"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.

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.

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.

"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.

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.

Put it this way: catch me in the shop and I'll even BUY an issue for you. Issue #9 is as satisfying an ending as any story has ever received, and if you want to know how good that feels, you'll need to be around for the next arc. Please don't disappoint me.

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.

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.

Burchielli's artwork remains strong, and his depiction of the rain-soaked DMZ in this issue deserves specific praise for accurately capturing the apprehensive air permeating the city during the climax to this story. The grimy pencils and muted palette means that every page looks as gritty as Wood's writing makes it feel. At this point, it's hard to compare the series to any other comic, and the only appropriate reference point I can come up with is "The Wire", as the two mix long-form drama with ambiguous, real-world politics without ever attempting to suggest that there are easy answers to the complicated situations depicted. "DMZ" is always enjoyable, but this recent arc has been a definite high point.

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.

Of course, speaking of "looking back" -- "Local" is now due for release in a hardcover format. The episodic nature of the series means it'll benefit massively from a collected edition. My recommendation? Buy two, then give one to someone who doesn't read comics and see what they make of it. It's just that good a series.

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.

The b-sides for this issue are a fantastic supplement to the "a-side", as Kid With Knife retells the story of "Rue Britannia," rendered as a hilarious pastiche by Leigh Gallagher, and featuring Gillen's most self-effacing moments yet, alongside yet another two-page outing for Indie Dave with art by Lee O'Connor. Once again, "Phonogram" delivers a truly stunning single issue package that makes the most convincing case yet for the continued existence of the "floppy" format. If only every comic had as much work put into it as "Phonogram."

As ever, the main story in "Phonogram" is supplemented by two b-side strips and a shedload of annotations and essays. In one b-side, David LaFuente turns in a dead-accurate illustration of the delirium that accompanies earworms. In the other, Charity Larrison's airy artwork accompanies the latest installment in the "Indie Dave" arc, with some particularly impressive character design. As ever, there's a lot to like about Phonogram. If you can make it to the end of this issue without finding something to enjoy, then frankly, there's no hope for you.

With such negativity surrounding the main story, it's hard to love this issue like the others in the series, but that's largely because "Phonogram" has set such lofty standards for itself. The fact that my main criticism of the issue concerns how it made me feel is, in truth, a celebration of its quality "- unlike far too many comics, the one thing it didn't leave me feeling was bored.

The issue is also rounded out by two more b-sides, both starring Kohl (David, not Helmut). In the first, PJ Holden's dark and moody visuals perfectly evoke the kind of provincial drinking establishment the story is set in, and briefly return "Phonogram" to its "Hellblazer"-tinged past. Elsewhere, Cadwell's clean lines and vivid colors are an instant fit for the Phonoverse, and for someone more familiar with smaller chunks of art from his webcomic, "The Everyday," it's a treat to see him tackling full-size storytelling and composition. His is clearly a name to watch out for in the future, but then that seems to be true of just about everyone who touches "Phonogram."

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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!

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.

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!

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.

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.

If there's anything really wrong with this issue, it's that it's ultimately just another chapter in the wider story. Taken alone it's hard to read. Still, Brubaker and Epting are crafting a Captain America story that, by this point, can't fail to become legendary. It verges on being a definitive one for the character even though it doesn't have Steve Rogers in it ""- at least, not so far ""- and because it's being told outside the current Skrull-induced craziness of the modern Marvel Universe, it has near-perfect pacing that'll mean it should stand alone for years to come.

Leonard Kirk is also doing some of the best work of his career. With this series, his style shows hints of Brian Hitch and Alan Davis, and there's no way that can be taken as a bad thing. Between his art and Cornell's writing, "Captain Britain and MI-13" has stormed out of the gate as Marvel's best and most original launch in some time. I'd call it a sleeper hit, but really it's too good for cult status. It deserves to be massive.

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.

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.

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.

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.

Ares, then, is an unlikely hit in just about every area. Despite inauspicious beginnings, "Dark Avengers: Ares" has had a better start than some ongoing series get, and at this point, the knowledge that it'll only be three issues long just feels... unnecessarily cruel.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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!

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.

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.

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.

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.

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?

Just the fact that Marvel is willing to publish "Kick-Ass" at all, with two of its most high-profile creators on board, has surely cemented the credibility of the Icon brand. If Marvel can put out this without any worry, then surely nothing is off limits?

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?

By the end of the issue, readers are left in no doubt that this series will be far more about Sheldon himself than the events he witnesses. If you buy this issue simply expecting to see him photographing the events of "Inferno" or "Secret Wars" then you may be disappointed -- indeed, only events from the 60s get a look in here. It's certain that any Marvel fan will be engaged by Busiek's studied portrayal of life inside the Marvel Universe, but, as with any good comic, it's the characters that make it worth reading.

Perhaps the best thing about the plot points that Bendis is finally paying off in "New Avengers" now is that it makes you want to go back and re-read all those early issues to find clues. Surely, if a good comic is one that makes you want to read the next issue then the mark of a truly great comic is one that makes you want to go back and read the previous ones.

All things considered, it's been a while since "New Avengers" felt quite this brilliant. Now that the "Secret Invasion" slog of Skrull-induced paranoia is behind it, the series feels like it's moving forward again -- it might be on issue 48, but this almost functions as a new issue 1, and that can only be a good thing.

This series has been an unexpected hit, and definitely worth picking up in collected form if you haven't been buying it already -- without giving away the ending, there's plenty of room for a follow-up. Marvel would be mad not to commission one. It's the best superhero action movie never made -- and as we know, good superhero movies should always come back with an even better a sequel.

It really has been a while since Marvel released such a charming comic, especially one so clearly aimed at a different audience than most of their superhero fare. While it's early days for the miniseries, the strength of the first issue is practically enough to keep it running on goodwill for the remaining 4 issues. Not everyone is going to appreciate or understand the tone of "Hellcat," so the important thing now is to make sure it finds its way into the hands of those that will as soon as possible, because there's almost nothing else like it, and originality like this needs all the support it can get.

"Phonogram 2" ultimately represents a huge leap forward for both Gillen and McKelvie's craft and the audience the series is capable of reaching. That said, the subject matter and sheer weight of the metaphor means that not everyone's going to "get" the series -- the rest of us, though, can content ourselves with pining for issue 2.

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.

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.

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.

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.

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.

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.

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).

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.

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 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.

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.

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.

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.

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.

It's gratifying to see the Ultimate line's relaunch going this well, and even the last page shocker -- one that no-one will have seen coming -- suggests that the Ultimate comics are ready to re-establish their identity. Between this and "Ultimate Comics Spider-Man," the line is firmly back in must-read territory -- let's hope it stays that way.

There are a few places where the relaunch may bamboozle readers. A 6-month gap has introduced a few changes to the status quo, but in comics, this is a familiar, easy-to-swallow device. If anything disappoints, it's actually the lack of shake-ups. This is a good issue -- a great one, in fact -- but it's not substantially different from what came before. Following a major crossover event and hype from editorial, the title's familiarity turns out to be both its biggest strength and biggest weakness.

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.

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.

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.

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.

Ultimate Origins promises to be a rare thing -- a completely self-contained story that'll have major ramifications. When you turn the last page, you'll feel like what you've read is mostly prologue, but it's a prologue that'll leave you more than ready to read the rest of the story.

As a package, there are no huge faults with the annual -- a minor art glitch here, a pacing problem there -- but on the whole, it does deliver a satisfying story that can be read in one sitting, while also tying into the main series in an important way. In short, it's everything that Quesada wanted Marvel annuals to be when they returned from their hiatus, and it's everything a reader could want out of one too. Definitely worth a look, whether you read "Ultimate Spider-Man" or not.

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.

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.

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

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.

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.

In an industry where any increase in sales at all would be bucking the trend enormously, "X-Factor" seems almost capable of making such a turnaround. There was a time when the title was routinely described as "the best X-book Marvel is publishing" -- whether David got complacent, or the rest of the line simply improved to match his standards is a point for debate. A point that is indisputable, however, is that over the last couple of issues, David has placed the series back on top of the pile. Masterfully written, entertaining to read, it's one of those comics that should delight anyone who thinks they're a fan of superhero soap-opera, or those who cry out for single-issue stories instead of plodding, decompressed arc. If either of those sentences describe you, pick it up immediately. Don't let the hard work of these creators go to waste.

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.

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.

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.

If any element of the issue really fails to meet expectations, it's the villains, who so far appear to be some fairly generic Mayan spirits of some kind. It feels a little bit like a monster-of-the-week "Buffy" episode. The villains aren't really the centerpiece of the issue, however, so we can let it slide for now. The heroes are the star of the piece, and in fact, after seeing Wells' take on Wolverine, I almost want to see how he'd fare on his solo title. With the right mix of comedy, bad luck and old-fashioned action, Wells easily sustains the high standard of Brand New Day's stories, and there's no sign of the Spidey juggernaut slowing down just yet.

So, if there was any ever doubt -- Slott's return retains the same brilliance he originally brought to the table, and Marcos Martin, while a fairly radical shift from the previous roster of artists, turns in some excellent work.

New villains aside, the most rewarding element of this story has been Peter's interaction with more familiar faces, like Venom/Gargan, Osborn, and Brock -- and having Romita Jr. draw it should only please fans who want to feel a little more of the Spider-Man magic that they've missed with all the focus on spinning a new web to surround the character. Readers were promised a blockbuster story this summer, and now over halfway through, it's already certain that it's living up to those expectations.

It's a satisfying read, and itself largely justifies the return of Osborn, retaining the character's past while using him in a new way. If there are really any Spider-Man fans out there still staying away because of "One More Day", then maybe it's time to swallow that pride and give the series a shot -- you're missing some classic issues in the making.

All things considered, "Amazing Spider-Man" #601 might actually be a better package than #600. It might lack its predecessor's value for money, but the quality is far more consistent.

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.

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.

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.

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.

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.

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.

It's definitely good to see Marvel happy to put out a series that looks a little more experimental than their usual fare, and if there's any justice in the industry it'll pay off nicely.

The issue's final page involves a strangely un-telegraphed reveal, and is certainly one that could only have come from the mind of Ellis. Quite how it relates to the rest of the issue remains to be seen, but it's hard to pretend you don't want to find out.

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.

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.

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.

"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.

"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.

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.

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.

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.

It's a more-than-solid first issue for Whedon and the Season 8 cast, but coming from this series, would you expect any less?

Even so, Brubaker's work on the title is undeniably worth reading. It's hard to argue that his "Captain America" run has been anything other than great comics, and will certainly be enjoyed as a classic further down the line -- it's a lucky opportunity for us, then, that we get to experience it first hand.

The second backup is a strip by Fred Hembeck, which references the oft-forgotten Cap-impersonator from "Strange Tales" #114 " the "first" 60s Cap, as he puts it. In a "piece to camera" the Acrobat muses over his past in the traditional Hembeck style. Overall, it makes for an enjoyable supplement to the other two stories, and if a comic's going to cost $3.99, then this is the sort of extra material I wouldn't mind paying a little for.

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.

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.

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.

As you might expect, this issue features a couple of major plot developments, including the cliffhanger -- though in this case, they're likely to be far more interesting to those who have been following Brubaker's run than for those who just came aboard for the mini. Perhaps that's why I enjoyed this issue more than the first, or perhaps I'm just glad that the pretense of "death" for Rogers is over, but either way, I'm now looking forward to issue #3.

There's very little left to say about "Captain Britain." The critical success might not have been matched by the title's sales, but at least we can be sure that even if the book's sales have failed, the members of creative team have not. If there's any silver lining, it's that Cornell will be free to bring his finely honed writing to other, more popular books.

Still, there are worse ways to finish off a series that with a story like this one, and the closing sequence is a fantastic way for it to end on a high. There's no dismantling of the team, nor any attempt to put the toys back in the box -- The team's story doesn't end, it just reaches the end of an act -- MI-13 is here to stay, we just won't be following their adventures any more. The door open for a follow-up, and if there's any justice in the world, this isn't going to be the last we see of the team.

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.

The first couple of years of Brubaker's run on "Daredevil" felt largely like fallout from Bendis' epic tenure, so it's both surprising and pleasing to see that this one issue appears to define, quite quickly, a new (if not radically different) tone for the series which makes the series feel, for the first time in a while, like Brubaker has plans to leave his own distinctive mark on the series, rather than just end up as the footnote that followed Bendis.

Ultimately, the short, fast approach of the entire "Lady Bullseye" arc has proven a welcome change of pace for "Daredevil", and the plot threads left dangling promise that an exciting follow-up should be on the way in short order.

Overall, Daredevil is as good as it has ever been, and Diggle's run is off to a stronger start than many would have predicted, given the long shadow cast by his predecessors. This issue, with its focus on the criminal underworld, may have been slower overall than the last two installments in Diggle's run, but it was always going to be a tall order to compete with the first two showings. Despite the downtime, "Daredevil" is currently as good as it has ever been, and hopefully Diggle's run will be a long and celebrated one.

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.

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.

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.

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.

Diggle may not have been at Marvel long, but if "Dark Reign: Hawkeye" is indicative of his work, let's hope he stays with the company a long, long time. Diggle has managed to turn an event-driven story into a compelling character-based story, and an opening issue this strong ensures that I'll stay with the series for the duration.

If "Dark Reign: The Cabal" can be accused of anything negative, it's that there's really very little to it that'll matter in the long term. Given the title, you could be forgiven for expecting some major developments in the "Dark Reign" mythology, and instead you're treated to a loose collection of vignettes about the Cabal's members. As a product it's a tad misleading, but ultimately, as a piece of entertainment, it's so good that you'd be a fool to let that bother you. Expectation shouldn't get in the way of good stories like these.

The artwork from Mark Brooks is nothing less than stunning. Brooks has shown in the past that he can handle teenage casts brilliantly on the "Ultimate Spider-Man Annual", but paired up with Christina Strain's colors, the series takes on a vivid, animated appearance. It imbues the book with the required youthful energy, bringing the cast to life and providing the perfect visual counterpart to Cornell's dialogue. Instantly a worthy successor to the Young Avengers name.

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.

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.

So, as the review began by saying: this issue is like all the previous ones. Entertaining, and intelligent, not perfect, but always close to it. Read it.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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, 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.

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.

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.

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.

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.

It's not for everyone, admittedly. Some people simply won't get the appeal, which is a fair enough matter of taste. Fans will, not unexpectedly, get exactly what they wanted. If you've never read Brown's work and are anxious to go for something a little less graphic and emotionally brutal than his Girlfriend Trilogy, then you're in luck -- this is as good a place to start as any.

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.

The only thing about the book that seems incongruous at this point is the title and setting itself -- the choice of 1985 as the time period seems both arbitrary and irrelevant. Hopefully, more will be made of it. That aside, "1985" doesn't have any major flaws, and after a slow-ish start, readers should find the ending of this issue grabs them sufficiently -- and frankly, if a Fin Fang Foom appearance doesn't do it for you, then maybe the series wasn't for you in the first place.

(Check out the first six pages of the issue in CBR's preview.)

In fact, between recent "Mighty Avengers" and "Amazing Spider-Man" issues, it's like someone, somewhere appears to have realized that pacing a comic for the trade is just one way of doing it. Could the shift back towards satisfying, single-issue stories be happening right now? Either way, this month's "Mighty Avengers" is a ridiculously fun comic, contrasting well with the current depressive state of the "New Avengers" title.

My only gripe? Don't let the cover fool you into thinking there's anything remotely Cap-related in this entire issue.

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.

Finally, after months of build-up, it is actually starting to feel like Secret Invasion is here. If you're not already reading "New Avengers," now's the time to start " this title promises to be an unmissable piece of the event.

"Secret Invasion" has only recently begun in earnest, but issues like this make it feel like it's been unfolding for years. An essential read for anyone following that story, even if you're not following this specific Avengers team.

If anything about "New Avengers" disappoints, it's the sheer lack of focus on the Avengers themselves. At times, it feels as though Bendis is happy to write anyone but the team -" Night Nurse, The Hood, Osborn -- they all get a look in. That's fine on occasion, but sometimes you wonder if the word "Avengers" belongs in the name at all...

Praise aside, It's hard to tell whether the title is supposed to be aimed at nostalgists or a new audience. The last page reveal brings back an X-villain familiar to readers of the original "New Mutants," but that anyone who started reading X-Men titles within, say, the last 15 years, could easily have no clue about. There's no denying, however, that this is an X-Men comic for X-Men readers and by the climax it has already assumed a lot about its readership, so maybe, in this case, they can get away with it. A pleasingly strong opening for a concept that could've been so much worse.

Overall, there's little to complain about. Baldus' art may turn off those looking for a more traditional look alongside the more traditional superheroics, but every other element of the book lines up nicely. New Mutants does feel a bit retro, but it doesn't rely on that alone to carry the story -" and that's why it succeeds even though it shouldn't.

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.

If the book fails on any level, it's that much of the significance is going to be lost on anyone who isn't a fan of "newuniversal" already. The presentation of events in a non-chronological manner don't hide a fairly thin plot, and the book's main feature appears to be to flesh out the history of this world. Even so, it's never anything less than a decent read, and offers proof were any needed, that Gillen's much more than just "that Britpop writer."

Because of this, anyone who picks up Nomad hoping for a new piece to Brubaker's intricate Captain America mythos might be put off, because this is virtually stand-alone material. It's done very well, but whether its audience will find it is another matter. For that reason alone, it's worth giving it a try -- whether you're a Cap fan or not.

Far better than it should've been, "NYX: No Way Home" sets the series up as something along the lines of (but not entirely identical to) "Runaways" -- not exactly a bad place to start. An impressive opening salvo from a team of fairly modest profile, and one that looks like it'll provide an entertaining read over the course of the series.

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.

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.

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.

Nonetheless, with two genuinely fun issues under its belt, SWORD has quickly established itself as a must-read series, not just for X-Men fans, but for anyone who appreciates the diverse storytelling opportunities of the Marvel Universe.

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.

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.

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.

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.

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.

In any case, the series is more than justified by the fact that it openly attempts to tie up one of Secret Invasion's dangling plot threads, and it does so in a way that makes for an entertaining read. Three issues down, it's safe to say that this is probably the most successful of the various spin-off series, with some engaging writing and some brilliant cosmic artwork from Tom Raney. I'm not usually an Inhumans fan, but this has me hooked.

Strangely, many of the "Secret Invasion" tie-ins are in danger of eclipsing the central series -- indeed, the majority of them already seem to contain more action than five issues of the parent series! While it's perhaps not that important in terms of the overall plot, Fraction promises to deliver a decent Thor read. Ultimately, that's what makes the crossovers work.

Like all good issues, "Secret Warriors #1" ends on a cliffhanger revelation strong enough to bring you back next month, but be warned: it's a real doozy. Usually when you're told that the ending of an issue will have severe consequences for the Marvel Universe, it's easy to assume that it's just marketing hype -- but in this case, it truly is a massive shift that calls into question a huge amount of Marvel's history. You can guarantee that it's going to cause some fairly heated reactions, and either way, if it gets people talking about this new series, that can only be a positive thing in the long run.

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.

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Overally, Diggle and De La Torre's run is off to a promising start, and hints at big developments for both the team and the future of the Marvel Universe -- especially for anyone wondering just what Norman Osborn's role might be, post-"Secret Invasion."

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.

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.

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 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.

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 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.

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.

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.

As with the last issue, however, "Ultimate Origins" is proving itself to be a strong read that expands the history of the Ultimate Universe -- past and present -- without resorting to changing the material purely for change's sake.

While there's a debate here about just how much praise the comics industry should give writers from other media who treat the medium like a hobby, rather than work, it's very hard to argue against such entertaining results. "Ultimate Wolverine Vs. Hulk" #3 is, almost inexplicably, just as fun today as it would've been 3 years ago.

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.

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.

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.

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.

Choi's artwork is a welcome change from the recent, grittier styles that "Uncanny X-Men" has seen, and the bright, fun colors fit the tone of the book entirely -- the idea of a city regressing to the 60s is a fairly camp concept in itself, and Choi's artwork nicely fits that tone, with masses of attention on the small details. He's also good for the grander strokes, though -- the opening sequence where Wolverine, Nightcrawler and Colossus fight some giant robots is a great piece of action-adventure, brilliantly choreographed and nicely executed. "Divided We Stand" does feel like something of a stop-gap solution, but if this is what we get as "filler", I can't wait to see how good the book's going to be in the future.

It's not perfect, but for the first time in years Uncanny X-Men has once again become the X-Book I look forward to most each month "- ultimately, that's got to count for something.

After the messy conclusion to the "Sisterhood" arc, it's good to see Fraction getting back into more coherent territory. Hopefully, future issues will resemble this one more than the last few.

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.

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.

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.

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.

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.

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.

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.

While "Wolverine" is currently bouncing from creative team to creative team having essentially become a series of self-contained mini-series, it'd be a real shame if, after "Get Mystique" wraps up, Aaron and Garney didn't return for another shot at the character like Guggenheim did following the good reaction to his "Civil War" story. For now, there's still plenty to wonder about before the arc is over. Wolverine's gone through a lot to get hold of Mystique, but the question remains as to what he'll do once he captures her. The cliffhanger page, while gratuitous, at least promises that Aaron won't pull any punches in letting these characters act as freely as possible " and that, at least, doesn't bode well for Mystique.

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.

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.

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.

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.

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.

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.

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.

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.

While it sometimes seems as though Marvel thinks that there's always room for one more "Wolverine" story in the market, if they were all as strong as this issue there'd be far less reason to complain about that. As it is, you can at least rest assured that this is one of the better stories you can find the character in. A very promising start.

Old Man Logan might not quite be the classic it could've been, but there's no denying that it's gone out with a bang. I wasn't the biggest fan of the story overall, but this final chapter is difficult to hate "- if you don't like watching Wolverine successfully hack his way through his enemies, then frankly, you don't like Wolverine. That may be all that this issue is, but in the case of Wolverine, well, that should be enough.

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.

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.

Even though the rest of the line is belatedly catching up with it, X-Factor remains not only the single best X-Book being published, but one of the most consistently written ever. If only it could find a full-time penciller...

There's very little to criticize about X-Factor as it stands -- Valentine DeLandro's work is light years ahead of most of the book's previous artists, and it's particularly nice, as a reader, to see some consistency on a book that'd been dogged by artistic reshuffles in recent years. It might not be quite so obviously the best X-title around anymore, but it makes me care about the characters and never fails to leave me ready for another issue. In that respect, it's got everything I'm after in a comic.

Still, that's a minor concern in an otherwise enjoyable issue. After floundering for some time around "Messiah Complex" and "Secret Invasion," "X-Factor" has really fallen back into its groove. Perhaps that's purely down to David's writing. Perhaps it's down to some excellent art teams turning up over the last few months. Or perhaps it's simply the return of Layla Miller to the title that has re-energized it. Either way, I can't wait for the next issue.

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.

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.

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.

It seems obvious that this series is aimed at fans of both Spider-Man and the X-Men, but beyond that there's plenty for comic fans to enjoy. If, however, you do fall into the former category, it looks like it's going to be a must-read. It might not feel like it's ultimately going to matter in the wider context of the parent titles, but when reading a comic is this fun, it doesn't have to.

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.

Xavier's exit from the cast has truly revitalized "X-Men Legacy" and, ultimately, arcs like this make it worth a look for virtually any X-Men fan. Give it a try!

"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.

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.

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.

It's undeniable that, in the space of one issue, Pak has managed to make a "Young Magneto" book read like a far better idea than it might've initially seemed. If the quality of this issue is maintained for the duration, it should easily become essential reading for the character.

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.

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.

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.

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.

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.

That does assume, of course, that those readers are coming to the title with prior knowledge of one or both films. Anyone who approaches the series fresh might end up in serious trouble, because there's very little given to the set-up, and frequent references to events that don't have enough context without the movies. It's fair to say that Boom! is allowing the book to play to its audience, but if you were thinking of going into it cold, then it's unlikely that the first issue will prove as a satisfying introduction to the world of "28 Days Later" -- the rest of us, though, can expect to be quickly hooked by it.

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.

"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.

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.

With a prominent villain and a developing subplot inside Peter's cast, this issue re-establishes the title's momentum ahead of August's six part Thunderbolts guest appearance, featuring Norman Osborn and Venom. Guggenheim manages that nicely, and while there's nothing hugely groundbreaking, it's more than up to the task of keeping us entertained before the big villains arrive.

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.

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.

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.

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.

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.

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.

Overall, then, "Amazing Spider-Man Extra" does still seem to exist to plug continuity gaps, but it does so in a way that adds texture to the Spider-verse while keeping the stories generally optional. The bimonthly series has yet to find its feet, but so far, it's been more good than bad. The strength of the series is that it offers sneak peeks of exactly where the characters are going to turn up next, and what they're doing when they're out of the main title. That being the case, "Amazing Spider-Man" fans should really just treat it as another issue of the ongoing, and I'm happy to say that it does hold up to that level of scrutiny.

As a hardcore Buffyverse fan, it's heartening to see the series improving as it continues. If future issues are of similar quality, then when the Season Six arc finishes and the series becomes "Angel: Aftermath" with #17, readers might actually be likely to stick around -- something which, in the series earlier days, was not all that certain.

"Angel #26," then, was an unexpected surprise from a writer and series I'd previously written off. It hasn't set the world alight, but compared to how it used to be, it's a vast improvement. I'll definitely be back for the next issue.

Against my preconceptions, "New Ways to Live" looks as though it'll turn out to be an enjoyable series. I was prepared to be indifferent to it, and perhaps that what leaves me pleasantly surprised, but as an Eddie Brock fan, I feel genuinely entertained by the character for the first time in a while. A few more issues like this and I might actually come around to the idea of Anti-Venom.

It's all quite good, although it's hard not to feel, when reading "Astonishing X-Men", that "Uncanny X-Men" has truly been repositioned as the flagship title for the series. The story here is entertaining, but it doesn't feel important. "Astonishing X-Men" reminds me of DC's All-Star line, functioning as a creator showcase as much as a character one -" but given that we've got plenty of other X-Books to choose from, well, that's okay with me.

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.

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.

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.

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.

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.

Now that the first arc is truly complete, the "Messiah Complex" epilogue is over and the series worryingly provides a perfect jumping-off point. The ongoing mystery of the baby's identity is clearly not going to be definitively resolved for a while, and there aren't many other plot threads for readers to focus on, unless you're waiting for the Bishop/Cable rematch. If that's the only ongoing thread, it's not necessarily going to keep people around for long.

If Emil manages to hang around longer than the end of this story arc, then perhaps there's hope (ahem) for the series yet. Bishop acquiring his own ward opens up story possibilities, especially if Hope and Emil's Romeo-and-Juliet relationship continues to develop -- but there's no guarantee the plot is going to do anything except go back around the way it came before. I'm always hopeful that things can change, but it's looking increasingly obvious that "Cable" isn't quite the high-priority read that it once appeared to be.

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.

Sadly, that realization will come as small comfort for those who have waited six weeks since the last issues. Although there's nothing wrong with this issue, whatever suspense existed in "Captain America: Reborn" to begin with has long since evaporated. It's undeniably good, but when a comic leaves you with a feeling best expressed by the sentence "how much longer to go?," well, that's not exactly a classic issue in the making.

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.

The one thing that does have me eager to read the rest of the story is Ben Donovan's apparent willingness to die for a crime he didn't commit. Between that and the attack on Dakota at the end of this issue, I can at least be hopeful that the arc will, at least, deliver a satisfying conclusion, and I'll find it much easier to forgive a dull journey if the destination's exciting. It'll be some time until my goodwill towards the "Daredevil" team is exhausted, but it'd be nice to see a major shake-up soon.

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.

Although Van Lente does a lot to expand Negative's character and back story throughout the issue, there's no denying that the appeal of the book lies mainly in seeing a lot of supervillains on the loose as much as in Negative himself. It's not a harsh judgement to say that he's still not that interesting as a stand-alone character -- but a few more issues like this, and he might be.

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.

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?

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.

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.

Still, at least you are getting more for your money, and it's nice to have a Hulk book that I can truly enjoy back on the stands. Finally, the Hulk line feels like it's catering for all Hulk fans.

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.

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.

Even so, it's a strong opening for a miniseries which promises Iron Man doing the kind of classic superheroics he's currently not really free to pursue. Unlike some of their contemporaries who stand as living proof of the adage "you can never go home again", Michelinie and Layton's return sees them slip effortlessly back into the writing seat as if they'd never left the character. Undoubtedly, a promising start.

Even so, for readers of "Cable", this story represents a fairly important feature-length installment worth reading in place of this month's absent issue. Meanwhile, those who aren't reading "Cable" might still enjoy it, as it presents a self-contained flavor of how the series works. It's nothing more than that, but in fairness, it isn't trying to be, and succeeds in doing exactly what it attempts to.

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.

Shoving the zombies into a 60s Marvel-verse where the inhabitants are ill-equipped to deal with such a violent reality is an amusing idea, but I'm not sure it works as well as it could in this issue. There are some moments that hit exactly the right note -- the scene where the Sandman realizes that the silver-age rules on violence don't apply anymore is grimly entertaining -- but however amusing it is, if you're not already laughing at the idea of Marvel Zombies after this long, this overtly comedic spin probably isn't going to change your mind.

Despite the tonal shift being more than a little jarring, Maleev's art is more than welcome wherever it turns up. Bendis has described this issue as something of a trailer for their long-promised Spider-Woman series, and if that's the case, we can all look forward to a stunning title in the future. Hopefully the next few issues of "Mighty Avengers" will round out Fury's storyline into something a little fuller, but for now the scene is set masterfully - it's now up to Bendis and Maleev to make good on that promise.

Certainly, there's little to complain about. While the crossover should bring potential new readers with it, Reed is apparently attempting to snag them by presenting a standard, accessible issue of the series and hoping that's enough to convince them. If the rest of the arc is up to this standard, it should be plenty.

When the solicits revealed this, it seemed like a sane decision. Aside from three or four decent Moonstone-led issues, the book had been faltering in quality for a long time. But coming off the back of this issue it's hard not to be a little upset about what could've been accomplished. If Reed was consistently as good as this issue "- which he was in the first year of the title, at least -" it might have people trying to save the series rather than acknowledging that the time is right. There's still a chance that "Ms. Marvel" is going to get a stunt relaunch instead of an outright cancellation, in which case, let's hope Reed concentrates more on this type of story, and realizes the series' potential more often.

The issue's real savior, though, is Jimmy Cheung, who can't seem to put a foot wrong. His widescreen style and ability to pack in characters makes him a perfect fit for a universe-spanning book like "New Avengers". The only shame is that he can't draw more issues, because under his artistic direction, even a weakly-plotted issue like this seems perfectly executed. Even so, of all the various "Secret Invasion" tie-ins that have turned up in "New" and "Mighty Avengers," this does appear to be the least essential of the bunch.

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.

"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.

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.

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.

There's a nagging feeling in me that this story, as intriguing as I find it, will probably be deeply uninteresting to people who aren't already invested in the character. That said, it's been a while since Psylocke had much of the spotlight, and even longer since she did so in a way as well-written as this. I, and the planet's other five Psylocke fans, welcome it.

If you ever wondered how The Punisher could survive against a character who is essentially Superman with psychological difficulties, then you need to read this issue. It's very convincing in its depiction of such a fight, and a great extended action scene to boot. There's not a huge amount in the way of underlying story, but it will keep you entertained for the duration of the issue. These days, that's probably enough. The extra dollar gets you a whole bunch of handbook-style back matter which is fairly interesting

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.

Ending with a cliffhanger that will leave you intrigued as to where the story is going, "Resurrection: Book Two" #1 isn't perfect, but it is an enjoyable start to a series with a unique central concept, and worth a look for anyone who's into post-apocalyptic stories -- particularly if you don't want to read yet another zombie book!

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.

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.

Even if it's unlikely to set the world alight, there's nothing at all wrong with this comic. The inclusion of Lyja might be a barrier to some, but for people like me it's a welcome reward for what is literally a decade of waiting. Part of me suspects that Lyja's not going to make it out of this story alive precisely so that her particular loose end can be considered tied up. Either way, we're going to get a decent story, and a tie-in to "Secret Invasion" is the perfect time to tell it. In my book, that's two perfectly good reasons to pick this up.

Certainly, "Secret Invasion: Runaways/Young Avengers" is a must-buy to fans of either parent series, but if you're looking for a place to get started on the property, don't be fooled by the idea of a crossover helping you pick things up. Do yourself a favor and go get those trades first so that you can enjoy this series properly.

Cary Nord's artwork is enjoyable superhero fare of the kind that he's good at. Using San Francisco as the battlescape gives Nord the chance to show off some nice city panoramas, effectively grounding the location and providing beautiful backdrops at the same time. Between his art and Carey's writing, "Secret Inasion: X-Men" is a decidedly different take on the events of the crossover, and a welcome chance to see some of the more sidelined X-Men take a prominent role.

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.

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.

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!

"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.

That aside, it's easy to get sucked into the TF-verse off the back of this comic, and an ongoing series has immediate appeal compared to the way things have been handled thus far. It's a new beginning, and I think there's good reason to be cautiously optimistic about it. Let's see where this goes.

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.

It'll be interesting to see how much Gage's future run on "Thunderbolts" builds off the one-shots he's been responsible for. Even if they never get referenced again, they're all stories of reasonably high entertainment value that are worth a read if only for the fact that they're nice, single-issue character stories. If they never become anything more than that, well, that's still enough to justify their existence.

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.

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.

With that in mind, it's hard to give this issue of "Uncanny" a huge amount of praise. The best you can say is that it largely overcomes the creative team's weaknesses. "Nation X" is shaping up as a slightly better-than-average arc -- but it's hard not to feel like the potential for it to be so much more isn't being tapped.

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.

"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.

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.

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.

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.

There's definitely a lot of mileage in this story, which examines the jumbled past of two morally grey X-Men and compares it with their present, and it's certainly accomplished its task of making me buy issues of "Wolverine: Origins" that I'd usually skip over. I'm perfectly pleased to do so, as long as the story is good. Even though these kind of crossovers made the X-line in particular very difficult to read around 10 years ago, I'd go so far as to say that used this sparingly, they're actually really enjoyable. Roll on the next two issues.

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.

As ever, David's "X-Factor" is, even in light of recent shuffles, setting the standard for the entire X-line to follow with its blend of modern superheroics, soap-opera plots and complex character interaction. An utter must-buy for any mutant fans.

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.

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.

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.

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.

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.

While it's not perfect, "X-Force" is at least entertainingly imperfect, and there are far worse positions a title could be in. Kyle, Yost and Crain have many more chances to make their work click properly, and if they throw as much passion into every issue as much as they do this one, we'll all reap the benefits soon enough.

Speaking of the offensive, it's actually quite astonishing to see what Marvel are allowing Kyle, Yost and Crain to get away with in the pages of "X-Force". There's a lot of graphic brutality in the title and the bleakness is nothing short of unrelenting, with Rahne still experiencing the negative effects of the drugs she was given and Archangel in a blind, despairing rage over the loss of his wings again. There's nothing close to a ray of sunshine in this story so far. Yost and Kyle are more at home with the tone than they were in "New X-Men", but it's arguable how much despair readers can take. No-one's asking for broad comedy and slapstick, but as they say, a change is as good as a rest -- anything a little less on the gloomy side, even for a second, would be a welcome addition to the title.

So far, Messiah War has kept a tight focus, doing well to replicate the gravity of its predecessor, Messiah Complex, while having only a fraction of the page-time to work with. Each chapter is a speedy read, but when it looks this good and tries this hard, it's all adding up to a crossover that's going to be fondly remembered.

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.

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.

Slight hiccups aside, the issue is generally a success, and offers a nice chance for the kind of solo X-Men story which, in my view, we don't see enough of (unless your name is Wolverine.) The only truly bad thing about the issue is the baffling application of the "Manifest Destiny" tag, which only serves to misdirect readers about the content of the book and could leave them dissatisfied by a story they weren't expecting. I understand it sells books, but seriously "- isn't it time to move on?

While the idea of a Sabretooth "origin" story is a fairly hard one to stretch, the issue does, at least, deliver one. Consider that ten years down the line you could potentially point someone at this comic and say "this explains why Sabretooth and Wolverine hate each other" and it'll still ring as true then as it does today. That, surely, has to be the litmus test of an "Origins" one-shot, and certainly on that level, the comic is an undeniable success.

The cliffhanger promises an Exodus vs. Xavier psychic battle that has whet my appetite for the next issue " Charles has hit rock bottom in the eyes of a lot of people over the last few years, so it's nice to think that he's going to get a chance to start clawing back some dignity. A Professor Xavier solo book could've been the worst idea ever, but somehow, Carey is managing to pull it off.

Art-wise, Eaton appears to have gotten well over his Picard-complex for Xavier, so let's hope that it's not a temporary thing. The regular guest art slot for the issue is filled by a fan-favorite whose art is nonetheless the frequent butt of industry jokes, Greg Land. He does turn in some good representations of some classic X-moments, and it certainly helps that his storytelling range isn't stretched very far in composing those one-off images, though there's at least one page where the way the image montage is put together makes it look like Banshee is a tiny little pixie. Ah well. Criticisms aside, another solid issue for "X-Men: Legacy", which has emerged as perhaps the strongest post-Messiah Complex title.

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.

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!

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.

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.

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.

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.

"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.

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.

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.

While it could veer instantly into retread in future issues, there's nothing especially wrong with the opening couple of stories. It may disappoint Sentry fans hoping for some insight into the modern character's mindset, but it should delight anyone looking for a little bit of Silver Age silliness to divert them.

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.

If there's any problem with the issue, it's in the structure, which ends on not one, but two cliffhangers "- both of which are immediately predictable. Now, in fairness, it's difficult to end every issue on something that'll excite jaded, grown-up fans, but it's a brave writer indeed who ends on two cliffhangers that anyone over the age of 12 could predict the resolution for. There's the chance Slott will throw a curveball and bring something unexpected to the next issue, but more likely he's just going to pick up the story seamlessly, so that it reads fine without a break when it gets collected. That, at least, is forgivable, and thankfully the issue isn't too marred overall.

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.

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.

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.

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.

Next issue will presumably go some way towards answering the series other big mysteries -- why Gunn's a vampire, and why Angel isn't -- and while those mysteries are compelling enough, it's taken a while for the series to get to that stage. I'm cautiously optimistic, as the series has only been improving with each issue, but with the short-story format, this arc is prone to more variable in quality that could yet damage its chances of holding on to readers.

With the new story beginning, this issue acts as a good jumping on point for new readers. At the same time, any lapsed readers might want to give it another shot. Things are definitely looking up.

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.

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.

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.

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.

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.

"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.

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.

The book's not bad, of course -- a little plodding, occasionally a little sterile -- but it does at least seem to have a clear idea of what it's doing and where it's going, even if it's not rushing to get there. The main problem is that it shouldn't really be called "Cable" at all -- it's not about him, and it doesn't seem to want to be. At this point you could quite easily have titled the comic "Bishop" and it wouldn't have been that jarring a change. For something billed as a solo book, that's inarguably a problem, and one that doesn't look like it'll be addressed soon. "Cable" is definitely worth following if you're interested in the fallout from "Messiah Complex," but if it's the character you're interested in, then it's unlikely to satisfy that particular craving.

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.

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.

Now completed, it seems fair to assess the "Captain Marvel" mini as more good than bad, but as a series in itself it doesn't quite work. Given Marv's appearance in "Secret Invasion" #1, it seems like it'll be almost essential reading for those interested in the crossover, but if you don't care about Skrulls at all then you can pretty much write off the entire series. Kudos to Marvel for setting this all up in advance in a way that makes total sense, but if you wanted to get a genuine Captain Marvel story out of it, well, I'm not convinced it fits the bill.

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.

Although an enjoyable issue, I'm not fully sold on the direction of the series itself. There is a cliffhanger that truly screams for resolution, but the second plot about villains and a new "Redeemer" character leaves me cold. It's a mixed bag, but ultimately should be worth another look in the future.

Although the new material is little more than window dressing, the new work done on the reprints means that the issue does offer enough new material to make it worth a look. If we have to see these kind of cheaply-produced, handbook-style comics, I'd much rather they followed the template of this one.

Overall, there's little to complain about, but similarly little to get excited about unless you're specifically a fan of the character. Doubtlessly, the cliffhanger will leave existing Hood fans itching for the next issue, but in all honesty, I had to hit Wikipedia to decipher the importance of the final page reveal. Parker just about gets away with it, but when one suspects that the majority of the audience will come to this book as I did -- out of "New Avengers," rather than the previous "Hood" series -- you have to question the wisdom of an ending like that.

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.

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.

Overall, "Dark X-Men" #1 is the best kind of crossover tie-in. There's a clear story being told, and, more importantly, a genuine need to tell it. Its status as an anthology means the quality is variable, but ultimately good enough. Anyone already reading "Utopia" should certainly give it a look.

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.

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.

Still, the concern is a minor one, since something about the Exiles formula clearly appeals to people. Given that it originally launched in 2001, it's doing remarkably well to keep going, but with writer's like Parker, it's not hard to understand the title's appeal.

"FotH: Alpha," then, is an odd comic. As a stand-alone piece, it's a fun little jaunt through Marvel history that'll raise a smile in most readers. As an event bookend, though, it doesn't remotely work. Not because of any particular failings from the creative team, but simply because their remit is at odds with the book's apparent role. There's plenty to enjoy, but if you're only looking for revelations connected to the big Hulk event, it seems that you can safely skip this one.