Jesse Schedeen's Comic Reviews

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Now will someone clean up all this blood on the floor?

Regardless of whether or not they've been following the rest of Marvel's 100th Anniversary Specials, Guardians of the Galaxy lovers will want to give this comic a look. It's entertaining and oddly engrossing for what is really just an alternate universe story at the end of the day. If we can't have more Dan Abnett/Andy Lanning Guardians comics, the Lanning/Marz team is a good substitute.

I also appreciated the fact that, for all this comic's weirdness, Stokoe doesn't remain fixated on the humorous elements. This is not a self-deprecating or cynical comic. Quite the opposite. This clash between good and evil leads to a surprisingly heartfelt conclusion. In some ways, it's more like an Avengers comic of a bygone era than it is a product of some crazy future.

Most of the plot twists can be seen coming a mile away as the downtrodden heroes of Timely begin rising up against Mayor Fisk and his bloodthirsty agents. Even so, there's a lot of enjoyment to be had in seeing Gerry Duggan's Wild West re-imagining of iconic Marvel characters, especially as characters like Carol Danvers join the fray.

There's a pretty obvious question that arises from the announcement that IDW is publishing a "reimagining" of the original 30 Days of Night miniseries - why?

The idea of of 30 Days of Night getting a full-blown remake from its original writer/co-creator is interesting, but after two issues, the new 30 Days of Night hasn't done much to justify its own existence.

There's still time to turn this series around, but these first three issues don't inspire much confidence.

Chee's art is as pleasant a surprise as the writing in this issue. Chee reminds me very much of the gritty, crime noir stylings of Michael Lark or Matthew Southworth. Strong, competent line-work, heavy blacks, and emotional energy are the name of the game here. Chee's work isn't quite monotone, but features different color washes depending on the scene at hand. This issue is a strong debut both visually and in terms of the story. I'm pleasantly surprised with 5 Days to Die, and I hope that readers interested in 1 Month 2 Live will also give IDW's weekly series a fair chance.

Again, this is a competent adaptation, but a project like this needs to offer something more than competence. Either offer a deeper exploration of the series' mythology, as in the Dark Tower comics, or deliver a comic so beautifully rendered that the actual text doesn't even matter, like in Marvel's Oz books. Right now, there isn't much incentive to read this interpretation of A Game of Thrones over the original novel or the HBO series.

A+X isn't a bad read as long as you don't allow the cover to fool you into thinking it has anything at all to do with Avengers vs. X-Men. Hopefully future issues will be more consistent on the promise to skip continuity and tell simple, fun done-in-one tales.

Though A+X has its quirks and weak moments, the series can't be accused of not delivering on its simple premise. Even Marvel readers tired of the event machine might want to look beneath the AvX-style cover page and enjoy the simple, lighthearted tales within.

Fans of Black Panther and Storm and/or Ferry's art will want to check out this issue, but the $3.99 cover price may be asking too much of everyone else.

A+X #4 is a win-win. Can the the remaining two issues keep the streak going?

If the first few issues of A+X were a bit rocky and uneven, these most recent two chapters have been milking the team-up concept for all its worth.

After an early string of issues wherein only one of the two tales managed to live up to the premise, this is the third issue in a row where both segments are worth the price of admission. Judging from the newest solicits, Marvel doesn't appear to have any intention of wrapping up this book. And why should they at this rate?

The CG art style is interesting, showcasing what a Pixar or Dreamworks-animated Marvel movie might look like. The downside to this is that there's little storytelling flow from panel to panel since the story consists of so many splash pages and large shots. But on the other hand, the artists do an admirable job of giving the figures a sense of fluidity, something that is all too rare with CG artwork.

While certain details regarding the nature of this team and their connection to the old marvel Universe remain unclear, A-Force #1 marks a worthy debut for Marvel's newest team book. It's fun and fast-paced, but also features great characterization and clear ties to the larger framework of Secret Wars. Marvel picked a solid creative team for this series, and it's already paying off.

A.D. is every bit as compelling a comic as one would expect from a Scott Snyder/Jeff Lemire team-up. It's intensely emotional, beautifully rendered and very diverse in its presentation. It does seem like the story would have been better served as a single graphic novel, but at least readers don't have to wait long for the next chapter.

I do wish the creators had emphasized sequential art over illustrated prose a little more with this book, but regardless of approach, A.D. works as a very intimate, very emotional look at a man finally coming to terms with death.

This comic manages to look both gritty and sentimental at the same time. Those few moments of supernatural horror stand out all the more because they're employed so sparingly. In short, this is a series worth following.

One of the benefits of following Mike Mignola's Hellboy universe is that even the spinoffs are generally worth reading. Abe Sapien: The Abyssal Plain doesn't break that trend. Mike Mignola and John Arcudi offer a tale less overtly steeped in horror and more plain creepy as Abe dives deep below the surface to seek out a lost artifact inside a sunken Russian sub. Peter Snejbjerg doesn't always capture the foreboding tone of his surroundings as well as he could, but there are some shots worth admiring. Those hoping that Mignola and Arcudi will shed new light on Abe's past might be disappointed, but the hero stands tall on his own once again. And those who just want more of those traditional clashes with monsters and demons should have their thirst quenched in issue #2. Though not an essential read, Abyssal Plain is just one more worthwhile and accessible entry in the increasingly vast Hellboy-verse.

Naturally, Johns's story achieves a similar level of success. I really enjoy the looming sense of peril Johns is slowly building up. It's comparable to what Morrison is doing with Final Crisis, except simpler and.. you know... better. It's hard to ignore the feeling that something truly terrible is going to happen to Superman's loved ones, something that will likely kick off New Krypton at the end of the year. If this issue's story has any weak point, it's simply that fact that it doesn't move as quickly as I'd like. Johns spends the first half in the shadows, allowing Gary Frank's art to do all the talking. I really can't blame him for that, and yet I can't help but want more. This is, without a doubt, the best in-continuity Superman tale in a very long time. I'm always going to want more.

The simple fact that an issue like this is taking place so late into "New Krypton" leaves me seriously worried about the overall impact of the crossover. At this point Johns and his collaborators have precious little time to accomplish what they set out to do. Forget matching the impact of "The Sinestro Corps War," at this point I'm just hoping for a crossover that doesn't fizzle out.

Diego Olmos handles the pencils in this issue. It's nice to have one single artist handling the interior, at least. Olmos is no substitute for Barrows, but he's pretty competent in his own way. His pencils are a little more grounded and in keeping with Rucka's espionage flavor. In the quieter story segments and those focusing on human characters, Olmos is a solid fit. His page layouts and overall storytelling are fluid and easy on the eyes. On the other hand, his figure work is a little underwhelming, and this really starts to drag the book down in the more action-oriented sections. Olmos is a good match for Rucka, but not necessarily a good match for Action Comics.

Crossover is increasingly becoming a dirty word in the industry, but it doesn't have to be. So far "Codename: Patriot" is a strong example of how to do these stories properly.

This wasn't a bad finale by any stretch. All the same, I look forward to seeing Nightwing and Flamebird become more actively involved in the greater franchise over the next month. Anything after that remains to be seen.

Sholly Fisch delivers another backup feature to complement the main tale. Interestingly, this story delves into Morrison's ongoing mythology much more than these backups have tended to in the past. Fisch doesn't focus on Superman here, but rather the origins of the Captain Comet/Neo-sapiens subplot from recent issues. Again, this material isn't necessarily that vital, but it adds a bit of color to previous stories. It's nice to have one issue that slows down the breakneck pace of the series and focus on the characters before Morrison begins his final push.

In short, the larger plan for this book is beginning to come together, and it all seems promising. Is there any chance Action Comics can find a more timely and consistent art crew now?

Finally, the backup story is an enjoyable read. It too focuses on Earth-23 Superman on a slightly smaller scale adventure. Writer Sholly Fisch explores the sometimes conflicting responsibilities a president/superhero faces and suggests the character is headed for a reckoning at some point in the future. If that means more of the character in Morrison's run, I'm all for it.

Though Nimrod himself turns out to be a dud, he does facilitate an interesting twist that could have a profound impact on the Superman franchise depending how far Morrison chooses to push it. Even when this series stumbles, it remains an ambitious and exciting reinvention of the Man of Steel.

Finally, Sholly Fisch delivers a backup story about the man who supposedly crafted Superman's T-shirt. The story doesn't complement the main feature in the way these backups have tended to, but it's an enjoyable read nonetheless. CAFU's artwork is as slick and expressive as ever, and it's a shame the rest of the book doesn't look this presentable.

The problem with this finale chapter is that certain threads are wrapped up too quickly and neatly. There's the aforementioned Captain Comet sendoff, but more annoying is how little the Johnny Clark persona amounts to in the end. Superman's identity crisis had far more potential to explore, but it seems there just isn't space to continue along that path. Meanwhile, a last-minute character reveal could have used a bit more room in the script. Overall, this series just doesn't seem to have the room to expand to its full potential, nor the visual consistency it really deserves.

The backup feature this month ranks among the better efforts from Sholly Fisch. Part of this is thanks to artist Chris Sprouse, who takes to Superman like a fish to water. But the script is heartfelt in its own right as it explores the last meeting between Clark and his father. The time travel aspect makes it a bit redundant in light of Morrison's All-Star Superman #6, but it works well nonetheless. The only problem? An editor's caption explains that the backup is meant to take place after Action Comics #18. Clearly the last-minute addition of that final chapter messed up the flow of the series, but couldn't this strip have been saved until then?

Sholly Fisch and Chris Sprouse also return for one final back-up story. As mentioned, it isn't closely tied to Morrison's story, but it does tackle the idea of Superman from a different angle as it explores how a boy in the far future is inspired to stand up to a bully thanks to the Superman Museum. It's a little formulaic, though Fisch spices up the tale by cutting out all dialogue and using sound effects from the Museum to convey information instead. And there's no reason to complain about Chris Sprouse drawing a Superman comic, even if Superman himself is present only in spirit.

But if nothing else, the "World of Krypton" backup feature holds some entertainment value. Though also burdened by excess dialogue at times, this segment features much sharper plotting and pacing, as well as some unusually detailed and energetic art from Philip Tan. It's enough to make you wish the backup feature could replace the main feature.

Aaron Kuder's artwork perfectly matches the charming tone. His style is a little less focused on superheroic action and spectacle and more on unique character designs and overall energy. His facial work suffers a bit whenever the figures are framed from an angle, but otherwise Kuder brings a vibrant, slightly more cartoony look to Superman's world.

And more and more, Aaron Kuder emerges as just the right artist to bring that eclectic blending to life. His work is expressive and dynamic, focusing less on big muscles and pretty faces and more on unique creature designs, quirky facial expressions, and awesome displays of Superman's might. I can't wait to see what these creators have in store for Superman as this run continues to unfold.

The art in this issue is also easy on the eyes, despite the fact that Aaron Kuder doesn't illustrate every page. Kuder's work is as expressive and dynamic as ever, but guest artist Karl Kerschl also manages to impress with some intricate, jaw-droppingly gorgeous underwater scenes. Where can we sign up for more of that?

Pak offers a satisfying blend of introspection, JLA dynamics, and good old superhero action in this chapter.

Unfortunately, Aaron Kuder doesn't pencil this issue, instead making way for Scott Kolins. Kolins proves to be a perfectly decent replacement, however. His slightly cartoony style offers a similar vibe. Kolins renders the big action scenes well, though his facial work isn't quite as expressive and varied as Kuder's tends to be. Still, it's a vast improvement over Superman #31's rapid-fire switching between artists.

"Doomed" is always at its best whenever it passes through Action Comics. It's almost a shame it's not confined solely to this title.

The main appeal with this issue is seeing Aaron Kuder back on board as artist. Kuder's expressive style has been as integral to this series' newfound success as Pak's writing. And despite the generally cartoonish quality of Kuder's art style, he's able to perfectly match the darker tone of this story. This arc could be a showcase for Kuder's superhero versatility.

It's also nice to have artist Aaron Kuder back in the saddle. This may just be Kuder's best issue of Action Comics to date. The sheer amount of visual variety alone makes this a blast to read. Kuder's typically expressive characters are in full effect, but he also has the chance to cut loose and design some really horrific and hyper-detailed monsters. On top of that, a brief flashback to Clark and Lana's childhood allows Kuder to tap into a different art style. It's like a blend between Kuder's cartoony approach and the sentimental paintings of Norman Rockwell.

Action Comics #39 caps off Pak's post-Doomed story arc in very satisfying fashion. It has less to do with the horror elements or Pak's new take on Ultra-Humanite at this point. The emotional core of this issue is what makes it thrive.

This issue offers a rousing conclusion to the current conflict, one that plays well on Clark's more vulnerable state and the way he continues to inspire those around him. Aaron Kuder's expressive yet down-to-earth style seems to suit the book more than ever given all these changes. Unfortunately, the story loses some of its punch as this issue wears on.

Pak is great about exploring Clark's new status quo and his unflappable optimism in the face of one defeat after another. But as far as molding Wrath into a compelling villain? Not so much.

Pak strikes a balance between letting Clark's darker side come out while still respecting the fundamentally good man beneath. If anything, this reads less like "Evil Superman" and more like a weary hero finally getting the chance to cut loose and enjoy himself again.

It's unfortunate that such a talented creative team is forced to wrap up their Superman saga as cogs in a bigger machine, but Pak and Kuder make the most of their final issue of Action Comics. This issue is a rousing celebration of Superman and his supporting cast. The mish-mash of artists leads to a visually inconsistent issue, but Kuder's pages are worth the price of admission all on their own.

Pete Tomasi's "Final Days of Superman" storyline continues to be a breath of fresh air in terms of Superman's characterization. As the Man of Steel confronts his own mortality, he suddenly feels more like classic Superman than he has in a long time. Unfortunately, that characterization isn't enough to save this issue from its various storytelling missteps.

At this point "The Final Days of Superman" will go down in history as a flawed crossover at best. In some ways, it's just the shot in the arm this franchise needed. In other ways, it suffers from the same problem so many Superman crossover have in the past - poor pacing and too much exposition among them. Still, there's enough that works in this issue to suggest that Tomasi is the right creator to take over the relaunched Superman comic this summer.

On the whole, this uplifting story is a nice change of pace from the generally darker world of Futures End.

It's good to have a classic-numbered Action Comics back on the stands. This first issue doesn't completely live up to its potential in terms of Lex Luthor's role in the series, but it does offer a fun blend of old and new Superman elements as Superman and Luthor butt heads in front of Metropolis' residents. This issue looks great, and the series shows potential to keep building on the crazy twists and turns already brought about by DC Rebirth.

It's unfortunate that we're barely a month into DC Rebirth and fill-in art is already becoming more common. But in this case, Tyler Kirkham's work stands out because it's so different from Patrick Zircher's rather than because it's poorly suited for the story Dan Jurgens is telling.

Action Comics #1000 isn't without its disappointments. A lackluster plot twist prevents Brian Bendis' first DC story from making the impact it should, and in general the short length of these stories tends to limit their scope. Still, there's a lot of heart in these pages, and no shortage of gorgeous artwork. It's impossible not to be moved by the many loving Superman tributes these creative teams have put together.

Writer Nick Barber is able to strike a balance between innocent, old-school spycraft and a more grounded, real-world-influenced take on the franchise.

The only real complaint worth registering about this issue is that it costs a dollar more than it would to download the three chapters digitally. But to be fair, it does offer at least as much content as any normal $3.99 comic would. Whichever viewing method you choose, this is a series that all Superman lovers need to be reading.

Age of Apocalypse is a solid book all around in its debut issue, but it has plenty to prove in the coming months. Does this particular alternate universe have enough legs left to carry an ongoing series? Will the X-Terminated continue to hold their own alongside the other cast members? Again, time will tell.

Renato Arlem adeptly handles the visual side of things. He creates a look of a world wracked by years of war and suffering that equals the tone established by Roberto de la Torre. And if anything, Arlem's facial work is more defined and nuanced, which is key in an issue like this where the dialogue-driven scenes take center stage. I'll be sorry to see this series end, but crossover or not, I have little doubt Lapham and his artists will manage to deliver the finale saga Age of Apocalypse deserves.

The artwork is sold this month, with Renato Arlem tackling the bulk of the issue and Valentine De Landro handling the bookend pages. Both capably channel Roberto de la Torre's gritty, noir-esque style. It's a style that somehow works even though the tone and locations are comparatively cheery in this issue. One complaint, though, is that some characters are a bit harder to recognize now that most of them have ditched their costumes for civilian attire.

This issue has two pencillers. Andre Araujo handles the scenes set in the 616 universe, while Renato Arlem lends his usual touch to the AoA universe. It's good that the story allows for such a logical separation of content, but the two artists are so completely stylistically different that the constant shifts are still jarring. Araujo's style is attractive in its own kooky way, but not necessarily dark enough to suit the tone of this story.

And therein lies the core problem. Age of Heroes doesn't offer enough bang for the buck. $3.99 is too much to ask for four short stories, only two of which are of significant length. If both of the longer stories were of equally high quality that might help to justify the price, but they aren't. And in a week with so many promising new releases, it seems particularly hard to recommend an anthology book that can't offer full value and consistent quality.

As nice as it is to see Bryan Hitch working in the Marvel Universe again, his work isn't as consistent as I would like. The landscapes and environments tend to be more impressive than the actual figures. Hitch creates a powerful sense of mood as he renders cities where buildings have crumbled and corpse-ridden vehicles litter the streets. But the figures suffer from many of the same problems Hitch's work so often displays lately. Characters seem to have chronically dislocated shoulders with the unnatural way their arms bend. Facial work is riddled with stray, haphazard lines. The latter quality is something that the inking should be able to fix, but instead Paul Neary's inks only highlight the unnecessary lines.

The inking becomes a major problem at times, as it routinely fails to accomplish its basic purpose -- to lend weight and definition to the pencil lines. The inks are so scratchy and haphazard in some pages that I'd rather Marvel had just skipped that step entirely and released this series with plain penciled art.

This is Bryan Hitch's penultimate issue of the series, and at this point there's little left to be said about his artwork. His various landscape shots look great. He crams ample amounts of detail into his ruined cityscapes and other environments. He paints an equally bleak picture of a Savage Land gutted by apocalyptic warfare. The many wide shots lend the book a generally cinematic, event-worthy feel. But his figures never benefit from the same sense of consistency and vitality. Background figures and panels that feature a large assortment of characters are much more loose haphazard. One odd quirk with this issue is that the interior art and cover alike make it obvious that Luke Cage wasn't originally drawn with hair. His hairdo looks scribbled on at the last minute.

As mentioned, this is Hitch's final issue, and his work continues to show the same strengths and flaws as before. At the very least, issue #5 offers more diversity and allows Hitch to zoom in on a few key characters rather than tackle group shots of the Avengers. The detail in his figure work bumps up considerably in the flashback pages and any other page where the camera is zoomed in. But in general, this is still a familiar example of how Hitch's landscapes and environments outstrip his character designs. And as has often been the case with Hitch's Marvel work, there are certain objects and shapes he seems to struggle in rendering properly, most notably Iron Man's helmet. At this point, a visual refresh might not be such a bad thing.

Honestly, my one real complaint with the story at this stage is that the future timeline feels almost incidental when held next to the past. Most of the dramatic impetus falls on Wolverine now. There's fighting and even death in the future, but the death only highlights the fact that much of this story will be wiped away by the finale issue. There's no longer any doubt as to whether Age of Ultron will have lasting ramifications for the Marvel Universe, but we need to see more of this future realm and Ultron himself before it becomes clear whether those ramifications extend to all angles of the story.

Perhaps we'll find that this new alternate setting really is crucial to the development of Age of Ultron. But with the finale fast approaching and still no sign of the titular villain, it's difficult not to feel that the series is back to dragging its heels.

The artwork is equally haphazard in this issue. Brandon Peterson handles the entire comic, having temporarily transitioned from Ultron's digitized future to this dystopian present. The story is the same as it has been. Some of Peterson's pages look spectacular, especially with the big action sequence as le Fay's armies attack and Stark's Helicarriers begin crashing out of the sky. But Peterson's facial work is too often stiff and jagged. Not that a harsh look is ill-suited to this new landscape, but the emotion of the script is too frequently lost in a mishmash of lines and shadows.

As for Pacheco, his work is a little flat and lifeless compared to previous chapters. The muted color palette of the past-era scenes, while a clever way of calling back to marvel's Bronze Age past, doesn't do enough to bring life and depth to the pencils. Pacheco's storytelling also comes up short in certain scenes. One page shows a panel of Wolverine sneaking up behind Invisible Woman, followed by another where she's lying on the ground unconscious and he's off on his merry way. This entirely physical exchange falters because it lacks sequential flow.

Each sequence is less story and more teaser ad, culminating in a single page spread extolling readers to buy the book in question. Between these sequences and the multiple pages reprinted from Avengers #12.1, it's fair to question why Marvel still charged $3.99 for this comic. The actual Ultron conflict is more or less forgotten by this point. None of the immediate fallout is explored, because as far as this issue shows, there isn't any. The focus is all about the next wave of events and tie-ins. As much as I resented Fear Itself #7 for losing sight of its own story in favor of setting up future books, Age of Ultron #10 is worse.

There are a few odd quirks in this story, such as when Pym looks to the battle with Loki in Avengers #1 as his life's crowning achievement. But regardless, this is a fun read and, like with Avengers Academy before it, a welcome change of pace for such a normally glum character. The larger problem is that this issue gives too little indication of what to expect from Sam Humphries on Avengers A.I. next month. Will he retain this fun and lighthearted approach or strive for something different? That remains to be seen.

This series succeeds in shining a light on one of the more compelling regions of Battleworld and those unlucky few who call the Deadlands their home. However, this first issue is unfocused and doesn't offer a clear sense of what the book's core struggle will be.

This issue certainly establishes the stakes, though it spends a little too much time exploring the history of Salvation's defenders and poking fun at Hank Pym's "Aw, shucks!" shtick than fleshing out either Ultron's faction or the Marvel Zombies.

Unfortunately, after all this build-up the climax is too abrupt for its own good. This issue really could have used a couple extra pages to help give the conflict the finish it deserved.

It's always nice to see Peggy Carter given the spotlight in Marvel's comics, but this issue didn't do much to further her story or take advantage of the team-up with Lady Sif. The underwhelming conflict, and especially its poor resolution, take the wind out of this book's sails.

The backup story, set in the original era of the team and guest-starring Wolverine, is more along the lines of what I want from this book. It's humorous and filled with plenty of sci-fi B-movie cheesiness. It even manages to use its Wolverine appearance to great effect, which is not a particularly common occurrence in these types of stories/ Even the retro-flavored art style seems more suited to the tone of the series. To be fair, I think Carlo Pagulayan turned in some great work with this issue. Particularly thanks to the coloring of Jana Schirmer, his pencils pop in a vibrant way they haven't in some of his recent work. I just find Benton Jew's style to be more along the lines of what this book can and should be. Agents of Atlas shows great promise in its first issue. I'm really just hoping that the book can move from underneath Dark Reign's shadow as Captain Britain did and establish itself as something truly unique in Marvel's catalog.

Once again - gun-toting apes. Flying saucers. Talking dragons. Buy this book. You're only robbing yourself of great amounts of fun.

Agents of S.H.I.E.L.D. the comic doesn't do much to live up to the legacy of the TV series. The cast may be similar, but the comic has no clear sense of purpose of a compelling conflict to propel these characters forward. Hopefully that will come with time and we'll see the comic make strides as great as the show once did in its troubled early months.

M.K. Perker is another source of mixed emotions for me. I love his page layouts. Though he relies on a very traditional six panel structure, Perker's work is compelling and easy on the eyes. I only wish his figures were able to measure up. Thanks mostly to his flat, uniform inking style, the characters stand out in odd ways, almost like they were carved out of wood. This was a problem in Cairo as well, but it only becomes worse through the addition of color. I don't know if a separate inker would be able to turn things around, but I'd like to see vertigo give it a try. Air certainly has potential, but it really needs to be held on the runway for maintenance right now.

Still, this book has improved significantly in just one month. I'm hopeful that it'll continue to do so as the main conflict becomes more clear. We still have a long flight ahead of us, after all.

Air has the potential to be something really great. For the time being, though I feel that the series is still struggling to find its rhythm. Call it some early flight turbulence if you like.

I can see potential in this series. Arcudi and Howard are both talented. The problem is that neither creator really put their talents to good use in this issue. Hopefully that will change soon.

This newest Aliens comic got off to a very rocky start, but it seems to be doing pretty well for itself now. I'm disappointed we don't have an Aliens book that looks more like an Aliens book should, but at least it satisfies all those baser desires for blood and gore. Perhaps it satisfies them a little too much...

Though his review of issue #1 was generally positive, Tim ultimately lamented the fact that his inner 10-year-old wasn't tickled by the plot of this book. I didn't find myself disagreeing with him at that stage in the game, but now Jesse Jr. is feeling quite happy and stimulated. And I'm only expecting this story to get more bloody and exciting from here.

The only real weakness in Stradley's final issue is spotty pacing. Certain scenes deserve more room to breathe than they are given. The ending in particular could have sorely used an extra page or two. Unfortunately, Three World War is too flawed to achieve true greatness, but it still provides ample entertainment and leaves the door wide open for future stories. With any luck, Dark Horse will pursue more sequels to this saga. If I can't count on the movies to do this concept any justice, I'll gladly settle for more comics.

The idea of Vampirella battling Xenomorphs is definitely enticing, but this first issue does little to capitalize on the potential of this crossover. The best we can hope for is that the series will veer away from formulaic Alien tropes and make better use of its heroine in future installments.

Even if Alien: Covenant fails to live up to its promise, at least fans of the franchise are getting one worthwhile Alien story this spring. Dead Orbit is an excellent throwback to the original film, focusing on claustrophobic horror and dread rather than action and spectacle. This is what happens when you give a talented storyteller the reins of a beloved franchise and simply let them go wild on the page.

Oddly enough, this comic is at its least successful when it comes to channeling the tone and horror of the Alien franchise. Between the outdoor jungle setting and the sudden segueways from character interaction to Xenomorph attacks, there isn't room for the sort of creeping, claustrophobic tension you find in the movies.

The plot is basic and the characters pretty standard Aliens fare, but that doesn't mean the story isn't engaging. Dan Abnett taps into the survival horror aspect while also wrapping this first issue on an intriguing note.

Initially this series seemed like one of the safest bets of the All-New, All-Different Marvel lineup, but even after three issues it feels like there's something important missing.

All-New, All-Different Avengers is still struggling to find its footing as it transitions from its first story arc to the second. The art quality improve in this issue, and Waid's characterization of Thor is a highlight. Unfortunately, the general team dynamic hasn't come together, and little about the conflict in this series is very remarkable.

All-New, All-Different Avengers lacks a compelling villain right now, so it's good to see that the core team dynamic is becoming strong enough to offset that flaw. Waid's characterization of Vision alone makes this book worth reading, but the improving visual quality, the general team banter and the Ms. Marvel-centric material don't hurt either.

All-New, All-Different Avengers has made some clear improvements over the course of this first story arc. The general team dynamic is stronger, and the series is in a better visual place as well. Unfortunately, this issue still caps off the arc on a fairly underwhelming note. There are still flaws that need addressing, but with the Avengers Standoff crossover coming up it's not clear how soon that will happen.

Basically, it's the character drama rather than the action that distinguishes this series at the moment. That's partly because Adam Kubert's art in this issue isn't up to the book's recent standard.

Waid plays around with time travel in small, fun ways here, but the script doesn't make enough of an effort to explain what exactly is happening with Vision or why. The script is a bit choppy as a result, but it ultimately sets the team on two divergent but equally intriguing paths.

This issue has a very classic Avengers feel to it, while at the same time the "young vs. old" group dynamic and the low budget approach to superhero-ing give it a flavor all its own.

This current story arc is the first to really tap into what I was hoping for from All-New, All-Different Avengers in the first place, which is a combination of fun, old-school-style Avengers threats mixed with an unpredictable "rookie vs. veteran" team dynamic.

While ostensibly a Civil War II tie-in, this issue is more a launching pad for Jeremy Whitley and Elsa Charretier's upcoming series The Unstoppable Wasp. Which is just as well, as the script tend to be at its weakest when it attempts to draw in the events of Civil War II.

Because these stories needn't be constrained by logic anything can and does happen within these pages. I only wish the various creative teams had room to get a bit more in-depth with their epic fantasy tales.

Marvel's latest Captain America relaunch is off to a successful start. Remender and Immonen waste no time before diving in the action and showcasing Sam Wilson in action. This issue looks great, and the dynamic between Sam and his new partner help give the series some extra flavor. The Hydra conflict may be pretty basic for now, but there's every reason to expect this new series to develop into something special.

Rick Remender was wise to throw Sam into the deep end with this united Hydra enemy. It's allowed the hero to shine and stand well apart from the other characters to wield the shield.

If you need proof that Rick Remender is aware of the criticisms lobbied against Sam Wilson becoming Captain America, the first page of this issue will do the trick. Remender continues to demonstrate Sam's worthiness both in word and deed.

The strong writing keeps the story moving, even as the art and wonky perspective threaten to slow it down again. Visually, this comic can't really measure up to the core All-New Captain America book.

If you pine for the simpler, more innocent Archie Comics of yore, then Your Pal Archie is the comic for you. This new series offers basically the exact same take on the Riverdale crew that fans have seen from those grocery store digests for decades. Simple, innocent, all-ages fun, in other words.

As I was reading this issue, I did worry the premise would leave Doop marginalized within his own story too much. Do we really need five issues of him toying around behind the scenes of a completely different X-Men storyline? Luckily, the final pages deliver a major shake-up and promise that the mini-series will be shifting in a different direction. This is shaping up to be a very enjoyable and stylish addition to the X-Men franchise.

t's unfortunate to see David LaFuente joined by a fill-in artist in this issue, but the good news is that Jacopo Camagni is able to adhere to LaFuente's distinctive aesthetic and slip in and out of the issue with a minimum of fuss.

Needless to say, the book remains as entertaining as ever. And it's great to see Milligan making use of his old X-Statix cast as well. There's even a tease at a possible X-Statix revival. But it does feel like this book has lost sight of its original conceit - exploring how Doop appeared 'in the margins' of Battle of the Atom. Not that this change in direction is even a bad one, but the book does feel unfocused.

Time will tell if All-New Ghost Rider can find more sales traction than the previous book. But at least the new creative team are off on the right foot. All-New Ghost Rider offers an engaging, accessible entry point into the franchise that doesn't trip over itself trying to introduce the new hero. And in the tradition of new series like She-Hulk and Moon Knight, the unique visual style immediately sets this Ghost Rider apart from the ones that have come before. Hopefully this series can only get better as the creators work through the origin story and further establish Robbie's world.

It's easy to ridicule this new take on Ghost Rider based on the hyper-stylized art and the fact that he doesn't drive a motorcycle, but the series is coming along nicely. Tradd Moore's art is easily the biggest draw still, packing enough energy and expressive character design to fill three or four normal comics.

All-New Ghost Rider's first story arc wraps up with a finale that focuses more on action and spectacle than providing firm answers or explaining the new hero's true connection to the Ghost Rider mantle. But with an artist like Tradd Moore rendering the book, would you want something different?

Felipe Smith's second story arc sees Robbie settling into his role as a supernatural avenger. And everything is coming up Robbie lately. He's making good money by using his Ghost Rider powers to win races. He's able to spend more time with his brother. The only one not happy in this equation is his spectral partner Eli. Above all, this issue is great at building a sense of dread. Everything in Robbie's life is so positive that it's obviously going to collapse on him sooner rather than later. The question is how badly. Robbie is still very early in his hero's journey, and he has yet to learn the important lesson about power and responsibility (something Smith acknowledges in a very direct way here). The conflict Smith begins building isn't all that memorable aside from a purely visual standpoint, but clearly bigger things are brewing underneath.

The dynamic between Robbie Reyes and his younger brother has become far more compelling thanks to the latter's recent personality shift. Couple that with dark new revelations about Robbie's ghostly partner and its plans for the two brothers, and the drama is really mounting.

All-New Ghost Rider is another All-New Marvel NOW title reaching a premature end. To his credit, writer/co-artist Felipe Smith doesn't try to close the book on Robbie Reyes or wrap up every single loose end in these 20 pages. This issue reads more like the end of an arc than a series finale.

Marvel's relaunched Guardians comic isn't quite as different as its title would have you believe. In fact, it pushes the franchise in an even more movie-inspired direction. But it does offer plenty of fun featuring Star-Lord and the gang., as well as a terrific sense of visual style. For now, that's enough.

This issue may raise more questions than it answers, but those questions are more than enough to hold the reader's attention. The fact that this issue also goes a long way towards showcasing how this series will diverge from the movies rather than echo them certainly doesn't hurt.

No, this isn't a flawless debut for the latest Invaders revival. But I can forgive this issue's storytelling missteps in light of the sheer ambition and fun already apparent in the story. Robinson and Pugh aren't simply dusting off an old team and coasting on a wave of nostalgia. They're trying to do something distinctly different with the Invaders, and that alone is enough to capture my interest.

For this series' Original Sin tie-in, James Robinson has revealed that the Invaders failed to stop the dropping of the atomic bombs that ended WWII. That premise is a lot more interesting than what is actually delivered in issue #7.

It's a little weird that this issue has no connective threads or build-up to Orginal Sin, especially considering that the first Point One issue teased Original Sin over two years ago. But that aside, this issue is well worth the price of admission, and serves as a strong showcase for Marvel's 2014 lineup.

Depending what you're looking for in All-New Ultimates #1, you may walk away disappointed. This is less a replacement for the classic Ultimates team and more an extension of Ultimate Spider-Man. But while this first issue is held back by some strange storytelling choices and a generally choppy script, at least it tries new things and doesn't come across as just another in a long line of teen superhero comics. It adheres to the promise of the Ultimate Universe being a home for new and unexpected kinds of stories.

I really wish I could enjoy this series, based both on Michael Fiffe's pedigree and the great work that was done setting up this team on the previous volume of Ultimate Spider-Man. But All-New Ultimates continues to disappoint after six issues.

But to his credit, Fiffe caps off a solid character arc for Bombshell. Lana has emerged a stronger and more fully realized character thanks to this series. The decision to frame this arc from her viewpoint was an inspired one. The final few pages focus on Lana and the rest of the team bonding as a family unit, and they reinforce the great dynamic uniting these heroes. It's a shame the book never built a more engaging conflict around that dynamic, and that this may be the last we see of this particular incarnation of the Ultimates.

The Wolverine franchise has finally found its bearing, and all it took was a completely new character underneath that distinctive mask. This first issue is lean and fast-paced, tossing readers right into the heat of battle and proving the former X-23 worthy of inheriting the mantle of Wolverine.

There's a real momentum to this series even so early into its lifespan. Taylor's pacing is quick, but not to the point where he does the characters or conflict a disservice.

All-New Wolverine has the distinction of being the best of Marvel's new X-books so far. This issue continues that trend, as Tom Taylor digs deeper into the relationship between Laura and her clones and pits them against Taskmaster.

In the end, Strange's role in this book might be fleeting, but he offers a fun change of pace for the series while also helping to reinforce the bond between these "sisters."

The Janet/Laura team-up in this issue is fun to read (who would have ever expected Laura to don an Ant-Man suit and go cruising through a human body?), but the heartfelt bond between the new Wolverine and her sisters is where the real heart of this issues rests.

In the end, this issue accomplished exactly what the finale of an opening story arc should - it closes the door on one conflict while laying the groundwork for darker and more dramatic battles to come.

This issue manages to be silly, poignant, sweet and downright hilarious in equal measure.

Somehow this series manages to be the silliest and most entertaining of the X-Men line while simultaneously offering some of the deepest characterization.

You might as well ignore the "Road to Civil War II" banner, because this comic has no tangible connection to the events of that big crossover. What it does have is plenty of wacky fun and adventure as Laura literally climbs into the belly of the beast in order to rescue Old Man Logan from being digested by Fin Fang Foom.

All-New Wolverine's Civil War II tie-in arc is unfolding in the same way it is in so many other books. Ulysses has a vision about a specific hero, and then everybody panics. As has been the case from the start, however, it's the top-notch characterization that makes this book shine.

This issue closes out the brief arc well enough, but it does feel fairly underwhelming in the end.

The original "Enemy of the State" was a watershed storyline for Wolverine, influencing many stories that followed in the years to come. The hope is that "Enemy of the State II" will do the same for the new Wolverine. So far, this arc seems to be on the right track.

"Enemy of the State II" has yet to really live up to its predecessor. Conceptually, it's a fitting sequel, but the scope isn't really there yet.

This may not be the epic murder-fest the original "Enemy of the State" was, but maybe it doesn't need to be.

Much like the issue in the original "Enemy of the State" that focused on S.H.I.E.L.D.'s efforts to de-program Wolverine, this issue hinges on the attempt to break Laura's weakness to her control scent. The difference being that Taylor frames the ordeal as an introspective, even intimate battle that hinges on the sisterly bond between Laura and Gabby. It's a firm reminder that, for all the mistakes this series can make at times, Tom Taylor really knows how to write Laura Kinney.

It's a shame the art in All-New Wolverine #18 isn't more dynamic, because otherwise this issue manages to deliver a strong finish to "Enemy of the State II" and the first 18 months oft he series as a whole. It embraces positivity rather than darkness and it paves the way for a newer, more hopeful era for the new Wolverine.

All that really matters is that the new status quo allows both Laura and her younger sister Gabby to serve as superhero partners. Their relationship continues to be the driving force of the series and the main reason All-New Wolverine is one of Marvel's most purely enjoyable superhero comics.

This series made such a strong impression early on thanks to David Lopez's art, and it's never been able to meet that standard since.

In terms of plot, this new story arc is far from the most remarkable we've seen on All-New Wolverine.

This issue continues to mine gold from the wonderful Gabby/Deadpool partnership, while also making the most of Laura's new team-up with the Guardians of the Galaxy.

Tom Taylor and Leonard Kirk continue to make the most of the Wolverine/Guardians of the Galaxy team-up here, even using character traits like Drax's newfound pacifism and Rocket's hatred of animal lab testing to their advantage.

There's some concern that the series is treading into overly familiar territory as Tom Taylor again digs into Laura's tragic past. However, the addition of Daken and the emphasis on lingering threads from the Wolverine Origins days does help to spice up the new conflict. And certainly, the unexpected cliffhanger promises to shake up Laura's world in a big way.

This series has received a real shot in the arm with Marvel Legacy. Part of that simply boils down to the change in artist. Juan Cabal's dynamic, expressive style gives All-New Wolverine a sense of energy it's been lacking lately.

I still have certain reservations about the "Orphans of X" (including their weird knack for taking down some of the biggest heavy-hitters in the Marvel U), but overall things continue to look up for this series.

If all you want from this issue is a fun, goofy team-up between two of Marvel's most prominent heroines, you won't leave disappointed. This comic looks great and delivers a steady stream of body-swap comedy. But given how well the main series has managed to blend humor and emotional drama, it's disappointing that the annual feels so light and inconsequential by comparison. There's too much missed potential with this crossover.

Carmine Di Giandomenico provides a new look and feel to go with the new direction and status quo. Everything is light and angular, befitting a corporate-led mutant team. Di Giandomenico's storytelling shines best early on, during Gambit's botched robbery attempt. The coloring is the one visual flaw right now. Between the wardrobes and odd lighting choices, characters often appear almost monochrome in many panels.

While the story quickly heats up this month, the pacing does seem almost too fast for its own good (especially considering the pointless opening sequence). But between David's characterization and Carmine Di Giandomenico's expressive art, there's plenty to like here.

The current X-Factor storyline has definitely picked up the pace, though not quite to the point where it proves detrimental to the plot like it did last month.

As much as All-New X-Factor has read like a clean break for the team from David's past work, this material really bridges the gap between the old and the new and furthers Pietro along the path to redemption. It's a rewarding read after a decade of seeing Pietro stumble and fall.

With this series due for cancellation in a couple months, it's good to see that Peter David isn't letting this AXIS tie-in derail the book's momentum or the focus on character relationships.

Even the temporary (I hope) loss of Immonen can't prevent this new series from firing on all cylinders. Bendis is weaving a very engaging tale that celebrates the long history of the X-Men while also managing to appeal to people who have no prior attachment to the characters.

Stuart Immonen remains on board in the aftermath of Battle of the Atom. Naturally, his work is clean, engaging, and visually dynamic even though the script involves little more than talking heads. His art is as much responsible for differentiating this series as any other element. It's good to have a less stylized and more traditionally superheroic look at Cyclops' faction of mutants to offset the art in Uncanny X-Men.

All-New X-Men #19 isn't a bad comic, though the art frequently leaves a lot to be desired. It's more that this series is lacking in the excitement and ambition that defined it prior to Battle of the Atom. Hopefully that will change quickly enough when the crossover begins.

Perhaps this new Stryker will eventually emerge as a worthwhile X-villain. There's little doubt after this issue that Bendis has plenty more planned for him. But for now, I'm just as happy to move onto the big Guardains of the Galaxy crossover storyline.

But the good news is that Stuart Immonen is back on board as artist. Given how rushed Battle of the Atom was towards the end, it's been a while since we've seen Immonen in top form with this series. His talent for rendering epic action and expressive, emotional figures is as impressive now as it was at the beginning of All-New X-Men. Immonen is in good company as he works alongside Sara Pichelli with this crossover, and I'm eager to see the final product collected in one package.

Not to mention that Stuart Immonen is delivering some amazing visuals. Bendis' script gives Immonen a wide variety of material to work with. There are intimate emotional scenes that hinge on facial work. There's slapstick, comedic banter. There's epic space warfare and explosions abound. If we've learned anything from this crossover so far, it's that there's nothing Immonen can't draw impeccably well.

The issue manages to function on a deeper level thanks to Stuart Immonen's art. Immonen has been on his A-game all throughout this crossover. He's able to convey a great deal about Jean's emotional turmoil through his bold page layouts and nuanced facial work. Similarly, Immonen is able to convey a great deal about Oracle and her conflicted role in the story simply through facial work.

And the varied artwork helps a great deal. I don't know that this is "the greatest artist roster ever assembled" as the cover proclaims, but it's a mighty fine assortment either way. The issue features a nice mix of classic X-Men pencillers (Art Adams, Paul Smith) and artists you wouldn't normally expect to see on a Marvel book (Bruce Timm, Jill Thompson). These artists contribute a variety of splash pages and more traditional sequential work scattered in among David Marquez's framing sequence, with the overall flow and effect working better than the similarly focused Ultimate Spider-Man #200 from last week.

All-New X-Men is always at its best with Stuart Immonen providing the art. This issue allows Immonen to tackle a wide range of material, from a dramatic birthing scene to dimly lit, underground battles to neon-drenched scenes of the future Marvel U. Maybe none of the material is quite as epic as what we saw in the "Trial of Jean Grey" crossover, but who knows where this arc will venture before the end?

And once again, Stuart Immonen is at the top of his game. His work takes on a slightly darker tone than usual with this arc, especially in the shadowy future scenes as the Brotherhood plot and scheme. The constant back-and-forth in the script helps keep the story humming along, and Immonen's shadowy scenes frequently open up into widescreen displays of psychic fury. That Immonen can keep up this level f detail and craft coming right on the heels of the "Trial of Jean Grey" crossover is very impressive.

Issue #29 also serves as Stuart Immonen's swan song on the book, unfortunately. His vibrant, dynamic art will be sorely missed. This issue does show a few rough edges in terms of loose facial details and such, but that's to be expected considering how many pages Immonen has tackled in recent months. He still brings an awesome sense of scale and drama to every page, and the interplay between the real world and the psychic plane helps distinguish this issue even further.

It's unfortunate that the ending sequence has to come along and kill the groove the issue had achieved. Bendis finishes the story with a rehash of a scene from Uncanny X-Men #23. It feels out of place and not terribly relevant to the other story segments.

Mahmud Asrar makes the jump from Wolverine and the X-Men to illustrate this arc. It's a bit of a thankless job considering the impossibly high standard artists like Stuart Immonen and Sara Pichelli have set. Asrar's art isn't on that level in terms of energy or refinement, but he does a respectable job of maintaining the series' aesthetic. Some pages look great and feature bold action, while others suffer from loose details or reused panels.

Mahmud Asrar has some stiff competition with this book, coming on the heels of greats like Stuart Immonen and David Marquez. But he's also coming into his own as a Marvel artist. Some of Asrar's pages are dynamic and detailed enough that it's almost tough to tell Immonen ever left. The Iceman scenes in particular showcase Asrar's storytelling abilities. Other pages never hit that level, though, and at times his facial work is too muddy and simplistic to keep up with Bendis' dialogue-heavy approach.

There's a sense that Bendis is offering the Ultimate X-Men one final moment of triumph before Secret Wars swoops in and upends their world for good. Speaking of which, a number of teases in this issue call to question just how directly this arc is setting up the events of Secret Wars. But more intriguing is a development at the very end that looks to dictate the course of this series in its final months.

Brian Bendis uses this issue to explore one of the more oft-ignored character dynamics in his X-men run - Emma Frost and young Jean Grey. And even if this chapter does little to advance the larger plot, it's worth a read for that element alone.

But again, at least the art impresses. This issue does stand out in the sense that previous Black Vortex chapters did a solid job of adhering to the aesthetic laid out by Ed McGuinness in the Alpha issue. Andrea Sorrentino's style is a far cry from McGuinness'. That's a flaw in the greater context of the crossover, but on its own merits this issue really shines in the visual department. Sorrentino does cosmic spectacle every bit as well as gritty superhero drama. The transformed heroes especially stand out thanks to Sorrentino's striking figure work and the general surreal tone he generates. Brian Bendis may well have found his next great collaborator in Sorrentino.

Andrea Sorrentino's distinctive style may put him at odds with the rest of the artists working on this crossover, but on his own merits he's a great fit for this sort of cosmic drama. His dynamic layouts shine best during the scenes of carnage and destruction. During the more emotionally charged scenes, he brings a subtler touch that emphasizes body language and emotion. A lot is conveyed in simple looks between Kitty and Star-Lord or Cyclops and Jean.

All-New X-Men #40 offers an intriguing epilogue to Black Vortex, but the series needs more momentum now.

Basically, if you enjoyed Uncanny X-Men Annual #1 earlier this month, you'll get a kick out of this one, too. It remains a treat to see Andrea Sorrentino working his magic on the Marvel Universe.

Much of the appeal with this issue rests on the fact that it's Anka's first full-length sequential work at Marvel. He doesn't disappoint, bringing the same sense of energy and strong design work that have characterized his covers. The characters are simple but expressive, and the overall style manages to pay homage to the X-Men's Silver Age roots while still offering the sort of ferocious action you expect from modern superhero fare. We'll just have to see how well the crossover holds up as other artists tackle the remaining two issues.

All-New X-Men #1 doesn't race right out of the gate like the previous series did in its first issue, but this is an enjoyable debut all the same. Hopeless shows a strong handle on his cast of mutant heroes, while Bagley is right at home in this corner of the Marvel U. However, the needlessly slow pace and emphasis on team-building over plot do hold this issue back.

This issue continues Dennis Hopeless efforts to use the Blob conflict as a means of exploring each character's state of mind. That means there's a lot of clunky, ponderous introspection and not a great deal of plot progression.

Not only is this issue emotionally gut-wrenching, it's also very claustrophobic and unsettling thanks to to catacomb setting and the physical suffering Cyclops endures.

This issue serves as a transitional chapter as the books shifts from the opening conflict with The Blob and Toad to the events of "The Apocalypse Wars." Frankly, it reads more like a filler issue than an integral addition to the series.

All-New X-Men might just be the most vital addition to the growing Apocalypse wars crossover, given the fact that one of the core team members is a teenage clone of the world's oldest and most evil mutant. At the same time, it's unfortunate that this series is covering the same ground as its sister X-books.

This issue explores what happens when Evan buddies up with the teenage En Sabah Nur and realizes that even Apocalypse himself was once an ordinary, even loving boy. It makes for an interesting reality check, but this issue doesn't do much more than reiterate Evan's shock and confusion and chronicle the ancient Egyptian equivalent of a beach trip.

Though the Laura/Warren romance is a major focus here, it's actually the Laura/Scott dynamic that stands out the most. The two have developed an entertaining friendship under Hopeless' hand.

This series has had plenty of ups and downs, but at its best it showcases what's possible with such an eclectic team of teenage X-Men. This issue serves as a high point for Dennis Hopeless and Mark Bagley's run so far.

It's nice to know that some X-Men comics can still inspire excitement and anticipation.

The hope was that Dennis Hopeless would be able to wrap up his series on a high note in the aftermath of IvX. Sadly, that doesn't turn out to be the case.

This series is often at its best when it focuses on smaller, character-driven stories rather than trying to contribute to the mess that is current X-Men continuity. Even without regular writer Dennis Hopeless on board, this issue taps into that appeal.

It just doesn't feel right not having Scott Snyder writing Batman. This series fills the void that's existed since the end of Batman Vol. 2, but more importantly, it shows that Snyder still has plenty of tricks up his sleeve when it comes to the character. Plus, this issue is worth reading solely for the gorgeous visuals provided by John Romita, Jr., Declan Shalvey and the rest of the art team. It's just a shame this is the one Batman comic that isn't twice-monthly.

No matter how many great Batman comics DC publishes, Scott Snyder's work will always stand out. This issue offers a rousing road trip adventure, plenty of impeccably rendered action, dramatic foreshadowing of things to come and a dash of real world allegory to boot. All these ingredients combine to from an eclectic and very enjoyable Batman comic.

Throw in the return of a fan-favorite Batman character and an increased role for Duke, and this issue serves as a new benchmark for the still-young series.

Needless to say, a story that already felt plenty timely is only growing more so in light of recent political developments. But this issue also has plenty of brutal, hard-hitting action to offer as Batman's physical gauntlet grows more harrowing and The Beast re-enters the fray.

The Batman franchise really offers an embarrassment of riches these days. This issue succeeds in revitalizing a villain whose stock had plummeted in recent years, while also serving as a terrific reunion for Scott Snyder and his Detective Comics collaborators. It's just a shame Jock won't be sticking around longer.

If All-Star Batman were nothing more than an excuse for Scott Snyder to work with a who's who lineup of talented artists, the series would be well worth following, This issue offers a gorgeous take on the Batman/Poison Ivy dynamic courtesy of Tula Lotay. But there's plenty of depth to this story, to boot, as All-Star Batman continues to be a showcase for the enduring appeal of Batman's villains.

This issue finds a strong emotional hook in the way it explores themes of anxiety and self-doubt and forces Batman to question even fundamental truths about himself and his past. Giuseppe Camuncoli's art matches the story well, as he's able to transition from a relatively straightforward superhero style to something far more twisted and surreal over the course of this issue.

"Ends of the Earth" wraps with what is easily one of the strongest chapters of All-Star Batman to date. This issue manages to drag the Dark Knight out of his comfort zone even as it offers a powerful meditation on the end of the world and the power the Batman symbol holds to light the way in dark, confusing times.

I'm sure some readers will disagree with a lot of what I've said here. All I ask is that you consider what you really enjoy about this book. To me, All-Star Batman & Robin is a joke. Just because it lets you in on the joke doesn't mean you should be laughing along with it.

Artist John McCrea doesn't miss a beat with these characters. His vision of the Cauldron is both outlandishly cartoony and slathered in grime and grit. It's a very unique visual sensibility relative to the rest of DC's comics. McCrea crams in various visual gags as well, with the standout example being several homages to classic Batman artists like Neal Adams and Kelley Jones. It appears these homages were directly lifted from the old comics in question rather than recreated, but they're integrated in an effective and hilarious way.

John McCrea's art is great at channeling and enhancing the humor of Ennis' script. His pages are full of gritty, grimy charm and dynamic, almost Tex Avery-esque storytelling. But beneath all of the goofiness, there's not much of a story to be had with this book.

John McCrea's art shines once again, contrasting the high-minded heroism of Martian Manhunter with the gritty, grimy, downright filthy world that this team occupies. But now that we're halfway through this comic, maybe it's time to get the plot in gear?

Hopefully the writers will pick up the pace of the main story in issue #6, as reading about Hex and Arkham bickering and battling Bat people can only sustain the book for so long.

The Barbary Ghost backup tale proves entertaining in its final chapter, if also a bit rushed in its own way. Luckily, the story leaves room for more adventures with this unique Western heroine. And both the lead and backup features boast impressive visuals. Moritat delivers some of his moodiest and most consistent work of the series to date. And Phil Winslade's bold figures and striking imagery go a long way towards elevating the Barbary Ghost pages. Hopefully he can continue to play a role in this series as it moves forward.

Unfortunately, Moritat's artwork isn't really up to snuff this month. His style seems to vary quite a bit from month to month, and in this case it becomes far more loose scratchy, with flat characters that don't do enough to convey action and motion. The art in the backup feature is far stronger and more refined in comparison. Still, this issue goes a long way towards proving that All-Star Western has strong legs beyond the Batman connections.

All-Star Western is doing well for itself at the moment. The only question is whether the imminent Night of the Owls crossover will derail the plot or enhance it further.

On the plus side, the new backup feature this month is particularly memorable. The writers continue their Wild West-ification of modern DC heroes by offering up a new version of Doctor Thirteen. This take is basically an amalgamation of Sherlock Holmes and Teddy Roosevelt, which is every bit as awesome as that sounds. This segment has a fun horror vibe as Thirteen clashes with a Headless Horseman-esque villain named the Haunted Highwayman. Scott Kolins once again proves that his style is well-suited to the horror realm. Hopefully Doctor Thirteen can enjoy more of a lasting presence in the series beyond this short feature.

Fianlly, the writers wrap up their short revamp of Doctor Thirteen in the backup feature. The backup loses some of the fun factor it had in the previous chapter, as the story takes a decidedly grim turn. Even so, there's a lot to love about the idea of a Teddy Roosevelt-esque hero who battles evil with brains and common sense. Scott Kolins provides a bold, simple, but shadowy look for the story that suits the script well. More than any backup so far, I hope to see this Doctor Thirteen material return in a larger capacity down the road.

The current Tomahawk backup is notable not for the script, which is fairly by-the-numbers and a little overwrought at ties, but for the visuals. Phil Winslade delivers panel after panel of bold, energetic action. The strip looks like a lost relic of DC's classic Western era in many ways, but this is hardly a bad thing.

The Tomahawk backup makes up for the sporadic art quality, though. Phil Winslade's dramatic depiction of American Indian warfare is as gorgeous as anything you'll see in a DC book this week. The story here is nothing terribly special. But for a book where the visuals are too rarely a draw in either the main feature or the backups, this sudden boost in quality is welcome indeed. I'd love nothing more than to see Winslade take over the main feature for a while and give Moritat some time to focus on the finer details that his pages can often lack.

The backup feature is a bit more well-rounded. Here, Palmiotti and Gray introduce readers to the 19th Century incarnation of Stormwatch. The star of this opening chapter is that era's Century Baby, Jenny Future. As much as this backup could be viewed as a rehash of Demon Knights in a different time period, all that really matters is that it offers a fun blend of Wild West adventure and steampunk aesthetic. I'm very much looking forward to seeing this version of Stormwatch take shape in subsequent chapters.

The backup feature is particularly strong this month, as it always is when Palmiotti and Gray focus on Doctor Thirteen. If Teddy Roosevelt were a DC superhero, Doctor Thirteen is pretty much what you'd get. Entertaining in its own right, this segment also acts as a piece in a larger puzzle as the writers continue assembling the 19th Century incarnation of Stormwatch. The visuals in this segment aren't terribly memorable, but Thirteen's antics alone are well worth the price of admission.

Staz Johnson's pencils show a flair that is sometimes lacking in Moritat's work in the main story. Johnson offers up some dynamic page construction and framing that, coupled with the moody inking and coloring, effectively blend Wild West action with a more foreboding sense of horror. I'm eager to see where these backup features are headed once the full roster is finally assembled.

The shift to the present allows Moritat a chance to branch out a great deal from the usual dusty landscapes and seedy bar rooms of past storylines. Luckily, Gotham is seedy enough that his textured style is still a strong fit. As usual, there's a fair amount of discrepancy in the detail from panel to panel. Some panels see Moritat devote painstaking attention ti every scar and crag on Hex's face, while others feature characters that are little more than loose outlines. But when Moritat is on top of his game, he paints a picture of Gotham that's tough to beat.

Needless to say, the resolution satisfies. And Hex's adventures have never looked better thanks to the Cooke/Stewart team-up. Cooke is a master storyteller, and his clean, elegant line-work is every bit as home in the Wild West as it is rendering DC's heroic age or the seedy crime drama of the Parker graphic novels. If this series had to go, at least it was able to go out on a tremendous high note.

Fear Itself has done this new series no real favors. Luckily, it doesn't appear as though the book will be dealing so directly with that event after this issue, instead focusing on its own characters and conflicts. As long as that proves to be the case, Alpha Flight should have no problem living up to its full potential.

Bryan's Score: 2.0

More than anything, I'd like a few more answers regarding Spidey's new status quo. I've been compiling a growing list of questions regarding the many changes to his history which, at this point, could probably fill a novel. I need to know that Marvel isn't simply building towards a big "Spider-Man is really a Skrull" revelation later this year before I can allow myself to become fully invested in a promising but flawed new direction for the character.

The worst part is that, instead of taking more time to explore the Menace mystery in the next arc, we'll be subjected to yet another new villain. It's nice to have a fun, relatively happy-go-lucky Spider-Man again, but the Brand New Day approach clearly values style over substance. If I don't see more improvement in the coming quarter, I fear a pink slip may be in order.

I'm doing my best to keep my spirits up as far as Brand New Day is concerned. The next arc definitely sounds intriguing, even without its contents being alluded to on every other page of this issue. However, I can't keep wading through arcs like this in hopes of finding something better at the other end of the tunnel.

Sure, the villains (what little we see of them) come across as goofy, and the Wolverine guest appearance is a bit pointless, but this is by far the most fun I've had with BND so far. It seems a lot of seasoned Spidey writers could learn a thing or two from the relative rookie Wells.

As for Wells, his dialogue is as amusing and well-crafted as ever. However I was just struck by a few odd lapses of story logic (something that seems to be all-too common in Brand New Day) and an ending that lacks the necessary oomph. Other than advancing a few mundane details of Peter's life (he has a roommate now! Yippee!) it can be argued that nothing of consequence happened in this brief arc. Consequences be damned, though. I'm just glad that, for three weeks, Spidey once again became the headline character he deserves to be.

Those pluses aside, this issue would have fared a whole lot worse if it wasn't for Marcos Martin. Martin is, put simply, one of the best artists to handle Spidey in many years. His art is fluid, dynamic, ad everything you could hope for in a Spidey comic. It manages to hearken back to the classic days while still retaining modern storytelling sensibilities. If only I could say the same for the writing.

The story isn't entirely watertight, unfortunately. For one thing, Guggenheim inserts an unnecessary tie-in to the original Kraven's Last Hunt in the form of Vermin. The character does absolutely nothing other than keep several characters busy and pad out the pages for a while. The connection to KLH is also problematic because of the many unanswered BND continuity questions. I know answers are supposedly forthcoming, but it's mid July now. I think we've all waited long enough.

After a full year and 36 issues, Marvel has shown us what to expect from Amazing. When the scripts ignore the jangled mess of continuity and retcons that make up Brand New Day and just tell fun stories, the series works marvelously. When they get too caught up on exploring the new status quo, we get issues like this. I hope Marvel takes these examples to heart in 2009. There's no reason these past two months can't be the norm rather than the exception.

Still, Guggenheim has tossed out enough juicy nuggets that I'm keen to keep reading. More than anything, I'm just anxious to get back to the clean, simple, and, most importantly, devilish good fun of the stories we saw in November and December. "Character Assassination" didn't raise the bar, but it did ultimately come close to brushing it.

Van Lente could really bring something to this series, but he needs more to work with than one D-List villain and a band of generic thugs. Though this issue leaves the doors open for further developments, I can't say I have a huge interest in a sequel. Let's keep the biting humor and move onto something more interesting.

The best issues of ASM lately have been the ones with the highest fun factor. Issue #590 has fun in droves, but it unfortunately carries some of the more annoying qualities of the Brand New Day approach along with that fun. I really hope this is the arc that finally answers some of those burning questions. Not so much because I crave the answers, but because I'm sick and tired of being teased with them. The series has too much to offer at this point to dwell in the past any longer.

Thanks to Slott's last minute twist, Mark Waid has a treasure trove of material to work with as he embarks on the next arc, "Spider-Man 24/7". I'm looking forward to it quite a bit. Now that the series seems to be striking a better balance of fun and revelation, I'm optimistic the future will stay bright for Spidey's readers, if not Spidey himself.

Spider-Man 24/7 certainly has its merits so far, not least of which being more slick pencils from Mike McKone. However, issue #592 offers up a far more mundane beginning than I would have expected. I'm hopefully the next issue can do better. Until then, I'm going to busy myself trying to scrub all memory of the final page out of my brain.

Once again, this arc is saved by some solid Mike McKone art and a few bright spots amid the underwhelming portions. I like what is being done with the new love birds, and the new Vulture has the potential to be another quality addition to Spidey's rogues gallery. But the core premise of this arc continues to fall flat, and nothing can really make up for that.

"Spider-Man 24/7" proved to be far more underwhelming than I would have expected. But my enthusiasm for "American Son" and issues beyond hasn't diminished, so I'd say the series as a whole is still riding a pretty nice wave at the moment.

What this arc needed more than anything was some helpful trimming. By toning down the flashbacks and eliminating Screwball's presence altogether, this story could probably have been comfortably told in two chapters. Still, I suppose there's always hope that Guggenheim will have some surprises in store for the third and final chapter. We'll see.

Rounding out the issue is a short story by Zeb Wells and Chris Bachalo that serves as a prologue for next month's "Shed". It's not much, but Wells turns in a haunting portrayal of Curt Connors. Maybe it's just Bachalo's pencils at work, but the Lizard is shaping up to be creepier and more interesting than ever when he returns. After an overly long jaunt outside the confines of The Gauntlet, I think "Shed" will be just what the doctor ordered.

Unfortunately, there is an artistic problem in this issue. Emma Rios steps in for Bachalo and handles the first third of the issue. It's disappointing to see any fill-in artist on this arc. Sadly, it's rare for any multi-issue story on this series to pass by without some fill-in work. I'm getting to the point where I'd welcome a hiatus for the series so that the Spidey Brain Trust can build a longer lead time. But worse is the fact that Emma Rios could not possibly be more different in style and tone from Bachalo. Luckily, she doesn't reuse the same manga-esque style seen on Mark Waid's Strange mini-series. There is a bit more depth and grit on display here, but not nearly enough. Rios isn't inherently wrong for the series, but to pair her with an artist Like Bachalo on such a violent, bleak story seems a very strange choice. The letters page admits that Rios was brought in so Bachalo could focus on issue #632. Hopefully that means the arc will finish on a strong note. Wells and Bachal

Ultimately, "Grim Hunt" wasn't quite the epic finish to "The Gauntlet" I might have expected given the creators involved. When it comes to Peter's struggle, the emotional core rings a bit hollow. But there are still plenty of admirable qualities to be found in this last issue, and I doubt many readers will feel their $3.99 was wasted.

In terms of visuals, this issue is also an improvement on Paolo Rivera's end. Rivera's work is allowed more freedom and room to breathe now that it doesn't have to share page space with Paul Ryan's panels. Rivera is given some very emotional scenes to work with, and he captures that emotion well. Quesada's framing art, on the other hand, still suffers from overly soft and extremely inconsistent character renderings. Ultimately, this arc succeeds as OMD damage control, but not quite so much as a simple, engaging story.

As a bookend to one emotional era of Peter Parker's life, OMIT is fairly successful in what it sets out to do. And yet, the arc failed to answer all the lingering questions surrounding current Spidey continuity. I'm fully content to put all this business behind me and get back to what Spidey does best. Hopefully the series will oblige as "Origin of the Species" debuts.

Mark Waid's scripting is somewhat haphazard. Humor has never been his strong suit with the series, so the straightforwardly dramatic tone of this issue is a boon. Waid still shows a tendency to overwrite his hero, though. Having Spidey voice his sense of personal torment isn't nearly as effective as having the issue show it organically. Waid had the opportunity for a truly memorable scene in this issue as Spidey and Rhino encounter each other for the first time since the latter's tragic meltdown in issue #625. While Waid mines the scene for some of its depth, it's difficult not to imagine how much more could have been done in a story that allowed the proper space. Paul Azaceta's art is also frustratingly haphazard. The action scenes have a dynamic quality, but Azaceta's unattractive figures and facial work tend to drag down the more dialogue-centered panels. Hopefully "Origin of the Species" can find its legs in these last two issues.

Not unexpectedly, the Spidey crew are forced to bring in a filler artist for a good portion of this issue. Matthew Southworth's dark, noir-infused pencils make this story seem even more in line with The Grim Hunt, but in that sense it's hardly a bad move. Southworth's work is unfortunately rushed, but still attractive and well-suited to the tone of the story. His assistance also allows Paul Azaceta to deliver his best work of the arc in the final pages. Based on the cliffhanger, the last chapter of "Origin of the Species" should be a doozy. The arc has generally improved over time, and Waid has the chance to end the Brand New Day saga with a bang if he can bring his loose threads together.

As for the art, Paul Azaceta is once again joined by Matthew Southworth. As with the previous issue, Southworth's presence allows Azaceta to deliver more consistent, detailed pencils, and the shift between the two is rarely jarring. Issue #646 is a decent conclusion to the arc, and if nothing else, Harry Osborn is in store for big things in the future. As for Spidey, let's hope issue #647 can offer a truly satisfying sendoff for Brand New Day.

BND fans should find enjoyment in this issue, even if the bulk of the backup material doesn't compare to the main story. On the whole, the Spidey Brain Trust were able to see the hero out in style. This issue sets the stage in some small way for the next era of Spider-Man. Luckily, unlike last time, the character begins his new life in good, solid shape.

I knew from the start that this issue would leave me slightly disappointed because of Ramos' art. Unfortunately, I wasn't expecting such a chaotic and crowded first script from Slott. This first issue leaves me very excited for the future of the series, but in and of itself it certainly could have benefited from a tighter, leaner script.

"Big Time" has already met with significant improvement in its second issue. That bodes well for Slott's run on the series. It's clear the writer isn't pulling punches in this new era, and readers can rest easy knowing only that the won't know what to expect moving forward.

The art in the main story segment is fine, if a little flat at times. Giuseppe Camuncoli's pencils could benefit from stronger, more vibrant colors. Luckily, the art is the star of the show in the Spidey/Shang-Chi backup. Max Fiumara's work is always welcome on this series.

Spider-Island is good fun so far. The stakes aren't really there, but Slott still has plenty of time left to ramp up the danger and deliver on the promise that Spider-Man's world will be dangerously overturned by this event.

As ever, it's clear that the chaos and drama of Peter Parker's world won't be letting up. Issue #673 shows plenty of promise for the future, but also some worrying signs. Hopefully the former will define the series going forward.

Giuseppe Camuncoli's art style is a bit unusual for a Spider-Man comic, but certainly effective for this story. Klaus Janson's inks bring an even more harsh and jagged edge to Camuncoli's lines. The darker edge suits the new take on Vulture and his crew. Camuncoli clearly isn't suited for all types of ASM stories, but the same could be said for most artists on this book. The visual variety is part of the fun of this format.

Again, this issue is a little goofier than you might expect given the subject matter, but it still serves as an effective teaser for 2012 and a nice way to wrap up 2011.

It's nice to see Giuseppe Camuncoli being employed effectively on the book. Camuncoli's harsh, jagged figure work isn't always the best fit for Spidey's world, but in a darker setting like this it works very well. Hopefully Slott can continue to tailor his arcs to best fit Camuncoli's artistic sensibilities.

If not without its flaws, No Turning Back is a refreshing change of pace for the series, and not a bad gateway for prospective new readers looking for more Spider-Man vs. Lizard shenanigans.

There's some decent character work to enjoy in this issue as Peter interacts with Max Modell, his family, and various superhuman allies. Sadly, none of it involves Alpha himself. As poorly executed as these two issues have been, my enthusiasm for the series and the build-up to Amazing Spider-Man #700 is beginning to wane.

Long story short, yes, ASM #700 is worth venturing to the shop. The execution falls short in a couple of key areas, but it nonetheless gives the long-running series proper closure and paves the way for a very interesting and unpredictable 2013.

There's also the problem that the concept as a whole feels a bit thin for a five-issue mini-series. Morrell only lightly hints that there's something bigger at play with Peters condition and the encroaching blizzard. He'll need to start showing his hand quickly in order to justify another four issues of this material.

But quirks aside, this annual manages to be quite a bit of fun. Were it priced at the expected $4.99 level, I might have a hard time recommending it. Luckily, Marvel is only charging $3.99. With many current books asking that much for far less content, I see no reason not to give this annual a shot. The Gauntlet may be a particularly strong example of how engrossing Peter Parker's life becomes in its darkest moments, but even Spider-Man needs a break now and again.

All told, this actually isn't a bad issue to hand a new reader curious about the current status quo of Spider-Man and his world. At $4 for 40+ pages, it's certainly a better value than most books the Big Two put out. Still, the script never reaches its true dramatic potential, and that's a shame.

The main disappointment with this first issue is that the series doesn't exploit the Peter/Cindy dynamic to very good effect. There's little to their interaction beyond Peter's excessive wisecracking and Cindy's exasperated responses. There's a lot of untapped potential there that hopefully Thompson will address in future installments.

Amazing Spider-Man #1 offers a solid, enjoyable look at Peter Parker's return to the Marvel Universe. Not every element in this first issue is a home run, but Slott and Ramos succeed at bringing back the fun and excitement of classic Spider-Man while still building on the events of Superior Spider-Man. This issue might have been better off forfeiting some of the less compelling backup material and lowering the cover price accordingly. But regardless, there's plenty of reason to be excited for Spider-Man's future with Peter back in the saddle.

A retread this is not. Learning to Crawl avoids rehashing a story readers have seen countless times, instead opting to explore Peter's slow, painful evolution into the hero he is today. It's definitely a worthy companion to Slott's core Spider-Man series.

This 'Learning to Crawl' mini-series would be worth reading if for no other reason than because Ramon Perez perfectly marries the Steve Ditjo era of ASM with more modern storytelling sensibilities.

Slott and Ramon Perez's collaboration serves as a true love letter to Silver Age Spidey without being too old-fashioned.

Slott is able to build up the drama in this penultimate issue so that the odds are stacked against Peter in a typically Spider-Man-ish way. If anything, he actually oversells the drama in the final pages as literally every part of Peter's world goes to hell in front of him. The book doesn't need quite that much darkness as Peter continues to wrestle with the notion of power and responsibility. But regardless, the creators have set the stage for a fitting conclusion to this previously untold tale of a young, inexperienced Spider-Man.

But if this issue is guilty of focusing too much on Peter himself, that's an understandable sin. Slott's script delivers where it matters most in terms of tracing Peter's final steps towards true heroism. The final splash page alone is a terrific cap to the series and an homage to decades of Spider-Man history. Never has Ramon Perez's Ditko-esque art style stood out so much. There's also a more subdued but no less memorable scene between Peter and Aunt May. Just as it seems Slott's writing is veering into sappy territory, he throws a majorly unexpected curve ball. It's nice to see that a flashback story like this can offer its share of surprises.

As with issue #1, the main weak point with this new story arc is Electro. Max Dillon feels very much like a shoehorned villain, and this issue shows that his role could have been filled by several other Spidey rogues easily enough. Whereas Slott delivered a great Lizard-centric storyline to coincide with the first Amazing Spider-Man movie, this Electro appearance seems to do little else but tick off those boxes on the movie tie-in checklist.

As usual, Humberto Ramos' art works better during the action scenes than it does the quieter, character-driven moments. Some of his facial work is wonky in this issue (wonkier than usual, anyway), but there's also plenty of energy to the clash between Spidey and Black Cat or JJJ's latest vitriolic rampage.

By the end, I found myself very eager to see more of the Peter/Cindy connection and how it'll play into Black Cat's ongoing vendetta. As for why Electro is relevant to this storyline? Who knows?

Despite never having been the biggest fan of Humberto Ramos' style, I've been impressed with his work on this new series so far. Ramos' tendency to exaggerate facial features and body proportions seems toned down slightly. Meanwhile, his Silk design and his Black Cat redesign both look great. The book has a vibrant sense of energy that really begins to heat up as the two heroes and two villains begin to clash.

In general, this issue suffers from a common problem in that it feels disjointed and rushed in many spots. Slott is constantly juggling plot points and characters and setting things up for the future. Often all that prep work can have a detrimental effect on the story being told in the present. Hopefully Spider-Verse itself will be more streamlined and focused.

All in all, this is an eventful and entertaining issue, but the Spider-Man/Ms. Marvel team-up might have benefited from being published on its own in a completed form.

The backup feature, as with last month's story, manages to intrigue and upset in how it takes a fairly lighthearted character (in this case, Mayday Parker), and engulfs her world in darkness and bloodshed. At least this Spider-Girl now has genuine stakes in the Spider-Verse conflict, but is it necessary to keep putting these characters through the wringer in each and every backup? We already have a good grasp on how terrible Morlun's family is and how dire the situation has become.

After weeks of memorable build-up, Spider-Verse hits the ground running. This event loses none of the appeal of Slott's ongoing Spider-Man work, managing to balance humor and drama and make the most of a concept that brings all the Spider-Men together for one grand adventure. And with Coipel making Peter Parker and his world look better than ever, there's a lot to love in Marvel's latest event storyline.

This issue serves as the major launching point for the various tie-ins and spinoffs Marvel has in the wings. On one hand, it's nice to see Slott find time for so many alternate Spider-Men and Women to shine as numerous characters are shifted along the board. Many old favorites are given their due, while a handful of new players leave an impression as well (particularly Spider-Punk). Even with the scope as big and dire as it is, Slott finds room for humor and banter. The interaction between Spider-Monkey and Spider-Ham is priceless. On the other hand, the final pages are a nonstop barrage of exit scenes and editor's captions directing readers to this tie-in or that tie-in. Hopefully this issue has taken care of all that editorial business and the core Spider-Verse conflict can resume its normal course in the next chapter.

Spider-Verse is rapidly shaping up to be Marvel's best event comic of 2014. Even though it occasionally gets bogged down in setting up tie-in books, ASM #10 is a tremendously fun read that delivers the Peter Parker/Otto Octavius showdown we've been waiting for. It also looks great and further builds up the threat of the Inheritors. It's nice to have an event that actually lives up to the hype.

The latest chapter of Spider-Verse is somewhat disappointing compared to the previous three, but that hardly means there's no entertainment to be had. Dan Slott manages to ramp up the drama without losing sight of the inherent fun of this concept. Giuseppe Camuncoli, meanwhile, fills in for Olivier Coipel as well as anyone could hope. It's mainly the lack of forward momentum in this issue that disappoints. With only two chapters remaining, this storyline needs to kick into high gear.

Spider-Verse is building steam as it nears its big finale. This issue doesn't suffer as much as previous chapters when it comes to setting up or interacting with the various tie-in comics, although there are still some problems on that front. But for the most part, Slott and Camuncoli deliver a clean, attractive comic that allows many characters their moment in the spotlight and sets the stage for a very memorable final battle.

Unfortunately, the Spider-Verse saga ends on a relative low note. Amazing Spider-Man #14 packs in a lot of cool moments, but too often the fast pace and action-heavy approach steamrolls right past the big developments. Meanwhile, Coipel's normally stellar art is prone to weak spots, despite only drawing about half the issue. Hopefully issue #15 will be able to better wrap up this saga with a bow and address the problems of this finale.

Spider-Verse has been a great event comic over all, but some of the structural choices have really come back to bite Amazing Spider-Man in the butt. Issue #14 was the official conclusion to Spider-Verse. Unfortunately, its heavy emphasis on action prevented any real resolution to the story. Thus, it falls on Amazing Spider-Man #15's epilogue story to wrap up all loose threads and give this event the proper conclusion it needed. If only it were a little more successful in that regard.

Spider-Verse was always going to be a tough act to follow. Even so, there's definite potential in this new conflict, as the writers emphasize Peter's personal and professional woes over his costumed antics. Unfortunately, there's precious little time for the series to build momentum before the main story is interrupted by a pointless backup tale.

Humberto Ramos illustrates both story segments. My usual problems with his exaggerated style and use of perspective remain, especially during the early scenes that focus more on dialogue and character interaction than superheroics. Things do pick up once the focus shifts to Parker Industries. Ramos draws a great Ghost, rendering him as lithe, deadly, and more than a little creepy.

Amazing Spider-Man hasn't been firing on all cylinders in recent months, and this finale issue does nothing to reverse that trend. While Ghost makes for a good villain, the rushed pacing and divided focus are a drag on both stories.

Conway has been delivering a perfectly enjoyable tale with "Spiral," a storyline that feels right at home alongside Dan Slott and Christos Gage's recent ASM work. Conway does the writers one better in this issue, offering a more nuanced and less annoying Black Cat than we've seen since the post-Superior Spider-Man relaunch

I do wish this storyline had a more consistent roster of villains rather than a rotating lineup (especially as Conway was doing a great job of salvaging Black Cat last month), but the focus on the two lead heroes is enough to offset that problem.

Spiral was a solid read over the past few months, but in its final issue it comes across as less a compelling Spider-man conflict and more a means of bridging the gap between volumes of the main series.

Spidey fans are better off devoting their money to the various Spider-Verse-related comics this week.

The new Amazing Spider-Man has the distinction of feeling both fresh and comfortably familiar at the same time. This series boasts an exciting new status quo for Peter Parker, but one that still feels like a natural extension of Slott's previous work. This is shaping up to be the book the previous volume of ASM should have been.

This mini-series may scratch an itch for certain Spider-Man fans who want to see Peter Parker getting back to basics and swinging around New York. But even four chapters in, it's hard to shake the notion that Spidey feels poorly matched for the conflict at hand.

This issue manages to both take advantage of Peter's new status quo while honoring his more humble roots, and that's exactly the sort of balance this series needs to achieve.

The new volume of Amazing Spider-Man is exciting in a way the previous series sometimes struggled to achieve. The new status quo is great, lending a much bigger scope to Peter's world while retaining his basic appeal as a well-meaning but unlucky hero. But as often as Slott's previous books became bogged down by too many simultaneous plot threads, it's worrying that this series might be moving in that direction as well.

The real success with this issue, though, is how much Dan Slott focuses on Peter's new status quo as a delicate house of cards. He may be living the dream, but Peter is also dangerously overextended and starting to make bad decisions as a result. The Parker Luck seems to remain in full effect.

The new volume of Amazing Spider-man is quickly eclipsing the previous one. Rarely has Dan Slott's Spider-Man saga felt this focused, both in terms of is visual style and the emphasis on Peter Parker's personal struggles. Having Mister Negative, Cloak and Dagger back in the picture just adds to the appeal.

Matteo Buffagni's style doesn't impress quite on the level of Giuseppe Camuncoli's, but there's a clear energy to his storytelling as he renders the violent clashes between Spidey and the brainwashed Cloak and Dagger.

Amazing Spider-Man #8 is the first real disappointment of the new volume. This issue looks great thanks to Matteo Buffagni's dynamic action scenes, but the conflict fizzles out and fails to provide much closure for Mister Negative's story. At this point it's just as well Peter is moving on to bigger and more challenging problems again.

Whatever momentum this series might have lost in the previous issue is instantly reclaimed as Dan Slott and Giuseppe Camuncoli reunite and continue Spider-Man's conflict with Zodiac. This issue is crammed with epic superhero spectacle, but it also established the new Scorpio as a credible and unpredictable threat to Peter Parker's growing global empire.

It's a dark issue in some ways, but one that also emphasizes Peter's resiliency. Plus, the banter between Anna Maria and The Living Brain make for a fun contrast to all the doom and gloom.

This issue continues the book's trend of offering bigger, more challenging problems worthy of an internationally focused Spider-Man. At the same time, there's plenty of humor and silliness to offset all the sweeping drama

This issue serves as an enjoyable palate cleanser after the recent drama in Peter Parker's life. It makes the most of the Peter Parker/Tony Stark rivalry, even if it's annoying that the two characters are practically starting from square one. With top-notch art, a steady stream of humor and an emphasis on some long-dormant supporting characters, this issue starts off the new story arc on the right foot.

Camuncoli's storytelling is as solid as ever, so at least the constant battling is allows him to strut his stuff, but it fails to satisfy on a narrative level.

After spending so much time on the sidelines, it's great to see Mary Jane front-and-center and saving the day when Peter Parker falters. Still, this story arc never managed to build regent into a compelling villain, and this finale issue suffers as a result. Hopefully better things lie ahead as Slott shifts focus towards building to the events of The Clone Conspiracy.

This issue goes a long way towards building a strong foundation for Dan Slott's next Spider-Man epic. It gives Hobie Brown some much-needed attention, while at the same time offering readers a closer glimpse of the Jackal and his plans for the Marvel Universe. The art isn't quite as strong without Giuseppe Camuncoli at the helm, but this issue has plenty of strong storytelling moments regardless.

Clone Conspiracy has a tall order to fill if it's going to surpass Dan Slott's previous Spider-Man crossovers. But at least Slott is giving himself plenty of compelling material to work with as he sets the stage for that event. As much as Amazing Spider-Man #18 is weighed down by exposition at times, it also offers a compelling look at the return of an iconic Spider-Man villain.

Those who feel the current status quo doesn't tap into Peter's "unlucky loser" vibe may be singing a different tune by the end. This is an emotionally hard-hitting issue that adds a great deal of weight to what's to come.

Budget-minded Clone Conspiracy readers can probably skip this issue without missing too much of importance. However, it does offer a more cohesive and satisfying read than the main event is providing at the moment. It also makes a strong case for the idea that Kaine deserves his own comic again.

As far as event tie-ins go, they don't get much more important than Amazing Spider-Man #22. This issue adds crucial depth to the Jackal and his motivations for creating this latest batch of clone-related melodrama. Anyone who's been following the main event would do well to check out this companion tale.

The decision to focus so little attention on the big reunion between Peter Parker and the Stacys in The Clone Conspiracy itself is a bit odd, to say the least. And while this issue is eager to make up for that omission, it doesn't prove entirely satisfying.

The Clone Conspiracy disappointed with its abrupt, open-ended finale issue, and this epilogue chapter doesn't do enough to give the event the closure it needed. It focuses too little on Otto Octavius, and it doesn't do enough to shift Ben Reilly from sinister villain to compelling protagonist again. Giuseppe Camuncoli's art is always a draw, but this series clearly needs a fresh start.

This new issue of Amazing Spider-Man has a lot going for it. The main story, if a bit awkwardly paced, delivers some big twists, a dark tone and plenty of gorgeous art from Stuart Immonen. Unfortunately, this issue struggles to justify the hefty cover price. Too many of the backup stories read like pointless filler rather than meaningful additions to Peter Parker's increasingly chaotic world.

Dan Slott's Spider-Man run hit a slump with The Clone Conspiracy, but Amazing Spider-Man is quickly bouncing back in its aftermath. This issue delivers a fun, visually dynamic superhero romp that also asks some difficult questions about where Peter Parker's responsibilities truly lie these days. Peter himself, not Norman Osborn, may well be the real antagonist of this arc.

Dan Slott can sometimes be too preoccupied with setting the stage for future conflicts at the end of current ones, and that approach gives this battle a slightly anticlimactic feel in the end.

The Amazing Spider-Man is quickly shaping up to be one of the stronger Secret Empire tie-ins, though this issue's strengths have less to do with Marvel's latest crossover event and more with the ways in which it furthers several of the series' key plot threads. With top-notch art from Stuart Immonen, a nuanced look at the warring sides of Peter Parker's life and the grand return of Otto Octavius, there's plenty for ASM fans to chew on here.

Slott and Immonen really made the most of this tie-in arc, using the carnage of Secret Empire to further key story threads and accelerate the collapse of Parker Industries. This issue delivers more epic, emotionally charged visuals and sets the stage for what promises to be a fascinating new status quo for Peter Parker in Marvel Legacy.

This standalone issue makes it clear that Slott has big plans for Osborn heading into 2018.

Amazing Spider-Man's new direction in Marvel Legacy is a bit of a mixed bag right now. As satisfying as it is to see a classic, "down on his luck" version of Peter Parker, the series needs to prove that Peter can continue to evolve as a character even as he falls back into old habits. Fortunately, the proven creative team are still able to deliver an entertaining start to this new era for the series.

Peter Parker is back in a more classic status quo thanks to Marvel Legacy. For the most part, that's working in Amazing Spider-Man's favor. It's fun to see the inverted dynamic between Peter Parker and Spider-Man, and the book continues to look spectacular. However, between the forced rivalry between Spidey and Human Torch and the worry that the series is trying a little too hard to leave behind the Parker Industries era, there is some cause to worry about where ASM is heading.

While a few nagging flaws hold this issue back slightly (the flawed coloring, the generally rushed pacing), it does it part to flesh out Peter Parker's new status quo and reassure readers concerned about the character sliding back into old routines. The great dynamic between Peter and Bobbi and the always dependable artwork of Stuart Immonen help the whole package go down that much more smoothly.

The second chapter of Venom Inc. isn't quite as as strong as the first. Lee Price and his symbiotic minions aren't exactly the most compelling threat Spider-man has ever faced. But this crossover continues to thrive in two key areas. The characterization frequently shines as Slott explores the constantly evolving relationship between Peter and Flash. And Stegman's gritty, powerful art recalls the best aspects of the early '90s Spider-Man books.

Amazing Spider-Man #794 boasts a strong premise that often feels constrained by the limitations of the single issue format. Perhaps more could have been accomplished with the return of Scorpio, but it's hard to complain too much when a comic is able to achieve such a strong balance between dramatic tension and goofy comedy and deliver such eye-popping visuals.

Spider-Man and Loki make a great team. That was true during J. Michael Straczynski's time on Amazing Spider-Man, and it's true now. This issue makes the most of each character's respective status quo as they briefly join forces, even as it continues laying the groundwork for "Go Down Swinging." It's a shame this team-up couldn't have been explored in a lengthier format, but it's plenty of fun while it lasts.

Amazing Spider-Man tends to be one of Marvel's more reliable monthly titles, which makes a disappointing installment like this one all the more unusual. Issue #796 sets a couple wheels in motion, but for the most part it tells a formulaic Spidey adventure that doesn't live up to the standard of its predecessors.

If this first issue is any indication, "Go Down Swinging" will wind up ranking among the best of Dan Slott's many, many Spider-man tales.

Amazing Spider-Man Annual #42 isn't a terribly essential read for Spider-Man fans on a budget. Apart from adding a bit of extra closure to Clone Conspiracy, this issue mainly focuses on telling a self-contained mystery story. That mystery suffers from inadequate payoff, but at least the book highlights the Betty/Peter dynamic in a fun way. And with Slott's run so near the end, any new material is appreciated.

I don't get the impression that this issue will factor as heavily into later ASM stories like the first one did, but that doesn't mean it isn't worth checking out. Wells and Rivera turn in exactly the kind of entertaining Spidey adventure I crave more of. If the other half doesn't measure up, at least it doesn't fall flat either.

Amazing Spider-Man: Family Business should have a pretty broad appeal. It caters to casual readers who want a self-contained, accessible Spidey adventure. It appeals to those who crave a tale with Peter back in the saddle. And even those who crave a different sort of Spider-man adventure will find plenty to love here. It's a solid effort from all the creators. Unfortunately, it's not as long or well-paced a story as it could have been, and the lack of more permanent, obvious repercussions on Peter's life is disappointing. This OGN is definitely worth a look, but maybe not at the current $25 price tag.

If you've been craving a comic featuring a married Peter Parker, Renew Your Vows won't disappoint. Maybe it doesn't take place in the traditional Marvel Universe, but this issue effectively established the Parker family dynamic and then quickly builds a sense of danger and dread. Couple that with great visuals from Adam Kubert and the series has most of the right ingredients in place. Only a bland, unremarkable villain hold Renew Your Vows back a little.

This book stands out because of the ways it examines the familiar "power and responsibility" struggle from new angles.

It's a shame Regent isn't a strong or better realized villain, because that's the only element preventing this mini-series from rivaling the best of Dan Slott's Spider-man work. The art is terrific

This new issue is fairly disappointing given the quality of the previous chapters of Renew Your Vows. It fails to keep the book's momentum going, and the visual quality is a noticeable step down. On the other hand, the renewed focus on young May is welcome, and there's little reason to expect the quality won't pick up when the finale hits.

Renew Your Vows doesn't quite live up to the promise it showed in earlier issues. It's fun seeing the entire Parker family united in battling evil, but said evil is still a bland, unremarkable villain. This finale issue doesn't pack enough of a punch, and it offers no indication of what elements might cross over into the relaunched Amazing Spider-Man.

If the current incarnation of Amazing Spider-Man isn't floating your boat, maybe Renew Your Vows can do the trick. This new series boasts a terrific creative team exploring a more classically oriented Spider-Man status quo. Luckily, the series doesn't just coast by on nostalgia, as the fact that Peter is now a loving husband and father adds crucial new layers to his story.

Renew Your Vows is so close to a flawlessly executed Spider-Man comic that it's almost frustrating to read because of that.

Naturally, Stegman excels at rendering flexible spider-heroes and massive mole monsters, but the school segments show just how much he can bring to the table even with more relatively mundane material.

This new series does so much right, but it does face a continual uphill battle when it comes to proving that every member of the Parker household really needed super-powers.

Fans of the enduring Spider-Man/Venom rivalry are in for a treat with Venom Inc. This crossover already contains the depth and strong characterization that was lacking in Venomverse. This issue makes the most of the rivalry between Flash Thompson and Eddie Brock, as well as the unexpected x-factor that is Spider-Man. Combine that with Ryan Stegman's gorgeous art, and you have a winning debut issue.

Venom Inc. was never the deepest Spider-Man crossover, and that certainly doesn't change in its final chapter. But if driven almost entirely by spectacle, this issue is worth the price of admission solely to gaze at the dynamic visuals of Ryan Stegman. Between that and the occasional moments of strong characterization, this crossover manages to wrap up on solid footing.

Amazing X-Men #1 isn't a fundamentally different book from Wolverine and the X-Men. This story could just as easily be an arc of that book. But there's a sense of fun and whimsy at work that the X-books don't always tap into. Between that and the terrific artwork, Amazing X-Men #1 is definitely worth a purchase.

At this point, the weakest element of this story is its villain. Aaron has improved Azazel as a character, but not necessarily elevated him to the point where he makes for a particularly memorable or imposing threat. And the fact that he doesn't even appear in this issue doesn't help. Hopefully issue #5 can turn things around in that regard.

Still, there's plenty of pirate-y action to round out the story. Ed McGuinness remains in top form as he renders cutesy Bamf battles and X-Men all geared up and ready to wage pirate war. His visuals alone are enough to distinguish the series, with its clean, sleek lines and classical superhero imagery. So at least if Aaron is nearly out the door, we can count on more from McGuinness in the near future.

Amazing X-Men #6 serves as a generally effective way of welcoming Nightcrawler back into the fold and celebrating his many relationships. It's not a wholly satisfying as a cap to Aaron's X-Men saga, but it's not exactly fair to judge it as such. And that last page is pretty great.

Unfortunately, the art is a significant problem at times. Jorges Fornes delivers a very rough, harsh style that would be better suited to an old-school X-Force comic than a contemporary X-Men series. Fornes also doesn't do enough to distinguish among his characters physically. Colossus hardly has more muscle mass than iceman in most panels. The storytelling suffers from a lack of dynamic perspective. Characters are generally rendered either head-on or form the side and show little energy during the minimal action sequences.

This issue suffers from flat, lifeless characters and facial expressions that do little to convey emotions or drama. Hopefully the latter two issues of this arc can pick up the pace and do justice to the mighty Juggernaut.

Above all, I wanted this arc to do something different with the Juggernaut mythos rather than resorting to the same old tropes. Yost has largely succeeded in that regard. Even if the final pages seem to indicate a return to more familiar territory, I'm confident the writer still has some tricks up his sleeve for the finale.

It's been nice to see writer Chris Yost play with the usual conventions of an X-Men vs. Juggernaut story over the course of this story arc. Unfortunately, this final issue retreads more familiar territory as Colossus makes his desperate stand against an even more powerful Cain Marko.

Bad jokes aside, the look and feel of this comic is very similar to past efforts from Giffen and Fleming. Giffen provides pencils, which are a bit scratchy but plenty good enough to show you why DC's weekly books relied so heavily on him for art direction. The man still knows how to lay out a page like no one's business. As much as I know he loves Bug, I can't help wishing he was devoting his time to something a little more important. Or, at the very least, something funnier. Year None is not comedy gold, but for hardcore Ambush Bug fans, it's probably good enough.

With formulaic superhero storytelling and art that imitates manga only in the most superficial ways, there's really no reason to recommend this series in either digital or print form.

If there were any doubts that Miss America truly needed her own comic, America #1 should put them to rest. This new series features an engaging take on the adventurous America Chavez, one that emphasizes goofy humor and grounded character drama over superheroics. Anyone who enjoys The Unbeatable Squirrel Girl or Hawkeye will feel right at home here.

American Gods: Shadows is shaping up to be a competent adaptation of the source material, but one that only sporadically uses the new medium to good effect. The rest of the time, the heavy reliance on Gaiman's original text begs the question of why readers shouldn't just turn to the novel instead.

American Monster #1 is an intriguing debut for this gritty crime drama, if not an entirely cohesive one.

Even if you're not familiar with the original America Way, this sequel is well worth checking out. It balances out biting, insightful social commentary with thoughtful characterization and engaging visuals. Even with as many deconstructionist superhero stories as we've seen over the years, The American Way has something important to add to the mix.

All of these qualities, coupled with a nice little twist at the end, ensure that this series should have little problem holding the attention of Buffy fans. With luck, the actual Season 9 book can manage as strong a start.

Both Buffy books are a welcome change of pace for the franchise. However, Angel & Faith is emerging as the clear winner of the bunch in these early months. Let's hope Gage and Isaccs have a long and successful run ahead of them.

Phil Jimenez handles art duties on the main story, while Stephanie Hans tackles the interlude segment. Of the two, Hans stands out more thanks to the ethereal watercolor approach that goes hand in hand with the storybook quality. Jimenez renders some solid action, but otherwise his work doesn't quite capture the otherworldly vibe of the characters and setting.

This first issue serves as a fairly easy gateway into the saga of Angela and her partner/friend/lover Sera. It deftly summarizes what's transpired now without losing focus on Angela's new status quo. The relationship between Angela and Sera is very much the heart of the book.

Steve Pugh handles the entirety of this issue; he really steps up the plate with a stark, gripping style that could be mistaken for a cleaner version of Foreman's work. If this is the level of storytelling fidelity and clarity we can expect from the book going forward, Animal Man will be in good hands.

Essentially, Annihilation: Conquest #1 is a decent first issue that requires you to take a leap of faith. Based solely on the pedigree of Annihilation and everything that's come before, I'm still confident this series will prove ultimately satisfying. The next couple issues will be the real judge.

So really, I have very few bad things to say about about Conquest. I am a tad bit disappointed in the art. Tom Raney isn't one of those artists whose style has a significant amount of overt flaws to pick out. As long as you don't mind certain characters having different jaw structures every panel, there's little to complain about. At the same time, there's nothing especially praise-worthy about this issue. When compared to Andrea do Vito's masterful work in the original Annihilation, the art is one aspect of this sequel that just doesn't measure up. The story fares better, though. Superior in some ways, slower and more restrained in others, Annihilation Conquest manages to stand out as one of the best event books of the year. Whether it will retain that title when Secret Invasion hits next year is another story entirely.

If Marvel had simply allowed this sequel to ferment for a few months longer I think we all would have been much happier. Conquest originally began as a story arc in Nova, and I think its defining flaw is that it never quite grew out of those smaller limitations.

At this point Conquest stands little chance of living up to the original in any sense except the butt-kickingly cool covers. The most I'm hoping for is that Conquest will spawn at least one new series that impresses on the same level as Nova. The potential is certainly there.

Frankly, the best thing this issue does is set up the new Guardians of the Galaxy ongoing series. Individually, many cosmic characters have benefited greatly from some Conquest exposure. The fact that we're now getting a book starring Star-Lord, Rocket Raccoon, Drax, and Cosmo makes this all worth it. Collectively, though, Conquest has been one bungled opportunity after another. It's one thing to have tie-in books that follow along with an event comic. It's another entirely to literally force readers to follow everything to fully comprehend what's going on. And trust me, unless you've been reading Nova you're going to spend more time scratching your head about the presence of Warlock and his buddy Tyro than you will actually reading the issue. The most I can hope is that all creators involved have learned some valuable lessons from this project. The next Annihilation event - and we all know there will be one - needs to kick things into high gear if the cosmic Marvel renaissance is goin

Having now read the first chapter of Conquest itself, I know for a fact these characters can be written better than they are. I don't even blame Gage entirely. The writer is one of Marvel's most eclectic, penning issues of everything from Union Jack to Iron Man to World War Hulk: X-Men. Every writer has their own strengths, and operatic space epics simply aren't Gage's. Rest assured that Phyla-Vell will be moving on to grander and more exciting adventures from this point, and let's just hope that the upcoming House of M: Avengers plays more to Gage's talents.

The situation becomes less absurd and more desperate this month, as the team struggles to find the mysterious secret weapon of the Phalanx and avoid capture. The latter proves to be especially difficult. I'm also loving Timothy Green's art, even though I still find myself wishing he were a little more diverse in drawing facial expressions. The Kevin Maguire comparisons are never far behind when it comes to Green, but without strong facial work the comparison just doesn't stick. That aside, this continue to be my favorite Conquest book, and I'll be an unhappy camper indeed if I can't have my Rocket Raccoon on a monthly basis from now on.

Here at the end, I'm happy to say Starlord was the best of the four Conquest books. It started out strong, unlike Wraith. It continued strong, unlike Quasar. Most importantly, it finished strong, unlike Nova. I don't know if we'll ever get the chance to read the continued adventures of Peter Quill and friends, but if we do I'll fight tooth and nail to be first in line.

Up till now, Wraith has been little more than a composite of every mysterious gunman you've ever seen in movies, television, and anime. Equal parts Clint Eastwood and Vampire Hunter D, in other words. In this issue Wraith finally meets someone who convinces him to ditch the cowboy hat and do something more. The only question is if the rejuvenated Wraith can put a stop to the Phalanx's secret weapon before it instantly assimilates everyone in the galaxy. Granted, a bad outcome isn't exactly likely with a larger mini-series looming, but that's the same storytelling limitation all four Conquest books have had to deal with. The important thing is that Javier Grillo-Marxuach has managed to turn around what was unequivocally the least enjoyable Conquest book and give it a surprisingly rousing conclusion. He's helped somewhat by artist Kyle Hotz. Hotz's work has been a real mixed bag so far. His figures tend to look both jagged and washed out, if such a thing is possible. However, Hotz is cap

The idea of real and fictional worlds colliding has bee explored before in Morrison's stories, and with more subtlety and nuance to boot. It's still great to see these two creators working together again, but Morrison's past work casts a long shadow over this new story.

This remains the rare Grant Morrison comic where the art outshines the writing. Mind you, Morrison is delivering a perfectly enjoyable tale of reality and fictional worlds bleeding together and influencing one another. The interplay between writer Ray Spass and his creation Max Nomax is a lot of fun. But compared to a lot of Morrison's work, it all seems surprisingly straightforward.

What initially seemed like a fairly by-the-numbers (for Grant Morrison, anyway) tale of meta-science fiction has grown steadily more ambitious and mind-bending over time. This finale is wonderfully weird and emotionally satisfying, while managing to veer away from becoming overly sappy or sentimental in the final pages.

But forget all that noise. The real question worth asking is how the Rocket Raccoon and Groot feature shapes up. Sadly, the duo are no longer granted a full-length co-feature, but are merely relegated to back-up status. The story is definitely a lot of fun, and Timothy Green's art is stellar, but it's far too short and sweet. The one benefit to the reduced content is that the cover price has been adjusted accordingly. Hopefully that and the presence of the Avengers will be enough to bolster the readership for a series that sorely deserves it.

One area this series continues to excel in is the Rocket Raccoon/Groot backup. Though criminally shortened compared to the previous series, this adventure packs in all the comedy, frantic action, and cosmic hijinks readers could hope for. And Timothy Green's art ties it all together in a very attractive package.

It's been a long time since any hero calling themselves Ant-Man has had a solo comic to call their own. Luckily, this new series shows plenty of staying power. It's funny, emotionally engaging, and easily accessible regardless of your familiarity with the character. This debut issue presents a cohesive, standalone adventure that sets up the hero's new status quo and provides a foundation for the creative team to tell bigger and more unusual stories. Chalk this up as another successful addition to Marvel's growing lineup of quirky, character-driven comics.

In addition to being a fun, accessible gateway into the world of Ant-Man, this series continues to fill the void left by The Superior Foes of Spider-Man. It taps into a similarly fun, blue collar superhero vibe as Scott Lang struggles to make a name for himself in a new city and maintain a relationship with his daughter.

Nick Spencer really seems to have found his niche writing oddball heroes and villains who struggle for success and acceptance. This particular issue takes a slightly more ensemble focus as Scott Lang adds to his growing crew of reformed, D-List villains in a desperate bid to rescue his daughter. Even as the book becomes more urgent and dramatic, it also taps into the same lovable loser vibe that made Superior Foes of Spider-Man such a blast to read.

All told, there's a fair amount of content here for the $3.99 cover price, but those interested in learning more about the character are better served looking elsewhere.

Aquaman #0 is a visual marvel, but it's not a wholly effective flashback tale. The methodical pace is destroyed in the final pages when Arthur encounters a helpful new friend who proceeds to explain, at great length, the history of Atlantis, Arthur's birth, and the fate of his mother. It's a lot of exposition to hit the reader all at once. Nor does the issue offer a very satisfying or conclusive ending. Instead, the final pages read more like a giant tease for what's coming up in the near future. Perhaps the main flaw with Aquaman #0 is that this story deserved more space than one, lone issue.

Penciller Ivan Reis and inker Joe Prado continue their excellent collaboration. This arc is far more visually diverse than the first and allows the duo to tackle a number of interesting and unique situations not normally glimpsed in an Aquaman book. Together, the entire creative team show a willingness to push Aquaman in new directions without ignoring what made him work in the first place. That's exactly what the New 52 is supposed to be about.

Ivan Reis nails the various action scenes and character interactions. While there's a slight inconsistency in style and quality due to Reis being inked by three separate artists, it's a slick and visually dynamic issue by any standard. Aquaman is really benefiting from having one of DC's best writers and one of its best artists in control. The series seems destined to only get better from here.

Already a strong book among the New 52 lineup, Aquaman became something truly special with this second arc. Who would have thought more Black Manta was all Aquaman needed to shine brighter?

See? Aquaman is as cool as Superman. In the right hands, at least.

But again, in terms of plot, there's not much forward momentum in this chapter. Johns doesn't shed any new light on these mysterious artifacts or their connection to Arthur's legacy. There's a battle between Aquaman and Black Manta, but it's really more of a prelude to a later showdown. Oddly, Manta is brutally impaled by Arthur in one panel and appears completely unscathed in the next. There is one major development late in the issue that lends an extra bit of emotional weight to the proceedings. It's going to be a long, difficult wait for the finale in October's issue #13. Still, it's usually a good sign when a comic can induce that sort of frustration in readers. Let's hope issue #0 can manage to tide us over until then.

THE VERDICTIt's a little early to be drawing comparisons between Throne of Atlantis and The Sinestro Cops War. Even so, this crossover is showing many of the same qualities that make Sinestro Corps such a standout comic book event. It's dramatic, engaging, and expertly rendered. Its's also a very straightforward crossover with no pointless tie-ins or filler. No muss, no fuss.

I'd like to think that there's a more permanent place for The Others in the New 52 lineup, and perhaps this issue is being used as a testing ground. Maybe this team isn't bankable, but whether Johns or Ostrander is writing them, they're certainly entertaining.

My only real complaint with the direction of this arc is the depiction of the First Kin. We still know so little about the character even two months after the original reveal, and he doesn't feel like a clear and present danger in the same way the Orm loyalists or the Scavenger do. Not to mention the fact that the idea of a villain being the "first" something seems a bit redundant in light of "Wrath of the First Lantern."

I was nearly prepared to be disappointed with this issue's depressing ending until Johns pulls a 180 and gives Aquaman the more uplifting sendoff he deserves. Meanwhile, the epilogue strongly suggests that Johns isn't quite done with this corner of the DCU, even as he passes the torch to Jeff Parker. The ride isn't over yet.

Paul Pelletier's artwork certainly helps smooth the transition as well. Whether the issue focuses on undersea intrigue or epic brawls with giant crabs, Pelletier is able to expertly capture the action and emotion of the story. Unfortunately, there are several fill-in pages from artist Netho Diaz in this issue. Diaz's storytelling is sound, and even on par with Pelletier's at times. But his facial work is a little stiff, making it all too obvious when the issue bounces between the two pencillers.

With a winning balance of intrigue, action, and sentimental reflection, this issue further establishes Parker as a worthy heir to the Aquaman throne. The series hasn't radically changed from where it was a couple months ago, but Parker drops just enough hints about the future of the series to suggest we won't have too long to wait before he makes the series entirely his own.

This is the first issue of Parker's run entirely penciled by Paul Pelletier, and the visuals are markedly improved as a result. Pelletier has no trouble switching from epic undersea action to surface world character banter and back again. More than ever, it's clear this series remains in very capable hands.

Hercules makes for a fine antagonist in another winning chapter of Jeff Parker's Aquaman run.

Parker doesn't neglect his other brewing plot threads despite the brief crossover. There's continued momentum on the Mera front s she investigates her own attempted assassination. Parker provides a compelling new glimpse of Atlantean society and its social stratas here.And there's more mystery and horror aboard Triton Base to balance out the book. The issue does feel a bit choppy in that the three segments don't really have any interplay and read more like three separate stories. But Aquaman is never guilty of failing to entertain.

The book becomes more cohesive in the aftermath of the Swamp Thing crossover. And the fact that Paul Pelletier is able to pencil the entire issue for a change doesn't hurt this story either.

Parker continues to strike a balance between delivering fun, rollicking adventure, emotional family drama and expanding and enriching the mythology of Atlantis. Paul Pelletier's art also remains in top form despite being five months into this storyline now.

Jeff Parker has proven a more capable replacement for Geoff Johns on this book than anyone could have hoped for, so it's disappointing to have to bid him farewell with this issue.

Bunn's new status quo is intriguing, as is the frequent intercutting between past and present. But as much as this series has dealt with Aquaman's struggles for acceptance in Atlantis, in some ways it feels as though the book is retreading old ground.

Aquaman didn't really need a status quo shake-up, but the series got one anyway thanks to DC You. The book's new direction is unfolding well enough under Cullen Bunn's hand, with a renewed emphasis on Arthur as a loner and the divide between he and Mera.

The result is an issue that somehow feels dull and upsetting at the same time.

This series could use a change in pace or focus, but this issue didn't deliver in that regard.

Aquaman reaching its 50th issue doesn't carry the same significance as many other DC books given how much creative turnover there's been on this book of late. But if this issue doesn't feel especially momentous, writer Dan Abnett does make use of the boosted page count to deliver and fun and occasionally dramatic look at Aquaman trying to foster relations between Atlantis and the surface world and confronting a mysterious oceanic killer.

Apart from a final sequence that hearkens back to the very beginning of the series, this issue doesn't do much to send Aquaman off in style.

It's definitely intriguing to see so many running conflicts come to a head five years in the future. But Jurgens' handling of the characters isn't quite on par with Jeff Parker's work on the main series. There's an overabundance of dialogue in places where less would be more.

Ultimately, though, the Aquaman/Superman battle comes across as a bit forced and unnecessary. And in the end, a little pointless given Superman's peacekeeping mission. But despite that, this issue manages to bring the current conflict to a close while offering a sobering reminder of the cost if Aquaman can't balance his dual responsibilities to his kingdom and his friends on the surface.

While this current arc got a fairly slow start in the previous issue, it builds steam here as Aquaman battles to save his hometown from a rampaging Shaggy Man.

Aquaman's woes continue in this issue as Atlantis is attacked by a group of genetically modified super-soldiers calling themselves the Aquamarines. It's a memorably wacky concept that unfortunately isn't exploited to its fullest here.

Mix Aquaman with a healthy dose of 1987's The Abyss and you basically have the "H2.0" storyline. The name is a little dumb, but the execution sure isn't.

Aquaman and the Others #1 isn't an entirely successful first issue. It's certainly accommodating for newcomers and Aquaman neophytes, but at the expense of building momentum and really establishing the series among the New 52. But the building blocks are definitely there, and this issue has no trouble capturing the most important elements of Geoff Johns and John Ostrander's Aquaman work. Assuming Aquaman and the Others can build and maintain an audience, we could be in store for something special here.

Aquaman and the Others #1 was a decent, if cluttered offshoot of the main series. Issue #2 makes some further missteps and proves a little less satisfying than the first.

Aquaman and the Others may not be at the level of its sister series, but it's slowly getting there.

Geoff Johns' introduction of the Others showed what potential there was for this team to thrive on its own apart from Aquaman himself. Unfortunately, this series can't seem to move beyond the obligatory Aquaman guest appearances or focus the attention that needs to be devoted towards fleshing out the regular cast members.

The dialogue can be clunky at times, but there's still a strng team dynamic anchoring the story and a moving scene as one of the Otehrs passes their mantle to another character. All of this dovetails with Aquaman's struggle as he again confornts King Atlan and tries to unite his people.

This issue serves as a good starting point, but the goal going forward should be to showcase what makes Aquaman new and different in DC Rebirth.

This issue is no more or less than a lighthearted celebration of the franchise. Pretty much every Riverdale favorite turns out to help Archie through his latest crisis, with the comic reaching a predictably happy ending.

This issue finally delves into the infamous "Lipstick Incident" and just what drove former power couple Archie Andrews and Betty Cooper apart. Waid deftly blends humor and bittersweet tragedy as he sheds light on the incident.

Writers Alex Segura and Matthew Rosenberg craft a fun, charming little tale as Archie and his bandmates are whisked back to 1976 to learn about the magic of punk rock from the "in their prime" Ramones.

Larry Watts brings a dynamic energy to the book with his art. His Ash is instantly recognizable as Bruce Campbell, and he handles the nonstop barrage of zombie gore and free-floating combat very well. The coloring also helps the storytelling a great deal. It's brighter and more flamboyant than you might expect from an Evil Dead comic, but that's appropriate given the unusual setting.

Like the games themselves, perhaps Army of War the comic is best enjoyed with a friend. At least then you can share a laugh over the silly, generic script and awkwardly framed visuals. Sadly, it seems videogame tie-ins like this are still the rule rather than the exception.

None of the three stories here do much to flesh out the characters and conflicts of Arrow. Even at its most competent, this book is an easy pass for all but the most hardcore fans of the show.

Rounding out the issue is a segment from Cho and Ben Sokolowski. This portion reads like Arrow in microcosm, as it manages to breeze through the general structure of an episode in a mere handful of pages. It works surprisingly well in these limited confines, showcasing Ollie and Diggle carrying out an international mission. Mike Grell's art serves the story well. It's grim and finely textured, though certain panels feel a bit cramped. This is one instance where the smaller digital format might have been a hindrance. This segment also suffers from the same horrible Ollie monologue that plagues so many episodes of the show. I've often wondered if those monologues might play out better on the printed page than spoken aloud. The answer is no, no they don't.

Capping off this issue is a story from Schwartz and Katherine Walczak and artist Mico Suayan that focuses on Helena Bertinelli's past and the events that led to her becoming Huntress. This segment basically just rehashes what we learned from her conversations with Ollie, but it's nice to see it play out visually and to see her relationship with her late fiance play out. Suayan's pencils are easily the strongest of the issue. He delivers a gritty, noir-tinged feel that compliments the writing, and he also manages to nail the actor likenesses without sacrificing the quality of the storytelling.

It remains to be seen how well the overall conflict will develop, though. These chapters smoothly pick up where the show left off in terms of Detective Lance's illness, the crumbling Queen Consolidated empire, and so forth. But Guggenheim's decision to revisit Brother Blood in a new form is a little worrisome. As adept as this comic is at respecting the source material, I'd hate to see it retread familiar ground when the possibilities are practically endless.

The second chapter in this issue spends a bit too much time on flashback material and revisiting familiar scenes from Season 2, though it is fun to see more connections form.

The plot in this series has progressed to the point where I find myself wishing it would actually be turned into an episode of the show.

I continue to be impressed with just how much the dialogue, the plotting, and the general tone of this comic recreate the feel of the TV series. That's the benefit of keeping Marc Guggenheim and Keto Shimizu so closely invovled.

This series continues to succeed in its mission of telling stories that flesh out and enhance the world of the TV show. In certain ways (particularly when it comes to spotlighting Roy), it does the show one better.

Having Marc Guggenheim at the reins of this book has been a major boon. Guggenheim's role on the show and his prior comics experience means that this series is a very faithful extension of the source material. And in many ways, Huntress is a more enjoyable character in this issue than she's ever been on the show.

The newest Vertigo series is certainly a visual showcase. It also boasts a clever concept. But with too much focus on exposition and setup (despite the lingering questions about this universe) and a lack of any truly compelling characters, this first issue isn't the strong debut Arts Ops needed.

Assassin's Creed has a surprisingly strong track record when it comes to comic book tie-ins. So far, it doesn't appear that this new series is going to break that trend.

Titan's latest Assassin's Creed comic is unique both in that it's a direct adaptation of one of the games (Black Flag, to be specific) and a translated Japanese manga story. Unfortunately, there's little to recommend this version of the story over simply playing the game.

The newest Assassin's Creed comic is already shaping up to be a worthwhile addition to the ever-growing franchise. Templars #1 stands out for several reasons, but above all because it works to humanize the Templar faction and makes great use of a very distinctive historical setting. This first issue is a solid start, and it leaves plenty of room for the book to get even better in the next four chapters.

Assassin's Creed: The Fall is a welcome breath of fresh air in the normally depressing video game comic market. Though it carries some minor flaws, issue #1 is an engaging and enjoyable read regardless of your exposure to the Assassin's Creed franchise. Let's just hope two issues are enough for the creators to deliver a satisfying character arc for Nikolai and Daniel.

And even if the script were forgettable, The Fall would still thrive on the strength of its art. Kerschl and Stewart make an impressive team. Though the two each handle their own assigned timelines, Kerschl and Stewart have similarly bright, animated styles that allow for a very cohesive look. It's arguable whether a slightly darker visual style might have suited the tone of the games better. On the other hand, part of the appeal of this series is seeing the result of a creative team who are fully involved in both sides of its production. There's an undeniable energy and storytelling flow that comes when a creator writes and draws a page themselves, and that energy is readily apparent in The Fall. It's unfortunate this book is so unusually brief. Still, it's refreshing to have a video game comic leave the reader so desperately wanting for more.

Unfortunately, while the script mostly avoids becoming too cluttered, the same can't be said for the art. Jose Holder makes many odd framing choices that make it difficult to follow the flow of battle and leave key characters relegated to the background or obscured by shadow at awkward times.

Astonishing Thor is not without merit, but it doesn't exactly warrant the "Astonishing" moniker, either. How long until books like this and the post-Whedon Astonishing X-Men cause the Astonishing line to lose its credibility?

As always, the main flaw with this issue of Astonishing X-Men is that we won't see another one for so long. I hate to think that I won't get to read another Whedonesque adventure until 2008. I think I'll use the new issue of Messiah Complex to wipe my tears away.