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.

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

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.

"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.

"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.

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.

"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.

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

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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

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

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.

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.

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

"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.

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.

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.

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.

"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, 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.

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.

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.

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.

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.

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.

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.

"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.

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.

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

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

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

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

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?

"Cable" isn't technically bad by any means, but it does have some wrinkles that could be ironed out. It already has a strong concept and characters - now it just needs a little more plot to go with them.

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.

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.

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.

The art, by Gabriel Guzman, is reasonably serviceable. The storytelling fundamentals work fine, but the rendering is variable -- some panels look great, others less so. It doesn't help that the locations are hard to make particularly interesting, and the Brood are so familiar and generic that even the best would struggle to turn a memorable image out of the story. The art mirrors the writing, which mirrors the plight of the title itself. There's nothing particularly bad, but it's all just a little too samey, and ultimately, unremarkable.

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

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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

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

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 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.

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.

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.

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.

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

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.

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.

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.

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.

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

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

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.

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.

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

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.

Technically speaking, it's not a complete bomb, but between Van Lente's mechanical execution of the plot and Gugliotta's promising but not-entirely-ripened pencilling, there's very little reason to recommend the book. It's not going to upset you, but to be honest, if you come away from it feeling anything, that's probably a plus. For me, it's just. . . there.

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.

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.

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.

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.

Indeed, it's hard to say whether it's a problem with the art or writing, but the one thing about the issue that can be truly said to fail is the ending. A lot of discussion already centers on whether it's supposed to be ambiguous -- whether Emmy killed herself or not "- but if people can't figure out if it's intentionally ambiguous or not, then the storytelling hasn't done its job somewhere. Beyond that, there's nothing huge to complain about, but it's a weak conclusion to a weak arc in a book that has a weak premise to begin with. I don't know where this series is going or what it's supposed to be doing, and as a reader, I can't help but feel that Dark Wolverine needs some direction -" fast.

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.

Sadly, despite all the trails and build-up, the contents of "Dark X-Men: The Confession" really fail to deliver on almost every level. After reading this, I don't feel like I understand the characters any better, nor does it reveal anything about the events of "Utopia" that weren't already clear. The issue itself doesn't even really have a confession -- the characters mutually admit their shady dealings, but it's not as revelatory as the name suggests, nor even as its quasi-counterpart "Civil War: The Confession" was. As an X-Men fan, I want to like it, but as a critic, I can't bring myself to.

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.

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

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

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

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.

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.

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 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.

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.

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

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

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

While not quite the comedy epic that the previous volume was, it's hard to complain about any amount of new "Excel Saga". Even so, when considered objectively, it's a fairly lackluster installment in the series made all the more excruciating by the long wait between releases. Volume 18 is due in December, so there's no excuse for not catching up beforehand!

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.

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

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?

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

So 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.

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.

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

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.

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

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

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

The book is published in black and white, ostensibly to lower production costs and speed up production times. To be honest, I'm fairly concerned at the idea of paying $3.50 for a black and white book. There's nothing technically wrong with the artwork, although it does have that almost unavoidable licensed-comic look of slightly distorted character likenesses. There are a smattering of good moments, but ultimately it's not enough to redeem its many problems. This is one for hardcore fans only, but it's got a long way to go before it reaches the wider appeal it needs. I'm not sure it has time in the remaining four issues to reach the level it needs to.

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.

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.

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

I can definitely see this turning out to be a fairly entertaining little series, as long as you're the kind of person the book is aimed at. The quality is such that if the level is maintained, I can see these characters being popular enough to warrant guest-starring in "New Exiles" before long, so anyone reading that title might want to take a look. Ultimately, the book's biggest flaw is its central premise. If the idea of Chris Claremont writing a five issue "What If: X-Men" series makes you think it's worth buying, then this is exactly what you want. If not, it's unlikely to win you over.

"GeNext" is still, overall, a package worth purchasing. Three issues into a five-issue run, it's already more good than bad, but some cracks are showing and only the next two issues will let us see whether this is a minor hiccup or an indicator of how the series is going to end up.

While the book's persistent quirkiness might put some readers off, it's still far more appealing than it currently appears. After years of titles that hit the skids a year after their inception, Marvel's second- and third-tier characters are finally pulling their weight as bastions of quality writing, free from excessive crossover interference. The best thing about "Ghost Rider" #27? Not a Skrull in sight.

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

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, 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.

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.

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.

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.

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.

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

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.

It's a crying shame that this is the Hulk book on the shelves at the point where publicity for the character is at the highest it's been in years. More's the pity that Greg Pak, who steered Hulk brilliantly over the last two years, isn't the one who gets to reap those benefits. Instead, no-one benefits from Marvel putting out this rubbish comic. Not the readers, not the retailers, not the creators, and certainly not Marvel.

For the first time since its relaunch, "Hulk" feels like a comic I could read. Not necessarily one I want to -- the Red Hulk is still too irritating a protagonist -- but it isn't so dumb that it feels like an insult to customers that it got published at all. Things might actually be moving in the right direction.

That sour note aside, the comic is as good as one could expect. Although the title suggests "Hulk Team-Up" #1 might be a new ongoing, the indicia describes this comic as a one-shot. So, off to an optimistic start, then, are we? The issue does make an effective proposal for a "Hulk Team-Up" series, and with the small problem that the Hulk himself doesn't technically exist anymore, it would be nice to see more.

Even fans of the "Incredible Hercules" title will find this one a little lacking. It's strictly a book for those who think the idea of the Hulk fighting his way through Ancient Greek mythology might be a fun idea.

There's nothing technically wrong with any of the stories, even if you approach them purely as "What If?" shorts -- they do stand alone, but let's not pretend that the comic is anything more than an exercise in servicing nostalgia. That's not necessarily a bad thing, but it does mean the book isn't ever going to be on any "top 10 comics in 2009" lists. It's one for hardcore Hulk enthusiasts only, but at least they will enjoy it.

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

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

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.

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.

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.

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

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!

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

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

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.

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.

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.

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

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

Moore provides a near-seamless changeover from the Knaufs' work on the title -"" if you didn't like it then, you're not going to find your opinion changed, but fans of their work should come out pleased. New, post-movie fans should still be focusing on "Invincible Iron Man", but if they're desperate for more, this issue would be a more-than-accommodating choice.

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

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.

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?

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.

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?

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.

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

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.

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.

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.

Apparently, "The Last Defenders" is pointedly named as such. Quite how that's going to pan out, I don't know - so far, the book's main flaw is that there's no real hook introduced that makes them anything more than the budget Avengers, a generic super-hero team just like all the other ones, only utilizing third-tier characters. However, with the appearance of Ex-Thunderbolt Atlas in the offing for a future issue, it's got my interest in the short term. There's still a chance for it to distinguish itself somehow.

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?

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.

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.

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.

There's no denying that this is a self-indulgent series, but done sparingly, that's perfectly forgivable. As a method of packaging previously online-exclusive shorts for the direct market, this is far more preferable to something like "Astonishing Tales," and its idiosyncratic tone makes it a memorable read, even if half of it isn't very good. It's a far worse crime for a comic to settle for mediocrity than it is for one to stall halfway towards greatness, and so even though the "Assistant-Sized Spectacular" falls into the latter camp, I'll still be picking up issue #2. It's earned that much of a chance.

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

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.

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

Even so, all things considered, it does feel like Van Lente has once again found a story with promise that can be told using the Marvel Zombies "- and that's just enough to make it worth reading.

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.

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.

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.

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

Overall, Slott has brought a unique feel to the series most hard-pressed to justify its existence as the Avengers line expands. It's easy to see who "Mighty Avengers" is aimed at -- old-school Avengers fans -- and it should have little trouble appealing to exactly those people.

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

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

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.

As a whole, it's a weak ending to an otherwise entertaining storyline. Ms. Marvel is well-positioned to cherry pick the best elements of Secret Invasion and utilize them as necessary, so as long as the next few months are weighted towards superheroics instead of soap opera, it should provide a decent, Secret Invasion-inspired story that doesn't require you to read every other title.

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.

This issue brings yet another new penciller for the arc, as Sergio Arino takes over from Sana Takeda, the originally solicited artist for this issue. There are good and bad scenes -- the anatomy seems inconsistent at times, but the final page showing the return of Carol is a great image that showcases Arino's promise. The cliffhanger kicks off the "War of the Marvels" story, so it looks like Moonstone's involvement in the title might be winding down soon -- though if "Dark Avengers'" plans allow it, it's clear that she could make for an entertaining foil for Carol in the future, and hopefully Reed will exploit that.

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.

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.

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.

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.

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.

So don't get me wrong, it's not a bad issue. Nor is it a particularly good one. It's technically very strong, but ultimately lacks passion, falling back into almost exactly the same rut it was in before "Secret Invasion" started. If the previous arc on "New Avengers" didn't excite you very much, then there's little here that's likely to change your mind -- and for book that used to thrive on being on the fringe of the Marvel Universe, that can only be seen as a bad thing.

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...

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

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

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

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

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.

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.

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.

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

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

"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.

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.

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

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

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.

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.

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.

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

It'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.

"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.

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.

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

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

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.

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.

As with every other Wolverine one-shot released over the last year, Rampaging Wolverine is otherwise fairly unremarkable. It seems to be aimed at the two extreme ends of the market -- the Wolverine completists at one end, and at the other, those who only want to read a single Wolverine comic a year. It might, at a push, also interest people who are unusually charmed by monochrome art, but to be honest, the rest of us can safely skip it.

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.

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.

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!

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.

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.

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

In 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.

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

It's 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.

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.

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

It's 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.

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.

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

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.

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.

Despite a lot of good elements going into the creation of "Front Line", something about it fails to click with me. Reed does a good job of quickly introducing and humanizing the cast. With an extended pre-attack opening sequence, a focus on a wide cast of nobodies, and a street-level view of larger-than-life disaster, "Cloverfield" feels like a definite reference point. Unfortunately, the problem seems to be one of familiarity. Where the "Civil War" version of the series included some big superhero names and recognizable civilians, this incarnation tries to engage you purely on the strength of a largely new and unknown cast -- and that's going to be a hard sell for anyone.

Unfortunately, after three issues, I'm left with almost no desire to see what the fate of these characters is. Whether or not they survive doesn't really seem to make a difference. The concept was worth a shot as an experiment -- "Cloverfield" in the Marvel Universe -- but unlike its predecessor, it seems increasingly unlikely that it's going to be an unexpected success.

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.

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.

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.

If you're a big fan of any of the characters featured, you're certain to get at least one short you'll enjoy, but ultimately it suffers from the same problem as almost every other anthology comic -- you'll probably find yourself disliking roughly half of what you read. For anyone other than the most dedicated Secret Invasion fan, it's probably not a shrewd investment.

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.

Still, as the definitive answer to what the X-Men were doing during Secret Invasion, it's ultimately a passable series that justifies its existence by filling its role in continuity. Not amazing, but if you want X-Men fighting Skrulls, then it'll do.

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.

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

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

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

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.

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

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

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.

At $3.99 for 48 pages of story, it's certainly a rare bargain, and if Marvel wanted to extend the black and white anthology format to other characters, I can imagine it performing well. Standard anthology rules apply, but the issue is more good than not, and that, combined with the fact that the issue offers something unique in Marvel's output, means that it's well worth supporting.

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.

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

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

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 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.

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.

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.

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

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

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.