universe will be an enjoyable one for us all. For now, it's safe to say that "Avengers Academy" is a fantastic addition to Marvel's canon, and one worthy of the name Avengers. Let's hope year two is as much fun.

Even so, when the worst thing you can say about a book is that there's too much going on, it's hard to call it much of a criticism. "Thunderbolts" has always been one of my favorite titles, but under Parker and Walker it has the kind of energy not seen since Ellis took the title over. It's currently got a vastly different tone from that era, of course, but there's still an "anything can happen" vibe. Highly recommended.

Regardless of how interested you are in Spidey's role in the FF as an ongoing prospect, it's clear that his own title won't ignore it entirely. We don't need to see every arc as FF-heavy as this issue (after all, that's what FF is for) but in terms of establishing how the FF fits into Peter's life, this issue tells us all we need to know, and it's a story worth reading for that reason alone.

With a few jokes thrown in specifically on the subject of sequels, everything about "Incredibly Change-Bots Two" builds on the original without being a complete retread. Although the nerdier references were largely exhausted in the first volume, there's plenty here to enjoy and, indeed, its casual approach actually gives it wider appeal. If you're planning to sit through "Transformers 3" later this year, do yourself a favor and read "Change-Bots Two" first.

Combined with the hints we get at the Hulk and Deadpool's stories, I can actually imagine wanting to see what's contained within them anyway, especially if they're as off-the-wall and unexpectedly fun as this one was.

Even so, the series itself is well-constructed, challenging, and interesting, and all the other things you'd expect from Jason Aaron and Ron Garney. It's one of the better things that the Ultimate Universe has produced of late (although that's not saying much) and if you want to read a Cap story that's completely different from any other, this is undoubtedly a prime candidate.

Ultimately, the biggest problem with "Age of X Universe" isn't its execution, but its conception. Given the apparent premise of "Age of X" (which, admittedly, has yet to be revealed) I have a worrying feeling that this is a series dedicated to telling stories which didn't happen, based on false memories of characters who are trapped in a world that doesn't really exist. It's the kind of affliction that made the additional "House of M" prequel miniseries feel like pointless chaff. There are some fun moments, but nothing that particularly illuminates the characters or setting of "Age of X" " they're just a pair of What If stories set in the same universe. If that's what you enjoy, it's a fine example of it but, make no mistake, it's nothing we've not seen before.

Of course, maybe they do know what they're doing. The creative team of the "Dollhouse" miniseries is going to be completely different from this issue, and that means when the series does come out, I'll give it another chance all over again. It's hard to imagine that there are "Dollhouse" fans out there who won't buy the comic anyway, but if by some miracle you're reading this review first, take my advice and wait for it to turn up in the bargain bins before you waste your money.

Certainly, "Daredevil Reborn" is a return to form following "Shadowland", which pulled back so far back to the wider picture that it lost sight of its heart, and a welcome reminder that Diggle has as good a grasp of Daredevil as any of his predecessors.

Maybe that's not such a bad thing, for a change, but it does mean that those of us (and I include myself in this) who picked up the story hoping for Pak's take on the Surfer as continued from his various guest appearance in Hulk are going to be slightly disappointed. This is all about Norrin Radd, the man, and for better or worse, that's a subtly different story than what I was hoping for.

More than halfway through the "5 Ronin" miniseries, there's yet to be an issue which works on every level. Hopefully, the starring roles for Psylocke and Deadpool might do something to change that, but I have low expectations for what's coming. It's a rare misfire for Milligan, but a misfire nonetheless. Shame

With that in mind, there's no way that this issue could match the heights of the previous one, but it came far closer than expected. Amazing Spider-Man is one of Marvel's flagship series, and it's always enjoyable when we get issues like this which remind you exactly why that is. Undeniably great stuff.

As much as I hate to leave a story unfinished, this wasn't enough that I want to read more, and that means I'm left with a third of a story I'll never read the end of. I can see the value in Marvel trying to encourage people to pick up more annuals, but as a reader I have to admit that it's make me more wary of buying into this kind of cross-annual story in the future.

It's a shame that a book as good as "Hawkeye and Mockingbird" has given way to a weak miniseries such as this, particularly when McCann is the writer of both. I'd normally call McCann one of Marvel's most promising rising stars, so it's unclear what's gone wrong here. Hopefully, it's just a blip. It should be noted, though, that when "average" is the worst you've done, you're still way in front of the curve. Ultimately, it seems unlikely that "Hawkeye: Blindspot" will do anything to change anyone's mind that "Hawkeye & Mockingbird"'s cancellation was a mistake, even though it's not particularly poor in its own right. It's certainly a shame, but unfortunately, not one we can do much about at this point. Let's just hope McCann has a decent conclusion in mind.

All things considered, though, "Onslaught Unleashed" is simply illustrating why it is that Young Allies failed; It's straightforward superheroics done by two competent professionals, but it lacks whatever spark it needs to make it into something great. Maybe McKeever and Andrade will find it before the series ends. For the sake of Onslaught fans everywhere, I hope so.

Whether or not the issue convinces you that "Deadpool" is a series worth reading is debatable, but as comic in its own right, it's not bad. In fact, perhaps the best thing I can say is that if you only read one Deadpool comic this year " or indeed, in your life " then this one should undeniably suffice. Maybe that's enough.

In some ways, I actually wish this comic was bad, because at least then it'd be interesting. But it's not. It's dull. If you enjoy it, good luck to you, but it's not for me.

When all is said and done, there's nothing openly awful about this book, but as with many of the X-titles, I can't figure out what its identity is supposed to be. Way and Pearson are good, but they're not on the level of Ellis, Whedon, Cassaday et al by any stretch. If this is just another X-Men team book, then it's really got to be much better than "okay" " and frankly, I'm not sure this is.

"Age of X," and the situations and relationships are interesting. Cyclops and Frenzy make for an interesting pair (though let's all hope for no more alternate-universe Summers characters) and seeing Rogue/Legacy as "Age of X"'s de facto lead is fantastic if, like me, you're a big fan of her. I don't know where it's going, but a strong pair of opening issues means that I'm looking forward to finding out.

Pacing aside, there's little to complain about, though. It's still the best of the relaunched Avengers books, and I suspect it's going to read even better as a collection. With one more issue to go, all we can do is hope that Brubaker makes the most of it.

Overall, then, "Generation Hope" is fast succeeding at molding a group of all-new characters into interesting additions to the X-Men stable, and this issue emphasises their unique qualities and sets up the directions they'll be heading in, both individually and as a team. If the three issue fight scene the book opened with made you worry about the book's pacing and balance, this issue should allay those fears. In many ways, it reads like a first issue. With the status quo established, we can now look forward to seeing some stories told in it.

Although this kind of story is never going to win an Eisner, it's the sort of book that'll scratch any itches you've got about seeing Jean Grey in action. It's a competently executed and enjoyable read, and while it works as a stand-alone story, it also manages to inform the character in her other appearances. It's likely that if you were ever interested in buying this, you already own it. If you're still on the fence, give it a chance to entertain you.

Esad Ribic also returns to the X-verse following his turn in "Dark Reign: The List: Wolverine," the story that this issue chiefly builds on. As before, his work is fantastic, clean, almost ethereal, but completely adept at rendering the crazier ideas of The World alongside appearances by Spider-Man and Captain America (or, at least, Deathlok-ed versions thereof.) The X-line is remarkably strong right now, but issues like this mean that "Uncanny X-Force" is quite simply must-read stuff. Ignore it at your own detriment

In all honesty, if this issue represents the general quality of all of IDW's Star Trek work then I'm starting to think I'm missing out for not having bought any. There's nothing new going on here with either zombies or Star Trek, but by executing both perfectly, the Tiptons, Gary Erskine, and Casey Maloney have come up with a winner. Let's hope that part 2 is just as good.

It's certainly a good looking book, and since no story fails entirely, you should feel like you've gotten your money's worth. Certainly, if you just fancied reading a couple of Wolverine stories (as I did when I picked it up) it'll sate that desire, but at the end, Cross' is the only one that you might want to go back to once you've read it once.

Even so, the quality of this comic is such that it should easily please both Young Allies and Onslaught fans, far more so than the last appearance of the latter, in fact. It'll be interesting to see what motivations and plans McKeever applies to Onslaught outside of his initial context, and it's hard not to hope that he ends up bringing the character back into circulation by the end of it. Either way, it's a story worth sticking around for.

Certainly, a Deadpool comic isn't ever going to win any Eisners, but if you're a fan of Cable and Deadpool " together or separately " you could do far worse. It achieves what it set out to do, and does so very well. For that, it truly earns its 4 stars.

Perhaps worst of all, although the book appears to be trying to stand alone, the final-page twist relies on a story detail from "Infestation" #1 only covered on the recap page, and since I read this prior to "Infestation" #1, it was unclear what questions I was supposed to be asking of the twist. That alone, seems like bad form for a comic labelled issue #1, and it's unfortunately indicative of the comic's quality as a whole.

The issue ends with a pretty startling moment, one that crystallizes why this book is so enjoyable. Its art and its plotting are constantly unpredictable and exciting, and Remender has taken characters that were either sadly forgotten (Fantomex and EVA) or should have been long ago (Deadpool) and turned them into gripping protagonists. "Uncanny X-Force" is a strange, exciting, and truly vital comic. There's nothing else like it on the stands today, and that's probably for the best. I'm not sure any of us could handle more than one book this catastrophically great.

Of course, before that happens they have to go through Spider-Man, who makes a guest appearance on the final page. It's a well-executed surprise, especially given how isolated the X-Men have been from the regular Marvel Universe for a while. It's not going to win any awards, but "X-Men" #7 is a substantial leap in quality. Come for the art, but stay because it is, finally, offering you X-Men stories you won't see in any of the other X-Men books.

But enough of the technique, what of the story itself? It is, as you can probably guess, a gripping read with an unexpectedly tense cliffhanger. In a genre more suited to sci-fi and fantasy, it's good to see a writer unafraid to do a simple, slice-of-life comic, and do it so well. It's almost like "Gossip Girl" might be, had the writers of that show remembered not to make every character utterly wretched. Don't let the book's Minx origins put you off. There's no shame in reading a comic this good.

It's rare that an issue of "X-Factor" isn't uniformly above-average, but honestly, that makes it all the more disappointing to find an issue that's merely average. Let's hope David's plans come to fruition sooner rather than later so we can claw a little back from what we just read.

It's rare that an issue of "X-Factor" isn't uniformly above-average, but honestly, that makes it all the more disappointing to find an issue that's merely average. Let's hope David's plans come to fruition sooner rather than later so we can claw a little back from what we just read.

Next issue plunges us headfirst into "Age of X," and while the last couple of downtime issues like this one have been welcome, it's hard not to be more excited for the impending alternate-universe action. Let's hope Blindfold's visions are as dangerous and interesting as they sound!

That aside, it's a strong issue, and one which suggests that "Amazing Spider-Man" has lost nothing in its transition back to a single-writer vision. Hopefully the next arc will have a little more focus, but as an introductory/re-introductory story, there's almost nothing wrong with this one. It feels the start of a new era, and better yet, one worth reading.

Either way, it's a strong start, and pleasingly character-centric following the wide strokes of "Shadowland." Diggle's run has had its ups and downs, but if the rest of Reborn is as good as this, it's sure to end on a high note.

All in all, "Wolverine: The Best There Is" does little to convince me that a secondary Wolverine title needs to exist. I can almost buy the idea of giving him a mature-labelled series, but if this is the best use that can be made of the freedom to have Wolverine be a little more violent, then honestly, I'd rather not see it at all.

The only thing one can reasonably hold against "Children's Crusade?" The schedule. When superhero comics are this brilliant, this page-turningly compelling, the fact that we're being asked to wait two months for each issue borders on actual cruelty. Roll on, March.

Generally speaking, the Avengers has been great since its relaunch, but it's good to see Bendis doing a bit more of the character material he does well, rather than his impression of an "action" book. The final issue cliffhanger promises that the next issue might well follow the character-centric approach, so it's one that Avengers readers should be able to look forward to without concern.

Generally speaking, then, it's a mixed bag. Although technically good, it fails to deliver much of what it promises. Most of the criticisms could be eliminated by changing the issue number and title but, unfortunately, that's not the way it played out.

Despite Land's technical foibles, it's one of the stronger issues for some time. Perhaps Gillen has something to do with that, perhaps not. The beauty (and curse) of co-writing is that they get to share the blame. If every issue's this good, that probably won't upset them.

When all is said and done, though, the final page of this issue can't help but leave Wolverine fans with a reason to pick this book up, though. Next issue promises a scene we've never witnessed before, and with a character who has been around the block as many times as Logan, that's something to be savoured.

At this point, at the end of the second/third major arc (depending on how you count the "Second Coming" crossover) it's hard to say whether "X-Factor"'s new direction is working especially well. Certainly, it's providing some interesting character combinations, and giving Madrox and Co. a chance to build their profile in the Marvel Universe, but at the same time, it lacks the intricacies and character focus of the few arcs that came before the relaunch. Arguably, it needed a change, but 12 issues in, it's not clear whether that change was for the better.

Overall, it's hard to shake the feeling that the contents of this comic are largely redundant, but between the atypical interpolating structure, excellent artwork from both Roberto De La Torre and Marco Checchetto, and inventive, character-specific palettes from Morry Hollowell, it's ultimately a better read than "Daredevil" #512, the comic with which it shares so much, and a more reflective coda to "Shadowland" as a whole.

Certainly, the book isn't a complete mess, but it's also hard to say that it's a success. The results say very little about Daken and Logan that we didn't already know, and what it tries to say isn't very well-conveyed. A couple of good moments aside, the book's main contribution to the world is showing that Rob Williams could probably write a very good Wolverine, given the chance to tell a longer story. That's the kind of thing that makes it useful to editors, but ultimately, of little interest to the fans.

In fairness, there's nothing wrong with the story as a coda to "Shadowland." The main problem is that there isn't going to be an issue #513 in anything but number alone. It's rare an issue could have the words "Jumping Off Point!" slapped on the front, but this is one of those times. Daredevil will, presumably, have his own series again in a few months. Whether this one will survive much longer without him remains to be seen.

The ending Shanna piece is probably the most technically impressive, both in terms of Mary HK Choi's writing, which meshes 1950s pulp homage/pastiche with idiosyncratic humor, and Nuno Plati's art, which gives both the jungle and Shanna an sketchy, lithe and ineffable air. Between the inventive storytelling and beautiful, cinematic visuals, it's a real gem, and ultimately, one which just about tips the book into "worth buying" territory.

The ending twist sets up an interesting new status quo for the series, though one wonders if it isn't a little bit "Avengers: The Initiative". Still, it's Bendis' Ultimate Spider-Man; There's no reason to think it'll be anything but decent. It's always worth a look, and this is no exception.

Emma Rios' work on the lead is itself strong, and although her Peter Parker could look a little more Parker-ish, it's clear that Rios is an artist with a bright future. Between her and McKelvie, it's a good-looking book, while Ellis and DeConnick keep the writing engaging. It's likely to wrong-foot those looking for Osborn in a starring role, but if you can see past that failure of expectation, there's a huge amount to love.

Ultimately, this is a fantastic issue, and a brilliant single-serving primer for those curious about the series. Superhero comics don't get much better than this.

With "Avengers Prime" firmly settled into its groove, there's little else to do except acknowledge that this issue, as the penultimate issue of a miniseries, can't really be criticized for failing to provide much in the way of twists and reinvention. There's more to come, and as we prepare for the final act, what sticks out most is that it's a book being created to high standards. A must-buy for Avengers fans, and a refreshing change of pace from Bendis' usual approach to the team.

With a Spider-Girl backup rounding out the page count, there's a lot of story here even for a $3.99 book. Whether the change is drastic enough to win back the readers who left is debatable but, at the same time, if you've been enjoying "Brand New Day," there should be nothing here that turns you off. It's a strong start to a new chapter in Spider-man's life, and one I'm glad to be here for.

There's no denying the talent on display and, with so many unusual styles on offer, it's inconceivable that you won't find something that leads you to more work you might enjoy. Arguably, there's a slight tendency towards Silver Age pastiche " a genre well-worn even by more "mainstream" creators " but it's hard not to be charmed by such personal versions of familiar characters, even if they are being used in parody. As with any anthology, it's certain that some stories will click more than others, but even if you only like a few, it's well worth buying the issue just to read a few stories you haven't seen before (and might never again).

Right now, "Generation Hope"'s biggest problem is that it feels a little hobbled by the need to finish off a plot thread left dangling by "Uncanny X-Men." Once we get into the meat of the story, all the signs suggest that it's going to be great, and it makes me even more excited about the idea of Gillen joining the flagship series, too. Whether you're an X-Men fan or just want the chance to see two of Marvel's best newcomers firing on all cylinders, "Generation Hope" is a book worth picking up. Walk, run, fly, teleport, or bodyslide by one to your nearest retailer immediately.

Beyond that, there's little to say about the book. It ticks over nicely, sets up a few new subplots -- Remember those? Stories that weave between storylines. I know, I was surprised too. -- and knocks down a few, then brings the plot home with a neat little twist. The spread of characters means that fans from all eras of the X-Men should find something of interest to them, and Carey takes the opportunity to give characters like Indra the time in the spotlight they've been denied thus far. "X-Men Legacy" feels like a real X-Men fan's X-book, devoid of hype but high on storytelling and character, and it feels like it's only going to improve as long as Carey's in charge.

"Action Comics #894" isn't a bad comic by any means. In fact, it's quite good in most ways that count. It just can't help but miss the high standards it courted. Replace Death with some other character and this could have been a truly excellent issue. But invoke her, and the readers who arrive in her wake will expect far better than they receive. It's a risk Cornell clearly felt comfortable taking, but not, it would seem, one that has paid off.

Whatever you think of the subject matter, it's a fact that "Kick-Ass 2" has one of the most technically able creative teams in the industry, and that level of ability is reflected on every page. You may not like what it says or does, but it's hard to fault the way it's all done. If you liked the last series, then there's no doubt about it: get in line for this one too.

At the very least, now that "Incredible Hulks" has been freed from a seemingly perpetual crossover with the other books in the Hulk family, and similarly, with the Hulk actually back in it as a starring character, things feel like they're moving in a positive direction. If the series could just get rid of the franchise refugees it's currently hauling around and write a book just about the father and son team of Hulk and Skaar, it might actually prove itself the successor to Pak's original Planet Hulk/World War Hulk run. Things are certainly getting there.

Overall, it's an oddly paced opener, but one that mostly succeeds in holding the reader's interest. If there's any major criticism, it's that the story lacks a cliffhanger or hook to keep the interest bubbling over until next issue. If this were a one-shot, that would be fine, but for a miniseries it's hard not to want something a little more than "the continuing adventures of Knight and Squire" to bring you back next month. Other than that, it's very strong and with some interesting ideas that could potentially carve out a whole new area of the DCU. Definitely worth a look.

Ultimately, there's nothing truly upsetting about the story or its execution. It's just a shame that, once again, a Shadowland spin-off books has used the event as a generic backdrop rather than an excuse to flesh out the core story. Bar some minor thematic links and the appearance of ninjas, this Spidey/Shang Chi Vs. Mr. Negative story could have come at almost any time. It says a lot about the importance of managing reader expectation that as an issue of "Amazing Spider-Man" it would have been welcomed, but in a story ostensibly related to Shadowland, it can't help but feel like filler.

From the first issue, it looks like "Uncanny X-Force" might be a success, and it certainly deserves at least as long a run as its immediate predecessor. Despite the presence of Wolverine and Deadpool, Marvel's most over-exposed duo, this book feels like something you don't get elsewhere: an ensemble team book with strong fundamentals and a clear idea of where it's going. Let's hope the next issue keeps up this level of quality.

Still, perhaps this was intentional " or perhaps there's a rematch coming. Despite the downbeat ending, this arc in Captain America has been one of the most enjoyable for some time, and for all the finer details of Zemo's appearance, a large part of that has been in the character's reintroduction. I wouldn't be upset to see more of him from Brubaker in the future.

As it happens, nothing here is badly executed, but it does all feel a bit too by-the-numbers to be especially entertaining. The problems are largely about what's left out of the story " a hook, a twist, a satisfying resolution " and of particular concern is that Valkyrie never really evidences any personality outside of being a female Thor. Perhaps, if a new status quo had been properly established, it could have been a springboard into more stories, but the story ends with the character almost literally riding off into the sunset. There was the chance here to make Valkyrie into a viable stand-alone character, but by time we turn the final page, the job is only half-complete. So close, and yet, so far.

"Avengers Academy" is undeniably still a green book, but it quickly found its feet and is growing with each issue. It's even structured in such a way as to make it a satisfying issue-by-issue read, which is something increasingly rare at Marvel, particularly when the rest of the Avengers franchise seems geared towards collected readings. A great book with great characters, destined for greater things.

Artwork aside, "Uncanny X-Men" does, at least, feel like a progressive book again, and it's hard not to be excited about the direction it's moving in. With the effects of M-Day finally reversed and Kieron Gillen announced as the incoming co-writer, the future of the X-Men feels brighter than in a long time.

Overall, it's a reasonably decent issue, and an enjoyable outing for Ghost Rider. It doesn't reinvent the wheel, but it's cool enough and seems to know what it's doing. Decent script, decent art, and it's got Ghost Rider parked on a whale. If you want any more than that out of a Ghost Rider comic, you're probably backing the wrong horse.

But that's the problem: It's hard to complain about this book, but it's also hard to praise. As long as you accept the contradiction of there being very little Comic Book Guy in the issue, it's diverting enough to justify the cost. But compared to some of the utter classic, TV-episode-eclipsing Simpsons Comics I've read over the years, it falls far short. But, of course, let's not be too disappointed, because I wouldn't be a Comic Book Guy myself if I wasn't reading it and secretly thinking that I could do better.

Ultimately, the problem with Dark Wolverine is, in many ways, the same as it always was: an unlikeable main character with ill-defined goals, and not a shred of heroism to endear him to the audience. It's clear that Liu and Way know what they're doing with the character, but in all honesty, they have yet to convince me that it's worth doing at all. And if they can't do that in the first issue of a new series, I'm not sure they'll ever be able to.

That an anthology title has turned out to be a mixed bag should surprise no-one. The fact that it had two pieces I enjoyed makes it above average, even if there were two that I was massively indifferent to alongside it. I'd recommend the book for Young Avengers and Iron Fist fans, or people who love Marvel's wackier, more joke-y concepts. And if you find yourself in both of those groups, then good news: Marvel just put out the perfect book for you. The rest of us might do better to wait for the issue to hit the clearance basket.

On the plus side, the development at the end of this issue is an interesting one, though not entirely unexpected. The series has been gradually improving, so perhaps with his obligations to the crossover format out of the way, Diggle will deliver a fantastic two-part finale. Three issues in, though, I have to admit that with half the series gone, it hasn't lived up to the standard I was hoping for. But, then, I'm not sure I can remember the last Marvel event that did.

It's been a while since I reviewed "X-Factor," so I'm pleased to say that the book remains as strong as ever, helped enormously by the fact that the crossover has been banished from its pages once again. Solid, entertaining, and with a next issue preview that you can't help but look forward to. Not bad at all.

The big thing this book has going for it is that it is, far and away, the best thing to come out with the "Curse of the Mutants" name attached. In fact, it almost works well enough as a stand-alone piece to recommend buying even if you're not following the ongoing story. Give it a chance, and you might be surprised.

So far, it's one of the better Shadowland tie-ins, and I'm looking forward to the rest. I'm finally sensing a potential in the character which I've failed to get any hint of in the past.

It's almost a shame that this book is tied so directly to Shadowland, because it simply reinforces the notion that it's another spin-off, rather than a stand-alone story introducing a new hero. One must assume that Marvel know best how to promote their books, but had I not chosen to review it, there's no chance I'd have picked up this book and given it a chance at all, purely because I wouldn't normally buy spin-offs. I could, of course, be in a minority, but the constant talk of crossover fatigue makes me question whether that's truly the case. Like "Daughters of the Shadow", this is a strong book, and one that makes me care enough to come back -- and that's a rare thing for one, let alone two crossover spin-offs to do.

The main strength of the issue also informs its biggest failing. For better or worse, this story is mostly an attempt to flesh out behind the scenes of Shadowland. Removed from that context, I'm not sure how entertaining it would be. If, however, you're looking for the book which adds much-needed depth to Shadowland, there can be no doubting that this is it, and I can highly recommend it as a companion to the crossover, if not a substitute for it.

It's fair to say that there's nothing hugely deficient about this story. It just feels like a pair of relatively green creators doing a fairly routine X-Men story which was thrust into the spotlight without a clear mandate. While the X-Men fan in me can't help but enjoy Jubilee's return to the spotlight, there's nothing here that makes me think the story was so good that it needed an entirely new series to contain it. Marvel has admitted getting over-enthusiastic about a series' ongoing prospects in the past. Based on this issue's inoffensive, if unengaging story, I'm more convinced than ever that "X-Men" will prove itself to be mainly a barometer for the market's ability to absorb another X-Men title -- and that's not a healthy opinion for a comic to inspire.

Diggle's "Daredevil" run has been generally very strong, and the build-up to "Shadowland" has been fit to stand alongside the best of Bendis and Brubaker's runs. But now that the event is here, something seems missing, and right now it appears to be the personal air that has made "Daredevil" a consistently brilliant series for the last 10 years. It's fair to say that after that long, there's nothing wrong with trying something new, but two issues into the story, it's hard not to conclude that ultimately, it doesn't appear to be working.

The implied connection to Bullseye's death might make this seem like an important piece of the Shadowland puzzle, but it's hard to recommend to all but the most completist fans. John Layman is capable of far, far better, and it's hard to see what he thought he was doing here that seems to have failed so badly. Whatever it was, it seems best that we simply agree to move on and never mention it again.

As well as the main feature, there's also a lead-in to "Avengers: Children's Crusade" which explains Magneto's presence in that series. Well-drawn, well-written and relevant to "Uncanny X-Men" as much as the series it's bridging into, this is exactly the sort of backup we could do with more of. Combined with the main story, it makes for one of the better single-issue packages seen for some time.

Wolverine fans won't have long to wait for a new book, of course, with no less than two Wolverine on-goings cropping up alongside a Daken relaunch and an X-23 ongoing, but it's fair to say that this story had gone on long enough, and this issue, despite its flaws, can at least claim to be a fitting send-off for the title.

You could be forgiven for finding a tribute book like this to be a little fawning or sycophantic, and in truth it's hard to argue against such accusations without violating the premise of the work. It's safe to say that it's not reverential to a fault, however, and the book works as both a history lesson and a journalistic document of modern attitudes towards the venue. At the same time, the stories in this issue address universal themes, and the fact that it's rooted in a real time and place is an almost secondary extra. It's a comic that's definitely worth owning, and one that you can be certain is still going to be as relevant and enjoyable a decade from now as it is today.

In truth, there's little about this issue that Bendis' fans won't have come to expect over the last few years. While I'm confident that the issue will serve a wider story worth reading, it's hard to get too excited over this in and of itself. Better to just enjoy the jokes, take in the artwork and not worry too much about where the story is going until it actually gets there -- then go back and read it all properly.

In any case, it's still a far better comic than one could have ever predicted. Whether the concept will hold out over a second issue could be debated, but after an opener that strong, I'm more than willing to stay on board well beyond the opener.

Overall, it's hard to complain about this book. A few years ago, it would have made for a perfect between-arcs palate-cleanser, and long-time X-Men fans will remember that such books often become the most memorable. This is the spiritual successor to such issues, and as such, worth a look for any X-Men fan, not just the completists.

In any case, regardless of the quality of the writing, Mario Alberti's art is reason enough to pick up this series. It's a little bit Ditko, a little bit Kirby, and therefore perfect for this combination of characters. It'll be interesting to see whether Alberti's style reflects the various eras along with Gage's writing, but even if it doesn't, it's beautiful enough that it won't matter. It's hard to ask for superhero comics better than something like this one: perfectly drawn, brilliantly-written and aimed directly at its target audience. It's as close to flawless as you can reasonably want out of a miniseries.

In fairness, "X-Force" does provide the big story beats that the audience needed to see, and it does so with obvious confidence. The problem is that it does so at the expense of the smaller details.

Other than that, it's an enjoyable, fast-paced read and one that seems to embody the spirit of the Heroic Age. It's hard to articulate just how good it is to read a series starring an Avenger that doesn't even mention Norman Osborn, or Skrulls, or the SHRA. In all honesty, it feels like a bit of a novelty as a result. Whether read as a complement to the existing Avengers titles, or as a stand-alone story, there's plenty here to keep Steve Rogers fans entertained and give him some time in the spotlight to find out who he really is, if not Captain America.

At this point, I feel as though the review should actually get around to discussing the comic itself, but I do think the points made thus far are important ones, crucial to the reading of the book. As a display of artistry, "X-Women" is undeniably fantastic. As a piece of entertainment, though, it's merely okay. There are some great character moments that hint at quite how good this comic could have been, but they are far and few between. With Claremont's plot returning to well-trodden "mutants losing their powers" ground, and his dialogue and narration as over-written as usual, it never quite gets going in the way it should. Forget the gratuitous imagery. The real way in which this comic does the female X-Men members a disservice is by failing to give them an adventure truly worthy of their time -" or, indeed, of Manara's.

Regrettably, the comic is slightly tainted by McKeever and Baldeon's Nomad backup, which although a fitting complement in the early days, has veered away from the tone and subject matter of the title into less interesting territory. Nomad's position on the fringes of the Captain America universe is increasingly tenuous, and unless Brubaker intends to bring her into the fold more convincingly, it's hard to see why this backup continues to run, particularly with the launch of "Young Allies." Not that I want to complain too much about having a higher page count for $3.99, but to be honest, it'd be nice if the backup counted a little more than this.

Certainly, "Secret Avengers" feels like a shot in the arm for the franchise after a long period under Bendis' hand. Although I do generally enjoy his work, it's hard to deny that we weren't long overdue for a new voice and new characters. Brubaker provides both, a perfect alternative to the core Avengers books for those who want something a bit different but still Avengers-esque. The line's relaunch has been strong overall, but two issues in, it's clear to me that if you only buy one Avengers title, "Secret Avengers" is the one to go for.

Which, in a way, is good, because so far the writing on "Avengers" has been imperfect, though not massively flawed -" although the less said about the painfully self-indulgent "Oral history of the Avengers" supplemental the better. What bugs me is that for a second issue of such a high-profile launch it's hard not to feel as though it should be eliciting a more dramatic response than "it's alright, I suppose." Of all the Avengers launches so far, it's actually the flagship title -" this title "- which is leaving me coldest. If that turns out to be the case for everyone who reads this book then I'm not sure it's a good thing in the long run.

On the plus side, Michael Lark's artwork for the issue is fantastic. Atmospheric and gritty, perfectly in sync with the tone of Kelly's writing. The spider-books are undeniably some of the highest-quality books Marvel is releasing, technically speaking. The only gripe is that so far, this particular story isn't managing to be quite as interesting as it thinks it is.

Even so, there's nothing about the issue that wouldn't be right at home in "Amazing Spider-Man," so if the plan is to attract readers of that series, then mission accomplished; It's not essential reading, but if you're looking for something to complement the current Spider-title, this fits the bill fine.

Nonetheless, this is a strong return to form for both Fraction and the event in general. After a floundering middle act, there's a strong sense of purpose again, and a lot of plot threads waiting to be picked up on. Once again, I find myself eager to see where things will end up when the dust settles.

The only glaring error in the issue concerns its timing; It's apparently set after the next "Amazing Spider-Man" arc, part of which is spoiled by Arana's "current" status quo. The story tries to bring us up to date on her situation, but that didn't stop me feeling a bit wrong-footed by the situation early on. That aside, it's a straightforward opening issue with a lot to like, though I worry whether the lack of a well-defined setup or conceptual twist (both of which "Avengers Academy" #1 delivered) won't harm the book's chances in the long term. It's good, that much is certain," but only time will tell whether it's good enough.

The issue is padded out with a reprint of "Uncanny X-Men" #108, containing a classic Phoenix story referenced in the issue. It's always fun to revisit this period, when the X-Men were at their most vital, but I can't help feeling that as a choice of reprint, it's a little over-familiar, particularly given the target audience for this specific series. Even so, it's not difficult to be charmed by it. Ultimately, the weak art of the main feature makes it hard to call this one of the better "X-Men Forever" issues. But as a "giant size" collection, it is at least good value.

Literally the only thing that upsets me about Hawkeye and Mockingbird is the feeling that it's far from being a sure thing. In many ways, this series has the potential to be the next "SWORD", the next "Captain Britain", the next "Power Girl" -- a smart, funny, fresh take on superheroics that winds up ending before its time. This series deserves a long and entertaining run. Let's get the word out.

The question, then, is whether what follows can match expectations. It's not a matter of living up to the standard of Gray, Palmiotti, and Connor -- few could hope to -- but, at the very least, it has to not feel like a pale imitation of its current self. For what it's worth, I'm far more interested in what the creative team does next, rather than what the character does next. Gray, Palmiotti, and Conner finally provided the starring role that Power Girl was born for, and although the 12-issue run is too short by half, at least it exists at all. It's a story so well-told that it deserves a place on everyone's shelves.

Whether you're an old "Thunderbolts" fan, or someone attracted to the title by the likes of Cage, Juggernaut and, er, Man-Thing, you should find this an enjoyable read. If there were ever any doubt, the final page twist left me with a huge grin on my face and a strong desire to read the next issue immediately -- and it's been a long time since the series gave me that feeling.

It's an odd side-effect of the increased emphasis on the character's solo title that this story would probably have had a better chance if it were just another arc on "Amazing," rather than a spin-off. It isn't horrible, but it is unremarkable. Nothing about the title or concept feels compelling enough to grab reader interest, whereas an in-built audience would have been satisfied, if not blown away. To that end, if you can still make room for yet another Spider-Man book in your life, it ticks the boxes -- but I'd expect three times a month is more than enough for most.

Still, it's hard to criticize a book like "X-Factor" for looking after its core audience, and if some incoming readers recognize its quality as a result of the crossover, well, that can only be a good thing.

Still, "Astonishing X-Men: Xenogenesis" is an entertaining, if idiosyncratic X-Men story. Those who have enjoyed Ellis' run to date will probably find it a real treat. And those who haven't? Probably best to stay away from this.

Those two aside, the extremes of quality are largely avoided, with the middle-ground well-trodden. But then, it's an anthology, that's what they do. Due to the range of stories, I expect any reader will find at least one they love, but for $4.99 for one 8/12 page short isn't really enough for me. Presumably it's enough to entertain the legions of Wolverine fans out there, but unless you're one of them, there's nothing here that screams "must buy."

It's rare that such an obviously commercial book achieves such a high creative standard, and perhaps a book like "Astonishing Spider-Man/Wolverine" is the perfect antidote to all the Secret Invasions and Sieges Marvel readers have endured recently. Finally, a story that exists for its own sake, told by the best creators around. You can't ask for more.

Four issues in, it's clear that this series of "Demo" will prove a worthy successor to the original. It's rare a comic this essential comes out in any month, so to be guaranteed at least two more -- well, I'm looking forward to it.

Indeed, that kind of lukewarm response is what typifies my relationship with "New Avengers" at the moment. It's fine, but it doesn't impress like I want it to. Over the course of 64 issues I've gone from a loyal Bendis supporter to a rather unenthusiastic (and worse, habitual) purchaser of "New Avengers." Even on its bad days it's good, but with the prospect of a fresh writer coming to the property for "Secret Avengers," I'm increasingly tempted to drop "New Avengers," and issues like this don't do anything to convince me that's the wrong decision.

As if providing a new reader-friendly story, great writing, and enjoyable artwork wasn't enough, this issue is also double sized, despite being priced at $3.99. As well as a double-length feature, which is packed with memorable reveals and twists, you also get a few pages looking at the development of the new armor design. From any angle, this is one of the best value comics Marvel has put out in months, and anyone even thinking of buying Iron Man should be assured that now is the time to get on board.

Certainly, Dark Wolverine has survived better on its own than many expected, but the true test of its mettle will presumably come at the end of this story, when it becomes time for the book to strike out alone. As it is, this arc is effectively the finale to the current era of Wolverine and Daken's relationship, and the book sets that particular ball rolling reasonably well.

The only big criticism I can level against the annual is that unless it's leading to something more, it feels a little too peripheral to the ongoing story. There's a "Giant Size" issue coming along soon to conclude the first volume, and it's hard not to think that this would have been a good place to do that story instead. As it is, I like the issue; it's just that the right time for this story would seem to have been about 20 issues ago.

Overall, then, it's a fairly high quality issue. The variety of characters is unusual, but makes a refreshing change from the recent parade of reinvented Spidey villains that allegedly comprises "The Gauntlet" -- indeed, this issue seems so divorced from that plot, with scant mention of the regular supporting cast, that one wonders if it wasn't some sort of inventory. Still, a book with Spidey's rapid schedule can get away with that once in a while, and although this comic doesn't reinvent the wheel, it does at least give it a satisfying spin that justifies the cover price.

Reed, as a writer, is someone who can turn out excellent books on occasion, which makes his sub-par work feel all the more disappointing. This issue, thankfully, is one of the former examples and although it isn't very Siege-centric, fans of Spider-Man (or Ms. Marvel) should definitely give it a look.

So, what I assumed would be a book about establishing the new Jackpot and her world actually turned out to be one designed to take her off the board entirely. To be honest, I can't fathom why this story was done in a miniseries rather than in the main title, where people might have actually read it. Regardless of how good or bad it was, the biggest crime of this series is that a potentially interesting character from the Spider-Man universe has been quietly shuffled into limbo. Given that Jackpot was a major part of the "Brand New Day" relaunch (even though it was the Alana Jobson version) it's a shame to see wasted opportunity, and that's what this feels like.

Although it's true that there's nothing going massively wrong here (and to be fair, more interesting things happen in this comic than in the last chapter of "Second Coming") it's still a bit hard to see where it's all going. At the moment, the majority of X-Men are running around having fights that don't resolve, and the forward momentum seems to be dwindling. It can just about get away with it on a weekly pace, but let's hope something big happens soon.

The reality, then, is that this book achieves just about enough to get away with its flaws. To his credit, Van Lente's masterful handling of the tone makes the cliffhanger work in ways it shouldn't, and that's enough to bring me back for issue #2 "- but there are problems with the book's concept and execution, and that's never a good start.

A mixed bag, then, but not one that works very well. The book's art is its saving grace, preventing the over-familiar story execution from becoming as boring as it could have been. Right now, it feels impossible to explain what the story is actually about. Three issues in, we should be past that stage, and it's a definitely problem that, to be honest... we're not.

Yost's run on "Red Robin" has been consistently enjoyable, and with only one more issue to go (following the final part of this story in "Batgirl") things are coming full circle in a satisfying way. It might not be a high-profile series, but it's a fun slice of super-hero fiction that recognizes its strengths and plays to them.

On the plus side, there are moments of excellent depth for characters like Colossus, who defuses Nightcrawler's anger at the existence of X-Force with a single well-placed philosophical question. There's also a clear and interesting lead-in to the next issue, offering the chance to see the New Mutants in action rather than more of the "Alpha Team" that has dominated the story so far. Honestly, I don't expect this issue to be typical of the crossover in general, so hopefully the next chapter will prove me wrong

There's a raw imagination to each page of "Spider-Man: Fever" that blows away the cobwebs of every dreary, by-the-numbers superhero title you've read in the last five years. It actually makes me nostalgic for the days when Marvel published books this interesting and unusual as a matter of course. Admittedly, if every comic was like this it might get exhausting. But right now, there's more than enough room for it on the shelves.

All things considered, the issue ticks all the necessary boxes, and it's easy to appreciate the lengths to which it goes to provide a satisfying "New Mutants" story that also works as part of the wider crossover. If tie-ins were all this neat, maybe crossovers wouldn't have such a bad rep.

"Necrosha" never felt like the crossover it was billed as, seeing that "New Mutants"/"X-Men Legacy" got scant mention throughout. It's now pretty clear that it was really just an "X-Force" storyline with lofty ambitions that struggled to be realized in the execution. Ultimately, after months of build-up, it's hard not to come away feeling. . . underwhelmed.

A multi-page backup by Fred Hembeck and some behind-the-scenes material rounds out the book, and the resultant package is fairly good. Undeniably, it's worth having the material in print, but it's hard not to feel like it's a bit late to be releasing this as anything more than a curio for the regular "Amazing" buyers. That being the case, well, it probably could have gotten away with being an arc in the series itself, rather than tucked away online or in a miniseries where, one suspects, very few people will actually bother to read it.

It isn't just there for the writer, however, as Ultron is the obvious choice of villain to illustrate Pym's growth as a character. He began Slott's run underrated, if not outright pitied -- but now, he's ready to lead the charge against his wayward android "son". Although the ideas of Ultron declaring himself the "Ultimate" version of the character (which we've seen before...) and an infinite number of Jocastas as his robot "brides" come over a bit too Twilight Zone-rejects, there's still a certain charm to Slott's take on the book that means it works -- just about.

Rounding out the contents are a handbook-style recap of X-Factor from their early days as the X-Men up until Louise Simonson's run concluded, and more interestingly, the first part of an "Origin of Apocalypse" backup strip which tells Simonson's version of the character's beginnings. It's not much of a story in itself, but as a fan of Apocalypse, I can't help enjoy it, and it only helps the book feel worth its price tag. Once again, despite all logic to the contrary, "X-Factor Forever" transcends its nostalgist3 beginnings to become a genuinely entertaining and enjoyable book.

"X-Men Legacy" has really hit its stride recently, and this issue demonstrates perfectly what that means. It might not be setting the charts alight, but it remains a consistently entertaining read worth the time of any X-Men fan.

Of course, since Cable as a whole has been little more than an extended trailer for the series, it would be a real disappointment if it accomplished that much at the very least. And until we actually do get to read "Second Coming," it's going to be a bit difficult to know whether it's truly done any more than that.

It's tough not to enjoy the rather downbeat conclusion as something a miniseries would have trouble doing with more traditional heroes, but at the same time, it doesn't feel like it says much about the characters -- except that they failed to escape the shadows of either Norman Osborn or Nate Grey. And when that's a problem in their own title, it's hard not to wonder whether the series can support another story about the characters, whose purpose died at the conclusion of the Utopia crossover.

"Ultimate Comics New Ultimates #1," then, isn't quite as good as it could be, or perhaps should have been. But it is generally an improvement over the last Ultimates series. That, at least, we can be thankful for.

Despite the attempt to tell a story about Thundra and Lyra, the reliance on flashbacks for several different characters and an inability to stick with one plot thread ultimately ruin the issue's flow. This material would have made for a fine back-up feature, but the emotional core is too far removed, and the plot mechanics too disparate to form a satisfying story. It's not the worst comic the Red Hulk has appeared in by a long shot, but in the bigger picture, the only thing its contents are good for is padding out future handbook entries on the Red Hulk, Thundra and Lyra " and that's not enough of a reason for it to exist.

With the art and writing both possessed of good and not-so-good qualities, this is a comic that has to rely on its content alone to compel the reader. Certainly, there's no reason that can't be enough, but in this case things are a little too complicated to fully engage a newcomer. If you've been following "Black Panther" already, it may well feel like an explosive start to a major event in Black Panther's continuity, but casual readers attracted by the title or issue number will probably come away from it disinterested. Despite all that goes on, an appreciation of the Black Panther is necessary for the story to work, and I suspect that like many who will find themselves reading this issue, my own appreciation of the character simply isn't big enough to sustain me into the next chapter of the story.

In Immonen and Pichelli, Marvel have managed to find a fantastic creative team (and, letterer aside, an all-female at that) with a distinctive and original take on the X-Men. Compared to the rather dour and homogenous feeling most of the line has at the moment, this can't help but stand out. It might not have an event to piggyback on, but it is, undoubtedly, a worthwhile purchase for all current X-fans.

And that, more or less, is it. "Phonogram" was, if nothing else, a reviewer's comic. It had depth, subtlety, and best of all, it had a point it wanted to make. There are valid criticisms you could charge the series with. Perhaps you found it cliquey. Perhaps you found it pretentious. Perhaps you simply thought a story about people in a nightclub wasn't really that interesting. But Phonogram was different, and ambitious, and more often than not, it met its own criteria and then some. It played with storytelling, and with format, and it did it all while looking great and having the kind of dialogue you can quote. Whatever your personal opinion of the series, you have to admit that the shelves will feel much emptier without a new Phonogram to look forward to.

The issue, then, is a rather odd mish-mash of styles. It's violent enough to show Wolverine using his claws on living creatures, but it's also tongue-in-cheek enough to show him doing the washing up. If you're the sort of person who avoids Marvel Adventures books because they're not in continuity, then this probably isn't for you. But if you're the sort of reader who appreciates a good story on its own merits, regardless of how it chooses to entertain you -" well, in having a sense of humor about its lead, it's instantly better than most of the other Wolverine one-shots we've seen recently.

Even so, it's an enjoyable issue over all, and perhaps it actually becomes more so when taken in isolation. It's the kind of introspective Wolverine story we see far too little of, and the kind that you can return to again and again. If you're a fan of Wolverine as a character, rather than a pure killing machine, it's undoubtedly a must-buy.

Taken as a whole, though, the real problem with the story is that doesnt feel like it has much to say about the character. Early hints that the series would look at how playing hero might affect Bullseye appear to have fallen by the wayside, leaving the book struggling to find a core concept. It was never worse than okay, but with a writer like Diggle attached, okay is well below par.

Kick Ass arrived on the scene like a boot in the face, never compromising or apologizing for what it was, and in the end it only works on the same level as Frank Millar's "All Star Batman" -- either you enjoy the sheer absurdity, or you don't -" and for those of us that do, this issue provides as satisfying a punchline to the joke as we could've hoped for.

As is traditional for a Marco Martin comic, though, it's the artwork that makes the issue fun to read. Martin's pencils are nothing short of phenomenal, a rare example of an artist who can make mediocre material into something brilliant with his sheer ability. It's a shame the story for one of Martin's rare outings isn't better, but even on a bad day, Slott outclasses most of his peers, so we can at least be thankful of that.

The backup strip brings Sean McKeever and David Balden's Nomad into the fold -" a welcome development for a character whose miniseries was criminally overlooked "- though less welcome for the presence of Araa, a super-heroine who has failed to find an audience once or twice already. The character's appearance distracts from the introduction of Nomad and her own supporting cast, and although the classic superheroics are a welcome counterbalance to the heavy politics of the lead story, it can't stop this from feeling like a lackluster issue overall.

Ultimately, though, it's Don Figueroa's above-average treatment of the subject matter that makes the series worth buying at all. The bold lines and colouring recall the look of the animated series, while Figueroa himself manages to squeeze expression out of even the most confusing designs. Nostalgists will enjoy seeing his depiction of the characters regardless of context, and as an Ultra Magnus fan, this issue makes me particularly happy. It's rare I buy a book purely for the art, but this is one where the art is certainly more of a draw than the writing. The Transformers have seldom looked this good; It's just a shame the plot doesn't match up to the visuals.

All in all, one suspects that "X-Men Forever" will never make it beyond its core audience of X-Men nostalgists and become anything resembling an essential comic, but for all the faults with its reason for existing, you can't fault its consistent quality. It isn't Claremont at his best, but nor is it Claremont at his worst; Somewhere in the middle ground is an entertaining, if not flawless storyteller.

This is just the latest example of Marvel playing fast and loose with its own continuity, and although it's easy to accuse detractors of nitpicking, ultimately this kind of thing harms both the story and the reader's experience by sucking all the dramatic tension out of titles; "X-Factor," still on the fringes of the X-Men franchise, is a book which works best when it thrives on that tension, rather than deliberately sabotages it.

In sharp contrast to the writing, the artwork on Cable has been variable and uneven, something exemplified by this issue. Humberto Ramos makes an unlikely appearance pencilling the opening "chapter", offering a nice visual recall to the days of the "Messiah Complex" storyline that kicked all this off. Lan Medina pencils Chapter Two, with some convincing, if conventional work. Paul Gulacy tackles the third chapter in an apparent rush, with some wildly off-model face and distorted expressions. He's demonstrably better than this. The three styles clash unfortunately and it lowers the quality of an issue that, under the right artist, could've been one of Cable's more notable outings. As it is, it's all just a bit -- unremarkable.

If there's anything we can take away from this one-shot, it's that all the "event" comics in the world aren't a substitute for a good story. This issue knows what it wants to say about Captain America, and it does it with flair and brilliantly refined craft. A new chapter for the character and, perhaps, the start of the best one yet.