One of the funniest comics I've read in years, as Evan Dorkin introduces Fight-Man into the Marvel Universe, and in the process he has a grand old time lampooning the collection of heroes who rose to popularity in the 1990s with their big shoulder pads, and even bigger guns. Now Fight-Man is really just a big, strong goon who runs around cause an extraordinary amount of damage, but his adherence to the super-hero code of not killing makes him into a hilarious contrast. From his cheesy super-hero banter (Hot damn! I thought I heard evil simmering in the kitchen!), to his belief that the only way to deal with a situation is to rush in with guns ablazing, Fight-Man is one of the most enjoyable comedic creations I'm ever come across. I know this is Agent X's book, and he makes several enjoyable contributions to the action, but Fight-Man is the real star of this adventure, and I can't recommend this issue enough to fans looking for the perfect comedic realization of the mindless, utterly po

When one has seen as many Westerns as I have, then the plot to this issue is pretty familiar, as a gunslinger attempting to bring a killer to justice is the staple plot of almost every Western ever made, and having the killer(s) protected by a position of respectability, power, or money is also a classic hurdle the protagonist has to overcome. However, John Ostrander knows how to craft an engaging story using these staple plot elements, and what's more he throws a nice wild card into the mix, with the addition of the second gunslinger. The cliffhanger ending was also quite unexpected. Now unless the next issue opens with a fairly dramatic escape by the Rawhide Kid, then this issue has all but placed a noose around the neck of one of the big guns of Marvel's Old West characters, as the man is surrounded by hired guns who utterly failed at their job to protect the targeted son, and as such they'll be looking to prove their worth by bringing in a man who could easily be made to look like

John Cassaday is an amazing artist, and his work on this issue acts as further proof that this title has one of the best creative teams in the industry. From the opening sequence, the art manages to deliver the action at three separate locals, with no text to explain the shifts between the locations. It is very impressive as it's far more difficult to accomplish than one would think. The art also sells the idea that even a severely damaged Sentinel can pose a very real danger, and there's some lovely big impact moments, from the scene where it emerges from the barn, to the scene where one of its energy blasts rips into the school. There's also a great aftermath visual that presents the damage that Scott's blasts did to the landscape. The image of the dead student rising off the floor is a very disturbing moment thanks largely to the art. The shot of Wolverine on the cover looks truly frightening.

They don't come much better than this issue, as Kurt Busiek once again knocks one out of the park in the pages of Astro City. This issue is the perfect blending of Silver Age goofiness, with modern day cynicism, as one would have to be a pretty cool customer not to be moved by the big exchange that leaves Irene a shell of her former self. Now one can see the obvious parallels that exists between the relationship between Irene & Atomicus, and the Superman/Lois Lane relationship from the Silver Age, and perhaps it's the knowledge that the latter relationship had itself a happy ending that made this issue's divergent path so powerful. In any event this is the issue that currently has my vote for best single issue of the year, and it's easily one of Kurt Busiek's strongest efforts in quite some time. If you're not currently reading Astro City, at least give this issue a read to see what you've been missing.

Joe Bennett brings a highly polished style to these pages that this book really hasn't had since Butch Guice's departure. This certainly helps to enhance one's enjoyment of the material. The opening page convincingly sells the idea that Ted Grant was a very formidable force in the ring. This opening sequence is nicely mirrored later in the issue when the character lashes out at his captors, as the panel where he stopped the throwing stars that were sent flying in his direction is the very definition of a cool action hero moment. The Black Canary also gets a pretty impressive showcase in this issue, as she has her fight down on the beach, and the back and forth nature of the battle is well reflected by the art. The art also does some nice work on the scene where the Huntress makes a move to grab a piece of a criminal enterprise, as the art gives the character a nice femme fatale like quality, as she makes her offer to the skeptical mob boss.

While I wouldn't suggest this issue as an ideal jumping on point for new readers, this issue is going to stand up as the one that convinced me that Christopher Priest's new direction is going to be just as good, if not better than what we had been getting before the book underwent its fairly radical shift in direction. This issue does a wonderful job of developing its lead character, by establishing a fairly surprising relationship with T'Challa that one could almost classify as openly hostile. The book also does some nice work when it comes to developing "Blackjack" Cole into a character that one is eager to see again, and be concerned for when it becomes clear that he is targeted. I also like the idea that Kasper is not the smartest character in these pages, and that there are elements that are playing out that he looks completely unprepared to face. This is a wonderful issue, and I'm sorry I ever doubted this new direction.

An absolutely wonderful issue, as Ed Brubaker has crafted a story that is high on suspense, and there are several moments in this issue where I was truly surprised at how intense this material had become. This issue nicely cements this title as my favorite monthly series coming out of DC, as month after month this book continues to surprise me with it ability to grab my full attention. The current situation involving the Black Mask is a great example, as the reader actually knows that the danger is far greater than Selina looks to be prepared to face. The guest-appearance by another member of Batman's rogues gallery was also a welcome scene. As for the art, Cameron Stewart has picked up the unique visual style that made the early issues of this book so refreshing, and he's also proving to be a masterful storyteller, as the scene where a supporting cast member of this book is run down was a truly riveting sequence.

To put it simply this title is the best title coming out of DC, as it's effective on so many levels. The book manages to deliver a very real sense that anything can happen. What's more the Black Mask is allowed to be an utterly disturbing presence in these pages, and if the next issue box is to be believed he's about to make a lasting impact on this book. The book also delivers some wonderful action, highly intense moments of drama, and best of all Catwoman is allowed to come across as not altogether heroic in her dealings with the villains. This book is exciting in it's ability to deliver moments where you are genuinely shocked by what Ed Brubaker has done, and I also have to say that in his 15 issues on this title he's managed to created a cast of characters who I am able to genuinely invest my entire interest in what happens to them, which is an impressive feat given I hadn't read a single issue of Catwoman before the relaunch. The top notch art also helps to push this title right t

As for the art, Cary Nord does a fantastic job on this issue, as the visual confusion of Conan's drug induced state is well presented, as is his inner disgust as he discovers more about this realm. The lemming style suicide sequence is also a wonderfully disturbing visual, as is the sequence where Conan gets his hands on a sword.

There are a couple moments where the art looks unfinished, but for the most part the art is one of the main reasons why this issue was able to convey such a powerful emotional impact, from the look of near madness on Conan's face on the opening page as he tears through the guards, to his unfocused desperation when he's trying to stop the people from flinging themselves off the ledge. The nightmarish scene that he finds at the bottom of the pit was also quite effective, though I must confess I was a bit disappointed that the creatures he finds feasting on the dead didn't attack him. The one page spread of Conan facing the oncoming crowd was a great visual moment.

Of all the books that Brian Michael Bendis writes this is the one that seems the best suited to his slower pace (though I will admit that I don't currently pick up his "Powers" series, though I've been tempted numerous times). In any event, unlike "Alias" & "Ultimate Spider-Man", his work on this title holds my interest for the long haul because he's introduced some fairly major ideas into the mix. This issue is especially engaging in that it brings the whole secret identity crisis to a head, as it's almost resolved before Brian Michael Bendis decides to take that next step, and have the whole affair settled in the courtroom. This issue also offers up a very solid opening scene where Matt's feelings for Elektra are painfully revisited, and while it's a minor scene I was very impressed by how utterly creepy this book managed to make Daredevil as he made that visit to the home of the F.B.I. agent. A very rewarding read for readers willing to stick with this book for the long haul.

I don't think there's another title on the stands right now that has as much going on in its pages as this series has, as with the outing of Daredevil's secret identity Brian Michael Bendis has steadily built up a story that has slowly gathered a seemingly unstoppable momentum. As the problems continue to build, the focus has now shifted from how is Matt Murdock going to extract himself from this situation, to how bad is the damage going to be when this runaway train of a plot eventually catches him. The story has shifted from a sensational lawsuit, to an outright murder investigation, and I don't think many secret identities could survive both the unblinking eye of media scrutiny, combined with a police investigation. Plus, if this wasn't enough, the book has also added a romance subplot, and Brian Michael Bendis also takes some time out to have Matt engaged in a wonderfully compelling debate with Luke Cage about whether the actions Matt's taking to preserve his secret identity are ri

This book is starting to become a regular labyrinth of a story, as Brian Michael Bendis has been continually adding to this plot and with everything linked to what has gone on before, this book has achieved a degree of complexity that one rarely finds in the pages of a comic. Now while this makes the material a little daunting when it comes to newer readers, the opening recap pages do a pretty fair job of detailing all the major details, and for readers who have been with this story since the beginning, it's rather exciting to see everything is starting to come together in what is guaranteed to be a memorable finish. I love the idea that this book is able to explore its material from a variety of different vantage points, and that Brian Michael Bendis has also developed a multitude of secondary elements to this plot, as there's nothing quite so rewarding as a book that not only thinks big, but is also able to deliver big when it starts laying out the cards it has been dealing.

I don't know all that much about Typhoid Mary beyond the basic, split personality assassin gimmick, but this doesn't make her return to these pages any less powerful, as that final page is easily one of the most harrowing cliffhangers Brian Michael Bendis has unleashed upon us thus far. The book also brings the Kingpin back into the mix, and I can't tell you how much his return has bumped up my interest in this title, which was already at a ridiculously high level before. Simply put this is the best title coming out of Marvel, and this is actually say quite a bit considering Marvel is currently undergoing a creative upswing on most of its titles. This book is telling a fairly ambitious, multi-layered bit of crime-fiction, that is so densely plotted that it almost feels like a novel. However, thanks to the opening recap page and the smartly written dialogue, the material is never confusing, so there's no reason to not be reading this title.

Alex Maleev is not the best artist when it comes to delivering action in a visually exciting manner so he's found a near perfect title to demonstrate his main skills as an artist, as Brian Michael Bendis comes up with an issue that is largely a talking heads affair, and the art does a wonderful job keeping things jumping from a visual standpoint, as there's a great moment of tension when we see Lady Hydra trying to set off a bomb. There's also a nice sequence where Matt moves through a sea of reporters, and I loved the way that the Black Widow is introduced into the story, as her red hair instantly catches one's eye in the crowd.

I love Alex Maleev's work but I have to say this issue features some of the best work I've seen from him, as there's a pair of double-page spreads in this issue that are truly amazing pieces of art, from the graceful almost ballet like poetry of the attack that Daredevil and the Black Widow make on the raging Jigsaw, to the slap in the face that last page provides. The art also does a fantastic job of capturing the disfigured look of Jigsaw, as he truly looks like the type of face that would haunt one's nightmares, though there's also a nicely comical moment where we see he's trying to spook Matt with some bogeyman hand waving.

Kevin Maguire's art presents a few curious moment: for example, when the Hulk is overwhelmed by the Mindless Ones, he has such a strange facial expression that I wondered just where they were grabbing him. However, Maguire is on his game most of the time, projecting emotion from Dormammu even though his head is encased in flames, and the personalities of the characters come through via their body language rather than relying purely on their words. The cover does go overboard when it comes to the veins in the Hulk's neck though.

While Geoff Johns' "Flash" is offering up top quality super-hero action, and the "JSA" continues to be one of the most entertaining team books on the stands, as of this issue John Arcudi's Doom Patrol holds the top spot, as my favorite DC title. I mean, first one has to admire the idea that John Arcudi has created almost an entirely new cast on the series, and that he's also managed to generate entertaining stories, without the use of a single big-name villain. There's also the fact that this title is easily one of the funniest titles on the stands, as starting with the super arrogant Ted, this book's cast is a fine collection of amusing personalities, and John Arcudi has a wonderful grasp on how to poke fun at the conventions of the super-hero comic. Combine this with the wonderfully energetic work of Tan Eng Huat, who has now delivered ten issues in a row (an impressive feat for the modern day comic artist), and you have one of the best new titles to come out of DC in years.

Another entertaining issue that is helped by the fact that this book's cast are entirely new creations, and as such John Arcudi can still add new layers to the characters. This issue adds some new elements to the characters, as we get a better understanding of why Ted is such a grade A jerk, and the reason does serve to make that character more sympathetic. We also get a great little sequence that moves Vic out of the background, as we get a look at what really going on inside his head, and it's not very pretty. There's also a interesting little bit where we learn that Cliff still might not be back to his old self, as Ava makes a rather unsettling discovery about Cliff that she shares with the others. Add to this a solid little cliffhanger, that has Cliff being crushed under a rock slide, leaving the rest to fend for themselves, and you have yet another issue of this series that earns my utmost recommendation.

Tony Harris was one half of the creative team that created "Starman", one of my favourite series to emerge out of the 1990s, and as such he's amassed a great deal of good will in my books. However, it also doesn't hurt that he's a very sound artist with a solid grasp on all the fundamentals of good art, as his characters are quite expressive, and they never look like they are posing, but rather they move about the panels with a seeming effortless grace. Plus, the opening and closing images make for powerful images, with the impact of the opening page gaining far more importance when we get a look at the final page.

Tony Harris helps to bring a sense of realism to the material that helps to sell the key elements of this series, as the Great Machine's heroics have a wonderful down-to-earth quality to them that helps to make one understand why some people would view him as an annoyance rather than one of the bright, shiny super-heroes that we've become accustomed to. The art also does some fantastic work selling the emotional responses of the characters, as Hundred is allowed to look flustered, and his reaction to the photo of the killer does a wonderful job of showing readers the character is seeing important information. There's also a great little moment where we see the discussion that Hundred is having with Bradbury is not as private as he had hoped, and the visual impact of that final page makes for a great hook to carry us into what looks to be a killer final issue of this opening arc.

Tony Harris is one of the main reasons why this book is able to sell the illusion that this book is set in the real world, as there's a very human looking quality to his work and even the more intense moments of the issue have that extra level of gravity to them as they maintain the sense that this book is not playing out in some fantasy realm. I mean how can one not love to look of absolute delight on the face of Jackson's wife in the opening sequence, as the art so clearly sells the idea that she really is delighted to meet Hundred? I also loved the skyward look on Todd's face when his better half explains why he's a Republican. However, the most impressive and visually disturbing section of the issue would have to be the absolutely vicious baseball attack that the art delivers in the final pages, as that has to be one of the most frightening visual introductions I've ever seen a villain receive.

Tony Harris deserves the lion's share of the credit for the sheer impact of this issue's opening pages, as the nightmarish quality of this sequence is perfectly captured by the art, and it makes it quite easy to understand why Mayor Hundred is extremely reluctant to look back on the events of that day. The art also manages to sell the emotions of the dialogue scenes, as I loved the expression on the police commissioner's face as she backs away from her argument about the bad vibes that come with taking on the fortune tellers. The art also does a nice job of capturing the mystical quality of the fortune teller's inner chamber, as the place actually looks like the type of setting where the spirits would reside. There's also a interesting moment where we get a sneak preview of a future storyline as Tony Harris gives readers an intriguing one panel shot of a moment from Mayor Hundred's future. However, the highlight image of the issue would have to be the page where the art captures the cr

I was already enjoying this story a great deal, so the accelerated pace that this issue brings to the story has me fully convinced that this book can do no wrong. This book is a wonderfully crafted affair that it delivers on every level, from harrowing action as Snow White faces off against Shere Khan, to some truly amusing dialogue, as Reynard's attempt to charm Snow White was a delightful exchange. There's also a nice sense of wonder in the scene where Snow encounters the sleeping giants, and this sequence also does a solid job of making it clear that the Adversary must be one powerful customer if he's able to drive these creatures away from their homelands. I also have to say that while it's a little moment, the scene where Snow actively breaks down after killing Shere Khan is a great character moment, as it shows a very human side that the character rarely displays. One also has to love the cliffhanger that this issue delivers, as Rose Red makes her move against her sister.

This is an issue that acts to set this book into a rare group of titles where one gets the feeling that the writer has complete freedom to do whatever they want, as the only other title that has shown an equal willingness to use this freedom has be Marvel's "X-Statix". I mean for all intents an purposes this issue looked to be the final chapter of this Animal Farm arc, and if it had ended one page earlier than it did I would've been praising this book as a solid finish to a very enjoyable arc. However the final page of this issue catapults this arc to a whole new level, as the price that this victory looks to have cost is a complete shocker, and if this scene stands then I have to say that Bill Willingham will have me utterly convinced that he is willing to do anything in his pursuit of a story that will keep the readers on their toes. I mean we're only nine issues into the series, and Bill Willingham has already made it clear this book is not afraid of making big changes, and shocking

The big bad Wolf is front and center in this issue, and one can't help but be impressed by his little display of power, when he decides to stop running. The discussion of his feelings toward Snow White is also a wonderful character moment, as it nicely explains why he continues to pursue a relationship with her in spite of her continued declarations that she's not interested. On the other side of the coin we also get a look at Snow's feelings regarding this relationship by using a rather unusual viewpoint, as Prince Charming's actions in this issue look to be entirely driven by the premise that he has recognized that Snow is in love with Bigby, and as such Bluebeard's plan to kill Bigby simply can't be allowed to play out. The ensuing clash is also a wonderful look at Prince Charming's more heroic qualities, but there are also moments inserted into the fight that act to strip away the heroic veneer to reveal he's still very much a self absorbed creep, whose heroic impulses are fleeting

I don't want to spoil the big surprise for anyone, but I will say that this development acts as further proof that this series is far and away one of the best for springing unexpected moments on the readers. From the plot twist in the opening murder investigation arc, to the follow-up arc where Snow had half of her head blown apart by a sniper's bullet, Bill Willingham has continually impressed me with the ease at which he's able to deliver these big impact moments, without tipping his hand too early. In any event, this is a very strong closing chapter, as Goldilocks is done away with in a very dramatic, and somewhat comical manner, while back in Fabletown, Prince Charming is slowly revealing himself to be far more than meets the eye. In fact thanks in large part to his almost casual maneuvering of what could've been a rather sticky situation, I have a newfound respect for the character's intelligence, and I think he could be very dangerous with his seeming aspirations for more power a

A very solid issue as there's a wealth of interesting ideas brought into play in this issue, from the ominous dream that Snow has that gives her a heads up on an approaching threat to Fabletown, to Prince Charming's efforts to improve his standing in the community, while at the same time playing up his duplicitous nature. Now the most interesting element involves the arrival of a character who was presumed dead, or if nothing else trapped in the Fablelands with the forces of the Adversary to keep her company, so her arrival in Fabletown is a nice shocking twist, and her impending reunion with a mainstay member of the Fable community should make for an interesting little scene. The fact that there are goblins creeping around Northern Canada also puts an ominous spin on this story, as it seems to suggest that there is a portal open, and the forces of the Adversary are making their way through it. We also get a couple solid throwaway moments that flesh out a couple lower tier characters i

I love it when a comic is able to catch me off guard, and when an issue is able to do it twice within the confines of its twenty-two pages I have to give the writer full credit. This is a lovely display of how a writer can play with the expectations of the reader, as we're introduced to a situation that is clearly spelled out as evil plotting between two unsavory Fables, but after one adjusts to the idea that these two characters are members of the evil camp, the issue pulls off a masterful plot twist that changes the entire situation. There's also a wonderfully chilling moment where we see a trusted member of the Fables community does something that is quite unsettling, and one is left with the impression that not only have they done this before, but they have very little compunction about doing it again should the need arise. We're also given a solid introduction to the last of Prince Charming's conquests, and I have to say Cinderella makes for a wonderful femme fatale. One has to lo

As for the art, Mark Buckingham shows once again why he's the ideal artist for this series, as he perfectly captures the fantasy elements of the series, while keeping enough realism to the style that one never forgets that these fantastic elements are continually including enough reality based elements, to keep the book grounded. The art also does a wonderful job of when it comes to visually tailoring the panel designs to the story on the page, with the conversation with the witches and warlocks being a particularly clever panel layout.

There are several jaw-dropping visuals in this issue, from the double-page spread where the heavy-hitters enter the battle, to the scene where Bigby Wolf makes his arrival. The death scenes also manage to pack the proper impact, as the death of the Rhino is a haunting visual.

Mark Buckingham isn't given an issue that lends itself to the artist, as it's largely a talking heads affair, and the major action takes place mostly off-panel, though the brief glimpse that we do get is surprisingly effective thanks largely to the horrified reaction of Old King Cole. However, the issue is a wonderful display of what an artist can add to an issue like this one, from Snow's delight when she discovers Bigby has arrived, to the visual contrast of the sweet old lady image with the idea that this character is one of the more sinister villains from the Fables. I also loved the cover design, as is nicely reflects the sombre mood of the story we get inside.

I'm starting to get a little nervous when it comes to proclaiming Mark Buckingham as the perfect match for this title, as it does seem like the comic gods are quick to notice that I'm far too pleased with a creative team, and they step with a bold new direction, that normally results in an artist who is nowhere near as good as the artist that they're replacing. However, my fingers and toes are crossed that Mark Buckingham will remain on this title for a good long time, as he really is the best artist this book could've hoped for. From his delightful page designs that change to reflect the change of locals, to the simple fact that his clean style perfectly presents the story, I couldn't be more pleased with his work on this title. I mean how can one not love the double-page shot that opens the issue, that deftly links the two main story points, or Snow's haunted expression when she deals with the truth regarding the murders.

I can't deny that part of me wishes that Mark Buckingham was capable of delivering every issue, as I would have loved to see his version of Hollywood, and his page layouts were much missed. However, this title does have a storytelling structure that lends itself to the easy insertion of guest-artists, and David Hahn does a fine job when it comes to telling the story of Jack's Hollywood adventure. I mean there's a nice simplicity to his work that deftly manages to capture the bright and decidedly artificial quality of Hollywood. The art also does a nice job of capturing the ruthless quality of Jack, from his expression when he fires Bernie, to his equally sinister body language on the final page as it becomes clear his plans are far grander than simply making a blockbuster epic. I also have to give full marks to the cover image, which does a lovely job of capturing the classic image of a new face arriving in Hollywood.

Lan Medina makes a return to the title that he helped launch and I have to say that while I've really come to appreciate the extra touches that Mark Buckingham brings to the book, Lan Medina's visit does serve to remind us that this book has always been in the hands of great artists. I mean there's some lovely visuals to be found in this issue, from the quiet intensity that Bagheera manages to project as he paces his cage, to the wonderfully unsettling sequence where we get a look at the final moments of the Fable who was working for the Adversary. The art also manages to nicely build toward it's final page revelation, as there's a real sense of importance conveyed on that second to last page, and the final image of the issue conveys a real sense of excitement. I also have to credit the issue for managing to make Balloo look like a real bear while also capturing the laid-back attitude that is an essential aspect of the character, as this contrast of ideas is harder to pull off than it

Mark Buckingham is the perfect artist for this title. His art tells the story in a clear, highly engaging manner, and how can one not love the extra attention to detail that he puts on the page? Even the panel borders are used to convey the overall themes of the story. The art also plays up the idea that the Adversary is not the big, scary creature that most people had been expecting to find, as frankly there's something more unsettling about the truth being far less intimidating. I'm not quite sold on the more cartoonish aspects of the flashback scenes, as while they do clearly spell out how this sinister plan had started out with the best of intentions, when the story started to take a darker turn, the art felt like it missed out on a golden opportunity to reflect this change visually. On the other hand, the art delivers a couple of very gripping visual moments as the scene where we discover what is inside that cupboard acted as a powerful eye-opening moment. I also loved the li

While this issue does advance to Johnny Storm subplot toward a fairly enjoyable & exciting climax, this issue is largely a day-in-the-life issue, and Mark Waid manages to deliver a wonderfully entertaining read. From the genuinely hilarious scenes that focus on Ben & Reed's attempts to locate a fugitive insectoid lurking within the Baxter Building, to the equally entertaining material that shows us Johnny is more on the ball than anyone ever expected him to be, this issue stands up as my favorite issue of this already classic run. I also have to give Mark Waid credit for having Reed actually challenge Ben for the position as my favorite member of the Fantastic Four, and this is a truly monumental feat, as the only time Ben's spot wasn't guaranteed was when he was replaced by She-Hulk. Mark Waid's Reed Richards is the best this character has ever been, and the rest of the team isn't too shabby either. The guest-art by Mark Buckingham is also a very welcome surprise.

It simply doesn't get much better than this, though next month's arrival of Dr. Doom is likely to make things even better. This issue has firmly cemented this title as my favorite Marvel title, as I've spent my entire comic reading life waiting to this book to reach this stage, and now that it's arrived my only complaint is that we're only getting one issue each month. Mark Waid understands these characters, and this is what is quickly making his run on this book my all time favorite, and what's more he's making it look so gosh darn easy that one has to wonder why previous writers never quite captured it. The adventures thus far have been pretty simple, but this issue does offer up an amazing display of Sue's power, as she performs a stunt that firmly cements my conviction that Susan Richards is easily one of the most powerful characters in the Marvel Universe. One also has to love Ben & Reed's little bug hunt, and the comedic, though rather clever use of the shrinking ray.

That sound you just heard last Wednesday was the collective gasp of all the Fantastic Four readers as they flipped through their copy of this issue to discover which member of the Fantastic Four Mark Waid decided to kill off. I mean as much as I want to offer up my two cents on his choice I wouldn't want to spoil the surprise for anyone who has yet to encounter it, and as such all I can really do is offer up my belief that most reader will be completely floored by the member who is killed off. In the end I already know that this character is going to be brought back to life, so the more important aspect of the story is the new status quo that has been created for this team as the Fantastic Four are no longer the shining jewel at the center of the Marvel Universe. They are distrusted by the public, and with the income provided by Reed's patents cut off it would appear the team looks to have lost access to all those wonderful toys that made their adventures possible. Watching them get ba

This is the type of issue that creates new fans and I actively encourage comic fans who have never picked up an issue of this series to make this issue your first kick at the can (though given this is a review of a Fantastic Four issue, I highly doubt this advice is going to reach these readers). In any event this is exactly the type of story that clearly defines the elements that separate the Fantastic Four from all the other team books on the stands, as they truly are a family, and as such when the team is on the skids, one is left truly concerned that this might very well be the end of the team. There's also the very real sense that the Fantastic Four are a group that finds their own adventures, and that while they will battle super-villains, more often that not the dangers they face are ones they encounter during their travels. Plus, one can't help but be impressed by the almost epic scope of the final pages of this issue, as the team prepares to travel to the other side to bring B

Mark Waid delivers another enjoyable issue, as not only does he manage to exceed my expectations by making Heaven into a fairly harrowing environment for out heroes to move through, but he also manages to produce several wonderful character moments that show a solid understanding of the personality mix that makes up the Fantastic Four. From the explosive scene when Reed snaps and lashes out at Johnny for the role that he believes he played in Ben's death, to the conversation that Sue has with Reed where she compares him to Dr. Frankenstein, these are truly memorable moments that helped to make this into one of my favorite issues of Mark Waid's already memorable run on this series. However the highlight of the issue would have to be the eye-opening revelation in the final pages as the team is reunited with Ben, and they not only discover the source of all the dangers they've encountered, but what role they had played in Ben inability to get past the gates of Heaven. The versions of Hea

My only quibble with the issue is regarding a minor bit of continuity that I can understand why Mark Waid ignored it, so I have to say I couldn't be more pleased by the big ending Mark Waid offered up to this arc. The Fantastic Four traveled to Heaven, and they managed to have a pretty exciting time of it, as the discover the place isn't all angels floating around on clouds playing harps, and what's more there's not a single elf to be found. The issue also manages to repair the damage that was done to the team, as the strength of the relationships between these four characters are perfectly spelled out, and the last panel of this issue acts a the perfect final note to put on the fact that of all the teams in the Marvel Universe, this is the one that deserves a moment like this. The issue is all about rewarding the longtime readers like myself as Mark Waid demonstrates in this issue that he understands the idea that these four characters belong together, and nothing, not even death itse

About as much fun as one can have in the pages of a comic, and while there are a couple gags that I felt were trying too hard for the laugh, I have to say I'd rather the writing went for the joke than play it safe, as this is exactly the type of frivolous adventure that we needed after the emotionally heavy turmoil that has been piled on the team over the past couple arcs. Spider-Man is a wonderful guest-star when he's used right, and Mark Waid does a fantastic job of creating a role for Spider-Man to play as Johnny turns to him for advice on how to endure the slings and arrows that the public are currently sending his way. This in turn results in an encounter that plays off the best aspects of their typical pairing, though thanks to the current situation the roles have been reversed, as Spider-Man is the popular one, while Johnny is the pony hating monster who burns down animal shelters. Adding Hydroman to the mix is also a fun diversion as he makes for a villain that would give Johnn

An issue that deserves to be read by any fan who enjoys a well crafted throw down between a super-hero & a super-villain, as Geoff Johns has absolutely perfected this scenario in these pages. Now following on the heels of the battle with the Rogues, this story does feel a bit familiar, as once again the story features Wally squaring off against an army of baddies. However, having the action set within the confines of Iron Heights, and the involvement of Grodd has me welcoming this latest arc with open arms. Plus, the simple fact of the matter is that Geoff Johns has figured out a formula that generates a level of pure excitement that I simply don't find in any other comic, as I actually fear for Wally's safety when he's fighting these villains, and the last page is just a perfect way to leave me counting the days until the next issue. Scott Kolins art is also a vital part of this book, and it's one of the main reasons this book is my absolute favorite title coming out of DC.

An issue that manages to deliver a pretty solid balancing act as the opening half of the issue acts as a fairly lighthearted introduction to Flash's corner of the DCU, and in spite of my being very familiar with all the material these pages detail, I have to say I was impressed with the nice economical presentation, and was equally pleased by how much ground these pages went over. However, what really earns this issue it's high rating plays out in the final half, as Zoom arrives in this book with all the impact of a tornado, and it's wonderful to see the sense of confusion as Wally looks to have finally run up against someone who is faster than him. I mean there's some downright harrowing moments in this issue, as Zoom acts as almost a ghostly presence that is taunting Wally, and then there's the final page cliffhanger that leaves one on pins and needle waiting for the next issue. The new Zoom makes for a wonderful threat, and best of all one can't help but get the sense that Wally's w

Except for perhaps the JLA/Avengers crossover, this is the one project that left me giddy with joy when I heard about it, but I was also a bit nervous. I mean if this book hadn't lived up to the extremely high expectations I had gone into this issue with, I would have to cast a second look at the original run to see if perhaps it wasn't nearly as good as I remembered. However, this opening issue not only reaffirmed my belief that the originals were some of the best material to ever come out of DC, but also this book acts as a wonderful return several old friends. I mean I hadn't realized how poorly Blue Beetle had been handled by others, until this issue's exchange recaptured the magic that made the character into one of my all time favorites. This issue is full of humor that is sure to be approached by fans of the original, and the book also acts as a delightful return of these long neglected characters, who have spent the past decade, being ill used, or outright ignore. This book is

This issue essentially brings in the main plot, as after using the first issue to reintroduce us to the cast, and the second to pit them against a throwaway threat that served to remind us how funny this team can be, this issue essentially throws the team to the wolves, as they are placed in very real danger. Now if there is one thing that really sticks in my fond memories of the original run it's that when things did turn ugly, Keith Giffen & J.M. DeMatteis did a masterful job of turning the suspense up to eleven, and this issue's final pages show me that they are still fully capable of doing so. I was going to use one of the columns to praise the addition of Mary Marvel to the cast, as her eternal optimism, and naive outlook on the world reminds me of the late Ice, who was one of my favorite characters in the original run, but this issue's final pages does a fantastic job of playing up the idea that Mary Marvel is far more powerful than all the others put together, and next issue loo

On one hand it's a bit sad because it's the final issue, and even with the promise of a sequel arriving in shops in a couple months I'd feel much better if the rumored regular series was a reality, as the knowledge that there is definite ending in sight is a bit distressing. Still, this issue is as much fun as the previous issues, and the guest appearance by the JLA stands up as one of the more enjoyable events on the miniseries, as J'Onn's unwillingness to get pulled back into the insanity has me hoping that the JLA loan the character out for the next miniseries, as I'd forgotten how well the character works within the confines of this group. In fact the one thing this miniseries has done exceptionally well is show how a team book should be done, as the relationships between the members of this group feel genuine, with Booster Gold and Blue Beetle's fight being a shining example of how to stage a difference of opinion between two characters without it feeling contrived. I also love th

While I never considered myself a huge fan of his work before his run on She-Hulk, I'm delighted to see Paul Pelletier's name in the credit box, as he's shown himself to be a fantastic artist when it comes to delivering a humour title. This opening issue also shows that he's quite good when it comes to the presentation of the darker elements of this issue, as the credit page image is wonderfully disturbing, as was the scene later in the issue where the first member of the G.L.A. is killed off. However, that art also does some lovely work when it comes to capturing the moments of dark comedy that litter this issue, from the scene where Mr. Immortal makes his less than impressive debut against a group of armed robbers, to the little montage sequence where we the rest of the team in action. The cover image also puts a hilarious spin on the moody cover image that was used to debut the New Avengers title, not to mention it serves as a great visual introduction to the Great Lake Avengers.

Michael Lark is a great artist for this series as he brings a grounded style to these pages that lends an ever important realism to the adventures of our all too human lead characters. I love the fact that these characters are allowed to be doing the little things in-between the action, as they are allowed to fidget, and look bored when they aren't involved in heated action, and uncomfortable when they are being forced to question Bullock about his actions. The big action scene in this issue is also quite impressive, as the scene where the bullets start flying is visually jarring, and while the cover spoils the big surprise, it's still a powerfully rendered sequence.

Michael Lark does a wonderful job on this issue's main action set piece that has our detectives making their way through a dark and foreboding building, where every shadow looks to hold potential danger. I also have to give the art full marks for offering up a simple but decidedly creepy design for the costumed threat that endangers our detectives, as the page where the character descends from the stairwell, and starts blasting away is an undeniably powerful visual, as is the bit of action that follows his attack on Montoya. There's also a great little quiet moment where we see the potential storm of controversy that is going to enter the lives of our heroes, as we discover why this arc has been given the title Corrigan, with the final panel of this issue doing a wonderful job of showing readers the lower moral depths this character inhabits.

Michael Lark's departure was one of the most abrupt departures I've ever seen, as the story was released only a couple weeks back, and his final issue had already been shipped. Still he does turn in a wonderfully moody cover, that does a solid job of selling Catwoman's involvement in this adventure. As for the interior art, I have to say Jason Alexander's work is a little rougher around the edges, but he does a good job of keeping the photo-realistic visual style that made this book stand apart from the crowd, and helped to sell the more down-to-earth tone of the series. The art also does a wonderful job on its main action sequence, as the encounter between Josie Mac and Catwoman in the graveyard is a wonderfully choreographed bit of action that deftly presents the idea that Josie doesn't stand a chance. My only quibble with the art is that there are some panels where the lines under Josie's eyes are a little too pronounced.

Big league action that JSA readers must read, as there's several moments in this issue that are going to make a huge impact on the team, and if you've been skipping the Hawkman chapters of this crossover then you need to get back to the store to pick up this chapter, or you'll be kicking yourself when you open next week's JSA issue. This is an action packed issue with numerous cooler than heck moments, from the Black Adam/Captain Marvel fight, to the truly unexpected development that plays out in the final pages of this issue. There's also numerous little moments that impress, like when Stargirl's staff is cut in two (I realize this one will make a bigger impact on Starman readers), or the foot stomping scene with Atom Smasher toward the end of the issue where it's clear that he's too far gone to bring back. I also have to say that I loved the logic of the final page, as I believe I understand what's happened, and it's a very clever way of saving this character's life, and pleasing the

I recognize that my attachment to Bill Watterson's "Calvin and Hobbes" is one of the key reasons that I find this material so appealing, but I also have to acknowledge that Herobear & the Kid, and to a lesser extent Decoy, have successfully tapped into what ever magic that made Bill Watterson's strip one of my all time favorite comic creations. This issue is a celebration of childhood and while I know that my attempts to convey what I like about this book are going to sound overly sentimental, I simply can't help it. This book captures the sense of wonder that having a secret super-powered friend would be like. This is a title that understands a kid-friendly book can be intelligently written, and that a story can be simple in scope, but high on imagination. Hey, I warned you that my attempts to describe it would be maudlin (and yes, I've also got myself a thesaurus), but I can't help but embrace this series for the little treasure that it is. Buy this book!

A delightfully engaging done-in-one issue, as the spotlight is handed over to occasional supporting cast member, Doc Samson. Bruce Jone offers up a very clever little tale where we see the group that's currently gunning for the Hulk comes up with a fairly innovative plan of locating Banner, and as the story builds up to the point where it looks like Banner's as good as caught, Bruce Jones pulls off a great little slight of hand. I mean when this issue ended I was kicking myself that I hadn't taken notice of the glaring flaw that had been made by the villains, or even guessed that there was a trick ending in the making. In any event, as a diehard fan of "The Fugitive" (the original series, not the recent remake), I've balked at the comparison many reviewers have made about Bruce Jones work on this book being comparable work, as while the material has been very strong, it never came close to matching that series' ability to make me believe our hero was backed in a corner he couldn't poss

Bruce Jones is a masterful storyteller, and I thank the lucky stars that Joe Quesada got his hands on Axel Alonso, who in turn got Bruce Jones on this book, as while I'm a big fan of Peter David work, I'm starting to think this is the best this book has ever been. This opening issue of this latest arc is a moody, highly intense mystery that has Banner placed in yet another situation where his ability to turn into an unstoppable engine of destruction isn't going to resolve his problem. What's more Bruce Jones has developed a genuinely compelling mystery, as while it's clear that Banner was set up to play the patsy in this murder scheme, the question remains how exactly they managed to pull this off this highly impressive frame up, and what do they hope to gain. The last page of this issue also delivers a delightfully unexpected surprise, though looking back I guess we should've expected something like this.

A very solid opening chapter as the miniseries that spent almost two decades mired in a creative hell finally arrives in the station. Now, it would appear Kurt Busiek is working under the principal that these characters have never met before, or that they don't remember these meetings, and this certainly adds a nice new car smell to this historic meeting, as this issue introduces the JLA to the Marvel Universe, and the Avengers to the DCU, where they are allowed to make some highly engaging observations, that are both humorous (Quicksilver's reaction to the Flash Museum), and insightful (J'Onn's study of the Genosha massacre). We also receive two large scale action set pieces, as the JLA battle Terminus, while the Avenger find themselves dealing with a massive Starro invasion. Both of these action sequences convey a wonderful sense of danger, and a clever solution is arrived at by both groups, that nicely display the competence of both groups. The big meeting between the teams is also

For a comic fan who has been following the adventures of both these teams for over two decades, this issue is a wonderful mixture of the continuity of both teams, as well as a tantalizing preview of what might've been if Marvel and DC had made a crossover between their two big teams an annual event, much like the JSA/JLA meetings of old. In any event while there are moments when the plot might be a little old school for newer readers, and a little dependent on readers being up to speed on events that occurred years, and in some cases decades ago, frankly I applaud Kurt Busiek for including a wealth of scenes that reward readers like myself who have been with both books since the first attempt at this crossover was being bandied about. Plus I love the way this story bounces around the time-stream, and while I suspect this was done so that Kurt Busiek could insert Hal Jordan into the story, I love the fact that we were allowed to have a tour of the merged universe. In fact my only compla

The only disappointing thing about this miniseries is that after spending my entire comic reading life waiting for it, there's a sense of sadness to the idea that it's over. I mean this was a wonderful realization of the idea of the Avengers and the JLA being brought together for their first crossover, as Kurt Busiek and George Prez pull out all the stops and manage to deliver a story that can proudly stand alongside all the other classic stories that fans have recognized as the highlights of the super-hero genre, as this story was clearly written for the fanboys like myself who have been following the adventures of both these teams for decades. However, the story isn't a continuity laden affair that would drive off the new readers, but rather it hopefully acts as an eye-opening experience about how impressive both these teams can be. This story has acted as a celebration of all the things that make these two teams great, and this issue is littered with moments that make it clear both

A very unexpected revelation in the final pages of this issue, as Hawkman's mystery ally makes a discovery about one of Black Adam's operatives that changes everything. Now I expect Captain Marvel fans will find this revelation to be even cooler than most fans, as they will be more familiar with the implications of this development than myself. Still I can appreciate the gravity of this scene, and I also have to give the scene full marks for being completely unexpected, which doesn't happen all that often. This issue also has a strong sense of urgency to it, as there's a wonderful confrontation scene between Jay Garrick and Hawkman regarding Carter's overly aggressive fighting style, and there's also a couple fairly major developments as two characters are dead by the end of this issue, with Eclipso getting an opportunity to flex his villainous muscle. The big reveal regarding Hawkman's mystery ally is also pretty cool, as once again I had no clue as to what this surprise was until Geo

The art of Pablo Raimondi does a great job of capturing the darker elements of this issue's plot, while at the same time he's also quite effective when it comes to the delivery the visual gags of the story, such as the scene where Jamie's power surfaces during the opening fight. There's also a pretty cute display of dark humour as we see the assassin is called while in the middle of an assignment. The art also does some nice work when it comes to the facial expressions of the characters, from Jamie's look of frustration as one of his dupes points out that they're committing an illegal act, to his pained expression on the final pages when one of his dupes is killed. There's also a number of fun little details from the varied expressions on the dupes' faces as Jamie clambers up them, to the newspaper headline on the security guard's paper.

About as enjoyable a comic that I've come across is quite some time as Mark Millar offers up the Spider-Man comic I've been wanting to read for the better part of the past decade. Not to put down the work of Paul Jenkins, or J. Michael Straczynski, but this is the first mainstream Spider-Man title that has managed to fully grab my interest. I mean this a highly entertaining bit of writing as we jump right into the middle of a heated battle between Spider-Man and the green Goblin, before taking us on an equally engaging trip into Peter life after the battle, as the scene where we get a good look at the damage that he incurred during the fight is a very unsettling look at the price that he pays. The book also offers up a wonderful scene where Peter and Aunt May reflect back on the life they shared in the family home, and this issue also manages to convince me that Peter's job as a teacher could very well be a good move, as I loved the way that Mark Millar transforms the students into a r

I mean, there's a great impact shot of an alien invader slamming into one of Sue's force fields that manages to capture the idea that her fields are completely invisible. There's also a wonderful creepy reveal shot as we see the alien invaders have been busy collecting the local wildlife.

Kyle Baker's animated style has become one of the main reason's why I'd recommend this title, as while the writing is quite solid, the art's ability to deliver the visual gags are what really make this series one of DC's undiscovered treasures. From the scene where Plastic Man mixes a drink for Agent Morgan, to Woozy Wink's ineffectual efforts to stop a raging fire, the art is a sheer delight. I also enjoyed the frantic energy of the scenes where Plastic Man is trying to preserve the integrity of the time line by keeping Abe Lincoln from absorbing to much knowledge from the present day, and the photos that cue Plastic Man's observations about the screwed up continuity are hilarious.

The art plays a huge role in one's enjoyment of this issue as Kyle Baker has perfectly capture the visual chaos of Plastic Man's efforts to repair the time stream, and there's several priceless visuals to be found in this issue from the book's visit to the Ten Commandments with it's host of historical stowaways, to the one page shot of Abraham Lincoln taking down Woozy Winks. There's also an amusing display of facial expressions on display as one has to love Woozy's expression as his finger advances of the pretty button, or the series of panels where the horse reacts to the idea that it's got pieces of John Wilkes Booth's brain stuck to it's hoof. The big reveal of the true villain was also a cute visual, as it deftly presents the idea that plan made no sense whatsoever.

Kyle Baker's art is a decidedly cartoonish style, and I imagine that new readers will find it as visually jarring as I did when I picked up the first issue, but I have to state that I can't think of another title on the stands that features a style of art that is as ideally matched to the style of writing as this series. Now of course this is probably due to the fact that Kyle Baker is pretty much the entire creative team, which makes providing a unified final vision quite simple to accomplish, but this doesn't make it any less enjoyable. I mean the visual gags can't be presented any better, from Superman's battle with Luthor's secretary, to the final pages as the art manages to reflect the various personalities of the characters in their new bodies. The art does a wonderful job of keeping the overall tone as goofy as the book can be, but it also manages to keep a solid grasp on the idea that it's still responsible for presenting a clear final vision.

This is far and away the best issue of Jon Lewis' run, and while I was unsure of his ability to deliver a story that truly grabbed my interest before this issue, this month's issue has me fully convinced that he does have it in him. This is a very engaging look at an incident from Stephanie's past that could've very easily have ventured into the melodramatics of an after-school special, but Jon Lewis not only avoid all the pitfalls that plague stories like this, but he offers up a shining example of exactly how stories like this should be handled. The readers are allowed to draw their own conclusions from the story, and in the end you are left to wonder if the Cluemaster is worthy of Stephanie's grief. I also like the idea that this incident hasn't left Stephanie an emotional wreck, and we even get a scene near the end where she actually recognizes the fact that she has just dumped a load of emotional wreckage right on Tim, which results in a fairly amusing display of her ability to la

The art on this series is one of the primary reasons that I noticed online when people were offering up a reason why they left this series on the shelf, and I have to openly wonder what these people look for from an artist, as Adrian Alphona turns in a very solid style that tells the story in a clear, easy to follow style, that manages to convey a nice sense of motion and energy. The big impact moments are also well presented, as how can one not love that final page where the surprise traitor is presented in full evil villain mode.

A highly entertaining issue that gathers together all the best elements of this series into a single issue. We have a fairly engaging murder mystery, some first-rate character interaction, including a delightfully amusing feud between Emma & a bearded woman, and the issue also lays the groundwork for Simon's impending showdown with the villainous Lightbourne. We also get a fairly intense scene between Simon & Emma, as a lingering thread from the opening arc rears its head, and Emma is left to wonder if the secret she's hiding from Simon is about to be exposed. The issue also adds another fun character to Simon's ever expanding collection of oddball operatives, as we're introduced to the late Otto's twin sister, Ophelia. The murder mysteryis also a fairly clever little plot, as the murder weapon is fairly unique, and it also ties itself quite nicely to the Lightbourne case, with the final panel of the issue being a wonderful hint of where Lightbourne is going to take this game.

I had a grand old time with this issue, and this is the issue that has fully convinced me that Dan Slott has tapped in an idea that is rift with potential story ideas, and he's got enough imagination that it's going to be some time before this creative well runs dry. I also have to applaud this issue for offering up a story that fits She-Hulk, and She-Hulk alone, as this isn't the type of story where one could cut and paste any old hero into the story, but rather this is a concept that is perfectly tailored to She-Hulk. This concept is also full of springboard for humorous plot developments and there's several moments in this issue where Dan Slott makes it clear he's fully aware of this, and that he's got a wonderful sense of humor, as I found myself smiling right from page one. The issue is also loaded with fun concepts that are playing out in the background, like the Doctor Strange's guest-appearance, and the main plot isn't half bad either as the case of Danger Man was pretty compel

I also enjoyed how continuity elements from the Fantastic Four are seamlessly inserted into the pages of this title, as it does create a sense of cohesion in the Marvel Universe that we don't see much anymore. As for the art, I have to say I love the amount of detail that is on the page, as the characters are wonderfully expressive, and while there isn't much action in this issue, what little there is was powerfully rendered. I also have to say that's a lovely cover image, as it's downright photo-realistic.

Juan Bobillo turns in another fine issue, as the visual gags are amusingly presented (e.g. the crude Spider--Signal that opens the issue), and the wide range of facial expressions really help to tell the story, as how can one not love Jameson's expression when he learns how much Spider-Man could win in court. Now his take on the Scorpion looked a bit off as the character looked clunky, a visual element that seemed to be at odds with the writing that seemed interested in selling the idea that the character was fast, but the art does deliver some powerful action shots nevertheless.

Paul Pelletier puts on an impressive display in this issue, as the humour is largely dependant on the art to sell it to the readers, and his work is more than up to the task. From the look of utter delight as Hercules pummels a number of grade-Z baddies senseless, to the surprise video tape recording of Hercules' celebration party, which is capped off with the most hilarious image of the entire issue, as we get a look at Hercules' reaction to the recording. In fact based on this issue, I have to say my fingers are crossed that the super-secret project that Dan Slott was discussing in a recent interview is a Hercules miniseries, as Paul Palletier has perfectly captured the spirit of everyone's favourite drunken lout. The art also does a pretty effective job of capturing She-Hulk's new strength levels, as the comedy of errors that ensues as she races home to save her goldfish was a fun bit of visual comedy.

First off I have say I was a loyal viewer of the "Kids in the Hall", so a great deal of the dramatic impact of this issue's cover was lost. However, the interior art holds up quite nicely as Holden and company embark on a fairly intense little mission with quite a bit of gunplay, and how can one not enjoy the highly charged atmosphere that this issue offers up, as the cast dive across the panels blasting away with their guns. The art also manages to deliver the full impact of its major plot twists, as the panel where Holden discovers what they've been sent to recover is a properly disturbing visual, and the scene where Triple-X discovers the real reason he joined them on the mission was a visually jarring sequence. The issue also offers up a couple nice moments where Holden's stone-faced expression is broken, and it becomes quite easy to believe that the character is no longer in control of the situation when he is so visually upset.

Gary Frank turns in another fine effort, as he does a lovely job capturing the underlying premise that the methods that are being used against Hyperion are quite precise & methodical, and the visual of a clock being taken apart makes for a wonderful visual element that nicely captures this idea. The art also nicely captures the cold, calculating nature of the man who is working to bring down Hyperion. I also loved the scenes where this man's underlings are sent out into the world to do his dirty work, as there's a lovely reaction shot where Stanley comes to realize that jumping to Hyperion's defence would not be in his best interests. There's also a nice scene where Doctor Spectrum pays a visit to his underwater friend, where the art effectively captures the various emotional reactions of the young woman as Joe questions her about the accident. The big scene where the two leave the ocean sells well the power that Doctor Spectrum commands.

Charlie Adlard gets the opportunity to present some more zombie blasting action, and if nothing else, he deserves credit for capturing the one element that zombies have over every other movie monster: their ability to overwhelm a character with sheer numbers. There's a lovely little sequence in this issue where Otis arrives outside the prison, and he quickly finds himself swarmed by the zombies gathered outside. A great little follow up sequence shows Otis has spent most of the battle cowering by his wagon while the mystery woman took care of business. How can one not love the sheer impact of that gore covered shovel? The art also nicely captures the impact of this issue's big surprise moment as the close-ups of Rick's eyes as he studies the situation before he makes his decision is an amazing bit of artwork. The final page of the issue also has an undeniable impact, and I'm delighted to see this book's creative team is getting some recognition with a pair of Eisner nominations.

The one regret that I've always held as a comic fan is that I wasn't around when Stan Lee and company were in the middle of the creative firestorm in which the cornerstones of the Marvel Universe were created. Every single character on my top ten favorite Marvel characters list emerged from this period (with the notable exception of She-Hulk), and while the creation of the Ultimate Universe isn't nearly as momentous an accomplishment, I imagine it does manage to nicely approximate the feeling of discovery that readers must've felt in the early 1960s when Marvel comics was arriving on the comic scene. There's a wonderful sense of discovery to these early issues, as Brian Michael Bendis and Mark Millar work their magic in their reworking of the Marvel Universe. I truly hope that this opening issue draws in a ton of new readers, as the Fantastic Four are a great concept that perfectly capture the scale that comics can operate at, and this opening issue just scratches the surface of the po

The best of the best when it comes to super-heroics, and I've not just saying this to get myself quoted in the house ads. This truly is the comic that has captured the blockbuster feel that I wish all comics would strive for, but unlike most summer films, this book is also populated by a fully developed cast of characters who are absolutely fascinating. These are characters who have been tossed into the role of a super-hero, but they lack the sense of righteousness & self sacrifice that has long been a staple of the super-hero archetype. In fact what makes these character so much fun is that their unheroic tendencies will have them veering off in unexpected directions, and it doesn't hurt that Mark Millar is a masterful storyteller when it comes to thinking big. I mean with Bryan Hitch providing the art, this arc is off to a rollicking start, as the villains manage to deliver the first, utterly devastating blow. The only black mark against this book continues to be its unpredictable ar

The alien menace is essentially done away with in this issue, and in the process Todd Nauck manages to offer up a pretty unexpected development, by having one of the cast member revealed to be an agent of these alien invaders. Now from an action standpoint there's some fairly intense moments that nicely play off the idea that only one member of this book's cast of heroes has any real experience when it comes to being a super-hero, and watching these characters struggle to put up a good fight makes for a very engaging reading experience. This issue also manages to muddy the waters a bit when it comes to guessing who is going to be a member of the final five, as there are several characters that put on a pretty fair showing during the battle. For example, Snapback gets to rescue the damsel in distress (twice), as well as show his willingness to be in the thick of the fight, while Travel Agent gets to show how useful his power came be in a pinch. In the end I'm quite curious to see who wi

A very entertaining look back at how the late Edie Sawyer found her way into the cast of this series, and while my fondness for the character probably had me enjoying this issue far more than many readers, I imagine most fans will enjoy this look back at a decidedly less confident Edie, and watching her gradual transformation into the highly cynical personality that she came to be. The issue does some very nice work detailing her decent down the morality ladder, but the book also has some fun with the idea as well, as there's several laugh aloud moments to be found, with Edie's nightmarish debut being the highlight. Now there is a certain degree of melancholy to this issue, as we know what Edie's eventual fate will be, but if nothing else the book gives us one final look behind the facade that Edie had put up when she was in the group, and as a character study one can't help but feel Edie deserved a better fate than she received.

The rest of the issue is an entertaining discussion between Yorick and the latest addition to this book's cast, as PJ decides to come right and ask why Yorick hasn't taken advantage of his being the only rooster in the hen house, and the conversation is a very solid little character piece. In fact this conversation was so solid that I have to say this issue's cliff-hanger has left me on pins and needles, as I find I have to wait an entire month to find out what that gunfire means. The art of Goran Parlov is also quite well done as it's a very close match to the work of the regular artist, and it does a lovely job of maintaining the real world feel that has been established on this series.

I also have to make mention of the lovely cover image that this issue offers up.

First off I have to make mention of this issue's cover, as it's a surprisingly informative visual, while at the same time it also manages to convey a very real sense of menace, which is surprising given it's simply a shot of Yorick in his gas-mask disguise. As for the interior art it does a very effective job of delivering an issue that has a decidedly frivolous tone, which gives the final pages even greater impact. I mean how can one not smile at our first introduction to Yorick in the present day, or his sissy man attempt at running away from the group of attackers, which is followed by his equally ineffectual bid at playing an action hero. However, the real visual impact that this issue has is delivered in the final pages, and I have to say the art clearly understands the sheer importance of this moment, as that final page shot is the most shocking image this series has offered up.

Pia Guerra returns to the book and turns in a very impressive reminder of what she brings to the book, as this issue is a very solid showcase of how to sell the key emotions of a scene by simply using a character's facial expressions. I mean there's a lovely little moment in this scene where we see Yorick is trying to act like he knows what it feels like to be dumped, and there's a great little moment where we see Yorick's stupid fanboy reaction to Beth's Halloween costume. There's also an impressive transition where we see a winter time scene fades into the Australian outback, and I also rather enjoyed how the more fantastic elements of the book intruded upon the story, though I guess a large part of the credit for this later element goes to Zylonol which adopts the old fashioned coloring style. There's also a couple nice nightmarish images in this issue from the attention grabbing panel of Yorick's death, to the stunning cover image that does an amazing job of playing up the idea tha

One of the more enjoyable one-shots I've ever come across, and while I was a big fan of the character before this book came along, this issue has convinced me that the character could easily carry her own monthly series, and with Paul Dini at the helm I do believe the book would quickly become one of my favorites. I love the everywoman quality that this one-shot manages to instill into the character of Zatanna, as while she does cast numerous spells in this issue, and the book has fun playing in this "out of this world" environment, it also gives Zatanna a nice down to earth quality. From her amusing reaction when she discovers a naked John Constantine passed out on her bed, to the final sequence where we see her inability to live a normal life, this book proves to be a delightful character study. I also like the idea that the book plays up the idea that Zatanna enjoys the attention she receives when she's up on the stage performing, as this is an element of the character that has neve

This opening issue essentially sets up the premise that will drive this series, and presumably the dozen or so Marvel characters that have been introduced will all play an active role in the impending adventure. Now the hype surrounding this miniseries pretty much guaranteed that I would enter this series with a basic understanding of the plot, as the Marvel Universe has formed 400 years before its time, and since it's been stated numerous times that this is not an Elseworlds-style adventure, one has to assume that it's more along the lines of the "Age of Apocalypse" in that some event in the past has altered the present, and the main plot will have these characters working to bring back the regular Marvel Universe. What makes this premise so interesting though is that there doesn't appear to be a character running around with a memory of what it was like before, or even that their world has been changed, so Neil Gaiman has really given his cast an uphill battle, as they're not even aw

This continues to be a fairly solid display of Neil Gaiman's ability the craft an interesting story, as I've been treated to literally dozens of alternate "Elseworlds" and "What If" environments, but I'm finding this one to be quite fascinating. Essentially he's transferred the entire Marvel Universe into the year 1602, though it would appear that he's using the 1960s template, as the characters are more innocent, while the villains would seem to be quite fond of their villainous ranting. Now this issue introduces us to the idea of a school for Witchbreeds, and we see the evil Grand Inquisitor is busy plotting his vengeance upon Carolus Javier, in a scenario that should feel very familiar to X-Men fans. There's also an equally engaging exchange between Matt and Natasha, and young Peter is quickly emerging as my favorite character in this book, as he is clearly based upon the younger, decidedly more eager Peter Parker that Ultimate Spider-Man fans will probably recognize. All in all it

While my fondness for all things Spider-Man continues to make Peter into my favorite character in this miniseries, I must confess that Nick Fury stands ready to oust him from the top spot, as I can't help but find the character's take no prisoners approach to his job utterly riveting, and with the last page reveal that he's failed at his job, I can't wait to see what the character does next. I mean here's a character whose entire purpose in life is to protect the Queen from the dangers of the world, and by the end of this issue we see all that his chest beating thuggery has managed to accomplish is to reveal the identity of the man who is currently killing his Queen. There's also some nice work on a scene involving Magneto's counterpart, as he dispatches an assassin who was sent to kill him with a wonderfully casual manner. I do have to say I'm a little confused by the mixed gender status of Jean Grey's counterpart, though I'm guessing the answer to this mystery will be forthcoming. Da

This issue pretty much lines up all the pieces for what looks like a fairly memorable finish, as the opening third of the issue pretty much lays out what has happened to the time line that has the Marvel Universe coming into existence 400 years in the past, and the final two thirds of the issue finishes assembling the cast of characters who will help correct this temporal disaster, with the Fantastic Four getting themselves on of the best introduction sequences of this entire miniseries, as we see the four make their escape from Doom's various prison cells. There's also some interesting mysteries that are set up, as we don't yet know which of these characters is responsible for this situation, and Neil Gaiman also sets up a couple of small discrepancies that could be very important, as Nick Fury seems surprised when he mixes up John Grey's gender, which suggests to me he's the one character in this book who has knowledge of this there's something wrong with this picture. However, there

Another issue that manages to be entertaining enough but once again leave me with the feeling that there's something missing. I mean there's some fairly big developments in this issue as a key character in the story executed, and another character dies of the injuries they received in the previous issue. However, there are a few too many sections of the issue where the characters are discussing elements of the story rather than actually taking part in it, as most of our heroes spend the issue on a ship traveling to the New Lands, and the only action in this issue results from the Grand Inquisitor's escape. I'm also a bit concerned that we only have one issue left in this tale and the story still has a great deal on it's plate, which leaves me concerned some plot elements be resolved by returning the time traveler to his proper time rather than receiving a proper resolution. I mean King James is a villain who I really don't expect to see again, and as such one wonders why so much effort

Neil Gaiman's first real kick at the can on the Marvel side of the fence doesn't quite measure up to the work he turned out for DC, but I will say it does stand up as a very entertaining new take on the Marvel Universe, and if nothing else it stands up as one of the best uses of Nick Fury in quite some time, and my fingers are crossed that the big secret project that he's working on involves Nick Fury. This final issue also manages to leave all the pieces in place for a possible return to Marvel 1602, and I hope that a return visit is in the cards, as the place makes for a very engaging environment and I'd love to see more Marvel characters make their debut in these new setting. The book also manages to do a fantastic job of playing with its toys, as the religious debate that stems from the claim that Thor is a god is put to good use, as is the sense of betrayal that arises in the scene where Peter closes in on Nick Fury with a knife. I also applaud the scene where our time traveler ba

Another enjoyable issue that I felt was somewhat undone by the decision to focus more of its energies on Agent X's partnership with Outlaw, at the expense of the time spent dealing with the Punisher. Now Outlaw ends up being a highly entertaining addition to this book's cast, and Gail Simone does a fairly solid job getting us inside the character's head, as we see there's a bit more to her than just a hired gun who dresses up like a cowboy. Still, with Agent X being largely a blank slate, at this stage of the game the character needs someone to interact with to keep things interesting, and it's a shame that the Punisher wasn't given more panel time with Agent X, as this would've likely resulted in some fun moments. Still, this book does earn marks for the rather unique means that it used to generate its encounter with the Punisher, and the wrap-up to this adventure was rather cute.

The news of Gail Simone's departure makes my enjoyment of this issue a little bittersweet, as at the moment this book is at a level that it hasn't been at since Joe Kelly's run, and the gap in-between Joe Kelly's departure & Gail Simone's arrival served to prove to me that writing a truly funny humor-based title is more difficult than it looks. Now I guess I still have three more issues to enjoy, and barring cancellation I don't know this book will automatically return to the mediocrity that it was mired in before her arrival, as Marvel's hasn't announced Gail Simone's replacement. Plus, the simple fact is Gail Simone is making her final issues quite enjoyable, as there's some very amusing moments in this issue, starting with Agent X's scuffle with the annoying man in the restaurant. There's also the cross-town bus race, which also serves as a nice showcase of Udon Studios' ability to deliver an action sequence. The final page is also worth a mention, as it creates a pretty exciting cl

A pretty entertaining issue that acts to leave me even more disenchanted by the idea that Gail Simone is going to be leave the book in a couple months, as she has remade this book into one of more amusing titles on the stands. What's more she has also brought an engaging story to the table, as the situation with Agent X does more than simply provide a loose framework for the jokes to hang from, as the characters have well defined personalities, and the threats nicely hold my attention. This issue also offers up a wonderful use of the character Arcade, as while his arrival is a bit fortuitous, Gail Simone does wonders with the character, and I'd love to see her get another crack at Arcade. The issue also brings the Taskmaster back into the book, and it sets up a pretty impressive cliffhanger scenario, as we see this book's cast is about to go to war with an entire army of third-rate baddies. The running gag of the mute Agent X's notes also made for a fun twist on the character's regular

If you've enjoyed what Gail Simone's been offering up over the past year then chances are likely that you'll find this issue a lot of fun. From the opening page where Agent X moons the gathered villains, to Taskmaster's exchange with the daughters of Batroc the Leaper & Tarantula, this issue is littered with amusing moments that left me smiling. I also have to make mention of the Rhino's defeat, as it's a priceless bit of slapstick comedy, and it's about time a comic writer noticed that most battle armor worn by super-villains leaves the leaves the face completely open to attack. The solution that Agent X comes up with to end this fight is also pretty clever, as it plays up the character's darker side quite nicely. As for the art, Udon Studios continues to excel at it's delivery of the big action scenes, and they do a pretty solid job with the visual comedy as well.

A solid done-in-one issue, as Gail Simone ends her run on this issue with a pretty funny, if somewhat overly silly adventure that has Agent X on the trail of an underwear thief. However, what could've been a very goofy issue is actually quite impressive in that it how well it managed to sell its jokes, as there's a couple laugh aloud moments in this issue, and I'd be hard pressed to point to any gag in this issue that didn't at least make me smile. In fact that only strike that this issue has against it is that it's Gail Simone's last, and as such we are dependent on other writers to resolve the dangling plot threads that were left hanging, with the most notable one being Agent X's past before he arrived in these pages. The book also manages to introduce a rather comical sidekick who I wouldn't mind seeing again as I was rather glad to see Shameful William managed to survive this issue, as I'd love a return visit by the character. Gail Simone is going to be missed, as she made this boo

A very entertaining exercise in bad taste, gratuitous displays of violence, and several hilarious pokes at pop culture. All in all it's pretty much all one could ask for from a book that is slated to be cancelled in a couple months, as Evan Dorkin has come on board for a couple issues, and he looks to be having a grand old time of it. The comedy is dark and somewhat disturbing, but it also made me laugh which is all I really ask from a humor based series. From the explanation that the fallen hero gives for why he no longer fights crime, to the Wile E. Coyote style attempts made by Agent X to kill the man, this issue is unabashed fun, and I hope the book makes a nice jump up the sales charts, as Evan Dorkin is a very funny writer, and he's a near perfect fit for this book. My only quibble with the book is that the book's supporting players are a bit out of character, and the book makes no attempt to explain why.

Gail Simone returns and pretty much picks things up right where she left off, though she does take up a plot thread that was brought into play during her absence, as Agent X's relationship with Sandi is clearly evident. However, the main thing is that this issue is just as much fun to read as the issues before her departure, and it's not often that you get to see a writer return to wrap up the loose ends they left hanging. Agent X's battle with the super happy assassins is a fun little exercise that nicely lampoons the overly cute elements one finds in anime/manga, and the battle has a nice sense of energy to it thanks to the steady stream of amusing, if somewhat off the wall observations that Agent X continually offers up. The question of how Agent X is connected to Deadpool also gets a nice little surprise twist in this issue as one of the most likely theories looks to be dismissed, as Deadpool shows up along side the Black Swan to confront Agent X, which makes it pretty clear the t

It's good to see this series go out on a high note as this issue has about half-a-dozen truly funny moments that helped me get over the rather sad realization that this was the last issue of the run. Now with "Formerly Known as the Justice League" in fine form over at DC, I can't really complain that the market is now completely devoid of a good humor-based title, but still this series will be greatly missed, and here's hoping that from time to time Gail Simone does find the time to come back for the occasional miniseries and or one-shot involving the characters who are now being ushered off into comic book limbo. As for the issue itself it's a solid action-packed affair, and while it's a little convenient that the Black Swan can do away with the unimportant lackeys with what is essentially a wave of his hand, while the important characters are able to deliver prolonged attacks, frankly this would be a rather boring issue if our cast was lying on near-dead, or dying by page three, so t

As I mentioned above this issue is my favorite we received thus far, as while the mystery isn't too far removed from the ones we've seen in the previous arcs, having the book shift to a small town setting made for a nice change of pace. It's also interesting to see Jessica dealing with such cheerful people, as one has to love Jessica's rather surprised reaction to the odd responses that the mother makes to some of her questions. There's also the too good to be true cop, the drunken father who's allowed to make a fairly stirring speech, and the mysterious teenage girl who gives Jessica a heads up about why the missing girl has gone missing. The final page revelation also adds a new twist to the story, as it pretty much makes everyone a suspect, and it also would seem to suggest that the young girl has been killed. Mostly though I enjoyed the cloying cheerfulness of the townspeople, as it's fun watching Jessica being forced to adapt to this odd behavior.

It's become clear that Brian Michael Bendis has figured out his greatest strength as a writer rests in his ability to deliver engaging back and forth exchanges among his characters, as on this book especially he seems quite content to deliver entire issues devoted to these aforementioned conversations. However, when the issue proves to be as enjoyable as this one ended up being, it's difficult to get too concerned by the lack of any real plot. Plus, the two conversations that make up this issue have been nicely set up in the earlier issues, with the Luke Cage situation creating the early buzz for this book, while the Scott Lang blind date has been something that I've been rather looking forward to, thanks largely to the idea that Brian Michael Bendis would be the one writing it. This book isn't for everyone, but I imagine if you've liked what you've seen up to this point, you'll find this issue to be quite enjoyable.

I was debating whether I would reveal the identity of Jessica's late night intruder, but I figured that the latest version of Spider-Woman is hardly a guest-star that I would consider a shocking surprise, and I might as well give her fans a heads up about her appearance in this issue. Plus, given a previous issue did a nice job of making Jessica an enemy of J. Jonah Jameson, I thought it would take far too much effort to discuss why I was excited by this character's appearance in this issue, without revealing her identity, and in the end preserving the surprise factor simply wasn't worth the effort. Now I'll admit I'm curious about Mattie's visit to Jessica's apartment, though given the first Spider-Woman is a private investigator, who also sports the first name Jessica, I have a pretty good idea why Mattie made this mistake. The bigger mystery of course is what's wrong with Mattie, and since finding the answer to this question has Jessica teaming up with Jameson, I have to admit this

The search for Mattie Franklin is doing a pretty solid job of drawing upon the scant bits of continuity that were established during the character's monthly title. We get a nice visit with J. Jonah Jameson who uses the situation to advance his crusade against costumed vigilantes, but the book also makes it clear Jameson is deeply concerned, and his outrage is largely designed to browbeat Jessica into taking on the case. We also get a visit from Madame Web, and I have to give Brian Michael Bendis full marks for the way he detailed how her powers work, as the explanation offered up in this issue is easily the best I've ever heard it describes. This visit with Madame Web also served to add some much needed tension into this current mystery, as we see Jessica's future sounds quite dire. We also get a little peek at Jessica's past, as Madame Web manages to strike a very raw nerve when she makes mention of an event from Jessica's past.

A pretty enjoyable issue, and it certainly stands up as the strongest issue of this current arc, as it advances the story quite nicely, and it offers up a pretty solid cliffhanger to ensure my return for the next issue. This issue also does some nice work detailing the idea that Jessica is a collection of self-doubts, and her inability to control her drinking once again proves to be her achilles heel. In fact, I'm starting to wonder if Brian Michael Bendis might be overplaying this character flaw, as it seems like every arc features at least one moment where Jessica gets plastered, and her ability to function takes a serious nosedive. Sure, there is a certain degree of interest in seeing Jessica fight her way back from the depths that she has fallen, but if every arc has her taking two steps backwards for every step forward, the idea that she is ever going to make something of herself will start to fade completely, and the prospect of simply watching this character destroy herself simp

A pretty entertaining issue that nicely benefits from the idea that Jessica Drew is an interesting character, and her interaction with our regular lead is highly engaging. Now I'm sure fans of the character will draw more from this issue, as while I'm aware of all the basic plot elements, such as why Jessica Drew would have reason to dislike the Avengers, I have lost track of the character for the better part of the past decade, so the "out of sight, out of mind" element does somewhat dampen my excitement over this character's return to the Marvel Universe. Still the interaction between these two similar characters resulted in a fairly enjoyable issue, as they discuss their various investigation methods. I also have the give this book full marks for the scene where Marla Jameson discusses her husband and his vendetta against costumed heroes. This is a great character moment for Jonah, and this year has been a particularly impressive year for the character. Plus, a guest-appearance by S

This issue does evoke a much simpler time for the back-story to take place, as while the accident where Jessica seemingly gains her power has an very powerful element of tragedy to it, the issue itself is very caught up in the idea that the early days of Marvel it was quite easy to stumble your way into an accident where one was granted superpowers. Now the issue does manage to evoke a very old school feel, there are some moments that are quite jarring when placed in the Silver Age environment (e.g. the scene in Jessica's bedroom, the horrific car accident), but I suspect these were purposely inserted into the story to effective shatter the illusion that the rest of the book managed to so lovingly create. Still even with these more serious minded moments the issue is very much a recreation of the more simple era in which it is suppose to be set, and Jessica's time as an alienated teen is very nicely realized. The issue also delivers a wonderful man on the street look at one of the grea

A somewhat predictable affair, that doesn't really bring anything new to the table when it comes to detailing Jessica tentative first steps on her path to becoming a costumed hero. However, it a pretty enjoyable exercise that manages to play up the idea that Jessica isn't exactly your run over the mill super-hero, as her encounter with Thor is a hilarious contrast between the two characters. I also hold a certain fondness for these type stories, as my favorite sequence in the Spider-Man film was his awkward looking pursuit of Uncle Ben's killer, as there's something intrinsically entertaining about the idea of a hero who is pushed into action when they are completely unprepared, and watching Jessica test out her powers is a nice first step down this road. In the end the issue is pretty entertaining, as the Scorpion scene made me smile, and one does have to love the little exchange on the final page as Jessica gets her first opportunity to bask in the lukewarm praise of the gathered cro

This issue offers up a wonderfully twisted take on the typical villainous ranting we receive in comics, as image if Hannibal Lecter had started going on about his being a character in a movie, and as such the very structure of the story itself dictated that he would escape during the final act. Now some fans might be put off by this breaking of the fourth wall, but I have to say that it works exceptionally well if one looks upon it as the rantings of a mad man rather than Brian Michael Bendis trying to be clever, as while it's a little of both, I rather enjoyed the way that Jessica and the others were able to dismiss the Purple Man's claims as demented ravings, in spite of how insightful his comments might have been about our lead character and the world she moves about within. The latter half of the issue is also quite impressive, as it really amps up the tension and firmly establishes the idea that Jessica is actively terrified of the Purple Man, and based on this issue's horrific fi

As far as final issues go, once I got past my initial sense of disappointment regarding the trickery that Brian Michael Bendis engaged in the opening pages, the issue is question turned out to be quite entertaining. I mean I rather enjoyed the way that Jessica was able to free herself from Purple Man's control, as it doesn't do a disservice to either character, as Purple Man's ability was defeated using a plot device that felt like it could genuinely work, while at the same time the use of his ability to cause a crowd on innocent bystanders to turn into a homicidal mob was a chilling display of his power. I'm a little curious why Purple Man's command to the crowd didn't give Jessica the license to attack him though, as the wording on his command to the crowd certainly looks like it would give her license to do so. As for the surprise reveal regarding the father of Jessica's baby, I do have to say Scott Lang's reaction does make him out to be a bit of a jerk, but than if the character c

I have to confess I enjoyed this issue far more than I expected to, as this is a highly entertaining, if somewhat unconventional take on the traditional gathering of the heroes story. Now the plot at the core of this story feels a bit familiar, but the issue clearly recognizes this, and it has some fun playing against this feeling. Sasquatch's recruitment techniques are amusingly unorthodox, and when the team is fully assembled the book offers up a couple fun moments, as I enjoyed the way that the group openly questions the wisdom of sending a band of raw rookies against a threat that took down a team with years of experience under their belt. The less than inspired reactions that most of the characters have to Walter's big pro-Canada speech also made me smile, and if nothing else it served to reaffirm my belief that Major Mapleleaf is going to emerge as my favorite as he's like Dudley Doright with superpowers. Of course the idea that he's so full of goodness leaves me a bit suspicious

Clayton Henry's a bit too fond of the big page eating panels, but I can't deny that when he's called upon to deliver the action in this issue he's quite effective at making the action easy to follow, and visually engaging. I mean the battle between the two Pucks has a nice Jack Kirby vibe to it, as the two characters exchange a flurry of blows. The visual comedy elements are also well done, from the classic shot of the two teams preparing to do battle, to the scene where Sasquatch stops Snowbird's attack. The cover image is also a lot of fun, as it deftly captures the various personalities elements of the new team.

While it has nothing really to do with this issue, I have to say that my enthusiasm for the upcoming issues dropped considerably when I got peek at the cover images for the upcoming issues which look downright freakish. However, Clayton Henry is a pretty solid artist, and while his background could use a little more detail, his figure work is pretty sound & his characters have a nice expressive quality to them that helps sell the more humorous aspects of the issue. There's also a nice double-page shot of the new team heading off into the sky, with the personalities of the characters being nicely reflected in this group shot.

Dave Ross offers up a perfectly passable issue of guest-art, and I have to give it full marks for managing to capturing the overwhelming nature of this issue's threat during that one-page spread where Major Mapleleaf and Puck discover the ground isn't any safer. Now there are a couple moments where the art isn't as clear as it needed to be, as I'd be hard pressed to tell you how the wax Thing was momentarily destroyed, and the idea that the wax attackers were able to instantly repair any physical damage was entirely dependant of the dialogue to tell us that they possessed this ability. The art isn't all that impressive when it comes to filling in the details, as the backgrounds are largely featureless voids, and the characters have a rather limited range of facial expressions. Still the art does have it's moments, as Sasquatch's use of Thor's hammer made me smile, as did Nemesis' battle with Mr. Fantastic.

The Doctor Octopus fan in me is very happy with this issue, as every page featuring the character pleased me no end. Plus, following on the heels of his recent appearance in the sister title, I quite content with the current crop of Spider-writers when it comes to their use of my favorite Spider-villain. Now sure it's a bit much that Doctor Octopus just happen to be in Los Angeles when Peter decides to visit Mary Jane, and I found myself wondering why Doctor Octopus didn't express some disbelief over Spider-Man's arrival. The decision by the copycat villain to seek out hostages at the nearby movie studio also shows J. Michael Straczynski's plot manipulation a bit more than I'd like to see. However, I still found this section of the issue held my interest and made it easier to accept the rather uneven portrayal of Mary Jane, as we see the character shifts from begrudging understanding, to outright belligerence a bit too quickly, and it's a bit too apparent the hostility is being manufac

I do feel that there are certain ideas in the Spider-Man cannon that will never run dry matter how many times a writer decided to draw upon them. This issue offers up the classic scenario that has Spider-Man buried under a collapsed structure, and a nice sense of urgency is developed thanks to J. Michael Starczynski's well crafted dialogue, and John Romtia Jr.'s artistic brilliance. The issue also offers up a pretty solid battle between the two Doctor Octopus', and the issue also displays a wonderful understanding of the character Otto Octavius, with one little exchange between him & Spider-Man being particularly impressive. As for the whole Mary Jane situation, I do like that the two are back on speaking terms, and Kevin Smith doesn't have a huge hurdle to overcome in getting them back together. Still, Mary Jane does come across as a bit self centered during her final speech, and Peter's "until the stars turn cold" response is almost cringe worthy, but since J. Michael Starczynski isn

I've never been particularly enamored with this whole spider-totem hocus-pocus that J. Michael Straczynski looks to be trying to inject into Spider-Man's back-story, but it does serve as a pretty easy method for the creation of new villains who are obsessed with Spider-Man. I also like the idea that these new villains that J. Michael Straczynski comes up with are a constant threat to Peter, even after he takes off the mask, as it eliminates the barrier that is set up between these two different worlds, as Peter now has to cast a wary eye over his shoulder, even when he's in his civilian identity. I'll also give J. Michael Straczynski credit for taking the threat in a wholly unexpected direction in the final pages, as we see the spider-wasp woman does something truly unique, and I can't wait to see the fall out that comes about as a result of these actions. If nothing else I imagine Johnny Storm will have a field day with this little news item.

A pretty entertaining celebration of Spider-Man's early years, as it's rather easy to dismiss the Stan Lee/Steve Ditko era as a product of it's time with it's rather simplistic plots, and the standard goofy Stan Lee dialogue. However, this issue acts as a wonderful reminder that if nothing else these issues were all about action, and the sheer wealth of characters that were introduced in these issues that are still being used today is truly extraordinary. This issue also acts as a solid reminder of just how much Spider-Man has grown as a character, as we get to see his thoughts of these various battles, and in a particularly memorable scene we see Spider-Man questioning whether this seemingly endless fight is worth it. Now Peter's rooftop conversation with his mystery guest-star delivered a message that I felt was far too melodramatic to be effective, but the appearance by this character was an unexpected surprise, and overall this issue made for a fine celebration of the reasons why S

Normally I would be joining the bandwagon that basically jumps up and down whenever Spider-Man becomes involved in a magic-based plot, as while I've enjoyed the various team-ups that he's had with Doctor Strange over the years, Spider-Man has never really shown himself to be a character that fits in all that well into the magic-based plots. However, this issue manages to succeed based largely on the simple notion that Spider-Man is shown to be out of place in this environment, as how else could one explain the extremely foolish attempt at resolving this problem by getting into a slugfest with Loki. In fact one has to smile at the panels where Spider-Man is shown to be raining punches down on a completely unfazed Loki. The interaction between Spider-Man and Loki was also a lot of fun, as Loki's annoyed arrogance makes for a fun contrast to Spider-Man's continuous banter. The scene where Loki has to apologize to Spider-Man does a solid job of playing up the notion of how unlike many vill

I have to confess I enjoyed this issue, as while Spider-Man isn't a character who lends himself to magic-based adventures, J. Michael Straczynski manages to deliver a highly enjoyable reading experience in which the character is wading in way over in head in "magical whackos". Now part of this could simply be my responding like Pavlov's Dog to the idea that Spider-Man's involved in a battle where he doesn't stand a chance of winning, but since he doesn't last all that long in his solo battle with Morwen, there has to be more to it than my enjoyment of battles where the character is the clear-cut underdog. The issue does manage to offer up some cute moments of interaction between Spider-Man and Loki, and while I found some of the gags to be trying a little to hard to be cute, or amusing, I will confess that I did find myself smiling a couple times, as the two characters' personalities ran up against each others. It also doesn't hurt that John Romita Jr. was born to draw magic-based acti

The plot involving Mary Jane and the rather harsh assessment of her acting abilities is far and away the more engaging of this issue's parallel plots, but I will give the book credit for dealing with the "child with a gun" plot in a manner that didn't feel like it was trying to do anything more than offer up a somewhat harrowing dilemma. I mean there's no internal monologue by Spider-Man about a society where a child can get a hold of a gun, the child's reasons for why he needs the gun are easily identifiable, and Spider-Man's means of dealing with the situation nicely drew upon the character's own teenage experiences. However, this plot is also a bit familiar, and it doesn't really go anywhere all that unexpected, so I found most of my enjoyment of this issue stemmed from Mary Jane's experiences in Hollywood, as first it's good to see the character involving in a plot that doesn't involve her pining away over Peter. If I were Mary Jane though I'd be getting myself a new agent, as they

The lumpy figure work that Spider-Man suddenly gains when he puts on the spandex has me wishing Mike Deodato Jr. would crack open a book on the human form, but I have to also give him full marks for a wonderful one-page shot of a sideways Spider-Man racing toward the reader, and the big explosion panel is also pretty solid. I also have to give the art full credit for its work on the out-of-costume moments, as there's a great quiet moment between Peter and Mary Jane. Still, the cover image is a bit off-putting, as Spider-Man looks like he's been disfigured by his attackers.

A good old-fashioned Western, that packs a little more bite than the average Western comic, as we do see a dead body ripped apart by slugs, and an equally chilling display of how utterly ruthless the group sent after our heroes are. Now I must confess that I'm not all that well-versed with Marvel's Western heroes, as my knowledge of the Rawhide Kid is limited to the handful of guest-appearances he's made when the Avengers made their little jaunts into the Old West. However, the character does look to be your average Western do-gooder, as he makes an active effort not to kill the law men, even though they weren't about to return the favor. As for the new Apache Kid, she's a conflicted character, who looks quite willing to shoot before thinking of what happens after the bullets start flying, and this should make for an interesting partnership. The villains of the piece also look like they'll be evil enough to keep the intensity level quite high.

I suspect that ones enjoyment of this issue is largely dependent on how big a fan you are of the Western genre, as John Ostrander isn't breaking the mold, but he's delivering a very readable story that is making very solid use of the elements one finds in the very best Westerns. We have the revenge driven rookie, the well-traveled hero, and the meaner than hell villain. Now it is somewhat unique to have one of the lead protagonist be a woman, though it's not unheard of (Quick and the Dead, Calamity Jane), and the plight of the natives of the era is often ignored, with the Apache being most often cast as the fearful monsters that plagued the innocent settlers. However aside from these unique features, John Ostrander is sticking to a path that's been travel many times before, though Western fan should be highly pleased with the journey, as there's some cooler than heck lines from the Rawhide Kid, and the villain does a nice job of just being outright evil.

This final issue is notable largely due to the fact that John Ostrander came up with a truly cinematic ending for his latest Western adventure, and Leonardo Manco's art does an absolutely stunning job of presenting this explosive ending. Now this big, impressive ending did serve to make the final showdown between the Rawhide Kid & Colonel Trask a bit less important that it really should've been, and the new Apache Kid is left largely in an observer role in this issue, as the Rawhide Kid performs his heroic efforts all by his lonesome. However, John Ostrander continues to show himself as the premier writer when it comes to delivering a western comic, as Apache Skies can proudly stand along side Blaze of Glory & the Kents, as a shining example that the western genre still has legs, at least with John Ostrander at the helm. The wonderfully terse dialogue exchanges, the supercharged gun play, and the big, over the top finish made this miniseries more than worth a look.

I rather enjoyed this issue, in spite of once again being treated to what is quickly becoming this book's primary flaw, as Aquaman's new hand once again provides the ever handy solution to the crisis of the issue. However, I will give the book credit for crafting a plot that manage to grab my interest, as we finally get a good look at what's happening in Atlantis, and by the end of the issue Aquaman is back on his game & ready to leap into the fray. Also while I don't care much for the quick solutions that his new abilities provide, this issue does a pretty solid job of setting up some limits, and the final page of this issue manages to nicely establish that there is a downside to these new abilities. Plus, as a long time fan of Aquaman & his corner of the DCU it is nice to see Garth making his return to these pages, and it's also good to see the action shift back into the ocean. Overall this is the most enjoyable issue of this new series.

If the preview material and interviews hadn't already done a pretty fair job of spoiling this issue's surprises well in advance of this issue's actual release, I do believe I'd be perfectly willing to list this issue as one of the most shocking events in Aquaman's history since he had his left hand consumed by piranhas. As it stand this is an exciting start for the new creative team, as they start off big, and manage to keep the interest level quite high thanks to an engaging little mystery. I also have to say I'm rather pleased by this book's return to the character's old look, as while I was never a big booster of the original costume, my inner fanboy is pleased to see it back, as if nothing else it makes the character instantly recognizable as it's a look that has been pretty much stamped itself on the public consciousness. Plus in spite of the clashing colors I have to say the costume holds up better than I remember, and it nicely reflects his aquatic nature. In any event this is a

The big idea of this arc is an interesting one as Will Pfeifer looks to have set up a new underwater environment that Aquaman can interact with that I suspect will be more engaging than Atlantis, as if nothing else I suspect the people of this undersea community won't be looking to exile Aquaman every time the writer decides they want to have the character play around on the surface world. Now he could very well restore these people to normal at the end of this arc, but I have to say I'd prefer it if he left this community in place as they act as a nice bridging point between the surface world and the ocean, and in a way I suspect Aquaman would more comfortable interacting with this group than either his people in Atlantis, or the people he encounters on the surface world. The issue also does a pretty fair job of selling Aquaman as the squared-jawed hero that he needs to be in the crisis, as there's several moments in this issue where the character projects a sense of authority that ni

Patrick Gleason does a very effective job of selling the more disturbing elements of this issue, as the opening scene where a man is tortured by the main villain was nicely unsettling. The sequence where a criminal who objects to the main villain's authority is crushed by a force-field was also a great display of power, and I can't wait for Aquaman to run up against this element of the villain's ability. The sense of urgency when Aquaman races to the surface with the drowning infant was also well realized, as was the panel where the looter turns his gun on Aquaman's cetacean friend. The encounter with the force field wasn't conveyed as well as it could've been though.

Patrick Gleason is given an ideal issue for an artist to impress readers, as this is an action heavy read with several big impact shots to grab the attention of readers, from Aquaman's explosive arrival in the Eel's secret base, to the equally impressive display of power after the Eel manages to disable the power sapping device. I also have to say I was truly impressed by how well the art managed to display the extent of the Eel's new abilities, from the rain of icicles that take out the detectives, to the decidedly horrific visual where we see Aquaman's blood falls victim to the Eel's abilities. There's also a lovely visual image where we see Aquaman's microscopic army hovering in place before his face. My only quibble with the art on this issue is that the Eel's costume design was a bit generic, and lacked any real sense of imagination.

Patrick Gleason turns in a lovely issue, as the art manages to clearly detail the action while playing along with the writing's effort to keep the truth of the situation conceal until the last possible moment. This is turn results in a couple highly effective reveal moments, such as the page where Aquaman is introduced to the reading audience, or the final page twist. The art also manages to do a pretty effective job conveying the action, from the sense of looming danger in the opening pages as we see a group of teens fall victim to Aquaman's harsh brand of justice, to the visual excitement that comes with Aquagirl's arrival. I also rather enjoyed the new costume designs that he comes up with for this new reality, from the decidedly ruthless appearance of Aquaman, to the regal appearance of the Ocean Master on the final page. The cover image also gives us a good look at Aquagirl's costume, and I hope it sticks around after this arc wraps up, as it's a decided improvement over the non-c

It's clear Patrick Gleason is more than up to the task of delivering the action that drives this book, as there are several lovely big impact visuals, from the whale body slam, to the explosion of magical energy that erupts after Aquaman lashes out at the source of the Ocean Master's spell. The art also has a level of detail that can't help but impress, as the action is not only clearly presented, but there's a wealth of background details to make one take the time to explore the underwater environment that Patrick Gleason has taken such pains to deliver. I mean every panel is full of sea life, and visual cues that the action is taking place beneath the waves, and the art does a lovely job of conveying the idea that this is an alien environment. There's also some solid emotional moments from the cold fury on the face of Aquagirl as she lashes out at the trapped Aquaman, to the murderous rage on Aquaman's face as he demands his life be returned to him.

I just noticed that while I was busy taking great pains to keep the identity of the mystery villain a secret the cover image to this issue is busy advertising the character's presence, and as such I feel like a bit of a goof as it clearly reveals that I'm not paying nearly enough attention to the material like a good reviewer should (but than again I've never claimed to be a good reviewer). Still, it is a little curious that the cover image would seem to suggest that this villain is connected to the whole genetic tampering plot, when the scene inside the book suggests that the character is little better than a side element that the real villains plan on using to pull Aquaman's attention away from their plans. As for the interior art, there's some powerful visual moments in this issue, from a great looking scene of a very angry Aquaman storming away from a meeting, to a great visual moment where a royally cheesed off Aquaman arrives in Geist's lab. The art also does some nice work o

While he's only listed as having provided the layouts for this issue (which I'm guessing translates into rough pencils that that Andy Clarke had to flesh out while he was inking), Leonard Kirk is one of the best artists that DC has under its banner. I'll gladly welcome even his rough pencils on this title, especially when one gets a look at the finished product. There are some loving visuals in this issue, from the credit page shot of Aquaman's little power stunt, to the explosive scene where Aquaman smashes his way into Atlantis. The art also effectively sells the little moments, from the embarrassed expression on Esther's face as she mistakes Aquaman's innocent comment for something else entirely, to Aquaman's discomfort as he shares a father/son moment with Koryak. The big scene where Aquaman deals with the Black Manta before he realizes that it's not going down how he expected it to is also nicely conveyed by the art. I enjoyed the little visual touches like the fact that Esth

The basic premise of this miniseries seems to be World War I story set on a world where magic developed alongside technology. Now this is hardly a history text, as this first issue is an action heavy affair, that also does a pretty decent job of introducing us to our highly idealistic lead character. Now I'm not sure how I feel about such a young character being thrown into what I presume will be some fairly heated combat, but then again one of the best war films I've ever seen involved a group of young Germans who were called upon in the tail end of the war (All Quiet on the Western Front), so I'm not completely against the idea. I do have to question the idea that a complete novice would be able to turn the tide of the war, but it's a little early in the game for this concern. As it stand this was a fairly entertaining start, and with the absolutely gorgeous art of Carlos Pacheco on hand, this miniseries certainly looks like a winner.

When I first heard about the concept for this miniseries, I must confess I wasn't overly convinced, as the idea of a World War I story set on an Earth where magic coexisted alongside technology didn't exactly sound like it had a great deal of potential. However, while Kurt Busiek is pretty much playing with the conventional trappings of the war genre, I'm very impressed by how well he's mixed in the fantasy elements, as much like Bill Willingham's work on the "Fables" series, Kurt Busiek shows a very clear understanding of how to balance the two elements, so that reality isn't overwhelmed by the fantasy, and visa-versa. This is an extremely well crafted story, and it's probably Kurt Busiek's strongest work outside of his work on Astro City. It also doesn't hurt that he's got Carlos Pacheco providing the art, which makes this a truly impressive creative combo. A likeable lead character, and a skilful execution of its core idea makes this a miniseries that miniseries that I strongly reco

While I felt this issue didn't do enough to convey the impact of seeing one's best friend killed in a decidedly violent manner, and this failure to truly acknowledge this loss made our hero out to be a rather cold, impersonal character, this feeling was somewhat undone by his reaction to the scene where he bears witness to a gas attack that the enemy employs on the ground troops below them. The issue also does some pretty solid work continuing to develop the growing relationship between Arrowsmith and Grace, as from the enthusiastic way the two greet each other, it's clear that they are more than just good friends. There's also a cute little moment before they meet as we see Arrowsmith is questioning the gift that he's picked up for her. The scene where Arrowsmith visits the bedside of his one time rival was also well done, though it would be more effective if I hadn't already seen this scene play out in every other war movie I've ever seen. In fact if a war movie stops in on the hospi

A fairly exciting issue that is somewhat undone by the decision to have the action narrated in the past tense, which made it a bit difficult to believe that our brave hero was in mortal danger, as how could he write about the situation if he was killed before he could write this letter? Still this stands up as my favorite issue of the miniseries thus far as the action is wonderfully intense and the big attack manages to perfectly capture the horrors of wartime, while also acting as a fairly solid reminder of the idea that this war is being fought using magic. The issue also manages to place our hero in a fairly dicey situation as we see his attempted rescue of a young child leaves him stunned, and at the mercy of an advancing group of rather sinister looking creatures. There's also a couple of interesting side-plots as we see the people who a crafting these spells are being called upon to deliver spells without much time to figure out whether there may be harmful side-effects of the so

The length of the stories is a bit of a disappointment as eight pages simply isn't enough room to fully develop that ideas that are introduced in the two stories. This in turn results in one story that ends with a cliffhanger, while the other left me feeling like there was so much more to tell, that I would've gladly have traded the two pages of maps for another couple pages devoted to the head wizard's plight. Still, there is something to be said for a story that leaves you wanting more, and both stories in this flip-book left me with this feeling. The two stories also act as a solid display of the potential of both series as they both manage to capture the respective sprits of both projects, and if nothing else I hope it inspires fans to check out the one that they didn't read, unless they're like myself, and were astute enough to read them both. The text feature is also a wonderfully informative feature that I recommend to all Astro City readers, as it spells out the future plans fo

As for the art, John Cassaday is a fantastic artist as his work is intricately detailed and the characters are positively photo-realistic, however, his costume designs are a bit of a disappointment, as they have a generic quality to them that left me decidedly unimpressed.

John Cassaday is a great artist and while I'm always a bit nervous when he's announced as the regular artist of a title, as he has a somewhat spotty track record when it comes to sticking with the monthly deadlines, my fingers are crossed that he had enough lead time that this won't become an issue. I will say that his art looks fantastic, from the wonderfully moody cover image, to its delivery of the final sequence where we follow the Beast as he puts on a display of agility. I also enjoyed the way the action was laid out on the page, as the art smartly jumps between the players, so we never have to wonder what each character was doing during the battle.

John Cassaday continues to be an artist who leaves me a bit nervous, as I've yet to be convinced that he's able to met the monthly deadlines, and his art is some full of lushly detailed work that I have difficulty accepting that he would be able to deliver it on a monthly basis. However I'll readily accept his presence on the title, as he's a wonderful talent, and he's an ideal fit for Joss Whedon's writing style, as his character are nicely expressive, from Emma's looks of disdain, to the wonderful chilling moment where we see Logan is quite insistent that Hank junk the cure. There's also a great exterior shot of the Helicarrier, and the battle between the Beast and Wolverine is well presented, as there's little doubt they are both quite serious.

John Cassaday still makes me a bit nervous as this book's regular artist as he has never really proven himself capable of delivering a monthly title, and I'd be lying if I didn't have some concerns. However, four issue and he's delivering some lovely art that manage to do a convincing job making one glad he's on board, with his work in the final pages doing a fantastic job of selling the dramatic impact of this character's return. There's also a great jump scare moment where we see the young flying mutant discovers there's no escaping the evil villain that attacked them. My only quibble with the art is that the dialogue boxes from Kitty as she descends through the solid steel should really be thought balloons.

First off, I have to give the issue full marks for its cover, as its an undeniably powerful image that is sure to catch the eye of many X-fans. As for the interior art, John Cassaday continues to impress, as while most of this issue is made up of talking heads, he manages to keep things visually engaging by offering up a wide variety of facial expressions and some great reaction shots. The art also manages to make the most of the action that we do get in this issue, as theres a great double-page shot where Colossus and Wolverine are captured in the midst of a fastball special, and theres a lovely follow-up scene where Logan manages to stop Ord's escape. I also enjoyed the way the final two pages managed to capture the awkward tension between Colossus and Kitty, with the final close-up of Kitty being a great looking shot of the character.

John Cassaday may not be the fastest artist, and the erratic schedule that is starting to surface likely means that the lead time this title had has been pretty much eaten up, and we can expect future issues are going to have increasing trouble meeting their shipping dates. However, John Cassaday fits into the same category that I place Bryan Hitch, in that why the lengthy waits are annoying it's next to impossible to be overly annoyed when one gets a look at the work they've brought to the table. I mean there's several wonderful images in this issue from the opening page spread of Colossus on top of the Blackbird, to the battle that follows which has the X-Men working alongside the Fantastic Four against giant rampaging monster, with the one page shot of the two teams working together to topple the creature being the highlight image. The art also does a wonderful job conveying the full impact of the final page, as we pull back to see why this scene is so important to the story.

The cover to this issue is certainty a visually striking image, and while I'm not sure it will grab the attention of the casual comic fan, I'm sure X-fans will be left quite curious once they get a look at this cover. As for the interior art, John Cassaday gets the opportunity to deliver an issue that is pretty much one extended battle. There are several jaw dropping visuals in this issue, from the Beast's savage attack to one of the most shocking panels to ever grace the pages of an X-book (no, I'm not even going to make an attempt to describe it, as I do not want to spoil the moment for any readers who have yet to read this issue). Needless to say, John Cassaday proves to be surprisingly adept when it comes to delivering the action, as the battle is extremely well laid out on the page, and his impact shots are some of the best in the industry. In fact, his interior visuals are so solid when it comes to delivering the action, that I'm a little surprised that his covers don't have

Brent E. Anderson's work is a bit rough around the edges during the quieter moments, but he more than delivers when it comes to the big impact scenes, as the battle is full of magnificent visuals, from the wince inducing shots that Supersonic takes in the opening moments of the battle, to his equally impressive counterattack sequence. The art also manages to convey the important details of the story, from the anguish of Captain Robbins when it looks like he's sent his friend to his death, to his short-lived delight in the aftermath of Supersonic's victory.

After a very long wait Astro City is back on the stands, and while this opening issue doesn't really knock it out of the park, it's a fairly enjoyable read, and I expect new readers will get more out of this issue, as a large part of it is devoted to explaining just what Astro City is, as well as offering up pretty much a guided tour of the city's more notable heroes. However, having the main character so far removed from most of the action does rob the material of some of its impact, as the most interesting sections of the issue would have to be the flashback material, where we learn why our lead decided to remain in Astro City. Still, the present day material is interesting in that it touches base with most of the book's main heroes, and it's message about people either loving or hating the city is a pretty solid idea. The final page revelation about why that teenage girl is so important to our main character is also a rather clever finish to the story.

An entertaining issue, with a nicely realized lead character, and a pretty enjoyable premise to hinge a story upon. However, in the grand scheme of the Astro City books this issue is far from being Kurt Busiek's best work, and of the three issues since the book started up again, this is my least favorite. Most of my disappointment stems from the simple fact that I could see where the story was going long before it got there, and as such there's several scenes in the issue where it was almost frustrating watching Cammie slowly piece the information together. Still, a highly likable lead character does help to redeem this issue.

Alex Ross turns in a lovely cover on this issue, as not only is that a great looking shot of the always visually engaging Jack-in-the-box, but I rather enjoyed how the cover logo was worked into the actually visual design, as the character's streamers are allowed to interact with the logo. As for the interior art, Brent E. Anderson has been with this title right from the word go and I'm delighted that he's stuck with the title, even when it vanished off the face of the planet for long stretches. His style is a perfect match for the central idea that drives most if not all Astro City stories. His work isn't overly detailed, but he has a great eye when it comes to offering up ordinary characters who look like the people one passes on the street. He also does some nice work on the opening pages as the art is called upon to express the collective panic of the people that live in the city, and the double page shot in the bar that opens the issue does a wonderful job of it. The scene wh

I'm a big fan of the overall look of Brent E. Anderson's art, as it puts me in the mind of the type of work that was I encountered when I first started to pick up comics, as his art reminds me of artists like Neal Adams and Michael Golden. I mean I actually enjoy the fact that his work looks to have embraced the look that many fans would label old fashioned, as the book opens with a attention grabbing visual, and there's also a lovely little moment where we see a super hero races by so fast that the art almost fails to capture him. The art also does a nice job of playing with the flashback of the fire, as I love the way that each flashback opens up the story a little more, until we arrive at that final page shocker. There's also a some nice impact visuals in this issue, from the shot where the Silver Agent is escaping police custody, to the one page shot of the big brawl between the fugitive Silver Agent and the mind-controlled Starfighter. There's also a lovely interior shot of the Bl

Kurt Busiek leaves the book on a high note, as following on the heels of the overlong Kang arc, this standalone issue was a very welcome sight. The issue busies itself telling the type of story that Kurt Busiek does better than any other writer I've come across, as we get a delightfully engaging look behind the scenes of a typical Avengers mission, as the team finds itself faced with the task of explaining the expenses that were incurred during the battle (e.g. the damaged buildings & injuries suffered by civilians who happened to be on sight when the Avengers arrived). In the end Kurt Busiek managed to make the most of what I would have thought was a throwaway idea. I was also quite pleasantly surprised by the humor that Kurt Busiek managed to work into the story, as on the surface the examination of the damage done by the Avengers during one of their battles doesn't seem to be a particularly amusing premise.

One's enjoyment of Geoff Johns' work on this title does seem to be largely dependent on one being a fan of the new characters he's decided to add to the mix, and I have to say that I wholeheartedly approve of all of the new additions, as She-Hulk & the Black Panther are both personal favorites of mine, and the Falcon has been a character who is more than deserving of a shot at the big leagues. It also doesn't hurt that Geoff Johns does look to have a very strong understanding of what makes these characters tick, as there's some great little moments in this issue, from the brief encounter that an apologetic Vision has with the Scarlet Witch, to the bristling tension that pervades the rooftop meeting between Iron Man & the Black Panther. The new status quo that has the Avengers cast into the role of a world power is also an interesting twist, and hopefully it'll result in more globe spanning adventures, as it would be nice to see threats that endanger the Earth spring from outside Manhat

A pretty solid character issue, and since it's focus is centered around two characters who I've never invested much attention in, I have to give Geoff John full marks for making this issue such an engaging read. The situation with Jack of Hearts has a nice tragic element to it, as we see his powers are more of a curse than a blessing. However, the most powerful moments in this story stem from the section that looks at Ant-Man's personal life, as we see his association with the Avengers results in a fairly grievous blow to his world. Hopefully this situation will carry over into the pages of "Alias". As for the art, Jon Sibal's inks seem to be giving Gary Frank's pencils a rougher edge, but the art does gain a nice photo-realistic quality, so I'm not going to make too much of a fuss. The art certainly does a nice job of conveying Jack of Heart's anger.

The art of Alan Davis really sells this issue as the big climatic finish to what has been a fairly enjoyable crossover. The writing of Geoff Johns also serves to make this the strongest of the three chapters, as there's some wonderful moments in this issue where it's clear Geoff Johns has a solid grasp of what not only makes these characters mainstays of the Avengers lineup, but also what each one of them brings to the table. We have the supreme confidence & sense of authority that Captain America conveys, the overly cocky, but steel-trap mind of Iron Man coming into play, and the regal, almost haughty way that Thor deals with others. There's also a nice sense of urgency to the battle, as the issue did manage to convince me that Thor was not going to back down easily, and this in turn left me a bit unimpressed with the rather abrupt ending that we received. Still, in the end this crossover did serve to shakeup the status quo between these three, and the fallout that results should make

A nice solid introduction to the Falcon, as we not only get inside the character's head to see what makes him tick, but we also get a pretty solid summation of his past, and a good sample of his abilities, including the revelation of a new talent that nicely ups the character's power levels. This issue also offers up the continuation of another subplot that had been playing out in the pages of the series, as Henry Peter Gyrich's little crisis of which cart he's going to hitch his horse to, advances quite nicely in this issue. My only quibble with this issue is that the villain Falcon is sent up against is so unimpressive a threat that the battle never really conveys any sense of excitement. However, the character study material is enough to have me recommending this issue.

The Avengers versus a chemical weapon attack is certainly a unusual scenario for the team as there's no real villain here for them to fight, and unlike the JLA, the Avengers are more of an emergency response group, and as such their current lineup does lack the heavy hitters who would be able to easily contain this threat. The opening pages do a wonderful job of establishing the horrific nature of this attack, and when the Avengers arrive on the scene, Geoff Johns delivers several cooler the heck Avenger moments, from the Scarlet Witch's little display of power, to the final dialogue exchange as the team enters the cloud. Now the material does get a bit obvious in its attempt show off how courageous the Avengers are, but truth be told there are times when it is nice to see a writer play up the heroic nature of these characters, and I must confess I was rather impressed by how well certain scenes played (e.g. the Visions conversation with the soldiers).

The story is moving forward a little slower than I would like to see, but I will give Geoff Johns the benefit of the doubt, as the issue does a pretty solid job of developing the threat, and we get a pretty solid, if not overly surprising revelation on the final page, as we learn where this deadly gas was developed, and by whom. Where this issue really earns its keep though is with its character interaction & development, as there's some great moments in this issue. From yet another wonderful clash of personalities between Iron Man & the Black Panther, to a fairly touching moment between the Scarlet Witch & the Vision, this issue is sure to leave Avengers fans happy. The book also delivers a pretty solid moment where Warbird gets a chance to show she's an ideal second-in-command behind Cap, and one does have to love the sense of betrayal that is conveyed in the final lines of this issue.

The action inside the red fog is what really sold me on this issue, as I've been a big fan of She-Hulk ever since John Byrne inserted her into the Fantastic Four, and as such the status quo shaking scenes in this issue were quite riveting. Plus, one has to love any encounter where the Vision gets his guts ripped out, while he was in his diamond hard mode. As for this issue's big reveal moment I have to say that I was kicking myself for having spoiled this surprise for myself, as while I don't recall where I came across this information, I did know who the mystery villain was before the final page reveal in this issue. Still, it's an impressive moment, and the underlying fact is that the story still hasn't offered up any clue as to how our heroes will stop the expanding cloud of death.

Hawkeye has always been my favorite member of the Avengers, and as such I'm delighted with the first rate treatment he's been getting lately, as not only is he back in the Avengers lineup, but he's also got himself a monthly series that isn't half bad. Now, I'm still a bit undecided about the impending arrival of Chuck Austen, as the only thing he's proven himself capable of is his ability to drive me off a title, as Captain America, Uncanny X-Men, and Exiles were all part of my monthly pull list until he got his hands on them. However, Geoff Johns has earned himself a spot in my favorite writers list with his decision to bring Hawkeye back to the Avengers before he leaves, and this issue stands up as one of the most enjoyable appearances by the character in quite some time, as I've always been a big supporter of the battles where the hero is the clear cut underdog in the fight. Yes, I'm the guy who is rooting for the Thing when he squares off against the Hulk, and while this issue doe

David Finch is a great artist and I'm delighted to see he's made the jump with Brian Michael Bendis to the Avengers, as he's a fantastic action artist and this opening issue is the ideal showcase for this ability, as it's jam packed full of big impact moments that I'm sure all artists love to spot in a script. I mean the Avengers Mansion takes two major attacks in this issue, with the second being a wonderful sequence as before the moment of impact there's a nice moment of revelation. I also enjoyed the series of panels where we see Hawkeye's big attack had no effect, and She-Hulk's rampage stands up as one of the most impressive displays of power the character has ever received.

The surprise twist on the final page helped to elevate the book, as I was ready to write this issue off as a poor portrayal of the Avengers, until the final page opened my eyes to what the big hook of this issue was. Now that I sit back and look at the complete picture I have to say it's one of the more clever plans that the Avengers have come up with for dealing with a sinister sounding plan, as most times the Avengers typical response upon learning of a worrisome plot, it's to tackle it head on, so this issue's different spin is a refreshing change of pace. The issue also manages to hold up it's end when it comes to the Thunderbolts as we still haven't fully committed to the idea that the plan the Thunderbolts are working on is a sinister one, as while there are ominous signs, there's also a feeling that the members of the Thunderbolts that are wearing the white hats also look to be embracing Zemo's project as something that will benefit the entire planet. The issue also sets up what

I've been reading comics for long enough that I've seen literally hundreds of evil master-plans where a villain stands perched on the verge of unleashing a device that would give them control over the entire planet, but this marks the first time I've seen a hero actually lend them a helping hand. I mean I guess one could look upon this as Tony giving Baron Zemo enough rope to hang himself, as stepping in to early would allow Zemo to claim that the Avengers prejudices blinded them to the promise of his device, but once he starts acting like a villain, than the Avengers have every reason to drop the hammer on him, though thanks to the activation of the device one has to wonder if they would have to power they need to accomplish this, especially if Zemo taps into the massive power stores that he's building. In any event there's enough intrigue and the potential for betrayal in the air that I have to say I'm delighted by the sense of uncertainty that is in the air, as I'm not really sure w

As for the art, Tom Grummett turns in a pretty solid effort, as there's a wealth of detail on the page and the action has a nice sense of urgency to it. The big impact shots (e.g. Atlas catching the out of control Quinjet) are also quite impressive, and given the sheer number of characters running around in this issue the level a clarity about who's doing what to whom is also well presented.

Tom Grummett is a sound artist who knows how to deliver an action heavy issue like this one with a proper sense of excitement, as there are some great big impact visuals in this issue, from the scene where Atlas enters the fight, to the arrival of a surprise character who shows up to help save the day. The art also manages to convey the various emotions, from Atlas' near madness as he lashes out at Moonstone, to the grim determination that is etched on Hawkeye's face as he notches that final arrow. My only real complaint with the issue's art is that Songbird's sonic constructs looked a bit simplistic, and don't really look like they are making all that great of an impact on Moonstone.

This is pretty much sixteen pages straight of Superman versus Batman, and the simple fact that this battle lasted longer than a page is enough to tell you that Superman is not exactly on the top of his game. However, for the most part the book does manage to convey a healthy respect for the power that Superman commands, and Batman's various attacks are quite clever, with the final attack that has Superman slipping free of Poison Ivy's control being a nice look at how dirty Batman is willing to play. Still, there is a part of me that finds myself a bit annoyed that this issue had to resort to the old chestnut of one of the heroes being under the mental control of another to get them fighting, and that this mental control was so quickly broken, when Batman endangered the life of Lois.

This is probably one of the best Batman stories I've read outside Frank Miller's "Year One" and "Dark Knight Returns" projects, as this issue is a wonderfully hard-boiled look at the seedy world that Batman finds himself constantly immersed within, and it doesn't hurt that the mystery he's looking into is proving to be quite interesting as well. Now the final page reveal is a bit much, but it's not entirely unbelievable, and if nothing else it's something that is sure to break right through the emotional barriers that Batman has built. In the end I suspect one's enjoyment of this issue is largely dependent on how low a level one is willing to see Batman operate at, as this is a decidedly seedy environment that the character is moving through, and the four color super-heroics of the previous arc are nowhere to be found in this first chapter, as even Killer Croc is a completely deprived creature in these pages. I also like the idea that Batman does come across like he's willing to conced

A comic that will leave you feeling like you've taken a tour of the lowest levels of the DCU, as this has to be closest Batman's ever come to getting himself a Vertigo title. The villains that Batman runs up against in this arc are truly despicable creatures, and Batman's method of interacting with them isn't much better, as his obsession with Killer Croc's teeth is quite disturbing. Now the parallels that Brian Azzarello looks to be drawing between the murders that we ended with last issue, and the event in Batman's past that shattered his childhood are a bit too obvious, and I hope the dream sequences that hammer home this point are over and done with, but I do like the intensity level that has been established, as Batman is downright spooky in this arc, as he uses the spinning gears of a car engine to put the fear of the Bat into an uncooperative thug. I also love fact that Brian Azzarello has shown he's ready and willing to put Batman through the meat grinder, as the issue ends wit

Well, thanks to the "temporary" aspect of the cure I don't imagine to many Oracle fans are going to be screaming for Terry Moore's head, but this story should also serve to appease the readers who openly wonder why Barbara hasn't been cured in a universe that's full of technological wonders & magical cures. Truth be told I've always felt Barbara's disability makes her a fairly unique character in the DCU, and the perfect partner for the Black Canary, and even if this was a lasting cure I'd much rather see Barbara remain as the brains of this duo, aiding from the sidelines, instead of joining Dinah on the missions. Still, it'll certainly be interesting to see how both Dinah & Barbara herself deal with this temporary change in the book's status quo. Terry Moore also brings a sense of fun to the scenes that follow Dinah in action, and it's a shame his time on the book is only going to be a brief visit, as based on this first issue he has a nice grasp on what makes these two characters wor

As a fan of the Black Canary I can't say that I've overly fond of the idea that she spend the entire issue tied to a bed, being tormented by her captors. However, depending of how much excitement is derived from her big escape next issue, I'd be willing to look upon this issue as simply a way for Gail Simone to introduce the reader to Savant, as villains are always at their most engaging when they look to have the upper hand over the heroes. Plus it doesn't hurt that Savant actually is a highly engaging villain, as he's a bit like a sadistic version of Jimmy Stewart, as he fumbles his way through his villainous activities, and almost seems to be just on the verge of losing complete control over his criminal plotting. As for the Huntress, frankly I could take her or leave her, as I've never really found the character to be all that compelling, but then her willingness to venture down paths that most squared jawed, highly moralistic heroes never even venture close to could make her an in

A funny, if somewhat empty adventure as Dinah ends up in a questionable alliance with two of the more duplicitous/dangerous women in the entire DCU, and while the plot takes a back-seat to the humorous moments of interaction, Gail Simone is a very funny writer, so it feels a bit like I'm trying too hard to find something to whine about when I make an issue about the plot being a bit frivolous. On the other side of the book, the situation dealing with Barbara's plight more than makes up for Dinah's half of the issue, as she looks to be in a bit of a spot. I also look forward to following the investigation by the Huntress in her bid to locate the missing Oracle, though at the moment I can't think of any real clues that would point to Barbara's location. Now I guess Savant could do something that would aid in her escape so he could kill her after she's freed, or perhaps Barbara has something up her sleeve, but since the Huntress is featured on the cover, and acts as this issue's cliffhang

A very entertaining issue, as Gail Simone brings the two plots together, and offers up a fair bit of plot advancement along the way, as Barbara makes an active effort to escape her captors, while Dinah is made privy to the big secret that out evil Senator has been looking to keep under his hat. Combine this with a couple genuinely exciting moments as the Huntress battles Savant & Cheshire reveals she's far more dangerous than Lady Shiva would seem ready to deal with, and you have a near perfect issue. Now yes the book does require Barbara's captors to be a little slow, as having the guards walking around with cell phones should be actively discouraged for the very reason that Barbara exploits in this issue. I also have to wonder what Dinah had been looking to accomplish by visiting the Senator's house beyond showing him that she knew the secret that he was seeking to protect, and making herself a target. Still this is a solid issue, and as I mentioned above it stands up as my personal

A bit of a side trip as all the elements of the current plot are set aside so that we can take a trip into the Golden Age, where we follow Dinah's mother as she's on the trail of a serial killer who has a fetish for killing blondes. Now this is a highly entertaining voyage into the past, and it does a wonderful job of reinforcing that the Black Canary does have a legacy that really hasn't gotten as much attention as it should've. This issue does a good job of spelling out the differences between Dinah and her mother, as we see the original Black Canary operated in a different era when costumed female crime-fighters were a rarity, and we see there are moments in this story when Dinah's mother acts like a woman of her era, rather than a modern day woman who has simply been transplanted into this society. The case that she's called upon to investigate is also a wonderfully creepy affair, and there's a genuine shocking moment when the killer looks to have slashed the throat of one of Dinah

Joe Bennett is make a pretty strong case for why he should be given a monthly title, as it does seem like I can't make it through a single week this month without seeing his art on a book I collect. I also have to say that he's doing a pretty good job of shifting the look of his art so that it's a better fit to the look of the title, as while his work is a little more polished than that of Ed Benes, it does look to be a pretty close match. The action sequence between Wonder Woman and Black Canary is a nice display of kinetic energy.

First off I have to say that I loved the cover shot, as not only is it a lovely piece of art, but the nostalgic fanboy in me is delighted whenever the characters are allowed to speak. As for the interior art it's a bit cartoonish and at times it gets a bit muddled and unfocused where it wants the reader's eye to be drawn on the page. However, the action does have a nice sense of impact, and I can't deny that it does seem to be quite good at recognizing the big impact moments, such at the final page where it becomes clear that the help Barbara had set in place is not going to be as helpful as the Huntress had been lead to believe.

Ed Benes is an artist who seems to know what this book's target audience is looking for, as why deliver a normal talking heads sequence, when one can plant the readers down at waist level so that the characters rear ends are the central focus of the panel. The same goes for the numerous shots where the characters are forever arcing their backs so that their balloon sized chests are front and centre. I guess this is what the readers are looking for, but frankly it's a little too deliberate for my tastes. Still, the wonderfully moody Greg Land cover is quite impressive, and Barbara's situation is vividly conveyed by the art.

First off I have to say it's nice to get a Mark Texiera cover, as frankly he had dropped off my radar, and I'm delighted to see his work again. As for the interior art Ron Adrian looks to have done a pretty close study of the work of the regular artist, as not only is his art a pretty close match, but he also looks to have adopted the panels that serve no other purpose beyond giving readers an eyeful of the characters assets. Still there are some nice action shots, as there's a wonderful intense moment where Vixen tries to run herself through with a knife, and Savant's attack on the drug den held up quite nicely, with the final panel doing a very effective job of capturing the idea that the character is still a villain.

Ron Adrian's work doesn't exactly leave me all that impressed, as there are sections where it seems to have difficulty conveying the action, and there's some odd visual choices where I felt the art failed to convey the excitement of the material (e.g. Black Canary's plunge off the rooftop). However, I will give the art credit for managing to successfully deliver what could have been a confusing development, as the opening scene shifts from reality to a cyberspace, and there's no real moment of confusion present. I also have to say it's great to see Greg Land looks to be sticking around as this book's regular cover artist.

Jim Fern provides the art on this issue, and truth be told there's nothing about his work that sets it apart from the crowd. In fact if there was one word that best describes his work, I'd have to say it would be ordinary, as while it tells the story in a clear, easy to understand manner, it also doesn't manage to deliver any visuals that I found to be all that exciting. Now the action scenes are well presented as Dinah's solo efforts against Savant have a sense of urgency to them, and there's a nice fluid motion to the panels. However, the battle lacks any real powerful shots, as none of the blows that either fighter lands manage to convey a sense that they are making much of an impact. In fact if nothing else the shot where we see Savant's battered face was downright comical looking. However, the cover shot by Greg Land is a wonderful action shot that perfectly capture Dinah's fury.

Ed Benes' work on this issue had a rougher edge to it, and I have to say I rather enjoyed the less polished appearance, as it lent itself more readily to the issue's darker tone, with the scene where Barbara decides to leave Gotham behind being the biggest benefactor of this altered style. The art also does a nice job when it comes to its delivery of the action, though I do have to make mention of the Huntress' tiny little crossbow gun, as it looks like the art was altered after the fact to explain how that handgun wound up shooting arrows. There's also a nice little quiet moment in the opening pages as the art is called up to convey the impact of the Clocktower's destruction. As for Eduardo Barrerto's work on the second story, it could use a little more detailing on its backgrounds, but for the most part the art managed to clearly convey the key elements of the story, from Ms. Blake's frustration at being grounded, to her devil may care attitude when she steals the Citation X.

First off I have to give the cover full marks for managing to capture the unsettling quality of the story inside, as how can one not be intrigued by the look of terror on Dinah's face. As for the interior art Tom Derenick is always a welcome guest-artist as he tells the story in a clear, visually exciting manner, with his work on the opening sequence doing a wonderful job of conveying the nightmarish quality of the creature. The art also manages to sell the personality of Zinda, as I loved her face when she enters the bar and recognizes the song playing on the jukebox. There's also some solid work on the final sequence as our two heroes are confronted by the killer, with the final page of the issue doing a nice job of selling the danger the two women are in. My only quibble with the art on this issue, is the panel where Barbara's wearing the Oracle mask, as her body looks out of proportion.

I realize that a book featuring an all female cast is going to be host to cheesecake art, as comics' primary audience are teenage boys, but Ed Benes is a little too deliberate in his focus on the idea that these characters are women. It's difficult to take this book seriously when the art is so focused on playing to its audience. It's also a bit disappointing as the art spends so much time playing up the sex appeal of the characters that it neglects other elements that are just as important to the story, such as a clear presentation of the more complicated elements of the plot. I mean Barbara's situation with the Brainiac virus is supposed to inspire a sense of impending dread, but the art utterly fails to do so. The same goes for the final page cliff-hanger, as if it hadn't been for the dialogue saying the character had been shot, one would never know Thorn had been struck, as the art is still too focused on making the character look sexy.

I welcome Joe Bennett's arrival as this book's new regular artist because he brings a highly polished style with a solid grasp on the human form and strong ability to deliver a visually exciting action sequences. In one sequence in this issue, Dinah finds herself locked in an elevator with five thugs who are looking to kill her, and not only is her escape well done, but I loved Wildcat's entrance, as he unloads on these hapless goons. The final moments of this issue also build up the big surprise and when that final page hits, that last panel leaves me with a real sense of doubt about whether this is an act, or whether a character is seriously pursuing this troublesome path. I was also quite impressed by Adriana Melo's cover image, though I do have to say that Wildcat looked a little odd without his customary five-o'clock shadow. Still, it's an exciting visual, and the cityscape in the background was rather impressive.

Joe Bennett manages to avoid most of the annoying habits that seem to inflict many artists when they work on this title, as his characters don't look like they are posing for a photo shoot, but rather the camera moves around the room focusing on elements that are key to the actual story, such as facial expressions and body language, rather than the cheesecake shots designed to remind readers that this book's cast are female. Now I wish there was a little more variety when it came to the faces of his characters, and the range of facial expressions is a bit limited, but the art is quite impressive when it comes to the key emotional moments, such as the flash of anger from Dinah when Barbara jokes about her impending death, or Barbara's sheepish expression when she explains why she didn't tell the others about the continued infection. There's also a lovely shot of the Huntress in this issue, when she drops off a roof, as her expression is note perfect for the character.

The art alternates between two different artists, and I'd guess that scenes involving Barbara's surgery were handled by Eddy Barrows, while Joe Bennett delivered the action heavy material if there are two artists on a single issue, then this is a reasonable way to go about it, and they are similar enough that the transition between them wasn't too jarring. Eddy Barrows does a nice job on the emotional moments, with the reunion of Barbara and her father being a highlight, as well as the faces of the two women on the final page. As for Joe Bennett's work on the big brawl, it seemed too clean, with characters lined up like little toy soldiers with very little overlap, but there's also some lovely, wince-inducing impact shots - overall Im pleased with his work on this issue.

The Black Panther takes it's show on the road, as Christopher Priest pretty much packs up his entire cast and tosses them into the Old West, and just to show that this is a typical Black Panther adventure, we see even this rather simple time-travel premise is complicated by the addition of a trio of time-lost characters from another title, and a nice case of identity confusion as we now have two versions of Ross to counterbalance the two Black Panthers. Still even without the political intrigue, and mental chess that are normally mainstays of this series, this issue is a solid opening adventure in what looks to be a memorable trip to Marvel's Wild West. We also get a fairly solid selection of visitors, as in addition to the regular heroes from this period in Marvel continuity, there's also a secondary plot that has key information fall into the hands of a dastardly villain long before they're suppose to know. The art is also a nice match for the period that this story is set.

A very busy issue, as we have over a half-dozen guest-characters running around, and a plot involving Loki & his latest plan to destroy the gods of Asgard. There's also a magic deck of cards, a flying/dimension hopping locomotive, immorality granting golden apples, and Everett K. Ross' chance meeting with his great-grandfather. Now Christopher Priest deserves full marks for keeping all these balls in the air, and even more praise for successfully weaving his story into a fairly coherent one (provided you were paying close attention). Now the condensed nature of the issue does result in some ideas getting rather hurried resolutions, and the enchanted deck of cards acting as a means to shield T'Challa from Loki's magic was a bit too convenient for my liking. However, this issue does offer up a couple of jaw-dropper scenes, with the flying locomotive being particularly memorable, and overall it was a fun romp into an old Thor issue.

This issue benefits tremendously for its deceptively simple revelation that the second Black Panther is from the future and not the past. As such we see T'Challa is now a character who has learned not only how he's going to die, but with the presence of the brain disorder he also knows that the time he's has left is finite. I mean with this single plot twist Christopher Priest has turned this book completely upside-down, and with the big status quo shift that is set to hit in a couple months, one is left with come very big questions, such as why the future version of the character decided to present himself as coming from the past, and how is Queenie going to deal with the fact that she played a role in the death of T'Challa. Now I'm aware that the Black Panther is penciled into the lineup of Geoff Johns' "Avengers", but thanks to this issue, one is left to question if it'll be T'Challa under the mask in that title, and if it is how long will it be before he begin what is essentially h

The new direction is still taking some getting use to, as Christopher Priest pretty much threw everything out the window, and I'm still trying to figure out if I'm enjoying what's replaced it as much as what this book had going for it before. Now I will concede that the material is well crafted, and quite entertaining, but to tell the truth Kevin "Casper" Cole is a little too good to be true in this issue. I mean it's a little early in the game to be too concerned, but this issue is all about tempting the character with the easy solution and thus far Kevin hasn't given in. I mean it's one thing to explore the idea of what makes a good cop, but if Christopher Priest continues along this path then it's going to become a little difficult to accept the idea that Kevin would ever make the wrong choice. I guess what I'm trying to say here is that I'd like to see the edges on the character roughed up a bit more, as right now we have Kevin taking the straight & narrow course, while the more en

There's not many titles that could seemingly throw everything out the window, and yet deliver a new plot that was just as rewarding. Now yes there are elements that link this new Black Panther to what we had been getting previously, and the last page would seem to suggest that the ties are far stronger than it initially appeared. However, what makes this new arc so impressive is that Christopher Priest has taken a title that thrived on its complex plots, and turned it into a hard-boiled crime drama, but I still find this book to be one of the most rewarding reads out the stands. I also enjoy the fact that the new Black Panther is more prone to make mistakes than T'Challa, as we get the sense that the villain he's looking to take down is smarter than our hero. The book also does a pretty solid job of playing up the idea that Kasper isn't exactly looking to get involved in the life of a costumed crime-fighter, but rather putting on the costume is more a means to an end.

Another solid chapter in what is turning out to be some of the best crime-fiction to ever come out of Marvel. There's a reason why this book has held a pretty consistent spot on my top five list, and I must confess I was a little concerned when the new direction hit this title, but as we near the end of this opening arc, I have to say that my concerns have been completely done away with. The low level adventures of Kasper Cole are more than equal to most of T'Challa's more memorable global spanning arcs, as just because the problems are smaller in scope, doesn't mean they are any less entertaining. In fact the one advantage that Kasper Cole brings to the book is that as a character he's far more accessible, as T'Challa's entire gimmick is that the reader is never quite sure what is going on in his head. The T'Challa we're getting in this arc is also quite a surprise, as it would appear he's given up on life, and it's going to take something major to get him back on his feet.

Some fairly big surprises to be found in this issue, as I must confess I was completely unprepared for the revelation that a particular character had been killed, and there's also a fairly major revelation introduced on the final page that changes everything. This issue also steps up T'Challa's involvement in the story, as there's a rather amusing exchange between Kasper & T'Challa during the middle of a rather heated conflict, that nicely contrasts the major difference between the two men, and their way of handling a situation. I also rather enjoy the idea that not every one of Kasper's ideas proves to be all that successful, as I rather enjoy the idea that our lead character can stumble & fall on his way toward the big finish. Some fairly involved maneuvering too in the background, as we see everything is not what it seems, with the last page offering up a major plot twist that I can't wait to see examined.

I do think that the book did heap a little too much on its plate, as while we do get some closure, there are several ideas that look to be only partially resolved, and this left me a bit disillusioned, as the one thing Christopher Priest's plots can be counted upon is their ability to tie everything up in a nice, tidy package. Now since this book does seem to be holding its own on the sales chart, I expect we'll be getting some answers after the brief flashback arc by another creative team, and if not then I'll go looking for answers in the upcoming title the "Crew". Still even with the dangling plot threads, this issue does a pretty fair job of tying up its major ideas, as while his plan is reckless & fraught with unnecessary danger, I found Kasper plan to be rather innovative, and the way things play out is fairly clever. It's also nice to see T'Challa is moving back into the spotlight, as I have missed his presence in these pages.

I must confess I was completely lost during the scene at the funeral where Kasper Cole converses with his crew, but other than this little panic inducing moment, I was able to follow the action quite easily. This issue is a fairly engaging team-up between Kasper Cole & the Falcon, as we see the two join forces to locate a missing child, and their conflicting approaches and Kasper's lack of experience in the hero game makes for some nicely realized moments of tension. The book also manages to convey a very real debate regarding the two different styles, as one can't deny that Kasper's brutality does get results, but then again the question of how far he's willing to go to achieve a goal does add a nice sense of uncertainty to the character's actions. There's also some wonderful moments of interaction, such as the opening exchange between Kasper & the White Wolf, and the final conversation that Kasper has with T'Challa is equally impressive. I do have some serious reservations about the

A pretty entertaining issue, as Christopher Priest manages to take what I saw as a lemon, and turn it into a full course meal with all the trimmings. Yes, having the story seemingly spoiled over in the pages of the "Crew" is probably the best thing that could've happened to this book, as I entered this issue secure in the knowledge that I knew where the story was going to end up, so I was able to be continually surprised by the twists & turns that are introduced on the path toward this final objective. After reading this issue I have to say that I was completely off base in how I imagined Kasper managed to pull off his little victory, as this issue introduces a side path that Kasper takes, that in effect makes him an enemy of T'Challa. The final page statement by Kasper is also an eye-opener, as one is left to wonder how this little problem will be overcome.

The final issue is about as good as one could expect given it basically states that T'Challa was the one pulling most of the strings, and all the hurdles that Kasper Cole has run up against recently are all part of a test that T'Challa created to test his heroic nature. Now speaking as a fan who has been with this book from the start, I have to say I'm sad to see it go, as it was one of the few titles that was consistently challenging the reader's intelligence, and was able to continually surprise me with how well it's highly complex plots fit together. Christopher Priest is a wonderful writer whose work I'll make an active effort to track down, and I truly hope the writer lined up to follow Geoff Johns on the Avengers keeps the Black Panther in the group, as this series has made the character into an engaging character, and made him highly deserving of a more prominent role in the Marvel Universe. This final issue is also highly rewarding for long time fans, as several supporting play

John Romita Jr. is one of my favourite artists, and I'm delighted to see he'll be this book's regular artist, as not only is he highly dependable when it comes to the monthly deadlines, but he also has one of the more visually exciting styles in the industry. I mean all the proof that one needs about him being the ideal artist for this title is offered up in the opening pages as we see an invasion force is crushed beneath the technical superiority of Wakanda, though if one needs further proof one only needs to look at the double-page spread that captures the battle between Captain America and the Black Panther. The one quibble I will make about his art though is that he doesn't seem to have a good grasp on what Everett K. Ross is supposed to look like which struck me as a little odd, considering the character's look had been well established in the previous series. Still, this is a minor problem that's easily corrected, and it doesn't take away my overall excitement that John Romita Jr

John Romita Jr. is the main reason why I picked up this new Black Panther series. While I'm a fan of the character, the simple fact of the matter is that I'm currently making a futile effort to trim the number of titles I pick up. As such, I'm not looking for new titles to add to my monthly pile. However, John Romita Jr. has long been one of my favourite artists, and he's an ideal match for this title, as he does a lovely job of deliverying the mix of technology and tribal custom that is a regular part of Wakanda life. This issue also offers up an extended Jack Kirby style battle, that is perfectly captured by John Romita Jr. How can one not love the sheer energy of the scene where the former Black Panther squares off against the hulking brute, or the sheer agility of the clash later in the issue as T'Challa enters the arena? The art also does nicely conveys the evil nature of our villains on the final page.

I'm a big fan of John Romita Jr., and as such, it's no real surprise that I love his work on this series. He's given ample opportunity to show off how perfectly suited he is to a title when the writing calls for high intensity action. How can one not love the panels where the Rhino charges his way through the Wakandan defences? There's also a lovely moment where the Black Knight takes down a fighter jet. The art also manages to do a wonderful job when it comes to the deeply unsettling scene where the Radioactive Man emerges from his chamber, as his expression when he makes his first kill perfectly sells how detached this character has become when it comes to the act of murder. The Black Panther also gets a nice little sequence as the character gets the opportunity to make one of those heroic arrivals, and the follow up scene where he tries to let the child know he's not a god is also quite effective, thanks in large part of the look of utter devotion that is etched on the face of

I'm a big fan of the Black Widow but the real reason I was looking forward to this miniseries was the presence of Bill Sienkiewicz of the art, as I've been a devoted fan of his work since his brief but highly memorable run of the "New Mutants". I mean Bill Sienkiewicz providing the art pretty much guarantees that book is going to stand apart from the crowd, as I can't think of another artist who is as effective when it comes to capturing the darker side of the human condition. I mean the book opens with a wonderful sequence where we see the murder of three women, before cutting to the face of a sleeping Natasha, and this alone makes for a great bit of foreshadowing. The big action sequence of this issue is also worth a mention, as how can one not be impressed by the visual impact of Natasha's gut shot to the trucker, which is followed by a powerful sequence where we follow the path of a knife that she throws at the second trucker.

The idea that Bill Sienkiewicz is only providing the inks for the latter issues of this miniseries remains a little disappointing, but I will concede that Goran Parlov does bring a greater sense of clarity to the title, and perhaps it's for the best that the more striking elements of Bill Sienkiewicz's art have been toned down, as one's enjoyment of this story is largely dependant on one being able to follow the actions of the various characters. The art also does a wonderful job capturing the emotional state of the characters, such as Natasha's expression on the opening page as she realizes that her homeland is no longer what it once was, and the panel where the security guards discover Natasha does an amazing job selling the idea that she is not someone they want to be dealing with. I also have to say Greg Land turns in yet another fine cover, and that this month's effort does a wonderful job of hinting at the big development that we get inside without spoiling it.

On one hand I'm glad to see Bill Sienkiewicz's work in any form, and part of me is convinced that it's probably for the best that the more visually dramatic elements of his work have been toned down, as it does result in an easier to follow story. On the other hand one of the reasons while I'm a big fan of Bill Sienkiewicz's art is because it stood apart from the crowd, and even his more fantastic visuals managed to impress if one took the time to study the image. Still, the art on this miniseries manages to tell the story in a visually exciting manner, as how can one not be impressed by the sheer intensity of the scene where the wild dogs close in on the injured man, or the raw emotion when Natasha is demanding answers from one of her creators. Plus, the flashback material during this scene is probably the closest we come to seeing Bill Sienkiewicz's true art. The sense of urgency in the final moments of the issue is also well handled, and the final panel is a great image to carry rea

There are moments in this issue where Bill Sienkiewicz's artistic influence does make itself quite apparent, as there's a lovely bit of imagery where Natasha discovers her defection was the result of outside influence, and the sequence where she is getting her head handed to her thanks to this same programming is also a fine display of the visual excitement that he brings to the book. However, there are also moments where the art takes on a decidedly conventional appearance, and I found myself wishing that Bill Sienkiewicz had imposed more on the work, if only to give it a little more impact. Still, there are some fine little moments in this issue, as there is a great little foreshadowing moment where Nick Fury reacts to the aftershave comment, and I loved the sense of frustration that the art is able to convey when Natasha is on the phone with Nick Fury. There's also a lovely little Nick Fury moment he reacts to the news report of Natasha's handiwork. Greg Land's cover is also lovel

I know I've seen Marcos Martin's work before, and while a quick search on Google would solve this mystery, it's not really all that important to my comments of his work on this issue. I will say that his work is along the lines of artists like Lee Weeks and Scott Kolins, in that it's highly detailed work that does a lovely job of capturing the sheer majesty of the book's big impact moments. I mean the establishing shot of the giant cyclotron would do Jack Kirby proud, and when the experiment goes south the art does an amazing job of capturing the sheer intensity of the situation as we see the man's body being ripped apart. There's also a nightmarish scene where we see the transformed man make contact with one of his rescuers, and we get a decidedly graphic look at what contact with his can do to the human body. I also enjoy the simple elegance of the character's costume, as it's a striking visual.

Marcos Martin is turning in some amazing looking work on this title, and if this series does nothing else I hope it opens the eyes of the higher ups at DC about how solid an artist they've got working for them. I mean his work strikes me as a more polished version of Scott Kolins's art, both in the level of detail on the page, and its great eye when it comes to laying out the action on the page in a visually exciting manner. From the opening sequence where the young child gets pulled into the energy vortex to the eruption of action later in the issue as the Herdsman confronts the Major and we see the sheer level of power that they're capable of, the art generates a genuine sense of excitement. I mean how can one not love the low angle shot of the path that the two took as they escaped the lab complex or the chilling nature of the image where the Herdsman's body transforms into a pile of ash?

Marcos Martin has a pretty solid grasp on all the fundamentals as the quiet sections of the issue benefit from a nice range of facial expressions, and the action sequences have a wonderful sense of energy about them. The art also presents key storytelling moments well, as the scene where the Herdsmen make contact with the Major could have been a confusing sequence, but that opening image coherently introduces the idea that not only are the Herdsmen there but they eagerly await the army that has gathered outside. There is also a nice action sequence to close the issue as the Major manages to escape from the facility, and there's a lovely visual where his body is twisted apart by the transportion process. Plus, the final image of the issue pretty much guaranteed my return for the next issue, as it's a delightfully shocking image, and I can't help but be curious to see the fallout from this attack. The cover image also nicely captures the big brother nature of the Herdsmen, as their pr

Marcos Martin turns in another fine looking issue, as this time out he's called upon to deliver almost an entire issue of non-stop action, and he does a very impressive job of delivering the more fantastic elements of the powers on display. The panel where the young woman's arm falls victim to the villain's deadly touch effectively sells the threat that these creatures pose. There's also several solid impact panels, from the opening bit where our hero rejects the memories being downloaded into his mind, to the scene where he is blasted back by the children that he refuses to fight. The art also does some impressive work on the facial expressions such as the delight that is etched on the faces of the children as they tear our hero apart is nicely conveyed, or the anguish of Zanetti as he decides how he's going to deal with this threat. The visual design of the creature that is unleashed on the final page also deserves the loin's share of the credit for why I find myself looking forw

I didn't have high hopes going into this series, as while Fabian Nicieza has proven himself to be a solid writer, the idea of teaming up Deadpool and Cable felt like a huge step backwards for the character of Deadpool. However this opening issue makes it clear that Deadpool's emergence as a truly funny character isn't being tossed aside in a bid to evoke the character's grim and gritty roots. This issue is a lot of fun as Deadpool makes numerous funny observations, and along the way he manages to become involved in a pretty entertaining plot as well, as he's been hired to go in a steal a deadly virus by a cult that is looking to wipe out all traces of individuality on the planet. Fabian Nicieza turns in some very amusing moments from Deadpool's attempt to be a loyal American in the early pages of this issue, to his rant later in the issue against all things German, where he runs out of things to hate about Germans rather early into his tirade. It's a shame that this issue had to be sad

This issue pretty much reverses the roles of the characters as Cable takes center stage while Deadpool becomes more of a background element. Now normally this would be a strike against the issue as I'm a big Deadpool fan, while Cable's a character who I've had difficulty working up any interest in, but this issue does a wonderful job of making Cable into a Dirty Harry style figure as he moves through the issue getting the job done with a hard edged, take no prisoners approach. I mean one has to smile at how he deals with Deadpool, and these earlier encounters makes the final encounter even more interesting as the book makes it clear that this time Deadpool is in the driver seat, and he has every reason in the word to pull that trigger, and the art certainly makes it look like he did. Now the three anarchists who made off with the virus are a pretty poorly motivated bunch, and the book doesn't really develop them into anything more than a handy plot device, but I will say there was a ni

First off I have to congratulate Rob Liefeld for coming up with yet another poster shot of Deadpool standing in front of Cable, as his imagination seems positively unlimited, and I'll spend the next four weeks in breathless anticipation as to how much higher will Deadpool's arm be on the next cover. As for the interior art, Patrick Zircher turns in yet another fine issue as the visual comedy is well presented, as how can one not love the plight of the leader of the One World Church, and I had to smile at the shot where Deadpool's leg literally turns to jelly. The action is also quite easy to follow, though I have to say I was happier when Deadpool found his costume.

Patrick Zircher turns in another fine looking issue that perfectly captures the sense of continuous chaos that Deadpool brings to a book, as the issue opens with a wonderful opening sequence where the merc with the mouth battles a great unwashed mass of mute ninja monks. The opening clash with the Cat was also a lot of fun, as how can one not smile at the visual where Deadpool has a number of ninja stars bury themselves in his head. The later clash also has a couple solid impact shots, and the merged body plot device whenever the bodyslide is activated remains a wonderfully twisted visual touch. The last page shot of the assembled Six Pack was also a pretty solid bit of work as the new costume designs that several of the characters are sporting are solid updates. It's also nice to get a cover that manages to project a sense of excitement about the story we get inside.

Patrick Zircher's art is clearly impacted by the arrival of the UDON studio, but for the most part the two styles merge together quite well, as Patrick Zircher brings a greater level of detail to the book, while UDON brings a smoother sense of motion to the book's action sequences. In the end the book looks fantastic, as we open with a great bit of action as Deadpool battle a small army of rent-a-cops, and this is nicely followed by the X-Men entrance into the action, as the art does a wonderful job of announcing the team's arrival using their powers. Now the battle between Cable and the Six-Pack was a bit confusing, but I suspect this was intentional, as the dialogue would seem to suggest that Cable had this group completely off their game. Still the scene where Cable teleports Anaconda halfway across the country could've been more clearly presented. I did rather enjoyed the X-variant of Deadpool's costume though, thanks largely to Wade's horrified reaction shot.

The art on this series is really quite impressive, as Patrick Zircher brings an impressive level of detail to the table, while the UDON Studios serve to smooth any rough edges. The art certainly does a solid job when it come to its delivery of the fairly large scale action, from the explosive attack that is made by S.H.I.E.L.D. in the opening pages, to scene where Cable reveals that two-thirds of the Six Pack are now his allies. I also have to give the art credit for it's delivery of the X-Men's powers, from Iceman's ice bridges, to Cyclop's optic blasts. The grandiose arrival of plan B in the final pages was also a memorable visual to carry readers into the next issue. The art also manages to do an impressive job of selling the visual gags from Deadpool's arrival in the Marvel Girl costume, to Rachel reaction shot when Deadpool decides to change his costume in front of her.

There's a number of ever so impressive big impact visuals in this issue, with the double-page spread that opens the issue being particularly impressive. In fact the art does an admirable job of conveying the powers levels that are involved in this battle, as it leave very little doubt that these two are deadset on winning this fight, with the big attacks that are made by both combatants in the final moments of the battle being the highlight images of the issue. The art also does some solid work on the talking heads scenes, as in spite of a full face mask Deadpool is one of the most expressive characters in the issue. I also have to give full marks to the cover image, as if this shot of Cable and the Silver Surfer locked in battle isn't enough to grab the attention of the fanboys than I really don't know what it would take to get the attention of the reading public.

First off I have to say I loved the cartoonish style that Patrick Zircher adopts when the book takes us inside Cable's head, as how can one not smile at the little visuals, like the heart decal on Domino's holster, or the fact that Solo is burdened with enough weapons to equip an army. As for his work on the main story, the art does a wonderful job of delivering the material in a visual exciting, highly detailed manner, as the opening double page shot of M.O.D.O.K. is a great image to pull readers into the story. I also had to smile at the discovery that Deadpool makes when he dives into the swimming pool, and the art also does a lovely job conveying the action as Deadpool does battle with the technology of our guest-star. The art also does some nice work playing up the surprise element of the final page revelation, as the art does a nice job of making this character instantly recognizable to Deadpool readers.

Patrick Zircher is a great artist, and I couldn't be more pleased that he looks to be this book's regular artist, as he brings a level of detail to the title that can't help but leave one impressed. He's also a fine artist when it comes to the delivery of the book's action sequences, as there are some lovely impact shots during Deadpool's battle with Agent X, from the scene where they both slam into the car, to the scene where Deadpool emerges as the winner, and takes out his sword to finish the job. I also loved the scene that were set inside Cable's mind, as how can one not smile at the little details, like that collection of tea pots, or Domino's amusing reaction shot when Cable tells her that if he dies, they'll die as well? There's also a wealth of cute little background gags, such as bit where we see the end result of Deadpools efforts with the Constrictor's coils. Cable's new look is also pretty impressive, as it has a more hi-tech look about it.

Patrick Zircher turns in his usual impressive effort, as he brings a level of detail to the page that can't help but impress. There's also a sense of clarity to his work that makes him a prefect match for this title, which is quite dependent on the art to convey the humour of the visual gags. There's also some lovely big impact images in this issue, from our first look at Deadpool:Private Dick, to the final page where the art helps carry us into the next issue. The art also does some nice work when it comes to delivering the high tech environment of Providence. However, the most important element of the art is its ability to convey the comedy, from the facial reaction of Irene Merryweather when Wade returns from his through investigation of the city sewer system to the bit where Deadpool uses a billboard advertisement to sell the illusion that he's in a rough section of town.

I have to mention this issue's cover, as while the signature would seem to suggest that it's Mark Brooks, the interior credits state it's Patrick Zircher. Based of the art itself, I think it's the former, but the style of the two artists is close enough that it's not all that important. I will say that it's a lovely cover shot that nicely sells one of the issue's more exciting moments, even if the image does overstate the conflict between the two. The interior art conveys well the non-stop action, as the book opens with a a fugitive Deadpool racing through the futuristic cityscape, and the big brawl that erupts late in the issue between Deadpool and Prester John was extremely well done. The visual gags are also well served by the art, with the panel where Deadpool reacts to the Prester John's opening comments, being one of the issue's highlights. I also smiled at the panel where Cable shows up with one of his ridiculously enlarged guns.

Patrick Zircher turns in yet another solid issue with clean, yet highly detailed work that manages to effectively sell the visual aspects of the book's humour. How can one not smile at the parade of amusing background visuals that are offered up on the opening double-page spread as Deadpool does battle with an army of clowns? The art also does some nice work on the scene where the villain struggles to program Deadpool, as how can one not love his expression when he tries to steer Deadpool toward the conclusion that he's looking for? The art also plays up well the more serious elements of the story. There's a pretty solid establishing shot of the nightmarish future that Deadpool ends up in, and the final page also effectively sells the idea that Deadpool's in quite a bit of danger, though the writing steals some of this scene's thunder with Deadpool's issue ending comment. Pretty impressive cover image as well, as I loved the "eat pie" patch.

Patrick Zircher continues to provide some very solid art for this title. While the inking does give his work a softer appearance, this visual touch sells well the more humorous elements of this issue, such as the series of panels where Deadpool rejects the cure to his mental problems, and how can one not smile at that shot of baby Cable? The issue also offers up some solid big impact visuals from the double page shot that gets the issue off and running, to the amazing establishing shot of the paradise that Cable has created. The art also nicely captures the nightmarish feel of the reality where the techno-organic virus has consumed the planet, as our first look at Cable made for a powerful reveal moment. Siryn's arrival later in the scene was also nicely presented, as was Cannonball's. The cover for this issue was also well done, and it looks like it will link up with next month's cover which is a cover gimmick that I've always been a fan of.

Patrick Zircher turns in a very solid issue, as there's several impressive visuals to be found in these pages, from the explosive double-page spread that opens the issue, to the equally impressive establishing shot of Mr. Sinister's lab which does a clever job of employing art from other House of M projects. The art also does a nice job of playing up Mr. Sinister's cold, calculating nature, even if it's only to sell the comedy of the bathroom gag, as how can one not love the brief flash of emotion that the character is allowed during in that final panel on the first page. There's also a nice moment where the humour briefly drops away, and we see Deadpool does have a deadly serious side, as how can one not take notice of Wade's expression after Cannonball strikes him in the head. The action also has a nice serious edge to it, as there's a lovely impact shot on the next to last page, as Deadpool has his chest caved in by Mr. Sinister. I also have to give the book credit for coming up wit

Patrick Zircher is a very good artist, but occasionally allows his 90s roots to show (for example, the pin-up-esque action shot of X-Force). However, when telling the story he does a good job, such as the amusing opening double-pager with Deadpool chasing Cable. He also does well when the story takes a darker turn with Deadpool facing off against Nate and Siryn stepping in to protect him. The varying ages of Cable throughout the issue are well portrayed, theres none of the typical use the same character outline just make it a bit smaller to indicate youth. A good job by the artist.

I may be kicking myself for letting myself be sucked into the material once again, but I have to say that the last three pages of this issue really sold me on this story, with the captions that detail Captain America's inability to recognize how deprived his opponent is being a particularly effective exchange. There's also a nice little bit in the opening pages of this issue where we see a former ally of Captain America's has set a plan into motion that would seem to suggest that he's going to come into conflict with his friend, and the material does a nice job of detailing why this man would be acting against the best interests of the American government. There's also a pretty solid flashback sequence, where we see Captain America's ability to inspire others is nicely displayed. Now the villain of this issue is strictly a cookie cutter madman, and the arrival of the school bus full of hostages struck me as rather lazy writing, but overall this issue managed to sell me on its main idea

It's a bit of a chore to wrap your head around some elements of this issue, but than again I was left with the sense that there is suppose to be a general sense of confusion about this story, and I will say that while I wasn't sure what to make of the last page reveal, I will say I was impressed by how effectively this surprise managed to address the howling masses that were sure to erupt in the aftermath of Captain America's use of a machine gun. The issue also manages to offer up a wonderful little moment where the Falcon takes some time out to talk over the issue with the gathered villains, and while this scene is largely an information dump, Christopher Priest delivers it in such a convincing manner that I was utterly riveted by Sam's dispassionate summation of the situation. The issue also manages to convince me that Captain America is in good hands, as the scenes that center around Captain America's reaction to the Falcon's actions do a nice job of selling the character's strong

Joe Bennett has done wonders for this title, as not only is his highly detailed work quite impressive, but even better it's remarkably easy to follow the action on the page. From the explosive opening sequence that has our heroes battling their way past an army of soldiers in a crowded newsroom, to the high flying action as the Falcon tests out his new wings against a pair of attack choppers. The nightmare scenes also manage to convey the horror of the moment, as we know that Bucky's doomed the moment we see him on that rocket. The only compliant I would make about the art is to repeat that J. Jonah Jameson and the Navy admiral look far too similar, which results in yet another confusing moment.

Joe Bennett opens the issue with a memorable visual of the Scarlet Witch passed out of Captain America's couch that nicely teases the readers with the idea that this seemingly unlikely pairing has taken the next step. The rest of the issue is largely talking heads, but the art keeps things visually engaging by continually shifting the perspective, and offering up a nice range of facial expressions, as how can one not love the Falcon's crazed expression as he advances toward Norman. The art also nicely captures Captain America's confusion when he learns that the Scarlet Witch doesn't seem to share his memories of the previous night. The last page also offers up a wonderful visual teaser, as Joe Bennett takes what could've been a goofy moment, and turns it into something truly disturbing, as I don't think I've ever seen this character looking quite so hideous.

Joe Bennett turns in an impressive looking issue that also manages to clearly present the wealth of new information that is brought into play. >From Captain America's sceptical expression as he figures out that M.O.D.O.K.'s body is operating on automated responses, to the cold, decidedly calculating expression on the Falcon's face as he shakes down a corrupt senator, the art does a wonderful job selling the intrigue of the story. There's also a number of impressive big impact visuals, from the double-page shot that opens the issue, as Captain America uses his shield to deflect an attack, to the follow up image of a menacing M.O.D.O.K., as I don't think the character has ever looked more dangerous that he has under Joe Bennett's pencils. The art also offers up a nice bit of action as Captain America makes his way through a small army of guards, and the last page image is a wonderful visual to carry readers into the next chapter.

Greg Tocchini does a pretty passable copy of Joe Bennett's work, so if this story is collected in trade paperback form the switch between artists won't be all that jarring. He certainly does a fine job of keeping M.O.D.O.K. a very sinister looking entity, as the opening double page spread is a delightfully disturbing image of the character. The art also does some lovely work on the action as Captain America tries his best to avoid the Hulk's attacks. There's a lovely image of Cap racing away from a rampaging Hulk that manages to sell perfectly the danger that he's up against. There's also a great shot where Captain America gets tagged by one of the Hulk's punches, and he's sent flying. The art also does a pretty nice job of selling the final scene as Captain America's internal conflict is brought to a quick end by the Falcon. The cover image is also a lovely shot of the two characters racing into action.

I haven't seen Dan Jurgens work for quite some time, and while I've never been a huge fan of his work, I rather enjoyed the art he provides on this issue. The issue opens with a great sequence that plays against the norm, as the dark Captain America throws a man out of a helicopter, and when one turns the page instead of the scene where he saves the man at the last moment, a powerful panel makes it quite clear why the real Captain America should have a problem with this character running around. The art also perfectly sells the dramatic impact of the scene where we see the cost of Sam's encounter with the gun man in the hallway. The power of the panel is undeniable. There's also a nice one page shot of Sam cradling the body of the seemingly dead Captain America that is far more effective than it really has any right being. The ruthless quality of the dark Captain America in the final pages is also well presented, as even the Punisher would have a difficult time keeping up with his

A very enjoyable issue, in that a large chunk of it is handed over to a very entertaining battle that is very much in the spirit of a good old-fashioned bout where Stan Lee would announce his intention to shut up and let Jack Kirby dazzle the reader with his ability to deliver pure excitement. Call me nostalgic for a bygone era, but this issue's battle was one of the most entertain tussles I've come across all year. This issue also offers up a rather surprising twist, as we see Captain America gets to show off a skill that I must confess I've never really seen him display before, as he sets out to win the heart of the young woman who he's traveled to Las Vegas to rescue. I guess all those hours he's spent in the company of Tony Stark are starting to pay off, as the scene on the beach does a nice job of showing us Cap's ability to convey a sense of security & reassurance that this troubled young woman is probably desperately seeking.

Another entertaining issue is a series that has yet to offer up a disappointing issue. In fact since issue one this book has been a shining example of how to deliver a crime-fiction comic. The stories are full of action and intrigue, and are steeped in all the elements that make "film noir" my favorite movie genre. This latest story started off with a bang, and has managed to maintain the sense of excitement developed in the closing pages of the first issue. This issue also manages to incorporate Catwoman's past into the story, as we see her pull off a rather clever heist, that leaves the villains of this arc in a very bad way. I'm also quite curious to see how this theft is going to be used to clear Holly of the murder charges, as right now all it looks like it'll do is get the villains killed, which still leaves Holly as an accused cop-killer. The story also offers up a pretty solid action sequence, as Catwoman manages to plant a bomb on a moving vehicle without being seen.

A pretty solid finish to this current arc though I was left with the sense that Ed Brubaker forgot to include a role for Catwoman to play in this big finish, as she does little more than play cleanup when the situation gets a little too heated. The final solution also felt a bit rushed as it requires these seemingly intelligent villains to fall for the oldest trick in the book, as Slam Bradley asks some incredibly leading questions and these villains almost fall over themselves in their bid to answer his questions & implicate themselves. Now we do get a nice unexpected plot development in the closing pages, as we see Catwoman isn't above twisting the situation to suit her own needs, even if her actions serve to set these criminals back on the street. The issue also has itself a couple of fairly intense pieces of action as we see Slam Bradley take a bullet, and the last page nicely sets up the next arc as we see Catwoman's actions have made her a fairly dangerous enemy.

A pretty entertaining issue that holds up rather nicely as an example of Catwoman's rather loose definition of justice, as she sets free an inmate sentenced to die, largely due to the fact that she knew the person as a child. Now I'm sure Batman fans will wonder why he didn't come down harder on Selina for her rather questionable activities in this issue, but I'm willing to accept that he's willing to cut her a little slack due to their unique relationship. Now I must admit I find it a bit hard to accept that this woman is even on death row, as the case against her does have some serious flaws when it comes to confirming her as the murderer, but then again the issue also makes it clear that she certainly looks capable of it, and I do like the fact that Ed Brubaker did leave the idea of her guilt open to interpretation, even if Selina is convinced of her innocence. In the end this is a nice done-in-one issue, with a fairly clever escape plan to boot.

Given the previous arcs have been notable for their strong starts, I must confess I was a little surprised by the rather subdue quality of this issue, as we see Catwoman stumble across an Oliver Twist style situation. However, given the 1968 filmed version of this Charles Dickens book is one of my all time favorite films, I'm not going to make too much noise. In fact I wouldn't mind seeing this network of little sticky fingers become a semi-regular part of this title, as it works quite nicely with the guardian angel role that Ed Brubaker has set up for Catwoman. This issue also sets up an interesting little situation with Slam Bradley, as we see him express a desire to pursue a romantic relationship with Selina, and while I'm not sure I'd like to see these two together, it does make for a fun secondary plot, and anything that turns the spotlight Slam Bradley's way is always welcome, as he's a highly engaging character.

Here I was all ready to admonish Ed Brubaker for offering up another issue where there was next to no action, and then this issue kicks everything into high gear, and one simply has to hold on as this book literally explodes forward. Now for longtime fans I'm sure the opening two-thirds of this issue are a welcome sight, as Ed Brubaker brings Maggie back into the book, and we see that Selina is able to form a connection with her younger sister. This issue also does a wonderful job of creating a sense of hope before we hit the final third of this issue, and the Black Mask makes his opening attacks in his bid to destroy Catwoman. There's also a nifty little betrayal in this issue, as we see not every childhood friend that reenters Selina's life is going to cherish the friendship that they once shared. In fact this issue makes it clear that Selina's supporting players are in quite a bit of danger, as the Black Mask is given a pretty good clue about who she is under the mask.

This book is still one of the best titles coming out of DC, but this final chapter isn't quite as strong as the issues that preceded it, as the action draws to a close a little quicker than I would've preferred, and the final battle wasn't nearly as riveting as it needed to be. I mean after developing the Black Mask into a truly frightening figure, Ed Brubaker almost looks to back off completely, as he has Catwoman unleash her full fury on the villain, and the Black Mask looks completely ineffectual when it comes to mounting any semblance of a counterattack. Still, we do get a fairly exciting tussle between Selina & Sylvia, and the book does a wonderful job of showing Selina's anger fully unleashed, as it is rather refreshing to see a hero actually crossing the line drawn in the sand. The aftermath from this arc also looks quite promising.

Now the idea that Selina has a self-destructive personality is hardly new insight, and her relationship with Slam is a bit surprising, but it's hardly unexpected. What makes this issue stand apart from the crowd is that the book allows Selina to recognize the track that she's set herself upon, and having her self aware of her situation allows for a stronger character study. I mean it's one thing to follow a character whose behavior is clearly recognizable as self-destructive, but it's quite another to follow one who is able to not only recognize what they're doing is wrong, but is also unable to stop themselves from doing it. The same goes for the scene where we see Holly looks to be making a second trip down a path that nearly destroyed her the first time she ventured down it. One also has to feel for Slam, as we see he's also able to recognize this new fling is doing more harm than good, but he unwilling, or unable to allow himself to fully commit to this notion.

The mood is very dark & depressing in this book, and I don't know how many more months I can take of such an unrelenting sense of doom & gloom. However, I genuinely care what happens to these characters, and there are moments, where Ed Brubaker seems to be fully aware of this fact, as there are several scenes in this issue where one almost gets the sense that these characters are never going to overcome the depressing status quo that has been established. From Holly's dangerous temptation with the bottle full of pills, to Slam's disturbing flash of jealousy & possessiveness, one can't help but think that it's going to get far darker before the dawn. The one thing that this book could work on though is its lead character, as out of the three stories, Selina's is far & away the weakest. Now part of this is her rather elusive personality, as Selina has a more detached personality, but still given she is suppose to be the star player, it's a bit worrisome that I find her the least interest

This follow-up arc to the Black Mask arc managed to walk a pretty fine line, as while it's nice to see the tragic events that played out in the previous arc have made an impact, there's also such a thing as being too dark & morose, so that it becomes difficult to find any enjoyment in watching these characters destroy themselves. This issue acts as a bit of a happy ending, as we see our three primary characters manage to find their way back into the light. Now I found the ending was a bit abrupt, as it almost seems like the book shifted its mood a little too quickly. However, I'm glad to see these characters are no longer drowning in self pity, and this book could certainly use a brighter mood, as these past two arcs have been enjoyable reads, but they've also been thoroughly grim & depressing. Now the cover overstates the Catwoman/Batman scene, but while it's a quick little exchange it's also one of the more interesting moments in the issue, and one wonders how closely Batman's been k

A fairly upbeat issue that manages to bring a much needed sense of fun back into these pages, and while the plot isn't all that deep, the book manages to hold its own thanks to a solid guest-appearance by a surprise character. Now, I do believe that a past between these characters was established so perhaps Ed Brubaker is simply drawing upon something that had already been set in place, but if this is the first time these two have met than I have to say the pairing is a rather inspired one, and the way the character is utilized in the issue is a clever use of the character. The interaction between Holly & out guest-hero was also nicely done, with their conversation before she finally manages to tag him with a solid left hook being a highly enjoyable look at the man's resume.

A pretty entertaining little throwaway issue that benefits quite nicely from its guest-villain, as Ed Brubaker makes pretty good use of Captain Cold, and the change of scenery Keystone City provides. In fact if this tour of the DCU has done anything it's acted as a bit of a relief value, as the book had built up a little too much turmoil & angst, that I found I was having a hard time enjoying the series. Now I'm sure there's some formula in the comic writer's guide book that basically tells them how serious-minded a book can become before it turns the readers off the book, and I'm probably a happy little fanboy because this book simply overloaded the doom & gloom so this more lighthearted tone seems more impressive. Plus it certainly helps that this book offers up a fun little bit of action, as Catwoman is drafted into pulling off a job, and thanks to Captain Cold, the job turns into a firework show, instead of the stealthy, in & out job that she normally pulls.

A pretty solid final chapter to this tour of the secondary cities of the DCU, and unlike last issue's visit to Opal City this time out Selina gets the opportunity to interact with the heroes that call this city home. Now this isn't exactly an action-packed affair, as except for a throwaway battle in the opening pages against the hapless assassins that are dogging Catwoman's heels, this issue is a pretty subdue affair. However, we do get some answers when it comes to the group that is making a habit of getting knocked around by Selina, as Hawkman is on hand to provide a rather dry, but fairly informative history lesson on what Selina managed to stumble into the middle of. The final pages of this issue also show us the big secret that has been driving this arc, as we not only learn the identity of the mystery man Selina was tracking down, but we also learn why. There's also some fun moments of interaction between Catwoman and Wildcat, and Hawkman's infamous sense of humor is put to good

The arrival of a new art team does seem to have made greater impact on the book than I expected it too as the book seems to have shifted from the popcorn movie action sequences, to a more in your face urban warfare type story. Now the characters are still there, even if they do look dramatically different, and there are moments in the story where I'm reminded that the action scenes were just a welcome perk, to what is a fairly engaging character study, as Ed Brubaker does a wonderful internal monologue as Catwoman moves in to deal with the various threats she encounters in this issue. I also love the sheer impact of this book's action sequences, as the book has Catwoman dealing with a thug blasting away with a gun in the cab of a speeding truck, and a particularly brutal fight in an abandoned warehouse. The final pages of this issue also do a nice job of carrying us into the next issue, as while I don't know much about this hired killer, this final sequence makes it clear that he's not

There's also something rather ominous about that final page, as it's never a good thing to see a lead character of a comic this happy with the way their life is going.

I still say that these Secret Files one-shots are sporting a price tag that's too high, but with that said if you do have some money burning a hole in your pocket, and you're enjoying the monthly title, then you should give this book a look. The opening story is a fun examination of Catwoman and while there's no stunning revelations made, it's still well crafted exercise. This issue also has itself a great Slam Bradley story, as we see him show why he's one of the more exciting supporting players currently running around in the DCU. There's also a cute poke at the continuity happy fans who are demanding an explanation for Holly's resurrection, and the closing story in this book does a great job of setting up the Black Mask as one creepy villain. This one-shot also gives us a pretty good sample of Cameron Stewart's art, and given he's set to be the book's new artist, this preview was rather welcome. The profile pages also made for a fun read, even if they don't tell much about the chara

On one hand this preview issue does little more that reaffirm the ideas that I already had in place when it comes to the character of Conan, as it essentially paints the picture of an ancient warrior who traveled the country with a big sword, hacking and slashing his way through anyone who was silly enough to get in his way. However, the stunning art of Cary Nord, and the idea that Kurt Busiek, a proven storyteller in my book, will be this book's regular writer, is enough to leave me willing to pick up the upcoming monthly series. This is a very enjoyable preview of Conan's world, and while it doesn't give us much insight into the character himself, Kurt Busiek only had sixteen pages to work with, so perhaps a general overview is the better approach, as this is essentially performing the same job as a movie trailer, and in that sense this issue sets up a pretty tantalizing picture.

This issue acts as about as good an introduction to the character of Conan that one could expect, though I must confess I entered this issue hoping to discover the elusive quality that has earned this character his impressive fan base, and I left the issue disappointed that I didn't find it. I mean as far as hack and slash fantasy goes, Conan makes for an enjoyable reading experience, as there is some thing refreshing about a character who will freely end the life of someone that the book clearly displays as a lecherous creep. I also had to smile at Conan's comments at the dining table where he basically insults his host, by saying he is so ugly that he was spoiling his appetite. There's also a nice little scene where we see Conan is still young enough that he believes the fables that he was told when he was younger about a magical land in the north where its people are gifted with immortality, and we get enough hints that we know the lands that Conan seeks is not the paradise that he'

A pretty enjoyable chapter in Conan's early adventures as this issue nicely established the idea that he's far too trusting when it comes to his dealings with others, as even the most novice of readers had to see that moment coming. The issue also manages to nicely present the idea that at this stage of career Conan is very much lead by his emotions rather than his head, as he's driven by a desire to visit a fantasy realm than sounds too good to possibly be true, and one has to love the idea that in the middle of a heated battle when he should be paying attention to his rather precarious situation instead he's far to invested in lashing out verbally at the people who betrayed him. I also like watching him take these early first steps, with the little moments like his flash of pride as he picks up the trail of the people they're following being a solid presentation of the idea that his store of knowledge isn't all that expansive at this stage of the game. The issue offers up a moment wh

The art does a perfect job of capturing the reason why Conan has assembled his legion of fans as the character spends most of the issue with a sword in hand hacking and slashing his way through a legion of enemies. The art also does a nice job of the little details like the fact that the lions that advance on Conan in the early pages of this issue have that slinking style of movement that many artist fail to capture, and there's a great transformation panel where we see the progression of the physical changes that the Hyperborea race underwent. Plus how can one not love the second to last panel of this issue.

This issue is a telling display of the impact that art can have on a story, as while the script could make some suggestions about the methods that Conan kills the two cowards, it's the art that responsible for the sheer impact of the deaths, and I have to say the reveal of the second death stands up as one of the most unsettling images I'm seen in quite some time. The art also does a fantastic job of building up the danger that the female assassin poses, as we watch her make her way into the castle, before delivering a telling display of her sheer effectiveness, as she deals out death to the armed guards. My only quibble with the art on this issue would have to be the cover image as while it's a powerful image, the blur effect that is used to convey the speed of Conan's sword swing was robbed the image of a great deal of its impact.

Cary Nord is back providing the art, and while I enjoyed the guest-art this issue does a fine job of reminding readers why they should be grateful he's the book's regular artist. Now there's not much action to speak of in this issue, as Conan refrains from using his sword in combat, and there's nary a decapitation to be found in this issue, but the art does a wonderful job when it comes to capturing Conan's supreme confidence as he boasts about his recent action to a rapt audience. I mean how can one not love the scene where Conan emerges from the shadows to confront the boastful thugs, or his expression as he responds to the idea that he had just performed a masterful manoeuvre in framing the two thugs for his crime? I also have to make mention of this issue's cover visual, as Leinil Francis Yu offers up a wonderfully moody visual, that perfectly captures Conan in the midst of heated combat.

Tom Mandrake joins the book as the inker, and I have to say the art is all the more impressive, as it gains a more grounded appearance and frankly Conan's world comes into sharper focus. I mean the colours could be a little bolder, but frankly I'm not going to make too much noise, as frankly this issue is a sheer visual delight. From the credit page shot of the village that Conan wakes up in, to the sheer visual intensity of the fight between Conan and Janissa, the art on this title is about as good as it gets. There's also a nice establishing shot of the mountains that Conan and his group have to make their way through, and the nightmare training session that Janissa recounts is nicely conveyed by the art. The only quibble that I have with the art is that I couldn't help but feel the emergence of the blood beetles could've made for a more striking sequence. I also have to say I wasn't overly impressed by the cover, as while it's a moody image, it doesn't really convey the excitement o

Cary Nord does his usual stellar job in this issue. He's given his first opportunity to deliver a battle with a giant monster, and he does a fantastic job of it, as how can one not be concerned when Conan is caught up in the coils of this creature? In fact, the issue does such an effective job with the big one page shot of the creature, that there's never really any moment where I felt Conan stood any chance against this creature, which in turn adds an extra sense of drama to the final page cliffhanger. There's also some lovely work on the final page reveal as that final battle does a wonderfully conveys that they shouldn't be expecting any help from these guards. There's also some nice work on the little moments, like Conan's expression when the wizard asks him if he would end the life of a friend if it advanced his own interests. The cover image is also quite impressive, as it nicely hints at the danger that threatens these characters inside the book.

Greg Ruth's art has a wonderfully moody quality about it, and I always welcome his visits to this title, as if nothing else he delivers some truly jaw-droppingly beautiful covers. The cover visual is an amazing representation of this issue's big action sequence. In fact, the highlight of this issue would have to be the art's delivery of the battle inside, as the young Conan clashes with the leader of the wolf pack, and this is a wonderfully intense bit of art that managed to leave me momentarily convinced that Conan wouldn't be walking away from this encounter in one piece. The art isn't quite as clear in its presentation of some of the talking heads scenes, as there was a couple times where I found myself a bit lost about what was going on when I turned the page. The art simply dropped readers into a new scene, but for the most part Greg Ruth did another amazing job on this issue, and I look forward to his next visit. The art also deserves credit for how it was able to capture th

Cary Nord is back on the title, and it looks like he put the month break to good use, as this stands up as one of his sharpest looking issues yet. In addition to some tighter line work, the art also impressively present the big impact moments, from the opening eruption of anger as Conan vents his frustration on the inn keeper, to the lovely one-page shot where Conan discovers that the boy's warnings about the hills were not a lie designed to get him to sleep at his father's inn. Conan's battle against these demons is also well presented by the art as his frustration when his attacks aren't making contact helped to sell the danger that the character's up against. However, the highlight visual of this issue would have to be the panel where Conan comes to realize that he has a blade that can cut these creatures. There's also a lovely looking moment where Conan emerges from the morning fog. I also rather enjoy Cary Nord's first cover, and barring the arrival of an earlier fan favourit

The use of a guest-artist on the next issue leaves me a bit concerned, as I had become quite comfortable with the pattern of Cary Nord providing the art for a six issue stretch, and then the book would give him a one month break to give him the extra time he needed to keep this book's monthly shipping schedule. However, the book already made use of its guest issue only a couple issues back, and as such next issue's visit is cause for concern. Still, in today's market Cary Nord has proven to be a pretty steady artist, as I don't believe the book has missed any of its shipping dates, and providing art for 16 of the 18 issues does earn him significant credit in the bank when it comes to proof of his ability to provide the art for this series. Plus, it doesn't hurt that he has a very unique style that lends itself perfectly to this title, as there's some lovely big impact visuals in this issue, from the head chopping display by Conan, to the lovely final page image that closes the issue

Cary Nord continues to provide art that leaves me a curious what it would look like if an inker was brought in to bring it into sharper focus, as there are moments in the issue where the art looks a little soft around the edges, and the raw power of key scenes is lost (e.g. the final moments of Tinanna). On the other hand the style does serve to set this book apart from the crowd, and there are moments when I couldn't be more impressed by the art, as the worm creature's emergence, and voyage through the city streets made for an exciting show. The art also does a wonderful job of playing up Jiara's indecision as she tries to decide if her greed is greater than potentially facing Conan's wrath at a future date. There are a couple a curious visual moments in this issue though, such as the panel where the city guard has his back to the worm creature, while he orders it to stay back, and the art also doesn't quite explain how Conan's theft of the crown served to unleash the worm monster, bu

Mark Texiera would be a regular on my top ten favourite artist list if his work showed up on a more regular basis, as he's a great artist with a fine eye when it comes to his delivery of exciting action, and naturally this makes him the ideal artist for a Conan adventure. Now there are a couple moments in this issue where the action suddenly jumps forward, such as Valensa's takedown of Conan, but for the most part the art does a wonderful job capturing the intensity of Conan's attacks, and there's several memorable images to be found in these pages, from the panels where we follow the path of a thrown sword, to the classic shot of Conan standing atop a mountain of bodies. The art also does a pretty solid job of capturing the idea that Conan can be downright scary, from the fury that is etched on his face as he addresses the king, to his expression moments before he reunites the lovers.

I am though quite impressed by how seamlessly this issue fits together given each chapter was worked on by a completely different creative team. For the most part the issue holds together quite nicely as all the artists involved bring a highly detailed style to the book that serve to deliver a very polished looking product.

Given the last six issue have dealt with the idea of Matt's secret identity being exposed, this issue is a nice change of pace, as while his bid to preserve his secret identity is still very much a part of this book, this issue introduces a new idea to the mix, as we see Matt is called upon to defend a fellow costumed crime-fighter, who has been falsely accused of murdering a police officer. Now if one looks too hard at the case that is complied against the White Tiger, then the situation feels a bit contrived, as any good police detective would dig a bit deeper than this issue seems to have them doing. Perhaps if the story hadn't shown us what really played out in that pawn shop, then I'd be more inclined to buy the haphazard police work, but since we did see elements like the criminals weren't wearing gloves, and the murder weapon was left at the scene, the only real problem with this case is that it's being handled by Matt, who is currently under a veil of suspicion, thanks to the D

A pretty powerful finish to the White Tiger murder trial, as Brian Michael Bendis offers up an ending that is sure to make a lasting impact on Matt. I have to say that it's nice to see a issue centered around a trial that manages to stray from the typical "impassioned final speech sets the innocent man free" ending that normally acts as the big finish to stories like this. The way this case ends also adds even more uncertainty to Matt's own case, as it's clear J. Jonah Jameson isn't the only person in the Marvel Universe who bears a strong resentment when it comes to costumed vigilantes. Now I did have some problems with the behavior of the White Tiger in the final pages of this issue, as his actions seem to be entirely driven toward getting himself killed, but there's no denying that his death does give the issue a far greater impact. The follow-up to this story should also be interesting, as I can't see Matt walking away from this case without feeling like he failed to save this man'

I have to say that I'm quite fond of Marvel's 25 cent program, and as an entry level issue this month's issue of Daredevil acts as a wonderful sample of what one can expect from this book on a monthly basis. Brian Michael Bendis offers up a wonderful exchange in this issue between Matt & a villain who has never quite managed to be anything but laughable, where the idea that Matt's secret identity has been compromised makes a noticeable impact on how these two interact. The issue also offers up a surprisingly effective display of violence, that acts to show us that not every villain is going to hold back when it comes to attacking Matt before it's proven that he actually is Daredevil. Also while I might be giving the final page of this issue a little too much weight, it does look like a new woman is set to enter Matt's life, and based upon how he's handled relationships in his other titles I'm glad to see one showing up in this title.

First off the final sequence of this issue offers up such a major surprise that I have to give Brian Michael Bendis full marks for catching me, and I suspect most readers completely flatfooted with this new development. The follow-up to this final scene should easily move the case involving Matt's secret identity right into the spotlight, but what's more the case has suddenly become far more than just more than just whether Matt will be able to protect his secret identity. This issue also has itself a rather sweet little romance on the back-burner, and in a rather clever move we see the woman's blindness allows her to confirm the very secret that Matt is fighting tooth and nail to protect. I also have to say that I found the scene between the Owl & his lawyer one of the funniest sequences I've seen all year, and I also got a pretty decent lawyer joke out of it too. I also enjoy the little continuity touches that Brian Michael Bendis has establishing between this title & Alias.

An issue that's a little frustrating in that there's not much plot advancement to be found in these pages. However, the roses that this issue is stopping to smell do result in some truly engaging reading, and I will concede that it is nice to see a book that takes the time to fully address almost every concern a reader could have. The police investigation we're treated to in this issue has a real authenticity to it, and I love the idea that the police captain is almost petrified of Matt. I also have to say that I'm a bit concerned that Matt is entering a new relationship, as Milla is turning into a fairly engaging character, but Matt's history with women doesn't make her future look especially bright, and with Typhoid Mary looming on the horizon, I'm starting to think her days are numbered.

A very entertaining issue that some fans might find a little frustrating, as the book jumps back to detail events that played out before last issue's rather dramatic cliffhanger, and as such Matt's situation is left up in the air until next issue (hopefully). Still, I applaud this issue for taking the time to develop the villains of this arc, as Typhoid Mary is given a wonderful opportunity to impress upon newer readers that she is very dangerous, and her insanity is also on full display. However, the while Typhoid Mary's battle is very impressive, the true highlight of this issue is the Kingpin, as this issue has to rate as one of the best displays of the character's ability to control a potentially volatile situation, with very little seeming effort. I mean to tell the truth he does little more than talk, and yet one is left with very little doubt that the person in full control of this situation is the Kingpin. Brian Michael Bendis' writes one fantastic Kingpin, and one can't help b

The book opens with a pretty enjoyable tussle with Typhoid Mary in which the character's madness is on full display, and by the end the character does come across as a bit of a victim, instead of a ruthless killing machine. It's always nice when a writer seems to recognize that villains have to bring more to the table the simple mustache twirling villainy, and while she's still very dangerous, and it's probably for the best that she be locked away, the idea that she was living a perfectly happy life before the Kingpin paid her a visit does add a nice element of tragedy to the character. As for the rest of the book, I have to say the more I see of this Agent Driver the more I'm liking the character, as he's a refreshing change from the typical "by the book" agent we normally see. In fact one almost gets the sense that he not only knows how the game is played, but he's perfectly willing to venture outside the lines to get what he wants. We also get a nice "Lethal Weapon" homage in this i

Not a great deal of new insight into the character of Echo if one was already familiar with the character from her previous arc, but I will give David Mack credit for making this character far deeper than we normally see in a character who doesn't currently star in her own title. Now Daredevil fans might be a little annoyed that Echo has essentially taken center stage of this book, as while we do open the book with her meeting Daredevil to discuss their relationship, and the story is clearly set within the confines of Daredevil's corner of the Marvel Universe, there's little doubt that this arc belongs to Echo. Now lucky for us the character in interesting enough to carry this arc, as while David Mack is guilty of dragging his heels, and there are moments where I feel he's repeating points that have already been established, in the end this issue is a fairly engaging reading experience, and that's all that really matters. Plus the final page offers up a pretty solid cliffhanger, and it

Daredevil has drawn the line in the sand so to speak, as he has effectively driven crime out of his neighborhood, through a series of ruthless beatings, and a huge infusion of money into Hell's Kitchen. Now this issue doesn't do much more than establish the new status quo and then offer up a meeting between Matt an a collection of heroes who have come to express their concerns, only to find Matt is not only unwilling to listen but he's fully prepared to burn these bridges if they press the issue. Now Brian Michael Bendis is a fantastic writer when it comes to dialogue exchanges like this so the meeting between Matt and the gathered heroes is easily the highlight of the issue, with Peter Parker's attempts at finding humor in this situation being particularly entertaining. However, the simple fact of the matter is that there's not much action to drive this issue forward, and while we get a pretty harrowing cliffhanger, the book doesn't really offer up much insight into these villains, be

When you really think about it sending one hundred guys to deal with a single individual is a bit excessive, and while I guess one could be hoping that sheer numbers would eventually wear him down, as this issue proves it's difficult to wage a battle of this scale in the middle of a city without drawing in the police. One also has to think the sheer number of opponents would work to Matt's advantage, as he can leap about delivering his attacks without having to give a second thought to whether he was hitting the right person, while you would have ninety-nine other guys getting in the way of your attacks. Still, the idea of Matt doing battle with one hundred killers is a very cool idea and this issue manages to execute it about as well as one could have hoped, as there's a nice range of attacks, with a fun little Jackie Chan sequence when Matt makes use of a car's radio antenna and then its side mirror as weapons in the battle. The big surprise of the final page also worked exceptionall

The opening pages of this issue offer up a truly shocking scene that I'm of two minds about, as on one hand it does send a message that we really shouldn't get too comfortable as anything can happen, but on the other hand I was disappointed to see this aspect of the book's supporting players has been effectively removed from the picture. This powerful opening sequence is than followed by an equally memorable exchange between Ben Urich and Matt, as Ben manages to key to the thing that has driven Matt into such a sorry state, and he continues to push this button until Matt is willing to see the truth that he's been hiding from. the issue also offers up an engaging meeting between Matt and Luke Cage, as the two manage to put their differences behind them, and along the way we also get a welcome cameo by Jessica Jones, who plays the role of the girlfriend to near perfection, with the opening exchange between her and Luke about the CDs being a perfect we've all been there moment. However th

Alex Maleev has never quite impressed me with his ability to deliver action, but this is largely due to the fact that most of the previous exchanges played out in poorly lit locations. However this issue features a fantastic back and forth exchange where Daredevil, and later the Black Widow square off against a hired killer on the rooftops, and what's more the battle takes place on a bright, sunny day. In fact the sequence where the bullet races toward Natasha is one of the more visually intense moments this series has ever offered up. The quiet danger of the final page intrusion is also quite impressive, with a great final panel reveal.

Alex Maleev is a fantastic artist when it comes to capturing the dark mood of this book, as the art manages to perfectly present the hidden dangers that our characters face in this issue, from the wonderfully bit of deception as Natasha toys with Jigsaw's underlings, to the equally impressive scene where we watch the sniper target our heroes. There's also a nice little scene where Natasha confronts her ex-husband, and the encounter manages to deftly project the sense that Natasha is well in control of the situation. There's also a couple solid little moments like the murderous fury that we see in Jigsaw's eyes as Matt agrees to press charges against him, or Natasha's sudden shift from a formidable fighter into a distraught victim when the police arrive. The rain soaked final page meeting between Matt and his soon to be ex-wife was also well done, as Matt's reluctance to let go is nicely complemented by the weather.

While most of the artist who work on this issue have no real past connection to the character of Daredevil, they are all fine artists who turn in some lovely visuals. First off we have Michael Golden who is in fine form as he delivers what is largely a dialogue scene between Nick Fury and Matt. We then get a lovely bit of painted art from Greg Horn, though I do have to say his Peter Parker looked a bit off. P. Craig Russell offers up a nice Central Park meeting with Captain America, that manages to offer up the best presentation of Brian Michael Bendis' back and forth dialogue style. The Green Arrow art team steps in to deliver the heated meeting between Daredevil and the Punisher with the proper sense of urgency, while Chris Bachalo shows that he's the ideal artist for any impending Doctor Strange projects, as he perfectly captures magical mystery of the good doctor's inner sanctum. We also get several pinup shots, with Frank Quitely's ninja battle being my personal favourite.

where the Gladiator prepares to behead Matt is a wonderfully ominous visual.

Alex Maleev's work is especially sharp looking this month as he is called upon to deliver a pretty action intensive issue, and his photo-realistic style serves to lend a real sense of visual excitement to the proceedings, as I actually found myself wincing at the panel where Agent Del Toro is struck from behind by the case of pop, or when the chained Matt is slammed around the abandoned gym by an enraged Bont. The art also does some lovely work on the roof top training session as Agent Del Toro throws it down with Matt and manages to tag him with one of her punches. Also, while it's a little detail I actually enjoyed the various reaction shots that are provided on the opening page as Bont drags Matt through Hell's Kitchen. Plus, while I knew the blade was never going to fall, the scene where the Gladiator prepares to kill Matt did a wonderful job of selling Melvin's conflicted state.

Alex Maleev's work on this arc has a rather interesting look about it as while there are times when the art looks a little too static (almost like the characters have been cut and pasted into the panels), there are also moments where I can't deny that the art does an absolute amazing job of capturing the natural movements of the characters. In one great little exchange the lead character in the issue first visits his father, and the sheer animosity of the father, and the desperation/growing disappointment of the son is perfectly captured by the art. I also rather enjoyed the fact that the people that populate this story look like normal people, and not cookie cutter background characters in a comic book. I also have offer up my highest praise for the work that Alex Maleev does with the little boy, as the kid's face as he watches the movie is absolute perfection. Long-time fans of Daredevil will let out a bit of a smile as Josie's windows finally get their long deserved revenge.

While I could probably check this out online, I do find myself wondering if Alex Maleev will remain on the title when Brian Michael Bendis leaves. Truth be told, my fingers are crossed that he will be sticking around, as he brings a wonderfully grounded, down to earth quality to these pages that sets this book apart from the crowd. There's a great little moment in this issue where a fantastic plot device intrudes upon the action, and the impact of that evil looking infant creature is perfectly captured in those panels depicting the young woman's stunned reaction, which is followed by a lovely all too human moment where she closes her eyes and hopes the creature won't be there when she opens them. The explosion of emotion as one of her husband's victims makes her presence known is also well presented, as the woman's rage as she tears into the woman is on full display. This is followed by an equally powerful scene where this woman has every right to be upset. The explosion of power o

This issue offers up some lovely examples of Alex Maleev's ability to bring a sense of realism to these pages, as the double page shot of Matt Murdock's marriage is a wonderful piece of art, and the scene later in the issue where Daredevil arrives holding the unconscious body of the young woman that he rescued was a great looking heroic shot. I also loved the idea that during the conversation sequence where Milla discusses her impending marriage, the art offers up visual indicators that the character is actually fidgeting while she talks, as we see her playing with her glass. There's also a lovely panel where we see Alex Maleev actually manages to visually expressed the idea that Milla has overheard her friend's phone conversation. However the visual highlight of the issue would have to be the scene where the mother enters her daughter's room and makes her discovery, as there's actually something more unsettling about the idea that we don't actually see what the young girl did to herse

I have to give the art a lion's share of the credit for selling the idea that Ben Urich has been beaten down by the world, and it's very easy to accept Ben's dire assessment of his future when one gets a look at the character. I also love how the art conveys the ever important little moments, like Ben's discomfort as he's transported to the prison, and the character's reaction shot after the Kingpin is revealed to the reader is about as perfect as one could've hoped for. I will say Alex Maleev's version of the Kingpin is a bit on the small side, but part of this is the simple fact that in many panels he's seated in a chair that towers over him, and this serves to make the character look smaller. Still, the pure evil of the character is well conveyed by the art, as how can one not love the panel where the Kingpin responds to Ben's "Why me?". There's also a solid bit of action in this issue as a rather ordinary foiled robbery is given some much needed visual punch thanks to a couple

A large chunk of this issue is devoted to developing the Black Swan, and the issue does a fairly solid job of it, as by issue's end I was quite eager to see Deadpool have it out with this guy. The issue also makes pretty good use of its guest-star, the Taskmaster, as it nicely acknowledges the past encounter these two characters had, and in a fairly curious gesture, we see the Taskmaster has feelings for Deadpool's assistant Sandi, and this leads him to offer Deadpool a hand. The book also manages to develop a fairly strong opening scene that really grabs one's attention, and when the book catches up with this opening scene, we get a pretty entertaining sequence where we see Deadpool successfully pull off a hit, in spite of the crippling pain he's suffering from. We also get a nice ominous look at the future, as the future sight of the mutant child has Deadpool lying dead at the feet of the Black Swan. The book also has itself a fairly shocking cliffhanger that arrives out of the blue,

Is this issue Deadpool's last appearance? Is the character truly killed off in the fiery explosion that acts as this issue's final moment? Join us again in two weeks for the answers to these questions, as well as a bold new direction involving an amnesiac assassin on the run from forces unknown. This issue is basically used by Gail Simone to wipe the decks clear of any clutter, and presumably she'll use the opening issues of Agent X to tease the reader about whether the star of that series is Deadpool. This final issue offers up a fairly entertaining battle between Deadpool & the Black Swan, as we see both men are locked in a battle that is likely to kill them both. We also get a couple of "happy" endings, as we see Sandi abusive ex-husband learns it's not smart to beat on a woman who is friends with professional killers, and we see Ragbag the incoherent bum that Deadpool took under his wing has his head rewired as a parting gift from his pal Deadpool.

Before I start to discuss the interior art I have to say it's great to see Mike Zeck providing the cover art, as I consider him to be the best cover artists in the industry, and I'm delighted to see him making a return. Plus the cover does serve to give us a good look at Deadshot's new costume design, and while I like the more functional elements, I have to say I'm glad to see the most engaging element of the original design was left untouched, as I love the character's distinctive mask design. As for the interior art, Steven Cummings turns in a pretty impressive show, as the action that opens the issue has a nice flow to it, and the closing bit of action perfectly captures character's willingness to do whatever it takes to win a battle. The last page shot of the character is also a lovely image to close the issue. There's also a number of cute little moments in the background, such as Killer Frost's response the Firebug's unheard comments.

Steven Cummings turns in some nice work on the opening clash as the action is quite easy to follow. This is ever so important considering one's enjoyment of the battle is entirely driven by one being able to understand the effect the various attacks have had. Now the art isn't quite as successful when it comes to the little moments, as Deadshot's terrified expression when he discovers his daughter isn't sleeping was a bit over the top. Then again I suspect the writing probably wanted the art to really sell the character's discomfort, so one can't hold the art completely to blame. I will give the art full marks for capturing the sense of excitement on that final page, as Deadshot is about to take on a hulking brute. The cover gets full marks; it's great to see Mike Zeck is still at the top of his game when it comes to delivering visually exciting cover images. In factit's safe to say he's still the best in the business.

Steven Cummings turns in another solid effort. He has a surprising good eye when it comes to the delivery of the action sequences. They certainly could have a little more energy, but I'm impressed by how clearly the action is presented, as there's a great little sequence where Deadshot turns the tables on his attacker, and the art manages to underscore nicely how dangerous he can be when he's backed in a corner. In fact, the effectiveness of this scene is what left me a little disappointed that Deadshot's opponents are so far down the ladder. Now the art could've done a better job of selling Deadshot's injuries. It's a little difficult to understand why his girlfriend is so concerned when she pulls back his mask. For the most part though, I'm quite happy with the art, and as an added bonus we're also getting covers by Mike Zeck, who I consider to be one of the best cover artists to ever work in the industry, and he's still pretty impressive. Here's hoping the higher ups at DC se

Kevin Maguire is the only artist who has me welcoming twenty-two pages of talking heads, as the sheer variety of the facial expressions that he brings to the table is truly amazing. I mean how can one not love Doctor Strange's continual attempts to remain composed, while the Hulk and Namor continue their inane contest over who can be the most temperamental person in the room, or the sheer hilarity of the panels where Namor is all prepared to get upset when he comes to realize that he doesn't recognize the pop-culture reference that Banner has made, and as such he's not entirely sure he's been insulted. There's also a number of very funny visual gags, from the haughty backhand slap that Namor uses to respond to Banner latest insult, to the revelation shot where we look in on the Silver Surfer's current whereabouts. I do have to ask about Namor's missing nipples though, as while it's not going to keep me up nights, it is a mystery worthy of lengthy online debate, and one which I'm sure w

Travel Foreman's work is quite solid when it comes to the delivery of people and objects that are important to the story, as the characters are quite expressive, and there's never any sense of confusion when it comes to the actual delivery of the material. Where the art is a bit weak though is when it comes to the backgrounds. Now I'm willing to accept the lack of background detail during most of the scenes that are set in Joe Ledger's mind as the empty void does focus one's attention on the important developments. However, the scenes that are set in the real world, are a bit of a let down, as we see these characters are moving through some of the most flat, unimaginative environments I've ever seen, and the establishing shot of the destroyed hospital is one of the crudest looking pieces of art I've seen in a comic. I'm not asking for Bryan Hitch level of detail on the backgrounds, but this minimalist effort is quite disappointing.

A very interesting situation that is sure to appeal to the longtime fans of the team, while also playing to the strengths of the latest incarnation of Doom Patrol, as we get the best of both worlds. We have the delightfully bizarre Silver Age element of the original group, while we also have the engaging personalties of the new team. Plus, there's a nice nostalgic factor at work here, as this particular lineup hasn't seen the light of day for almost thirty years, and while this might be seen as catering to a rather select group of readers, I do feel that most long running titles benefit from the occasional look back at their early years, if only to show newer readers why Doom Patrol has been around in one form or another for almost 40 years. This looks like a fun little jaunt into the team's past, and John Arcudi makes good use of the premise, as there's some very amusing moments to be found in these pages, as well as a nice sense of urgency thanks to the Brotherhood of Evil's dire sou

An entertaining visit into the past, with the modern day trappings coming in the form of the new cast taking up residence in the bodies of the original Doom Patrol. In the end the past couple issues have acted as a fun crash course into the early days of Doom Patrol, as with the new cast being largely unfamiliar with their predecessors, Robot Man almost plays the role of a tour guide, as he fills in the gaps. The book also continues to display its sense of humor, as Ted remains a delightfully refreshing voice, with his rants about the silly logic of the super-villain mind, and why everyone around him is a friggin' idiot. This issue also has some fun with the idea that Fever wound up in the body of the Chief, as there's several laugh aloud moment that arise from the gender switch, with Ted's little moment with Vic being my personal favorite scene. Now the trip back to the present was a bit abrupt, and the final pages are annoying elusive when it comes to providing answers, but the stuff

Cliff has never seemed all that comfortable within this latest incarnation of Doom Patrol, so his departure didn't really strike me as all that surprising. However, the reason for his departure made for interesting reading, as we see the question of whether he possesses a soul is still very much an unresolved question. I was also a bit thrown by the idea that the rest of the team broke apart after Cliff left. There's also a very real sense that this break up was actually a welcome event for Ava, as she is extra creepy in this issue, and one has to be a bit concerned about Ted, thanks to the scene where Ava expresses her interest in him. The issue also acts to shatter Shyleen's shy & quiet demeanor, as she literally explodes into a rage in this issue, and manages to offer up a pretty intense cliffhanger finish along the way. However, now that he's gone and broken the team apart, I can now enjoy John Arcudi's efforts of putting it back together, as right now this looks rather difficult.

Aside from the rather amusement that the Purple Purposeless provides, this issue is far more serious than we've seen thus far, and it's also off the beaten track when it comes to some of it's ideas. However, the book still remains one of the truly original titles coming out of DC, and John Arcudi has his cast jumping through some fairly interesting hoops. Now the team is broken up so the interaction that made the earlier issues so engaging is missing, and I do hope the group is brought back together fairly soon, as while they are all interesting characters who can carry a plot all by themselves, the real magic occurs when they're playing off each other. Still, this issue is an enjoyable exercise in that the ideas it's offering up are offbeat enough to be interesting, and the cliffhanger situations that the various arcs end on leave me eager for the arrival of next month's issue. Plus, one has to love Purple Purposeless, and his "do nothing" approach to life.

The plot that Cliff gets involved in suffers from some rather funky logic, as the explanation for why the woman was in the trunk fails to explain why the man responded in such an openly hostile manner after Cliff made his discovery. I mean surely he knew how such a discovery would appear, and opening fire with a shotgun is not likely to make anyone believe it was all just an innocent game. The explanations' failure to address this point didn't help matters much either. Still, the scene where Cliff confronts the trigger-happy highway patrol officers made me smile, as did the scene where the officer learned what had prompted Cliff's behavior. The action also does a nice job of playing up the idea that Cliff's new body is pretty tough, as he's run down by a speeding car, and absorbs a hail of bullets without taking any real damage. The brief visits with the rest of the team also do a nice job of playing up the idea that the entire team is in complete disarray.

An entertaining adventure set in the past, as this book continues its rather odd method of delivering a plot by placing the various members of the new Doom Patrol into a story that is set in ancient China. This in turn results in a very funny tale, that also does a pretty good job of delivering the information that I'm guessing will play a key role in what looks to be this book's final arc. This issue is an amusing exercise that has fun with the idea that the cast of this book have been placed into ancient China, but they can still draw upon their modern day sensibilities, so that the personalities of these characters are not changed so they would be a better fit for this era. Now this does result in a rather mixed up story, and there are times where one is drawn out of the era by a comment that doesn't suit this time period, but in the end this is an entertaining read, and it's yet another issue where I'm fully convinced that this series is one of the best series to come out of the re

Given I've been a big fan of the character for most of my comic reading life, I'm delighted with the renewed attention that Beast Boy looks to be receiving, and this issue offers up a fairly enjoyable sequence that manages to convey Gar's power in a highly impressive manner. The book also does a pretty fair job of following up on the story we received in the previous issue, as we get a good idea of what this group of "villains" are trying to accomplish, and how it involves the members of Doom Patrol. It is sad to realize that this book's days are numbered, as this is a highly engaging series, that managed to follow rather nicely in the footsteps of the previous Doom Patrol series, in that it offered up plots that were nicely situated outside the box, while not losing sight of the main goal, which is the delivery of an entertaining twenty-two pages of story month in and month out. I do hope the question of whether Cliff has a soul is resolved before the final issue rolls around.

A very entertaining issue that starts out as an amusing look at Doom Patrol being turned into a television series, before the final scene steps in to deliver the real emotional punch of the story, when the question of why Doom Patrol was created is brought up, and a rather unsettling answer is proposed. Now I must confess my collection only includes a handful of issue that starred the original Doom Patrol, and most of my exposure to the group came about during the second series. However, this lack of familiarity with the original cast didn't hurt my enjoyment of the material in the slightest, as the book is clearly told, and it's objective is perfectly realized. The opening scenes are a delightful look at the team as seen through the eyes of people interested in various aspects of the television series, and the conversations where the scripts are discussed are very entertaining. Then there's the final scene, where the issue takes a very serious look at a question that is still playing

A very solid first issue as we're given a good introduction to this book's premise of a young man who finds himself returning to a fantasy realm at nights that he once visited every night during his childhood. Now the book does need to create a villain as it's lacking the Wicked Witch figure who adds an element of danger to the story. I also found the brother's reaction to Alex's refusal to admit that his nighttime adventures were all dreams to be a bit worrisome as it's far too volatile a reaction, but than again perhaps his anger is being misplaced, and he's simply disappointed that he's the writer, but it's his brother who is coming up with the wildly imaginative ideas. In any event this is a well written bit of work as all the elements are in place for an enjoyable series, and I rather enjoyed the notion that Scott Christian Sava has planned the series to be a twenty-four issue story, as that tells me he has a clearly mapped out story with a beginning, a middle, and an end. This op

Tony Harris is a great artist when it comes capturing the look of the real world, and this makes him the ideal artist for this book, as this is not a series that is likely to be offering up much in the way of super-powered action. However, the art does a fantastic job showing us the Great Machine's first encounter with the Commissioner, and the wince inducing moment where she nails him with her billy-club. In fact one of the best aspects of the Great Machine is the slapdash nature of the Great Machine's costume, as it looks like something an average Joe would come up with. The art also does a great job conveying the emotions as I loved the expressions on his face when he's shown the potentially controversy generating painting.

Tony Harris brings a nice sense of realism to the title as this book is largely free of super-heroics, and yet the book manages to bring a sense of visual importance to the simple moments where the character is dealing with the mundane reality that comes with running the city. There's also a solid sequence where the art essentially takes us inside the head of the character, and the readers are barraged by a flood of interconnected moments, that manages to perfectly convey the chaos and confusion that exists inside the character. There's also a nice ominous vibe set up during the scene where the snowplow killer makes his second attack, as that final page shot is a great visual to carry readers into the next issue.

Tony Harris delivers an almost photo-realistic style that helps to sell the idea that this book could very well be set in the real world, as the only element that sets this title in the realm of a comic book fantasy is Mayor Hundred's superhuman abilities. Still, the most important details are perfectly captured by the art, as I loved the Great Machine's expression as he discovers the attack in the opening pages was all an act, or the terrified expression when the sewer worker discovers the dogs corpse strung up in the tunnel. I also have to give the art credit for capturing the unsettling nature of what had been done to that poor animal. However the highlight of the issue would have to be the final two pages, as we see Mayor Hundred consider the idea of performing a same sex marriage ceremony before coming to his decision on the final page. I also rather enjoy the Jim

First off I have to give credit of any artist who is able to make me look away from the page, and Tony Harris' delivery of the scene in the subway car was a delightfully disturbing image that perfectly sells the idea that perhaps the source of Hundred's power has a decidedly darker side to it. The art also does some nice work on its big action sequence, as Hundred's apartment comes under attack by a pair of German operatives, and his efforts to protect himself are deftly conveyed by the art, with the taser attack being particularly impressive. The art also does some lovely work when it comes to the facial expressions of the characters, from Journal's expression after she suggests the public might think Hundred is batting for the other team, to the sheer terror on the woman's face as her friend becomes a human pen holder. I also rather enjoyed the rather stately final page shot of Hundred.

Tony Harris turns in some lovely work on this issue. There are some lovely character moments in this issue that are well presented by the art, from Jackson's misplaced anger in the opening pages, to the expression on the FBI agent's face in the final panel of her visit to Mitch's hospital room. The art also manages to nicely capture the abrupt nature of the press conference attack, as the pained expression on Mitch's face is a convincing indication of a serious attack. However, the real impact of the art would have to be the way that it sells the growing sense of danger that comes from the subway attack, from the highly disturbing reveal shot of what is discovered in the subway, to the tremendous impact of that final page. How can this image not leave one counting the days until the next issue? I also loved this issue's cover image. It should be released as a poster.

Tony Harris does a wonderful job when it comes to capturing the shocking nature of this episode's more violent sequences, as the scene where we see Connie fixes her arm was one of the most unsettling moments I've ever come across in the pages of a comic. The battle between Mitch Hundred and the subway killer was also quite impressive, as it has a wonderful sense of impact, as and it's explosive climax deserves full marks, as the art doesn't shy away from showing us the aftermath of this attack in all it's gruesome detail. In fact the one page spread where Mitch delivered his big attack was a truly amazing visual that really sticks with you. The issue also deserves full marks for it's ability to offer up a wide cast of the characters who are quite diverse in appearance, as all the characters are easily recognizable, and the art also does a nice job of selling the defining character traits of these characters, from the hyena smile plastered on the face of Mitch's press secretary, to the

The battle between Mimic & Namor takes up quite a bit of this issue, but Mike McKone's art does such a strong job capturing the intensity of this contest, that it's hard to label it as excessive, or dismiss it as simply a pointless slugfest. There's a nice sense of urgency to this encounter, and Judd Winick does a very creditable job conveying the idea that Namor is one powerful opponent. I also like the idea that Mimic is starting to grow disenchanted with the role he's being forced to play as a member of the Exiles, and one does get the sense that his behavior is likely to get himself, or one of his teammates killed. Now the Dr. Doom fan in me didn't care much for the rather tame excuse that Judd Winick tries to offer up, but this scene is so brief that it's relatively easy to ignore. The opening sequence that details Mimic's struggle with the robots did strike me as a bit dull though, as roughly a third of the issue is eaten up by a fight that only serves to make it clear that these

One of the better issues of the series thus far that is somewhat undone by the fact that it's arrived on the scene in such a belated fashion. Judd Winick offers up a nice emotional issue, that creates a believable relationship between Talia & John, but as I was reading it I found myself a bit disappointed that all of this information wasn't offered up before the issue where John died, as now it feels like Judd Winick is engaging in patchwork plotting, as he establishes why this death should've made a bigger splash than it did initially. Then again this is a bit two-faced of me, as the issue is a well crafted bit of work, and my only real complaint stems from the fact that Judd Winick is using flashbacks to tell his story. Still, even though this issue is an enjoyable read, I was left with the sense that it would've made for a more effective story if Judd Winick had managed to get all this information to the reader a bit quicker than he did.

A fairly entertaining issue, and while I'm normally the first to applaud a writer who delivers a standalone tale, I found the ending to this issue felt like Judd Winick suddenly realized he was on page twenty-one of a twenty-two issue story, and as such he went for the easy out, rather than the more rewarding finish. Now I understand why Curt Connors would end his life, but frankly it doesn't make for the most satisfactory of endings, as there was more than enough material to explore to carry us into another issue. Now there is some fun material in this issue involving Morph, and the scenario that is set up in the early pages of this issue developed a very engaging setting for this adventure to take place. However, the idea of redemption really should been introduced, as the way this story ends, we're basically told that Curt Connors' actions were beyond redemption, which is rather disappointing.

I'm a big fan of the character Longshot, so the promise of his putting in an appearance during this arc has me quite excited. On the other hand, I've never been a huge fan of Mojo, or the Mojoverse, as past writers have overplayed the idea, so that what could've been a fun poke at television was just this side of nails on a chalkboard when it came to entertainment value. Thankfully Judd Winick seems to have a nice grasp on the character of Mojo, as he not only comes across as a real threat, but there's also some genuinely funny moments in this issue. From Mojo's delightful barrage of clich dialogue, to the scene where he chastise himself for forgetting the order in which one is suppose to use torture to compel people to carry out his wishes, this issue earns itself a recommendation, as it's the only time I've actually enjoyed Mojo as a villain. The focus on Morph as something more than comic relief is also a welcome touch.

I entered this issue a bit concerned that this book was stuck in a rut when it came to its plots, and while there is a worrisome degree on sameness to the basic plot of this arc, Judd Winick manages to deliver a very powerful climax to this issue, as I'm sure most readers will be completely thrown by the way things play out in the final pages of this issue. Now there is the potential of misdirection in the air, as there's a little scene involving Morph that caught my attention, and given the leader of the Vi-Locks is a mutant, I can see where Mimic's ability would come into play. However, at the moment Judd Winick deserves full marks for offering up an easy out for our heroes, and then completely smashing it apart. I also have to say that if Judd Winick has chosen this particular character to be the one who dies then I have to admire his willingness to do something that will leave the readers of this book utterly dismayed.

A great start to what looks to be an impressive follow-up to the opening arc, as Bill Willingham takes us up to the Farm and introduces us to a whole another set of characters. From the very impressive establishing shot that gives us out first look at the Farm, to the final page that nicely conveys that idea that there is a very serious problem, this opening chapter manages to establish the Farm as an ideal secondary location for stories to take place. Now this opening issue didn't manage to convince me of why the population of the Farm would find the place so confining, as the place looks like a virtual paradise, but on the other hand the last panel of this issue does a wonderful job of suggesting the problem not only exists but the resentment has reached such a level that the Farm is a highly dangerous place for Snow White & her sister to be. The issue also does some nice work playing off the tensions that exist between Snow White & Rose Red, as the petty bickering between the two is

This issue does a very nice job of introducing the characters who look to be acting as the primary antagonists, and while seeing cute little Goldilocks cast as a super militant aggressor is a surprising twist, the book does some strong work establishing the feelings that are driving her & the others to rise up. The book also introduces us to a rather charming character in Reynard the Fox, as he basically becomes the dashing rogue who moves through life with danger at his back, and a carefree approach to life that guides him past the various threats he comes up against. We also get a nice little turn of event when Rose Red decides to join the rebellion, thus leaving her sister alone to face the mounting danger. One also has to enjoy how the characters from the Jungle Book are inserted into the story, as the chase sequence in the woods does a wonderful job of drawing upon the tensions between Shere Khan & Beghera, which Reynard uses to aid in his escape.

Once it became clear on the first page that Bill Willingham wasn't planning on killing off Snow White, I must confess my excitement level dipped a little. Not because I wanted Snow White dead, as she's one of my favorite characters, but rather it was a bit disappointing to see him edge the story back across the line that the previous issue looked to have went sailing past. Now the explanation for how she makes her return is pretty solid, and it's also used to generate a highly engaging exchange between Snow White & Rose Red, where we learn why these two sisters have been driven apart. The issue also does some nice work tying up the various loose ends that had been left hanging, as the situation up on the Farm is pretty much settled, and the book manages to deliver some pretty impressive surprises along the way, as we see Dun & Posey Pig are executed, and the new Farm administrator is a completely unexpected choice. Overall this was a pretty solid finish to yet another highly entertaini

After an issue that left me a little disappointed last month, Bill Willingham returns to form with a very enjoyable two-parter that has several of my favorite Fables involved in a rather clever caper style adventure. I also have to make mention of the newest Fable to make the leap into this comic, as she's a fun character, and the curse she's under does provide for a rather clever method for allowing the Fables to pull off their little heist. The issue also makes good use of the characters who have already been established in previous adventures, as Bigby Wolf continues to be one of my favorite characters, as he carries out his plans admits the various complications that the other Fables bring to the table, and one has to love the sheer sleaze factor of Prince Charming, the undercurrent of danger & duplicity that Bluebeard projects & the con-artist mentality that Jack engages in. The conclusion that the reporter leaps to regarding the Fables is also rather amusing.

A pretty entertaining issue and I highly recommend this two issue arc as an ideal jumping on point for readers who have yet to discover this series, as it pretty much encapsulates all the charming aspects that has made this title one of my favorites. Bill Willingham does a wonderful job of mixing the elements of the fairy tale realms with modern day civilization, and while there are times when I do think the book could use a character profile page, similar to the ones we see in "Queen and Country", I will concede that there is a certain appeal to tracking down the fables that these characters sprung from, and Bill Willingham does a pretty solid job laying out the various rules of the game, so to speak. Plus, he also displays a wonderful sense of imagination in how he incorporates the fairy tale elements, as Bigby's plan for dealing with the reporter is full of clever little touches. This issue also nicely steps up the tension that was introduced in the first arc, as Bluebeard & Bigby W

I honestly have to say this is fast becoming one of my favorite titles, as Bill Willingham has a wonderful sense of imagination, and a very strong sense of how to tell a story, as the cast members of this book are very well-defined, while at the same time they remain true to the fable origins. Now there have been some fun surprises along the way such as the Big Bad Wolf being cast as the head of security, while Goldilocks is a certifiable lunatic. However, the biggest appeal for myself is the way this series interjects all the various fable elements to for a larger picture, as how can one not love the idea of using a Lilliputian to spy on the activities of the big people, or having the villains use a magic potion to send our heroes off into the wilds where they can be killed. I also enjoy the quick pace of this series, as there's never really any issues where I get the sense that issue's are being padded, as every part of the issue has something to mull over, or else a scene where one

The issue could've been a little more intense, as while the idea that Goldilocks is lurking in the woods makes for a nice underlying tension, the simple fact of the matter is that the book allows our heroes far too much time to get their ducks in a row, and the final page even introduces a lull in the action so Bigby can tell why he's suddenly developed feelings for Snow. Now I'll admit I'm quite interested in this idea, and I'm looking forward to next issue, but I also found myself a bit disappointed that Goldilocks wasn't a more immediate concern. On the other hand the situation back in the Fable community is heating up very nicely as we get a pretty solid reveal moment when we learn which Fable has decided to take a closer look at Bluebeard, and I fully imagine the little exchange these two had in the first chapter is going to make a return, except it won't be merely a friendly sparring session, and one of them won't walk away from this encounter.

If this issue only accomplishes one thing it's to establish the wide range of stories that Bill Willingham can present, as there's literally hundreds of characters to draw upon and they all have an interesting story to tell when it comes to their escape from the Fablelands and their struggles to make a new life for themselves. One also has to admire Bill Willingham's imaginative method of incorporating different elements from all the various Fables to make a cohesive whole, as the miniaturized population of Lilliput is brought into contact with the fable of Thumbelina, and an entire adventure is set into motion when one of their brave heroes sets out to secure the magical means that originally gave life to Thumbelina herself. There's also some intriguing side stories that could still lend themselves to future issues, as the fate of the Kingdom of Lilliput is left unresolved, and I wouldn't mind seeing the adventures of Mustard Pot Pete before he encountered our young hero in the old wi

This issue is a bit dependent on one having read the "Fables: The Last Castle" one-shot to fully understand Red Riding Hood's reaction to Little Boy Blue is such an important detail, and why it acts to further strengthen Bigby's belief that she's a spy for the Adversary. However, if you're a devoted fan of this series than chances are you were willing to part with the extra money to pick up that one-shot, and if not I trust Bill Willingham isn't going to leave this moment as it stands, as if nothing else Little Boy Blue deserves an opportunity to defend himself from Red's unfair version of how events played out at the Last Castle. Plus, it's also great to see that this book looks to be finally giving the Adversary a more direct role in the pages of this book beyond being the bogeyman that drove our cast out of the Fablelands. The material dealing with Prince Charming's efforts to gain the signatures to run for the office of mayor also makes for an interesting side plot, as if nothing e

A bit of a detour as the main plot isn't really centered around the Red Riding Hood investigation but rather Jack's encounter with the three men in black takes center stage. Now this plot isn't nearly as engaging as what we had going, but I did enjoy the opening look at Jack in action and the men in black are odd enough in their behavior that they make for an interesting diversion. However the material that centers around the investigation of Red Riding Hood is far and away the most interesting part of this issue, as the scene between Old King Cole and Bigby Wolf is a classic display of two characters holding a conversation where neither one is really listening to what is being said by the other. The scene where Bigby visit the fable with the ability to see the evil in everyone he looks upon does a very effective job of selling the idea that why this curse would drive a character to take the steps this fable does, and the scene also manages to neatly remind readers of just how big and

This issue takes us to the point of the story when the villains are forced to move against our heroes, and Bill Willingham has managed to set the pieces into place so that it would appear our heroes have no idea what they are facing. I mean there's a great little scene where Jack is trying to give Bigby information he needs to know, and because Jack is a born scam artist who has always been working an angle in the past, Bigby's normally razor sharp senses seem to be off their game. Of course given Bigby has a history of revealing he knows far more than he lets on, this could very well be his way of testing if Jack is telling the truth. In any event the final sequence of this issue manages to tie Red Riding Hood and the three mystery men together, and it's clear that Little Boy Blue has discovered something that is sure to get reader thinking, as his comments make it clear that there's more to Red Riding Hood than one would've expected going in. The subplot involving Prince Charming's r

This issue kicks this story into gear as the Adversary makes his/her first real step in to the lives that Fables have built for themselves in this new world, and his/her letter to them nicely spells out the idea that the Adversary hasn't forgotten about them, nor is he/she likely to as long as they are in possession of the various magical items that they took with them when they fled the Fablelands. The issue also manages to nicely present the idea that the Fables are woefully unprepared to face the return of the Adversary into their lives as they clearly have become complacent, and the adversary became little more than an evil bogeyman that they had left behind them. This issue also manages to make it clear that there are going to be characters who are going to emerge as the leaders that will rise to the occasion, as Snow White gets a great little moment in this issue where it's clear she's going to be at the front of the line when it comes to standing against the Adversary's current

This issue features a battle between Bigby Wolf and the Frankenstein monster that runs for several pages, and the since there's no dialogue or internal thought captions intruding on these page, the power of this bout is entirely dependant of the art, and I have to give Tony Akins full marks for managing to capture the sheer brutality of this clash. I mean the panels that detail the fight perfectly convey the idea that these two are going at it full tilt, and there's a wonderful final moment where we see Bigby's at his most animalistic, as he beheads the creature. The ruthless nature of Sergeant Harp is also well presented as he deals with the enemy in a manner that can only be described as chillingly effective. I also have to give this issue full marks for its cover image as in addition to be a fun visual homage to the old style war comics, the big idea of the issue is on full display.

Mark Buckingham remains my favourite artist that works on this series, and given he has provided the art for the majority of the issues, I think it's pretty safe to look upon him as the book's regular artist. His cartoonish style does a fine job of capturing the fantasy elements of this title, from the parallel images of the voting lines, to the sense of wonder that the final page offers up as Snow's children put on their little show. There's also a great double page spread as we see Old King Cole and Prince Charming offering up their reactions to the early rumours regarding the final vote count. There's also a number of fun little details, from Snow's reaction to the news that the doctor offers up after her first infant is born, to our first look at Prince Charming after we learn who won the race. There's also a great little moment where we see Old King Cole react to the final outcome.

Mark Buckingham is a perfect match for this title, and since I've always been a big fan of his work I'm delighted to see him land on a title where his art is so well suited to the material. From his delivery of some of the most endearing panel designs in the industry, to his ability to deliver the material in a clear, easy-to-follow fashion, I can't sing his praises highly enough. I mean there's some fine little visual moments that I have to make mention of, from sheer oddity that the floating infants provide, to the great little visual summation of Snow and Bigby's relationship that is offered up by the little image that sits on top of the pages where the two have their argument, that art knows how to convey the material. There's also a number of great little moments, such as Old King Cole's deflated appearance as he leaves his apartment, or the deeply unsettling final page appearance of Colin.

Mark Buckingham remains a welcome addition to this title, and while he's been on the title for long enough that I really should embrace the idea that he's the book's regular artist, I have to say part of me is convinced that once I get used to the idea that this book has itself the ideal artist, I'll be treated to the news story about his impending departure. Still, my fingers are crossed that everyone involved in this title recognizes how much Mark Buckingham brings to this book, as in addition to bringing a clean style that does a great job of detailing the material, one also has to love the extra attention to detail, as his page designs are one of the more endearing elements that he brings to the title. The art also does some lovely work on the big impact moments, from the scene where a member of the Fable community is murdered, to the great little sequence where we see Flycatcher deals with the idea that he's been freed from his continual community service duties.

Mark Buckingham does a lovely job of making the goblin tax collectors into fully realized characters in the opening pages of this issue, as while they do make for a rather comical duo as they go about their daily business, the art does a lovely job of transforming them into a pretty frightening duo when they decide to attack, and the page where they are beheaded is quite unsettling. There's also a pretty creepy little sequence where we see the mystery knight uses his magic blade to take out the local warlord, as I was actually surprised by how powerful this image was, given it wasn't overly graphic in its presentation of the attack. The art also does some nice work on the final page as we see our hero is confronted by a very impressive looking obstacle. The only real complaint I have regarding the art on this issue is the decision to drop the panel borders, as while this design does manage to make the story look more like a fairy tale, Mark Buckingham's panel border designs are one of

Mark Buckingham turns in some lovely work on this issue. The opening pages are exciting as Blue has to employ some rather unconventional manoeuvres to defeat this dragon. There's also an absolutely amazing establishing shot of the city where our paper pushers work, and the level of detail on this page alone would have sold me on the idea that Mark Buckingham is perfect artist for this series if I hadn't already been of this opinion. There's also a wealth of cool little visual touches like the little sound-effect that appears whenever Blue uses his magic sword to dispatch one of his opponents. I'm also delighted to see the return of the panel borders, as they do a lovely job of capturing the visual appearance of the various realms that Blue moves through. The art also manages to do a pretty fair job of building up a sense of impending danger, as we get our first look at the threat that is awaiting Blue's impending arrival. I also have to give the cover a mention as it is a very ex

This one-shot doesn't really provide much insight into the Adversary beyond the simply fact that he has such an overwhelming force at his command that escape clearly was the only option open to our heroes. I was also a bit surprised that this issue didn't spend a little bit more time developing our heroes before they were asked to give up their lives, as the only characters that are given time in the spotlight are Little Red Riding Hood and Little Boy Blue, with the latter surviving the encounter, thus undercutting the sense of sacrifice that acts as the central idea that drives this story. However, this issue will have me tracking down about a half dozen fables, in a bid to fill in the back-story that this one-shot fails to provide, and I imagine after I've done so this book will carry a greater impact. As it stands this one-shot does a solid job playing up the idea that the Adversary is an unstoppable force, that even the greatest heroes were unable to stop, though several of them ce

My best advice regarding this issue is to buy it, as you'll never be given a more ideal opportunity to discover if you've got a Fantastic Four fan hidden inside you. This issue is a pretty solid showcase of all the elements that make this book one of my favorites, and Mark Waid does a very solid job of keeping the material engaging for longtime readers like myself, as while this issue is set up to draw in newer fans, the issue is also full of clever insights that I found quite interesting. I mean we learn why the Fantastic Four enjoy the popularity that they do in the Marvel Universe, and why their headquarters has always been front & center in the public's eye. This issue also serves to show us that if nothing else Mark Waid understands the character of Reed Richards, as Reed's little talk with Val is a defining character moment. Mark Waid's sense of humor is also on display, as I loved that final page where Ben & Johnny burst in.

While I'm sure this issue's revelation about the gag packages from the Yancy Street Gang is likely to conflict with some previous stories, I'm not about to make an issue of it, as frankly the idea that it was Johnny all along made for an amusing read. Now Ben's decidedly hostile behavior in this issue is a bit hard to write off as the harmless fun it's made out to be, but if Ben behaves like this on a regular basis, it would nicely explain why even after all these years of saving the world alongside the Fantastic Four, the general public still cast a wary eye in Ben's direction when he's coming down the street. The issue also offers up a pretty interesting situation for Johnny to get involved in, as we see Sue decides a drastic step needs to be taken to force Johnny to act like a responsible adult, and I can't wait to see the story where Johnny makes his frantic bid to rebuild the team's depleted finances. There's also a fairly serious plot introduced in this issue as well, as we see R

I'll admit I'm a big fan of Mark Waid's previous work, and I've been a loyal follower of the Fantastic Four for as long as I've been collecting comics. With this in mind, I can't hide the fact that I probably enjoy this material far more that the newer reader who might've been pulled into the book by the nine cent issue. I mean, I've been with this book for 20+ years, and as such I've been on the book during it's high points, and equally I've been there for its lows, so any time the book looks to be entering the latter, I'm always a bit blinded by the simple fact that this book is good again. Based on these first three issue, I can't help but like what I see. Mark Waid seems to get the idea that the Fantastic Four can be interesting contemporary characters, and not merely tired echoes of the personalities that Stan Lee created in the 1960s. He's also is nicely playing up the idea that the FF function in their own little world where the extraordinary is everyday, as one has to love the

Mark Waid & Mike Wieringo continue to offer up the most engaging run on this title since John Byrne's classic stint, and this most recent arc offers up a wonderful new villain for the Fantastic Four, as the entity is allowed to come across as a highly dangerous threat, and there's a couple big league moments in this issue. From Johnny's explosive encounter with the entity, to the highly charged situation where we see Reed reduces Franklin to tears in his bid to get more information, this issue made for a great reading experience. This issue also continues to present the various personalities of the cast perfectly, as there's not a single moment in this issue where a character's reaction didn't feel absolutely dead on. From Reed's obsessive pursuit of answers, to Ben's rather simplistic approach, that has him charging into battle against a villain that nearly killed him during their last meeting, this issue is sure to delight fans of the team, and here's hoping it's also developing a ne

While I found Reed's speech to Modulus overly sentimental, for the most part I found this issue highly enjoyable. Modulus certainly made an impressive threat, and Mark Waid makes use of the character's abilities in some fairly clever ways, which in turn resulted in some fairly harrowing moments. However what makes this book so enjoyable is Mark Waid's grasp of the little moments, as the opening interaction between Johnny & Ben is quite charming, and the final scene where Reed is playing with Franklin is an absolute perfect Reed Richards moment. As for the art, Mike Wieringo is quickly emerging as this title's ideal artist, as his art has a fun, highly energetic look to it, but when the story needs the art to deliver a sense of danger, it really delivers. From the scene where the building collapses on Johnny & Ben to the panel where Sue's force field is breached, the art does a wonderful job detailing the story.

This issue acts as a fairly solid reminder that Victor Von Doom is not a nice guy, and that while he may toss around the idea that he's noble & just in his treatment of others, the simple fact of the matter is that he's a villain who has shown time & time again that his one goal in life is to be the top dog in his dog eat dog world view. Was I surprised by his actions in the final page? Sure, I'll admit I fell for the little ruse that Mark Waid had the character play, as one of the more appealing elements Dr. Doom does have going for him is the idea that there are times when he can surprise you with a moment of heroism and/or nobility, and as such the heartfelt pleas that he makes in this issue do have a degree of credibility to them. However, I also love it when a writer is able to provide such a impressive reminder that a character is a villain, and as such one should never be surprised to learn what new level of depravity this character can sink to. I can't wait to see where Mark Wa

Mark Waids work on this title is easily the best this book has seen in a very long time, as his understanding of the group dynamic that exists within the Fantastic Four is near perfect, and when he throws this world into chaos one can't help but delight in the overwhelming sense of excitement he's managed to create. I mean this book has two very clear cut moods, as before Dr. Doom makes his attack this is very much a lighthearted romp where Mark Waid & us readers get to delight in the weird, wonderful world of the Fantastic Four. However, after Dr. Doom makes his move the book very abruptly takes on a decidedly darker, almost nightmarish quality, and while the art isn't quite up to this new mood, the writing makes up for it. I also have to say I'm rather impressed by how utterly evil this latest attack by Dr. Doom truly is. This is exactly the shot in the arm Dr. Doom needed, and here's hoping he's got even more cards to play, hidden up his sleeve.

The idea of a spell-casting Dr. Doom is something I'm not sure I'll ever fully embrace, and there is part of me that wants to reject this story as being too much of a departure from what made Dr. Doom such a welcome visitor to these pages. On the other hand I can't deny that the material has my utmost attention, as the Fantastic Four are back on their heels, and nothing they do seems to be making the slightest bit of impact. The idea that Reed's reliance of technology & science is proving to be his blind spot is also a very interesting twist on this classic rivalry, and there's something to be said for a story when Ben comes across as the only member of the team who has his head in the game. The idea that Dr. Doom is attacking the Fantastic Four through Reed & Sue's children is also a decidedly chilling act of villainy, and the mere title of the arc would seem to suggest that Franklin & Valeria might not make it out of this story alive, which is something that would shake this team to

I have to say I'm of two minds when it comes to this story. On one hand I have to say that this is a decidedly creepy adventure, that has done a wonderful job of creating a situation where the Fantastic Four look to have their backs to the wall. On the other hand speaking as a fan who was rather fond of the old Dr. Doom who had spent his life time trying to prove he was Reed's intellectual superior, it does feel like he's cheating by bringing this new element to the party. It's a bit like asking us to enjoy a chess match in that takes place in a pitch black room, and only one of the players is allowed to wear the night vision goggles. Then again all the best stories tend to come from scenarios where it looks like our heroes have no chance at victory, and I can't deny the material has my utmost interest.

While the final page wasn't nearly as earth-shattering as I had been expecting to find, I guess it all depends on how well Mark Waid deals with the fallout from this ending that will determine if it's a success or not, and as such I've adopted a wait & see response to this scene. This issue is a pretty solid encounter between Reed & Dr. Doom, and while the use of magic added a new dimension to this classic exchange, the same basic principles came to the surface, as the battle soon becomes a war of words between the two, where Reed manages to once again prove he's Doom's better, though Doom is allowed to get in the final word. This issue also features a guest-hero who arrives to help Reed in his time of need, and while it's always great to see this character, Mark Waid really manages to nicely play up the clash of these two leaders in their respective fields, as Reed tries to understand the logic behind the magic. In the end this was a highly entertaining finish to what has been one of

This issue is full of some very solid character moments, and while the material does venture into terrain that feels a bit overly sentimental, and the final speech that brings Franklin back from the brink is could've been tightened up considerably, the basic message displays a solid understanding of the characters involved. I also like the idea that Ben is the one that realizes that Franklin has grown beyond the stage in his life where he can draw comfort from the idea that his parents are there to protect him from the evils of the world. Now the book could've done a better job tying it to Ben's past, as Ben had an older brother who acted as Ben's safety net, but when Dan was killed during a tussle between two neighborhood gangs, Ben learned the exact same lesson that Franklin did. Still, the material did a fairly solid job of linking Franklin's nightmarish experience in hell to Ben's own struggles when he first became the Thing, so I'm willing to look past this missed opportunity.

I like the idea that Dr. Doom being trapped in Hell has made a wider impact than we normally see when he's been defeated, though most times he's managed to keep up the ruse that he never left via his Doombots. Still, I love the idea that the Fantastic Four have to defend Doom's technology from the various groups that would love to lay their hands upon his vast hoard, and that the nations that border Latveria suddenly realize how vulnerable Doom's nation is when he's not around to protect it. I also like the underlying tension that now appears to exist within the Fantastic Four, as Reed is no longer acting like he's part of the team, but rather he's making some fairly drastic actions, and just assuming the others will back him. I also like that the issue takes some time to address the notion that while he ruled the country with a iron fist, for the most part the people of Latveria were content under Dr. Doom's rule, and that they view the Fantastic Four as foreign invaders, who have lon

This issue offers up a wonderful Reed Richards moment where the character is allowed to break out of the pattern that has long been established, and actually take some real steps toward ensuring Doctor Doom never threatens his family again, by effectively removing his ability to do so. Now since he's not leaving the book I won't take issue with the fact that by having Reed essentially dismantle Doctor Doom's power base in Latveria, any writer that follows is going to have essentially rebuild what Mark Waid is busy taking apart if they want to present Doctor Doom as a viable threat. Than again following on the heels of what was a fairly solid Doctor Doom encounter perhaps it's actions like this that are needed to give this rivalry the kick in the pants it needed, as when Doctor Doom does return he'll have to attack them from a position that he's never faced them from before, and that is as the underdog. I'm also enjoying the global-political ramifications that were being bandied about i

I'm starting to suspect there is more to this story than meets the eye, as frankly both Reed and the government forces that have assembled against him both seem a little too set in their ways, and this has me suspecting that this build up of tensions is all been orchestrated, though I have to say I'm not quite sure as to what either side hopes to accomplish with this rather elaborate act. Now perhaps I'm reading too much into the inconsistent behavior from Reed and others, but I honestly feel that this pigheaded behavior on both sides is covering up a secret deal. However, there are moments that serve to throw water on this theory such as Reed's rather dire sounding letter to his wife, and his very cold, and harsh method of pushing her away, by labeling her an uncaring mother to his children. Still, my steadfast belief that there is something we haven't been made privy to, is a continued nagging doubt that I can't put out of my mind, and until the final issue arrives I can't help but f

This issue offers up a couple head-slapping moments where I must confess I was a little surprised by how willingly I allowed myself to the lead around by the nose by Mark Waid, as much like his teammates I just assumed that Reed's super-villain style behavior was going to be explained by the obvious premise that it was some sort of latent mind-control by Dr. Doom. However this issue makes it clear that Reed was in full control of his actions, and the real answer is far more rewarding, as it not only completely exonerates Reed, but when one looks back on some of Reed's actions, and more importantly a couple of the statements he made, this new information puts an interesting new spin on these moments where it had looked like Reed had gone completely around the bend. I also have to say that I rather enjoyed the return of a character who I hadn't expect to see for quite some time, and his actions in the final pages shake this book to it's very core, and act to create a problem that is sure

There's also a cute little moment where we see Spider-Man recognizes that his brief stint as the more beloved half in this duo has to come to an end, as he lets Johnny save the endangered Squiddy McSquid, and become the belle of the ball once again while he becomes an object of scorn. There's also a couple cute little moments like the brief appearance by the Thing, and the final gag that ends the story. As for the secondary story, it's an eye-opening look at Reed's life before he took his trip into space, but frankly this story was a rather hurried affair that didn't leave much room for much. As for the art Mike Wieringo has a grand old time on the opening story, as it's essentially an extended action sequence, loaded with visual gags, and his high energy style is perfectly tailored for a story like this. We also get Paul Smith on the back-up story, and he delivers some lovely work, with Reed's emergence from the energy portal being the visual highlight.

Mike Wieringo takes a break from the book, but Paco Medina turns in a pretty close match, as his art has the same cartoonish approach without losing the sense of clarity. I also have to say I loved his take on the Thing as the character looks like the towering presence he needs to be, while still looking like the loveable lug we all know and love. In fact my only real complaint about this issue is that the new costumes of the Frightful Four are downright generic, as they convey no visual information about the characters, or their powers.

Paco Medina is a solid artist with a style that is a pretty close match to Mike Wieringo, so his guest-stint on this arc isn't overly disruptive. He's brings a sense of style to the action sequnces, as they are pretty easy to follow, and the big impact moments, like the Wizard's attack on the Trapster, are exceptionally well done. In fact my only quibble with the art is that he forgot to include Johnny's four when he's flamed on, which made the character look a bit off. Still, I have to say Gene Ha delivers a fantastic looking cover, as his Thing looks amazing.

Mike Wieringo finally gets the opportunity to deliver one of those moments where the readers receive a Fantastic Four level moment, as while I've enjoyed Mark Waid's work on this title he hasn't really offered up any blockbuster moment where the Fantastic Four were called upon to deal with a threat that felt as overwhelming as the big threat in this issue provides. If nothing else this issue manages to show readers that Mike Wieringo is capable of delivering the sense of grander that such a threat requires from the artist, as there's some spectacular visuals in this issue from the initial arrival of the alien devices, to the big reveal where we see the full extent of what these devices are doing.

Mike Wieringo was born to draw an issue like this as it's largely the Fantastic Four doing battle with a host of wildly diverse looking alien races, and how can one not love the one page shot where we see the hidden swarm of attacker that Sue renders visible. There's also several cool impact visuals from the scene where Ben is attacked when the team first enters the structure, to the scene where we spot why Sue isn't going to be able to come to Reed's aid. The issue also turns in a nice bit of work where we get to see Galactus destroyed an inhabited planet, and the anguish on Reed's face when Sue makes her decision makes for a fantastic visual to carry us into the next issue. My only real quibble with the issue is that the lead alien looks a bit goofy, and this in turn makes it difficult to take him seriously when he's delivering his ultimatum. We do get a pretty solid cover shot though as I love the idea that the alien's grip is shown to be shattering Ben's rocky hide.

Mike Wieringo deserves full marks for his work on the final pages of this issue, as the arrival of Galactus is a momentous event, and he does a fantastic job selling the impact, with the final page being a great closing visual. The sequence where we see the alien vessel is destroyed is also a decidedly memorable piece of art, and it is nicely capped off by an equally impressive reveal shot. The art also does a pretty effective job on the sequence where we see the damage that was done to the city is being repaired, and the big reveal as we learn what Reed's device actually did was a lot of fun, as how can one not love Johnny look of utter panic, or the sheer delight on Sue's face as she discovers what she's now capable of. I also have to give credit to this issue's cover image for it's delightfully misleading visual, plus the older fan boy in me loves the appearance of a dialogue balloon on the cover.

First off I have to say that it's great to see this title looks to have gotten back into the habit of offering up cover visuals that reflect the story one should expect to find inside, as the shot of Johnny standing side-by-side with Galactus is far more engaging than any generic action shot ever could've been. As for the interior art, the book opens with a great little sequence where we see the team dealing with a tumble off the roof, and Sue's new powers make this rather mundane bit of action far more entertaining than it normally would've been, with the final shot of bungee Ben being a very cute visual. The art also does some lovely work when it comes to the delivery of the Kirby-tech that litters the interior of Galactus' ship, and the big action scene where Johnny uses the power cosmic on the attacking warrior was a wonderfully unsettling image. I also rather enjoyed the flashback scene, as Ben's physical form has the softer appearance that many artist forget to deliver when they

As I mentioned above this was largely a "talking heads" issue, and while this doesn't play to Mike Wieringo's strengths as an artist, he is quite good when it comes to his delivery of facial expressions, so his work on this issue holds up quite nicely, and all the key elements of the story are well served by the art. From Galen's haughty expression, to the looks of utter frustration and annoyance on the faces of the Fantastic Four, the art effectively sells the main plot element of this issue. Plus, the effectiveness of Galen's final decision is due largely to the art's ability to convey the facial expressions of the Fantastic Four. The expression on Reed's face when it finally occurs to him what Galen is doing is particularly effective. The art also does a wonderful job on the final page surprise, as it's called upon to capture the powers of the team in a single panel, and it does a lovely job of making it quite easy to understand what has happened.

I also loved the dramatic simplicity of this issue's cover, as I can't think of a better visual to sell the family dynamic of the Fantastic Four, and while it has the potential to be quite cheesy I for one hope this classic scene finds its way into upcoming film. As for the interior art it's pretty clear that Mike Wieringo was having a grand old time playing with the power swapping element of this plot, as it provides him with a wealth of visual gags, from the smile inducing sound effects that are used to frame the scene in the strip club, to the laugh out loud sequence involving the close calls that Johnny had when he's trying to regain his power. I also have to say that if I ever had any doubts about Ben's simple costume design, that shot of him in the normal team uniform pretty much rid me of this concern, as it completely threw the visual dynamic of the team off. Mike Wieringo's work will be missed, though it'll be great to see him back on a Spider-Man title.

I've been seeing Tom Grummett's name gracing the credit box of a number of books recently, and I'm delighted to see Marvel has let him run with the ball, as he's a fine artist with a proven track record when it comes to getting the issues out on a timely basis. His work on this issue serves as a nice eye opener should The Fantastic Four ever find itself in need of an artist, as there's some lovely visuals in this issue; The Thing is allowed to be a one-man wrecking crew during the battle sequence, and there's a number of moments where the art has some fun with the team and their powers (e.g. the scene where Sue turns the walls transparent, or the throw away visual where a dead tired Reed stretches). The art also effectively conveys the idea that the Fantastic Four are suffering from sleep depravation as it offers up the important little visual touches like the bags under the eyes, and the general lethargic posture of the characters. The art also does a pretty fair job of capturing t

Tom Grummett's work on this issue is a little weak, as the action doesn't really convey much in the way of excitement, and the level of detail in some of the panels doesn't quite hold up to his previous work. The art deserves praise for its work on the opening sequence, as the final few panels of Diablo's flashback do a very nice job of conveying the horror of what was done to him. The art also deserves credit for its delivery of the little details like the bags under the characters' eyes, and the various power tricks that Diablo employs during the battle are also well realized, from the golden Baxter Building, to the method that he uses to bring an advancing Ben to an abrupt halt. Still, this issue's art wasn't quite up to the level that I've come to expect from Tom Grummett, as there wasn't really any moments in the issue that left me all that impressed. Still, while the art was a bit flat, it did a nice job conveying the chaos that is Johnny's love life, and the attempt to expla

Mike McKone is a fine artist, and he's turning in some lovely work on this issue in spite of the simple fact that this issue isn't exactly an artist friendly outing. By and large, this issue is twenty-two pages of talking heads, but Mike McKone manages to make the best of it by offering up a wide variety of facial expressions, with Sue's deer-caught-in-the-headlights expression as she deals with the child services officer being my personal favourite section in the issue. There's also a nice little visual moment where Sue realizes that there might be some weight to the arguments that are being made when she overhears Franklin playing with his kid sister. The art also does a nice job on the panels where the lives of the FF before they received their powers are reflected by the follow up panels where we see the powers they gained. The big action sequence that closes the issue is also well presented. The only quibble that I'd make about the art is the appearing/disappearing freckles o

Scot Eaton's work has always been a little hit and miss with me, but part of this could be the simple fact that he's a relatively new artist who may still be trying to find a style that suits him. As such, I enjoy some of his efforts more than others. His work on this issue convinces me that he's a very talented artist with a long future in the industry. This issue has a nice polished look about it that reminded me a bit of established artists like Steve Epting and Paul Pelletier..., good company to be included alongside. The art on this issue displays a very good understanding of the big ideas, like the slow burning internal rage of Victor Von Doom as he finds himself having to accept the continual reminders of his inferior position, which makes his explosion in the final pages all the more powerful. There's also a great little moment where Victor Von Doom's hatred for Reed Richards didn't die when Reed did (that is, if Reed is really dead).

Scot Eaton's style conveys the story in an easy to follow, if somewhat unremarkable manner. While there is no visual confusion, there are also no moments where the art jumps off the page. Solid little impact shots provide a look at what is waiting inside that space capsule, and the sequence where the Fearsome Four clear the battlefield of all its non-combatants offers up some disturbing visuals. However, there are also some moments in this issue where the art feels like it fell a bit short when it comes to capturing the big moments of this issue. The final page doesn't quite pack the impact it should. There are also moments where the characters look a little too stagy, such as the big smile on Valeria's face as she dances with Victor, or Victor's expression when he advises Magneto on how to deal with one's enemies. On the other hand there is also a lovely pained expression on It's face as he's subjected to experimentation, and I loved Kristoff's expression as they venture into an

I have to thank Guy Davis' art for keeping me from putting this one back on the shelf after it ended up in my pull box, as this is a very entertaining twist on the Fantastic Four, as while I don't place much stock in the idea that the Fantastic Four were actually based on a real foursome of adventurers, James Strum deserves full marks for making the idea look seem quite plausible. What's more while this issue is a little on the quiet side, and there's very little in the way of action to add some punch to the material, the issue does a very solid job of introducing us to this foursome, and making them into a fairly interesting collection of personalities. If nothing else this issue makes good use of its 1950s setting, as while it's a bit before my time, the 1950s is one of my all time favorite periods when it comes to films, and as such I can recognize when a writer has managed to capture the underlying feel of this era.

An issue that works far better than it really should, as James Sturm hasn't exactly picked a thrilling subject, but Susan's struggles to live up to the expectations that others have placed upon her makes for a truly engaging read, and her self doubts & inability to be happy makes her a nicely tragic character. The issue also makes wonderful use of the era in which it is set, as most of Susan's problems stem from her inability to balance the tremendous burdens that society place upon it's women, and everyone around her seems quite intent on making her life even more difficult, from Johnny's openly rebellious streak, to the almost malicious behavior of the older women who have decided their friendship with Susan's mother automatically makes them friends with Susan. There's also a very cute little moment where the stigma that is comic books makes an appearance, as one of the wives has her husband revealed as a lowly comic book artist.

This miniseries might not be grabbing much attention, and the suggestion that this book would be following the real life inspirations for the Fantastic Four, earned it the ire of readers who are still bearing a grudge when it came to the Sentry hoax. However, I have to say that this is far and away the most enjoyable miniseries I've come across in a good long while, as it has the largest hurdle to overcome when it comes to grabbing & holding my interest. I won't deny that I'm a sucker for the pointless slugfests, shocking revelations, battles to the death & I fall for the "things will never be the same" hook almost every time it's offered up. However, this is a miniseries that manages to hold my interest doing little more than introducing us to four characters whose lives are almost completely devoid of any real sense of excitement, and it speaks volumes about James Sturm's work that I find this material so riveting. This book deserves to be read, as it's high quality work that's offer

This issue centers around Ben's "real life" counterpart, and while Sue's chapter was far and away the most impressive character study, this final issue stands up as the most entertaining issue of this miniseries, as not only do all four characters finally gather together in a single location, but the tinderbox situation that results from a momentary indiscretion results in a delightfully charged atmosphere. Now part of me is a bit disappointed that this miniseries ended the way it did, as right when we get to a truly interesting point in the relationships between these four characters, the book ends. However, in the span of these four issues James Sturm has managed to create a highly engaging cast that are cleverly linked to the Fantastic Four, and with the help of Guy Davis & his ideally suited art style, I have to say this miniseries holds up as my favorite miniseries of the year (though if the "Avengers/JLA" event arrives before the year's end, I doubt it'll be able to hold on to th

The opening battle with the Thinker was a bit disappointing, but the latter half of the book more than makes up for it, as we see Wally wage a desperate battle against the Rogues, who continues to be presented as a highly effective group, who use a nice combination of clever attacks & strategy to keep the Flash on the ropes. There's also some fairly shocking moments in this issue, from Cyborg's serious looking injuries at the hands of Magenta, to Murmer's nicely disturbing struggle with the quick healing Detective Morillo. This issue also does a pretty nice job setting us up for the big finish, as the issue ends with a fairly exciting cliffhanger, and we learn that Blacksmith's plan is far larger than I had expected it was. The book also continues to develop it's supporting cast quite nicely, with Goldface starting to emerge as more that the former villain/current corrupt union boss, that he was before this arc began.

A pretty solid rest-stop issue as the issue pretty much touches base with all the main plot elements that were left dangling after the "Crossfire" arc wrapped up, though Max Mercury's disappearance still remains conspicuously absent from these pages. Still, if you're a regular reader of this book then you'll probably enjoy this issue as all the various supporting players get a brief little moment in the spotlight, and there's a couple of nice surprises, from Iris West going out on a dinner date with Officer Chyre, to the closing pages, as we see the Pied Piper pays a visit to a former member of the Rogues. Now following in the aftermath of the "Crossfire" arc this issue does feel a bit low-key, and even subdued, but it held my attention throughout. I'm also glad to see Geoff Johns has basically restored Cyborg to his roots, as not only is his gray coloring back, but so is his inability to look fully human.

Since I was already a fan of the character before Geoff Johns' arrival on the book, Piper's solo issue isn't quite as impressive as Captain Cold's issue, as that issue built up a character who I had previously written off as lame, while this issue simply reaffirms something I already knew. This issue does make good use of the character, and it makes for a nice introduction for new readers, as Geoff Johns does a solid job explaining who this character is, as well as what his current situation is. As for longtime readers they get to enjoy seeing the character hook up with a couple former Rogues, and the issue ends with a fairly interesting situation set up, as James Jesse's offer certainly sounds promising. The issue also takes Piper's somewhat goofy gimmick and gives it some teeth, as there's a very nice sequence in James Jesse's office that shows how dangerous Piper can be.

While some of Grodd's comments to the Flash felt a bit over the top, and the battle began to feel a bit repetitive, I have to give the book full marks for keeping the energy level quite high, and there's also a pretty solid shocking moment in this issue, as a member of the book's supporting cast is savagely attacked. I would like to see some more thought put into the Flash's efforts against Grodd, as there's only so many times one can see Wally rain punches on a villain before it begins to feels a bit tiresome. The issue does nicely play up the idea that Grodd is a very dangerous character, as we get some cute moments where the other villains in Iron Heights decide not to press the issue, with Abra Kadabra's little exchange being particularly amusing. As for the art, Scott Kolins continues to prove himself as the consumate comic book artist when it comes to big action, as there's several shots that perfectly capture the raw intensity of Grodd's attacks.

I must confess I found myself a little underwhelmed by this final chapter, as while Grodd has a menacing presence, and he's powerful enough to present a real challenge to the Flash, the simple fact of the matter is that he's simply not all that interesting a character once you get past being impressed by the sheer animalistic fury. I mean the standalone issue from last year stands up as one of my favorite issues of Geoff Johns' run, so I know the character can be a solid villain, but this current arc got a little tiresome once it became clear that all Grodd brought to the table was raw savagery. Still, there are some solid moments in this issue as Geoff Johns has a strong understanding of what makes Wally such an engaging lead, and Gorilla City is one of the more interesting locals to visit in the DCU. The art of Scott Kolins also makes the big final battle visually exciting in spite of the rather uninspired means that Wally employs to take down Grodd.

One does have to love a villain whose main claim to fame is that he can make the Flash vomit. Now I understand the basic premise of the idea, as I'm sure I join many people whose childhood memories include the discovery that corn dogs, cotton candy & spinning rides are never a good combo. However, the way that Wally manages to beat the Top struck me as a bit odd, as did the explanation for how the Top was inducing the vertigo, as I always assumed in had to do with the inner ear, so the whole closing one's eyes struck me as an unusual and rather clumsy way of giving Wally an immunity to the Top's debilitating power. In any event the issue did keep me entertained, and the material away from the battle was strong enough that I left the issue quite pleased. The last page also sets up a rather interesting premise for next month's adventure.

A fairly entertaining issue, that brings back Peek-a-boo for a brief visit, before using the final pages to offer up an exciting cliffhanger that leaves one quite enthused about the upcoming arc. Now Peek-a-boo isn't exactly the most evil of villains and Geoff Johns doesn't really come up with a scenario that really pits her against the Flash, but the character does have an interesting ability, and there is a fairly harrowing moment where one is left a bit concerned about the health of Linda & the twins. The book also offers up a pretty solid secondary plot, as we see Hunter, the resident expert of the Rogues also has a bit of knowledge about the Flash as well, and the scene where he asks for something Wally isn't willing to give made for a fairly intense encounter. We then see Wally's refusal to help results in Hunter doing something that could very well endanger everyone Wally cares for. I do have some questions about the logistics of Hunter's plan though, as I always felt this devic

This issue is all about setting up the latest villain that Wally is going to have to square off against, and while it's not as impressive as the Captain Cold issue, it does the job it needs to do, as one can't help but be excited by that final page. Geoff Johns does seem to understand that strong villains make for strong heroes, and out of all the writers working today I have to say Geoff Johns has worked wonders for the Flash's rogues gallery. I mean I enjoyed the Rogues before, but since Geoff Johns' arrival Wally is easily sporting the best collection of baddies on the DC side of the fence, and what's even better is that the book isn't shy about using these villains. This book is action heavy, and it's one of the few titles that is able to rival the "Ultimates" when it comes to the delivery of edge of your seat excitement. Plus, this book has one up on the Ultimates due to the simple fact that it arrives on a monthly basis. In any event this is a very exciting start to what looks li

A very exciting issue that is somewhat undone by a plot device that appears to conflict with previous continuity, and while I'm willing to let stuff like this slide if it results in an entertaining idea, the simple fact of the matter is that I also don't understand the logic of this scene, beyond the fact that it allows Geoff Johns to limit the amount of players who can take part in next month's big climatic battle. Still this issue does a wonderful job creating a sense of menace, as while his "I'm making you a better hero" hook is a bit soft in the motivation department, to a certain extent one could make this argument about most super-villain motivations. The idea that Wally is getting a taste of what villains that fight him encounter makes for a very exciting time.

I can't say I was as blown away by this issue I had expected to be, as Zoom made for a very powerful opponent, and the previous issues had done such an impressive job of conveying the sense of danger that his rather hurried defeat left me a bit disillusioned. Now the fight was entertaining enough, as Scott Kolins is the ideal artist to render a high energy clash between two characters moving at tremendous speeds, and there's a real sense of urgency developed during the race between the two after Zoom threatens Linda. However, the way that Zoom is defeated left me cold, as frankly it felt a little too handy a means of dealing with the big bad villain. However, my enjoyment of this issue picked up considerably in the final pages, as I have to say I was completely thrown by the change that Geoff Johns brings into play, and I can't wait for the next story arc. In fact the more I think about the new status quo that has been brought into play the more excited I am, as this change impacts eve

I have to say that this is one of the rare moments when a comic writer has managed to truly surprise me with a plot device, and I have to give Geoff Johns full credit for keeping the big surprise under wraps until he was ready to spring it upon unsuspecting readers like myself. In any event in addition to the simple surprise factor I also have to say that I love how utterly sweeping this change is, as it impacts every single element of this book, from Wally's interaction with every member of his supporting cast, to his role as a hero in the DCU. I mean there's some huge questions that need to be answered, and it's utterly fascinating to see how this new status quo is coming together. There's also a wonderful little moment that acts as a reminder of how cool Wally's powers can be as the entire sequence where he's rescuing people from the tangled wreck that is playing out before our eyes is a wonderful display of his power. The mystery killings, and the stranger who hands Wally his costu

I like the idea that Wally is stumbling out of the gates in this opening story, as essentially we're being given a story in which Wally has to relearn how to be the Flash, and unlike riding a bike there is a rather steep learning curve to learning how to function of high speed effectively. Plus, given the villains that the Flash is running up against aren't exactly going to let him get away with making mistakes, these early issues should be quite exciting, as there's a far better chance that Wally is going to get his head handed to him than we've seen in these pages in a very long time. There's also a fairly interesting twist in that Wally believes the Flash is responsible for the loss of the twins that Linda was carrying, and as such there's also a tremendous sense of guilt associated with his being the Flash, and one imagines he'll be inclined to hide his discovery from Linda which should act to drive a wedge in their already shaky relationship. I'll be glad when Howard Porter arrive

Wally West has always been a man of action, and if there was one flaw in the character it was that he had to be in almost constant problem solving mode, as you can't really sell the idea of "the world's fastest man" if he's having to stop and consider the various clues that were left by the villain. In fact one of the funniest issues of "Impulse" was accomplished when an element from Batman's corner of the DCU ran up against a speedster who was able to search the entire city for the hidden bomb, before the Riddler was even finished delivering his villainous rant. Now this current arc has acted to slow down the Flash, as he's essentially rediscovering the idea that he's the world's fastest problem solver, which in turn makes it far easier for this arc's villain to continue his villainous activities, as Wally is still trying to figure out how to open the starting gate. This in turn allows for some fairly interesting moments as we see Wally trying to exercise muscles that he's never reall

Batman is a character who would be obsessive enough that he would be first in line when it comes to uncovering the backdoor to the Spectre's mind-wipe, though in the end I found myself wondering why Batman even needed Wally to come with him to open the minds of his fellow heroes, as it seems to me he has the information one would need to do this himself. Still, I wouldn't wanted to be cheated out of the tension that is sure to come about from Wally's encounters with his former trusted allies, as he knows all of their secrets while he's a complete mystery to them. In fact Geoff Johns could have a lot of fun with the idea of trust, and the idea of whether it exists if Wally is reluctant to give up the advantage that he currently holds over everyone in the DCU. This issue also offers up a somewhat surprising reveal in the final pages of this issue as we learn the identity of the new Mr. Element, and we see a member of the newly formed supporting cast looks to be in a bit of trouble, when

Geoff Johns certainly knows who to keep things moving, as this issue delivers two fairly major developments, as the Flash battles the new Mr. Element and the threat this character posed is brought to a very definite finish. However, this is all completed before the issue is even nine pages old, and the book then shifts its attentions to another fairly important plot element, as Wally risks his future happiness by letting Linda know that he's the Flash, and this also allows Geoff Johns another opportunity to address the continuity cops as we see Linda's head was filled with false memories that covered over the gaps that would endanger the secret. In any event this is a fast moving issue that offers up a pretty exciting battle to draw readers into the story, and this is followed by an emotionally charged encounter, that ends with a fairly major plot twist that I must confess I'm not fully comfortable with. Captain Cold also gets another wonderfully villainous moment that once again bumps

As for the art, while I'm not the world's biggest fan of Howard Porter, I will concede that he does some solid work on sections of this issue, as the battle with Double Down and Girder, is a visual exciting sequence, as is the final page cliff-hanger image. Also as a loyal Canadian, I have to say I had to smile at the discovery that the Stanley Cup is one of the many items that the Rogues have stolen.

Howard Porter is an artist whose work I've never quite warmed to, and while there have been moments when I've been impressed by the sense of power that his work is able to project, there are more moments when I've been left a bit cold by an artistic choice that he has made that seems to place more importance on a flashy visual than on delivering the story in a clear manner. Now there are some solid visuals in this issue as Grodd looks like the raging beast he needs to be, but speaking as a fan of the big impact action I have to say I found his deliver of Wally's big attack lacked the visual impact that it needed.

Howard Porter has never been one of my favourite artists, and his work on this series hasn't exactly changed my opinion of his work, as to me it has a rough quality to it, and that there are many times when the art seems more concerned with delivering a powerful image instead of trying to tell the story. Still, I will concede the art does a pretty effective job of delivering the Turtle's new ability, as the slow motion effect is well presented, as are the scenes where the speed is momentarily restored. Now I'm not entirely sold on the Turtle's look as it's rather comical, but the art does manage to inject a nice sense of danger when the character is lingering seemingly lustfully over a young child. Ethan Van Sciver's cover image is also a pretty solid visual, even if it tells one nothing about the story inside.

The simple truth of the matter is that I'm not a huge fan of Howard Porter's art, as while there's nothing wrong with it, it simply doesn't grab the eye, and the impact visuals that are designed to sell the more exciting elements of the issue always strike me as looking a bit unusual as the character's bodies are twisted out of proportion to presumably heighten the excitement of the image. The art also doesn't quite sell me on the more emotional moments of the issue, as Oliver Queen's righteous indignation is presented as a stone faced expression with no hint of emotion, and Bart's grim resolve is entirely dependant of the text to sell the idea that the character has been impacted by the events that have been playing out. Still I will give the art credit for its work on the final pages, as the visual importance of the letter is help considerably by the visuals that the last two pages offer up.

Peter Snejbjerg has an interesting style that reminds me of a more polished version of Keith Giffen's art, and I have to say I actually found myself enjoying his work even more as I looked it over a second time for the purpose of this review, as I came to notice how much attention to detail there was on the page. I mean there's a cute little detail where we see the Rogues have taken over a tavern, and if one studies the image, we get to see how Captain Boomerang got himself the position of bar tender, or the idea that the Rogues trust Captain Cold to count out their profits. The art also does some nice work capturing the sheer insanity of the battle between Murmur and Heat Wave, as Murmur comes across as a pretty effective threat as lashes out at Heat Wave with his pair of knives, and there's a lovely scene where we see Heat Wave is caught up in the fire that he completely forgets about Murmur. The cover image is also one of Howard Porter's most impressive efforts.

I've always been quite fond of Justiniano's work, but he does seem to have a habit of dropping off my radar for several years, as the last time I can recall seeing his name on a project was on a Beast Boy miniseries. However, I more than welcome his return to deliver the art on this crossover with Wonder Woman, as his art wonderfully captures the creepy visuals that the story calls for. Zoom's power makes for a particularly effective visual, as the art nicely conveys that he's not quite fully in this reality; he looks a bit like a bad television signal. The scene where Zoom destroys the police car is also a wonderful display of the danger that the character poses. The art also does remarkably captures the intensity of the battle that Wonder Woman has with Giganta. That opening double page spread made for a great visual introduction into Wonder Woman's corner of the DCU.

You can always tell when an artist isn't all that familiar with the game of hockey, as they simply put the players on the ice surface with no real idea of what the players are supposed to be doing. It's also interesting to note that the Keystone Arena doesn't look to have any player benches, which would make on the fly line changes a bit difficult. Now that I've satisfied my inner hockey fan I will say that this issue does feature some of Howard Porter's best work, as there's a lovely opening sequence where Captain Cold's Rogues raid a secret complex, and the art perfectly captures the unique abilities of the Rogues, with the Mirror Master's attack being particularly impressive. The art also does some nice work capturing the creepy quality of Zoom as he confronts Jay Garrick. The final page shot of the Pied Piper Rogues was also a solid impact visual to carry readers into the next issue. The cover image to this issue also does a nice job of selling the conflict one can expect to f

Howard Porter does have his moments where I can easily understand why he has a group of fans who sing his praises, as the opening page shot of Heatwave is a lovely visual, and the scene where Magenta and the Weather Wizard clash benefitted tremendously from the art having a good grasp on how to make the attacks these two deliver visually exciting. There's also a lovely sequence where the two Tricksters do battle with a number of novelty gag items, and of course the highlight visual of the issue would have to be the amazing double-page reveal shot where the Flash gets to see what this battle is doing to his city. On the other hand, there are also moments in this issue where I find myself decidedly unimpressed by some of the visual decisions that Howard Porter makes. The clash between Captain Cold and Heatwave was rather flat looking visually, and the big scene where these two deliver a double attack on the Flash didn't have nearly the impact it should've. Still, the last page shot o

As I mentioned above this would've been a great Silver Age Flash (Barry Allen) adventure, but I understand why DC would balk at handing over one of their prestige one-shots to a character who has been dead & largely out of the spotlight for over fifteen years. As it stands this was a delightfully odd romp with some high concept science-fiction ideas on display, and a fairly entertaining battle between two speedster to keep Flash fans happy. Now I must admit I found the ending a bit confusing in how the man's death instantly reset everything back the way it was before the accident. However, his death did make for a nice finishing note, so I'll let this one slide. In the end this one-shot is likely to be enjoyed by readers who like their stories with an overabundance of weird ideas, as this issue is littered with interesting bits, from Wally's amusing comments on the cosmic treadmill's silly sounding name, to the fairly engaging debate between Wally & the pilot on why he shouldn't contin

As this miniseries moves along I get more and more excited as not only does it seem to be growing more entertaining by the issue, but the news/rumors about what is coming up next also seem to be steadily building, as it went from this single miniseries to news of a second miniseries, to the latest talk of a monthly title. As long as Giffen and DeMatteis are at the helm I welcome this news, and while I'm not going to get my hopes up too high, this first miniseries has certainly dealt with what would've been my first concern, as the material is just as funny today as it was back than. This issue continues to deliver some genuinely hilarious moments, as the interaction between Booster Gold and Blue Beetle is just as engaging as it was before, but even better is that it hasn't been allowed to stagnant, as the relationship between the two characters has almost reversed, as Ted is now the more mature one in this duo, while Booster has turned into the male equivalent of the blond air head. I

A very funny issue that is helped tremendously by my being a big fan of the original run, and as such I can fully appreciate the various nods of the head that this issue makes to those classic issue. I mean this issue is funny in its own right, as the interaction between Fire, Ralph and the devastated Mary Marvel in the opening pages is truly hilarious, and when Max and L-Ron enter the picture the comedy becomes even more enjoyable. I also like the fact that this issue plays up the idea that there is an aftermath to battles, as watching Blue Beetle struggle with the idea that people are more concerned that Captain Atom may be leaking deadly radiation, instead of the fact that he is dying, or Mary Marvel devastated state throughout this issue as Ralph continues to twist the knife makes for a fairly solid emotional aftermath to what was a fairly intense bit of action. This issue also brings back another welcome face from the original run, and there's also a fun look in on Batman and the

A highly entertaining issue that more than made up for what I found to be a rather weak previous issue, as this issue offers up a fairly intriguing villain with a solid gimmick, and the final encounter with our hero is a very sound bit of action. This issue is a very strong done in one adventure, as while the villain does escape, one does get the sense that his actions have been foiled, and that our hero has won this battle. This issue also offers up a pretty solid look at the basic premise of the book, as we not only get a good look at not only what our hero is capable of, but I fully expect that one would have very little trouble understanding this issue, even if one entered it completely cold. Now the middle section has a rather weak moment where the villain suddenly decides to make it easier for our heroes to figure out his game, but overall this was a very enjoyable reading experience.

Paul Pelletier continues to deliver some of his best work to date on this miniseries. There's a number of lovely touches in this issue, from the amusing presentation of the visual gags to the highly expressive faces of the cast. I mean the humour of the scene where Flatman pesters the new Swordsman is aided tremendously by the art. I loved Flatman's face after an infuriated Swordsman comes right out and states why the Great Lakes Avengers wouldn't want him on their team. I also loved the pages where the various characters of the Marvel Univere react to the offer to join the GLA, with my personal favourite being Hercules' jovial expression. The action that plays out in the latter half of the issue was also well done, as the big death scene is actually quite gruesome, that one is almost hesitant to enjoy the attempt at humour that immediately follows. The dramatic impact of the final page was also well presented, as the art nicely captures the sense of urgency in Flatman's struggle

A pretty solid opener to what looks to be a promising new series. It's also nice to see the Astro City syndrome has finally hit the DCU, as finally we get a series that is going to look at a section of the DCU from the perspective of Joe & Jane Public, as the stars of this book don't have superpowers, but they do exist in a world where costumed crime-fighters are a common occurrence. The city of Gotham is also a delightful setting for this new series, as while I've never been a big follower of Batman, I do recognize the quality of his rogues gallery, and out of all the fictional cities in the DCU, Gotham City is easily one of the most distinctive environments out there (though Opal City is far and away my favorite). This opening issue is also quite friendly to the newer reader, and while the cast could stand a bit more fleshing out, the threat provided by Freeze does a very nice job of playing up the idea that these characters are the clear-cut underdogs in this fight.

If police procedural dramas are you're cup of tea, then this book is exactly what you've been waiting for, as this is the closest I've ever seen a comic come to conveying the investigative storytelling technique that is a cornerstone of this genre. The material that details the investigation of Bonnie Lewis murder is very engaging, and the book does a wonderful job of dishing out the clues, and offering up potential suspects, without tipping it's hand, as by the end I still hadn't cross any names off the suspect list. The interaction between the two detectives is also quite strong, as Driver's new partner is delightfully grounded, and Driver himself is also a pleasant surprise, as you get the sense that he wants to solve this case, but in spite of his partner's death he's not overly morose. The Firebug case is also quite entertaining as it does a wonderful job of selling the idea that this book is set in the DCU, but these police officers are not super-heroes, capable of extraordinary

This issue doesn't offer up much forward movement on the Bonnie Lewis murder investigation, in spite of the fact that most of the issue is devoted to following the activities of the two detectives working on the case. On the other hand the Firebug case almost advances too rapidly, as in the five pages that it received, the case looks to have been busted clean open, with Firebug being taken into custody by the GCPD. However, in spite of its lack of forward momentum, the Bonnie Lewis case provides the most enjoyment in this issue, as there's some very engaging character interactions between the two detectives on the case, and there's also a cute little side-plot involving a batarang that made a for a cute reminder that this book is part of the Bat-family of books. The big development in the Firebug case was also quite a shocker, and one wonders if the GCPD have gotten the right man, or have they just made a very serious mistake that could come back and bite them at a later date.

I have some reservations about how the one detective made the connection between the two cases, though I do have to say that I was pleasantly surprised by how well the two cases meshed together, and managed to compliment each other by filling in the gaps. Still Ed Brubaker needed to establish a stronger scene so that when the character does realize the cases are linked, the reader understands how this character could've made this leap, and if the ground work was laid out in the previous issues, then he needs to take a moment to explain where the clues are located, if only to lend credibility to the idea that this little twist was planned from the start. In any event the issue is quite entertaining, and it manages to insert some clever nods to continuity in other titles, such as the underground auction house in Keystone City. The book also includes some solid detective work, and the interrogation scene is nicely done, as one can see the detectives pushing the man into doing something st

I suspect the ending to this issue will pack a greater punch among readers who are more familiar with the character of Renee Montoya, but if nothing else this issue acts as a pretty solid introduction to the character, and the trials & tribulations that she is facing. The focus on a single character certainly helps one get a greater sense of what it's like to be a police officer in Gotham City, as we get a pretty good look at how the relationship between a segment of the GCPD and Batman isn't seen as a good thing by other elements within the department. This issue also offers up a pretty good example of how effective the members of the Major Case Unit are, as they make pretty quick work of a case that robbery couldn't solve in the six months that they had been working on it. The main selling point of this issue though is the telling look at the character of Montoya, as her problems are pretty interesting, and one is curious as to how she'll deal with the latest obstacle that enters her

I'm sure there will be fans who walk away from this issue far more engrossed in the material than myself, as Detective Renee Montoya is a relatively new character to me, and while the story has done a fantastic job of making the character into a real, flesh & blood creation, if the story ended with her locked away for murder, I don't suspect I'd be overly upset. Now I will say that this issue has done a wonderful job of examining the struggle that Renee's life has become now that her personal life has been put on display, and the book also does some nice work conveying a sense of realism, with the conversation she has with her brother being the highlight of the issue. The book also manages to step up the tension in the final pages, as Renee finally breaks under the pressure and lashes out at her primary tormentor, and the book ends with a murder where Renee is likely to be the primary & potentially only suspect. It certainly keeps one guessing, and I can't wait for the reveal issue, wh

Truthfully the story is advancing pretty much along the lines that I expected it to after the end of last issue's big cliffhanger surprise, as Renee finds the evidence stacking up against her, and every piece of evidence that is produced by the investigation would seem to stack the deck against her even more. Now one does have to wonder why these seemingly intelligent detectives don't question the rather obvious nature of the clues they have been given as I'm sure the police would love it if all murderers left behind murder weapons that were registered in their names, and made a practice of removing objects from the murder scene that could directly link them to the crime. Now I guess they could explain it away as Renee found herself lost in the moment, and wasn't exactly in her right mind when she left a trail of clues even Inspector Clouseau could follow. If nothing else this issue does a nice job establishing Renee had the means to commit the crime, but more importantly she had the m

Another solid chapter that is somewhat undone by Greg Rucka's clumsy attempt to have his newest detective make a real contribution at cracking the case wide open. I mean the way that the dots are connected in this issue have a highly contrived feel to them that I found quite difficult to accept as anything but Greg Rucka simply manipulating the story so he could advance from point a to point b with as little effort as possible. Still, the issue still holds up as quite entertaining as Renee's life continues in its downward spiral, as this issue she moves from being an woman accused of murder, to an escaped fugitive, and finally the prisoner of a crazed lunatic. One also has to be impressed by the more emotional heightened sections of the issue, such as the moment in the courtroom where Renee's mother spots Renee's girlfriend, or the scene where Detective Allen has his little exchange with his captain involving the new partner he's been saddled with.

An entertaining done-in-one affair that acts as a pretty solid means of introducing readers to the large cast of characters that occupy these pages. Plus along the way we're also introduced to a fairly engaging character who plays a rather key role in the DCU, as in an Astro City style moment we get a quick peek behind the curtain so to speak, and learn how the Bat-Signal is explained to the public, who have to wonder why the Gotham City Police Department have a giant spotlight mounted on the roof of the station house, when Batman is supposed to be a urban legend. Now this issue isn't all that deep when it comes to the plot, as it's basically a day in the life, but we do get a couple interesting, if not overly difficult cases that are resolved, and there's also a nice bit of follow-up to the Freeze case, as we see the Gotham Police aren't exactly big fans of the revolving door that is Arkham Asylum. Nor should they be, considering the escape rate has to be just this side of ridiculous.

A very exciting start to this latest arc as the city of Gotham is caught in the grip of a sniper who is picking off city officials, with seemingly very little rhyme or reason behind the attacks, and very few clues for our detectives to follow up upon. The issue also does a very solid job of detailing the sense of helplessness that grips our cast, as there truly is very little they can do to stop this type of attack, and the final page reveal makes it very clear that not only is this killer going to continue his attacks, but even if the GCPD manage to catch up to him they will have to exercise extreme caution, as he's far more dangerous than they are prepared to deal with. The issue also does some nice work on the little details, like the fact that the opening argument that we are treated to before the first attack gives us a good look at city politics, and during the issue we also get a look at what various police officers think of their captain rushing into the spotlight that these at